On this page I go into a bit more detail about some of the projects I’ve been working on.
The Borrowers (2018/19):
My role on this production was to work with the creative team from inception to create an exciting show with as much ‘clambering about’ as possible within the constraints of the Tobacco Factory Theatre space. In addition to designing the structures used, I trained the actors to move safely around the set and worked on all the movement sequences where large props were puppeteered.
The Lion, The Witch, & The Wardrobe (2017/18 & 2019 & 2021):
I was/am aerial director on this production. This role involved working closely with the theatre’s technical team and the set designers Rae Smith & Tom Paris to enable aerial elements to be incorporated into a show that initially turned the West Yorkshire Playhouse into the round, and then was adapted for the Bridge Theatre.
Angels in America (2017):
Working as aerial director, I designed the counterweighting system and trained counterweighters and actors from scratch to bring the director Marianne Elliot’s vision to life. This is a short behind the scenes documentary made about my collaboration with the puppetry director to create the flying Angel effects:
Hetty Feather (2014-18):
As circus director on this show, I worked with the creative team from the very beginning – helping to design the set, train the actors, and work alongside the director throughout rehearsals to embed the circus elements fully into the storytelling.
Pirates of the Carabina (2011-15):
I was co-creator and co-director of this company. FLOWN was our first production, combining aerial stunts, circus performance, clowning and comedy. Performing as ‘Gloria Darling’, the Prima Donna of the show, I toured with FLOWN for four years.
Peter Pan (2012 & 2016/17 & 2019):
I was aerial director on this production which was a transfer from Bristol Old Vic to the National Theatre and then again to the Troubadour Theatre. This show involved almost everyone in the cast being in the air at some point, using a variety of complicated harness work and counterweighting. This video is a short glimpse into the rehearsal room at the National Theatre:
Gwen Hales 