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Education & Training

MA Theatre Arts, Directing (Distinction)  Goldsmiths, London, 1999
Awarded full scholarship from the AHRB for 2 years MPhil practice based research,              Digital Theatre/Cyberformance, University of Roehampton, London 2002.
PGCE-FE teaching qualification, distance learning, University of Greenwich 2008
Uta Hagen, Acting Masterclasses, H.B. Studios, NYC, NY 1977-1979
Classical Theatre training, Jean Cocteau Rep, NYC 1976-1979
Comedia Dell'Arte Company/Training, NYC, NY 1975-1976
Bsc Hons Sociology, University of Northumberland 1975


CVs are easier, quicker,  but a life often requires narration. 


I graduated with a BSC Hons in Sociology, a degree that taught me the invaluable lesson that society is a construct, then promptly left the UK for New York City.

It was 1975, I was 21 and Manhattan seemed like the Wild West: lawless, dirty, dangerous and open to all comers.



My first year in NYC was spent in arduous physical training with a Commedia dell'arte troupe, Sidewalks of New York. Despite the company name, we performed indoors, often touring the tri-state area to perform in psychiatric institutions, where our stylised & often brutal depictions disturbed the audience of patients.



A year later in 1976  I joined The Jean Cocteau Repertory (JCR)  and also passed the two auditions required to gain a place in Uta Hagen's much coveted Masterclasses at H.B. Studio in the West Village. 

The Jean Cocteau Repertory (JCR) inhabited the Bowerie Lane Theatre, a cast-iron French Second Empire building located alongside the flop houses of the Bowery where, by night, the roar of bands blared out from CBGBs which squatted directly opposite the theatre. Under the artistic directorship of Eve Adamson, the JCR had become New York's sole rotating classical repertory company, with a well-heeled subscription audience from the Upper East side, who came for her traditional stagings of neglected international classics - - plays like Le Cid, Volpone, Ruy Blas, & A Mad World My Masters - in addition to the canon of Elizabethan and Jacobean texts.  Adamson insisted all actors learn one additional repertory skill at the JCR and so I chose costume construction, learning to make bum rolls, stomachers and corsets.


We were given weekly fencing, voice and dance classes and were paid $125 per week for 5.5 days work. This was a living wage at a time when a railroad apartment in the East Village cost $200 per month, the subway cost 35 cents and you could eat out each day, for a few dollars.  In any given week we would have 5 separate plays in performance including an 11pm Friday night showing of a contemporary one act play.


It was Adamson's staging of Tennessee Williams "Bar in a Tokyo Hotel" in this late night slot that drew the playwright himself to our theatre. Mr Williams liked what he saw and wrote his last two plays for production by the Jean Cocteau Rep. I played Ms Rose in the premiere of his penultimate play, "Kirche Kuchen Und Kinder: An Outrage for the Stage", a satire on home, hearth and country, featuring a homosexual hustler.  Ms Rose, an homage to his sister, Rose, was the only lyrical character in the text: a 19th century lady in a purple satin riding outfit seated at a soft sculpture organ.  Mr Williams wrote the bulk of the play from Key West, Florida, visiting us several times during rehearsals. For opening night he arrived with two tiny, very elderly ladies on his arm, each dressed from neck to ankle in in black lace. It was a remarkable experience; we all hovered in the beam of his generosity, his great good humour.. ;




For two years while company ingenue at the JCR I dashed across town every week to participate masterclasses with Uta Hagen. The experiences could not be more dissimilar. While Adamson favoured a declamatory, presentational, stylised acting with formal staging patterns, Hagen demanded a fierce realism unfettered by blocking or traditional stagecraft. Hagen's methodology, grounded in the early work of Stanislavsky, demanded precise, deeply felt scene study underpinned by an analysis that revealed an internal psychological logic and authentic physical expression. She did not tolerate shoddy, self indulgent or lazy work. Sitting at her desk at the front of the studio, chain smoking, taking notes, we watchful students were careful to avoid her disapproval. Hagen's training for the stage has proved invaluable and forms the basis of my teaching practise. The only place where I was hard pressed to use Hagen's brand of uber realism was in my next repertory work in the New York avant garde.


In 1978 I joined one of the leading experimental theatre companies in New York: Creation Production Co, led by artistic directors Matthew Maguire and Susan Mosakowski. Third in line after Mabou Mines & the Wooster Group for state and national funding, Creation Production Co rehearsed out of a loft in Soho, and were  a resident theatre company at La Mama ETC  under the artistic directorship of Ellen Stewart. For 10 years, as a one of the six acting/physical theatre performers in this collaborative multimedia company we worked full time for commissions, often in non-traditional and site specific locations. Maguire collaborated with a range of freelance artists, architects and musicians on what were non-linear, postmodern productions. Our work in Creation Production Company was opaque, often thrilling and always visually stunning. One particular highlight was our Obie award winning play "The Memory Theatre of Guilio Camillo", the first production to be staged inside the Anchorage of the Brooklyn Bridge..

In the 14 years I lived and worked in New York City I trained, performed, wrote, directed and got to see some wonderful theatre. I worked with some extraordinary artists including Richard Foreman ("Walled Garden:Language" and Jeffrey M Jones ('Der Inka Von Peru' and 'Tomorrowland' at The Performing Garage). During this time I moonlighted as a script reader for Walt Disney Productions and at the Women's Theatre Workshop.  A production of my  first play"From Hunger" was staged at Ohio theatre in 1988 and my second play, "Uncontrollablelements" was staged at The Kitchen in 1989. That year,  with a young family in tow, I returned to live in London.


In 1998 I took an MA Theatre Arts, Directing (Distinction) from Goldsmiths College, University of London.



In 2000 I was awarded one of the first practice as research doctoral scholarships from the Arts & Humanities Research Board. My research practice was to be 'digital theatre', a form of online theatre that required what I termed 'distributed performance practices', eventually summed up in the organising metaphor, cyberformance. This was at a time when we were all working on dial-ups and where the whole concept of digital theatre online was an anathema to most drama departments. Publications for my MPhil research include:


Joint winner of the Trace New Media Writing Competition in the ‘Process’ category: Writing 4 Cyberformance, by Karla Ptacek & Helen Varley Jamieson,;


“Avatar Body Collision: Enactments in Distributed Performance Practices”, published in the peer-reviewed Digital Creativity Journal, 9/03, Vol 14, No 3,SwetZeitlinger.



“lawful acts”, playscript published in peer-reviewed Journal of MediaPractice,Vol2,No3, Intellect. Abstract:

After 2 years of MPhil research I left academia to develop work with the cyber-feminist troupe I'd co-founded in 2001 with Helen Varley Jamison, Vicki Smith, Lena Saarinen. We were AvatarBodyCollision, a globally disbursed virtual theatre using digital chatrooms, video, live performance, sound and animation. For 6 years we performed at international theatre festivals in the USA, England, Scotland, Norway, France, Finland, Greece, New Zealand, Australia, Croatia, Denmark, Slovenia, Canada, Germany, Wales, Serbia, Hungary and Cyberspace. 

What was cyberformance like? Performing online often meant getting up at 3am on a winter morning, to sit in the dark at your computer, performing from the waist up to an audience of 600 people in a theatre on the other side of the world in Sydney, Australia. If you were the live performer it was like being in a theatre in Cardiff, Glasgow or Munich trying to keep connected to the 3 other performers at their computers in Helsinki, Wellington, Berlin. Everything happened in run time and sometimes you'd just get dropped. It was unchartered territory. There was an awful lot of technical multi-tasking. It was frequently frustrating but became a surprisingly communal experience despite the distance and perhaps because of the technology. Always there was rampant CMC: computer mediated communication a/k/a mis-communications. Improvisation and digital skills were key. Sometimes everything just failed.

Avatar Body Collision is included in the Index on Cyber Feminism, commissioned by Rhizome for the New Museum:  Avatar Body Collision  disbanded in 2007after fermenting the seeds of what was to become UpStage:  


At about this time I gained a PGCE-FE teaching qualification from Greenwich University via distance learning. Initially I taught in higher education, teaching Hagen's brand of Stanislavsky at Goldsmiths on the BA Acting degree, then as academic tutor on the MA Advanced Theatre Practise at Royal Central School of Speech and Drama, and as a Director at Wimbledon College of Arts on the B.A. costume design and the MA Scenography. From there I moved to Lewisham Southwark College and spent 13 years bloody wonderful years teaching acting and directing plays. So many highlights from this period, mostly about the students I had the privilege to teach, but also some fun staging challenges adapting Shakespeare's "Tempest' for a staging by MA students inside the 1869 Cutty Sark  sailing ship at Greenwich.


When time allowed, I kept performing for my own pleasure and because what I learned in the professional world enriched what I had to offer my students. Highlights include:

2013: Nic Greene's astonishing Trilogy at BAC & the Barbican in 2013 .; and

2015: Caryl Churchill's 'A Light Shining in Buckinghamshire" directed by Lyndsey Turner at the National Theatre 2015.

2014: A commission from the Arts Council enabled a month long research trip to Nepal culminating in a performative installation.  For three consecutive summers I directed the Jam Factory's International Performance Festival in Uplyme, Dorset.

2017-18  Riyadh: I began writing plays again and teaching some of the first ever acting workshops to film students in Saudia Arabia.​

2020: London, lockdown. It was easy for me to return to working online, Zoom was a far more stable platform than anything we'd had in the early noughties, and now everyone seemed to know how to use it. Some of this digital work is documented here

2020 I formed OW! TheatreLab, an ensemble of elderly women: Information here

2021 I was commissioned by Winning Moves to make a 15 minute video- 'Making Light' as part of Carole Thorpe-Gunner's Art Council Lottery project on neurological illnesses. An account of the making of that project occurs here:

2022, I returned to acting in London:  Information  here

2022-Present: I'm endlessly thankful for my affiliation with the Magdalena Project through whom I've formed a new collaboration with Bianca Mastrominico and John Dean of Organic Theatre /Digital Hotspot

And the beat goes on.

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