HOW TO CURSE

Lighting for the Bush: Apologia, Wrecks, Artefacts (also New York), How to Curse, and the space lighting concept for The Library, the initial 2010 season in the Bush’s new building.

Other UK theatre includes The Voysey Inheritance, Elmina’s Kitchen, Scenes from the Big Picture for the National Theatre; Romeo and Juliet, The Merry Wives of Windsor and Coriolanus (also USA), and The Merchant of Venice for the Royal Shakespeare Company; Lower Ninth, Kiss of the Spider Woman, Days of Wine and Roses, Passion Play and Good for the Donmar; Gaslight and As You Like It at the Old Vic; Mrs Warren’s Profession at the Strand Theatre; The York Realist for the English Touring Theatre/Royal Court; and Love, Love, Love for Paines Plough. Other London theatre includes Faith (Royal Court); Certain Young Men, The Doctor’s Dilemma, Tongue of a Bird (Almeida); The Rubenstein Kiss (Hampstead); The Field (Tricycle); Nakamitsu (Gate); and The White Devil, The Common Pursuit, Total Eclipse (Menier Chocolate Factory). UK regional theatre includes The Birthday Party (Birmingham Rep); Arcadia, The Rivals, Loot, Paradise Lost, The Comedy of Errors, The Caretaker (Bristol Old Vic); A Number, Gladiator Games (also London), A Midsummer Night’s Dream, Original Sin, The Tempest, Don Juan, The Country Wife, A View From the Bridge, As You Like It (also London), Twelfth Night (Sheffield Theatres); Rutherford and Son (Royal Exchange, Manchester); Where There’s a Will (Theatre Royal Bath Productions); Treehouses (Northcott, Exeter); Dealer’s Choice (Clwyd Teatr Cymru); Dealer’s Choice (West Yorkshire Playhouse).

Australian theatre includes In the Next Room, or the Vibrator Play (Sydney Theatre Company), The Gift (Melbourne Theatre Company), The Story of Mary MacLane by Herself (Malthouse Theatre, Melbourne), and Cordelia (Little Dove Theatre Art, Canberra). European theatre includes Great Expectations and American Buffalo (Gate, Dublin) and Hysteria (English Theatre, Frankfurt).

Musicals include the Menier Chocolate Factory production of A Little Night Music on Broadway (Walter Kerr) and in London’s West End (Garrick); Miss Saigon (Gothenburg Opera); Showboat, West Side Story (Tiroler Landesteater, Innsbruck); Promises, Promises (Sheffield); The Wizard of Oz (Birmingham); and Assassins (Oxford). Opera includes: Mary Seacole, Oreste, and Oresteia (Royal Opera House Linbury Studio); Les Pêcheurs des Perles and Iris (Opera Holland Park, London); and M Butterfly, Martha, The Barber of Seville, La Sonnambula, Carmen (Castleward Opera, Northern Ireland).

Hartley is also artistic director of C venues at the Edinburgh Festival Fringe.
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Sound designer

Josie is the Artistic Director of the Bush Theatre.

Josie trained with directors Peter Gill, Michael Grandage, Nicholas Hytner, Phyllida Lloyd and Sam Mendes. Before coming to the Bush she worked for five years as a freelance director and was the Associate Director of Sheffield Theatres and Trainee Associate Director at the Royal Court.
At the Royal Court she directed CRAZYBLACKMUTHFUCKIN'SELF by Deobia Oparei and LOYAL WOMEN by Gary Mitchell. At Sheffield, she directed WORLD MUSIC and THE UNTHINKABLE by Steve Waters; MUCH ADO ABOUT NOTHING, THE LONG AND THE SHORT AND THE TALL by Willis Hall and KICK FOR TOUCH by Peter Gill. She was the tour director of THE VAGINA MONOLOGUES by Eve Ensler. At the Young Vic, she directed MY DAD'S A BIRDMAN by David Almond. For the Royal Shakespeare Company she directed BELIEVE WHAT YOU WILL and KING JOHN (RSC Complete Works). She has directed the 24HOUR PLAYS at The Old Vic Theatre and in New York. For the Donmar Warehouse Josie has directed FRAME 312 by Keith Reddin, WORLD MUSIC by Steve Waters and THE CRYPTOGRAM by David Mamet. For The Bush, Josie has directed HOW TO CURSE by Ian McHugh, TINDERBOX by Lucy Kirkwood, APOLOGIA by Alexi Kaye Campbell, 2,000 FEET AWAY and LIKE A FISHBONE by Anthony Weigh. Recent work outside the Bush includes TWELFTH NIGHT and THE TAMING OF THE SHREW for Chicago Shakespeare Company and MEN SHOULD WEEP at the National Theatre. Forthcoming work includes MUCH ADO ABOUT NOTHING at the Wyndham’s Theatre.

Lucy has previously designed Wrecks, Broken Space Festival, 2,000 Feet Away, Tinderbox and The dYsFUnCKshOnalZ for the Bush Theatre (with whom she is a former Associate Artist).

Recent theatre credits include Twelfth Night for the Chicago Shakespeare Theatre; Dreams of Violence (Out of Joint); Shades for the Royal Court’s Young Writers Festival; Macbeth (Edinburgh Lyceum/Nottingham Playhouse); Nina and Gas Station Angel (repertoire, LAMDA); Timing (Kings Head) and When Romeo Met Juliet (BBC)

She designed Artefacts (Nabakov Theatre Company / Bush Theatre) and Some Kind of Bliss (Trafalgar Studios), both of which transferred to the 2008 ‘Brits off Broadway Festival’ in New York and other theatre credits include Be My Baby (New Vic Theatre); Rope (Watermill Theatre); Closer (Theatre Royal Northampton); The Long and the Short and The Tall (Sheffield Lyceum); The Prayer Room (Birmingham Rep/Edinburgh Festival); Ship of Fools (set, Theatre 503); The Tempest (set, Box Clever National Tour); The Unthinkable (Sheffield Crucible Studio); Almost Blue (Riverside Studios, winner of Oxford Samuel Beckett Trust Award); Dr Faustus (The Place); Touch Wood (Stephen Joseph Theatre); Breaker Morant (Edinburgh Festival); Richard III (Cambridge Arts); Flight Without End, Lysistrata, Othello (LAMDA); Generation (Gate Theatre) and Season of Migration to the North (RSC New Writing Season).

Lucy graduated from Motley Theatre Design School in 2003, having also gained a BA in Fine Art from the University of Newcastle.