Reclaiming and reimagining old stories for new times
"A theatre to me is a place 'where two or three are gathered'. The apostolic succession from Aeschylus to myself is as serious and as continuously inspired as the apostolic succession of that younger institution, the Christian church." - George Bernard Shaw
I grew up in Australia, to an Aussie mum and an English dad who had come over with the ten-pound tourists. I grew up on music lessons and books, and my first role on stage was written by my dad for the university theatre society that he ran. My family were a part of the conservative Christian church, and I was an extremely devout young person until the age of twenty-five.
Since graduating with a B.A. (Hons) in Classics from Monash University, my diverse career has seen me tour Australia with Tony Bones Entertainment, work onstage and off at Main Street Theater, (in American Theatre's 'Top 20 Children’s Theatres in the U.S.A.'), and create and perform several original plays. My desire to connect with my heritage, both biological and theatrical, brought me to London to train on LAMDA's M.A. Classical Acting. Since graduating in 2017 I have been developing my full length play We Never Get Off at Sloane Square, based on Helen DeWitt’s novel The Last Samurai. It was supported by the Park Theatre Script Accelerator 2018, with a forthcoming Park90 season in 2023. Since leaving the church and coming out as queer, my work has often explored these aspects of my identity, including my solo short Babies and Bathwater, which won the Sean Meehan Identity Award at Dublin Gay Theatre Festival for my portrayal of religion. Something by Tolstoi, my queer short adaptation of the Tennessee Williams story, appeared at the West End’s Trafalgar Studios in Tennessee Williams: Women of Paradise in 2019. Currently I am Director and Dramaturg for theatre-maker Jessica Munna, developing her show Pieces of Me about meaning and loss within American capitalism. I am also a member of the Playwrights' Hive writers' group run by Broken Silence Theatre. Alongside my creative endeavours I manage Camp Canary, a children’s holiday club in Canary Wharf, overseeing twelve staff and sixty-five children.
My work prioritises the epic over the domestic. It is often highly intellectual, and frequently explores themes of mental health, religion, sexuality and history. Though I have left my childhood faith behind, I am still driven to create inspiring experiences that give us a glimpse of the life beyond the mundane, and a sense of our place in the grand scheme of things. I always want my theatre to leave audiences with with hope and a sense of feeling seen, which it has given me since I was a child.