Writer
Charlotte Keatley

Theatre plays include: The Iron Serpent Leeds Theatre Workshop 1983, An Armenian Childhood Leeds 1983, with Impact Theatre; The Legend Of Padgate community play,1985; Waiting For Martin English Shakespeare company 1987;.My Mother Said I Never Should Contact Theatre, Manchester 1987 (directed by Brigid Larmour), and Royal Court 1989; since translated into 23 languages, a set text in schools and Universities, named by the Royal National Theatre in 2000 as one of the Significant Plays Of the Twentieth Century.

Fears And Miseries In The Third Term, co-writer, Young Vic 1989; The Singing Ringing Tree, Contact Theatre 1992, The Sleep Of Reason Produces Monsters  Leeds Theatre Workshop and Shanghai Academy Theatre 1999.For schools: Forest  premiered at St.Wilfred’s School, Blackburn, 2001; The First Pirate Queen premiered WGS school Manchester 2005.

Unproduced as yet: All The Daughters Of War commissioned by the RSC, workshops at RADA 2007 and National Theatre Studio 2008. Our Father was commissioned by Watford Palace Theatre where Charlotte Keatley is a Creative Associate.

Awards include George Devine Award, Manchester Evening News Best New Play, nominated for Olivier Award - Most Promising Newcomer, Time Out Theatre Award, Edinburgh Fringe First, Sunday Times Outstanding Performance Award.

She has written numerous dramas for BBC Radio 4, a children’s drama Badger for Granada TV and a film script Falling Slowly for Channel 4.As an arts journalist she has written for the Observer, Financial Times, Yorkshire Post, Scotsman, Performance Magazine, and contributed live on BBC radio and television arts programmes for many years. For Guardian she has written on the Rose Revolution in Georgia having travelled extensively in Georgia and Abkhazia about which she is writing a book.

She has taught creative writing from Burnley to Shanghai and continues to run workshops in schools, universities and for community groups of all ages. 

She lives with her daughter Georgia, in Manchester, and goes rock-climbing instead of cleaning the house.

 

Director
Brigid Larmour

Brigid Larmour is Artistic Director and Chief Executive of Watford Palace Theatre. She has directed for the Palace: Alan Ayckbourn's Time of My Life and Absent Friends, Gary Owen's We That Are Left and Mrs Reynolds and the Ruffian, Shakespeare's As You Like It, Charlotte Keatley's My Mother Said I Never Should and Von Ribbentrop's Watch by Laurence Marks and Maurice Gran.

Brigid is a producer, director, dramaturg and teacher with experience in the subsidised and commercial theatre and television. From 1998 to 2006 she was Artistic Director of West End company Act Productions, and adviser to BBC4 Plays. From 1993 to 98 she directed a series of promenade Shakespeares, Shakespeare Unplugged, for RNT Education. From 1989 to 1994 she was Artistic Director of Contact Theatre, Manchester, commissioning the first British plays responding to the rave scene (Excess/XS), and the implications of virtual reality (Strange Attractors, a multimedia promenade production, by Manchester poet Kevin Fegan). She trained at the RSC, and as a studio director at Granada TV.

Designer
Adam Wiltshire

Trained in theatre design at the Royal Welsh College of Music and Drama, he became a group winner of the Linbury Biennial for Theatre Design in 2003. Theatre productions include My Mother said I Never Should (West Yorkshire Playhouse) Much ado About Nothing (Salisbury Playhouse), David Copperfield (Mercury Theatre) and shows for Unicorn Theatre, Oval Playhouse, New Wolsey Theatre and the GSMD. Opera designs include Roméo et Juliette and Duke Bluebeard’s Castle (Opera North), Teseo, Katya Kabanova, Promised End (ETO) and operas for Almedia Opera, The Opera Group and RNCM. Ballet credits for the Royal Ballet include; Being and Having Been, Tanglewood, Childen of Adam, and Sensorium (ROH main stage) Adam is currently working on productions for the Royal College of Music and a Tamasha / Circus space collaboration

Movement Director
Shona Morris

Lighting Designer
Jenny Cane

Jenny Cane was born in Sri Lanka and began work as a lighting designer for Charles Marowitz at The Open Space in London.  Since then she has designed theatre, opera, musical and dance productions in the West End, throughout Britain as well as in Europe, North America and Australia. She has also held posts as Artistic Associate at Theatr Clwyd and as Lighting Manager for the English National Opera.

Her work in regional repertory theatre in Britain is extensive and includes productions at Haymarket Leicester where she has lit over 30 productions, as well as shows for companies from Edinburgh to Plymouth.

Many of her productions have been seen in the West End and she has worked for many major producers including Lord Lloyd-Webber and Cameron Mackintosh on musicals that have consequently toured in Britain and abroad.  These include Cafe Puccini, Requiem, & Variations, , Eurovision and Follies, Nine and Sweeny Todd at the Royal Festival Hall; drama productions in London include Welcome to Ramallah (Arcola, 2008), Chapter II, The Aspern Papers, The Odd Couple and Three Tall Women.

Jenny Cane’s special talent for music theatre is reflected in her designs for many Sondheim productions as well as major touring musicals such as Annie, Pirates of Penzance and Jolson in London, the provinces and abroad. In 2010 she lit A Little Night Music at the Théâtre du Châtelet, Paris.
 
Her lighting designs for Eugene Onegin, continue in repertoire at the English National Opera and she worked on many productions there including Der Rosenkavalier, Falstaff, Madam Butterfly, Peter Grimes, and The Barber of Seville. She designed the lighting for The Magic Flute in Antwerp and more recently Die Fledermaus  for Scottish Opera Go Round and The Turn of the Screw in Macedonia. She returned to Scottish Opera in 2008 for the highly praised A Night at the Chinese Opera. In 2010 she lit Orfeo Ed Euridice for Minnesota Opera.

A further collaboration was with the African dance company Azido for whom she created the lighting of Silk and Footsteps Of Africa in London and on tour.

Sound Designer
Rich Walsh

Previous sound designs include: Welcome To Thebes, The Observer, Baby Girl, DNA, The Miracle, The Five Wives Of Maurice Pinder, Landscape With Weapon, The Reporter, The Alchemist, Exiles, Southwark Fair, The Mandate, Primo, The False Servant, Sing Yer Heart Out For The Lads, Scenes From The Big Picture, Dinner, Closing Time, The Associate, Sanctuary, The Mentalists, The Shadow Of A Boy, Free, The Walls (National Theatre); Exposure, Under The Blue Sky, On Raftery’s Hill, Sacred Heart, Trust, Choice (Royal Court); Primo (Music Box Theater — Broadway & Hampstead Theatre); Vernon God Little (Young Vic); Dinner (Wyndhams & National Tour); What The Night Is For (Comedy); 50 Revolutions (Whitehall); Time Of My Life (Watford Palace Theatre); Von Ribbentrop’s Watch (The Oxford Playhouse & National Tour); Rock (Unity Theatre, Liverpool & National Tour); Fimbles Live! (Bloomsbury Theatre & National Tour); The Lady In The Van, The Deep Blue Sea (Theatre Royal Bath & National Tour); The Unexpected Man (Richmond Theatre & National Tour); The Price, Hyperlynx (Tricycle Theatre); Julie Burchill Is Away… (Soho Theatre); How To Be An Other Woman (Gate Theatre); Eigengrau, Kingfisher Blue (Bush Theatre); The Stock Da’wa (Hampstead Downstairs); The Boy Who Left Home (Lyric Studio & National Tour); Yllana’s 666 (Riverside Studios & The Pleasance — Edinburgh); Cue Deadly (Riverside Studios); Strike Gently Away From Body, Blavatsky (Young Vic Studio); The Difficult Unicorn (Southwark Playhouse); Wolf Game (Union Theatre); Body And Soul, Soap Opera, The Baltimore Waltz (Upstairs At The Gatehouse); The Nation’s Favourite — The True Adventures Of Radio One (Jermyn Street Theatre & National Tour); Small Craft Warnings (The Pleasance — London); The Taming Of The Shrew, Macbeth (Japanese Tour); Dirk, Red Noses, A Flea In Her Ear (The Oxford Playhouse); The Wizard Of Oz, The Winter’s Tale (The Old Fire Station — Oxford).

Associate Sound Designer on: Beauty And The Beast, The Cat In The Hat (National Theatre); An Anatomie In Four Quarters (Sadler’s Wells); Cool Hand Luke (Aldwych Theatre).