Speed

Alexander Standish-Murray recently Graduated from the University of East London where he studied Performing Arts and specialised in experimental, ritualistic, divisive theatre.

He is a passionate early career Stage Manager who has already worked on multiple professional theatre productions,  such as (Rehearsal) Stage Manager on The Glorious French Revolution and Stage Manager for Win(d)ing Orchestra’s R&D3.

Alex is also a dedicated theatre technician, being involved in many productions as an operator, displaying his skill in understanding the technical aspects that bring a show together.

As Casting Director, theatre credits include: The Glass Menagerie (Yard); A Good House, BRACE BRACE, Giant, ECHO, Bluets, Blue Mist, Hope has a Happy Meal, Graceland, Jews. In Their Own Words, A Fight Against…, Maryland, Poet in da Corner (Royal Court); King Troll (The Fawn) (New Diorama); Paradise Lost (lies unopened beside me) (Tour); Little Deaths (Summerhall); Visit from an Unknown Woman (Hampstead); Liberation Squares (Nottingham Playhouse / Brixton House & tour); The Contingency Plan (Sheffield Crucible); Barefoot in the Park (Pitlochry Festival Theatre / Royal Lyceum); Returning to Haifa (Finborough); The Ugly One (Park); The Mountaintop (Young Vic).

As Casting Associate, theatre credits include: Unicorn (Garrick); Dr Strangelove (Noel Coward); Waiting for Godot (Theatre Royal Haymarket); Slave Play (Noel Coward); The Hills of California (Harold Pinter); Macbeth (UK/US Tour); Lyonesse (Harold Pinter); La Cage Aux Folles (Regents Park Open Air); The Pillowman (Duke of York’s); Hamnet (RSC & Garrick); Drive Your Plow Over the Bones of the Dead (Complicité – UK & European tour); Jerusalem (Apollo); Leopoldstadt (Wyndham’s); Uncle Vanya (Harold Pinter); The Night of the Iguana (Noel Coward); Rosmersholm (Duke of York’s); True West (Vaudeville); The Ferryman (Royal Court / Gielgud / Bernard B. Jacobs, New York); Shipwreck, Albion
(Almeida); A Very, Very, Very Dark Matter (Bridge); Hangmen (Royal Court / Wyndham’s / Atlantic Theatre Company, New York).

Film credits include: The Unlikely Pilgrimage of Harold Fry; Maryland; Ballywalter.

Beth Qualter Buncall works as a costume supervisor and maker for film, tv and theatre as well as being a textile artist creating custom and bespoke items such as garments, drapes and sculptural works.

Theatre credits include: Canned Goods (Southwark Playhouse); Goldie Frocks and the Behrmitzvah (JW3); Huddle, The Wolf, The Duck and The Mouse (Unicorn Theatre); Kim’s Convenience (Riverside Studios); The War of the Worlds (Wilton’s Music Hall); Some Demon (Arcola theatre & Bristol Old Vic, Offie nominated); 23.5 Hours, Kim’s Convenience (The Park Theatre); Love Bomb (National Youth Theatre); When you pass over my tomb (The Arcola Theatre); The Hatchling (Wakefield Festival Theatre Co)

Film credits include: Hostages; Greatest Days; London’s Forgotten; Nostalgia Ranch

Television credits include: Mr Loverman; A Thousand Blows; Trigger Point; Top Boy (BAFTA Winner); The Witcher; The Great; The Enfield Poltergeist (BAFTA Nominated); The Rings of Power; Bridgerton (CDG Award Nominated); Ten Percent; Call the Midwife; Lockwood & Co (National Film Awards UK Nominated) ; Nike Commercial; LTA Commercial; Bershka Commercial

Theatre/Opera credits include: Festen (ROH); Oliver! (Gielgud); Twelfth Night (RSC); King Lear (The Shed, NYC); Dr Strangelove (Noel Coward); Quiet Songs (Pit, Barbican); 1984 (Theatre Royal, Bath); The Spy Who Came in From the Cold (Minerva, Chichester); Abigail’s Party (Theatre Royal, Stratford East); Carmen (Glyndebourne); Machinal (Old Vic); The Hungry Body (Donmar Warehouse); King Lear (Wyndhams); The Witches (National Theatre); Cruel Intentions (The Other Palace); The Hunt (St Anns, NYC); My Beautiful Laundrette (Leicester Curve); Sleuth, Closure (Theatre Royal, Windsor); Shooting Hedda Gabler (Rose Theatre, Kingston); Macbeth (Shakespeare’s Globe); The Crucible (NT and Gielgud); Mates In Chelsea, Hope Has a Happy Meal, Imposter 22 (Royal Court); Village Idiots (Nottingham Playhouse/Stratford East); The Harmony Test, Between Riverside and Crazy, Akebah (Hampstead Theatre); The Birthday Party, The Deep Blue Sea, A View From the Bridge (West End); Who’s Afraid of Virginia Woolf (Theatre Royal, Bath); Dirty Dancing (Dominion Theatre/National Tour); A Beautiful Thing (Theatre Royal, Stratford East); Itch (Opera Holland Park); A Little Life (Harold Pinter).

Theatre credits include: Dr. Strangelove (Noel Coward Theatre); Fan Girls (Lyric Hammersmith); Alma Mater (Almeida Theatre); With Nail & I (Birmingham Rep); Lyonesse (Harold Pinter Theatre); My Neighbour Totoro (West End / Royal Shakespeare Company / Barbican); Little Shop of Horrors, Miss Saigon, The Good Person of Szechwan, The Band Plays On, She Loves Me, Reasons to Stay Alive (Sheffield Theatres); Wild Rose (Lyceum Edinburgh); Straight Line Crazy (The Shed, New York / The Bridge Theatre); The Enormous Crocodile, Once on This Island (Regents Park); The Glow, Seven Methods of Killing Kylie Jenner (Public Theatre, New York / Wooly Mammoth, Washington DC); Living Newspaper Edition 7, Pah-La (Royal Court); The Mirror and the Light (Gielgud Theatre); Anna X (Lowry / Howard Pinter); Marys Seacole, Blindness (Donmar Warehouse); Out West (Lyric Hammersmith); The Odyssey (Unicorn Theatre); Minority Report (Nottingham Playhouse, Birmingham Rep, Lyric Theatre);  Inside (Orange Tree); Dick Whittington (National Theatre); Rockets and Blue Lights (Royal Exchange); Faces in the Crowd, Mephisto, Dear Elizabeth, The Human Voice (The Gate); Equus (Theatre Royal Stratford East / UK Tour); Armadillo (The Yard); Reasons To Stay Alive (ETT / UK Tour); One (HOME / UK Tour / International Tour); Forgotten (Arcola Theatre /Theatre Royal, Plymouth); Hive City Legacy (Roundhouse); Snowflake (Kiln Theatre / Old Fire Station); Fairview (Young Vic); Cuckoo (Soho Theatre); Nine Foot Nine (The Bunker / Edinburgh Festival Fringe); Becoming Shades (VAULT Festival).

Other credits include: Twice Born (Scottish Ballet); HOME (Rambert2); Guardians of the Galaxy: The Live Immersive Experience (Secret Cinema); Winter Light (commissioned by the Museum of the Home); V&A Divas Exhibition.

Her awards include an Olivier Award and WhatsOnStage Award for Best Lighting Design for My Neighbour Totoro and a Knight of Illumination Award for Plays and Off West End Award for Best Lighting Design for Equus.

Milli Bhatia is a stage, screen and radio director, and dramaturg from East London. She is an Associate Artist at Synergy, and was Associate Director at The Royal Court Theatre.

Before this, she was Trainee Director and then Literary Associate at The Royal Court, Associate Artist at The Bush Theatre, Resident Assistant Director at Birmingham Rep and Creative Associate at The Gate Theatre. Her training includes The National Theatre Director’s Programme, and The Old Vic 12.

She is a two-time Olivier Award nominee, for her productions of seven methods of killing kylie jenner and Blue Mist, both premiered at The Royal Court Theatre. She has also been nominated for Off West End Awards, Visionary Arts Awards, EE Awards and Asian Media Awards, and her work has received West End and international transfers, including to The Public Theater NYC, Woolly Mammoth DC, Riksteatern and The Swedish Biennale (Dramaten). Her work in theatre also includes Chasing Hares (Young Vic), King Troll (The Fawn) (New Diorama), My White Best Friend and Other Letters Left Unsaid (Royal Court/Bunker), Macbeth:Something Wicked (Donmar tour), Liberation Squares (Nottingham Playhouse/Brixton House/National tour), Dismantle This Room (Bush Theatre/Royal Court), Maryland and Baghdaddy (Royal Court).

Mohamed-Zain Dada, goes by the name Zain, is a playwright and screenwriter. His first writing credit, Emily (Glitched) In Paris was for the Royal Court Theatre’s Living Newspaper series in March 2021. He is an alumnus of BBC Drama Room’s 2022-23 cohort and NFTS x Left Bank Pictures inaugural Diverse Writer’s Room Programme 2024. Zain’s debut play, Blue Mist premiered at the Jerwood Theatre Upstairs at the Royal Court Theatre in October 2023 to four and five star reviews and was nominated for an Olivier Award. His second play, Dizzy premiered at the Sheffield Playhouse (co-produced by Theatre Centre).

Theophilus O. Bailey is a multidisciplinary artist based in London, deeply rooted in the fusion of hip-hop and contemporary dance. His work delves into themes of mental health, societal inequities, self-perception, and physical wellness through various mediums, including theatrical performances, filmmaking, and photography.

Over the years, he has collaborated on numerous acclaimed projects, created his own works, produced events, and performed with Olivier Award-winning Hip Hop theatre choreographers Kenrick Sandy and Ivan Blackstock. He has also worked alongside industry-leading choreographers and directors such as Russell Maliphant, Joseph Toonga, Milli Bhatia, and Ryan Calais Cameron.

In the realm of visual art and poetry, Theophilus has choreographed and performed for artists like Julianknxx, Yomi Sode, Caleb Femi, and Rhael ‘LionHeart’ Cape Hon FRIBA. His recent film work includes appearances in Steven Soderbergh’s ‘Magic Mike’s Last Dance’ and BSL Zone’s ‘Here/Not Here’.

Tomás Palmer trained at the Glasgow School of Art and the Royal Welsh College of Music and Drama. He is a recipient of the 2021 Linbury prize for theatre design and was the production designer on the BAFTA award winning short film Too Rough.

As an artist, he has created installations/performance pieces for the Centre for Contemporary Arts (Glasgow), Transmission Gallery (Glasgow) and Embassy Gallery (Edinburgh).

Design credits include: Wish You Were Here (Gate Theatre), Dawns y Ceirw (Theatr Cymru, National Dance Company Wales), Dreaming and Drowning (Bush), Blue Mist (Royal Court), The Bacchae (Lyric Hammersmith), My Uncle Is Not Pablo Escobar (Brixton House), Sanctuary (Access All Areas), Sophocles’ Oedipus / Silent Practice (LAMDA), Time Is Running Out (Gate Theatre, Cardiff), Winning (Glasgow School of Art), Autocue (Centre for Contemporary Art Glasgow).

Costume design credits include: Look Back In Anger, Roots (Almeida), Multiple Casualty Incident (Yard Theatre), Julius Caesar (RSC).

XANA is a composer, sound artist, music supervisor and a sound designer developing accessible audio systems for theatre and live art spaces. Xana is the music science and technology lead and project mentor supporting Black artists and inventors at audio research label Inventing Waves. Xana has won the 2023 and 2024 – Black British Theatre Award for Best Sound Design.

Theatre credits: Pig Heart Boy (Unicorn Theatre), Shifters (Offie Finalist), Barcelona (Duke of York), The Real Ones, My Fathers Fable, Elephant, Sleepova (Offie Nom), The P Word (Offie Nom), Strange Fruit (Bush Theatre); Dead Girls Rising (Silent Uproar, UK Tour), The Architect (ATC/GDIF), Beautiful Thing (Stratford East); Imposter 22, Word:Play, Living Newspaper #4 (Royal Court); Rumble In the Jungle (Rematch:Live); Anna Karerina (Edinburgh Lyceum, Bristol Old Vic); Intimate Apparel, The Trials, Marys Seacole (Donmar Warehouse); Earthworks, Sundown Kiki: Reloaded, The Collaboration, Sundown Kiki, Changing Destiny, Fairview, Ivan and the Dogs (Young Vic); …cake (Theatre Peckham); Who Killed My Father (Tron); as british as a watermelon (Contact); Hyde and Seek (Guildhall); Burgerz (Hackney Showroom); King Troll [The Fawn] (Offie Finalist), Everyday (Deafinitely) (New Diorama), Black Holes (The Place); Hive City Legacy (Roundhouse); Main Character Energy, But Daddy I love her, Glamrou: From Quran to Queen, Curious, Half-Breed (Soho Theatre); Blood Knot (Offie Finalist), Guards At The Taj (Offie Finalist) (Orange Tree Theatre); Samuel Takes A Break, SEX SEX MEN MEN (Yard Theatre), Limp Wrist & The Iron Fist, Everything I own, Is Dat Yu Yeah (Brixton House).