Cast/Crew

James Martin Charlton is a dramatist, director and academic. His plays include Fat Souls and Coming Up (Warehouse Theatre, Croydon); ecstasy + Grace (Finborough Theatre); Desires of Frankenstein (Open Air, Regents Park  & Pleasance, Edinburgh); The World & his Wife (1995), I Really Must be Getting Off (The White Bear); Coward (Just Some Theatre Co.); two short pieces for The Miniaturists, Fellow Creature and Battis Boy (Arcola Theatre). Been on the Job Too Long has been produced three times since 2015 (at TheatreN16, the North London Literary Festival, and the Talos Festival of Science Fiction Theatre). He wrote an adaptation of The Pilgrim’s Progress under commission by the RSC, and his biographical play about William Blake, Divine Vision, was performed at Swedenborg Hall. His new play, Reformation will premiere at the White Bear Theatre in June 2019. The texts of Coward and Fat Souls are published by Playdead Press. 

 

He has directed a number of contemporary plays, including Gob, Bumps (King’s Head), Plastic Zion (White Bear), Histrionics (Underbelly, Edinburgh). His production of Revolution Farm by James Kenworth after Orwell played at Newham City Farm in 2014; A Splotch of Red: Keir Hardie in West Ham toured east London in 2016.

 

He has written and directed two short films, Apeth (2007) and Academic (2011). He wrote screenplays for the shorts Emotional Tribunal and Best Shot. He recently filmed his play Fellow Creature for 360° video, as part research project into the medium which resulted in the 2019 article ‘VR and the dramatic theatre: are they fellow creatures?’ in the peer-reviewed International Journal of Performance Arts and Digital Media.

 

He has lectured at UEL and Birkbeck and is Head of Department of Media at Middlesex University.

Janice Dunn is an experienced theatre director, who has worked extensively in the UK and Europe throughout her career. She is also a writer, and produces scripts in both English and Danish. Janice provides her own movement direction, and in the past, choreography, for most of the shows she directs.

 

Below are some highlights:

 

LONDON:    

  • Royal Court Theatre. ‘The Force of Change’ by Gary Mitchell.

  • Tricycle Theatre. ‘Small Miracle’ by Neil D’Souza.

  • Theatre 503/ Latitude Festival ‘Catastrophic Sex Music’ by Bysshe Coffey.

  • Wilton’s Music Hall. (Jan ’19.) Workshop development week for ‘Maxa’, the musical, by award cabaret duo, Roulston & Young.

  • Arts Theatre. Staged reading by Woman at RADA for my own play ‘Decision Day’.

 

REGIONALLY:

  • Birmingham Rep.  ‘Sound of a Hammer’. New writing/ Door.

  • Liverpool Everyman. ‘Goldfish’. New writing project.

  • Oldham Coliseum. ‘Absurd Person Singular’.

  • Belgrade Theatre. Associate Director 9 years.

  • Mercury Theatre. Associate director 2 years. Associate Artist 4 years.

 

COPENHAGEN:

  • ‘Shakespeare Masterclass’. Colleges throughout Denmark.

  • Skuespillerakademiet. (The Actors Academy). Director.

  • Ophelia Dramaskole. Director and project leader.

  • Teaterbutikken. (The Theatre Shop.) Residencies director.

  • Ishøj Teater. (Childrens Theatre.)  Director and writer.

  • FasterPussycat. Artistic Director of my own Anglo Danish company, which creates and tours new work.

 

OTHER:

  • European Summer School. (Leatts.) 12 years delivering residential creative development, and training programmes, for participants from Europe and beyond. Ages from 14 to 80 years. Based in Luxemburg/ Belgium.

  • Was an associate artist on the ACE funded Creative Partnerships Programme, for the West, and East, Midlands regions. Delivering bespoke creative projects for young people, which also trained teachers in new skills.

  • Was the UK director representative on the EU funded PLOTS Project. This brought six countries together, to create and tour three new works throughout Europe, with multi-national casts.

 

MUSICALS AND PANTOMIMES:

  • I have directed/ movement directed Chicago, Guys and Dolls, It’s a Lovely Day Tomorrow, Godspell, From a Jack to a King, and Boyband, for the Belgrade Theatre.

  • I have directed/ movement directed Oh What a Lovely War, and Arturo Ui, the musical, for the Mercury, Colchester.

  • I have written/ Directed and movement directed 6 new musicals for UNGSCENE KBH (A kind of NYT for Copenhagen.)

  • I have written and directed 20 years’ worth of pantomimes for Belgrade Theatre, Mercury Theatre, Spa Centre Leamington, De Montfort Hall Leicester. (This last venue is currently nominated 2019 for 5 annual panto awards, including Best panto in the UK.)

Lucia Cox is a theatre producer, writer and director. Her one-woman show, Blackbird was nominated for a Manchester Theatre Award in 2012 and in 2013, Lucia was commissioned the write, produce and direct the adaptation of Anthony Burgess' One Hand Clapping which was selected for Brits off Broadway in New York.

 

Lucia has produced plays which have performed at The Lowry, Royal Exchange, Bolton Octagon, Mac in Birmingham and The Cockpit in London. She has written for BBC Learning, International Arts Manager Magazine and What's On Stage.

 

Lucia has worked for STOMP in the West End and on tour and is now associate producer for London's Free Open Air Theatre.

Nayomi Roshini is a member of the Arcola Women’s Company and regularly participates in community theatre workshops held at the Arcola Theatre including a recent course on Producing Theatre. She produced the play Splotch of Red: Keir Hardie by James Kenworth which toured in East London in 2016. She also produced the short film HOST directed by play Joe Cohen in 2016. She graduated in 2011 with a BA in Film Video and Interactive arts and just recently completed her MA in Film. She is interested in both independent theatre and film and has increasingly becoming more interested in directing performance. She wrote her MA dissertation on the use of improvisation in film as a tool to deepen characterisation.

 

She currently works in the Media Department at Middlesex University as an academic assistant where she has continued to develop her filmmaking practice through her work as a production manager on various short film projects led by the department and other students. Her filmmaking practice as a short film director has mostly focused on exploring female subjectivity and the gaze.