Portia Coughlan

Theatre includes: Portia Coughlan (Abbey Theatre, Dublin/ Royal Court); Girl on an Altar (Kiln Theatre/ Abbey Theatre, Dublin); iGirl; The Boy; On Raftery’s Hill; Anna Karenina; 16 Possible Glimpses; Marble; Ariel; Meat and Salt (Abbey Theatre, Dublin); By the Bog of Cats (West End/ Abbey Theatre, Dublin); To The Lighthouse (Cork Midsummer Festival); Blood Wedding (Young Vic); Woman and Scarecrow (Royal Court/ Irish Repertory Theatre, New York); Hecuba; The Cordelia Dream (RSC); The Giant Blue Hand (Ark Theatre); Phaedra Backwards (McCarter Theatre, Princeton); The Mai (Peacock Theatre, Dublin/ Abbey Theatre, Dublin/ McCarter Theatre, Princeton/ Tricycle Theatre); Low in the Dark (Project Arts Centre, Dublin); Ullaloo (Dublin Theatre Festival/ Abbey Theatre, Dublin).

Opera includes: Rigoletto (Opera Theatre Company).

Other work includes: Mary Gordon (National Concert Hall).

Marina’s work has been translated into many languages and produced around the world. Awards and prizes include the Windham- Campbell Award, The Susan Smith Blackburn Prize, The American/Ireland Fund Award, E.M. Forster Award from the American Academy of Arts and Letters, Macaulay Fellowship, and Puterbaugh Fellowship.

She has taught at Trinity College Dublin, Villanova, and Princeton. She is currently Associate Professor in the School of English at Dublin City University.

For the Almeida: Oil.

Theatre includes: Seawall/A Life (Public Theater, New York/ Broadway); Julie; The Deep Blue Sea; Medea; Blurred Lines (National Theatre); Macbeth; Electra (Young Vic); A Doll’s House (Young Vic/ West End/ BAM, New York); Birdland; Pigeons; Searched (Royal Court); Wozzeck (ENO); The Sexual Neurosis of Our Parents; Hedda (Gate Theatre); I Am Falling (Gate Theatre/ Sadler’s Wells).

Film includes: Persuasion.

Carrie was Artistic Director of the Gate Theatre, London from 2007 to 2012. She has also previously been Associate Director at both the Young Vic and the Royal Court.

Alex trained at Wimbledon School of Art. He designs for theatre, opera and dance internationally.

Theatre includes:

As Set Designer: Orlando; Fräulein Julie; Schatten – Eurydike sagt (Schaubühne, Berlin); Norma Jeane Baker of Troy (The Shed, New York); Der Kirschgarten; Bluets; Schlafende Männer; 4.48 Psychose; Reisende auf einem Bein; Alles weitere kennen Sie aus dem Kino (Deutsches Schauspielhaus, Hamburg); Maladie de la Mort (Theatre des Bouffes du Nord, Paris/ European tour); Anatomy of a Suicide (Royal Court/ Deutsches Schauspielhaus, Hamburg); Limehouse (Donmar Warehouse); Cleansed (National Theatre); Regeneration (Royal & Derngate, Northampton); Into the Woods (Théâtre du Châtelet, Paris); Not I, Footfalls, Rockaby (Royal Court/ West End); Reise durch die Nacht (Schauspielhaus, Cologne/ Schauspielhaus, Berlin/ Avignon Festival).

Opera includes: Un ballo in maschera (Copenhagen Royal Opera/ Norwegian Opera); Judith/Bluebeard’s Castle (Bayerisches Staatsoper); Rigoletto; Macbeth (Opera Theatre of Saint Louis); Falstaff (Shanghai Opera House); Le Nozze di Figaro (Salzburg Festival); The House Taken Over (Festival d’Aix-en-Provence); Cosi fan Tutte (Opera Holland Park); Clemency (Royal Opera House/ Scottish Opera); Idomeneo (ENO).

Dance includes: Bon Voyage, Bob (Tanztheater Wuppertal); Cri de Cœur (Paris Opera Ballet).

For the Almeida: Portia Coughlan; Women, Beware the Devil; The Hunt.

Theatre includes: Dear England; Antony & Cleopatra; Much Ado About Nothing (National Theatre); The Vortex (Chichester Festival Theatre); The 47^th (The Old Vic); The Seagull (Dramaten, Stockholm); Much Ado About Nothing (Shakespeare Theatre Company, Washington D.C.).

For the Almeida: Little Revolution; A Delicate Balance; Waste.

Theatre includes: Sea Wall/A Life (Broadway); Julie; The Deep Blue Sea; Here We Go; Strange Interlude (National Theatre); Jesus Hopped the ‘A’ Train; Wings; A Doll’s House (Young Vic); NSFW; In Basildon (Royal Court); Roots; Serenading Louie (Donmar Warehouse); The Wife of Willesden (Kiln Theatre/ BAM, New York); Wife; Reasons You Should(n’t) Love Me (Kiln Theatre/ UK tour); Clarence Darrow (The Old Vic); The Father; Othello (West End); Peter Pan (National Theatre of Scotland); Sleeping Beauty (Citizens Theatre); Cock (Chichester Festival Theatre); Macbeth (West Yorkshire Playhouse); West Side Story (Curve Theatre, Leicester); The Contingency Plan; Assassins (Sheffield Theatres); Going Dark (Sound&Fury).

Opera includes: Jakob Lenz (ENO/ Hampstead Theatre); The Firework-Maker’s Daughter (The Opera Group/ UK tour/ Broadway); American Lulu (The Opera Group/ Young Vic/ Edinburgh International Festival/ Bregenzer Festspiele); The Cunning Little Vixen (Janáček Theatre); King Priam; Paul Bunyan; Gianni Schicchi; Don Giovanni; Eugene Onegin (ETO).

Dance includes: The Metamorphosis (The Royal Ballet/ Royal Opera House/ The Joyce Theater, New York); The Land of Yes and The Land of No (Sydney Dance Company); Chotto Desh (Akram Khan Company); Dracula (Mark Bruce Company); Life (Gandini Juggling); #minaret (Maqamat); Overflow (Alexander Whitley); Spectrum (Skånes Dansteater); Front Line (Aterbaletto).

For the Almeida: They Drink It In The Congo.

Theatre includes:

As Sound Designer: Farewell Mister Haffmann (Theatre Royal Bath); Untitled F*ck M*ss S**gon Play (Royal Exchange Theatre, Manchester/ Manchester International Festival/ Headlong/ Young Vic); Private Lives (Donmar Warehouse); Sons of the Prophet; The Dumb Waiter (Hampstead Theatre); Marvin’s Binoculars; The Twits (Unicorn Theatre); The Living Newspaper (Royal Court); The Comeback (West End); Faustus: That Damned Woman (Headlong/ Lyric Hammersmith/ Birmingham Rep); Dick Whittington (Theatre Royal Stratford East); Hedda Gabler (Sherman Theatre, Cardiff); The Weatherman (Park Theatre); Equus (ETT/ Theatre Royal Stratford East/ UK tour/ West End); Plenty; Cock (Chichester Festival Theatre); Tao of Glass (Manchester International Festival); Disco Pigs (Irish Repertory Theatre, New York); A Streetcar Named Desire (ETT/ Nuffield Southampton Theatres); The Almighty Sometimes (Royal Exchange Theatre, Manchester).

As Composer and Sound Designer: The Vortex (Chichester Festival Theatre); The Contingency Plan (Sheffield Theatres); The Glass Menageries (Royal Exchange Theatre, Manchester); Leftovers (LAMDA); An Octoroon (Abbey Theatre, Dublin); Fair Play (Bush Theatre); Cat on a Hot Tin Roof (Curve Theatre, Leicester/ ETT/ Liverpool Everyman & Playhouse/ UK tour); Romeo & Juliet (Regent’s Park Open Air Theatre); “Master Harold”…and the Boys (National Theatre).

For the Almeida: Nine Lessons and Carols: stories for a long winter.

Theatre includes:

As Music and Lyrics: Henry VIII (Shakespeare’s Globe); Manic Street Creature (Edinburgh Fringe/ Southwark Playhouse); Electrolyte (Edinburgh Fringe/ UK tour); Welcome To Iran (Theatre Royal Stratford East/ National Theatre/ BBC Radio 3).

As Actor: Standing at the Sky’s Edge (Sheffield Theatres/ National Theatre); Manic Street Creature (Paines Plough); Living Newspaper (Royal Court); The Band Plays On (Sheffield Theatres); Jesus Christ Superstar (Regent’s Park Open Air Theatre); Ghost Quartet (Boulevard Theatre); Hobson’s Choice; Into the Woods (Royal Exchange Theatre, Manchester); Electrolyte (Edinburgh Fringe); The Assassination of Katie Hopkins (Theatr Clwyd); Lazarus (King’s Cross Theatre); The Busker’s Opera (Park Theatre).

Television includes: Time; Domino Day; Sherwood; Unforgotten; Doctors.

Maimuna’s first EP More Than I Bargained For is to be released this October, with several of her singles already having been released.

Tim is a composer and musical director for theatre, film and radio.

For the Almeida: “Daddy” A Melodrama; Nine Lessons and Carols: stories for a long winter.

Theatre includes:

As Composer: To the Streets! (B22 Festival); The Lavender Hill Mob (UK tour); Twelfth Night; Measure for Measure (Shakespeare’s Globe); The Good Life; The Omission of the Family Coleman (Theatre Royal Bath); As You Like It; Titus Andronicus; Two Noble Kinsmen; Women Beware Women (RSC); The Cherry Orchard (Central School of Speech and Drama); Joe Turner’s Come and Gone; The Skin of Our Teeth (Young Vic); The Secret Garden (West Yorkshire Playhouse); Dreamfighter (Lichfield Festival); The Bacchae (National Theatre of Scotland); As You Like It; As You Desire Me (West End); Cinderella (Royal & Derngate, Northampton); A Wedding Story (Birmingham Door/ Soho Theatre); A Fool and His Money… (Nottingham Playhouse/ Birmingham Rep).

As Musical Director/Supervisor: Dusty (Theatre Royal Bath); Ma Rainey’s Black Bottom; The Amen Corner (National Theatre); Memphis (West End); The Frogs (Jermyn Street Theatre).

Film includes: Reasons.

Radio includes:

As Composer: Mother Courage and Her Children; The Now Show; Alexei Sayle’s Imaginary Sandwich Bar; The Absence of Normal; Paul Sinha’s General Knowledge; Paul Sinha’s Perfect Pub Quiz.

Ingrid Mackinnon is a London-based movement director, choreographer and intimacy director.

Theatre includes:

As Movement Director and Choreographer: Choir Boy (Bristol Old Vic); Shooting Hedda Gabler (Rose Theatre Kingston); That Face (Orange Tree Theatre); Every Leaf A Hallelujah (Regent’s Park Open Air Theatre); Romeo and Juliet (Regent’s Park Open Air Theatre, Black British Theatre Award for Best Choreographer); The Meaning of Zong (Barbican/ Bristol Old Vic/ UK tour); Blue (ENO); Further than the Furthest Thing (Young Vic); Trouble in Butetown (Donmar Warehouse); Enough of Him (National Theatre of Scotland); A Dead Body In Taos (Fuel); The Darkest Part of the Night; Girl on an Altar (Kiln Theatre); Playboy of the West Indies (Birmingham Rep); Moreno (Theatre503); Red Riding Hood (Theatre Royal Stratford East).

As Intimacy Director or Support: Choir Boy (Bristol Old Vic); Shooting Hedda Gabler (Rose Theatre Kingston); Sunset Boulevard; Tina – The Tina Turner Musical (West End); That Face (Orange Tree Theatre); The Effect; Phaedra (National Theatre); La Cage aux Folles; Robin Hood; The Tempest; Every Leaf A Hallelujah; Once on This Island; Antigone; 101 Dalmatians; Legally Blonde; Carousel (Regent’s Park Open Air Theatre).

Kate has been an Equity Registered Fight Director since 2001, directing fights for theatre, TV and film. She has worked for many of the UK’s major theatres including the National Theatre, Royal Court, RSC, Donmar Warehouse, Shakespeare’s Globe and in the West End. She is also a qualified boxing coach, coaches at Rathbone Amateur Boxing Club and is a development coach on the England Boxing Performance Pathway.

For the Almeida: The Secret Life of Bees; The Tragedy of Macbeth.

Theatre includes: As You Like It; The Windsors: Endgame; Cyrano de Bergerec; Tina – The Tina Turner Musical (West End); Antigone; Carousel; Jesus Christ Superstar; Evita (Regent’s Park Open Air Theatre); Guys & Dolls; A Midsummer Night’s Dream (Bridge Theatre); Private Lives; Sweat; Constellations (Donmar Warehouse/ West End); The Curious Incident of The Dog in the Night-Time (National Theatre/ West End); The Father and the Assassin; The Effect; Small Island; Much Ado About Nothing; Frankenstein; One Man, Two Guvnors; War Horse (National Theatre); Rock Follies; Assassins; Sing Yer Heart Out for the Lads (Chichester Festival Theatre).

Film includes: My Policeman; Death of England; Romeo and Juliet; Pond Life; Making Noises Quietly.

Television includes: Coronation Street; Hollyoaks; Emmerdale; Kisses & Bumflicks; Coronation Street Live.

For the Almeida: The Years; Alma Mater; Cold War; Portia Coughlan; Women, Beware the Devil; “Daddy” A Melodrama; Albion; The Hunt; Shipwreck; Dance Nation; Boy.  

Theatre includes: Hamnet (RSC); Lyonesse; The Hills of California; Jerusalem; Leopoldstadt; Uncle Vanya; Who’s Afraid of Virginia Woolf; The Night of Iguana; Rosmersholm; True West; The Goat, or Who is Sylvia?; The Pillowman (West End); The Son (Kiln Theatre/ West End); Sweat (Donmar Warehouse/ West End); The Ferryman (Royal Court/ Bernard B. Jacobs Theatre/ West End); The Moderate Soprano (Hampstead Theatre/ West End); The Birthday Party; Consent (National Theatre/ West End);  Hangmen (Royal Court/ West End/ Atlantic Theater Company); Berberian Sound Studio (Donmar Warehouse); Stories; Exit the King (National Theatre); White Noise; A Very Very Very Dark Matter (Bridge Theatre); The Brothers Size (Young Vic); Maryland; ear for eye; Girls & Boys; Cyprus Avenue (Royal Court).   

For the Almeida: Portia Coughlan; Women, Beware the Devil; “Daddy” A Melodrama; The Hunt. 

Theatre and Dance includes: 

As Costume Designer: Double Murder (Hofesh Shechter Company); Voices and Light Footsteps; Chacony (Richard Alston Dance Company); The Waiting Game (Ballet Black); The Snow Queen; Hansel and Gretel; Alice in Winterland (Rose Theatre Kingston); Frankenstein (Aquilla Theatre). 

As Costume Supervisor: Il trovatore; The Rape of Lucretia; La traviata; Salome (Royal Opera House); The Lost Thing (Candoco/ Royal Opera House); Dante Project; Flight Pattern; Unearthed; Don Quixote (The Royal Ballet); Lest We Forget; Le Corsaire (English National Ballet); Stories; As You Like It (National Theatre); Julius Caesar (Bridge Theatre); Prisoner of the State; Dead Man Walking (Barbican); People, Places and Things (Headlong); A Pacifist’s Guide to the War on Cancer (Complicité). 

Brett is a graduate of the MA Voice Studies program at Central School of Speech and Drama in London.

For the Almeida: Tammy Faye; “Daddy” A Melodrama; Shipwreck; Dance Nation.

Theatre includes: The 47th (The Old Vic).

Opera includes: Candide (ENO); Let Them Eat Cake/Of Thee I Sing (Opera North).

Film includes: Bob Marley: One Love; Dune; Judy; Aladdin; A Royal Night Out; Dracula Untold; Gambit; Belle; No Country for Old Men.

Television includes: Masters of the Air; Alias Grace.

Originally from the British Virgin Islands, Hana is a director, writer and actor drawn to plays that capture rich interpersonal dynamics and the thrills of the body. She’s interested in work set within specific contexts that capture moments of unconventional intimacy, sensuality and ethical dilemma. Hana was shortlisted as a finalist for the JMK Director’s Award 2023 and for the Evening Standard Future Theatre Fund Director Award 2021.

Theatre includes: All Of Us (National Theatre); Museum of Austerity (BFI/ National Theatre/ ETT); Reasons You Should(n’t) Love Me (Kiln Theatre); Crisps Without Constraints (Graeae); Macbeth (Chichester Festival Theatre); All My Sons (The Old Vic/ NT Live); Jellyfish (Bush Theatre/ National Theatre); Waiting For Lefty (Mallardi Theatre, Colorado); The Sneeze (Criterion Theatre, Maine).

In addition to working with a range of contemporary American classics and disability-led new plays, Hana also works in extended and virtual reality production with National Theatre’s Immersive Storytelling Studio and English Touring Theatre.

Hana trained with Graeae Theatre Company, Young Vic and The Eugene O’Neill Centre. She regularly works with National Youth Theatre, runs access and inclusion workshops, and is always keen to critically question work with new writers and meet new collaborators.

Wabriya is a qualified dramatherapist (Roehampton University), actress (The Oxford School of Drama), creative facilitator and Reiki practitioner. She combines her experience to support creatives alongside the rehearsal and performance period.    

For the Almeida: Alma Mater; Romeo and Juliet; The Secret Life of Bees. 

Theatre includes: Shifters; August In England (Bush Theatre); Samuel Takes A Break (The Yard); Beautiful Thing; Tambo & Bones (Theatre Royal Stratford East); A Strange Loop (Barbican); Cowbois; Falkland Sound; The Empress; Julius Caesar (RSC); School Girls; or, The African Mean Girls Play (Lyric Hammersmith); Matthew Bourne’s Romeo & Juliet (International tour); Drive Your Plow Over the Bones of the Dead (Complicité); For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy (New Diorama Theatre/ Royal Court/ West End); Blue (ENO); Further than the Furthest Thing (Young Vic); Family Tree (Actors Touring Company); Bootycandy (Gate Theatre); Blues for an Alabama Sky (National Theatre); Hamilton; Moulin Rouge (West End).