James Graham explores how his own life has inspired and influenced his writing and explains how he uses curious events from history to shed new light on the world in which we live today.
In intimate detail, Michael Frayn describes how his research process unfolds when writing a new piece work, with particular reference to his historical plays Copenhagen, Democracy and Afterlife.
Moira Buffini explores how she works with the past to write about the present, with particular reference to her World War II play Gabriel, which emerged out of a desire to write about the lives of women during the war.
Through the prism of four key plays - Dealer’s Choice, Closer, Howard Katz and The Red Lion - Patrick Marber gives intimate insight into his life and career, from his early days experimenting with comedy at Oxford to becoming an Olivier Award-winning playwright.
Willy Russell shares what he has learnt about what it takes to write a play with fascinating insight into his own life and career. He explores several of his key works in vivd detail, including Educating Rita, and gives a reading from Shirley Valentine.
Actor Ray Fearon brings the character of Othello to life by combining readings from Shakespeare’s text with intimate insights into his own experience of playing the Moor. He considers how Othello swings like a pendulum between love and hatred, and how the opposing use of verse and prose consolidates this effect.
In forensic detail, and by unpacking the layers of disguise embedded within the play, actor Zoe Waites analyses the language and rhythms of Shakespeare’s Twelfth Night and considers how these tools help bring the character of Viola to life.
Having been named one of the most influential people in British theatre, Vicky Featherstone discusses her path to success, from her role as Artistic Director of touring company Paines Plough to leading the National Theatre of Scotland and her current position with the Royal Court Theatre in London.
Writer Andrew Davies, best-known for adapting some of literature’s greatest novels for television, such as Jane Austen’s Pride and Prejudice and Leo Tolstoy’s War and Peace, discusses the cinematic potential of language and the process of bringing words to life on screen.
British writer Lee Hall discusses the processes for creating some of his most popular works, such as the ground-breaking radio drama Spoonface Steinberg, the play of The Pitmen Painters based on the Ashington Group, and the film and musical adaptation of Billy Elliot.
Writer, actor and director Patrick Barlow provides a unique insight into his theatre-making process, from the creation of his comedic double-act The National Theatre of Brent to the physical and fast-paced adaptation of the Alfred Hitchcock film and John Buchan novel The 39 Steps.
Having studied English Language and Linguistics at Lancaster University, Ben has written extensively on Shakespearean language and recently staged the first reading of Macbeth in original pronunciation for four centuries, with his Shakespeare Ensemble.
Imogen trained at Northern Contemporary School of Danceh and has created the movement for critically-acclaimed productions of The Crucible, Carmen Disruption, and The Skriker, and is a visiting lecturer at Central School of Speech and Drama.
Imogen explains how her unusual schooling informed her working practice, distinguises movement from choreography, and discusses being inspired by the work of choreographic sensations Merce Cunningham and Martha Graham.
Sound Designer Paul Arditti talks through his entire practice from inception, through rehearsals to the performance itself. He discusses the differences between designing for musicals and for plays, why the creative and technical facets of his role are really two jobs in one, and how technological advances allow sound designers to artistically react much faster as the production process develops.
Ali Wade, Stage Manager, discusses the entire spectrum of duties involved in being the team that transforms the ‘creative chaos’ of the rehearsal room into a perfect storm on stage, anticipating and addressing issues before they even materialise. She expresses the challenges of constant flexibility and details the variety of roles collaborating within a single stage management team.
Renowned movement expert and director of CSSD’s Movement MA, Ayse Tashkiran, has worked with a vast range of high profile productions and theatre companies. Ayse discusses the two main strands of her work, as both movement director and teacher, from training under Jaques Lecoq in Paris, to developing a formidable practice of her own.
As a highly experienced voice and text coach, Barbara understands the difference between intellectually and experientially connecting with the language of a piece. She explores the voice as an instrument like any other, explains the physical movement of breath and sound through the body, and how there is no one-size-fits all approach to voice work.
Benet Brandreth, barrister, novelist and expert in classical rhetoric, has spent more than a decade coaching performers at leading theatrical institutions, including the Royal Shakespeare Company and the Donmar Warehouse, in the art of persuasive speaking.
Bob Crowley, scenic and costume designer and theatre director, has worked in the industry for 40 years and is particularly renowned for his extensive work with the RSC and the National Theatre.
Declan Donnellan is a co-founder and joint Artistic Director of british theatre company Cheek by Jowl, whose award-winning theatrical technique reimagines classic works to put actors firmly at the centre.
Dawn Walton is the Founder and Artistic Director of Black-led theatre company, Eclipse. Renowned for their delivery of diverse programming to regional theatres, Eclipse strives to disrupt and enrich the contemporary theatrical landscape.
Eliose Thyne, Production Assistant at The Lyric Theatre in West London, discusses making the youth theatre leap from on to off offstage work. She explains the various career avenues available in the world of production and the challenges of being the sole administrative body in a practical team.
Gareth Fry, sound designer, is one of the theatre industry's most innovative sonic specialists and is particularly known for his work with celebrated directors Katie Mitchell, John Tiffany, and Sacha Wares.
Founded in 2001, Gecko is an artist-lead organisation, producing work which, whilst epic, speaks to audiences' personal experiences. Gecko strives to ensure that its collaborative process empowers cast, creative and technical team members alike, in contributing to a work's development.
Lighting designer and teacher Geraint Pughe discusses training, both his own and his pupils, and reveals the three basic principles of lighting - understanding the space, creating mood and knowing how to use special effects.