The Comeuppance

Branden is a Brooklyn-based playwright, producer and two-time Pulitzer Prize finalist.    

Theatre includes: Appropriate (Broadway/ Signature Theatre, New York, Obie Award for Best New American Play); The Comeuppance; Everybody (Signature Theatre, New York); Girls (Yale Repertory Theatre); War (Yale Repertory Theatre/ Lincoln Center, New York); Gloria (Vineyard Theatre); An Octoroon (Soho Repertory Theatre, New York/ National Theatre, Obie Award for Best New American Play); Neighbors (Public Theater).   

Branden currently teaches at Yale University and serves as Vice President of the Dramatists Guild Council and on the boards of Soho Repertory Theatre, Park Avenue Armory, the Susan Smith Blackburn Prize, and the Dramatists Guild Foundation. Honors include a USA Artists Fellowship, a Guggenheim Fellowship, the MacArthur Fellowship, the Windham-Campbell Prize for Drama, and the inaugural Tennessee Williams Award. 

Eric is a two-time Obie Award-winning director whose work, spanning theatre, opera and dance, has been seen across the US and internationally.  

Theatre includes: The Comeuppance (Signature Theater, New York); Between Two Knees (Perelman Performing Arts Center, New York/ Oregon Shakespeare Festival); The Far Country (Atlantic Theater Company); We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884-1915 (Soho Repertory Theater, New York); The World of Extreme Happiness (Manhattan Theater Club/ Goodman Theatre).  

Eric is one of three directors at Soho Repertory Theater in New York. 

Arnulfo is a New York City-based set and costume designer.   

Theatre includes: Home; Topdog/Underdog; Trouble in Mind (Broadway); A Strange Loop (Broadway/ Barbican/ West End/ Playwrights Horizons/ Center Theatre Group/ Woolly Mammoth Theatre, Tony Award nomination for Best Scenic Design of a Musical); In Dreams (Leeds Playhouse); The Magnetic Fields: 50 Song Memoir (International tour); Buena Vista Social Club (Atlantic Theater Company); The Rolling Stone; The Coast Starlight (Lincoln Center Theater); Nollywood Dreams; Schools Girls; or The African Mean Girls Play (MCC Theater/ Center Theatre Group); Where the Mountain Meets the Sea (Manhattan Theater Club); Sabbath’s Theater (The New Group); Dance Nation; Iowa (Playwrights Horizon); MOJADA (Public Theater, New York); The Refuge Plays (Roundabout Theatre Company); To My Girls; Toros (Second Stage Theater); The Comeuppance; Orlando; My Broken Language (Signature Theatre, New York); Passage; DUAT; generations (Soho Rep); Cult of Love; An Octoroon (Berkely Repertory Theatre); Indecent (Guthrie Theater); Dance Nation (Steppenwolf Theatre); Shipwreck (Woolly Mammoth Theatre).  

Arnulfo received an Obie Award for Sustained Excellence in Set Design, as well as a Special Citation Obie as part of the Creative Team of the Pulitzer Prize-winning A Strange Loop. He is also a recipient of a Princess Grace Faberge Theater Award, Lucille Lortel Award, and is a multiple Henry Hewes Design nominee. 

For the Almeida: The Doctor; Oresteia (Olivier Award nomination for Best Lighting); Hamlet (also West End/ Park Avenue Armory, New York).  

Theatre includes: The Hills of California (West End); Prima Facie (West End/ Broadway, Drama Desk Award for Outstanding Lighting Design for a Play, Olivier and Tony Award nominations for Best Lighting Design); Sylvia; The American Clock (The Old Vic); Enemy of People (Park Avenue Armory, New York); Judas (Internationaal Theater Amsterdam); Ivanov (The Staatstheater Stuttgart); Kan Ya Ma Kan (Global Theatre, Boulevard Riyadh City); Drive & Live: La bohème (ENO); 1984 (West End/ Broadway); The Antipodes; Sunset at the Villa Thalia; Statement of Regret (National Theatre); The Insatiable, Inflatable Candylion; The Radicalisation of Bradley Manning; Praxis Makes Perfect (National Theatre Wales); Sunday in the Park with George (Menier Chocolate Factory/ West End, Olivier Award for Best Lighting); Mates in Chelsea; Shoe Lady; White Pearl; The Cane; Bad Roads; Mistress Contract; Fireworks (Royal Court); The Deep Blue Sea; The Chalk Garden; The House They Grew Up In (Chichester Festival Theatre); We Are Here (La MaMa, New York)  

Dance includes: Peaky Blinders (Rambert); Message in A Bottle; Electric Hotel; Gravity Fatigue (Sadler’s Wells); Strapless; Electric Counterpoint (The Royal Ballet). 

For the Almeida: Vassa; The Writer. 

Theatre includes: Emilia (Olivier Award for Best Sound Design); Equus; Walden (as associate) (West End); The Big Life (Theatre Royal Stratford East); Ulster American (Riverside Studios); Mlima’s Tale (Kiln Theatre); Robin Hood: The Legend. Re-written; Antigone (Regent’s Park Open Air Theatre); Dancing at Lughnasa (National Theatre); The Collaboration (Young Vic/ Broadway); A Christmas Carol (as associate) (The Old Vic); A Kind of People; Superhoe (Royal Court); The Country Wife; random/generations; The House They Grew Up In; Forty Years On (Chichester Festival Theatre); Titus Andronicus (RSC/ Barbican); Julius Caesar; The Band Plays On; Coriolanus (Sheffield Theatres); The York Realist; Trouble in Butetown; Limehouse; Coriolanus (Donmar Warehouse); Hamlet; See Me Now (Young Vic); Breaking the Code; All My Sons; A Doll’s House; Three Birds; The Accrington Pals; Lady Windermere’s Fan (Royal Exchange Theatre, Manchester); Sweet Charity (Nottingham Playhouse); Ghosts; The Oresteia (HOME, Manchester); Made in Dagenham (Queen’s Theatre Hornchurch/ The New Wolsey Theatre, Ipswich); Boys Will Be Boys (Headlong/ Bush Theatre); Observe the Sons of Ulster Marching Towards the Somme (Headlong/ UK tour).  

Skylar is an Obie Award-winning director, writer and designer based in Brooklyn, New York. He is the co-artistic director of Nightdrive, where he has directed, designed, and co-written The Grown-Ups – a production that was included in Time Out’s Top 10 New York City Theatre Productions of the Year.  

As Director, Designer and Co-Writer: The Grown-Ups; Alien Nation (Paradise Factory Theater); Providence, RI (The Tank, New York); Thank You Sorry (Ars Nova); Apathy Boy (The Brick/ Ars Nova). 

As Director: Pussy Sludge (HERE Arts Center, New York); Passion Play (American Repertory Theater, IRNE Award nomination for Best Direction). 

As Associate Designer: Harry Potter and the Cursed Child; Back to the Future; A Beautiful Noise (Broadway/ International tour). 

As Magic Designer: Fat Ham (Public Theater, New York/ National Black Theatre/ Broadway); Once Upon a Mattress (New York City Centre); Boop! The Musical (Broadway In Chicago); The Comeuppance (Signature Theatre, New York); You Will Get Sick (Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre, New York); Wicked; Matilda (Atelier de Cultra, São Paulo); Charlie and the Chocolate Factory (Grand Theatre, New York); Damn Yankees (Shaw Festival Theatre). 

Will uses his expertise in conjuring and its history, combined with performance and problem-solving experience, to help tell stories, build atmosphere, and create astonishing moments. 

Theatre includes: 

For the Almeida: The Twilight Zone (also West End). 

As Illusion Designer: The Witches (National Theatre); Guardians of the Galaxy (Secret Cinema); The Sorcerer’s Apprentice (Northern Stage);  

As Associate Illusion Designer: 2:22 A Ghost Story (West End/ UK tour/ Ahmanson Theatre, Los Angeles); The Time Traveller’s Wife; The Prince of Egypt (West End). 

Opera includes: Katya Kabanova (Royal Opera House); The Rake’s Progress (English Touring Opera); The Rhinegold (ENO). 

Film includes: The Boy Who Harnessed the Wind; Hugo. 

Television includes: Wolf Hall.  

Will is also performer in residence at Imperial College London and the Royal College of Music’s Center for Performance Science. He holds a literary fellowship from The Academy of Magic Arts, Los Angeles, and is a past winner of the European Magic Championships, as well as a member of the Inner Magic Circle. His PhD explored the history of magical education and he has found innovative ways to use magic as an educational tool with organisations including the United Nations Development Programme and the World Economic Forum. 

Theatre includes: The P Word; Sleepova; A Playlist for the Revolution (Bush Theatre); The Flea; Samuel Takes a Break; Multiple Casualty Incident (The Yard); Sweat (Royal Exchange Theatre, Manchester). 

Asha (she/her) is a London-based Movement Director, Intimacy Coordinator, and Intimacy Director for stage and screen. She trained at Royal Central School of Speech and Drama and Middlesex University.

Theatre includes: MJ The Musical (West End); Romeo and Juliet; Burnt at the Stake; The Tempest; Julius Caesar (Shakespeare’s Globe); Till the Stars Come Down (National Theatre); Twelfth Night; All’s Well That Ends Well (RSC); Jitney (The Old Vic/ Leeds Playhouse); In Dreams; A Passionate Woman (Leeds Playhouse); Sucker Punch (Queen’s Theatre Hornchurch/ UK tour); The Architect (Greenwich+Docklands International Festival); Smoke (Southwark Playhouse); Around the World in 80 Days (York Theatre Royal/ UK tour); The Solid Life of Sugar Water; Rice (Orange Tree Theatre/ UK tour); Jekyll and Hyde (Guildford Shakespeare Company); Vinegar Tom (The Maltings Theatre); Leopards (Rose Theatre Kingston); Shuck ‘n’ Jive (Soho Theatre); The Magna Carta Plays (Salisbury Playhouse); PUSH (New Diorama Theatre); The Caligari Experience (Compass Presents); Watership Down (Watford Palace Theatre). 

Film includes: One More. 

Television includes: Archie; The Confessions of Frannie Langton; The Thief, His Wife and the Canoe; Perfect; Sherwood; Mood; Brave New World. 

Rebecca has worked on over 30 productions as Head of Voice and Text at the Oregon Shakespeare Festival. 

Theatre includes: Plaza Suite (West End); Clueless (Churchill Theatre); Kim’s Convenience (Park Theatre); All the Way (Oregon Shakespeare Festival/ American Repertory Theater/ Broadway); Spring Storm; Beyond the Horizon (Royal & Derngate, Northampton/ National Theatre); The Cocoanuts (Guthrie Theater); Oedipus (American Players Theatre); Julius Caesar; Murder for Two (Utah Shakespeare Festival); Cambodian Rock Band; August: Osage County; Long Day’s Journey Into Night; Roe; The Great Society (Oregon Shakespeare Festival). 

Rebecca is also co-author of The Vocal Arts Workbook, The Dramatic Text Workbook and Video, and The Shakespeare Workbook and Video. 

Dubheasa is a multidisciplinary theatremaker, filmmaker and photographer. In her lens-based practice she was most recently a Sundance Institute Fellow on the Ignite Programme with Adobe, winning a place with her debut short film, Blue Corridor 15. Her work is motivated by finding the social truth within drama. She is interested in work which revolves around and interrogates the theme of liberation. Her practice is grounded in a deep interest in the politicised lives of people. 

For the Almeida: Cold War; Women, Beware the Devil.

Theatre includes: 

As Director: Best Fit (Theatre Peckham); Labyrinths of Fire (Greenwich Theatre); Resurrections (Golden Goose Theatre); Bone (Omnibus Theatre); Deb & Joan (Canal Café Theatre); Blind Date (Katzpace); A.I. in Wonderland (University of Warwick). 

As Associate Director: Never Have I Ever (Chichester Festival Theatre). 

As Assistant Director: Paradise Now! (Bush Theatre); Handbagged (Kiln Theatre); We Need to Talk About Grief (Donmar Warehouse); I Know My Husband Loves Me (Union Theatre). 

As Assistant Dramaturg: Clean Break Pathways Programme (Royal Court).