Cast & Creatives – Apologia
The English Theatre Frankfurt: Lyman in Other Desert Cities.Other theatre credits include: This House, The Shawshank Redemption, Rebecca (National Tours); Hamlet, All’s Well That Ends Well, The Tempest,
Uncle Vanya, Troilus and Cressida (Shakespeare at The Tobacco Factory); The Life of Galileo, The Alchemist (National Theatre); Handbagged, Remarkable Invisible (The Theatre by the Lake, Keswick); The Lower Depths (Arcola); Othello (Sheffield Crucible); Kes, Separate Tables (Manchester Royal Exchange); One Night in November (Coventry Belgrade) Richard II, Coriolanus (Almeida – London, New York, Tokyo).
Television credits include: Wolf Hall, The Musketeers, Upstairs Downstairs, Doctor Who, Attila the Hun, Doctors, Life on Mars. Film credit: The Show
Diane trained at RADA. After a season at Leicester Phoenix and her television debut with the lead role in The Visitors for the BBC, she joined the RSC to play Cordelia in King Lear for Trevor Nunn. This was followed by further lead roles in Doctor Faustus and As You Like It for that company and further leading roles with Royal Exchange, Birmingham Rep, Nottingham Playhouse and Prospect Theatre Company where parts included Regan in King Lear, Lady Utterwood in Heartbreak House, Dottie in Jumpers, Olivia in Twelfth Night and both Gwendoline and more recently Lady Bracknell in The Importance of Being Earnest. Further appearances with RSC include The Bite of the Night, Hess is Dead and Some American’s Abroad.
Diane appeared in the award-winning national tour of Shadowlands as Joy Davidman, as the wicked Regina in Little Foxes and as Kate Keller in All My Sons. Royal Court appearances include No One Was Saved, The Love of a Good Man and The Dragon and at Hampstead Theatre she created the part of Ann in David Hare’s first play Slag.
West End appearances include Mrs Lintott in the National Theatre’s History Boys and B in Three Tall Women. She made a well received appearance as Clare Short in Called To Account at the Tricycle Theatre. Other London appearances include Dusa, Fish, Stas and Vi, Half Life – first performed at the National Theatre, Why Me? Edward II, An Ideal Husband, An Inspector Calls and as Titania in A Midsummer Night’s Dream for Regent’s Park.
More recently Diane appeared in the UK Tour of A Murder Is Announced, Other Desert Cities and The Living Room (Jermyn Street Theatre and abroad); Autumn and Winter (Orange Tree); Grace in The Winslow Boy, Madame Arkadina in The Seagull, Eve Davenport in Cause Celebre for Neil Bartlett, Judith Bliss in Hay Fever for Christopher Morahan and as Gertrude in Calixto Bieito’s Hamlet (Edinburgh Festival).
On television her leading appearances include creating the role of Elizabeth Urquart in all four series of the BBC’s House of Cards, co-staring with Ian Richardson. Other television includes Miss Symes in Endeavour, Matron Vosper in Breathless, Fairly Secret Army Series One and Two, The Aristocrats Series One and Two, The Chamber, The Borgias, The Irish R.M, Poirot, Inspector Morse, Coronation Street, The Wilderness Years, Heartbeat, Midsummer Murder’s, The Clarion Van and Kingdom.
Film appearances include Lady Macduff in Roman Polanski’s Macbeth, Greystoke, Forgiven, Leaving Lily, An Error of Judgement, Who’s Harriet, The Queen of Annagh and Merchant Ivory’s Autobiography of a Princess.
Molly trained at RADA. Theatre credits include The Beaux Stratagem (National Theatre); Two Gentlemen of Verona (RSC); Othello (Stafford Gatehouse); Orlando (Manchester Royal Exchange); Macbeth (Arcola); Ladybird (New Diorama). Television includes: Doctors (BBC); Boom! (Pilot). Film includes: Noble (Feature); Glance (Short). Awards: MTA’s Nominated Best Supporting Actress for Orlando.
James trained at Royal Central School of Speech and Drama. Theatre includes: Killer Joe (Trafalgar Studios); Sheep (Tripped Theatre); Christmas (Simon Stephens/Michael Kingsbury); Blueprint (Bike Shed Theatre);
Ashes (Park Theatre); Big Boys (English Theatre Hamburg); Oranges on the Brain (Pegasus Theatre); Go to Your God Like a Soldier (Delirium).
Television includes: Oulander, Law & Order, Elizabeth, Witch Hunt, The Britannic Disaster. Film includes: Robin Hood: The Rebellion, The 95th, The Lost Viking, Hooligan Legacy, The Rebels, Viking Siege.
Rebecca trained at Royal Central School of Speech and Drama. Theatre credits include King Lear (National Theatre); Blue Departed (The Vaults); The Odyssey (Scoop Theatre); Entropy (The Space); Romeo and Juliet Unzipped (Salisbury Playhouse – The Salberg Studio) and A Midsummer Night’s Dream (Tour). Other credits include: The Original, Fault Lines, Taste Test, Thula and Poetry Behind the
Lines (BBC Two).
Recent directing includes: Our Lady of 121st Street (Bristol Old Vic Theatre School); The Dark Room (Theatre503); We Too Are Giants (Kiln); The Scar Test (Theatre Deli Sheffield, Arcola, Colchester, Bedford); Prince of Denmark (Mountview); Oresteia; A Response (Almeida); Cleanse, Ashes to Ashes, Ten Pounds, Something Wicked, Little Flower of East Orange (National Theatre – Studio and Readings); Piggies (RCSSD); Almost Near (Finborough); June (Park); Bohemians (Etcetera); Moony’s Kid Don’t Cry (King’s Head).
Associate and Assistant directing includes productions with Patrick Marber, Ian Rickson, Tarell Alvin McCraney, Rupert Goold, Carrie Cracknell, Clare Lizzimore, Mark Ravenhill and Elizabeth LeCompte – at the National Theatre, Old Vic, Royal Shakespeare Company, Hampstead and in the West End.
Audrey was a Finalist Best Director for the Off-West End ‘OFFIE’ Awards 2017/2018 (The Dark Room, Theatre503), and was also nominated for The Arts Foundation Awards 2018.
She is thrilled to have been selected to be part of this year’s prestigious Old Vic 12 2018/2019.
Design credits include: Hand to God (The English Theatre Frankfurt); Dessert, Stalking the Bogeyman, Upper Cut, Short and Stark (Southwark Playhouse); Calamity Jane (Tring Park School of Performing Arts); Boy With Beer (King’s Head Theatre); Cabaret (ACT Aberdeen); Sweeney Todd (Twickenham Theatre); That Face (Landor Theatre); The Hospital at the Time of the Revolution (Finborough Theatre); Songs for a New World (Bridewell Theatre); Carousel (Landor Theatre); Ruffled (Theatre 503); Company (Pleasance Theatre); My Mother Said I Never Should (Bridewell Theatre).
Associate credits include: Disco Pigs (Irish Repertory Theatre, New York); Handbagged (UK Tour and Roundhouse Theatre, Washington); The Grinning Man (Trafalgar Studios); Bad Jews (Arts Theatre); The EL Train (Hoxton Hall).
Assistant credits include: True West, Dead Funny (Vaudeville); Cendrillon (Glyndebourne); Knight’s Tale (Imperial Theatre, Tokyo); Agrippina, Oliver! (Grange Park Opera); The Secret Theatre, The Winter’s Tale (Sam Wanamaker Playhouse); The Band (UK Tour); Les Liaisons Dangereuses (Theatre Cocoon, Tokyo); Bat Out of Hell (Coliseum); Fatherland (Royal Exchange), Watership Down (Watermill Theatre); Groundhog Day, The Lorax, Future Conditional (Old Vic); The Mentalists (Wyndham’s Theatre); Anything Goes (UK Tour); This Is My Family (Sheffield Crucible); 13 (Apollo Theatre) and Steel Magnolias (UK Tour).
Zia is a lighting and set designer for theatre, dance, opera and live music events.
In 2017 she won the Irish Times Theatre Award for Best Lighting Design for her design of Pan Pan Theatre Company’s 2016 production of The Importance of Nothing, which was revived for a tour in 2018.
Recent lighting designs include The Lion In Winter, Hand to God (The English Theatre Frankfurt); The Bystander (Junk Ensemble); Frankie and Johnny in the Clair de Lune (Northern Stage); Melt (Rough Magic, at Dublin Theatre Festival); The Nest (Lyric Theatre Belfast and Young Vic Theatre London); Annie (Cork Opera House) and FABRIC (Tremer Productions – Winner of a Scotsman Fringe First Award).
Her set and lighting designs for stage include: The Misfits (Corn Exchange at Dublin Theatre Festival); User Not Found (Dante or Die – UK National Tour); They Called Her Vivaldi (Theatre Lovett at The Abbey Theatre, Dublin and Irish National Tour); The Shitstorm (The Abbey Theatre and Dublin Fringe Festival); Before Monsters Were Made (15th Oak – Irish National Tour). Her set designs include Bullet Tongue (The Big House, London) and designing the Olympia Theatre Dublin performances of Grace Jones concert for the documentary film Bloodlight and Bami (Blinder Films). Her work has been seen at the Dublin and Belfast Theatre Festivals, The Dublin Fringe, Edinburgh Fringe, Vaults London, IPAY, On The Edge, Kilkenny Arts, Baboró and 10 Days In Dublin festivals, as well as assistant design credits for performances on the West End. For more examples of her work check out www.ziaholly.com
Hendrik Dingler is a Frankfurt am Main based composer, sound designer, EDM DJ & live performer known as Hendrik Klangrausch and audio engineer. Since 2015 and after finishing his studies in Electronic Composition at the Folkwang UdK in Essen, he works full-time at The English Theatre Frankfurt. Pieces of him were played at the Lange Nacht der Museen (Darmstadt), the Galerie Lausberg (Toronto, Canada) and at the Music Festivals Limburg on/off, Next Generation (ZKM, Karlsruhe), Linux Audio Conference (Maynooth, Ireland) and the Musicacoustica-Bejing (China).
Compositions and Sound Designs: Quadrangle AV (cultural capital 2010, Zeche Zollverein Essen, Germany); Ruhrlautsonate (Pina Bausch theatre, Folkwang UdK); Stadt Land Ruhr (Pina Bausch Theatre, Folkwang UdK); Cats lost in Space (short film by Eva Münnich); Regenbogenmaschine (short movie by Samuel Maasho and Riccardo Jurkovic); The Lion in Winter, Hand to God, Disgraced, Witches, Living with Lady Macbeth (all for The English Theatre Frankfurt); TAMAH (short film by Erhan Yürük, participation at the 6th International Film Music Competition, original music by Jeremy Dirat); Cut’n go ahead v.0.1.5 (performance at the Institut für Neue Medien Frankfurt).
Shelley Maxwell is a movement director and choreographer and has an MA
in choreography from Trinity Laban Conservatoire of Music and Dance.
Movement director credits include: Equus (Theatre Royal Stratford East, UK Tour, English Touring Theatre); Cougar (Orange Tree Theatre, UK Tour – English Touring Theatre); Anthony and Cleopatra, Twelfth Night (The National Theatre); Nine Night (The National Theatre, West End); Tartuffe (RSC); Dealing with Claire (Orange Tree Theatre, UK Tour – English Touring Theatre); Winter, Why it’s Kicking off Everywhere (Young Vic); Cuttin’ it (Young Vic, Royal Court); A Streetcar Named Desire (Nuffield Southampton, Clwyd Theatr Cymru and UK Tour – English Touring Theatre); Rules for Living (Royal & Derngate, the Rose Kingston and on UK tour – English Touring Theatre). Assistant movement director credits include: Hamlet (RSC). Directing credits include: Seventeen (Lyric Hammersmith). Theatre credits include: The Lion King (Lyceum Theatre) and FELA! (The National Theatre).
Melanie`s first experience as a costume designer was for the Chaincourt Theatre Company at the Johann Wolfgang Goethe-Universität in Frankfurt am Main. In 2006 she worked as a costume assistant for the choreographer/director Wanda Golonka on Crave by Sarah Kane. During the same year she was part of the creative team of the Sebastian Hartmann production Being Lawinky. She did costume design for The Threepenny Opera, The Crucible and Master Class. Her work for ETF as assistant costume designer includes The Who`s Tommy, Rain Man, Breaking the Code, Sweet Charity, Good People, The Ruling Class, Saturday Night Fever, Venus in Fur, The Collector, Other Desert Cities, Death and the Maiden, The Glass Menagerie, The Life, Disgraced, The Picture of Dorian Gray, Spamalot, Handbagged, The Hound of the Baskervilles, Pygmalion, Jekyll & Hyde, Hand to God, The Lion in Winter and Cabaret.
Marc originally trained as an actor at Drama Centre London before moving into casting.
For the ETF Marc has cast Cabaret, The Lion in Winter, Jekyll & Hyde – the Musical, Hand to God, Pygmalion, The Hound of the Baskervilles, Handbagged, Spamalot, The Picture of Dorian Gray, The Glass Menagerie, Disgraced, Death and the Maiden, Other Desert Cities, Ghost – the Musical, Strangers on a Train.
Other productions include God of Chaos, The Kneebone Cadillac (Theatre Royal Plymouth); Aladdin (Theatre Royal Norwich); Moll Flanders, Pieces of String, Much Ado About Nothing, Clybourne Park, Noises Off, Macbeth (Mercury Theatre Colchester); Dracula (Touring Consortium Theatre Company); The Full Monty (2018/19 & 2016/17 UK Tours); Tonight at 8.30 (Jermyn Street Theatre); The Band (West End & UK Tour); I Capture the Castle (Palace Theatre Watford/Bolton Octagon); Out of Order (UK Tour); Hand to God (West End); The Taming of the Shrew, Twelfth Night (Playing Shakespeare with Deutsche Bank/Shakespeare’s Globe); Barbarians (Tooting Arts Club); When Blair had Bush and Bunga (Pleasance One); Dial M for Murder (UK Tour); The Duck House (West End); Goodnight Mister Tom (West End/Chichester Festival Theatre/The Children’s Touring Partnership); Stepping Out (Salisbury Playhouse); The Mousetrap (60th Anniversary Tour); The Woman In Black (West End); An Inspector Calls (UK Tour); Mother Adam (Jermyn Street Theatre); The Hairy Ape (Southwark Playhouse); End of the Rainbow (UK Tour); Sign of the Times (Duchess Theatre); Calendar Girls (UK Tour); Far Away (Bristol Old Vic) and The History Boys (Theatre Royal Bath/West Yorkshire Playhouse) and was casting associate on Big the Musical (Plymouth/Dublin); Good Canary (Rose Theatre Kingston); The Bodyguard (West End) and Elf – the Musical (West End/Plymouth/Dublin/Manchester) and casting consultant on Love on the Links (Salisbury Playhouse); The Dark Room (Theatre 503); Chinese Whispers (Greenwich Theatre).
Marc has worked alongside fellow casting director Sarah Bird on series six of Hustle, the BBC One Wales series Crash and various theatre productions including Perfect Nonsense, All My Sons, Sweet Bird of Youth, Fortune’s Fool, The Ladykillers, The 39 Steps, The Madness of George III, Cause Celebre, Me & My Girl, When We Are Married,
Deathtrap, Calendar Girls, The Rivals, The Beauty Queen of Leenane, The Rise and Fall of Little Voice, Mrs Klein and many more.