How very dare we? Pride and Prejudice is a cultural icon! I know, I know. But sometimes we have a tendency to place cultural icons so high up on a pedestal that we almost have to squint just to see what made them iconic. Jane Austen was not just a historic writer that you were forced to read in your GCSEs. She was a human who experienced life with all of its joy and struggles and used those experiences to write with a truth, clarity, and, yes, humour that still resonates today.
Our show is unapologetically silly, but it also comes from a place of respect and admiration for the original work. It’s equal parts parody and love letter. (With a decent smattering of panto thrown in for good measure.) I think Lizzie’s intelligence and independence is very much based on Jane Austen’s own sense of playing with (and joyfully subverting) societal expectations and, hopefully, that’s what we continue to do with this piece. Our very naughty and intelligent writer has somehow managed to distil this rich text into 90 rollicking minutes where the clever things are silly and the silly things are clever. That’s an almost impossible task and it has been a joy to bring their highly considered text to life on stage.
And yes, we lovingly poke fun at this cultural icon. But, by god, it’s a work of genius. At its heart, this is a work about having the tenacity and courage to fight against the societal expectations that are constraining us and live in the freedom and respect of being our true selves. To be seen takes tremendous courage and sacrifice. In Lizzie’s case, it took a fortitude and strength that society found threatening and dangerous in a woman. In Darcy’s case it took the strength to break down the walls of what it meant to be a “man” and be vulnerable enough to admit his mistakes and meet Lizzie as an equal. (Has anything changed?)
Jane Austen loved a tipple. She brewed her own beer, loved attending parties - she once got engaged just for the fun of it and called it off the next day. She’s not some untouchable deity. So forgive us, but tonight these Aussies are going to take Jane Austen off the ten-pound note and throw her a party! To Jane! We love you, most ardently.
I hope you have fun. I hope you laugh until your sides hurt. And, I hope, you walk away with a fresh perspective on the nuanced, gritty, and beautiful text that is Pride and Prejudice.
Playwright’s Note
Dearest reader,
When Mister Darcy writes to Elizabeth Bennet from London, their strained relationship is changed forever. When “Pride” is replaced with “Plied”, a decorated classic becomes… this.
It’s amazing the difference that a couple of letters can make!
Adapting Jane Austen’s classic for ninety minutes with only five actors was always destined to be a process of distillation. The source material is such a rich, generous piece; I could never have included it all—as the two-and-ahalf-hour-long first draft proved!
I also needed to present Pride and Prejudice as a cultural phenomenon. When the BBC mini-series gave us Colin Firth in a wet linen shirt on primetime television, it changed our media landscape forever. When the Joe Wright film was released in 2005, contemporary cinematography and a sweeping score brought the story roaring into modernity. It would have been remiss of me to ignore these interpretations—but brevity must have its day!
Thus began the cutting, the combining of characters, doublings, and quick changes dictated by necessity, then justified theatrically to create something that exists between pantomime and farce. Finding this style was integral to facilitating the story and the comedy.
This also involved playing with the differentiation between the worlds of Lizzy and Darcy and of the actors sharing a story. Keeping a foot in both worlds provides a vehicle to draw satirical parallels to our society, and this story is ripe for it! Regency England brings explicit language to the class structures and obligations that remain, though more implicitly, today. As a satirist, what a gift!
I must thank all involved for their terrific work on Plied and Prejudice. The production and creative team, the cast, and the venue staff at The Vaults have all gone above and beyond to bring this ridiculous show to life. While I couldn’t possibly list everybody, I must extend particular thanks to Dash, Penny, and Alex for their immutable creativity, vision, and dedication.
Finally, thank you all for joining us at Pemberley. You’re going to have a ball!
Yours most ardently, Matt Semple
Director Dash Kruck
Dash Kruck is an award-winning actor, director, vocalist and cabaret artist. As a director, he has worked with organisations such as Hayes Theatre Co, NIDA, QUT, Oscar Theatre Co, The Actor’s Conservatory, and 4MBS. He was recently nominated for Best Director at the Sydney Theatre Awards for his work on The 25th Annual Putnam County Spelling at Hayes Theatre Co. Dash was also at the helm of the national tour of Friends! The Parody Musical.
As a writer, Dash has created highly successful plays and cabarets including I Might Take My Shirt Off (Winner: Best Musical or Cabaret) which has enjoyed critically acclaimed seasons across the country. His collaborative work on A Tribute of Sorts was honoured with 4 awards including Best New Australian Work and Best Independent Production and was subsequently bought and programmed by QTC.
Author Matthew Semple
Matt Semple (They/He) is a writer based in Meanjin (Brisbane) and has worked as a performer, pianist, music director and cabaret artist throughout Australia. Matt graduated with a B.Mus. (Musical Theatre) in 2015, and recently returned to the Conservatorium to work as a sessional Musical Director in 2023.
They write annually for A Very Naughty Christmas (Woodward Productions), which has become an annual festive staple of Brisbane since 2017, and their cabaret Hers performed to a sell-out audience as part of Queensland Cabaret Festival.
As a musical theatre composer, Matt recently workshopped a new musical with funding from Arts Queensland which is currently undergoing further development. Matt is passionate about the fostering of new Australian cabaret and musical theatre and is in frequent collaboration with established and emerging artists in this pursuit.
More information can be found at matthewsemple.com.
Penny Challen Set and Costume Designer
Penny Challen trained at QCA and NIDA, and was a Resident Trainee Designer at the Royal Shakespeare Company (RSC). In London, Penny designed: Bush Theatre (When You Cure Me; Bites), Soho Theatre (Protection - costumes), The Gate Theatre (Hair - costumes), and RSC (The Taming of the Shrew). For renowned designers Es Devlin, Rae Smith, and Tom Piper, she helped create over 40 mainstage projects for the RSC, Royal Opera House, English National Opera, National Theatre, and others. Highlights include Orphée and Salome (ROH); Twelfth Nightand As You Like It (RSC); Oliver Twist (American Repertory Theatre) and Cabaret (West End). Locally, designs include OQ (Are You Lonesome Tonight, La Boheme), QT (Happy Days), Belloo (Boy Lost, Motherland), La Boite (The Glass Menagerie, Water Wars), Queensland Conservatorium (42nd Street, Cry Baby, Underworld) and others. She is the Co-Artistic Director of Little Match. Works include The Owl and The Pussycat, Babushka, & Bilum Mamma.
Dan Venz Movement Director
Dan is a director and choreographer known for his dynamic and innovative movement direction in theatre. He has worked extensively with Shake and Stir Theatre Company, serving as movement director for James and the Giant Peach and Fourteen, and with Queensland Theatre on First Casualty. His expertise in physical storytelling was also showcased in Plied and Prejudice. Dan is the co-creator, director, and choreographer of A Very Naughty Christmas, the hit adults-only holiday show that has become a festive favourite. His highenergy, comedic, and visually striking choreography plays a key role in the show's ongoing success. With a strong background in dance and performance, Dan blends traditional choreography with contemporary theatrical movement, crafting engaging and expressive staging. His ability to create visually exciting performances has made him a sought-after creative in Australian theatre. Dan is also the Head of Dance at the Queensland Academy of Excellence in Musical Theatre, where he leads the department and mentors the next generation of performers.
Producers
Woodward Productions
Alex Woodward
Alex is an accomplished producer and theatre-maker with nearly two decades of experience in Queensland’s performing arts industry. As the driving force behind Woodward Productions, Alex specializes in creating gateway theatre experiences that attract new audiences to live performance through accessible, engaging, and innovative productions.
Notable achievements include the Australian tour of The Woman in Black, which captivated over 75,000 audience members, and the original work Plied and Prejudice which took over space at Brisbane’s Northshore and Alex conceived the hit adults only Christmas show A Very Naughty Christmas which has been running annual since 2017 and has performed in London, Brisbane, Melbourne, Sydney, and Gold Coast. Alongside Woodward Production achievements he has led the charge with general management of multiple QPAC musicals for Prospero Arts including Jersey Boys and The Pirates of Penzance in Concert.
In addition to their Australian successes, Alex is making an international impact with A Very Naughty Christmas and Plied and Prejudice. These shows are being presented in London, further solidifying Alex’s reputation as a pioneering theatre producer. With a passion for storytelling and audience development, Alex continues to push boundaries, crafting theatrical experiences that resonate with diverse audiences and expand the reach of Australian theatre. www.woodwardproductions.com
Neil Gooding Productions Neil Gooding
Neil is currently one of the producers of Back To The Future in the West End and on the US Tour. In 2024, Neil was one of the producers of Harmony, Back To The Future, Sunset Boulevard and Gypsy on Broadway, and has produced the Australian productions of The Woman In Black and Peter And The Starcatcher, as well as being the General Manager for the Australian tour of Rent. Other producing credits include the premiere of What’s New Pussycat in Birmingham, Islander (New York), Drummer Queens (Australia), LEAP (Australia), The 39 Steps (Off-Broadway), The Empire Strips Back (US Tours & Paris), the Helpmann Award winning Sweet Charity, the Australian premiere of Dogfight, High Fidelity, Handle With Care (NYC) starring Carol Lawrence and Alan Cumming’s one-man version of Macbeth (Broadway).
Neil was the director of Passion, at the Arts Centre in Melbourne for Life Like Touring. He also directed the Australian premiere of Dogfight by Benj Pasek & Justin Paul (Hayes Theatre), the national tour of Thank You For Being A Friend, and the World Premiere of Truth, Beauty And A Picture Of You. Neil has produced and directed Sing On Through Tomorrow by Matthew Robinson, LOVEBiTES by Peter Rutherford and James Millar, Love Letters, Irving Berlin: Songs In The Key Of Black (Lucy Maunder), The Divine Miss Bette starring Catherine Alcorn, as well as being one of the producers of the hit Australian play Holding The Man in the West End starring Jane Turner and Simon Burke. In 2009, he produced the original tour of Breast Wishes and directed and produced the Australian premiere of Gutenberg! The Musical! for which he was nominated for a Helpmann Award and a Green Room Award for his direction. In 2008, Neil produced (with WhiteBox) the World Premiere of The Hatpin starring Caroline O’Connor, Peter Cousens, Barry Crocker AM and Melle Stewart, which then went on to perform at the NYMF in New York. Neil also served as the Assistant Director on both of these productions.
Neil is the author of Back to the 80’s (which is now produced hundreds of times around the world every year), and Popstars – and was the founding Chairman of Hayes Theatre Co in Sydney.
Co-Producers
Co-Producer and General Manager Glass Half Full Productions
Glass Half Full Productions is an international theatrical production company dedicated to producing creatively ambitious, commercially, and artistically successful work that reflects our values. We work in the West End, on Broadway, and in Australia. Recent UK credits include: Reverberation (Bristol Old Vic) Two Strangers (Carry A Cake Across New York) (Criterion), Dr Semmelweis (Harold Pinter), Bleak Expectations (The Criterion), The Seagull (Harold Pinter), Cyrano de Bergerac (Playhouse, Harold Pinter, Glasgow Theatre Royal), 9 to 5: The Musical (The Savoy), Back to the Future: The Musical (the Adelphi), and The Wider Earth (Natural History Museum). Recent Broadway highlights include: Pictures From Home (Studio 54), POTUS (Shubert Theatre), Betrayal (Harold Pinter and Bernard B. Jacobs, Broadway), and Seawall/A Life (The Hudson Theatre). Australian credits include: Peter and the Starcatcher, Holding Achilles, Shrek: The Musical, Charlie and the Chocolate Factory, Muriel’s Wedding the Musical, Matilda, and My Fair Lady on tour. Recent Australian investments include: 9 to 5: The Musical, Girl from the North Country, and Madagascar.
The GHF team is made up of Gareth Lake (Producer), Leila Sykes (UK Producer), Clemmie Forfar (UK Producer), Victoria Weinberg (US Producer), Pip Brignall (UK General Manager) and Matt Colyer (Team Assistant and Office Manager). www.glasshalffullproductions.co.uk
Co-Producer Daniel Stoddart: Stoddart Entertainment Group
Daniel Stoddart is a respected Australian producer, theatre-maker, and writer with over two decades of professional experience in the arts industry. As the driving force behind Stoddart Entertainment Group, Daniel specialises in delivering world-class productions and large-scale live theatrical experiences to audiences across Australia and New Zealand. He is dedicated to setting new benchmarks for excellence in independent theatre, championing innovative storytelling and high production values.
Currently, Stoddart Entertainment Group is producing the 10th Anniversary Tour of The Play That Goes Wrong, the longest-running comedy in London’s West End, across Australia and New Zealand. The company has also produced award-winning productions of Jersey Boys, Chess, Mamma Mia!, Billy Elliot, and Disney and Cameron Mackintosh's Mary Poppins—each earning critical and commercial acclaim.
Beyond producing, Daniel is a passionate advocate for arts education and talent development. He is the founder and producer of the Junior Theatre Festival Australia, the largest event of its kind in the Southern Hemisphere, celebrating the achievements of young people in musical theatre. His work has played a pivotal role in nurturing emerging performers who continue to shape Australia’s vibrant theatre industry.
In addition to his producing credits, Daniel is the book writer for Dot and the Kangaroo, a new Australian musical for young audiences based on the beloved Australian children's classic.
With a dedication to bold artistic vision, audience engagement, and the future of Australian theatre, Daniel continues to deliver productions that entertain, inspire, and elevate the cultural landscape.
www.stoddartentertainment.com.au
Co-Producers
Co-Producer Jana Robbins
JANA ROBBINS is a Tony, Olivier, and Drama Desk Award winning Broadway and Off-Broadway producer. Her Broadway producing credits include LITTLE WOMEN, the revival of RAGTIME, and the recent revival of COMPANY (Tony Award “Best Revival of a Musical), as well as holding a financial stake in both WAR HORSE and SOMETHING ROTTEN. Her Off-Broadway producing credits include I LOVE YOU BECAUSE, and WHITE’S LIES. She was also lead producer of FIDDLER ON THE ROOF in Yiddish directed by Joel Grey, which won The Drama Desk, Outer Critic's Circle, and Off-Broadway Alliance Awards for “Best Revival of a Musical .“
UK producing credits include THE JAZZ AGE which she directed and produced at The Playground Theater, THE ASTONISHING TIMES OF TIMOTHY CRATCHIT at The Hope Mill Theater, and COMPANY directed by Marriane Elliot in the West End (Oliver Award). As part of Pinnacle Productions, she produced ROSE starring Maureen Lipman at The Ambassadors Theater, DEATH NOTE in concert at the London Palladium, and YOUR LIE IN APRIL at the Royal Drury Lane prior to a run at the Harold Pinter Theater.
An actor as well, Jana has appeared in leading roles on Broadway in GOOD NEWS, I LOVE MY WIFE, CRIMES OF THE HEART, ROMANCE-ROMANCE., GYPSY (where she played the “bump it with a trumpet“ stripper Mazeppa, while standing by for Tyne Daly as Mama Rose (a role she played many times), and covered both Linda Lavin and Michele Lee in THE TALE OF THE ALLERGIST’S WIFE, and starring opposite Valerie Harper in the National Tour. Jana is a proud recipient of The Jewish National Fund’s “Tree Of Life Award.”
Co-Producer
Thomas Hopkins Productions
Thomas Hopkins Productions (THP) was founded in 2019 by award winning Theatre, Film, Television & Radio producer Thomas Hopkins. THP has produced many live theatrical productions & multiple productions created and filmed specifically for platforms such as Sky, BBC, Amazon Prime, BroadwayHD, Broadway On Demand and educational platform Digital Theatre Plus.
Notable productions include the critically acclaimed production of Simon Stephens A Song From Far Away Staring Will Young at HOME in Manchester and Hampstead Theatre in London and BBC Radio Four and Martin Sherman’s ROSE starring Dame Maureen Lipman in London's West End at The Ambassadors Theatre for a sell out season and can still be seen on Sky Arts and BroadwayHD.
PREVIOUS PRODUCTIONS INCLUDE:
Glorious (Hope Mill, Manchester); Stalled (The Kings Head Theatre); Sharon Osbourne - ”Cut The Crap’’ (Fortune Theatre & The Alexandra Theatre); Song from Far Away (Home & Hampstead Theatre); Rose (Ambassadors Theatre/Hope Mill Theatre/Park Theatre/Sky Arts/BroadwayHD - OnComm award-winning); Passion (Hope Mill, Manchester); The Night Larry Kramer Kissed Me (New Wimbledon - OnComm award-winning); Godspell (BroadwayHD); Scaramouche Jones (Stream.theatre/BroadwayHD); Closer Than Ever (BroadwayHD); Anthology (Actors’Church, Covent Garden); Make Me a Song (New Players’); Mathilde (Edinburgh/ Vaudeville); Kurt and Sid (Trafalgar Studios); Smokey Joe’s Café; Closer Than Ever; Tomorrow Morning; By Jeeves (all Landor Theatre); My Trip Down the Pink Carpet (Apollo); The Funny Girls (New Wimbledon Theatre) and as associate producer Private Peaceful (Garrick Theatre/Bristol Old Vic/The Barn Theatre).
GENERAL MANAGER & EXECUTIVE PRODUCER WORK INCLUDES:
White Rose (The Marylebone Theatre) If I Had You A New Musical (The Actors Church), Winghaven Park – A New Musical (The Actors Church) Frank Wildhorn’s - “Your Lie In April” (The Harold Pinter Theatre) Lady Chatterley’s Lover: A New Musical (ShaftesburyStream.Theatre/BroadwayHD); Too Close to the Sun (Comedy); A Tale of Two Cities (filmed at The Theatre Royal Brighton for PBS America) and HMS Pinafore (filmed for BroadwayHD).
THP is passionate about the creation of new theatrical experiences and productions and is currently developing a new version of Boy George’s autobiography musical Taboo opening in New York 2027. THP is also developing a West End production of Harrison David Rivers Play This Bitter Earth to be directed by Grammy Award, Emmy and 2x Tony winning actor, singer, director, composer, and playwright Billy Porter opening in June 2025.
Thomas Hopkins is a proud member of both The League of independent Producers, The Society Of London Theatre and is a voting member of the Olivier Awards. THP is a proud supporter of the charity Just Add Milk committed to enhancing accessibility within the industry through workshops, new plays, educational programs, and the Luke Westlake scholarship.
THP
Founder: Thomas Hopkins
General Manager : Giles Rowland
Operations Manager: Dana Heres Diddens
Production Assistant: Will Fieldhouse
PA & Office Assistant: Emma Leaver
Marketing Consultant: Tessa Daniel
Accounts: Clare Pope
Legal: So Legal
Brigitte Freeme Femme 1
Brigitte is a joy-centric actor, writer and director based in Brisbane and London. She graduated from QCGU’s Bachelor of Acting in 2021. Her most recent theatre credits include: Plied and Prejudice (Woodward Productions, 2024), The Laramie Project (Diane Cilento, Queensland Theatre, 2021), I am Woman, Hear Me (Anywhere Festival, Director & Writer, 2021), Mr Burns (Burke Street Studios, 2021), Romeo and Juliet (4MBS, 2022), The Tempest (4MBS, 2023), Top Girls (Ad Astra, 2023) and Flamingos (Dead Puppets Society, 2023). Her most recent film and television credits include: Black Snow Season 2 – Constable (2025), I Know a Lawyer – Trilby Misso Lawyers Commercial (Rumble, 2023), and My Dominos – Commercial (Taxi Films, 2023). Brigitte was nominated for Best Supporting Actor in an Independent Production in the 2023 Matilda Awards, for her performance in Top Girls. Brigitte is always looking for her next opportunity to play and delight.
Monique Sallé Femme 2
Training: Brent Street Studios; Australian Institute of Music (AIM) Theatre includes: Rent (25th Anniversary Production, Sydney Opera House); A Chorus Line (Australian Tour); Mamma Mia! (Australian Tour); Hair (50th Anniversary Production, Sydney Opera House); The Swell (Old Fitz Theatre); Shrek the Musical (Australian Tour); Ghost the Musical (Australian Tour); The Lovers (Original Cast, Sydney Opera House); Zombie! The Musical (Hayes Theatre); The Dismissal (The Seymour Centre); The Deb (ATYP); The Drowsy Chaperone (Hayes Theatre); Catch Me If You Can (Hayes Theatre); Sondheim on Sondheim (The Seymour Centre), Bloody, Bloody Andrew Jackson (Factory Theatre); and Carrie (The Seymour Centre).
Television includes: Bump; Significant Others; Deadly Women and Splashdance.
Emma Andreatta Femme 3
Emma is an actor, voice-over artist, writer, juggler and stilt walker - born and raised on Noongar land. Most recently she played Prax in Not Now, Not Ever: A Parliament of Women (25A). In 2023 she played Moulton/Maid in The Importance of Being Earnest (Sydney Theatre Company), directed Brilliant Traces at Flow Studios and you may have seen her clowning around as ‘lightningbabe’ in Tough Titties. In 2022 she played Patrizia/Rose/The Madonna/ The Spirit of Italy in The Italians (25A) and understudied the role of Jess in Grand Horizons (Sydney Theatre Company). Emma has co-produced the Everything But The Kitchen Sink Festival annually since 2023, and has also written and performed two solo shows: Where be the Winged Apes? (Perth, Sydney & Newcastle Fringe) and It's Mars Time (JackRabbit Theatre Company). She cut her teeth in the Hayman Theatre (Curtin University) and is a WAAPA 2016 Acting graduate.
Tim Walker Masc 1
Tim is from Sydney, Australia and is a graduate of NIDA (Bachelor of Fine Arts Acting, 2018) where he was the recipient of the Hazel Treweek Shakespeare, Keith Bain Movement and Lesley Walford Awards.
Tim is also a critically acclaimed writer. In 2020 he co-created the Stan original film A Sunburnt Christmas which was nominated for an Australian Writers Guild Award for Best Screenplay (Comedy) and the 2021 AACTA Award for Best Telefeature. He also co-wrote the Stan original film Christmas Ransom for which he was nominated for the 2024 Australian Writers Guild Award (Best Screenplay - Comedy). Selected theatre credits include Agatha Christie’s The Mousetrap (Shake & Stir Theatre Co.), POV (Belvoir Street 25a), Before the Meeting (Seymour Centre), Our Blood Runs in the Street (Old Fitz) and Twelfth Night (Bar’d Work). Screen credits include The Great (Channel 4), Godsend (AUS) and Everything But a Man (USA).
Andrew Macmillan Masc 2
Andrew is an Australian actor, writer, and musician. He trained at the Royal Central School of Speech and Drama. His stage work ranges from classic texts, including a 2023 national tour of Twelfth Night, to contemporary works, such as Everyman Theatre’s 2024 production of The Inheritance. He also premiered his one-man existential dark comedy, A Balloon Will Pop at Some Point During this Play, at the 2024 Edinburgh Fringe, later touring the production to Australia. He has also appeared in multiple runs of NewsRevue, The World’s Longest Running Live Comedy Show (2022 & 2024).
Alexia Brinsley
Plied Piper / Femme Swing & Resident Movement Director
Alexia is a musical theatre performer and improviser from Queenstown, New Zealand. She toured Australia as the MC (Alternate) in Magic Mike Live, and performed extensively on the festival circuit with renowned improv troupes The Big HOOHAA! and Impromptunes. Since relocating to the UK, she made her debut at the Edinburgh Fringe 2024, performing in The Completely Improvised Musical at Underbelly and as Jimmy in Mojo and Jimmy’s magic spectacular with Assembly, before settling in London, where she most recently performed in A Very Naughty Christmas at the Southwark Playhouse.
Alexia is very excited to be starting the year with a bunch of Aussies, Jane Austen, and wine?! – The perfect triple threat!
Zak Enayat Plied Piper / Masc Swing
Having recently moved to London, Zak is established as one of New Zealand’s premier Middle Eastern actors. Born in Wellington and of Afghan descent, he graduated from NASDA and has since built a diverse career as a performer, writer, producer and director, also dabbling in costume work for film/tv. Stage credits include the NZ premiere of Michelle Law's Single Asian Female, his own Kylie Minogue inspired comedy Let’s Get Loco, the NZ Playhouse Australian tour of The Importance of Being Earnest, his solo-show There She Is, and personal highlight D.I.S.C.O. for comedy dance troupe Dynamotion. Zak's screen credits include Kiwi feature film Dead, TVNZ web-series I Date Rejects, and short films Peptok and Like Nobody’s Watching. Last year Zak enjoyed his London directorial debut of the Offie Award-winning production ’Spit In My Face’ by Matthias Moret at Camden People’s Theatre.
Olivia Warren Femme Musician/Rover
Olivia is an actor musician and voiceover artist who trained at Rose Bruford College. She has worked on many eclectic projects spanning theatre, TV and film. Recent credits include English Dubbing for Netflix and Amazon Prime (Sister Death, Ehrengard and Spirit Rangers Season 2 and 3, The Calendar Killer, Number 24 and many more), The Mousehole Cat, Peter Pan at Hall for Cornwall, La Maupin (Best New Musical winner at the Off West End Awards), The Cat in Goblin Theatre's Hey Diddle Diddle! (UK tour), Skylar White in Faking Bad, and she was a soloist for The Classical Roadshow’s Battle of Britain with The Royal Philharmonic Orchestra. As a voiceover artist, Olivia has worked with companies including CBBC, Penguin, Audible and Legoland. Olivia is a writer, co-writing the short film 'Hard as Nails' which won 'Jury's Prize' at the Wales International Film Festival and was selected for the BFI Future Film Festival.
Antonia Richards Femme Musician/Rover
Antonia is a versatile actor and musician with a passion for combing both in her performances. Her recent work includes starring in Dark Nature, a new writing for Camden Fringe directed by Helen Goldwyn. Antonia also showcased her musical abilities as a cellist in The 1975 ‘s music video Part Of The Band. Antonia holds a first-class Honours degree in Opera singing from Trinity Laban Conservatoire. She has performed in several operas and musicals, including the first iteration of The Thrilling Adventures f Lovelace and Babbage directed by Andrew Whyment.
Production Credits
Producers
LEAD PRODUCERS
Woodward Productions
Executive Producer Alex Woodward
Associate Producer & General Manager
Marketing & Cultural Consultant
Accounts & Admin
Neil Gooding Productions
Sophie Watkins
Chi Newton
Marissa Marcelo
Producer Neil Gooding
Associate Producer Georgia Putt
GENERAL MANAGEMENT
Glass Half Full Productions
Producer and Co Founder
Gareth Lake
UK Producer Leila Sykes
US Producer Victoria Weinberg
Associate Producer Clemmie Forfar
General Manager
Company PA & Office Manager
CO-PRODUCERS
Glass Half Full Productions
Daniel Stoddart: Stoddart Entertainment Group
Thomas Hopkins and Jana Robbins
Creative Team
Pip Brignall
Matt Coylar
Director Dash Kruck
Playwright Matthew Semple
Set and Costume Design
Movement Director
String Arrangements
Sound Design
Lighting Design
Original Composition (Australia)
Original Sound Design (Australia)
Original Lighting Design (Australia)
Crew
Penny Challen
Dan Venz
Dominic Woodhead
Aidan Jones
Joe Willcox
Brady Watkins
Ben Murray
Geoff Squires
Company Stage Manager Virna Sologaistoa
Stage Manager on Book
Technical Stage Manager
Production Manager
Set Build
Draftsperson
Summer Keeling
Daniel Yazdani
Glyn Dodd
Centreline Fabrications
Nick Aldrich
James ‘Rusty’ Russell
Lead Scenic Artist Charlotte Bownass
Lead Site Carpenter
Carpenters
Scenic Artists
Costume Makers
Aubrey Turner
Ally Friedman
Matt Richards
Louis Carver
Theo Ellis
Steve Massam
Harvey Barker
Rob Pearce
Ilaria Ciardelli
Isobel Pritchard
Rose Bailey
Zoe Bridger
Lauren Cahill
Gayle MacGregor
Sharon Clarke
Kiah Michaels
Marketing Fever Led by Jessie Fu and Americo Vara
Outdoor Marketing
Publicity
Casting
Venue Credits
THE VAULTS
Cup of Ambition
Tory Lyne-Pirkis
Ellie Collyer-Bristow CDG
Director Kieron Vanstone
General Manager
Head of Operations
Head of Programming
Rachel Foster
George Islay Calderwood
Susannah Bond
In partnership with
Media Partner
The Vaults
First opened in 2013, The Vaults have become London’s home for immersive theatre and alternative arts. Our mission is to collaborate and conspire, embracing artists from all walks of life to come together and inspire others.
We have developed a name for immersive and culinary theatre, parodying popular narratives to promote under-represented communities, and encourage other companies to do the same. We want talented artists from every vocation to mutate their art; to make stuff that is challenging, accessible and imaginative. We are unparalleled, we are unexpected and we are under your feet.
When Plied and Prejudice first reached out to us, we could tell right away that the tunnels would be the perfect home for this truly ambitious new show.
If you would like to bring your production to The Vaults, please send us an email: enquiries@thevaults.london.
Join our mailing list at www.thevaults.london to be the first to hear about new shows, events and experiences.
