Matthew is an Olivier-nominated director, a playwright and actor. Matthew directed Martin McDonagh’s A Very Very Very Dark Matter (The Bridge), and Hangmen (Royal Court, The Wyndhams, West End, and at The Atlantic). Directing credits include: True West (The Vaudiville, West End); Oedipus (Bunkamura Theatre, Tokyo); Liberian Girl (Royal Court); The Seagull, A Midsummer Night’s Dream (Open Air Theatre); Love’s Sacrifice (RSC); Imogen, Much Ado About Nothing, Doctor Faustus (Shakespeare’s Globe); Love the Sinner (National Theatre); Mametz (National Theatre Wales); Before the Party (Almeida Theatre); A Sacred Flame (English Touring); You Can See the Hills, 1984, Saturday Night and Sunday Morning, Macbeth (Royal Exchange, Manchester); Mogadishu (Royal Exchange Manchester and Lyric Hammersmith).
Danny Robins is an award-winning writer and journalist. He most recently created The Battersea Poltergeist, an 8-part podcast that combined drama and documentary to tell a real-life ghost story, starring Toby Jones and Dafne Keen. It became a global phenomenon – the #1 Drama Podcast across the whole world, including the US, and sparked a bidding war for the TV rights. Danny is now adapting it for TV with Hollywood producers Blumhouse.
Danny’s first stage play, Rudy’s Rare Records, co-commissioned by Birmingham Rep and Hackney Empire was a critical and commercial success (“A wonderful funny, humane play.” The Daily Telegraph). The follow up was the acclaimed End of the Pier at London’s Park Theatre (“A tour de force” Sunday Times) His debut radio drama The Most Wanted Man in Sweden was nominated for the Writers’ Guild’s Tinniswood Award. He has created and written various shows for TV and radio, including, the Bafta-nominated hit series Young Dracula, Rudy’s Rare Records and The Cold Swedish Winter. He also presents the Haunted podcast series, exploring real-life ghost stories.
Anna is an award-winning set and costume designer, working internationally in theatre, opera and dance. Her work is infused with the psychological drama and subtext of the play.
Theatre Includes: Once Upon A One More Time (upcoming, Nederlander, 2021); Hamlet (upcoming, Young Vic, 2021); A Kind of People, The Kid Stays in the Picture (& Complicité), Hangmen (& West End/Broadway, 2016 Olivier Award Winner for Best Set Design) and Liberian Girl (Royal Court); Death of A Salesman (Young Vic/West End); Hedda Tesman (Chichester Festival); Two Ladies, A German Life, A Very Very Very Dark Matter (Bridge); Home, I’m Darling (2019 Olivier Award Nomiee for Best Set Design and Best Costume Design.Theatr Clwyd/National/West End.); The Writer, Before the Party (Almeida); The Way of the World (Donmar); Everybody’s Talking About Jamie (Crucible; Sheffield; West End; UK tour; Korea); MuchAdo About Nothing, Troilus and Cressida (Globe); Rosencrantz and Guildenstern Are Dead (Old Vic); Beware of Pity (Schaubühne, Berlin/Complicité); Tiger Bay (Wales Millennium Centre/Cape Town Opera); Terror (Lyric, Hammersmith); Don Juan in Soho (West End); Rent: 20th Anniversary Production (St James/Theatr Clwyd/UK tour); The Exorcist (Birmingham Rep/West End/UK tour); The Two Noble Kinsmen, Cymbeline, Love’s Sacrifice (RSC); Henry V (Regent’s Park Open Air); Before I Leave (National Theatre Wales); The End of Longing (West End); John (National/DV8/International Tour); West Side Story, Blindsided, Saturday Night and Sunday Morning, Rat’s Tales (Royal Exchange, Manchester); Can We Talk About This (National/DV8/International tour/Sydney Opera House); Love The Sinner (National); As You Like It (Curve, Leicester); You Can See The Hills, Love and Money (2007 Olivier Award Nominee For Outstanding Achievement in an Affiliate Theatre. Royal Exchange, Manchester/Young Vic).
Opera includes: Orfeo (upcoming, Vienna Staatsoper, 2022); Weimar Nightfall: Seven Deadly Sins (LA Philharmonic); Don Giovanni, Iphigenie en Tauride, Paul Bunyan, King Priam (English Touring Opera);Candide (Opéra National de Lorraine); Zaide (Sadler’s Wells/Classical Opera Company/UK tour).
Dance includes: Message In A Bottle (Sadler’s Wells); Second Coming (Scottish Dance Theatre). John; Can We Talk About This (National/DV8/International tour/Sydney Opera House).
Screen includes: Monologue Hub / Soliloquy (Underexposed Arts).
Installations include: The Unforgotten (Young Vic).
Fellowships include: Founding Member of Scene/Change (2020 – present); Associate Artist, Young Vic (2020 – present); Board Member, Regent’s Park Open Air Theatre (2019 - present); Ambassador for PiPA (2019 – present).
Awards include: Olivier Award for Best Set Design (2016), Critics’ Circle Best Designer Award (2015) and Evening Standard Award for Best Design (2015) (Hangmen); Olivier Award for Outstanding Achievement in Opera (2014) (King Priam / Paul Bunyan).
Tristan Baker & Charlie Parsons
Runaway Entertainment is an independent theatrical production company. Most recently we commissioned and produced the award-winning and critically acclaimed Conor McPherson/Bob Dylan musical Girl From the North Country, which opened on Broadway to phenomenal reviews following runs at the Old Vic, the Noel Coward, the Gielgud and Toronto’s Royal Alexandra. Other productions include: Lin-Manuel Miranda’s Olivier Award winning In The Heights, the Olivier Award winning production of The Railway Children at King’s Cross Theatre, Guys & Dolls in the West End and on tour, Footloose (West End, South Africa and UK tours), Flashdance (UK and international tour) and The Christmasaurus Live (Hammersmith Apollo).
RC-ANNIE Ltd, established in 2005 by Rachel Bown-Williams and Ruth Cooper-Brown, is the UK’s leading Dramatic Violence Company.
Theatre credits include: Henry VI Rebellion & Henry VI Wars of the Roses (RSC); Theodora (Royal Opera House); Persuasion (Rose Theatre Kingston); 2:22 A Ghost Story (West End); The Play What I Wrote (Birmingham Rep & Tour);The Life of Pi (Wyndham Theatre); Blue/Orange (Theatre Royal Bath); Beauty and the Beast (Theatr Clwyd); ‘Night Mother (Hampstead Theatre); East is East (Birmingham Rep/National Theatre/Chichester Festival Theatre); Once Upon A Time in Nazi Occupied Tunisia (Almeida Theatre); Henry VI Part 1 Rehearsal Room Project, King John, Measure for Measure, As You Like It, The Taming of the Shrew, Tartuffe, The Duchess of Malfi, Salome & Snow in Midsummer (RSC); As You Like It (Globe on Tour) Romeo and Juliet, Playing Shakespeare with Deutsche Bank – Macbeth, Macbeth, Emilia, Othello, The Secret Theatre, Boudica, Lions and Tigers; Much Ado About Nothing; Twelfth Night, Comus and Imogen (Shakespeare’s Globe); The Welkin, Three Sisters, Anna, When We Have Sufficiently Tortured Each Other, Common, Ugly Lies the Bone, Peter Pan, The Threepenny Opera, The James Plays (co-production with National Theatre of Scotland and Edinburgh International Festival) and Cleansed (National Theatre); The Prince of Egypt (Dreamworks at The Dominion Theatre); A Monster Calls (Old Vic Productions National Tour); Alone in Berlin (Royal and Derngate); [BLANK] (Donmar Warehouse); Macbeth (Chichester Festival Theatre); Hedda Tesman (Headlong/Chichester Festival Theatre/The Lowry); The King of Hell’s Palace (Hampstead Theatre); Peter Pan (National Theatre); Troubadour White City Theatre); Noises Off (Lyric Hammersmith & West End); The Night of the Iguana (Noel Coward Theatre); Plenty (Chichester Festival Theatre); Hobson’s Choice (Manchester Royal Exchange); King Hedley (Theatre Royal Stratford East); The Little Matchgirl; (Bristol Old Vic / Shakespeare’s Globe); A Very, Very, Very Dark Matter (The Bridge Theatre); Wise Children (Wise Children & The Old Vic); Company (Elliot Harper Productions at The Gielgud Theatre); Europe (Leeds Playhouse; God of Carnage, The Price, Switzerland & Dusty (Theatre Royal Bath); A Monster Calls, Woyzeck (Old Vic).
Cindy Lin a set and costume designer for live performance with a background in filmmaking. Cindy ultimately transitioned into live performance when she trained at the Royal Welsh College of Music and Drama (MA Theatre Design). Her film background combined with a passion for live performance gives her a unique approach to visual storytelling that inspires atmospheric design.
Theatre credits include: Screwdriver (Lyric Hammersmith), Actually (Trafalgar Studios), Dismantle This Room (Royal Court Theatre and Bush Theatre), Breathe (Bunker Theatre), Hurricane Protest Songs (Graeae), Electra (RWCMD). Opera credits include: Madam Butterfly (OperaUpClose), Faust Alberta, Orpheus and Eurydice (Opera in the City Festival). Dance credits include: Heist (Zoielogic).
In addition, Cindy is part of the Old Vic 12 2020-2021 cohort, a Royal Opera House bursary recipient in 2017, and a Linbury Prize finalist in 2015.
Jessica is in-house Casting Director for Matthew Warchus at The Old Vic.
Theatre includes: The Dumb Waiter, Faith Healer, Three Kings, 4000 Miles, Endgame/Rough for Theatre II, A Christmas Carol, Lungs, A Very Expensive Poison,
Present Laughter, All My Sons, The American Clock, SYLVIA, A Monster Calls, Mood Music, Fanny & Alexander, Woyzeck, Rosencrantz & Guildenstern are Dead, King Lear, The Caretaker, The Master Builder, Dr. Seuss’s The Lorax, The Hairy Ape, Future Conditional (The Old Vic); Girl from the North Country (The Old Vic/Toronto/West End); The Divide (The Old Vic/ EIF); Running Wild, To Kill a Mockingbird (Regent’s Park Open Air Theatre). Children’s casting includes: School of Rock, Charlie and the Chocolate Factory, Billy Elliot the Musical (West End); Matilda the Musical (RSC/West End).
Film includes: The Kid Who Would Be King, Emma.
Lucy Carter is a multi-award winning, critically acclaimed Lighting Designer. She was awarded the 2018 Critics Circle National Dance Award for Outstanding Contribution to Dance. She is a two-time winner of the prestigious Knight of Illumination Award for Dance for Chroma (2008) and for Woolf Works (2015); winner of the 2013 TMA Achievement award in Opera for Lohengrin; and the 2004 Olivier Dance Award for 2 Human.
Theatre credits include: Escaped Alone, Coriolanus (Crucible Theatre); Everybody’s Talking About Jamie (West End & UK Tour); On the Town (Hyogo Performing Arts, Japan); Home, I’m Darling (National Theatre and West End); The Almighty Sometimes (The Royal Exchange); Oil (Almeida); The End of Longing (West End); Medea, Emil and the Detectives, Blurred Lines and Husband and Sons (National Theatre).
Opera credits include: Orphée (ENO); Katya Kabanova (Royal Opera House - Best New Opera Production, Olivier Awards 2019); Hansel and Gretel (Royal Opera House); Werther (Bergen National Opera); Elektra (Goteborg Opera); Lohengrin (Greek National Opera, Polish National Opera, Welsh National Opera); La Finta Giardiniera (Glyndebourne, Teatro alla Scala); Peter Grimes (Aldeburgh on the Beach); Salomé, The Dream of Gerontius (ENO at The Royal Festival Hall).
Dance credits include: McGregor and Mugler, Woolf Works, Obsidian Tear, Afterite, Yugen, Multiverse, Chroma and Autobiography with long-term collaborator Wayne McGregor; Threshold (Le Patin Libre); The Most Incredible Thing (Sadlers Wells & Charlotte Ballet).
Other credits include: lighting design for Gareth Pugh’s Women’s Collection in London Fashion Week 2017 and 2019, and Paloma Faith’s performance at the Brit Awards 2015.
Ian is an award-winning sound designer and has extensive credits to his name, both domestically in the UK and also internationally.
Recent work has included, Company (Broadway & West End), Hangmen (Broadway & West End), Uncle Vanya (Pinter Theatre, London & Audible Play); The Lion The Witch & The Wardrobe (The Bridge Theatre & Leeds Playhouse); Ocean At The End Of The Lane, Translations, Small Island, Angels in America (also Broadway), Husbands and Sons, (National Theatre, London); Europe, Elegy, Roots, The Weir (Donmar Warehouse); True West (Vaudeville, London); Heisenberg (Wyndham’s, London); Fatherland (Lyric Hammersmith, London &The Royal Exchange, Manchester); Junkyard (Bristol Old Vic & Tour); Fracked! (Chichester Festival Theatre & Tour); Before I Leave (Sherman Theatre, Cardiff); Before the Party, Uncle Vanya, Children’s Children and Mrs Klein (Almeida, London); Jerusalem (Apollo, London); This House (Garrick, London & Tour); Absent Friends (The Pinter Theatre, London); Love’s Sacrifice (RSC); The Nether (Duke of York’s, London); The River (Broadway); A Midsummer Night’s Dream, All My Sons, To Kill a Mockingbird (Regent’s Park Open Air Theatre); The Machine (Manchester International Festival & New York).
Ian has received Tony nominations for his work on Broadway, most notably for Rock & Roll, Jerusalem and Angels In America. He was the recipient of both an Olivier and Drama Desk Award for The Curious Incident of the Dog in the Night-Time, which has played at the National Theatre and toured venues worldwide.
Ian has been a member of the Autograph team since 2009.
For more information visit www.autograph.co.uk
Chris Fisher is a member of The Magic Circle. He works worldwide as International Illusions & Magic Associate for Harry Potter & The Cursed Child.
Theatre credits as Illusion Consultant include: Back To The Future: The Musical (Adelphi), The Prince of Egypt (Dominion), Company (Bernard B. Jacobs Theatre, NY & Gielgud), Big The Musical (Dominion); Peter Gynt (National Theatre); Superhero (Tony Kiser Theater, NY); Julie (National Theatre); Angels in America (National Theatre & Broadway); Macbeth (RSC, Swan Theatre & Barbican); Barnum (Menier Chocolate Factory); The Hypocrite (Hull Truck Theatre/RSC, Swan Theatre); No Man’s Land (Wyndham’s); Into the Woods (Royal Exchange); Here We Go and Treasure Island (National Theatre); Xanadu (Southwark Playhouse); The Skriker (Royal Exchange).
Upcoming productions include: Wicked (NeueFlora Theatre, Hamburg) and Merlin (Northern Ballet)
Hazel Holder studied MA Voice Studies at the Royal Central School of Speech and Drama, and is a voice and dialect coach and a performer.
At the National: Death of England: Delroy, Death of England, Small Island, Nine Night, Barber Shop Chronicles, Pericles, Angels in America, Les Blancs and Ma Rainey’s Black Bottom.
Other theatre includes: Death of a Black Man at Hampstead Theatre; Uncle Vanya at the Harold Pinter; Pass Over at The Kiln; Death of a Salesman at the Piccadilly Theatre and The Young Vic; Caroline, or Change for Chichester Festival Theatre at The Playhouse Theatre, Hampstead Theatre and Chichester; Fairview, The Convert, The Mountaintop, The Emperor and Cuttin’ It (also at the Royal Court) at the Young Vic; Richard II at the Sam Wannamaker Playhouse; Typical at Soho Theatre; Dreamgirls (Resident Director) at The Savoy; Tina: The Tina Turner Musical at the Aldwych; The Gift and Black Men Walking for Eclipse; Guys and Dolls and Girls (also at Soho Theatre) for Talawa and at the Royal Exchange; The Goat, or Who is Sylvia? at Theatre Royal Haymarket; Ear for Eye, Poet in Da Corner, Grimly Handsome, Pigs & Dogs, Father Comes Home from the Wars at the Royal Court; Our Lady of Kibeho at Royal & Derngate and Stratford Theatre East; Soul at Royal & Derngate and Hackney Empire; Death of a Salesman at The Royal Exchange; The Rolling Stone at The Royal Exchange and Orange Tree; Leave Taking, F*ck the Polar Bears at Bush; Twighlight: LA – 1992, Eclipsed and The Rise and Shine of Comrade Fiasco at Gate, Notting Hill; Little Shop of Horrors at Regents Park Open Air Theatre; The Epic Adventure of Nhamo for tiata fahodzi;
As a performer at the National: Here We Go, As You Like It (choir), Medea and Death and the King’s Horseman.
As a performer in London's West End: and Carmen Jones and Ain’t Misbehavin’.
As a performer other theatre includes: The Tempest for the RSC; The Bakkhai at the Almeida; Dart’s Love for Tête-à-Tête; Tamba Tamba for tiata fahodzi; Dalston Songs (ROH2) for Helen Chadwick Song Theatre; The Bacchae at the Royal Exchange; Six Characters in Search of an Author for Headlong; The Bacchae on tour for National Theatre Scotland and on Broadway; Mercy Fine (title role) for Clean Break; and The Sleeping Beauty at the Young Vic, the Barbican and on Broadway.
As voice/dialect coach: The Power, In the Long Run (Jimmy Akingbola), Kate & Koji, Poldark, No Offence, Broken
As performer: Judge John Deed, The Cambridge Spies, The Bill, Eastenders,
As a voice/dialect coach: Small Axe (Steve McQueen Anthology); Silent Twin; Death on the Nile (Letitia Wright)
As performer: Dates, The Followed
As performer: Something Understood, Death and the King’s Horseman, Solomon Child, Telephone in the Deep Freeze
Isabel is a Theatre Director born and raised in London with a passion for new writing and a love of horror. She recently directed and curated Deep Night, Dark Night in the Sam Wanamaker Playhouse at Shakespeare's Globe, a series of short horror plays featuring new writing by Jeanette Winterson, Morgan Lloyd Malcolm and Diana Evans. Isabel has worked extensively as an Associate Director at Shakespeare's Globe, running their international touring productions in 2019 and 2018. Isabel has also been a Casting Associate on feature films including Benjamin and Pond Life (Open Palm Films) and frequently works in TV development. She studied at Oxford University.
Credits as Director include: Deep Night, Dark Night (Shakespeare's Globe); Terrifying Women (Golden Goose Theatre); NSFW (Edinburgh Fringe/Oxford Playhouse); Jumpy (Oxford Playhouse); Saved (Oxford Playhouse); Look Back in Anger (Edinburgh Fringe).
Credits as Associate Director include: 2:22 - A Ghost Story (Noel Coward Theatre); Twelfth Night; Pericles; The Comedy of Errors; The Taming of The Shrew; The Merchant of Venice (all Shakespeare's Globe, National and International Tour).
As Assistant Director: Macbeth; The Secret Theatre; The Inn at Lydda; The Tempest (all Shakespeare's Globe).