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Laura Jukes [email protected] Highgate Key Skills - Experience in Production Management (hires, risk assessments, ﬁt ups) - Basic training on ETC lighting desks (GIO, ION) - Full and clean driving license Education/Training: Guildhall School of Music & MA Collaborative Theatre Production and Design Drama (Sept 2020-) National Youth Theatre (Aug Stage Management Training 2019) University College London BA History (3 years), First Class (2017-2020) Theatre Experience: Technical Credit Show/Event Venue Date Production Manager Remnant Milton Court Studio Dec 2020 Theatre - Guildhall School of Music & Drama New Writing Festival Etcetera Theatre, Jan 2020 Camden Town Revolt. She said. Revolt Bloomsbury Theatre Nov 2019 Again. Birdland Bloomsbury Studio May/June 2019 Songs For a New World Drayton Arms Mar 2019 (Kensington) From Here to Eternity Bloomsbury Theatre Nov/Dec 2018 A… My Name Will Bloomsbury Studio May/Jun 2018 Always Be Alice Ordinary Days Camden People’s Feb 2018 Theatre Stage Manager Phaedra Rose Theatre (National Aug 2019 Youth Theatre) Technical Credit Show/Event Venue Date Lighting Designer Remnant Milton Court Studio Dec 2020 (Co-LD with Paola Theatre - Guildhall Sanchez) School of Music & Drama Hiraeth | UCL Welsh Bloomsbury Theatre Feb 2020 Society Cultural Show CSSA Showcase Bloomsbury Theatre Jan 2019 Lighting Assistant Illusion (UCL Dance) Bloomsbury Theatre Mar 2019 Jeremy Bentham’s Wake UCL Art Museum Feb 2018 World Goes ‘Round Mully’s Bar (UCL) Nov 2017 Sound Designer Der Gute Mensch von Theatro Technis London Mar 2018 Sezuan/The Good Person of Sezuan Women, Power & Bloomsbury Studio Oct 2017 Politics Sound Assistant Rhapsody 2018 Shaw Theatre Feb 2018 Technical Assistant Kiln Theatre’s Mapping Kiln Theatre, The Apr 2019 Brent Festival 2019 Grange, St Catherine’s Church (Neasden) Bartlett Summer Festival University College Jun 2018 London (Main Quad) MODO Fashion Show 2018 SOAS (Senate House) Dec 2017 Costume Assistant Billionaire Boy Bloomsbury Theatre Dec 2019 Puppeteer I am | We are Online Performance (in Feb 2021 association with Little Angel Theatre) Work Experience The Play That Goes Duchess Theatre Sept 2019 Placement Wrong Work Experience The Hunt Almeida Theatre Jun 2019 Placement References available on request.

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Imy Wyatt Corner [email protected]
Imy Wyatt Corner [email protected] Directing SHOW THEATRE/ VENUE WRITER LENGTH OF RUN YEAR Humane Pleasance Theatre * Polly Creed 3 weeks (postponed) 2021 Gaslight Playground Theatre * Patrick Hamilton 3 weeks 2019 Baby, What Blessings Theatre503 * Siofra Dromgoole 1 week 2019 Baby, What Blessings Edinburgh Fringe Siofra Dromgoole 2 weeks 2019 Baby, What Blessings Bunker Theatre Siofra Dromgoole 1 night 2019 Baby, What Blessings Brewery Arts Centre, Siofra Dromgoole 1 night 2019 Kendal Q&A Southwark Playhouse Jess Moore 1 night 2019 From There to Here Old Red Lion Theatre Amanda Lane 2 nights 2019 We, The People Etcetera Theatre * Eleanor Ross 1 night 2019 Walk Swiftly & With Purpose North Wall Arts Centre Siofra Dromgoole 2 nights 2019 Walk Swiftly & With Purpose Theatre503 * Siofra Dromgoole 1 week 2018 Walk Swiftly & With Purpose Edinburgh Fringe Siofra Dromgoole 2 weeks 2018 NSA The Mono Box Charles Entsie 1 night 2018 Our Lemon Sherbet Sky Arcola Theatre Eleanor Ross 1 night 2018 Flux Leyton Technical/ Plymouth Fringe Naomi Soneye-Thomas 4 nights 2018 Happy Yet? International Theatre, Katie Berglof 4 nights 2018 Frankfurt * Happy Yet? Courtyard Theatre Katie Berglof 1 week 2017 Happy Yet? Edinburgh Fringe Katie Berglof 2 weeks 2016 Assistant Directing SHOW THEATRE/ VENUE DIRECTOR LENGTH OF RUN YEAR NoF*cksgiven Vault Festival Michael Oakley 1 week 2019 R&D Felt Little Angel/ The North Wall * Pip Williams 10 days 2020/21 Humane Pleasance Theatre Polly Creed 1 week 2019 Baby, What Blessings Brewery Arts, Kendal Siofra Dromgoole 1 week 2019 *= professional Other Work & Training Bristol Old Vic Theatre School, MA Drama Directing (2020 – ongoing) Everywoman & Other Confessions,*Producer.
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Albion Full Cast Announced
Press release: Thursday 2 January The Almeida Theatre announces the full cast for its revival of Mike Bartlett’s Albion, directed by Rupert Goold, following the play’s acclaimed run in 2017. ALBION by Mike Bartlett Direction: Rupert Goold; Design: Miriam Buether; Light: Neil Austin Sound: Gregory Clarke; Movement Director: Rebecca Frecknall Monday 3 February – Saturday 29 February 2020 Press night: Wednesday 5 February 7pm ★★★★★ “The play that Britain needs right now” The Telegraph This is our little piece of the world, and we’re allowed to do with it, exactly as we like. Yes? In the ruins of a garden in rural England. In a house which was once a home. A woman searches for seeds of hope. Following a sell-out run in 2017, Albion returns to the Almeida for four weeks only. Joining the previously announced Victoria Hamilton (awarded Best Actress at 2018 Critics’ Circle Awards for this role) and reprising their roles are Nigel Betts, Edyta Budnik, Wil Coban, Margot Leicester, Nicholas Rowe and Helen Schlesinger. They will be joined by Angel Coulby, Daisy Edgar-Jones, Dónal Finn and Geoffrey Freshwater. Mike Bartlett’s plays for the Almeida include his adaptation of Maxim Gorky’s Vassa, Game and the multi-award winning King Charles III (Olivier Award for Best New Play) which premiered at the Almeida before West End and Broadway transfers, a UK and international tour. His television adaptation of the play was broadcast on BBC Two in 2017. Other plays include Snowflake (Old Fire Station and Kiln Theatre); Wild; An Intervention; Bull (won the Olivier Award for Outstanding Achievement in an Affiliate Theatre); an adaptation of Medea; Chariots of Fire; 13; Decade (co-writer); Earthquakes in London; Love, Love, Love; Cock (Olivier Award for Outstanding Achievement in an Affiliate Theatre); Contractions and My Child Artefacts.
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March 2009.Pmd
Number 157 March 2009 The newsletter of London Drama Two Primary Reviews for your diary There are currently for further learning two prestigious reviews at the secondary LONDON DRAMA of the Primary stage’ rather than by Courses & Workshops Curriculum going on at their intrinsic value.” the moment: The Wed 4 Mar; 7-9pm Cambridge Primary The Cambridge Voices in the Park (Primary) Review initiated by the report identifies University of Cambridge areas of at Central School in 2006 and led by convergence with Professor Robin the interim Rose * * * Alexander; and the report (like the need Government’s to regroup the Wed 11 Mar; 6.30-8.30pm Independent Review of primary curriculum Drama with EAL Students the Primary Curriculum into areas of study at Central School led by Sir Jim Rose. rather than Each report is due to traditional subjects) * * * be published this year. but also important differences which reflect the reviews’ Sat 14 Mar; 10-1.15pm Is there a difference between the contrasting remits, scope, Half Day Workshop: two reports, and if so, what is it? evidence and degrees of Hoipolloi & WebPlay According to the authors of the independence. The Cambridge at Unicorn Theatre Cambridge Review, the answer is review is rather less sanguine one of remit and focus: about the problems of the existing * * * primary curriculum, and does not “..there is a sense in which the exempt current policies from Thurs 19 Mar; 6.30-8.30pm very focused remit of Rose, and comment. It asks whether the Drama & SEN students (KS1/2) the number of matters which are Rose review is more about at Bloomsbury Theatre apparently to be taken as given, curriculum rearrangement than may encourage the view that the reform, with educational aims * * * two enquiries are incompatible – added after the event rather than though we hope not.
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Restoration Drama Investment in West End Theatre Buildings January 2008
Economic Development, Culture, Sport and Tourism Committee Restoration Drama Investment in West End theatre buildings January 2008 Economic Development, Culture, Sport and Tourism Committee Restoration Drama Investment in West End theatre buildings January 2008 Copyright Greater London Authority January 2008 Published by Greater London Authority City Hall The Queen’s Walk More London London SE1 2AA www.london.gov.uk enquiries 020 7983 4100 minicom 020 7983 4458 ISBN 978 1 84781 138 7 This publication is printed on recycled paper Cover photograph: © Ian Grundy 2 Contents Rapporteur’s foreword 4 Executive Summary 5 Introduction 7 Part one There has been only limited investment to date in West End theatre buildings and more investment is required 9 Part two There may be a case for some public investment in West End theatre buildings but only on a theatre-by-theatre basis 14 Part three A number of solutions will need to be pursued to secure investment in West End theatre buildings 19 Conclusion and follow-up 26 Summary of recommendations 27 Endnotes 28 Annexes Annex A: List of 40 commercial West End theatre buildings. their owners and developments since Art Now! report (2003) 31 Annex B: Details of Mayor’s Economic Development Strategy 35 Annex C: Details of the review 36 Annex D: Principles of London Assembly scrutiny 38 Annex E: Orders and translations 39 3 Rapporteur’s foreword London’s West End Theatres are an essential part of the lifeblood of London’s tourist trade, generating £1.5 billion for London’s economy each year. The theatres have experienced record audiences this year but, despite this, most theatre owners have not invested in the fabric of the buildings.
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Who We Are Week Runs, One Offs & Matinees
Valid until 31.12.2018 265 CAMDEN HIGH STREET - NW1 7BU - LONDON 0207 482 4857 - [email protected] 1996 Guinness Ingenuity Award for Pub Theatre WHO WE ARE As a home is not just a house, a Theatre is not just a space. HISTORY & LOCATION Since its foundation in 1986, the Etcetera Theatre has become one of the milestone venues of the London fringe circuit. The theatre is ideally located right on Camden High Street, one of the busiest tourist and shopping areas in London only seventy-five metres away from Camden Town tube station. The Etcetera works to establish a healthy and sustainable relationship with all incoming companies and we are happy to provide support and advice throughout the production process. We have been established here for twenty nine years and are happy to pass on useful contacts and advice to incoming companies. THE TEAM Since 2014, the Etcetera has not only become a family business but an artistic one at that! Run by Maud (actress) & her brother Pierre (musician), their experience of being self represented artists and their passion for the live arts is definitely one of the main assets of this new management as they can fully understand the ins and outs of putting on a show. WEEK RUNS, ONE OFFS & MATINEES These prices include the use of our PA system and lights as well as our furniture and microphones. WEEK RUNS Include 6 performances from TUE – SUN and are available on two different slots. EARLY SLOT: 7PM – 8PM (6.30PM – 8PM for 90min shows) LATER SLOT: 9PM – 10PM LATER SLOT EXTENDED: 9PM – 10.30PM NB: on Sundays all shows start and finish an hour earlier.
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Sundowning by Nessah Muthy
Sundowning by Nessah Muthy Betty . .Hazel Maycock Intrepid plays by fearless women since 1991 Teresa . Nadia Nadif Alyssa . Aasiya Shah Kali Theatre develops and tours ground breaking, Director . .Helena Bell thought provoking, contemporary theatre by women Writer . Nessah Muthy writers of South Asian descent. Designer . .Rajha Shakiry Lighting Designer . Pablo Fernandez Baz We seek out and nurture talented writers, bringing their experience and stories to audiences from all backgrounds to transform the theatre Sound Designer . .Dinah Mullen landscape and better reflect modern Britain. Video Designer . .Daniel Denton Sundowning Choreographer . Yarit Dor We have been championing women writers from a South Asian background for over twenty five years. We actively encourage our Production Manager . .Kate Jones by Nessah Muthy writers to reinvent the theatrical agenda and have gained a reputation Company Stage Manager . Charlotte R L Cooper for staging inspiring and provocative new theatre. Wardrobe Support . Alex Horner Our new Discovery and Festival Writer Development Programmes Kali Theatre encourage and support the creation of new work through writing Artistic Director . Helena Bell workshops, dramaturgical support and public readings. Executive Director . .Christopher Corner Administrator. Samia Djilli Publicist . Nancy Poole Find our more and join our mailing list at kalitheatre.co.uk Marketing . Reshmi Mayer Email us [email protected] Thanks to the staff of Plymouth Theatre Royal for all their support in creating this Like us facebook.com/kalitheatureUK production of Sundowning. Follow us @KaliTheatreUK Thanks to Pursued by a Bear who first commissioned Sundowning when under previous AD Helena Bell and in particular Julia Tymukas, Thomas Kell, Katharine Ives and Cathy Westbrooke who helped support early sharings.
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A PSILLAS Biog Audiocraft
Sound Designer: Mr Avgoustos Psillas Avgoustos established AudioCarft Scandinavia in 2020 after 12 years at Autograph Sound in London, where he worked as a sound designer. Autograph Sound is a leading British sound design and equipment hire company, responsible for numerous theatre productions in the UK and abroad, including: Hamilton, Les Misérables, Wicked!, Mamma Mia!, Book of Mormon, Marry Poppins, Matilda, Harry Potter and the cursed child and many others. Avgoustos’ designer credits for musical theatre and theatre: The Sound of Music Stockholm Stadsteater Circus Days and Night Malmö Opera & Circus Cirkör Matilda The Musical Royal Danish Theatre Funny Girl Malmö Opera Sweeney Todd Royal Danish Opera BIG The Musical Dominion Theatre, London Blues in the Night The Kiln Theatre Matilda The Musical Malmö Opera The Ferryman St James Theatre, on Broadway, NY Kiss Me Kate Opera North, London Coliseum Pippin Malmö Opera Elf The Musical The Lowry, Manchester BIG The Musical Theatre Royal Plymouth & Bord Gais, Dublin Oliver! The Curve, Leicester AGES The Old Vic, London Pygmalion Garrick Theatre, London Strangers on a Train Gielgud Theatre, London Spamalot The Harold Pinter Theatre, London Spamalot (Remount) London Playhouse EPIDEMIC The Musical The Old Vic, London Henry V Open Air Theatre Regent’s Park Hobson’s Choice Open Air Theatre Regent’s Park Winter’s Tale Open Air Theatre Regent’s Park AudioCraft Scandinavia AB | Svanvägen 59, 611 62, Nyköping, Sweden e: [email protected] | t: +44 79 50292095 | Organisation no: 559281-2035 | VAT
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Irina Porter, Uncovering Kilburn's History: Part 7
Uncovering Kilburn’s History – Part 7 Thank you for joining me again for the final part of this Kilburn local history series. 1. New flats in Cambridge Road, opposite Granville Road Baths, c.1970. (Brent Archives online image 10127) In Part 6 we saw the major rebuilding that took place, particularly in South Kilburn, between the late 1940s and the 1970s. Many of the workers on the building sites were Irish. The new wave of Irish immigration to Northwest London, which reached its peak in the 1950s, was quickly transforming the area. As well as abundant work, Kilburn offered plenty of cheap accommodation, and a bustling High Road with cultural and eating establishments, many of them catering for the Irish population, who soon represented a majority in the area. ‘County Kilburn’ was dubbed Ireland’s 33rd county. 2. Kilburn's Irish culture – an Irish Festival poster and Kilburn Gaels hurling team. (From the internet) The Irish community, close-knit and mutually supportive, hit the headlines in the negative way in the 1970s, when Kilburn became a focal point for “the Troubles” in London. On 8 June 1974, an estimated 3,000 came out onto the streets of Kilburn for the funeral procession of Provisional IRA member Michael Gaughan. An Irishman, who had lived in Kilburn, Gaughan was imprisoned for an armed bank robbery in 1971 and in 1974 died as the result a hunger strike. Gaughan’s coffin, accompanied by an IRA guard of honour, was taken from the Crown at Cricklewood through Kilburn to the Catholic Church of the Sacred Heart in Quex Road, before being flown to Dublin for another ceremony and funeral.
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Amy De Bhrún
AMY DE BHRÚN NolanMuldoonAgency HEIGHT 5’ 8” HAIR Blonde EYES Blue/Green NATIONALITY Irish TRAINING Laine Theatre Arts Company FILM & TELEVISION Production Part Director Company Penny Dreadful Prostitute J.A. Bayona Showtime Casualty Alana Steve Hughes BBC Treasure The Stag Rachel John Butler Entertainment Vikings Ingigerd Johan Renck History Channel All is By My Side Pheobe John Ridley Matador The Crown and the Dragon Ellen Barethon (L) Anne K Black Arrowstorm The South Bank Show Tess Durberville Matt Cain ITV Bigga Than Ben Girl in Bookshop Suzie Halewood Annex Films Lovelorn Doctor Becky Preston Tread Softly Dance Invasion Sarah Collins (L) Liam Beale Chaos Weekly Films Girl in Motion Girl (L) Phil Bowman Doublecrossed We Few Head Operator Lee Stringer Lucas Films THEATRE Play Part Director Venue/Company Till Death We Part One Woman Show Helena Browne Theatre Upstairs Theatre Row, New Female of the Species One Woman Show Helena Browne York Life A One Woman Show Grainne Helena Browne Solas Productions The Money Man Sophie Helena Browne Rumor Mill, LA NolanMuldoonAgency / +353 1 288 1537 / www.nolanmuldoonagency.com Facing the Space Emma Helena Browne Mayfield Café Life Grainne Helena Browne Roundhouse, London 2am Jono Helena Browne Etcetera Theatre 3 Women for the Moon La Helena Browne Bewley’s Café Theatre A Short Swim in the Air Jessie Helena Browne Pleasance Theatre The Maids Claire Helena Browne Etcetera Theatre The Donahue Sisters Annie Helena Browne Etcetera Theatre The House of Bernarda Alba Magdalena Mhairi Grealis Pentameters
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NT Associates and Peter Hall Bursary Recipients
Thursday 15 October NATIONAL THEATRE ANNOUNCES NEW ASSOCIATES AND PETER HALL BURSARY RECIPIENTS The National Theatre announced today that Rufus Norris, NT Director and Joint Chief Executive, has invited Ola Animashawun and Clint Dyer to join as Associates of the National Theatre. In addition, The Peter Hall Bursary has been expanded to support three new artists. The directors who have been invited to receive this fund are Ned Bennett, Ola Ince and Nancy Medina and they will be supported by the NT for the next two years. Ola Animashawun, was previously the founder and Head of the Royal Court Young Writers Programme, where he was also an Associate. Ola will work at Associate level in both Learning and the New Work Department at the NT, as well as continuing in his role as Connections Dramaturg which he has held since 2018. In this new position he will work cross organisationally towards racial equity and increased representation both in the work presented on stage and at all levels in the NT’s workforce. Ola is joined by Clint Dyer who becomes an NT Associate following playing ‘Cutler’ in the NTs Olivier winning production of Ma Rainey’s Black Bottom, the success of Death of England and the programming of Death of England: Delroy, which will open in the Olivier theatre later this month. In this role Clint will work closely with Rufus Norris and the Senior Artistic team and together with the Associates will advise on programming decisions. He will also continue to act and write and direct his own work.
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GENERAL MANAGER APPLICATION PACK KILN THEATRE Kiln Theatre
GENERAL MANAGER APPLICATION PACK KILN THEATRE Kiln Theatre views the world through a variety of lenses, bringing unheard voices into the mainstream. We present high quality and innovative work, which provokes debate and emotionally engages. Located in Brent, the most culturally diverse borough in London, we are a local venue with an international vision. Converted from a music and dance hall, the Tricycle Theatre opened in 1980 as the permanent home of the Wakefield Tricycle Company. In April 2018 the Tricycle officially rebranded and changed its name to Kiln Theatre as part of the vision for its renovated building, locating it ever more closely with Kilburn and building on the Tricycle’s artistic legacy through an exciting programme of new work. Today, with Indhu Rubasingham as Artistic Director and Daisy Heath as Executive Director (who joined in January 2019 following 7 years as Lead Producer at the Young Vic), Kiln Theatre continues its reputation for world-class British and international work, reflecting the exceptional diversity of its local community. “The new theatre’s a hit” The Telegraph Our building refurbishment project was completed in September 2018, when Kiln Theatre reopened with a 292 seat theatre alongside a 300 seat cinema, a beautiful bar and café, plus three rehearsal spaces which are used for our productions, workshops and Creative Learning projects. We want everyone to experience the power of theatre. OUR VISION Uncover Our Shared Humanity Based in Kilburn, we create internationally renowned, high-quality, engaging and innovative work which presents the world through a variety of different lenses, amplifying unheard voices into the mainstream.
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Women in Theatre 2006 Survey
WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
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