I am a multi-award winning playwright, a dramaturg and an academic.
I have been obsessed with theatre for as long as I can remember. As a teenager, I was an active member of both Manchester Youth Theatre and the Manchester Royal Exchange’s Youth Theatre. I trained as actress at Drama Centre and then went on to study English Language and Literature at St John’s College, Oxford University, where I acted in, directed and produced a large variety of plays. After graduating, I worked extensively in theatre and television for several years. My major roles included Jo March in Little Women (Duchess WE, 2004-05) and Pope Joan in Thea Sharrock’s production of Top Girls (BAC, 2000). I started writing plays whilst I was acting and eventually trained as a playwright with David Edgar on the MPhil(B) in Playwriting Studies at Birmingham University.
I completed my PhD at Queen Mary University of London. My research examines the use of dramatic structure in contemporary British plays and the relationship between these structures and social and political structures of contemporary British society. My thesis was joint second prize winner of the 2014 CDE Award. My monograph based on my PhD research, The Contemporary Political Play, will be published by Bloomsbury Methuen Drama in March 2017.
I have given papers on my research at international conferences including PSi, IFTR, TAPRA and CDE. I am currently working on a book chapter on ‘Adaptation as an Act of Iconoclasm in Rupert Goold and Ben Power’s Faustus (2004) and the Chapman Brothers’ Insult to Injury (2003)’ for Palgrave Macmillan.
I am currently the course leader for the MA/MFA in Writing for Stage and Broadcast Media. Before working at Central, I taught at a number of universities and drama schools, including Birkbeck, Kingston University, Mountview, Queen Mary and the University of Reading. I am currently an Associate Fellow of the Higher Education Authority.
I am currently second supervising PhDs on adaptation, theatricals representation of trauma and postdramatic theatre.
2017. ‘Controversal Intentions: Adaptation as an act of iconoclasm in Rupert Goold and Ben Power’s Faustus (2004) and the Chapman Brothers’ Insult to Injury (2003)’ in Contemporary Approaches to Adaptation in Theatre (Basingstoke: Palgrave Macmillan)
2017. The Contemporary Political Play: Rethinking Dramaturgical Structure (London: Bloomsbury Methuen Drama)
2014. ‘Life of Digital Double’, Nam June Paik Reader, Vol. 5, 138-145
2014 ‘Going Straight: The Politics of Time and Space in David Eldridge’s Incomplete and Random Acts of Kindness’, Journal of Contemporary Drama in English, Vol. 2:1, 145-158
2011. ‘A Form of Ethics: The disrupted and misappropriated story in the monodramas of Mark Ravenhill’, Contemporary Drama in English, Vol. 18, 141-154
As a playwright, my plays include S-27, which premiered at the Finborough Theatre (2009) with subsequent productions at the Griffin Theatre, Sydney (2010) and the Annex Theatre, Toronto (2012). S-27 won the Amnesty International/iceandfire Protect the Human Playwriting Competition and was shortlisted for the King’s Cross Award and the Leah Ryan Prize for Emerging Women Writers.
In 2011, I was the winner of OffWestEnd.com’s Adopt a Playwright Award for my play Smolensk.
Between 2014-16, my play Waiting for Romeo was in the repertoire of the Yan Etki theatre in Istanbul. The production won the 2015 Ekin Yazin Dostları Theatre Award for Best Play (Small Venue).
My most recent play Star Fish was shortlisted for BBC Script Room 10 and the 2016 Nick Darke Award. I am currently a member of the Orange Tree Writers’ Collective.
My work as a playwright has been supported and developed by the National Theatre Studio, the RSC, Arts Council England, The Peggy Ramsay Foundation, The Orchard Project and The Studios Key West. I am a full member of Equity, the Writer’s Guild and the Society of Authors.
From 2012-2016, I was an associate artist with the theatre company Headlong, where I curated and developed a number of digital projects in collaboration with other artists, including the visual artist Michael Takeo Magruder and interactive theatre maker Tassos Stevens (Coney). I also worked on a number of productions for Headlong including The Effect, Chimerica, 1984, The Nether and People, Places and Things.
As a dramaturg, I worked for Soho Theatre and the Brighton Festival. I am currently a senior reader for Theatre 503 and the head of the English Committee of the Eurodram network, which promotes the translation of contemporary European plays.
2009. S-27, (London: Oberon)
2014-16 (Playwright), Waiting for Romeo, Theatre Yan Etki, Istanbul
2012 (Playwright) S-27, Annex Theatre, Toronto
2010 (Playwright) S-27, Griffin Theatre, Sydney (Time Out, Sydney – Critics’ Choice)
2009 (Playwright) S-27, Finborough, London (Time Out, London – Critics’ Choice)
2014 (Playwright) Little Mermaid, Wales Millennium Centre, Cardiff
2014 (Playwright) The Shadow, Soho Theatre, London
2013 (Playwright) Red Shoes, Usher Hall, Belfast
2012 (Playwright) Red Shoes, Belfast Festival
2012 (Playwright) Emperor’s New Clothes, Cockpit Theatre, London
2012 (Playwright) Red Shoes, Chapter Arts, Cardiff; Theatre 503, London; Arches, Glasgow
2011 (Playwright) The Beautiful Ones, Latitude Festival
2016 (Writer) What’s She Like, Headlong/Coney
2014 (Curator/Dramaturg) The Nether Realm, Headlong/Royal Court
2014 (Curator) PRISM, Headlong/The Cultural Institute at Kings
2013 (Collaborator) 1984 Digital Double, Headlong/The Cultural Institute at King’s
Nothing to declare.