Anil is a British comedy writer and producer. He has produced many shows on radio and
television including Goodness Gracious Me, the spoof chat show The Kumars at No. 42, The
Office, Citizen Khan and Bromwell High. He wrote the Cinderella episode of the 2008 comedy
drama series Fairy Tales, and co-created and wrote ElvenQuest with Richard Pinto.

Richard Pinto has written extensively for television and radio. His television credits include
Small Potatoes, The Kumars at No. 42, Bromwell High, Mutual Friends, Fresh Meat, The
Armstrong and Miller Show, Citizen Khan and Boomers. For radio he co-created and wrote
Elvenquest with Anil Gupta, and he was the lead writer on both the radio and the TV series of
Goodness Gracious Me.

Iqbal Khan is an Associate Director of Birmingham Rep, an Associate Artist of Box Clever Theatre Company, and the Artistic Director of the 2022 Commonwealth Games Opening Ceremony.

He has worked extensively with the RSC, as well as directing for opera and classical music events. Credits include East is East (Birmingham Rep, National Theatre), Tartuffe (Birmingham Rep, with RSC), Otello, The Wildman of the West Indies and Shakespeare at The Bowl. He has directed in Paris, Japan (awarded a year long prestigious fellowship, based in Tokyo), had recent residencies and delivered lectures at Michigan State, La Fayette, Nanjing, and was the 2019 Michael Douglas Visiting Artist at UC Santa Barbara.

Bretta is a set, lighting and costume designer for Theatre, Circus, and Opera. She is the
resident designer at Catalyst Theatre (Canada) where she co-creates and tours new work
across North America, the UK and Australia. Bretta also designs for Cirque du Soleil, The
RSC, The National Arts Centre, The Stratford Shakespeare Festival, Edmonton Opera, Calgary
Opera, Vancouver Opera, The Citadel Theatre and The Grand Theatre. She is the recipient of
over 25 awards in addition to Avenue Magazine’s Top 40 under 40, Global Television’s Woman
of Vision, IPL Best Emerging Artist, The Lucille Lortel Award (Best Costume Design, Off
Broadway) and three times short-listed for The Siminovitch Prize. She recently represented
Canada in Prague at the Scenography Quadrennial and her costume designs were exhibited
in Moscow, Beijing, and Taipei. Bretta is thrilled to be working on Tartuffe at the Birmingham
Repertory Theatre.

Richard Howell’s theatre credits include Tartuffe, Coriolanus, All’s Well That Ends Well (RSC);
The House Of Shades, The Writer (Almeida); Aristocrats, Privacy (Donmar); I See You (Royal
Court); All My Sons, Jekyll And Hyde (Old Vic, London); Pinter 5 & 6, Glengarry Glen Ross,
Bad Jews, Killer Joe, The Homecoming, East Is East (West End); Black Love, NW Trilogy (Kiln);
Closer (Lyric Hammersmith); Habeas Corpus, The Watsons (Menier); Breaking The Code, A
Doll’s House, Little Shop Of Horrors, Cat On A Hot Tin Roof (Manchester Royal Exchange);
Labyrinth (Hampstead Theatre); The Country Wife (Chichester, Minerva); The Wild Party
(The Other Palace); Faustus, The Glass Menagerie (Headlong, Uk Tour); Rock, A Midsummer
Night’s Dream, The Wizard Of Oz, Playing For Time (Sheffield Crucible); Semmelweis, The Grinning
Man, The Crucible, The Life And Times Of Fanny Hill (Bristol Old Vic); The Madness Of George III
(Nottingham Playhouse); Project Polunin (Sadlers Wells); Cabaret (Gothenburg Opera);
Breaking The Waves, Flight (Scottish Opera); Il Trittico, Madame Butterfly, La Fanciulla
(Opera Holland Park); Madame Butterfly (Danish National Opera).

Training: Northcott Theatre, University of Exeter.

Seasons at the Bristol Old Vic and touring with a variety of shows operating musicals, opera, &
new work, including a musical version of Dr Who.

Jeremy is Head of Sound for the Royal Shakespeare Company & is responsible for sound and
technical communications for all RSC productions. Jeremy is also “everything sound & music”
for Spotlight theatre group, producing a summer musical for young people in North London.
Sound Design includes: most of the Shakespeare repertoire in Stratford including new work
and Tartuffe in the Swan in 2018.

Sarah Sayeed is a musician, composer, writer and with over 15 years of experience working
collaboratively with a range of artists.

As a musical artist, her practice focuses around contemporary works that influence Western
classical choral works, orchestral ideas, Indian and Bengali classical vocals & instrumental
works and Western contemporary jazz and urban music. Sarah plays instruments tanpura
and shruti, and is the lead vocalist in international duet Myth of Her with violin and electronic
artist Anne Eltard (Copenhagen, Denmark).

Sarah is currently training in classical vocals with leading Classical Indian Music maestro
Swati Natekar.

Sarah’s credits include Composer and Sound Designer for Santi and Naz (The Thelmas),
Composer and Sound Designer for We Are Shadows (Tamasha), Principle Musician in Richard
2nd at Shakespeare’s Globe (2019), Composer & Musical Director for the Royal Shakespeare
Company adaption of Molière’s Tartuffe (2019/2018) and Sound Designer for Contact
Theatre’s production on Suffragette Movement, She Bangs The Drums (2018).

In 2021 and 2022 Sarah designed Ten Nights for Bush Theatre and composed the music for Love Across
the Ages, both written by Shahid Iqbal Khan and was sound designer on The Merchant of
Venice by Shakespeare in Italy, performed at the Playground Theatre and directed by Bill
Alexander.

Artistic commissions include Sound and Music’s Portfolio composers programme and
Curating Sound Travels with the British Music collection/Google Curate.

Pete is a cellist, sitarist and vocalist from a family of travelling Showpeople. While his
grandfather was the last Yelding to live on the road, Pete continues the family’s trade of
performing into its 7th generation! He fell in love with the cello aged 4, after a chance
introduction at nursery. Growing up, his mother – an illustrator and artist – took him in an
illustrated caravan to small fairs, camps and festivals, where he would meet and play with
musicians from every continent. This gave him the grounding for his musical life today.

At the beginning of his cello and composition studies at Birmingham Conservatoire, Pete took
a short course in sitar. He found Hindustani music resonated like no other art form and was
hooked. Alongside his numerous creative projects, he practised sitar for 10 years, receiving
training from Jonathan Mayer of the Senia veen-kar Gharana and playing weddings and
restaurants. During this time he also received vocal tuition from Rauf Saami and tuition in
string performance techniques from Gurbaksh Singh and Griots such as Juldeh Camara, Jally
Kebba Susso and Sura Susso – a friend since his teens. Then, in 2020, he travelled to Kolkata
to become student of legendary sarod player, Ustad Irfan Muhammad Khan of the Lucknow-
Shahjahanpur Gharana.

In recent years Pete has collaborated with artists such as Zinzi Minott, Mammal Hands, Iqbal
Khan, Talvin Singh, Sura Susso, Jonathan Mayer, & Shagufta Iqbal; and organisations such as
the Royal Shakespeare Company, Bristol Old Vic, Cape Farewell & Birmingham Rep.

Theatre includes: Best of Enemies (West End); The Time Traveller’s Wife: The Musical
(Storyhouse); Get Up, Stand Up! The Bob Marley Story (West End); Best of Enemies (Young
Vic); J’Ouvert (West End); Nine Night (West End); Equus (West End); After Life, Master
Harold…and the Boys, Hansard, Antony & Cleopatra, Twelfth Night (National Theatre);
Tartuffe (RSC); Macbeth (The Globe); Faustus (Lyric & Birmingham Rep); Cinderella (Lyric);
Grey (Oval House); King Hedley II and, Equus (Theatre Royal Stratford East); J’Ouvert
(Theatre503); Cougar and Dealing with Clair (Orange Tree Theatre); Winter and Why it’s
Kicking off Everywhere and Cuttin’ it (Young Vic); A Streetcar named Desire (Nuffield, Clwyd
Theatre Cymru and for English Touring Theatre); Rules for Living (Royal & Derngate); Apologia
(English Theatre Frankfurt).

As assistant movement director work includes Hamlet (RSC).

Television includes: Anansi Boys (Upcoming on Amazon).

Film includes: Romeo & Juliet (Sky Arts) Ear For Eye (BBC).

Shelley won the award for Best Choreographer at the inaugural Black British Theatre Awards
in 2019 for her work on Equus.

RC-ANNIE Ltd, established in 2005 by Rachel Bown-Williams and Ruth Cooper-Brown, is the
UK’s leading Dramatic Violence Company.

Theatre credits include: King John, Measure For Measure, As You Like It, The Taming Of The
Shrew, Tartuffe, The Duchess Of Malfi, Salome & Snow In Midsummer (RSC); Women Beware
Women, Doctor Faustus, Macbeth, Emilia, Othello, The Secret Theatre, Boudica, Lions And
Tigers, Much Ado About Nothing, Twelfth Night, The White Devil, Comus, Imogen, The Little
Matchgirl (and Other Happier Tales) (Shakespeare’s Globe); Alone In Berlin (Royal and
Derngate); Faustus: That Damned Woman (Headlong & Lyric Hammersmith); The Prince
Of Egypt (Dreamworks at The Dominion Theatre); A Monster Calls (National Tour); The
Welkin, Three Sisters, Anna, When We Have Sufficiently Tortured Each Other, Common, Ugly
Lies The Bone, Peter Pan, The Threepenny Opera, The James Plays (co-production with
National Theatre of Scotland and Edinburgh International Festival) and Cleansed (National
Theatre); (Donmar Warehouse); Macbeth (Chichester Festival Theatre); Hedda Tesman
(Headlong/Chichester Festival Theatre/The Lowry); The King Of Hell’s Palace (Hampstead
Theatre); Peter Pan (National Theatre); Troubadour (White City Theatre); Noises Off
(Lyric Hammersmith/West End); The Night Of The Iguana (Noel Coward Theatre); Plenty
(Chichester Festival Theatre); Wife (Kiln Theatre); Hobson’s Choice (Manchester Royal
Exchange); King Hedley (Theatre Royal Stratford East); The Little Matchgirl (Bristol Old Vic
/ Shakespeare’s Globe); A Very, Very, Very Dark Matter (The Bridge Theatre); Wise Children
(Wise Children/The Old Vic); Company (Elliot Harper Productions at The Gielgud Theatre);
Europe (Leeds Playhouse); God of Carnage, The Price, Switzerland, Dusty (Theatre Royal
Bath); A Monster Calls, Woyzeck (Old Vic); Hogarth’s Progress, My Brilliant Friend (Rose
Theatre Kingston); The Village (Theatre Royal Stratford East); Girl On A Train, Sunshine On
Leith, The Lion, The Witch And The Wardrobe, Barnbow Canaries, Great Expectations, Richard
III (West Yorkshire Playhouse) and A Clockwork Orange (Liverpool Everyman).

Marc Frankum has cast Sky Comedy Rep, Tartuffe (Birmingham Rep), The Play What I Wrote (Birmingham Rep/UK Tour), Now Is Good (Storyhouse, Chester), Bang Bang (Northcott/ UK Tour), The History Boys (Grand Wolverhampton), God of Chaos, The Kneebone Cadillac (Royal, Plymouth), Jack and the Beanstalk, Dick Whittington, Cinderella, Aladdin (Royal, Norwich), The Comedy of Errors, Baskerville, Aladdin, Moll Flanders, Pieces of String, Much Ado About Nothing, Clybourne Park, Noises Off, Macbeth (Mercury Colchester), Dracula (Touring Consortium), The Full Monty (2018/19 & 2016/17 – UK Tour), Tonight at 8.30 (Jermyn Street), The Band the Musical (UK Tour), Beauty & the Beast, Dick Whittington, I Capture the Castle (Palace, Watford), 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/ The Children’s Touring Partnership), Stepping Out (Salisbury Playhouse), The Mousetrap (60^th Anniversary Tour), The Woman In Black (West End), An Inspector Calls (UK Tour), Mother Adam (Jermyn Street), The Hairy Ape (Southwark Playhouse), End of the Rainbow (UK Tour), Sign of the Times (Duchess), Calendar Girls (UK Tour), Far Away (Bristol Old Vic), The History Boys (Royal, Bath/ West Yorkshire Playhouse), Sister Act, Secret Life of Humans 2022, The Totalitarians, Young Frankenstein, The Girl on the Train, Switzerland, Secret Life of Humans, The Effect, Sweeney Todd, One Flew Over the Cuckoo’s Nest, The Children, Apologia, 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 (English, Frankfurt) and was casting associate on Big, the Musical (Plymouth/ Dublin), Good Canary (Rose, Kingston), The Bodyguard (West End) and Elf, The Musical (West End/ Plymouth/ Dublin/ Manchester). Mark was casting consultant on Love on the Links (Salisbury Playhouse), The Dark Room (503), Chinese Whispers (Greenwich).

Beth is a freelance director and dramaturg who works with writers and community groups
to develop new work that speaks to important issues affecting the world today. Trained on
Birmingham Rep’s Foundry scheme and the StoneCrabs Young Directors Programme, most
recently Beth was Artistic Associate at Tara Theatre. Telling stories that surprise, move and
provoke audiences sits alongside a culture of care at the heart of Beth’s practice.

Directing credits include: Wake Up People (Queens Theatre Hornchurch), Our Streets (Tara
Theatre) (co-created with a group of 14-18 year old female and non-binary people in Wandsworth),
R&D of Bungalow by Ruth D’Silva (Tara Theatre), When The Sea Swallows us Whole
(VAULTS Festival), Dead Endings (Birmingham Rep), Wasted (The Albany, Deptford).

Assistant Director credits include: Coventry City of Culture Opening Event, Romeo and Juliet
(Birmingham Rep), Rebel Music (Birmingham Rep), Against All Odds (Almeida Theatre).

Dramaturg credits include: English Touring Theatre’s ‘Mixed’ Anthology, and The Petticoat
Council by Frankie Meredith.

Olivier Nominated for Best Production in an Affiliate Theatre, Offie Nominated for Best
Costume Designer for The Daughter-in-Law at the Arcola Theatre and Best Set Designer for
Tonight at 8.30 at Jermyn Street. OldVic12 2016 finalist, JMK Finalist.

Theatre credits include: Tom’s Midnight Garden, Handbagged, Single Spies, Bold Girls,
Miss Julie, Creditors, Lady Killers, Little Voice, Dear Uncle, (Theatre by the Lake); Krapps
Last Tape / Eh Joe / Old Tune, Love All, Original Death Rabbit, For Services Rendered,
Tonight At 8.30, Tomorrow At Noon, Creditors, Miss Julie (Jermyn Street Theatre); A Place
For We, The Last Temptation of Boris Johnson (The Park Theatre); Stewart Lee: Content
Provider / Snowflake / Tornado (UK tour and BBC 2); Three Birds (Bush Theatre/ Royal
Exchange Manchester); Good Soul (Young Vic); Egusi Soup (Soho Theatre); Mud (Gate
Theatre); The Daughter-In-Law, The Dog, the Night and the Knife, A Game of Love and
Chance (Arcola Theatre); Blythe Spirit (Beijing); (Jermyn Street Theatre); The Minotaur, My
Father Odysseus (Unicorn Theatre); The Winter’s Tale (NAPA Karachi); Lost Land (Jenin,
Palestine); Shakespeare Untold, The Magic Playroom (UK tour, Pleasance Theatre); Emilia (GSMD); I Am A Superhero (Old Vic New Voices at Theatre503); Buttons (King’s Head,
Islington); Potted Sherlock (Vaudeville Theatre, UK tour).

Opera credits include: Messiah (Danish opera, Frankfurt opera); Carmen (Dorset Opera);
Banished (Blackheath Halls); Der Tsar Serse / Der Kaiser (RSC Glasgow); Der Zar lässt sich
photographieren, Montiverdi Madrigals, Opera Makers (GSMD); ETO Autumn Scenes 2020
(UK Tour); The Magic Flute, Carmen, La Bohème, Albert Herring, The Marriage of Figaro
(costume design for Co Opera Co).

Dance credits include : Nostalgia (Northern Ballet); Nora / She Persisted (English
National Ballet); The Nutcracker (Shanghai Ballet); Egle (Lithuania National Ballet); ENB
Choreographics Programme 2015 – 2017, Dance Journeys 2016/ 2017/ 2019 (English
National Ballet at Sadler’s Wells/The Barbican).

Associate Credits include : Manor (The National Theatre) Designed by Lez Brotherston,
Siegfried / The Ring Cycle (Gothenburg Opera) Designed by Alison Chitty; Greif (The National
Theatre) Designed by Alison Chitty; Pirates Of Penzance (ENO) Designed by Alison Chitty.

Associate Designer to Theatre by the Lake and Jermyn Street Theatre.

Sarita Piotrowski is a movement director and choreographer working across theatre, opera, TV
and film. As Movement Director her theatre and opera credits include: Favour (Bush Theatre);
Jitney (The Old Vic); The Glass Menagerie (The Duke of York’s Theatre); Offside (Futures Theatre);
Theodora (Royal Opera House); Jitney (Headlong & Leeds Playhouse); The Cunning Little Vixen
(Opera Holland Park); Tartuffe (RSC & Birmingham Repertory Theatre); A Day In The Death of Joe
Egg (Trafalgar Theatre), I Would Rather Go Blind (Omnibus Theatre), Underwater Love (Futures
Theatre), Nell Gwynn (The Ivy Theatre) and Awa’s Journey (Arcola Theatre).

As Associate Movement Director her engagements have included Best of Enemies (Young
Vic); and Nine Night (National Theatre).

Choreography credits include: Been So Long (Netflix), Reflection Route (British Museum),
Sher Yadet Nare (Manoto TV), Glimpses (The Place Theatre), Anything Goes (Hackney
Empire); and Louder than Words (Feature film).

Ian Taylor is a Production Manager with over two decades of experience in the theatre and
events industry. He has worked for producers such as Birmingham Rep, Sheffield Theatres,
Hampstead Theatre, Barber Opera, Bush Theatre, Southwark Playhouse, The Park Theatre, the
Philharmonia Orchestra, W11 Opera, Arcola Theatre, Troupe, Papatango and Secret Cinema.

His career began in stage management at Glyndebourne and the Royal Opera companies in
2004 and 2006, respectively, as an assistant stage manager. He later became a Stage Manager
for The Royal Opera, beginning with “Cosi fan Tutte” in 2010 and managing multiple shows in the
Linbury Studio for ROH2. He went on to stage manage for Secret Cinema, Opera Holland Park
and Pimlico Opera. He was Senior Stage Manager for Opera Holland Park’s Summer Festival for
four years. Before Moving to Production Managment in 2012 and starting eStage.

Ian holds a bachelor’s degree in stage management and technical theatre, with honours, from
the guildhall school of music and drama.

Réjane is the RSC’s Deputy Literary Manager; as part of this role she manages Research &
Development on new plays for the Swan and Royal Shakespeare Theatres. Tartuffe was her
first RSC production as Dramaturg.

Trained: MA in Literary Translation & Creative Writing from UEA.

Theatre: Réjane has a background in theatre translation and producing; she has previously
worked at the Old Vic and the Lyric Hammersmith.

Pete is a cellist, sitarist and vocalist from a family of travelling Showpeople. While his
grandfather was the last Yelding to live on the road, Pete continues the family’s trade of
performing into its 7th generation! He fell in love with the cello aged 4, after a chance
introduction at nursery. Growing up, his mother – an illustrator and artist – took him in an
illustrated caravan to small fairs, camps and festivals, where he would meet and play with
musicians from every continent. This gave him the grounding for his musical life today.

At the beginning of his cello and composition studies at Birmingham Conservatoire, Pete took
a short course in sitar. He found Hindustani music resonated like no other art form and was
hooked. Alongside his numerous creative projects, he practised sitar for 10 years, receiving
training from Jonathan Mayer of the Senia veen-kar Gharana and playing weddings and
restaurants. During this time he also received vocal tuition from Rauf Saami and tuition in
string performance techniques from Gurbaksh Singh and Griots such as Juldeh Camara, Jally
Kebba Susso and Sura Susso – a friend since his teens. Then, in 2020, he travelled to Kolkata
to become student of legendary sarod player, Ustad Irfan Muhammad Khan of the Lucknow-
Shahjahanpur Gharana.

In recent years Pete has collaborated with artists such as Zinzi Minott, Mammal Hands, Iqbal
Khan, Talvin Singh, Sura Susso, Jonathan Mayer, & Shagufta Iqbal; and organisations such as
the Royal Shakespeare Company, Bristol Old Vic, Cape Farewell & Birmingham Rep.