Tag Archives: Zia Ahmed

Q&A with Ragevan Vasan (I WANNA BE YOURS)

Ragevan Vasan

What is I WANNA BE YOURS about?

RV: Ella 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 90s-early 00s.

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.

How did you get involved with Tamasha?

RV: When I was around 15 and discovering theatre for the first time I decided one day to google ‘asian theatre company’. ‘Tamasha’ came up and I was like ‘cool- I want to work with these guys. This is the kind of theatre I could take my family too, they’d love it!’

I owe a lot to Tamasha. They were kind of my first ventures into the industry. The company has so many opportunities which I constantly signed up for. I remember taking part in some acting workshop (with directors Iqbal Khan and Kristine Landon-Smith). They were both very encouraging and those sessions were always inspiring. I also signed up to be an ‘observer’ in the development of a Tamasha play. I got to sit in the room and watch the writer, director and some actors develop the play and pitch in my own ideas/thoughts as well. It was such a brilliant way of dismantling the alienation which you can sometimes feel when you don’t know anything about the process of putting on a professional play.  I feel very fortunate to finally be in a Tamasha play, my 15 year old self would be psyched.

What attracted you to the role of HASEEB?

RV: 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 been like?

RV: 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.

Ragevan as Haseeb with BSL Performer, Rachael Merry. I WANNA BE YOURS. Photo: The Other Richard

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 ha​ve a favourite moment in the play?

RV: Nah, too hard to pick.

What was touring I WANNA BE YOURS like for you?

RV: 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 WANNA BE YOURS. Photo: The Other Richard

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 tour?

RV: 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 communal.

How does it feel to be bringing the play to the Bush?

RV: 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?

RV: Sam’s. Morley’s lack spice. Come at me.

 

And ICYMI: Ragevan has just been nominated for an Offie for his performance in I WANNA BE YOURS as Haseeb. We wish him the best of luck and our fingers are crossed! You got this 🙏🏾

I WANNA BE YOURS is playing at the Bush Theatre until 18 January 2020. Tickets are still available, but you gotta run.


Q&A with Zia Ahmed

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.

Zia

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?

Emily Stott and Ragevan Vasan in I Wanna Be Yours by Zia Ahmed. Directed by Anna Himali Howard. ©The Other Richard

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 world

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 apolitical

for me balance comes having everything as one

overlapping connected + not separated into

this part is love

this part is political

this part is + so on

4. 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

i was part of youth theatre groups

heat&light at hampstead [ got closed down ]

then oval house drama company

at royal court i met sabrina mahfouz [ sabrinamahfouz.com ] at a writer’s group

she invited us to come to a uk slam

that was my first experience of performance poetry

saw my mate sean mahoney [ seanysense.com ] perform as part of roundhouse poetry collective

[ which is still going + open for anyone under 25 to apply to ]

off the back of seeing sean i applied for the next year

ended up going to theatre less + spoken word nights more

watching + writing + performing

i love[d] the form of it writing + performing your own work

+ the immediacy + intimacy + variety of voices within it all

then the come to where i’m from call out came

it feels like i’ve come full circle

but this time round both poems + plays are drawing at the same time

Emily Stott, Ragevan Vasan and Rachael Merry in I Wanna Be Yours by Zia Ahmed. Directed by Anna Himali Howard. ©The Other Richard

5. How does your background as a poet feed into your playwriting? You’re also a Poetry Slam champion – how does being a performer inform the way you write characters?

being part of the roundhouse poetry collective

one of the first pieces of advice from steven camden aka polarbear [ bearstories.org ] was

‘write for the sound of your own mouth’

[ maybe paraphrased but it’s how i remember it now ]

he made clear to us from the start he wasn’t trying to tell us how to write A Good Poem

but for us to write poems which were in our voice for our voice

it was always about us saying what we want to say

i’ve tried to keep that in mind when i write anything

so while this play has characters who don’t speak like i do

it will say things i want to be talked about

there are bits with are obviously rhythmic

but there’s not much punctuation in the script

cos i wanted the director + the actors work out rhythms

a rhythm that is more for themselves

+ it feels more fun that way

seeing the choices they make

6. How much of your own experience mirrors Haseeb’s?

Ragevan Vasan and Rachael Merry in I Wanna Be Yours by Zia Ahmed. Directed by Anna Himali Howard. ©The Other Richard

haseeb is a british pakistani poet from north west london

the character is me + the character is fictionalised

experiences i’ve had are fed into haseeb’s story

also experiences i’ve imagined + experiences i didn’t have

so no matter how much or how little is actual happenings

it’s all things i’ve wanted to talk about + dissect

it’s all based on real feelings + impulses for conversations

which i hope can be had with people who watch the play

7. What else are you working on right now?

working on a commission for hopefully a second play

+ i am also on tour with sarathy korwar at the moment

two poems i wrote are part of tracks he’s made

which i’m performing at his shows

he’s an amazing musician + v excited i get to be part of it


This week on the I Wanna Be Yours tour: BSL performer Rachael Merry

Rachael Merry – photo by Rebecca Need-Menear

1. Tell us what I Wanna Be Yours is about.

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 pertinent story.

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.

Rachael Merry in I Wanna Be Yours by Zia Ahmed. Directed by Anna Himali Howard. ©The Other Richard

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 existing 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 stage.

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 story.

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.

Emily Stott and Ragevan Vasan in I Wanna Be Yours by Zia Ahmed. Directed by Anna Himali Howard. ©The Other Richard

I Wanna Be Yours is touring nationwide until December. Are we touring near you?


Full cast and creative team for nationwide tour of I WANNA BE YOURS 2019

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.

 

THE 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.

His 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.

 

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:

JANE 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).

Anna 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 Theatre).

TV credits include: VERA (ITV).

 

RAGEVAN VASAN as HASEEB

Television credits include: SAVE ME, FORTITUDE (Sky Atlantic); THE STATE (Channel 4); CUFFS, DOCTORS (BBC).

Film credits include: DUMBO (Disney); DAPHNE (The Bureau Film Company); WALK LIKE A PANTHER (FOX Searchlight); THE LAST WITNESS (Film Polska Productions).

Stage 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

Rachael is an actor and BSL/English interpreter who is delighted to be working with Paines Plough this autumn for I WANNA BE YOURS

A 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 Collaboration).

Other 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: WHITE and GREY by Koko Brown (Ovalhouse Theatre/UK tour); PINK LEMONADE and 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 (Soho Theatre).

 

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 Festival/HighTide Festival).

In 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: JANISE 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 of Arts).

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 Andrè James.

 

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).

 

I WANNA BE YOURS will tour as follows:

 

6 – 19 October: The Albany Canada Water Hub, Canada Water

21 October: Studio 3 Arts, Barking

22 October: Luton Culture, Luton

24 October: Rosehill Theatre, Whitehaven

25 October: Unity Theatre, Liverpool

28 October: Marine Theatre, Lyme Regis

29 October: Ventnor Exchange, Ventnor

30 October – The Old Market, Brighton

31 October – South Hill Park, Bracknell

01 November: Trestle Arts Centre, St Albans

02 November: The Spring Arts & Heritage Centre, Havant

04 November: The Key Theatre, Peterborough

05 November: The Marlowe, Canterbury

06 November: Phoenix Theatre and Arts Centre, Bordon

07 November: Trinity Theatre, Tunbridge Wells

08 November: Electric Theatre, Guildford

11 November: Octagon Theatre, Bolton

12 November: Middlesbrough Theatre, Middlesbrough

13 November: The Mill Arts Centre, Banbury

14 November: Artrix, Bromsgrove

15 November: Derby Theatre, Derby

16 November: East Riding Theatre, Beverley

19 November: CAST, Doncaster

20 November: Norden Farm, Maidenhead

21 November: The Garage, Norwich

22 November: Lincoln Performing Arts Centre, Lincoln

23 November: The Edge, Manchester

26 November: Preston Continental

27 November: Arts Centre Washington

28 November: Selby Town Hall, Selby

29 November: Square Chapel, Halifax

30 November: The Maltings, Berwick-upon-Tweed


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