Overflow – Online

Annie-Lunnette Deakin-Foster is a contemporary dance theatre choreographer, maker, teacher and movement director, and was a founding member of award-winning company, C-12 Dance Theatre. Theatre Credits include:

The Bee in Me (Unicorn Theatre), You Stupid Darkness (Southwark Playhouse), The Last Noel (Old Fire Station), Pavilion (Theatr Clwyd), Chiaroscuro (Bush Theatre), On The Other Hand We’re Happy, Dexter & Winters Detective Agency (ROUNDABOUT), Aesop’s Fables (Unicorn Theatre), Grimm Tales Phillip Pullmans Collection (Unicorn Theatre), Jericho’s Rose (The Hope & Anchor), POP MUSIC (national tour), The Court Must Have a Queen (Hampton Court Palace), These Bridges (National Theatre Connections, Bush Theatre), The Little Match Girl and Other Happier Tales (Shakespeare’s Globe, National tour), The Dark Room (Theatre 503).

Theatre includes: When the Crows Visit (Kiln Theatre), Princess and the Hustler (Bristol Old Vic/tour), Black Men Walking (Scottish tour),The Trick (Bush Theatre/tour), Again (West End), An Adventure (Bush Theatre), Abigail’s Party (Hull Truck), Black Men Walking (Royal Exchange/ tour), Handbagged (West End/Tricycle Theatre), Fences (West End/Theatre Royal Bath), A Raisin in the Sun (Sheffield Crucible/tour), Ticking (West End), Play Mas (Orange Tree), Chasing Rainbows and Female Parts (both at Hoxton Hall), The Invisible Hand, Ben Hur, A Wolf in Snakeskin Shoes, The House That Will Not Stand, The Colby Sisters and One Monkey Don’t Stop No Show all at the Tricycle Theatre.

Films include: Samuel’s Trousers, Bruce, Gypsy’s Kiss, The Knot, High Tide, What We Did On Our Holiday (children), Common People, Tezz, Final Prayer, Love/Loss, Zero Sum, 10by10. Television includes: Outnumbered (children) Just Around the Corner (children), Dickensian (children), Inside the Mind of Leonardo.

Debbie Hannan trained at the Royal Conservatoire of Scotland and as Trainee Director at the Royal Court. They direct new writing and make new work.

Recent credits include: Pah-La (Royal Court Theatre), Little Miss Burden (The Bunker), Cuckoo (Soho Theatre), Isolation (National Theatre of Scotland), The Panopticon (National Theatre of Scotland), The Ugly One (Tron Theatre), Girl Meets Boy (developed with National Theatre of Scotland and The Yard), Shielders (Traverse Theatre), The Unexpected Expert (Headlong, BBC), After Rhinoceros: The Red Pill (Royal Welsh College, the GateLatir, Compañia Nacional de Teatro, Mexico), The Wonderful World of Dissocia, The Angry Brigade (Royal Conservatoire of Scotland; Pandora (Etch, Pleasance), Killer Joe, Conspiracy (Royal Welsh College, the Gate), The Session (Soho Theatre), The Five Steps, Primetime, Who Cares, Spaghetti Ocean (Royal Court), Lot and His God, Notes from the Underground (Citizens Theatre), Recreation (Arcola), CauseWay, Woman of the Year (Oran Mor), liberty, equality, fraternity (Tron/Traverse), Sucker (Old Vic New Voices), PANORAMA, Roses Are Dead (Arches), Grimm Tales, Nights at the Circus (Theatre Paradok).

Credits as assistant include: Teh Internet is Serious Business, How to Hold Your Breath, Birdland, The Nether, The Mistress Contract, Primetime 2014 (Royal Court), The Maids, Sleeping Beauty (Citizens), A Doll’s House, Enquirer (National Theatre of Scotland).

As associate, credits include: Our Ladies of Perpetual Succour (National Theatre of Scotland), A Pacifist’s Guide to the War on Cancer (Complicité), Constellations (Royal Court – UK Tour), Little on the Inside (Clean Break).  Debbie is the incoming Co-Artistic Director of the Traverse Theatre.

Francis Botu is a classical guitarist and sound designer based in London and has recently worked on Cherry (The Vaults), This Is Black (Bunker Theatre) and The Clinic/Chaos (Southwark Playhouse). He trained in composition at Trinity College of Music.

Jess Bernberg trained at Guildhall School of Music and Drama and was the 2018 Laboratory Associate Lighting Designer at Nuffield Southampton Theatres. Designs include: [Blank] (Donmar Warehouse), Dick Whittington (Theatre Royal Stratford East), Actually (Trafalgar Studios 2), A History of Shopping Malls in Tehran (Traverse/Home Manchester/BAC); Rust (Bush Theatre/HighTide), Out of Water, Cougar (Orange Tree Theatre), We Anchor in Hope, Devil with the Blue Dress, FCUK’D (Off West End Award nomination) (The Bunker), The Crucible, Sex Sex Men Men, A New and Better You, Buggy Baby (The Yard), Othello (Cambridge Arts Theatre), Wondrous Vulva (Oval House), The Town That Trees Built (Young Vic), And the Rest of Me Floats (Birmingham Rep/Bush Theatre), The Borrowers (Tobacco Factory), Fabric, Drip Feed (Soho Theatre), Victoria’s Knickers, Consensual (NYT); Medusa, Much Ado About Nothing, Dungeness, Love and Information (Nuffield Southampton Theatres), Homos, or Everyone in America (Finborough Theatre), SongLines (HighTide).

Max Johns trained in theatre design at Bristol Old Vic Theatre School and was the recipient of a BBC Performing Arts Fellowship in 2015. Prior to this he worked for a number of years as a designer in Germany. His most recent UK productions include King John (Royal Shakespeare Company), Heartbreakin’: Die Biene Und Der Kurt (WLB Esslingen), The Panopticon (National Theatre Scotland), Strange Fruit (Bush Theatre), Rust (Hightide/Bush Theatre), The Half God of Rainfall (Kiln Theatre/Birmingham Rep/Fuel Theatre), Wendy and Peter Pan (The Royal Lyceum Edinburgh, KES), Random (Leeds Playhouse), Utility, Twelfth Night (Orange Tree Theatre), Buggy Baby (Yard Theatre), Yellowman (Young Vic), Fidelio (London Philharmonic Orchestra), Enron, Our Town (The Egg), Life Raft, Medusa, The Light Burns Blue, Under a Cardboard Sea (Bristol Old Vic), Hamlet, All’s Well That Ends Well (Tobacco Factory). Max is currently developing frameworks for theatre practitioners on improving anti-racist practices and sustainable design.

Rike Berg graduated from the Bauhaus University Weimar in Germany, and has worked on various theatre productions in Sweden and the UK. Her most recent credits as Company Stage Manager / Deputy Stage Manager / Assistant Stage Manager include: The Woman in Black (Gothenburg English Studio Theatre and Sweden Tour), Belongings (GEST), Upper Cut, Working – The Musical (Southwark Playhouse), Lines (The Yard Theatre), Sense of an Ending, Clickbait, Four Play, We Wait In Joyful Hope, The Monkey, Years of Sunlight, Burning Bridges (Theatre503), Fury (Soho Theatre), These Trees Are Made of Blood (Arcola Theatre), Contractions (Deafinitely Theatre), Isabeau (Opera Holland Park), Misty, Nine Night (Trafalgar Studios), Strange Fruit and The Arrival (Bush Theatre). Since moving to London Rike has also worked for the Royal Court Theatre, Royal Albert Hall, Pleasance London, Complicité, Breach Theatre, the Gate Theatre, Scene & Heard, the NYT and the Young Vic.

Travis Alabanza is an award-winning theatre maker, writer, and performer. A previous member of the Royal Court Young Writers group and Barbican young poets, their recent show Burgerz, which explored the intersections of transness and harassment, toured internationally to Sao Paolo, Southbank Centre, Bristol Old Vic, Smock Alley Dublin, HAU Berlin and Edinburgh Festival Fringe where it won the Total Theatre award. Other work includes My White Best Friend (Royal Court online), Skype d8 (Bush Theatre online) and In Tandem (Paines Plough online).

Alabanza has performed their solo work in a range of venues, galleries, and mediums including clubs such as the Royal Vauxhall Tavern, Latitude Festival, the V&A museum and universities and colleges including Oxford, Harvard and Bristol. In 2016/17, Travis was the youngest recipient of the Tate Gallery Workshop residency. Travis has written for Metro, Vice, Gal-Dem, The Independent, Dazed, Gay Times and more.

In 2018/19, Alabanza was listed on the Dazed100 – 100 people defining culture, awarded a Gay Times Honours award for their work in the LGBT+ community, and listed in the Evening Standard 25 Influential people under 25. Recently in The Times Style Bernadine Evaristo picked Alabanza as a ‘trailblazer of the future’ to watch.