STOREHOUSE Founders:
Dr.
THE TRUTH WILL SET US FREE
Dolly K. Guha, Dr. Brian Falcon, Anne Rourke, Dr Bobby Lickdon
STOREHOUSE
Truth Lies Here
Founder and Concept Creator
Executive Producer
Creative Director
Liana Patarkatsishvili
Zoe Snow
Sophie Larsmon
Lead Producer Rosalyn Newbery
Production Designer
Lighting Designer
Sound Designer
Costume Designer
Associate Director
Co-Writer
Co-Writer
Co-Writer
Co-Writer / Ursula
Co-Writer
Co-Writer
Story Producer (Writers’ Room)
Dramaturgy
Show Cast
Voice Over Artists / STOREHOUSE Founders
Hero Moment / CODA Composer
Original Compositions
Alice Helps
Ben Donoghue
James Bulley
Julie Belinda Landau
Bethany Pitts
Katie Lyons
Tristan Bernays
Sonali Bhattacharyya
Kathryn Bond
Caro Murphy
Rhik Samadder
Donnacadh O’Briain
Sophie Drake
Bonnie Adair
Chris Agha
Darrel Bailey
Dawn Butler
Elizabeth Hollingshead
Grace Hussey-Burd
Harriett O’Grady
Nat Kennedy
Nina Smith
Rob Leetham
Scott Karim
Zachary Pang
Billy Howle
Kathryn Hunter
Toby Jones
Meera Syal
Anna Meredith MBE
Sinemis Buyuka
Foreword by Liana Patarkatsishvili
A few years ago, I had an epiphany. My interests, education, curiosity and lived experience all converged to reveal the question that most excites, and troubles me.
How are we manipulated, and why don’t we see it happening?
I’ve long been fascinated by manipulation in the information space. While scholars have studied it for decades, I became increasingly drawn to a different challenge: could these ideas be explored not in a lecture hall, essay or documentary, but through a live, immersive experience that lets people feel the mechanics of disinformation for themselves?
Disinformation presents a unique and pressing challenge, one that’s often framed as something only governments or tech platforms can address. But what struck me most was the quiet truth that real change begins at the individual level. We cannot simply outsource vigilance; we must each become active participants in the information landscape.
STOREHOUSE is set in a fictional world where information is sacred, meticulously archived since the birth of the internet forty-two years ago. But the questions it asks are rooted in our reality. What captures our attention? Why do some narratives seduce us more than others? Who decides what’s true, and just who benefits when we believe it?
This production is our attempt to tackle those questions in a playful, provocative, and emotionally resonant way. It’s the result of a remarkable collaboration by an exceptionally talented team that has poured their artistry and passion into every detail, striving to create a world that doesn’t just tell a story but invites you to live inside it.
As disinformation continues to distort reality on personal, national, and international levels, STOREHOUSE challenges you to urgently consider your own role in the battle for truth. The journey is not just about spectacle, but about sparking reflection – about what you believe, who you trust, and what you share.
Liana Patarkatsishvili Founder & Concept Creator
Making STOREHOUSE
In a world where everything from popups to podcasts calls itself ‘immersive’, the term risks losing all meaning. But in making STOREHOUSE, immersion became more than a descriptor – it became our core creative principle and philosophy.
From the outset, we wanted to create something entertaining and urgent. We’re unpacking one of the most complex and pressing issues of our time: disinformation, and the individual’s role within the modern information ecosystem. But information alone doesn’t inspire action.
A fact-filled lecture can send an audience to sleep, and apathy is our true adversary. Entertainment is the spark that ignites critical thinking, but immersion keeps the fire burning.
Oxygen: Physical Immersion
Transforming a disused warehouse in Deptford into a living, breathing world and then choreographing how hundreds of people move through it was a thrilling and daunting task. We weren’t just designing a set – we were building a whole universe.
Every detail was considered, from the scent in the air to the texture under your feet.
Like oxygen to a flame, physical immersion gives energy and movement to the experience. It’s what makes the fictional feel completely alive.
Heat: Psychological Immersion
But immersion isn’t just about what you see and touch. It’s about what you feel, and why you care.
We needed a story with stakes that matter, characters that connect, and twists that reflect the complexity of the real world. Disinformation is never experienced the same way twice – it’s shaped by culture, identity, and personal bias. The subject matter is too
complex for a single voice. So we assembled a writers’ room of six incredible minds, drawn from different backgrounds and disciplines, all working collaboratively.
The result is a layered, shifting narrative where emotional truths meet systemic lies, where audiences don’t just observe the characters, they feel with them. That heat is what drives change.
Fuel: Ontological Immersion
The deepest form of immersion is ontological, the kind that doesn’t just involve the audience, but implicates them. We didn’t want people to simply watch a story about disinformation. We wanted them to live inside it, to spread it, to doubt it, to feel the thrill and consequences of it.
That meant years of research, and consulting with experts in psychology, behavioural science, propaganda, and digital manipulation. Every interaction, prop, and ambient sound was designed to blur the line between truth and fiction, to destabilise certainty and invite deeper self-reflection.
In STOREHOUSE, you become part of the ecosystem. You’re not just a passive observer, but an active agent inside a system designed to test your perceptions, provoke questions, and ask: what do you believe, and why?
A Fire That Lasts
At Sage & Jester, we don’t just tell stories. We create experiences designed to challenge, empower, and provoke critical engagement with the world.
A fire can spread incredibly fast. All it takes is a spark. And if we’ve done our job right, that fire becomes a beacon.
Sophie Larsmon Creative Director of STOREHOUSE
WILL SET FREE US TRUTH THE
Writing STOREHOUSE
It was the magic of the words ‘Writers’ Room’ that hooked me.
I’d seen these on American TV, smitten by the image of smart people cracking jokes, and eating Chinese takeaway in square boxes. Such rooms are unheard of in theatre, or my own background in journalism and books, where writing is as solitary as dying. But Sage & Jester were doing things differently, evidently. They wanted to address one of the most famously intractable problems facing humanity today, through a crosspollination of forms and expertise. Together we would throw a spectrum of light on the nightmare we all live.
We are saturated in media, with gatekeepers swept away. This is sold as a type of freedom, when it is actually a vacuum of truth, one in which the power-hungry can easily manipulate information to divide populations and control the world in their own – generally terrible – interests.
Walking into that first room was like stepping into a dream. The other writers were intimidating. There was a Viennese fancy of a man in a three-piece suit, who spoke as eloquently as Solomon. One of them was a Marxist; another video-called in from Washington DC. There was a symmetrical goth with piercing insight into the human condition. As one of the most soughtafter live-action designers in the world, they told me their work choices were based on ‘being at the tip of the spear.’ I didn’t mention my Chinese takeaway thing.
The plan bore fruit. The rooms were lively, argumentative and funny. We talked global politics, game theory, internet etiquette, Shakespeare, sociology, cults and conspiracies. We began to cohere, and build. Many of the writers were, or are, performers too. Comedy and improvisation were brought to bear on character, as the playwrights laid down story bones. Every week, my head was a sherbet fizz of ideas and possibilities.
Over months, the show asserted itself in a shapeshifting form of challenges. How to write an immersive, enjoyable experience that was transporting, while critiquing the real world and its dangers? How to stage an emotionally resonant story, without blaming individuals for collective failure? Should we stay balanced – if so, how? STOREHOUSE is extraordinarily ambitious, in scale and scope. By centering the audience in a live, Borgesian parable of the information age, we laid ourselves open to the unpredictable. We decided that was a good thing.
I assumed my role to be limited to journalistic consulting – sharing behind-the-curtain knowledge and context. But following the Writers’ Room, I was invited into the rehearsal room. I treasured those days, devising backstories to work into monologues. Emotional work. Nourishing too. The company brought in fortune cookies as props, which I discovered to be edible.
Special mention is owed to the story-wrangler, Katie Lyons. In the months after the room, the playwrights moved onto new projects, and Lyons synthesized the styles of six authors, applied logical pressure to every seam of the story, and hit countless deadlines. She did much of this cross-continent, from the USA – a country tearing itself apart thanks to its own toxic relationship with its media.
Working on the show has been transformative –it’s the special nature of this company, who marry world-beating creative ambition with personal warmth, inclusion and generosity. They’re qualities I hope to take into my own life and work. I hope you too enjoy what we made.
What I’ll take from the show is that we all carry a little light – and together a mighty one. Nightmares are there to be awoken from. Truth does out. Strongmen fall and powerful liars are exposed. History shows us this.
Rhik Samadder Co-Writer
Designing STOREHOUSE
Designing the set for STOREHOUSE has been a unique and creatively liberating experience. Working within an exceptional team of courageous and trusting creatives who were prepared to think openly and flexibly, granted us the freedom to push the world of STOREHOUSE into somewhere experimental and materially unorthodox for this kind of performance design. We wanted to engulf audiences in another world that feels tangible and meaningful, a deeply sensorial reality where they can engage, play and feel present within the storytelling.
The design approach attends to Sage & Jester’s desire to bring people moments that move between personal and collective, to consider their own significance within the story as an individual, and within a broader ecosystem. The organic sculptural materials that form the environment are tactile and visually rich at close proximity, but also build exciting textural panoramas when viewed from a distance, and the design has developed according to the behaviour of these materials at different scales.
We wanted to guide audiences through spaces that played with their sense of scale in an embodied way, so that the experience can live viscerally within people beyond the moment of perception, back out into the world. The audience flow takes people between intimate spaces with smaller numbers of individuals, into the more cavernous and cathedral-esque spaces for collective, communal moments. The performerled nature of the piece allows audiences to be carefully guided through the narrative of the world, with moments of task-led independent exploration, giving time to explore the detailed narrative props, so that they can engage meaningfully and critically with the piece both
introspectively and communally. The venue also offered us ample ceiling height to navigate the set at different levels, so we can bring people to different vantage points, enhancing their experience of the vastness of the overall space.
The epic four month-long build brought together an incredible team of over 300 talented specialists to fill the 9000 sqm Deptford Storehouse and bring to life the 51 individual performance spaces and one giant elevated finale structure, using three tonnes of raw sheep’s wool (equating to 1700 sheep) and 18 tonnes of willow.
Sage & Jester have been incredibly supportive of a design process that is led by sustainable material choices. We had the great privilege of consulting with Re:Right design, who have excellent knowledge of innovative and sustainable materials, and who provided us with the bioplastics we have used within the set. Our largest scaffolding structures ensure the most waste-free build material with endless future life-cycles. We have also used a lot of raw natural materials within the construction of the set including sheep’s wool, plant fibre papers, bioplastics, willow, hessian and woodchip, and we have a team working diligently on securing the future life of all of our build materials.
The challenges to make sustainable work within the industry are huge but not insurmountable. There is a demand for more ecological productions, and the more organisations that support this the sooner this will become a standard.
Alice Helps Production Designer
Making Immersive Theatre Accessible
At Access All Areas (AAA), we create work from a learning disabled and autistic point of view. We also work with other production companies and venues to help make their work more accessible and inclusive to disabled and neurodivergent audiences.
We’ve been so excited to work on STOREHOUSE. Immersive theatre has the power to give audiences a new way of seeing the world, and we’ve created many immersive productions that bring audiences and artists together. We believe that experience should be open for everyone.
From the very start of this process, Sage & Jester have taken the time to consider how each step of the production would be experienced by people with different access needs. Their approach throughout this process has been open and thoughtful, and it’s been a joy to work with them. Access is never black and white. There’s no rule book that will automatically make every production accessible for every person. Our approach to access is about upskilling the team to be as considerate as possible about individuals’ needs, and thinking through how each element of a production might be experienced by different people.
If you’re thinking about making a production more accessible, here are a few steps you can consider:
1) Training the team
Ideally, this would include everyone, from cast, to producers, to marketing to front of house, to crew. AAA runs awareness training, as well as more focused training for specific roles. If this is a stretch, we recommend at least training the front of house team.
2) Consider access for everyone in your team
With the TV Access Project, we’re rolling out a new template for ‘Access Passports’, launching June 2025. This process gives everyone working on a production the chance to communicate their access needs in a safe, supported, and relevant way. Often, people don’t want to share medical information with their bosses. But being able to ask for what you need helps everyone do their job better, and puts access at the forefront of people’s minds. Look out for TV Access Project’s templates in June.
3) Creating accessible materials and adjustments
There are some simple adjustments that can make a production more inclusive. In addition to wheelchair accessibility, sign language, and audio description, we also recommend producing accessible materials for people who need them. An easy-read programme can help someone feel much more relaxed. We also create Visual Guides to help neurodivergent audiences know what’s coming. Sage & Jester have done a great job in setting up a Familiarisation Station, where neurodivergent audiences can get a taste of what’s coming pre-show.
4) Consider gameplay design
This is the fun bit. We worked with Sage & Jester to consider how learning disabled and neurodivergent audiences might engage with interactive or gameplay elements. Often, with simple adjustments, a game can become much more inclusive.
5) Testing
Once the show is made, keep checking on access. We run mystery shopping with Access All Areas Associate Artists, and bring in people with different access needs to feedback on the experience and advise on tweaks.
People often think that immersive theatre can’t be accessible. But by collaborating on access from the start, we’ve worked together with Sage & Jester to find access solutions throughout. If you’re making an immersive production and want to consider access, start thinking about it early – right from the scripting stage. Finding creative solutions to access is a fun part of the creative process. And there are a lot of great disabled consultants out there who can help.
If you want to talk to Access All Areas about training or access consultancy, feel free to reach out at hello@accessallareasproductions. You can find out more about what we do at accessallareasproductions.org.
Patrick Collier
Access All Areas
Innocoluting Against Misinformation and Disinformation
Misinformation is defined as information that is either false or otherwise misleading. Disinformation, on the other hand, is misinformation coupled with some explicit psychological intention to deceive other people. Importantly, misinformation spreads online much like a viral contagion, rapidly infecting and replicating from one mind to another. Moreover, once lodged in memory, falsehoods are difficult to correct.
But if misinformation spreads like a virus, might it be possible to vaccinate ourselves against mis-and-disinformation? Scientists have worked on this question for years and developed a psychological ‘vaccine’ against the spread of fake news and misinformation known as inoculation theory. Specifically, just as vaccines introduce a weakened or inactivated strain of
a virus into the body in order to activate the immune system to generate antibodies that help us fight off future infections, it turns out it works the same way with the brain.
Dozens of scientific studies have now shown that it is possible to pre-emptively ‘immunize’ people against disinformation by pre-exposing them to severely weakened doses of the techniques that underlie its production along with clear guidance on how to spot the tactics. This process of ‘prebunking’ helps people cultivate cognitive antibodies and real-world resistance.
Psychological inoculation has been delivered through entertaining games, animated videos, movie scripts, and now with STOREHOUSE –immersive theatre. The creative possibilities are endless. What’s it like to experience a micro-
dose of deception? As with our immune system, the brain needs lots of simulations of what manipulation looks like in order to spot and neutralize it. In other words, once you uncover the magician’s trick you won’t be fooled by it again. Crucially, the goal of inoculation is not to tell people what to believe, but rather to help citizens around the world recognize and resist unwanted attempts to influence and mislead.
Are you ready to be inoculated?
Sander van der Linden is Professor of Social Psychology in Society in the Department of Psychology at the University of Cambridge and Director of the Cambridge Social DecisionMaking Lab.
If you’re interested in exploring the themes of STOREHOUSE further, here are some recommended reads and resources:
There’s a Psychological ‘Vaccine’ against Misinformation
Scientific American
An accessible introduction to the concept of ‘prebunking’ and cognitive inoculation. www.scientificamerican.com
Vaccinating Against Viruses of the Mind
The Psychologist (British Psychological Society) A deeper look at how behavioural science is tackling misinformation. www.bps.org.uk
How to Inoculate Yourself and Others against Viral Misinformation
The Bulletin of the Atomic Scientists Insight into the growing field of misinformation resilience. www.thebulletin.org
YouTube:Search ‘The Vaccine for Fake News’ from Cambridge University https://youtu.be/ Jqt7B857ooM?si=T9eH5UpHr9liiOMm
A quick, engaging introduction to how misinformation spreads – and how we can resist it.
Liana Patarkatsishvili
Founder and Concept Creator
Liana is a Georgian-born media executive and cultural innovator with extensive experience in the television and arts sectors. She previously served as CEO of Georgia’s national independent TV and radio stations, a role that positioned her at the forefront of media in the region. Throughout her career Liana witnessed firsthand how media control influences political climates, solidifying her commitment to truth and freedom of expression.
As the daughter of Badri Patarkatsishvili, a prominent Georgian businessman and philanthropist, Liana grew up immersed in a world of enterprise and cultural investment. Today, Liana leads Sage & Jester, an innovative arts production company, where she works with a team of seasoned professionals to create transformative experiences that blend critical thinking with entertainment.
Zoe Snow
Executive Producer
Zoe is an Olivier Award-winning producer, known for her leadership in international productions across events, ceremonies, theatre and live broadcast. She is Partner at Gary Beestone Associates, and Executive Producer for Sage & Jester.
Her career highlights span creative events across the world and include: leading on the production of the openings and interval creative for the Eurovision Song Contest for BBC Studios in 2023; executive producing the Opening and Closing Ceremonies for both the Birmingham 2022 Commonwealth Games and the World Taekwondo Championships in Manchester; producing the Great North Run One Million Opening Ceremony; leading on music production for the Nickelodeon Kids’ Choice Awards in Abu Dhabi; and producing the opening events for Hull, City of Culture and for Waltham Forest, London’s first Borough of Culture.
She has worked extensively in immersive theatre, with productions including: Peaky Blinders: The Rise and Doctor Who: Time Fracture for Immersive Everywhere; bespoke productions for Les Enfants Terribles and Path Entertainment; and leading international openings for Secret Cinema (London, L.A. & Shanghai). Currently, Zoe is producer of the Olivier Award-winning new West End musical, The Curious Case of Benjamin Button, with another musical in development alongside delivering the new Secret Cinema 2025 production.
Sophie Larsmon
Creative Director of STOREHOUSE
Sophie is an Immersive Director & Experience Designer who has garnered a reputation for making theatrical work outside of traditional venues, weaving audience personalisation into her ‘utterly unique’ (The Stage) work. Her productions have been described as ‘breaking the threshold of immersive theatre’ (Theatre Times) and have been featured in The Financial Times and on the BBC’s Front Row and Click and praised for their technical innovation and form.
Alongside her role as Creative Director for Sage & Jester, she is the European Associate for experience design pioneers Odyssey Works, where credits include There Are Mountains Beneath Us and The Road to Taz
She was the inaugural Artistic Director of immersive theatre & software development company Any One Thing. Credits whilst in post include Souvenir by Tristan Bernays and Recollection by Richard Pucci.
As a producer and company manager, she has worked for various organisations including The Old Vic, Les Enfants Terribles, Bompas & Parr, Secret Cinema, Paines Plough and curious directive. She was a producer on the Victory Ceremonies Team for the London 2012 Olympic & Paralympic Games; Tour de France 2015; the Indoor Asian Games 2017; and Matthew Williamson’s Fashion Show at The British Embassy in Hong Kong as part of the GREAT Britain Creative Campaign.
Rosalyn Newbery
Lead Producer of STOREHOUSE
Rosalyn’s extensive experience spans artistic, commercial and broadcast production, creating bold, boundary-pushing theatre, festivals, events and multi-artform programmes. Her career is defined by commitment to enrichment, access, inclusion, sustainable practice and fostering collaboration in the creative industries.
She’s worked as creative director for experiences including Museum of Shakespeare with Bompas & Parr and senior producer at City of Culture 2021 co-creating the sell-out Haus of Kraft: Beneath the Seams at Assembly Gardens. As Co-Artistic Director and Exec Producer for Longsight Theatre, Rosalyn made thought-provoking, issue-based theatre, including award-winning, Where Do Little Birds Go? (‘A Triumph’ The Times) and Mr Incredible A member of VAULT Festival’s director team for five years, she mounted numerous shows, co-created the VAULT New Writers Award, and spearheaded access and inclusion schemes.
Highlights also include producing shows for The Young Vic, Birmingham Rep, Soho Theatre, Traverse, DEM Productions, Arcola, Lyric Hammersmith, Edinburgh and Perth International Arts Festivals, Kiln, National Portrait Gallery, Royal Albert Hall and Tate Modern. Rosalyn helped shape the immersive landscape in the genre’s early days, with Look Left Look Right and Theatre Delicatessen, on pioneering productions including You Once Said Yes , Once Upon A Christmas and Heist
She’s made significant contributions to the hospitality sector, co-conceiving, directing and producing major festivals, including London Coffee Festival (and global franchise) and Balance Festival. Her innovative approach to concept creation has achieved worldwide reach.
Alice Helps
Production Designer
Alice works internationally designing large scale immersive sets and installations. With twenty years’ experience designing for theatre, arts and experiential sectors, Alice brings ambitious projects to life from conception to delivery through detailed world-building, creating interactive and narrative material environments for live audiences.
Her recent theatre designs include Lost Origin (Hoxton Docks, 2020) with Almeida Theatre, and SOMNAI (London, 2018) and she has designed experiences for brands including Google, Chanel, Airbnb and H&M.
Alice regularly collaborates with interdisciplinary specialists including clinicians and social science researchers (King’s College London), paleontologists (Natural History Museum, London), roboticists (Science Museum, London), and creative technologists working in XR and live interactive projections, to develop techniques that enhance physical and digital integration. She recently appeared as a speaker at SXSW, Texas, where she shared her insights working in this rapidly expanding field.
Alice has a PhD in Scenography which explores embodied experience of touch and its connective, emotive potential in immersive scenographic design. She guest lectures at the Royal Central School of Speech and Drama and University of the Arts.
Julie Belinda Landau
Costume Designer
Julie studied History of Art at Sussex University then went on to train at Central School of Speech and Drama in Set and Costume Design. She’s worked extensively with Punchdrunk, with Silverpoint winning a Breakthrough in Storytelling award and Lost & Found being nominated for the Best Production in English at the Wales Theatre Awards. Other work includes Lost Origin for the Almeida Theatre, Wishmas for Secret Cinema, SOMNAI, an immersive show combining real-world sets with VR technology and shows for Les Enfants Terribles and at The Saatchi Gallery.
James Bulley
Sound Designer
James is a Composer and Sound Designer whose practice explores sound, space and the more-thanhuman world. Works include: Evolver, a spatial virtual reality experience exploring oxygen in the human body, with Marshmallow Laser Feast (Cannes Film Festival 2024); Living Symphonies , a touring sound installation in forest ecosystems by Jones/Bulley (2014–2023); Dawns , a live composition for players in distant locations, with non zero one and the National Trust (premiered May 2020); the world premiere of Daphne Oram’s Still Point with Shiva Feshareki and the London Contemporary Orchestra (BBC Prom 13, July 2018); and Tactus , a touch–sound landscape for visually impaired audiences (Kaunas Biennial 2015–).
Ben Donoghue
Lighting Designer
Ben is a Lighting Designer and Creative Director for live music, performance, fashion and largescale live events. Recent work includes creating shows for artists including Ezra Collective, Central Cee, Hot Chip and Soft Cell. Ben’s work with light also informs an ongoing creative collaboration with Right/Left Projects, creating immersive installation pieces such as Beyond The Road in London and Seoul; The Retiring Room at The Standard, London and Origin at World Heart Beat. Ben has worked extensively with Punchdrunk and its alumni, including projects such as The Burnt City, The Drowned Man and The Third Day. Prior to cofounding multidisciplinary design studio Freehouse London, Ben spent time as a Senior Lighting Designer with Flare Lighting and global creative agency Imagination.
Bethany Pitts
Associate Director
Bethany is an award winning theatre director and dramaturg who trained on the National Theatre Studio Directors Course and as Resident Assistant Director at Theatre Royal Plymouth and Theatre 503. Directing Credits include: Sylvia by A R Gurney (English Theatre Frankfurt) The Misandrist by Lisa Carroll (Arcola Theatre); The Beach House (Park Theatre); Juniper & Jules by Stephanie Martin (Soho Theatre); Sirens by Kenny Emson (Mercury Theatre); Fuck You Pay Me by Joana Nastari (Bunker Theatre, Vault Festival & Edinburgh Fringe –People’s Choice Award); 3 Billion Seconds by Maud Dromgoole (Vault Festival, Paines Plough Roundabout); A Funny Thing Happened On The Way To The Gynaecologic Oncology Unit by Halley Feiffer (Finborough Theatre); Brutal Cessation by Milly Thomas (Assembly Edinburgh, Theatre 503); Spine by Clara Brennan (Underbelly Edinburgh Festival Fringe, Soho Theatre & UK Tour – Fringe First Winner); Tether by Isley Lynn (Underbelly Edinburgh Festival Fringe); Free Fall by Vinay Patel (Pleasance).
Assistant / Associate directing includes: Souvenir by Tristan Bernays ( AnyOneThing) Song at Twilight by Noel Coward (Theatre Royal Bath) Abi by Atiha Sen Gupta (Derby Theatre / Queens’ Theatre Hornchurch) Frogman by curious directive (Shoreditch Town Hall / Norwich Theatre Royal / UK Tour) Dark Vanilla Jungle by Philip Ridley (Soho / Pleasance – Fringe First winner 2013); Theatre Uncut (Traverse Theatre Fringe First Winner 2012 / Young Vic 2013).
Anna Meredith
Hero Moment / CODA Composer
Anna is a composer, producer and performer of both acoustic and electronic music. Her sound is frequently described as ‘uncategorisable’ and ‘genre-defying’ and straddles the worlds of contemporary classical, art pop, film and TV soundtracks, electronica, installations and experimental rock.
Her music has been performed everywhere from the Hollywood Bowl to BBC Last Night of the Proms to flashmob body-percussion performances at the M6 Services. It has been used in numerous fashion campaigns, adverts, films, TV shows, installations and pop festivals, clubs and classical concert halls worldwide and is regularly broadcast on BBC Radio 1, 2, 3, 4 & 6.
She was voted Number One in The List’s Hot 100 (of Cultural Contributors to 2016), made the 2018 BBC Woman’s Hour Power List and was awarded an MBE for services to music in the 2019 Queen’s Birthday Honours List. She was awarded Honorary Doctorates of Music from Napier University (2022) and Coventry University (2023) and was recently awarded a Fellowship to the Royal College of Music.
Katie Lyons
Co-Writer
Katie is an actor and writer and has carved out extensive experience working in immersive and interactive theatre, both as a script writer and a collaborator. She wrote the script for Peaky Blinders: The Rise which ran in Camden from 2022-23, and for the immersive production The Paddington Bear Experience at London County Hall.
For Look Left Look Right, Katie co-wrote the award-winning immersive show You Once Said Yes (Roundhouse, Edinburgh Fringe, Southampton, Salford, Perth Australia); Above and Beyond (Corinthia Hotel); The Many Whoops of Whoops Town (Lyric Hammersmith) and Once Upon a Christmas (Covent Garden). She developed a binaural sound musical with China Plate and has written a promenade audio show for Tangled Feet, Boots on the Ground (Salisbury/Dulwich). She is also developing a new idea with Tangled Feet (Rave New World), and is currently under commission with NYT.
Katie’s acting television credits include Manhunt , Bluestone 42, Call The Midwife, The Crimson Petal and The White, Boy A , Green Wing and plays at the National Theatre and the Bush Theatre
Tristan Bernays
Co-Writer
Tristan is an award-winning writer and performer whose work has been performed at The Globe, Soho Theatre, Bush Theatre, National Theatre Studio and Southwark Playhouse.
His play Boudica was performed at The Globe in 2017 with Gina McKee in the title role. Teddy at Southwark Playhouse won Best New Musical at the Off West End Awards in 2016. Old Fools premiered at Southwark Playhouse in 2018 and was nominated for four Off West End Awards, including Best Play. His one-man show The Bread & The Beer received rave reviews at Edinburgh Festival 2013 and transferred to Soho Theatre followed by a UK tour. He is currently developing his first screenplay, Ghost House, and several pilots for TV.
Tristan was Writer-in-Residence at Dancing Ledge TV Productions, as well as a member of Bush Theatre’s Emerging Writers’ Group. He is also a Visiting Lecturer at Central School of Speech and Drama, where he teaches Playwriting.
Sonali Bhattacharyya
Co-Writer
Sonali is an award-winning playwright and screenwriter (Sonia Friedman Production Award and Theatre Uncut Political Playwriting Award for Chasing Hares). Her play King Troll (The Fawn) was a finalist for the Women’s Prize for Playwriting.
In addition to King Troll (Kali Theatre/New Diorama), her plays include The Little Mermaid (Bristol Old Vic); Liberation Squares (Fifth Word/Nottingham Playhouse); The Jungle Book (Chichester Festival Theatre); Arabian Nights (Bristol Old Vic); Chasing Hares (Young Vic and Theatre Uncut); Two Billion Beats (Orange Tree Theatre and Kirkos Theatre, Seoul); Silence (Tara Theatre and Donmar Warehouse); Megaball (National Theatre Learning); Slummers (Cardboard Citizens/Bunker Theatre); The Invisible Boy (Kiln Theatre); and Assembly: The Teachers’ Play (Almeida Theatre).
Sonali is a graduate of the Royal Court Writers’ Group, the Old Vic 12, and Donmar Warehouse’s Future Forms Programme. She is part of the writing team for new television drama Split Up from Sister Pictures/BBC, and is under commission to the Manhattan Theatre Club.
Kathryn Bond
Co-Writer / Ursula
Kathryn is a queer working-class writer, actress, improviser and maker who has been writing and performing live comedy for fifteen years. Her live shows as part of duo That Pair, and her critically acclaimed solo character comedy Loo Roll , were sell-out hits at the Edinburgh Fringe Festival and transferred to the Soho Theatre.
Kathryn was part of the writers’ room for series six of CBBC’s Class Dismissed, a BAFTA Awardwinning sketch show that she was also a lead performer in. She has also developed ideas in the writers’ room for Hat Trick’s panel show Hypothetical, along with some short-form sketches for CBBC’s Crackerjack . In September 2021, Kathryn won the Funny Women Comedy Writing Award sponsored by Sky Studios, with an extract from her script Personal
Other writing and devising credits for stage include: It’s True, It’s True, It’s True (Breach Theatre, Barbican, BBC4); Perfect Women (Bric a Brac Theatre); Emotion In Progress (Vault Festival); and Happy to Help (Edinburgh Fringe).
TV credits include: The Completely Made-Up Adventures of Dick Turpin (Apple TV); Smothered (Sky); Class Dismissed (CBBC); Whitstable Pearl (Acorn/Amazon Prime); Semi Detached (BBC); Call the Midwife (BBC), Urban Myths (Sky Arts); Dr Brown Show (Channel 4); and EastEnders (BBC).
Caro Murphy
Co-Writer
Caro is a Game and Interactive Experience Designer. Currently a Visiting Associate Professor at Northeastern University, Caro’s career includes a notable tenure as Immersive Experience Director for Disney’s Star Wars: Galactic Starcruiser. They co-lead the Playable Theatre nonprofit, promoting interdisciplinary creators in interactive live performance art.
Caro serves as Executive Creative Director of Incantrix Productions, crafting independent interactive experiences globally and collaborating with writers and designers worldwide. With a rich background in education, they have taught everywhere from leading institutions such as Harvard and MIT to small nonprofits arts organizations targeting children in underserved communities.
They are also proud of their ten-year leadership of BostonFIG, fostering the next generation of game creators and producing the world’s largest independent games festival.
Rhik Samadder
Co-Writer
Rhik is an actor, writer and journalist. He has worked for the RSC, HBO, BBC and Channel 4. He created the popular ‘Inspect A Gadget’ column in the Guardian, and several other long-running columns. He writes features for GQ, the Sunday Times and Observer Magazine. He is currently writing the screenplay for the screen adaptation of his Sunday Times bestselling memoir, I Never Said I Loved You, and co-runs a writing retreat in Italy.
Donnacadh O’Briain
Story Producer (Writers’ Room)
Donnacadh is a multi-award-winning Creative Director, Experience Designer and Story Architect specialising in live theatre, immersive experiences and experiential learning. His wide-ranging career has seen him working on everything from musicals, to clown shows to large scale immersive LBEs.
He has won multiple awards including an Olivier Award for his production of the groundbreaking play Rotterdam (Arts Theatre London, 59E59 New York); an Offie Award for his production of the musical Operation Mincemeat (Southwark Playhouse/Riverside Studios London); and multiple awards for gig-theatre sensation Electrolyte (Edinburgh Festival).
In recent years Donnacadh has pivoted to working on immersive theatrical experiences, leading on creative and story.
He has taught and mentored at major UK Universities and drama schools, including RADA and LAMDA, SAID and Warwick Business Schools, Cambridge University, and he spent a year as Associate Fellow of Creativity at Warwick University.
Donnacadh is a fellow of the Royal Society for Arts, and a member of the WXO’s World Experience Council, working for and alongside global leaders from the experience economy.
Bonnie Adair
Bonnie is an Off West End Award-nominated actor, voiceover artist & writer. She is currently appearing in BBC 1 Comedies Here We Go and Cheaters Recent theatre credits include Neighbourhood Voices (Young Vic), Jeff Wayne’s War of the Worlds and the Off West End Award-nominated Souvenir
Previous TV credits include Innocent (ITV) and Word on the Street (BBC). Voiceover credits include Impact Winter (Audible).
Chris Agha
Chris trained at the Court Theatre Training Company. Since graduating in 2021, his theatre credits include, In and Out of Chekhov’s Shorts (Southwark Playhouse, The Large); Tales from a Thousand and One Nights (Greenwich Theatre and UK Tour); Peter Grimes, Lohengrin, Aida, The Marriage of Figaro (Royal Opera House); Longitude (Upstairs at the Gatehouse); Miss Julie (The Courtyard Theatre and Wanstead Curtain); Romeo and Mohammed (Golden Goose Theatre); BU21 (Corbett Theatre); The Kennedys (Etcetera theatre); Hamlet (Questors Theatre); Whiplash (The Courtyard Theatre); Baggage (Bread and Roses Theatre); and You Are What You Eat (Drayton Arms Theatre).
Darrel Bailey
Darrel is a West Midlands actor who trained at Mountview Academy of Theatre Arts and most recently performed in Yippee Ki Yay (UK/USA). Other credits include Small Island (National Theatre); As You Like It , The Merry Wives of Windsor and Twelfth Night (Open Bar); Oedipus (Almeida Theatre); Alice in Wonderland (Brockwell Park); Much Ado About Nothing (St Paul’s, Covent Garden); and an immersive production of One Hundred Trillion (Dot Collective). Darrel has previously starred in Shadow and Bone (Netflix); EastEnders (BBC); and in several short films including Role, Fixing War In Post , A&E, and The Zero Hour
Dawn Butler
Dawn is native West Midlands and has worked with such companies as Wolverhampton Arena, Hull Truck, Nottingham Playhouse and Birmingham Rep. Her company Smiling Eyes Theatre recently received Arts Council funding to take on tour Honest Lies , a play which she co-wrote, performed in and produced. Radio and screen credits include Family Affairs (Channel 5); Crossroads , Emmerdale, DI Ray, The Bay (ITV); The Locksmith, Dangerfield, In a Land of Plenty, The Archers (BBC); Typist Artist Pirate King (BBC Films); and she has just completed filming on a series for HBO. Dawn also played the semi-regular role of PC Pat Dyson in BBC’s Doctors for seven years.
Grace Hussey-Burd
Grace trained at East 15 Acting School. Theatre credits include: The Even Stranger Case of Dr Jekyll and Mr Hyde (Old Red Lion Theatre); Save The Princess (Hen and Chickens Theatre); I’m Angry, But Look At This Dog (Queens Park Arts Centre); Secret Cinema Presents: Bridgerton (Secret Cinema); Off Your Chest (Salisbury Playhouse); The Midnight Gang (UK Tour); A Christmas Cracker (Friargate Theatre); Julius Caesar (The Undisposables); Skellig (The Old Joint Stock); A Clockwork Orange (Tin Robot Immersive); and The Comedy of Errors (Exeter Northcott).
Film and TV credits include: D.U.S.K (Initiative Motion Pictures); Burnt on Both Sides (Rojo Productions). Grace is an improviser with the long-form group Plotbusters ( An Improvised Movie Premier ) and an associate artist of the interactive theatre company The Undisposables. She is one half of the comedy duo Fox & Burd.
Elizabeth Hollingshead
Elizabeth trained at RADA. Theatre includes: Swan Lake (SBD Company); Yamas! (Park Theatre); Maryland (Riverside Studios). Television includes: Dune: Prophecy (HBO). Film includes: The Last Disturbance of Madeline Hynde. Credits whilst training include: The Seagull , As You Like It and Consent
Harriett O’Grady
Harriett O’Grady is a multidisciplinary creative, with her work spanning many artistic forms including performance, directing, and working with music and movement in theatre. Most recently, she played Cleopatra in a radical feminist retelling of Shakespeare’s female characters, and performed as Marian in The Egg’s production of Robin Hood. Harriett is also a director and theatre maker, and last summer directed and produced her first independent production, NAVARRE! , as part of the Camden Fringe.
Nat Kennedy
Nat is a non-binary, queer theatre-maker originally from Liverpool. They are a co- founder of The Sirrah Sisters, a female and non-binary Shakespeare company based in South East London.
Recent acting credits include Dorian (Reading Rep); The Maids (Southwark Playhouse); Macbeth, As You Like It , Henry V (The Show Must Go Online); Iphigenia in Aulis (The Cockpit); and various productions with The Sirrah Sisters, including A Midsummer Night’s Dream, Twelfth Night , and Much Ado About Nothing
Directing credits include Character Flaw (Off West End Award-nominated, Underbelly Edinburgh Fringe, Brighton Fringe Award-winner) and Cluedo Club Killings (Arcola Theatre).
Nina Smith
Nina is an actor, writer, and award-winning clown and comedy performer. She has trained with Angela De Castro, Jacque le Coq technique, John Wright and Aitor Bassuri in physical theatre, clown and mask. She has worked across theatre, including devised and immersive work. Credits include Told by an Idiot, Spymonkey, Punchdrunk, Secret Cinema, Kiln Theatre, Triangle Theatre, Odin Teatret, the Barbican and Soho Theatre. She has also worked on radio and is a voiceover artist.
She won the Funny Women Awards with double act Twisted Loaf, created and made award-winning sell-out shows in Edinburgh and developed a TV pilot for Sky television. She has worked in TV and film including Sky Atlantic, Sky Arts, Apple TV, Channel 4 and BBC in both Drama and Comedy.
Rob Leetham
Over the last three decades, Rob has honed his craft as a professional actor, amassing a diverse portfolio of credits in theatre, television, and film. His performances have transcended national boundaries, captivating audiences both domestically and internationally.
Recently, he embarked on a tour of the critically acclaimed one-man show Shakespeare’s Fool , which debuted at the Edinburgh Fringe Festival and subsequently the International Shakespeare Festivals of Romania and York.
In addition, Rob has been working on the film Dig Deeper and has returned to the Edinburgh Fringe for another successful run of the one-man show, The Whirligig of Time
Throughout his illustrious career, Rob has encountered a series of extraordinary experiences. Notably, he was assigned a role as a clown within the confines of the Big Brother House, played the keyboards for Jasper Carrott at the Birmingham NEC, and performed as ‘Slippery Sid’ before a royal audience in a slapstick silent comedy car stunt show.
Scott Karim
On stage Scott most recently starred in Ian Rickson’s production of London Tide at the National Theatre. This adds to his many other theatre credits which include The Flea (Yard Theatre); the award-winning 2.22 A Ghost Story opposite Cheryl Cole (Lyric Theatre); Chasing Hares (Young Vic); The Invisible Hand (Kiln Theatre); Dara, Great Britain and Othello (National Theatre); Oklahoma! and The Country Wife (Chichester Festival Theatre); The Arrival and The Invisible (Bush Theatre); and Young Marx (Bridge Theatre).
Scott can currently be seen in Catch You Later (Channel 5). His other television credits include Halo (Paramount+), Dracula and The Dumping Ground (BBC), The Great (HULU), Electric Dreams: Crazy Diamond (Channel 4) and Britannia (Sky).
Zachary Pang
Zachary is a London-born actor who grew up in Singapore and graduated from Mountview.
Theatre credits include; Dear Evan Hansen (Pangdemonium Theatre Company); Aladdin (Tunbridge Wells Assembly Hall); Julie: The Musical (The Other Palace); Snow White (Theatre Royal Bury St Edmunds); The Son, Spring Awakening, The Full Monty (all for Pangdemonium Theatre Company); and Macbeth (SRT). Theatre whilst training include; Oh! What a Lovely War, Boy, Circle, Mirror, Transformation, Mojo and Julius Caesar
Screen credits include; Zack & Xander Can! (Disney Channel Asia); Forensik , Code of Law (both for Weiyu Films); Me, Myself and Isaac (Papahan Films); and Super4orce (Monochromatic Pictures)
Billy Howle
Billy Howle can most recently be seen in the Netflix series The Perfect Couple and will next be seen on screen in the feature film, All Before You. On stage, he has just finished the double bill, Roots/Look Back in Anger at the Almeida Theatre.
Further screen credits include Kid Snow; Under The Banner Of Heaven (FX); Strangeways in The Beast Must Die (BritBox); The Serpent (Netflix/BBC); MotherFatherSon (BBC Two) and Chloe (Amazon/ BBC). Films include Infinite Storm opposite Naomi Watts and On Chesil Beach opposite Saoirse Ronan.
Further stage credits include: Dear Octopus at the National Theatre and playing the titular role in Hamlet at the Bristol Old Vic directed by John Haidar.
Kathryn Hunter
Kathryn Hunter’s stage career is defined by her remarkable versatility and physicality. Described as a ‘virtuoso physical performer,’ she has collaborated with renowned theatre companies such as Shared Experience and Complicité. In 1991, she won the Laurence Olivier Award for her role in Friedrich Dürrenmatt’s The Visit . Widely praised for her chameleonic ability, she has embodied a vast range of characters, including male and nonhuman roles.
Her upcoming projects include Nia DaCosta’s Hedda, Thea Sharrock’s Ladies First for Netflix alongside Sacha Baron Cohen, and Paramount’s Vicious opposite Dakota Fanning.
In recent years, Kathryn delivered a critically acclaimed performance as the Three Witches in Joel Coen’s The Tragedy of Macbeth, earning the New York Film Critics Circle Award for Best Supporting Actress. She starred as Eedy Karn in the Disney+ series Andor, Lenny Lines in Netflix’s Black Doves , and Swiney in Yorgos Lanthimos’s Poor Things . In 2024, she appeared in Francis Ford Coppola’s Megalopolis , the horror film The Front Room opposite Brandy, and Ryan Murphy’s FX series Grotesquerie
Toby Jones
BAFTA Award-winning actor Toby Jones is known for his roles both on stage and screen.
He can most recently be seen in A Cruel Love: The Ruth Ellis Story and Mr Bates Vs The Post Office, both for ITV. His titular performance as Mr Bates earned him a nomination for Leading Actor at the 2025 BAFTA Television Awards. Toby will next star in the ITV phone hacking drama The Hack , with David Tennant.
Further recent onscreen credits include Mr Burton, Sam Mendes’ Empire of Light alongside Olivia Colman; The Pale Blue Eye for Netflix; The Long Shadow for ITV; The Wonder, opposite Florence Pugh; and Indiana Jones and the Dial of Destiny. He will also soon appear on screen in Duke Johnson’s The Actor, based on the 2010 novel Memory by Donald E. Westlake.
Previous television and film credits include Tetris , The English, Danny Boy, First Cow, Worzel Gummidge and Detectorists . Toby similarly has an expanse of onstage credits to his name, perhaps most notably Uncle Vanya at the Harold Pinter Theatre, in the titular role. Further theatre credits include The Painter (Arcola Theatre), The Birthday Party (Harold Pinter Theatre) and Every Good Boy Deserves A Favour (National Theatre). His role as ‘Arthur’ in Kenneth Brannagh’s The Play What I Wrote earned Toby an Olivier Award, for Best Actor in a Supporting Role. He was again nominated for an Olivier in 2020, for his outstanding performance in the leading role in Uncle Vanya
Meera Syal
Meera Syal CBE is a multi-award-winning actress, comedian and writer.
Theatre credits include Much Ado About Nothing (RSC), Behind The Beautiful Forevers (NT), Romeo and Juliet (Garrick Theatre) and Noises Off (West End). She received the What’s On Stage Award for Best Actress for her role as Shirley in Shirley Valentine (Menier Chocolate Factory and West End).
Previous TV and Film credits include Goodness Gracious Me, The Kumars at Number 42, The Split , Broadchurch, Back To Life, Yesterday, Paddington 2, Doctor Strange, Beautiful Thing, Absolutely Anything, Alice Through the Looking Glass and SPIN
Her credits as a screenwriter include the popular films Bhaji On The Beach, Anita and Me and My Sister Wife, for which she won two Asian Film Awards (AFA), for her screenplay and performance.
Her novel, Anita and Me, won the Betty Trask Award and was the first novel by a British Asian writer to be included on the national curriculum. She has written two other critically acclaimed novels, Life Isn’t All Ha Ha Hee Hee and The House of Hidden Mothers
Meera holds honorary doctorates from the University of Manchester, the University of Birmingham and SOAS, and was also previously a Visiting Professor for Theatre at St Catherine’s, Oxford University. In 2023 she was presented with the BAFTA Fellowship for her outstanding contribution to the industry. Meera has also been a recipient of the Women in Film and Television Award for Creative Innovation.
Casting
Casting Director Annelie Powell (Annelie Powell Casting)
VO Artist / Founders Casting Director Katy Covell (Gilbert and Covell)
Casting Assistant Gabriella Shimeld-Fenn (Annelie Powell Casting)
Core STOREHOUSE Production Team
Head of Production Adam Murphy
Associate Producer Pippa Davis
Head of Technical Juan Chastang Puerma
Senior Creative Production Coordinator Matt Hudson
Associate Director Beth Pitts
Creative Researcher & Strategist Aoife van Linden Tol
Executive Coordinator Clara Aliotti
Production
Production Manager - Theatre & Technical Andy Reader
Production Coordinator Jasmin Collier
Production & Site Operations Manager James Paterson
Technical Sound Designer & Systems Engineer Simon Hendry
Production Sound Engineer Dom Bell
Sound Design Associate Daniel Jones
Production LX Adam Povey Lighting Ltd (with special thanks to Adam Povey, Iris Willems, Adam Squire)
Lead Lighting Programmer Dan Young
Lighting Programmer Adam Millard
Lighting Associate Jay Brown-Young
Additional Creative QLab Programming Sebastian Frost
Technical Support Thomas Robson
Site Manager Dan Harley
Show Technician Kate Tregear
Show Technician Francis Moore
Stage Management
Company Stage Manager Danielle Whitfield
Deputy Stage Manager Erica Talbott-Morgan
Assistant Stage Manager Beth Martin
Assistant Stage Manager Frances Ashton
Assistant Stage Manager Millie Drury
Assistant Stage Manager Lydia Wainwright
Rehearsal Stage Manager and Senior SM consultant Ian Stephenson
Thanks to James Hamilton, Rebecca Cran and Sasha Reece
Scenic Design Department
Scenic Production Lead Madi Bain
Pre-production Scenic Lead Amy Pitt
Scenic Build Lead Jenna Jardine
Scenic Team Leads Julia Powell Esme Anderson
Willow Team Leads Fin O’Brien , Keiran O’Brien
Scenic Production Buyer Ellie Sharville
Props Coordinators Maike Hitzeroth , Shelly Stansfield , Ruth Shephard , Alizé Speed
In World Graphic Design Becky Dee Trevenen and David Ahern
Illustrations Joe Fairweather Hole
Scenic, Props and Install Team – with huge thanks for your creativity, energy and commitment
David Ahern, Libby Alteras, Esme Anderson, Xan Anderson, Joy Bariana, Lizzy Benning, Michelle van Besouw, Willow Bradshaw Murrow, James Bromley, Ksenia Burnasheva, Bob Condick, Zoe Crook, Ciara Crowley, Beth Dalton, Holly Demine, Lola Donoghue, Joe Douglas, Isabella Furness, Charlotte Gainey, Ezme Gaze, Zara Gaze, Richard Hackney, Corin Harper, Bex Hazell, Maya Howell, Bianca Hlywa, Joe Fairweather Hole, Josh Hooper, Kimberley Hughes, Hugo Inkson, Brian Jones, Acktarr Khedoo, Lola King, Ansis Kirmuzs, Albi Knight, Natalie Kynigopoulou, Jimmy Marlow, Ben Marsh, Louis Mason, Libby Monroe, Sian Murphy, Hugh Neville, Beata Nora Vida, Eleni O’Brien, Fin O’Brien, Kieran O’Brien, Tom Oliver, Jack Osborn, Jessie Parish, Caroline Perry, Keir Richardson, Gina Roberts, Athena Ross-Michaelides, Lydia Reed, Twopee Saengsawang, Abigail Screen, AJ Seaman, Nick Sellek, Will Sharville, Ruth Shephard, Katherine Smith, Alizé Speed, Christopher Staub, Ellie Strong, Tiger-Lily Taylder, Eve Tindall, Becky-Dee Trevenen, Hannah Ursula, Jay Walters, Jerome Walters, Jordan Watson, Rose Waudby, Ellie Williams, Kathy Woolley, Arabella Wunderlich
Scenic Placements
Wanxin Cen, Abhisikta Dasgupta, Elsa France, Georgios Fytas, Elaine Huang, Susie Lee, Sihan Liu, James Meaney, Morgan Tucker, Yinbo Yao, Chaoyue Zhang, Jiayi Zhou, Keying Zhu
We would also like to add special thanks for bookbinder advice and equipment from Gavin Rookledge of Rooks Books Ltd and book leathers Roque Furtado from J.T Bachelor Ltd, and to World of Wool for the wool of 1700 sheep, and Benridge Woolworks for their contribution.
Set & Fabrication
Set Fabrication Scene 2 (with special thanks to Ben Creasey and Connor Budny)
Elevated Structure, 3D Print Design and Fabrication Mamou-Mani
Elevated Structure and Bar Fabrication Triton Projects
Inkwell Pool Fabrication Fables Creative and Matt Hudson Flown Lantern Fabrication Druid Props
Interactive Props Design & Fabrication
Lantern Fabrication Lamp & Pencil Interactive Props Installation Technician Dylan Bennett
Costume Department
Costume Supervisor Anna Dixon
Costume Makers Bryony Attwood , Sandra Martin , Rosie Armitage
Costume Assistants Magali Sumkötter Cecilie Winsby, Erika Schrader, Collette Robinson
HMU
Hair & Makeup Designer Jessica Richardson
HMU Deputies & Assistants Lorna Crowther, Hattie Leviston , Mia Rachel Byrne
Guest Choreographer Natalie Marsland
Film / Video & Animation
Video Content & Installation Ian Galloway and MESMER
Video Content Associate Director James George
Animated Content Oliwia Szanajca-Kossakowska
Animator Chris Staub
Wellbeing Team (Sage & Jester)
Director of Wellbeing and Engagement Tayyaba Jordan
Company Assistant & Wellbeing Coordinator Freya Hollis
Marketing, Communications and Ticketing Partners
Media Agency and Social Media AKA Ltd
PR Chloe Nelkin Consulting
Ticketing LW Tickets
Promotional Films TEA Films
Production Photography Helen Murray
Programme Editor George Spender
Programme Designer Marcin Potępski
Creative Consultants
with special thanks for your invaluable contributions and support
Narrative, Story & Script Consultants Charlie Covell Morgan Lloyd Malcolm
Experiential Design Consultant Abraham Burickson (Odyssey Works)
Illusion Design Consultant (R&D) John Bulleid
Sustainable Design & Materiality Consultants Simon Carroll , Leksi Kostur (re:right design)
Interactive Tech Consultants Clockwork Dog
Research and Development
With huge thanks to
Creative Direction during R&D Sheena Patel
Writer during R&D Jessica Creane
Topi Lehtipuu for strategic contribution and R&D
Running Team
Operations Manager Jasmin Collier
Front of House Manager Georgie Fitton
Front of House Duty Managers Chris Driver and Nicholas Kettle
Front of House and Access Stewards thanks to every member of our incredible STOREHOUSE Front of House team
Access
Access Training, Consultancy & Partners
Access All Areas Productions (with special thanks to Matt Malby, Lucy Andrews, Nick Llewellyn, Patrick Collier)
Smoke & Mirrors
Bar, F&B Management and Operations
Fire + Fly (with special thanks to Charles Montanaro and Robin Milton)
Food Menu Design Josh Pollen
Crew
Connections Crew Trinity Crew (special thanks to Gianandrea Lazzari, Marc Zanetta, Alex Rae; and all at Trinity Crew)
Security
Build and Site Security Rahel Miah Ridwan Hassan
Thierry Mordon and all at 5 Star Security
Running Security 5 Star Security
Health & Safety We Are OPS
Cleaning
Cleaners during build & run A1 Event and Exhibition Cleaners
With HUGE and very special thanks to the following for their invaluable time, work and contributions to the making of STOREHOUSE
Bartosz Zdunowski, Broadwick, Amelia Campbell, Carrie Croft, Susan Bin, Helen Duff, Jouvan Fucinni, Gareth Fry, Amy Gwilliam, Helena Juntunen, Paul Larsmon, Sander van der Linden, Simon Lyshon, Christopher Morrison, Mimi Poskitt, Dr Lee Rowland, Anna Solderberg, Victoria Strachan, Matthew Stein, Megan Stewart, Tassos Stevens, Erin Witton, Nick Ward
All the incredible artists, creatives and consultants who participated in R&D, Playtesting, Production and the STOREHOUSE journey
Sage & Jester is an impact-led arts production company that exposes manipulation and misinformation. At Sage & Jester, entertainment sparks critical thinking. Our work blends wisdom and wit to entertain, enlighten, and help you harness your internal BS detector. We’re not just storytellers, we are catalysts for a more informed, more engaged society.
CEO and Founder
Managing Director
Executive Producer
Operations Director
Director of Marketing and Communications
Head of Marketing & Communications
Marketing & Content Manager
Finance Director
Head of Production Finance
Director of Wellbeing
Head of Partnerships
Creative Researcher and Strategist
Executive Coordinator
Company Assistant & Wellbeing Coordinator
Finance Assistant
Creative Director
Lead Producer
Head of Production
Head of Technical Design
Associate Producer
Senior Creative Production Coordinator
Satellite Programme Curator
Producer
Satellite Programme Coordinator
Liana Patarkatsishvili
Amy Rowe
Zoe Snow
Harvey Gilbert
Tina Walsberger
Dion Wilson
Kimberley Taylor
George Robinson
Seema Gupta
Tayyaba Jordan
Brian Murnin
Aoife van Linden Tol
Clara Aliotti
Freya Hollis
Nikita Makwana
Sophie Larsmon
Rosalyn Newbery
Adam Murphy
Juan Chastang-Puerma
Pippa Davis
Matt Hudson
Matthew Bennett
Victoria Walker
Linseigh Green
