Lavender, Hyacinth, Violet, Yew

Annie-Lunnette Deakin-Foster is a London-based Movement Director and Choreographer.

Theatre credits include: Treasure Island (Orange Tree); A Midsummer Night’s Dream (Royal Exchange, Manchester); Pericles (RSC & Chicago); Richard, my Richard (Shakespeare North); A Midsummer Night’s Dream (RSC & Barbican); Othello (Globe); Sleeping Beauty (Theatr Clywd); The Little Matchgirl and Happier Tales (Wise Children); Beautiful Thing (Stratford East, Leeds Playhouse, HOME Manchester); The Tempest Re Imagined (Regents Park Open Air & Unicorn); A Midsummer Night’s Dream (Globe); The Flood (Queen’s); You Bury Me (Bristol Old Vic/UK tour); Lemons Lemons, Lemons, Lemons, Lemons (Harold Pinter); The Famous Five (Chichester Festival/Theatr Clwyd); Heart (Minetta Lane, New York); Romeo & Juliet/Little Women (Grosvenor Park Open Air); An Octoroon (Abbey); Cock (Ambassadors); Mum (Soho/ Royal Plymouth); Rockets and Blue Lights (National); Robin Hood, Beauty And The Beast, The Panto That Nearly Never Was, Pavilion (Theatr Clwyd); Black Victorians (National Tour); Overflow, Chiaroscuro (Bush); The Bee in Me, Aesop’s Fables, Grimm Tales (Unicorn); You Stupid Darkness (Southwark Playhouse); The Last Noel (Arts at the Old Fire Station/UK tour); On The Other Hand We’re Happy, Daughterhood, Dexter, Winters Detective Agency (Roundabout); Pop Music (National Tour); The Court Must Have a Queen (Hampton Court Palace); The Little Match Girl, Other Happier Tales (Shakespeare’s Globe/National Tour); The Little Prince (Omnibus).

Debbie Hannan writes and directs for stage and screen. They are currently Associate Director at National Theatre of Scotland, and Associate Artist at Cardboard Citizens. They were formerly Interim Artistic Director at Stockroom, theatre’s first writers room. They trained at the Royal Conservatoire of Scotland and as Trainee Director at the Royal Court, and recently joined the board of Theatre Uncut.

They have directed at theatres such as the Royal Court Theatre, the Young Vic, the Bush Theatre, Soho Theatre, the Royal Exchange (Manchester), the Tron Theatre (Glasgow), the Citizens Theatre (Glasgow), the Traverse Theatre (Edinburgh) and has worked with companies such as Complicité, Clean Break, Sonia Friedman Productions and Paines Plough, including winning an Olivier as Associate Director for Best Revival of Constellations on the West End.

Credits include Sound of the Underground (Royal Court), The Panopticon (National Theatre of Scotland) and Overflow (Bush Theatre). They received the Genesis New Director’s Award, and an MGC Futures Bursary. As a writer, they have been commissioned by Cardboard Citizens for the More Than One Story project, were recently shortlisted for the Alpine Fellowship Playwriting Award, are writing a new musical developed by Northern Stage, and are adapting a children’s book for the Unicorn Theatre.

Debbie has directed a short produced by Film4 and 104 Films, co-written with Matilda Ibini, which screened at London Film Festival 2023. They were Shadow Director on Shetland Season 6 & 7, and are developing a feature on a BFI Creative Challenge Lab. Debbie is now writing their first feature, with research supported by the Miles Ketley Memorial Fund.

Holly Khan is a British/Guyanese composer, sound designer and multi-instrumentalist, creating scores for theatre, film and installation.

Theatre credits include: Statues, Dreaming and Drowning (Bush); Bellringers (Hampstead) *OFFIE nominated for Best Sound Design*; Our Country’s Good (Lyric Hammersmith); Red Speedo (Orange Tree); Sam Wu is not Afraid of Ghosts (Polka Children’s); Sylvia (English Theatre Frankfurt GMBH); the Olivier nominated Blackout Songs, This Much I Know, Biscuits for Breakfast (Hampstead); Tess (Turtle Key Arts / Sadler’s Wells); I Really Do Think This Will Change Your Life (Colchester Mercury); Duck (Arcola); Northanger Abbey, Red Speedo (Orange Tree); The Invincibles (Queen’s Hornchurch); Unseen Unheard ( Peckham); Laughing Boy, Jules and Jim (Jermyn Street); Mansfield Park (The Watermill); The Beach House (Park); For A Palestinian (Bristol Old Vic/Camden People’s) *OFFIE nominated for Best Sound Design*; Amal Meets Alice (Good Chance Company, The Story Museum); Kaleidoscope (Filskit Company, Southbank Centre/Oxford Playhouse); Ticker (Alphabetti, Newcastle / Underbelly, Edinburgh/Theatre503).

Jack Boissieux runs a production management company working across theatre, opera, dance, musicals and events. He has worked on national and international touring productions, West End musicals and immersive / site specific theatre.

Theatre credits include: The Choir Of Man (West End and International Touring); Bluey’s Big Play (International Touring); Head Of Production @ Waterperry Opera Festival; Pied Piper (National Touring); Feeling Afraid As If Something Terrible Is Going To Happen (Bush and International Touring); A Very Naughty Christmas (Southwark Playhouse, Elephant); Wilko (Queen’s Hornchurch); Lay Down Your Burdens (Barbican and National Touring); The Ancient Oak Of Baldor (National Touring); Lost Lending Library and A Curious Quest (Punchdrunk); Maddie Moate’s Very Curious Christmas (West End); Berlusconi (Southwark Playhouse, Elephant); The Borrowers (Theatre By The Lake); An Improbable Musical (National Touring); Habibti Driver (Octagon Theatre); Saving Face (Curve and National Touring); LAVA (Soho Theatre and National Touring); and the Annual Fundraising Gala for the National Youth Theatre.

Lavender, Hyacinth, Violet, Yew is Jasmine’s first show at the Bush. After several years working on arts festivals, she trained in stage and production management in Edinburgh and works across Theatre and Festivals.

Theatre credits include: The Years (Almeida) and Boys on the Verge of Tears (Soho Theatre).

Jatinder Chera

For the Bush: Olivier Award winning Sleepova, and The P Word, Olivier nominated A Playlist for The Revolution, and The Real Ones.

Theatre includes: G (Royal Court), The Comeuppance (Almeida), The Flea, Samuel Takes a Break, Multiple Casualty Incident (The Yard), Sweat (Royal Exchange, Manchester).

Jen Garland graduated from LAMDA in 2024 with a degree in Production and Technical Arts, specialising in Lighting.

Theatre credits include: Stranger Things: The First Shadow (West End); Machinal, Wolfie, Suite in Three Keys (Orange Tree); Opera Holland park – Various; Royal Court – Various; The Great Christmas Feast, 58th Street Country Club (The Lost Estate); Royal Variety Performance, Festival of Rememberance (Royal Albert Hall).

TV and Film credits: Behind the Mountain (Advert, Paramount Pictures); Graham Norton, Strictly Come Dancing, The Joy Awards, EA FC Pro (Light Initiative).

Lighting Designer Laura Howard trained at LAMDA as a recipient of the William and Katherine Longman Charitable Trust Scholarship. Laura’s previous credits for the Bush Theatre: Invisible, Clutch, Elephant and The Kola Nut Does Not Speak English.

Maariyah Sharjil is a designer and a recent first-class graduate from BA Design for Performance at the Royal Central School of Speech and Drama (2021). Before her design training, Maariyah worked at Sands Films as a costume constructor.

Theatre credits include: Costume researcher for Life of Pi (American Repertory); Design associate and costume supervisor for The P-Word (Bush); Assistant Costume Supervisor for The Father and the Assassin (National); Costume Designer for The Key Workers’ Cycle (Almeida).

Max Johns trained in theatre design at Bristol Old Vic Theatre School and was the recipient of a BBC Performing Arts Fellowship in 2015, and prior to this he worked for a number of years as a designer in Germany.

His most recent UK productions include: costume design for Why Am I So Single? (Garrick); The Duchess [Of Malfi] co-design with Tom Piper (The Trafalgar); As You Like It (Globe), Sound Of The Underground co-design with Rosie Elnile (Royal Court); Choir Boy and Birthmarked (Bristol Old Vic); The Climbers (Theatre by the Lake); The P Word, Overflow, Strange Fruit and Rust (Bush); The Strange Undoing Of Prudencia Hart (Manchester Royal Exchange); Once Upon A Time In Nazi Occupied Tunisia (Almeida); King John (RSC); The Panopticon (National Scotland); Lord Of The Flies, Kes and Random (Leeds Playhouse); Heartbreakin’ (WLB Esslingen, Germany); Buggy Baby (Yard); Yellowman (Young Vic); The Half God Of Rainfall (Kiln/Birmingham Rep/Fuel); Urinetown (Central School of Speech and Drama); Wendy And Peter Pan (The Royal Lyceum Edinburgh); Utility and Twelfth Night (Orange Tree); Fidelio (London Philharmonic Orchestra); Enron and Our Town (the Egg); Life Raft, Medusa, The Light Burns Blue and Under A Cardboard Sea (Bristol Old Vic) and; Hamlet and All’s Well That Ends Well (Shakespeare at the Tobacco Factory).

Rebecca Natalini graduated with a BA in Stage Management from the Royal Central School of Speech and Drama and  is currently working at the Bush Theatre for the second time after working on The Real Ones in 2024.

Recent stage management theatre credits include: The Real Ones (Bush Theatre), Pride and Prejudice, Scenes from RENT – A Staged Performance (Curve), A Midsummer Night’s Dream (New Diorama), Zoe’s Peculiar Journey Through Time (UK and Norway tour), Pride & Prejudice* (*sort of) (UK tour).