Apple of Discord (2026, Chronic Insanity, Dir. Joe Strickland)

An immersive retelling of Greek Myth starring a cast of dozens and held across three floors of Nottingham’s People’s Hall – a Grade II listed building under renovation, lacking running water and with only two working plug sockets. A cobbled together assortment of battery powered lanterns, combined with a few practical fixtures, gave each space its own vibe, and ensured that the audience could move safely throughout the experience after dark.

Plans to utilise the building’s basement and the man made cave dug beneath were sadly scrapped during the writing phase due to health and safety concerns. Hopefully with development the building can be brought into a condition where the initial vision of a five-story story can be realised.

Romeo & Juliet (2024, Lace Market Theatre, Dir. Max Bromley)

My only traditional Elizabethan dress Shakespeare to date. Was great to play with lighting an actual balcony, and picking out the colour of the costumes in the black box space a delight.

This was my first production following a move to the East Midlands, I remain thankful that there was something I could slot into right away.

Tender Napalm (2023, Misplaced, Dir. Ben Jenkins)

Philip Ridley’s passionate, furious, playful exploration of grief and love, beginnings and the fear of endings. Truly a wonder to work with such a generous creative team, it was a delight to watch the text’s fable-esque island take form in the rehearsal room. The text is a relentless stream of pure creativity, a philosphy we took into the rehearsal process and which resulted in bold explosions of sound and colour, stemming forth from the actors’ words. Nina, Jack and Ben are dear friends, and I hope to work with them again.

This design was handed over to Billie-Jo Rainbird for a 2024 tour co-produced with Shipwrecks and Dreams.

The Sweet Science of Bruising (2022, Next Stage, Dir. Brian Hudd)

Staged in thrust in Bath’s Mission Theatre Joy Wilkinson’s fast paced, exuberant tale of Victorian women seeking empowerment in the boxing ring was a real blast. Plenty of opportunity to splash the stage with colour. The building, originally a chapel, was a public hall for a century before being abandoned and later converted to a theatre. I wondered often if a real boxing ring ever was erected in the space now serving for our stage.

Macbeth (2022, Wise & Wayward, Dir. Kate Raw)

Really was blessed to be able to work with Kate – one of the most remarkable directors of Shakespeare I’ve ever known – on her extraordinary production of Macbeth. Transforming the Tetbury Goods Shed into a theatre in the round, the presence of the audience lent a palpable sense of tension, this Macbeth forever tormented by the judemental eyes bearing witness to his supposedly secret deeds.

DING! (2021, Flipside Productions, Dirs. Pippa Thornton, Lex Kaby & Emily Malloy)

An anthology of five monologues and a duologue exploring our relationship with the internet, and especially how things changed for many over the pandemic of 2020. They are:

#comingout – A young non-binary person struggles with coming out in real life after finding it easier to open up online.

Dede & Delilah – A instagram famous cat runs away from their owner after growing tired of expecting to perform for the camera.

Mimi – A personification of the internet talks about how she’s grown.

Live – A woman being harassed on the street finds power in livestreaming the event.

Breakup Songs To Dance To – A couple in a long distance relationship realise that things have come to an end.

Let Me Take a Selfie – A famous influencer tells the story of how she sold her soul in exchange for fame and fortune, not realising that Satan’s on his way, coming to collect.

A really fun project, my first opportunity to light actors alone on stage in that one-person show style that’s now so popular.

The White Heart Inn (2021, Apricity Productions, Dir. Emily Molloy)

Touring London and the South West around Halloween of 2021. Great fun to do a horror show, and I hope I get a chance to again, there’s a real sense of playfulness that comes with trying to figure out how you might scare someone. A true blessing to have a genuinely creepy script that didn’t take itself too seriously, is there the opportunity for pulpy fun here, let’s go for it.

This time was an extremely fruitful one for me, a lot was happening in Bristol’s theatre scene and I was in high demand. Very tiring but I wouldn’t have changed it for the world. The lantern you see on the table I kept in my personal stores, it’s still being used in shows to this day (inbetween lighting my tent at festivals) see if you can find it anywhere else on the site.

Curse of the Sapphire Blade (2021, Black Dog Productions, Dir. Lex Kaby)

A Terry Pratchett style fantasy comedy, one of those shows that’s a real pleasure to watch every night. Created during my time as co-founder of Black Dog Productions where I served as technical lead for many years. All of us in the company graduated from Bath Spa University together, it’s been wonderful to see them all go on to do great things.