GET TO KNOW ME
MY BACKGROUND
Born and raised in South East London, I come from a family of actors, so I fell in love with the magic of theatre from an early age. I trained as a performer at Rose Bruford College and have continued to develop my practice through training in physical theatre, with a specialism in clown, at the Real Escuela Superior de Arte Dramático (RESAD) in Madrid. I have also trained with the National Youth Theatre and the Young Vic Theatre Makers programme, and was recently selected for HighRise Theatre's RE-UP programme.
Alongside performing, I have always been equally drawn to writing, devising, and theatre-making. I'm interested in stories that shift perspective and leave audiences seeing the world a little differently.
My work spans both established and emerging contexts. As a performer, I have appeared at venues including Greenwich Theatre, the Rose Theatre, and the National Portrait Gallery. As a director, I have created work at Omnibus Theatre, the Lion & Unicorn Theatre, and the Michael Croft Theatre. As a facilitator, I have led workshops for Punchdrunk, the Young Actors Theatre Islington, and in primary and secondary schools across London. My writing has been longlisted by BBC Writersroom, published by the Royal Society of Literature, and selected for the National Theatre's New Views programme.
My Practise
My practice is rooted in multidisciplinary and physical storytelling. My phsyical training leans into my writing, creating theatre that is rich in both written and physical language.
I believe passionately in future-proofing the industry by designing pathways that are accessible, particularly for artists whose voices are underrepresented within existing cultural systems. I am driven by a need to support new work development and underrepresented people in the arts. I co-founded Blank Space Collective, to create equitable platforms for early-career and marginalised artists across the UK. I strongly believe that community-embedded theatre is not ancillary to excellent artistic practice, but fundamental to the health and relevance of the wider theatrical ecosystem.