Our email is literarydepartment@finboroughtheatre.co.uk
PLEASE READ THE SUBMISSON GUIDELINES BELOW
Literary Opportunities
Please see our Staff page for all Literary staff information
OUR LITERARY POLICY
The Finborough Theatre is a fifty-seat Off-West End theatre in Central West London. Working in the text-based tradition, the unique energy of the Finborough Theatre is the paradox sustained by staging ambitious and epic work within the confines of an intimate space.
We seek to develop new work that is:
Thematically expansive – In the words of our Artistic Director, the Finborough Theatre is interested in “plays that matter on subjects that matter, regardless of fashion”. We are interested in playwrights and plays that present unique challenges to ideological assumptions about community, nation and world.
Ideologically brave – The Finborough Theatre has developed an enviable reputation as an intellectual hot-house of ideas and confrontation. We are a theatre that programmes politically engaged plays to challenge the vanities, hypocrisies and oppressions of our times. We actively bring fresh voices into social and political debates about the world into a 50-seat theatre in Earl’s Court.
Artistically ambitious – We actively seek playwrights who have moving and unusual insights into the nature of our social world, and whose theatrical voice and vision are unique. We welcome and encourage big, ambitious plays with large casts.
We welcome scripts from both unrepresented and represented writers. We programme productions in accordance with the theatre’s artistic policy and additionally we maintain an extensive, pro-writer development process consisting of one-to-one dramaturgy and workshops. As a matter of policy, we do not believe in “development” for the sake of it, and are always actively searching for playwrights and plays that we can actually produce.
We are not interested in just finding the “flavour of the month”, but building a lasting and mutually beneficial relationship with a playwright and working closely with them over a long period. For example, we have produced plays by writer James Graham every year since 2005 and by Anders Lustgarten every year since 2007.
Please read some of the following links to get a better idea of the theatre and our work, and come and see some of our productions:
PAPATANGO NEW WRITING COMPETITION
THE PAPATANGO NEW WRITING FESTIVAL AND COMPETITION IN PARTNERSHIP WITH THE FINBOROUGH THEATRE RETURNS IN 2012
A unique opportunity to have your play produced at the multi-award-winning Finborough Theatre
Following the huge success of the Papatango New Writing Festival 2011 in partnership with the Finborough Theatre which saw sell-out productions of the winning play – Dawn King's Foxfinder – as well as the three runners up, Papatango are pleased to announce their continuing partnership with one of London's leading new writing venues, the multi-award-winning Finborough Theatre.
The Papatango Playwriting Competition 2012 offers two playwrights the opportunity to have their plays professionally produced at the Finborough Theatre in December 2012. The winner will receive a four week run at the Finborough Theatre and have their script published by Nick Hern Books, and one runner-up will receive a three week run.
The winning plays will be picked by a panel of judges that will include, amongst others, Howard Davies (Director), Matt Charman (Playwright), Neil McPherson (Artistic Director of the Finborough Theatre), Francis Grin (Senior Reader at the Finborough Theatre), Con O’Neill (Actor), Tanya Tillett (Rod Hall Agency), Blanche McIntyre (former Leverhulme Bursary Associate Director at the National Theatre Studio and the Finborough Theatre, and director of last year's winning play) and the writer of last year's winner, Dawn King.
Please send submissions via email only to scripts.papatango@gmail.com
PLEASE NOTE THAT ALL ENTRIES FOR THE COMPETITION MUST BE SUBMITTED TO THIS EMAIL ADDRESS.
ANY SUBMISSION TO THE FINBOROUGH THEATRE WILL NOT BE ENTERED INTO THE COMPETITION.
The Competition opening date is 14 February 2012.
The final deadline for entries is 1 May 2012 at midnight.
The longlist will be announced around 1 July 2012.
The final shortlist will be announced around 21 August 2012.
The winning plays will be announced on 1 September 2012.
The winning productions will run at the Finborough Theatre, London, from Tuesday, 27 November to Friday, 22 December 2012.
For a full list of all the judges and full details on how to enter, please visit the Papatango website at www.papatango.co.uk
The Press on the 2011 winner, Foxfinder by Dawn King:
Foxfinder also won playwright Dawn King a prestigious Pearson Award bursary through the Finborough Theatre, was published by Nick Hern Books, and also won the Critics' Circle Most Promising Newcomer Award for director Blanche McIntyre.
Time Out Critics' Choice
The Guardian Critics' Choice
***** Five Stars WhatsOnStage
**** Four Stars The Telegraph
**** Four Stars The Guardian
**** Four Stars The Independent
**** Four Stars Evening Standard
**** Four Stars Exeunt
**** Four Stars Spoonfed
**** Four Stars Time Out
One of The Independent's Top Five Plays of 2011
Nominated for the Off West End Award for 2011 for Best New Play
"In a wan year for new writing, Dawn King's play shines out like a beacon...The most compelling new work I have seen this year.” Michael Billington, The Guardian
“A bold and often brilliant stab at something new.” Dominic Maxell, The Times
“Rich, rare and deeply unsettling...a thrillingly original piece of writing.”” Sam Marlowe, Time Out
“A haunting and striking new piece. Exceptionally written, directed and performed, this remarkably tense modern parable has all the hallmarks of an instant classic – a superlative achievement from all involved.” Chris Hislop, WhatsOnStage
"An arresting and individual work that haunts the mind long after you've seen it.” Michael Billington, The Guardian
“This gripping, haunting production is something of a home-grown project for the miraculously fertile Finborough Theatre, nurturing the talent of both new Playwright in Residence King and previous Leverhulme Bursary beneficiary McIntyre.” Catherine Love, Exeunt
ANY SUBMISSION TO THE FINBOROUGH THEATRE WILL NOT BE ENTERED INTO THE COMPETITION.
The Competition opening date is 14 February 2012.
The final deadline for entries is 1 May 2012 at midnight.
The longlist will be announced around 1 July 2012.
The final shortlist will be announced around 21 August 2012.
The winning plays will be announced on 1 September 2012.
The winning productions will run at the Finborough Theatre, London, from Tuesday, 27 November to Friday, 22 December 2012.
For a full list of all the judges and full details on how to enter, please visit the Papatango website at www.papatango.co.uk
The Press on the 2011 winner, Foxfinder by Dawn King:
Foxfinder also won playwright Dawn King a prestigious Pearson Award bursary through the Finborough Theatre, was published by Nick Hern Books, and also won the Critics' Circle Most Promising Newcomer Award for director Blanche McIntyre.
Time Out Critics' Choice
The Guardian Critics' Choice
***** Five Stars WhatsOnStage
**** Four Stars The Telegraph
**** Four Stars The Guardian
**** Four Stars The Independent
**** Four Stars Evening Standard
**** Four Stars Exeunt
**** Four Stars Spoonfed
**** Four Stars Time Out
One of The Independent's Top Five Plays of 2011
Nominated for the Off West End Award for 2011 for Best New Play
"In a wan year for new writing, Dawn King's play shines out like a beacon...The most compelling new work I have seen this year.” Michael Billington, The Guardian
“A bold and often brilliant stab at something new.” Dominic Maxell, The Times
“Rich, rare and deeply unsettling...a thrillingly original piece of writing.”” Sam Marlowe, Time Out
“A haunting and striking new piece. Exceptionally written, directed and performed, this remarkably tense modern parable has all the hallmarks of an instant classic – a superlative achievement from all involved.” Chris Hislop, WhatsOnStage
"An arresting and individual work that haunts the mind long after you've seen it.” Michael Billington, The Guardian
“This gripping, haunting production is something of a home-grown project for the miraculously fertile Finborough Theatre, nurturing the talent of both new Playwright in Residence King and previous Leverhulme Bursary beneficiary McIntyre.” Catherine Love, Exeunt
OUR LITERARY POLICY – WHAT WE ARE LOOKING FOR
We encourage script submissions on all subjects and themes, but we are particularly interested in:
• New writing by writers of all ages.
• Plays that are politically and socially engaged.
• Works for music theatre (please provide a CD and allow longer for us to review it).
• Plays about the Kensington and Chelsea area, local history and personalities.
• Adaptations of obscure books written after 1800.
• Plays that are artistically ambitious and thematically expansive.
• Plays with large casts.
• We welcome scripts from international writers, but can only accept plays written in English, Scots or Scots Gaelic.
OUR LITERARY POLICY – WHAT WE ARE NOT LOOKING FOR
There are plays on subjects or in styles that do not fit our artistic policy. These are some of the subjects that are better serviced by other producing theatres in London:
• We do not produce plays about urban, middle-class “twenty/thirtysomethings” preoccupied with relationships or emotional problems.
• We are not programming plays about paedophilia for the foreseeable future.
• We unfortunately do not have an audience for children’s plays.
• We do not programme any work that has been produced in London in the last 25 years.
• We only programme plays written post-1800, and likewise we don’t often programme historical or biographical plays set pre-1800. In particular, we are not interested in biographical plays about Shakespeare, Christopher Marlowe, Oscar Wilde, John Clare or Dr Johnson.
• We do not read film, television or radio scripts.
• We do not programme adaptations or versions of texts written before 1850 - i.e. Shakespeare, Homer, Buchner etc
Please note that you are welcome to send a play if it is on one of these subjects if it all you have and you would like us to see an example of your writing, but it is helpful to make that clear in your cover letter.
BASIC SUBMISSION TIPS
Please read all of this webpage.
Please don’t send us your very first draft. Please give your script time to settle, read it again, seek feedback from your peers and incorporate some rewrites. The fourth draft is usually when a play is ready for us to consider.
It is essential that all pages of the script must be numbered and include the play title, your name and your contact details in small print on every page (this can be done with the “Insert > Footer” option in Microsoft Word). For example: “Hamlet by William Shakespeare. 07967 654382 william@stratford,com". This is in line with standard professional practice.
A short synopsis of the plot.
A one-page CV of your writing experience to date including any readings/productions you may have had. If you do not have a CV, some idea of your background and writing experience included in your cover letter is fine.
A cover letter that includes all your contact details, and, specifically, your email address. If you do not include an email address or an SAE, we will not reply to you.
Please only submit one play at a time. Unless we specifically ask to see further examples of your work, please wait at least twelve months before submitting any more plays to us. Please be considerate of other writers – we have limited resources and are anxious to see the work of as many different writers as possible.
Please be aware that we cannot provide feedback or enter into discussion on your work. If you are primarily seeking feedback on your script, we would still like to see your script, but would encourage you to send your script to other new writing venues such as the Royal Court Theatre, the National Theatre, Bush Theatre, Hampstead Theatre and Soho Theatre, who – as publicly funded venues – will be able to offer you more detailed feedback than is possible for us.
POSTAL SCRIPT SUBMISSIONS
We actively discourage submissions by post, both for logistical and environmental reasons, but will accept them if you are unable to use the internet. Please note that posted submissions may take longer to review.
Please do not send your only copy of a play or recording of your score. Although every care is taken with your work, we cannot be held responsible if it is lost.
Please do not send your script via registered post or any method that involves signing for a package.
Please include a stamped addressed envelope for the return of your script. If you do not include one, we will recycle your script.
Please also ensure that you have affixed correct postage for your script.
For submissions from overseas, please note that we do not accept International Reply Coupons and cannot return submissions from overseas. Please provide an email address for us to contact you on.
Please do not deliver your script by hand.
Please mark your envelope LITERARY in the top left hand corner and post to:
Literary Submissions
Finborough Theatre
118 Finborough Road
LONDON
SW10 9ED
EMAIL SCRIPT SUBMISSIONS
It is helpful to format the script as a PDF before sending which will ensure that the formatting of your text stays the same. There are many free tools on the internet that you can download which will do this for you.
Email your script to literarydepartment@finboroughtheatre.co.uk
Please write the title of the play you are submitting in the subject line.
SUBMISSION TURNAROUND TIME
We always try to return your script as quickly as we can. The time is takes will vary from a week to up to three months, and is entirely dependent on how many scripts we have received.
Please do not call or email us to check the progress of your script unless we have had it for more than three months.
We prefer to reply to playwrights via e-mail as this system is both more efficient and eco-friendly. If you do not include an email address or a SAE, we will not reply to you.THE LITERARY PROCESS
Once your play is submitted, it will be read by the Senior Reader, one of our Literary Assistants or one of the Finborough Theatre’s Resident Assistant Directors for evaluation. As a matter of policy, we deliberately do not retain a large team of unqualified “scriptreaders”. Music theatre will be reviewed by our Literary Associate, Music Theatre who listens to all CD’s and reads the librettos of all music theatre works submitted.
If your script does not fit our remit, it will be returned to you as soon as possible. Unfortunately, we are not a publicly funded venue and do not have the resources to give personalized feedback.
We do encourage all writers to invite us to viewings and showcases of their work. Please email us only at the email address at the top of the page.
If your script is something that the Finborough Theatre may wish to stage or develop, it will be passed on to the Senior Reader who will then decide if the script is suitable for passing on to the Artistic Director/Literary Manager who will then make the final decision on whether the script is suitable for production or further development.
If a script is considered immediately ready for production, the Artistic Director will contact the writer personally and arrange a meeting.
If a script is considered more suitable for development, the Senior Reader will contact the writer personally and either ask to see future work or to arrange a meeting, initiating discussion on redrafts and workshops.
DEVELOPING NEW PLAYWRIGHTS
The Finborough Theatre runs its writers’ development programme through selecting plays for further dramaturgy. After an initial meeting, redrafts are encouraged through a closed feedback process with the Artistic Director and/or Senior Reader.
The Finborough Theatre runs writer-based dramaturgy. Our resources are devoted to helping writers train their stagecraft and enhance their unique theatrical voice. We are not interested in conforming writers into writing for a house style. After a process of discussions and redrafts, we organize a stage workshop for the text where an ensemble of development actors work with the writer, Literary Manager and other members of the Finborough Theatre’s artistic team to provide dramaturgical insight and space for experimentation with the text.
As a matter of policy, we do not believe in “development for the sake of it”. Our process of closed private workshops has been developed over the last five years after consultation with many writers on the most genuinely helpful way to develop their work.
With the exception of our annual Vibrant – A Festival of Finborough Playwrights season, we do not offer rehearsed or staged readings, or ask our writers to write short plays or put a time-limit on their creative process. Our focus is always on presenting full length plays.
We are a theatre that develops playwrights, as well as plays. In line with our policy, we offer our writers-in-development the opportunity to participate within the activities of the theatre.
In addition, we foster artistic collaborations amongst writers and other artistic professionals, as well as providing formal and informal activities for the group of writers working out of the Finborough Theatre to meet and build peer networks through get-togethers, masterclasses, skills exchanges and other activities.
THE FINBOROUGH THEATRE LITERARY ENSEMBLE
The following actors are members of the Finborough Theatre Literary Ensemble who assist in the development of new plays with workshops for writers every month.
HETTY ABBOTT
At the Finborough Theatre, Hetty appeared in Swamplands, part of Vibrant – An Anniversary Festival of Finborough Playwrights (2010).
Trained at East 15.
Theatre includes The Lion And The Unicorn (Eastern Angles), Moving Tales (Eastern Angles), The Six Wives of Timothy Leary (Riverside Studios and Pleasance Theatre, Edinburgh), A Kind of Charting (BAC and Goose Goose Gander), The Taming of The Shrew (RADA), Lichentongue (Underbelly), 5pm No Particular Afternoon (Likely Story) and Habagat (Rocket Venue, Edinburgh).
LISA CAME
Trained at Tisch School of The Arts, New York. Theatre includes The Fever Chart (Theatre Royal, York, and Trafalgar Studios), The Woodsman (Old Red Lion Theatre) Dark Tales (Bridewell Theatre and Tour), Seven Jewish Children (Hackney Empire), The Six Wives of Timothy Leary (Riverside Studios and Pleasance Dome, Edinburgh), The Dybbuk (King's Head Theatre), Camel Station (Theatre Museum and Tour), The Mothers (Midland Actors Theatre Tour), The Time of the Tortoise (Theatre 503), The Tempest (Looking Glass Theater, New York), A Midsummer Night’s Dream (Lion Theatre, Theater Row, New York) and The Winter’s Tale (Lion Theatre, Theater Row, New York).
Films includes Sprawlers and That Samba Thing.
Radio includes The Hamam Bride and Seeing in the Dark (both for BBC World Service).
JEMMA CHURCHILL
Trained at the Guildhall School of Music and Drama.
Theatre includes The Lower Depths (Cogs Theatre Company), Noises Off (New Wolsey Theatre, Ipswich), Caught in the Net (Southwold Theatre), The Seagull (Northcott Theatre, Exeter), The Winslow Boy (Palace Theatre, Westcliff), Hamlet (Theatre Museum), Having a Ball, A Happy Medium (National Number 1 Tour), Macbeth (London Bubble Company), Things We Do For Love (Theatre Royal, Northampton) and Slaughterhouse Five (Everyman Theatre, Liverpool).
Television includes Upstairs, Downstairs, Doctors, Waterloo Road, Heartbeat, Holby City, Jekyll, Midsomer Murders, Murder in Mind and Bugs.
Film includes Desert Flower and Bloody kids.
BENJAMIN DILLOWAY
Trained at LAMDA.
Theatre includes Tape (Counter Culture), But Otherwise Went Well... (Waterloo East Theatre), Orphans (Linbury Studio), 24 Hour Plays (Bristol Old Vic), The Libertine (MacOwan Theatre), DNA (Linbury Studio), Guys and Dolls (MacOwen Theatre), The Duchess Of Malfi (MacOwen Theatre) A Time to Keep (MacOwan Theatre), Meat Money Jesus (West 1 Studio), The Seagull (Linbury Studio), The Basset Table (Linbury Studio), The Tempest (Linbury Studio), Romeo and Juliet (Cambridge Shakespeare Festival) and Electra (Underbelly Theatre, Edinburgh).
JOHN DORNEY
Trained at LAMDA.
Theatre includes Peter Pan, Flight (National Theatre), Feelgood (English Speaking Theatre of Vienna and English Speaking Theatre, Frankfurt), Something Beginning With… (Orange Tree Theatre, Richmond), Humble Boy, The Caretaker (London Classic Theatre Tour), Beauty and the Beast (Creation Theatre), Better Watch Out (Hampstead Theatre), Volpone (Wilton’s Music Hall), The Revenger’s Tragedy (Southwark Playhouse), Honolulu, Morpheus Descending (Pleasance Courtyard, Edinburgh), Jack and the Beanstalk, Aladdin (Roses Theatre, Tewkesbury), An Evening with Gary Lineker (Wimbledon Studio Theatre), The Taming of the Shrew and The Tempest (Tudor Barn Theatre).
Audio includes Dr Who: Farewell, Great Macedon, Dr Who: Echoes of Grey, Dr Who: A Death in the Family, Dr Who: The Demons of Red Lodge and other Stories, and Dr Who: Faith Stealer (Big Finish Productions).
HENRY GILBERT
Trained at the Guildhall School of Music and Drama.
Theatre includes Charley’s Aunt (National Number 1 Tour), Brute (Tristan Bates Theatre), Curtains, Summerfolk, Hands Across the Sea, Six Characters In Search Of An Author, Don Juan in Soho, Hamlet, The Pajama Game, Agamemnon, The Relapse, Far Away, The Seagull, Rabbit (Guildhall School), Henry V (National Youth Theatre, Hackney Empire), The Steadfast Tin Soldier (Watch This Space, National Theatre).
Radio includes The History of Tom Jones the Foundling.
Henry was a BBC Carleton Hobbs 2010 Finalist, a Sir John Gielgud Award Winner, a Michael Bryant Award Finalist and an Alan Bates Award Finalist.
JONATHAN HARDEN
At the Finborough Theatre, Jonathan appeared in Northern Star (2011).
Theatre includes That Dark Place and Safety (Theatre503) and Keem (Arcola Theatre).
Television includes Boy (Channel 4), Marú (RTÉ), Small Island, The Day Mountbatten Died and sketch shows Teethgrinder and LOL (BBC).
Film includes Five Minutes of Heaven, Ghost Machine, Dreams of a Life, Fifty Dead Men Walking and Ditching.
Radio includes The Ulster Way (BBC Radio Ulster), Good Man Yer Da and Staring into the Fridge (both BBC Radio 4).
CATHERINE HARVEY
At the Finborough Theatre, Catherine appeared in Quality Street (2010) and Unburied (Vibrant rehearsed reading).
Trained at the Central School of Speech and Drama.
Theatre includes The Ring of Truth and Alison’s House (Orange Tree Theatre, Richmond),The Comedy Project (Soho Theatre), Humble Boy and Nightfall (National Tours for London Classic Theatre), An Ideal Husband (Clwyd Theatr Cymru), Les Enfants du Paradis (Arcola Theatre), Pericles (Ludlow Festival), Deirdre of the Sorrows (Riverside Studios), Charley’s Aunt (Norwich Playhouse), Erasmus Montanus (Greenwich Studio Theatre and Time Out Critics’ Choice Season at BAC) and Uncle Vanya (National Theatre Studio).
Television includes Where the Heart Is, Casualty, Judge John Deed, Wing and a Prayer and Red Dwarf.
Film includes Oscar and Lucinda and Waiting for Exit Music.
Radio includes Poetry Please, With Great Pleasure, Night Waves, Bangers and Mash, Orchestra Paloma, Hans Christian Andersen, Artists With Designs, 43 Years in the Third Form and Dr Who.
Catherine is also a writer and director, most recently having work at The Old Red Lion, Soho Theatre, The Pleasance Edinburgh and Manchester’s 24:7 Festival.
ANNA KIRKE
Trained at Drama Studio London.
Theatre includes Bud Take The Wheel I Feel a Song Coming On (Underbelly, Edinburgh), Abigail’s Party (National and Ireland Tour), Woman in Mind (Salisbury Playhouse), Love Me Slender (Oldham Coliseum), Still Time (Southwark Playhouse), Pat and Margaret (New Vic Theatre, Newcastle under Lyme), Theatre Dream (BAC and Dublin Festival), Sense and Sensibility (National Tour), All My Sons (Vienna’s English Theatre), The Outside (Orange Tree Theatre, Richmond), Love in a Wood (New End Theatre), The Importance of Being Earnest (European Tour), Easy Laughter (Man in the Moon Theatre), Carthaginians (Greenwich Playhouse) and The Revenger’s Tragedy (Hen and Chickens Theatre).
TV includes The Inspector Lynley Mysteries (BBC), Scar Stories (BBC), My Father’s Expectations (BBC), Julia Jekyll and Harriet Hyde (BBC) and The Bill (Thames TV).
Radio and voice-over includes Dennis Ockerby on Ice (Radio 4), My Family and Other Animals (Radio 4), The Bits in Between (Pilot radio comedy, Radio 4), Emma 18 and Donkey Town (both animation, Channel 4.)
CHRIS MACDONALD
Trained at Drama Centre.
Theatre includes The London Merchant (Theatre Royal, Bury St Edmunds), A Streetcar Named Desire (New Theatre, Nottingham), The Seagull, Charlie and The Chocolate Factory, Great Expectations (Lakeside Arts Centre, Nottingham), The Rehearsal, The Winter's Tale, Summerfolk (Cochrane Theatre) and The Crucible, The Merchant of Venice (Drama Centre London.)
Film includes Disaffected, Look Before You Leap and Final Word.
JAMES MARCHANT
Trained at Drama Centre. At the Finborough Theatre, James has appeared in Perchance To Dream by Ivor Novello (2011) Theatre includes Four Play, Three More Sleepless Nights (Tristan Bates Theatre) The Same...But Different (Pleasance Theatre, Edinburgh) and The Straits (National Tour and 59E59 Theatre, New York) All's Well That Ends Well, Translations and The Seagull (Drama Centre) Television includes Waking the Dead, Totally Frank, All About George, Lie With Me, Blackbeard, Surviving Disasters, Dream Team and The Bill. Film includes Lake Placid 3.
JAMIE NEWALL
At the Finborough Theatre, Jamie has appeared in Eden’s Empire (2006) and Swamplands part of Vibrant – An Anniversary Festival of Finborough Playwrights (2010).
Trained at Bristol Old Vic Theatre School.
Theatre includes Another Country (Queen’s Theatre), Richard III, Henry V, Love’s Labour’s Lost, Hamlet, Red Noses, A Christmas Carol (Royal Shakespeare Company), Never The Sinner (Offstage Theatre; Time Out Award for Nathan Leopold), The Great Pretenders, Danton’s Death (Gate Theatre), The Alchemist (National Theatre), The Woman In Black (Fortune Theatre), Hamlet (Elsinore), Much Ado About Nothing (Actors From The London Stage American Tour), In The Tunnel of Obsession (Contemporary Stage Company at Croydon Warehouse and Edinburgh Festival), Crossings (Sgript Cymru), Donkeys’ Years (National Number 1 Tour), Turandot (Hampstead Theatre). In Repertory at Harrogate, Coventry, Salisbury, Edinburgh, Sheffield, Nottingham, Birmingham, Watford, Stoke, Manchester, Watermill Newbury, Ipswich, including Winter’s Tale, Hay Fever, Duchess Of Malfi, Shadow Of A Gunman, Mary Rose, Hobson’s Choice, The Cherry Orchard, Britannicus, Dr. Faustus, Volpone, The Atheist’s Tragedy, Nothing Compares To You, Kind Hearts and Coronets, Neville’s Island, Twelfth Night, The Importance Of Being Earnest, Waters Of the Moon, Woman In Mind, A Touch Of The Sun, Shadowlands, Black Comedy, The Prime Of Miss Jean Brodie and Noises Off.
TV includes A Class of His Own, Trelawny of the Wells, Yes Prime Minister, Devices and Desires, Sex Guys and Videotape, Casualty, The Bill and Doctors.
Film includes Circularity Thinking.
Radio includes Friends Of Oscar, Baltasar and Blimunda, The Mouse That Roared, Colonel Warburton’s Madness, McClevy, Flash For Freedom!, Hyde Park on Hudson, The Spy Who Came In From the Cold, The Secret Pilgrim and Wives and Daughters
LOUISE MAI NEWBERRY
Trained at Cambridge University and East 15.
Theatre includes Headlines (BAC), Adventures in Wonderland (Teatro Vivo), Wave and Boom (Yellow Earth), Phedre (Arcola Theatre), The Gruffalo (Tall Stories), The Vagina Monologues (New End Theatre), Not The End Of The World (Bristol Old Vic), Timoleon Vieta Come Home (Warwick Arts Centre), The Good Woman Of Setzuan (Haymarket Theatre, Leicester), Transmissions (Birmingham), Twelfth Night (Teatro Vivo), Snow Dragon (Soho Theatre), Noah's Ark (Walk The Plank), Saman (Institute of Contemporary Arts, London), Picture Perfect (Dreamweavers), King Lear (Orange Tree Theatre, Richmond), Hecuba (Theatro Technis), Sea of Silence (Quicksilver), The Lion, The Witch and The Wardrobe (Royal Shakespeare Company) and Rumble (Gilded Balloon, Edinburgh).
Television includes Goal!, Doctors and The Bill.
Louise May is also the voice of Flo the kitten on Clifford's Puppy Days (CBeebies).
SIMON LEE PHILLIPS
At the Finborough Theatre, Simon has appeared in Oohrah!(2009) and Generous (2010).
Trained at LAMDA.
Theatre includes Inherit the Wind (Old Vic), Dogfight (Arcola Theatre), Salsa Saved the Girls, The Infant (Old Red Lion Theatre), Twelfth Night, Much Ado About Nothing and A Midsummer Night’s Dream (Guildford Shakespeare Company).
Television includes Ocean of Fear, Blood in the Water and Banged Up Abroad.
Film includes Me and Orson Welles, Red Lights and Burlesque
JAMES RASTALL
At the Finborough Theatre, James appeared in Quality Street (2010).
Trained at Bristol Old Vic Theatre School.
Theatre includes Bath Time (Oxford Playhouse), Gizmo Love (Alma Tavern Theatre), Macbeth (Bristol Old Vic), Machinal, The Man of Mode, Romeo and Juliet, Oh! What a Lovely War (Bristol Old Vic Theatre School), Cider With Rosie (Bristol Old Vic Theatre School West Country Tour), Macbeth and The Nativity (both Bristol Old Vic Theatre School Schools Tour).
Television includes Marchlands.
Radio includes The Need for Nonsense, Blame the Parents, Jesus, the Devil and a Kid Called Death (all for BBC Radio 4).
JAMES RUSSELL
At the Finborough Theatre, James has appeared in Quality Street and Miss Lilly Gets Boned for which he was nominated for Best Actor at the Off West End Theatre Awards 2010 (both 2010).
Trained at RADA.
Theatre includes Myrmidons (Samuel Beckett Theatre, Dublin), Days of Hope (King's Head Theatre), All Mouth (Menier Chocolate Factory), Happy Savages (Underbelly, Edinburgh), Fanshen (Theatre Delicatessen), The Snow Queen (Sherman Cymru), The Importance of Being Earnest, Othello (Queen Mary 2), Bloody Poetry (White Bear Theatre) and The Importance of Being Earnest (Antic Disposition).
Television includes Lewis (ITV).
James is Artistic Director of The Malleables.
GEORGINA STRAWSON
Trained at LAMDA.
Theatre includes The Libertine, DNA, A Time to Keep, The Seagull, Eumenides, The Changeling, The Provok’d Wife (LAMDA), A Streetcar Named Desire, Great Expectations, Oedipus, Persae and Cold Comfort Farm (New Theatre, Nottingham)
Television includes Behind Bars (pilot).
Film includes Alien Girl commercial).
ELEANOR YATES
Trained at Bristol Old Vic Theatre School.
Theatre includes Love Song (Pleasance Theatre, Islington), Ritter, Dene, Voss (Universal Arts, Edinburgh), Persae (Underbelly, Edinburgh), Romeo and Juliet (Bristol Shakespeare Festival), The Crucible, The Good Companions (Bristol Old Vic), The Comedy of Errors (Circomedia, Bristol), and Tess of the D'Urbervilles (West Country Tour).
Television includes The Crimson Petal and the White and Case Histories.
