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I believe the power of 'play' is vital to any rehearsal process. Through my experience studying improvisation at the Free Association in London and studying clowning at University, I believe creating a safe space for actors to experiment with a script or in devising is vital for actors to create a connection with their characters. Although I have worked on plays of different genres, I believe my speciality to lie within comedy and satire. I very much believe that laughter is a universal language and is one of the most accessible forms of communication, however it is from a life-time of watching comedy television shows, stand-up and later writing for comedians and performing comedy that made me comfortable in directing comedic pieces. Even if the piece is a tragedy, I believe throgh comedy I have learnt the pacing of a play and what keeps the audience truly engaged. My experience in acting (and briefly attending drama school) has also given me and insight into how to work collaboratively with actors.

When working with a script I am inspired by practitioners such as Stanivlaski and his process of emotional memory and Jacques Lecoq's use of body and movement, as well as his openness to experimentation and play. At University I learnt about the work of Alfred Jerry specifically looking into Ubu Roi, I came to love his vision of accessible theatre (for lower-income audiences) and his use of cardboard and everyday objects to create performances and cabarets. This is why I am drawn to fringe theatre, as it is easier to create the rules around the performance and make each space work for your audience.

More recently I have been trying to expand my knowledge beyond the 'go-to' practitioners that is taught to us at University. I am inspired by many wonderful, modern directors, writers and companies that are creating accessible and world-changing theatre. Some of these companies include Graeae Theatre company and their aim to make theatre as accessible as possible whilst collaborating with disabled and neuro-divergant creatives, Oily Cart, Clean Break and Cardboard Citizens to name a few. I was lucky enough to see Graeae Theatre's performance of Reasons to be Cheerful which was performed at the Paralympics.

One day I hope to become an Artistic Director of a theatre as I would love to choose a theatre's season and watch over the process of production. I aim to make theatre more accessible to a wider range of audiences. I am greatly inspired by my time working at The Bunker Theatre, which sadly closed in March 2020. The Bunker Theatre (with artistic director Chris Sonnex) was the first example I had of a diverse theatre programme and season, with seasons that touched the topics of refugee asylum in the UK (Welcome to the UK), the topics of race (My White Best Friend (and Other Letters Left Unsaid), , the topic of sex-work (F*ck You, Pay Me), Womanhood (To Skin a Cat) and many more. The Bunker Theatre's seasons and chosen productions have since been an inspirational aim for when I one day run a theatre.

When I moved to London I usually encountered male directed pieces. This was not an intention but it was generally what was available. I am especifically passionate about creating these spaces because I was told as a young teen that I would not be able to 'make it as a director' due to being a woman and for having a history of mental illness. I proved to myself that this was not the case.

In 2021, along with fellow creative, Cat Addens, we created our own theatre company 'Salt Circle Productions' which we use to create new fringe productions. When creating the company we wanted to create a platform for 'unheard' voices which we hope to do through our themed new-writers nights 'To Whom It May Concern' which starts in March 2022 and we hope to continue at the end of every other month. We also produce are own productions which you can read more about via our website

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