Gant’s Amazing Feats of Loneliness (Theatre Royal Plymouth); I Am Dandy (Purcell Rooms/BAC); Ubu Kunst, Missing Jesus (Young Vic); Paper Walls (Scarlet/Assembly Rooms/Purcell Rooms); Fine (Young Vic/Edinburgh International Festival); People Shows 100-103 (International tour).
TELEVISION INCLUDES: Attachments, Holby City, Mothers & Daughters, At Dawning, A&E, Where the Heart Is, Dalziel & Pascoe, Storm Damage, Deeper Still.
RADIO INCLUDES: Heredity.
DEBBIE HANNAN (Assistant Director)
AS DIRECTOR, FOR THE ROYAL COURT: Peckham: The Soap Opera (co-director).
AS ASSISTANT DIRECTOR, FOR THE ROYAL COURT: Birdland, The Mistress Contract.
AS DIRECTOR, OTHER THEATRE INCLUDES: Notes from the Underground (Citizens); Panorama, Roses Are Dead, You Cannot Call it Love (Arches); Yellow Pears (Swept Up); liberty, equality, fraternity (Tron/Traverse); Grimm Tales, Nights at the Circus (Paradok).
AS ASSISTANT DIRECTOR, THEATRE INCLUDES: A Doll’s House, Enquirer (National Theatre of Scotland/Lyceum); The Maids, Beauty & the Beast (Citizens); Kurt Weill: Double Bill (Scottish Opera); War of the Roses Trilogy (Bard in the Botanics); Hamlet (Globe Education).
Debbie is Trainee Director at the Royal Court.
DOM JAMES (Associate Composer & Sound Designer)
AS COMPOSER, THEATRE INCLUDES: Imaginarium (Village Underground); The Pilgrim’s Progress (St James’ Muswell Hill); Remix (BAC); Yvonne (Hoxton Hall).
AS MUSIC ASSISTANT, THEATRE INCLUDES: Cat in the Hat (National).
TELEVISION INCLUDES: Come Dine With Me, Facejacker, A Child’s Christmas in Wales (additional music), Lifeline (additional music).
FILM INCLUDES: Passing By, The Life & Death of 9413 A Hollywood Extra, Intel Ultrabook Revolution, Burning Man & the Meaning of Life, Just Because You’re Paranoid.
MUSIC VIDEOS INCLUDE: Tinie Tempah’s Wonderman.
Working primarily from his studio in South London, Dom composes across many genres including TV, film, theatre, commercials and even theme park rides. He is a specialist in the New Orleans clarinet style and performs regularly with his jazz band The Dixie Ticklers.
SAM SWANN (Ensemble)
FOR THE ROYAL COURT: Primetime.
OTHER THEATRE INCLUDES: Wendy & Peter (RSC); A Winter’s Tale (Unicorn); Dr Korczak’s Example (Unicorn/Royal Exchange, Manchester); Mercury Fur (Trafalgar Studios); Anne & Zef (Salibury Playhouse); The Kitchen, Greenland (National); A Butcher of Distinction (Cock Tavern/King’s Head); Powder Monkey (Royal Exchange, Manchester); The Exclusion Zone (Southwark Playhouse); Dunsinane (Hampstead/RSC); Waiting for Godot (Birmingham Library).
TELEVISION INCLUDES: Privates, Doctors, Navid & Johnny, Boom!
FILM INCLUDES: Latvia, The Owl & the Pussycat, The Listener, O Romeo Romeo, What Light?.
RADIO INCLUDES: The Interrogation, Obey the Wave, The Trenches Trip, The Second Mr Bailey.
GILES THOMAS (Composer & Sound Designer)
FOR THE ROYAL COURT: Talk Show, Untitled Matriarch Play (or Seven Sisters), Collaboration, Mint, Death Tax, The President Has Come to See You, Shoot/Get Treasure/Repeat (Gate/National/Out of Joint/Paines Plough).
AS COMPOSER/SOUND DESIGNER: Superior Donuts (Southwark); Henry V (West End); Take A Deep Breath & Breathe, The Street (Oval House); Stop Kiss (Leicester Square); Three Men In a Boat (Original Theatre Company); King John (Unity); It’s About Time (nabokov); House of Agnes (Paines Plough).
AS MUSIC PRODUCER: An Appointment with the Wickerman (National Theatre of Scotland).
Giles trained at the Liverpool Institute of Performing Arts. He also writes for TV, Film and Video Games and is one of the co-founders of the composition company Contour Chromatic.
DANIELLE VITALIS (Ensemble)
THEATRE INCLUDES: Holloway Jones (Synergy); Dream Pill (Clean Break/Underbelly); Dancing Bears (Clean Break/Latitude); Every Coin (Synergy/Soho); Re-Charged, Charged – Dream Pill, Charged – Dancing Bears (Clean Break/Soho); White Something (Arcola); Bugsy Malone (Stratford Circus); Demon juice (Stratford Circus/Royal Opera House).
TELEVISION INCLUDES: In the Flesh, Youngers, The Riots: In Their Own Words, L8R, La Boheme.
FILM INCLUDES: Honeytrap, Attack the Block.
RADIO INCLUDES: What Would Elizabeth Bennett Do?, Burning Up, The Burning Times.
THE ENGLISH STAGE COMPANYAT THE ROYAL COURT THEATRE
The Royal Court is the writers’ theatre. It is a leading force in world theatre, finding writers and producing new plays that are original and contemporary. The Royal Court strives to be at the centre of civic, political, domestic and international life, giving writers a home to tackle big ideas and world events and tell great stories.
The Royal Court commissions and develops an extraordinary quantity of new work, reading over 3000 scripts a year and annually producing around 14 world or UK premieres in its two auditoria at Sloane Square in London. Over 200,000 people visit the Royal Court each year and many thousands more see our work elsewhere through transfers to the West End and New York, national and international tours, residencies across London and site-specific work, including recent Theatre Local Seasons in Peckham, King’s Cross and Haggerston.
The Royal Court’s extensive development activity encompasses a diverse range of writers and artists and includes an ongoing programme of writers’ attachments, readings, workshops and playwriting groups. Twenty years of pioneering work around the world means the Royal Court has relationships with writers on every continent.
The Royal Court opens its doors to radical thinking and provocative discussion, and to the unheard voices and free thinkers that, through their writing, change our way of seeing.
“With its groundbreaking premieres and crusading artistic directors, the Royal Court has long enjoyed a reputation as one of our most daring, seat-of-its-pants theatres.” The Times
“The most important theatre in Europe.” New York Times
Within the past sixty years, John Osborne, Arnold Wesker and Howard Brenton have all started their careers at the Court. Many others, including Caryl Churchill, Mark Ravenhill and Sarah Kane have followed. More recently, the theatre has found and fostered new writers such as Polly Stenham, Mike Bartlett, Bola Agbaje, Nick Payne and Rachel De-lahay and produced many iconic plays from Laura Wade’s Posh to Bruce Norris’ Clybourne Park and Jez Butterworth’s Jerusalem. Royal Court plays from every decade are now performed on stage and taught in classrooms across the globe.
ROYAL COURT SUPPORTERS
The Royal Court has significant and longstanding relationships with many organisations and individuals who provide vital support. It is this support that makes possible its unique playwriting and audience development programmes.
Coutts supports Innovation at the Royal Court. The Genesis Foundation supports the Royal Court’s work with International Playwrights. Theatre Local is sponsored by Bloomberg. AlixPartners support The Big Idea at the Royal Court. The Jerwood Charitable Foundation supports emerging writers through the Jerwood New Playwrights series. The Andrew Lloyd Webber Foundation supports the Royal Court’s Studio, which aims to seek out, nurture and support emerging playwrights. The Pinter Commission is given annually by his widow, Lady Antonia Fraser, to support a new commission at the Royal Court.
PUBLIC FUNDING
Arts Council England, London