I am a maker, director, lecturer and researcher in performance.
I tend to focus on cross-disciplinary collaborative projects in movement-centric, often devised, ensemble work.
I am training in trauma informed Somatic Counselling to further facilitate my work
My research is in embodied and somatic performance practices and preserving knowings that may become absorbed and then perhaps lost to the mediated world.
I am a senior lecturer in performance at UWE Bristol
I am a proud member of artist collective Interval
recent projects
Director - Carter
2023
A site-specific theatre walk in collaboration with researchers from UWE, the Angela Carter Society and Being Human Festival.
Through walking, ensemble movement and song, the piece explored the life of Angela Carter when she lived in Bohemian 1960’s Bristol
Director - Macbeth
Collaboration between UWE Drama Students and Film making students
2026
PINCH THEATRE - co-founder
2010-2014
collaboration with Isabelle Cressy
Made and toured 3 shows nationally over this period
Supported by Arts Council England, Theatre Bristol, Bristol Old Vic FERMENT and The Place, London
Movement director and facilitator - 2025
Noman’s Land - Fahrudin Salihbegovic
Bristol Sanctuary Theatre collaboration with Refugee students from Bristol City College, UWE Drama students, and Bristol Beacon musicians .
Performed iat the Beacon as part of Bristol Refugee Festival 2025.
Macbeth - behind the scenes short film
Film by Olivia Locke, Hermione Gillet, Alice Freeman
Research
Practice-led PhD
Embodied Performance Practices in a Digital Multi-Platform Era: the role of immersion and sensorial connection in contemporary performance praxis.
How can embodied performance practices be re-captured and reimagined in a digital age increasingly defined by mediated experience?
The project situates itself within a broader socio-cultural moment characterised by both the rapid expansion of digital technologies and the decline of arts funding. While digital platforms increasingly dominate cultural production and dissemination, this research proposes a counterpoint: the creation of non-digitised, embodied encounters that foreground human presence, co-presence, and sensorial experience.
Drawing on concepts such as immersion, participation, and sensory engagement—often associated with digital environments (Causey, 2006), this project seeks to re-situate these within live, embodied contexts. The central hypothesis is that participatory, embodied performance encounters can foster deeper states of connection, both intra-personal and inter-personal, than those typically facilitated through digital means.
The outputs, (A series entitled Shared Encounters with the Real ) aim to create conditions for participants to experience embodiment as an active, co-constructed process rather than a mediated simulation. Such experiences may not only have artistic value but also broader social and therapeutic relevance, particularly in a context where shared, embodied interactions are increasingly rare.