Digital Programmes: Reducing paper handling at our shows
Training: Guildford School of Acting
Stage: Athos, The Three Musketeers (This is my Theatre Touring) Billy Bones, Long John Silver, Treasure Island (The Hawth Theatre) Tapio, The Snow Queen (This is my Theatre) Badger, The Wind in the Willows (This is my Theatre) Scrooge, A Christmas Carol (This Is My Theatre), John Worthing, The Importance Of Being Earnest (This Is My Theatre), Cheshire Cat/ March Hare/ King Of Hearts, Alice’s Adventures In
Wonderland (This Is My Theatre), Nurse, Romeo and Juliet (This Is My Theatre), Bottom/Lysander A Midsummer Night's Dream (This Is My Theatre), Rob, Rob and The Hoodies (Vienna's English Theatre), Sam, The Calm (Who Said Theatre) William Babington, Le Chateau (Onatti Productions)
Film/TV: Olivier, Dark Strings (Morley Motion Pictures), Casey, The Jack in the Box (Fowler Media), Cody, Perran (Hard Road Films), Benjamin Geen, Nurses Who Kill (FirstLookTV/CBS Reality), Darren, Hallows Eve (Filmic Media/Moviehouse Entertainment), Sam, Curse Of The Witch’s Doll (Up A Notch Productions), Cheshire Cat, Wonderland X (Fusebox), Jack, Intransit (The Bigfoot Project), Lewis Daynes, Stalkers Who Kill (FirstLookTV/Really), Aidan, The Common (Clickshut Media) Colin, The Hacker (JayEz Productions), Jeff, Face2Face (Crewe Productions), Raiden, Within the Fray (Crucible Films)
Other: Sam, Entangled (Resonance FM)
Training: Guildford School of Acting
Stage: Self, Quest Invisible (Plays Rough) Maggie, Mrs Morstan Sherlock Holmes (Chapterhouse Theatre Tour) Will Scarlet Robin Hood (Chapterhouse Theatre Tour) First Murderer Richard III Globe theatre (Wanamaker Festival) Georgina, Same deep Water as me (Marieke Audsley) His mother, Roberto Zucco (Richard Neale)
Short film: Ness, The Madam (Inquisitive Pictures) Laura, Out There (Inquisitive Pictures) Self, Event (Kimberly Brooks productions) Anna, I do not (Ebb & Flow Productions)
Television: Kelly-Marie West, Doctors BBC
Sponsors of This is my Theatre
Training: Guildford School of Acting
Nominated in the Off West End Awards for Best Male Performance (Kes 2018) and Best Male in a Supporting Role (Different From The Others 2019).
Stage: D'Artagnan, The Three Musketeers, (This is my Theatre Tour) Black Dog, Dr Livesey & Israel Hans, Treasure Island (The Hawth Theatre) Kai The Snow Queen (This is My Theatre Tour) Kurt Giese Different From The Others (The White Bear Theatre) Ted’s PS Maggie & Ted (Staged Reading, The White Bear Theatre) Toad The Wind in the Willows (This is my Theatre Tour) Algernon The Importance of Being Earnest (This is my Theatre Tour) Michael Ventris Ciphers (Staged Reading, The Phoenix Arts Centre) John A Norman’s Tale (Bramber Castle) Friar Lawrence Romeo & Juliet (This is my Theatre Tour) Narrator Tainted: The Musical (The Vaults Waterloo) Beast Questor Beast Quest (The Rose Theatre/ Hampton Court Palace) Vovochka A Little Hero (The White Bear Theatre) Oberon/Quince A Midsummer Night’s Dream (This is my Theatre Tour) Billy Casper Kes (The Brockley Jack Theatre) The Mad Hatter/Red Queen/White Rabbit Alice’s Adventures in Wonderland (Brighton Open Air Theatre) MacDuff/Witch Macbeth (This is my Theatre Tour) Caliban The Tempest (Brighton Fringe Festival) Derek The Bridge (The London Theatre) Scott The Calm (Tour/Edinburgh Fringe Festival) Lysander A Midsummer Night’s Dream (HighTide Festival) Bob Cratchit A Christmas Carol (This is my Theatre Tour) Lloyd Blue Stockings (The Cockpit Theatre) Paul Taking an Age (Who Said Theatre) Ithocles The Broken Heart (Shakespeare’s Globe, The Sam Wanamaker Festival) Albert Best Table (Waterloo East Theatre) Lady
Percy/Mortimer Henry IV Parts 1&2 (PRG, Waterloo East Theatre) Mephistopheles Night Horses (La Chapelle Gely, Montpellier) Jack/Cecily The Importance of Being Earnest (The Union Theatre) Ariel The Tempest (EU Theatrical Bridges, Bulgaria) Bradley Manning The Radicalisation of Bradley Manning (Ivy Arts Centre) Puck A Midsummer Night’s Dream (Blenheim Palace)
Short Film: Boy Untitled (Red Peak Films, Oscar Horseman) Son North Star (Christian Rønhovde), William Made
to be Men (George Wilson) Marco/Polo/Bono More Strange Than True (Benjamin Rider) Boy Children (Stewart
Giles) Edward The Diary of Trumpington Street (Stages Capture the Moment) Sean Five for Christmas (Re.Vivo
Productions) Tolley Tales of Magyar Sadness (Constantin Gras) Matt Good Together (James Phoon, Lucy
Radio: Thomas Good Friday Reflections (BBC Sussex) The Professor Entangled (Resonance FM)
Training: Rose Bruford College of Theatre and Performance
Stage: The Gruffalo & Predators, The Gruffalo’s Child (Victoria Theatre Singapore & PJ Live Arts Malaysia) Understudy Gruffalo, Gruffalo’s Child & Predators, The Gruffalo’s Child (The Lowry, Tall Stories/Kenny Wax Family Entertainment) Ratty, Wind in the Willows (Theatre by QE2 - Dubai) Tybalt/Paris, Romeo and Juliet (This Is My Theatre Tour) Walter White, Say My Name! The Unauthorised Breaking Bad Parody Musical (Theatre N16) Gravedigger, A Normans Tale (Bramber Castle) Mr. Beaver, Narnia: The Maze (Tilgate Maze) Algernon Moncrieff, The Importance of Being Earnest (This Is My Theatre Tour) Mad Hatter/White Rabbit/Queen of Hearts, Alice in Wonderland (This Is My Theatre Tour) Demetrius/Flute, A Midsummer Night’s Dream (This Is My Theatre Tour) Fagin, Oliver Twist (ADGE/TNT Theatre - European Tour) Alonso, The Tempest (This Is My Theatre Tour) Wojtek/Stas, Wojtek: The Happy Warrior (QuarterToo Ensemble UK Tour) Ensemble, Run (Bargehouse, OXO Tower Wharf)
Film / TV: Brian, Featherweight (Aukes Media) Gregg, Things I Know (Segment Cinema)
Awards: Malcolm Morrison Award for Classical Verse Speaking (2016)
Director: Sarah Slator
Resident composer: Simon stallard
Fight Director: Andy Ashenden
with thanks to
“By the pricking of my thumbs, something wicked this way comes…”
Three figures meet. They know things; far more than the average man. The things they have seen, have done…but tonight…tonight they will create their greatest progeny and release hell itself…
The Scottish King, Duncan, is at war with Norway but victory is gained due to the actions of the brave general Macbeth.
As he returns home he is met by three who prophesy that he will gain promotion and one day become king himself.
Although they are dismissed at first, as what they foretold begins to come true, Macbeth’s ambition and desire for the throne overtakes his rational mind and, spurred on by his wife, he prompts to expedite his rise to the power.
Once crowned though, paranoia and fear that his actions will be discovered leads to further bloodshed which will not stop
“until Great Birnam wood to high Dunsinane hill Shall come against him.”
A Note from Simon Stallard
(Associate Artistic Director/Resident Composer)
The Witches in this adaptation are the driving force, leading Macbeth to his fate. They suggest, influence action and become others, in order to guarantee that their prophecy is delivered to the general once loyal to the king…
“Throughout, traditional Scottish Gaelic song accompanies the events of the story. The Gàidhlig language is now only spoken by around 1% of the Scottish population, augmented by small groups of speakers in Europe and Nova Scotia. Despite this, an inspirational community of artists, speakers and linguistic activists, including world-renowned folk singer Julie Fowlis, who kindly offered us some advice on Gàidhlig before rehearsals began for our original production in 2017, have ensured that Gàidhlig holds its place in the modern world. Many of them have worked to protect and promote the wealth of songs that this beautiful language has to offer; together these songs and melodies embody a vital core of Scottish heritage, speaking of the landscape, adversities, heroics and longings of past generations.
Folk singing represents one of the oldest forms of storytelling; as always the songs you hear in this production have been researched, selected and arranged to bring a little of their heritage and atmosphere to the world of our play. Macbeth is a story of a chaotic time; peoples’ lives play out in harsh conditions, heightening the peaks and depths of emotion, passion and uncertainty. These themes are present in the lyrics of folk songs from across the genre, but arguably their exploration is most prominent and dramatic in those from the Gàidhlig tradition, which has grown through extremes of adversity and triumph.”