Performance Photos by Dr Matthew Partridge
Get to know our talented team of directors, who are building an exciting showcase of new writing…
The first show Anna directed, the comedic Maybe Radio, was just featured as part of KDC’s Spring season.
Anna’s background is in improvised comedy and she will be using improv techniques and a very collaborative approach as part of rehearsals.
This is Lloyd’s first time working with KDC. Previous directing credits include new writing for Wandsworth Arts Festival and The 39 Steps for New Stagers. Recently he produced After The Dance and acted in Earthquakes In London for Sedos.
Saskia van ‘t Hoff
Saskia is a director and stage manager, and has worked with theatre companies in the Netherlands, London, and Sydney.
She was a long-standing member of a theatre company in the Netherlands, writing, producing, and performing plays, before moving to London in 2014. In 2016 Saskia directed her first full-length play for KDC Theatre; THERE HAS POSSIBLY BEEN AN INCIDENT.
She is stage manager and associate artist for Director’s Cut Theatre Company, directing and stage managing at Leicester Square Theatre, The Pleasance Theatre, The Southwark Playhouse, and St James Theatre.
Lucy has been getting itchy feet for a while now to have a crack at directing and to be doing her directorial debut with KDC is just the icing on the cake. At the start of April Lucy had finished a run of the devised show ‘Hush Now’ with KDC and is exciting to be involved in another season!
Aneirin has been working on this theatre lark for many years now and is excited (and grateful) to be taking part in a second KDC Full Stack extravaganza. This year as well as directing/hopefully arranging for comedy to occur on stage. He is taking a new step and learning how to make “that social media thing” say what he wants it to.
Vicky has been part of the KDC community for several years, producing our Full Stack show for the second time with Carried Away. She has recently directed for the Arcola Queer Collective and looks forward to creating more new writing projects in the near future.
After over 100 scripts, we whittled it down to just 15. Here’s a bit more info on the talented souls to be included in this year’s showcase.
Get your tickets for Carried Away here!
Ivo de Jager
Ivo is a recent graduate of RCSSD’s MFA degree in writing for performance. His work has appeared at the Arcola, the Bunker, and Theatre503 in London, as well as the Y Theatre in Leicester. In 2017, he took Sweetmeat, a new play about homoerotic cannibalism, to the Edinburgh Fringe, where it earned 4-star reviews. He’s currently working on a play about hazing in the Soviet army, and a short film about modern-day trepanning. When not typing away at his laptop, he can usually be found forcing his cat to spend time with him.
Vivian C Lermond
Vivian is an award-winning playwright who has penned 58 one-act plays and monologues that have entertained audiences in the US, Mexico, England, Scotland and Australia. Her full-length drama/comedy, Back to Bethlehem (PA), premiered Off-Broadway in 2006 at the Manhattan Theatre Club. She has taught playwriting at a local college and has facilitated playwriting workshops at writing conferences.
I’m a writer from South-East London who writes mainly comedy with a little bit of drama mixed in. I enjoy finding the funnies in the mundane and using humour to provoke conversation about important, current topics. I’ve had short plays on at Theatre503, The Vaults and The Brockley Jack, as well as two full-length pieces at Matchstick Theatre (N89, The Institute of Nuts) and one at Canal Café Theatre (Tinderella). I also regularly have sketches and songs performed at Canal Café’s NewsRevue and I’ve written sketches for BBC Radio 4.
Adam Szudrich is a ‘Bartie’ award winning writer whose work has been selected for 59 festivals and received 30 award
Scott Mullen is a longtime Hollywood screenplay analyst, a two-time winner of Amazon Studios’ screenwriting contest, whose short plays have been performed hundreds of times around the world. His short play WEDNESDAY was performed last year as part of KDC’s “Future Imperfect” show. An evening of his comic plays, A NIGHT OF S.M., recently had a two-week run in Hollywood.
My work has been performed at the Waterloo East Theatre, Jack Studio Theatre, The Aeronaut, Theatre Deli and the Redgates Theatre with upcoming performances at the Bread & Roses Theatre and the Southwark Playhouse. Currently focusing on shorter pieces. I always try to find different and quite possibly strange ways to address contemporary issues.
Andy has been a long time collaborator with KDC Theatre, but this is the first time his name has appeared in a programme since he directed The Arsonists in 2015. Previously written plays produced by KDC Theatre include “You’re So Vain”, “Oh, Mom” and “Stag Nation” as well as being a co-writer for both the company’s 70th anniversary show “The Long Run” and their contribution to the RSC’s Open Stages competition “The War Of The Waleses”. Andy currently runs the 10 Minutes A Month Playwriting Collective, setting monthly challenges and reading nights for new plays.
Matt works in cyber security, and previously worked in law enforcement. He’s also a part-time PhD candidate, focusing on cyberweapons and cyber warfare. Matt’s writing work to date has included short plays and spoken word performed at Redgates Theatre Gateways, Stitchin’ Fiction, and Sharp Scratches. He is also a member of the Director’s Cut Writer’s Club. Matt enjoys writing horror, dark comedy, science fiction, and “twist in the tale” stories and plays.
L.H. Grant has authored many full-length and one-act plays with productions in numerous venues both in the United States and internationally including New York, London, San Francisco and Vienna. Most recently, his one-act Free Hugs was performed at The Other Palace in London as part of a charity benefit.
Jon is a writer whose works have received generous and consistent praise from a dedicated fanbase. This may be a credit to his skills as a writer, or simply a product of the fanbase itself, which consists of: his mum, his dad, and his best friend. Due to Jon being an eighteen-year-old writer from Darlington, this is the first of his plays to be performed, and he hopes that a few more successes will expand his fanbase a little (maybe his grandparents too?)
Matthew has found some success with his writing being performed in Manchester, London, Cardiff and NYC. His full length play, “Abandoned”, was performed by Dramatic Moose Productions and was in Entertainments South Wales ‘Top 5 Live Shows of 2018’. He is also working with Bamalam Productions to produce “Abandoned” as a 4-part radio play, that will be released in Jul-19. Recently, his short film “Second Chances”, released in Jun-19, is on the YouTube channel for Watchers Productions project, Strange Tales. Also, his one act play “We Are Stronger Together” has been performed at various one act festivals this year.
This is James’s first play and he’s very grateful to the talented team at KDC for taking on the challenge and performing it.
Jim has authored four full-length plays and over a hundred one-acts. His work has been produced in Tampa. Miami, Orlando, Chicago, San Diego, and numerous New York Off-Broadway venues, including: La MaMa La Galleria, the American Globe, and the Manhattan Repertory Theatre. Last year his play “Tagged” won three contests: First place in Theatre Odyssey’s One-Act Play Festival in Sarasota, Best Lab Works Production at the Pittsburgh New Works Festival, and the British Theatre Challenge in London.
Thom first cut his teeth writing and performing sketch comedy in Australia, one of which he toured to Edinburgh Fringe. Following this he performed and developed Where There’s Smoke, which toured to Perth and Sydney Fringe. His next adventure was to write and perform a family show The Hand of Time, which toured to Sydney, Perth and Adelaide Fringe side by side with his solo Thorn (Cleansed in Blood/We Are All), which toured Australia and the UK. Since moving to London he wrote and performed The Monks of Umami: Radiodyssey, which debuted at the Vaults Festival before touring to Brighton and Prague fringe.
Future Imperfect is the new writing show created out of a call out for writing of 4 pages or less. The show is a compilation of 13 pieces that were submitted and selected by our 6 directors, which will be performed at The Lion and the Unicorn Theatre on the 19th – 23rd June.
Pete has been writing plays, children’s books and short stories for most of his life. His plays have won or been shortlisted in 18 competitions in recent years. He has had seven professional productions. A collection of stories written for the Interact Reading Service Out Loud: 36 Twisted Tales has sold many thousands of copies on Kindle. More of his work is on his website www.petebarrett.co.uk.
Matt is a freelance writer based in Hampshire. His writing for theatre has been performed around the UK and in the US. His work is often inspired by mythology and folklore, and his recent adaptation of Sleeping Beauty has been published by Aurora Metro Books. Many of his theatre projects tell stories of near futures, and he is delighted to be a part of Future Imperfect.
Whilst much of Matt’s writing for theatre, his other projects include writing prose fiction, comics and also board games.
Professionally, Rachael is the director of Arts & Culture for the Oregon Supported Living Program, an organization that serves people with disabilities. She discovered playwriting in 2016 and had her first professional production last year. And as a professional journalist and editor, Carnes regularly contributes to publications throughout the Northwest. With a collaborative spirit, Rachael recently brought together 20 playwrights from across the country, creating end editing PLAYWRIGHTS SAY NEVER AGAIN TO SCHOOL SHOOTINGS, a full-length work that has had staged readings in theaters across the country.
Danielle was born and raised on an island in Canada, went to drama school at the same place as the guy from Silicon Valley and then moved to Korea for a year to eat her weight in bibimbap. Since coming to London she’s appeared in many KDC shows and directed one. This is her first time writing anything that will be staged, which is likely to be obvious. During the day, she works at Theatre Deli as their Marketing Department.
I’ve appeared in several shows with KDC in the past including Otherworldly, a devised play that I helped to script alongside the rest of the cast.
I started writing short plays a couple of years ago as part of Andy Marchant’s “10 Minutes a Month” playwriting challenge. I am very happy to have had my piece selected for Future Imperfect and am really looking forward to seeing what Govind and the cast do with the script!
Catrin Fflur Huws
Catrin Fflur Huws is a Welsh playwright. Her play ‘To Kill A Machine’ about the cryptanalyst Alan Turing, was nominated for 4 Wales Theatre Awards in 2016, and was a finalist in the Arch and Bruce Brown Foundation Award for Playwrighting in the same year. In 2011 and 2012 she was part of the Sherman Theatre’s Gair ar Led and Spread the Word programmes, and has also been part of Theatr Clwyd and Gladstone Library’s Writer in Residence Scheme.
By day I’m a marketing manager but by night I’m a drama junkie. I’ve been performing in plays with KDC and other theatre companies for many years now so it’s exciting to be involved in theatre from a different perspective. When I’m writing I find myself acting out all the parts which helps me think through what might work dramatically. I really enjoy the challenge of taking a theme and imagining what stories can come out of it.
Scott Mullen is a longtime Hollywood screenplay analyst and screenwriter, a two-time winner of Amazon Studios’ screenwriting contest, whose thriller THE SUMMONING aired on TV One. His short plays have been performed around the world.
Ken Preuss is a Central Florida playwright and teacher. His published one-acts for teens and assorted short plays have been produced in Australia, Canada, England, Ireland, Korea, Mexico, New Zealand, South Africa, and 46 of the 50 United States
Ahead of our auditions for Future Imperfect, we have a handy FAQ of information.
Want to act in the show?
Auditions will take place Monday 23rd – Wednesday 25th April at Clean Break (2 Patshull Rd, London NW5 2LB) from 6.45 – 9pm each night, with recalls at the same venue on Sunday 29th (Invite only). You just need to attend one night.
Do I need to register ahead of the audition?
No, just turn up and fill out a form when you get there.
Do I need to pay?
No, all our auditions are free.
Will I need to pay if cast?
Yes, you pay for performance roles so we can keep on making theatre.
Full price membership: £70
Please note full price membership means you have no fee to pay if you get cast again within the next year.
Do I need to prepare anything in advance?
For Future Imperfect you will not have to prepare anything as it will be a workshop audition.
What about doing tech/design/stage managing?
If you would like to take a role that is not on the stage, it would be free, just drop an email to email@example.com.
Congratulations to the cast of Othello. This production will be performed at Baron’s Court Theatre from 27 – 31 March.
Roderigo: Billy Knowles
Iago: Martin Shaw
Brabantio: Stephen Reimer
Othello: Elliott Bornemann
Cassio: Nick Edwards
The Duke: Helen Jackson
Lodovico: Keir Mills
Desdemona: Izzie Price
Montano: Graham White
Emilia: Julia Pagett
Bianca: Lene Kqiku
Ensemble: Eddie Coleman
Ensemble: Ian Green
Crew, if needed at this point, is:
Director: Duncan Moore
Assistant Director: Sarah Beebe
Stage Manager: Asma Mani
Fight director: Enric Ortuno
Music: Ewen Moore
Lighting and sound: Martin E. Rosso
Congratulations to the cast of The Red Envelope Project. It will be performed at Barons Court Theatre from 13 -17 March.
Congratulations to the cast of Salomé, the show will be performed at The Rosemary Branch Theatre from 20 – 24th March.
Salomé: Grace Arnold
John: Sonny Cassone
Herod: Charles Sobry
Herodias: Gabriella Gummer-Davies
Young Man: Richard Copperwaite
First Soldier: Sabrina Bals
The Executioner: Maxime Noel
Director: Laura Torn
Assistant Director: Assistant Director
Music: Johnny Parr
Props: Aidan Carroll
Movement Director: Olivia Stone
To continue our series of interviews about being part of the winter season, we catch up with KDC-er Keir Mills who is in BU21.
What drew you to this play?
Well firstly the amazing Steph is directing it. What human wouldn’t be drawn to that. But furthermore, the structure of the play itself is incredibly unique. A series of interlocking monologues that dip in front and behind the fourth wall at various points.
The characters are so carefully constructed. Each one lovingly carved out of the material of life and delicately positioned throughout the show, there isn’t a moment that doesn’t ring true. It really is an incredible piece of work.
I had read the play before the auditions, just on a whim, and had been incredibly impressed with it. I had also seen the write ups from the first run of it – they had kept popping up in my social spaces – so it was like, if I hadn’t put myself forward for it, I would’ve been slapping fate in the face. And if there’s one thing you shouldn’t do to fate it’s slap fate in the face.
What is it about KDC that keeps you coming back?
Well, firstly, blame yourselves for casting me.
But secondly, KDC is a truly rare theatre company that from the instant you walk into an audition you are treated like friend. Whether it be your first casting or your fiftieth. Everyone is incredibly supportive of everyones projects. Whether inside or outside of KDC itself. The same faces start appearing at other fringe shows and you realise that KDC is like the Kevin Bacon of fringe theatre. You are never more than a few steps away from a KDC-er. This honestly creates a rare and wonderful atmosphere that is simply delightful to breathe.
How are you finding working on a script that is monologue based?
It is a different challenge. Usually you can use other actors to help to create your character. You bounce off other people in a scene as everyone pushes the other to make the most of their parts. But with something like this – you are out on your own – predominantly. You have to feed the character yourself for the most part. You rise and fall by your own choices. It’s really quite nerve-racking. One new step and you can take to entire delivery on a tangent you didn’t see coming. You have to reign yourself in and then throw yourself out.
And if something goes wrong in your big scene, with a monologue, chances are, it’s your fault.
For winter season, we have two very different plays and also two very different cast compositions…
This season we have one cast, BU21 comprised of new KDC members and one veteran KDC member. For Otherwordly, we have the opposite: one new member. We thought it would be interesting to talk to these actors about their experiences in these groups as the veteran and the newbie. This is a great opportunity to get a view on what it’s like to be with KDC for a while, and an idea of what it’s like to join.
Here we have caught up with Will Mead from the Otherworldy cast, to get an idea of what it’s been like for him joining a group of KDC members.
What was the auditioning process like?
Fun! I had discovered KDC through a friend and didn’t really know much about it before the audition so was very nervous, but as soon as I started speaking to the auditioners and the other audtionees I was much more at ease. I auditioned for two plays, for BU21 where I simply had to read an extract and then was given a bit of direction and asked to do it again. Then for the other show, Otherworldly, the “audition” was what appeared to be just fun and games haha! We played a series of improv games, and created a few scenes. The notion of being judged seemed to go out the window and I was very relaxed!
Describe KDC in 3 words.
Welcoming, Creative, (I’m going to have to use it again!) Fun!
What have rehearsals been like so far? How does devised theatre rehearse compared to text based theatre?
Rehearsals have been great, it is very different devising a piece of theatre, but it’s also quite freeing. We’re encouraged to try random or silly things, and come up with our own characters. It was a bit weird at first getting used to not being told what to do and where to stand, but I soon became comfortable discussing various ideas and trying out small scenes. It’s nice to know that you’re creating something new that’s never been seen before!