Decolonisation: not just a buzzword…
A headphone verbatim show capturing campus conversations at SOAS
7 – 8 February 2019,
Brunei Gallery Lecture Theatre, SOAS University of London, Bloomsbury WC1H OXG
Chloe Ewart, a British actor of mixed descent, completed her training at Drama Studio London. She recently performed in the headphone verbatim shows The Talk and I Walk In Your Words. Other theatre credits include Penpals (Southwark Playhouse), Meat (Richmix), 24 Hours (The Vaults).
TV credits include An Klondike (TG4/Netflix), Coronation Street (ITV), Emmerdale (ITV). Chloe can soon be heard in the latest audio production of Torchwood and is currently recording for the upcoming video game, Moon Lake.
Tunji is a London based professional actor who trained at Mountview Academy of Theatre Arts London, where he played many roles including Othello in Othello, Mr Praed in Mrs Warren’s Profession to name a few.
Tunji has and continues work both on stage and screen in various productions around London, England, across the continent and internationally. Hip Hop Café, Faces, A Question for God, Iyalode of Eti, How Nigeria Became, I am David Oluwale, to name a few.
He is also a drummer/percussionist, a rhythm Tap dancer and Producer.
When not Acting/Producing, Tunji is a self-taught photographer, he also enjoys writing poetry and monologues, but above all, his passion is acting.
Anna-Maria Nabirye trained as an actor at The Brit School, Mountview Academy and Identity Drama School. Theatre credits include: Macbeth The Sam Wanamaker Playhouse, We know Not What We May Be Metis/Barbican, The Paper Man Improbable Theatre, Macbeth The National Theatre, Boudica Shakespeare's Globe, They Drink It In The Congo Almeida, Les Blancs The National Theatre, Leaving Planet Earth Grid Iron, 24 Hour Plays Old Vic, Ugly Redladder.
Television credits include Informer BBC, Collateral BBC/Netflix, Waterloo Road BBC, Misfits E4. Film credits include The Keeping Room Gilbert Films & The Briny DNA Films.
Anna-Maria has also created her own work, taking productions to the Brighton and Edinburgh Fringe. As a visual artist, Anna-Maria has collaborated on works exhibited at The Hayward, Whitechapel Gallery, Home and internationally. Her own work has been presented at The Delfina Foundation and supported by The British Council, The Showroom, n.o.w.here and Mana Contemporary (USA) and she will be presenting a new work: Up In Arms at VBKÖ (Austria)- this piece looks at race, friendship and feminism. Anna-Maria also co-founded and continues to run AFRORETRO an ethical fashion and creative brand. http://annamarianabirye.com
Recent theatre credits include The Great Dog, Pan, (Bristol Old Vic), Witch, Witch, Witch (Camden People’s Theatre), The Talk (Rich Mix + UK Tour), The White Bike (The Space), Unlocked (AllDayBreakfast, Bristol), I Walk in Your Words (Omnibus), Threnody (Old Fitz Theatre, Sydney), Trade (HurrahHurrah, Sydney).
Recent screen credits include An Athlete Wrestling a Python (dir. Stephanie Day), Sharks are Terrorists (dir. Marcos Liversedge), and ON HOLD (Winner of Best Film, Flickerfest) (dir. Jake Nielson).
Winner of Best Actress, NoBudge Independent Cinema Awards, for Blue Monday (dir. Charles Chintzer Lai). Runner up for the Alpine Fellowship award for playwriting. Shortlisted for Screen Australia’s ROAR award, long listed for the Bruntwood award and BAFTA Rocliffe award.
Training: National Institute of Dramatic Art (Sydney), University of Cambridge.
Fadia Qaraman is an Actor and Theatre-Maker.
Fadia has most recently performed in headphone verbatim play The Talk at The Vaults (Mar 2018), Sheffield University (Oct 2018), and has featured in a recorded version for educational purposes (Jan 2019, currently in post-production).
She is co-artistic director of Two’s Company (New Diorama Theatre Emerging Company 2016/17), who wrote and performed Different is Dangerous at several venues, including The Lowry, Theatre 503, and the Edinburgh Fringe Festival. The play is a verbatim piece, exploring multicultural life and the challenges of ethnic diversity within the Asian community in Leeds.
Fadia has experience in Verbatim Theatre, Headphone Verbatim, Short Film, Fringe and small-scale touring.
Television credits include; Save Me, Fortitude (Sky Atlantic); The State (Channel 4); Cuffs, Doctors (BBC). Film credits include; Dumbo (Disney); Daphne (The Bureau Film Company); Walk Like A Panther (FOX Searchlight); The Last Witness (Film Polska Productions).
Stage credits include; The Village (Theatre Royal Stratford East); Hurling Rubble At The Sun/Moon (Park Theatre); Love For Love, Queen Anne (Royal Shakespeare Company).
Sudha Bhuchar is an acclaimed theatre maker, actor and writer who co-founded Tamasha with Kristine Landon-Smith (1989 – 2014) where they directed and produced 22 plays including landmark work like (East is East 1996/7), Fourteen Songs, Two Weddings and a Funeral (Winner Barclays/TMA Best Musical) and A Fine Balance (2006, adapted from the novel by Rohinton Mistry). They made the lauded verbatim play, The Trouble With Asian Men (2005, revival 2011). In 20314/15 Sudha’s verbatim play, My Name is... drawn from interviews that toured UK and Scotland to critical acclaim. It was also was adapted by Sudha for Radio 4 where it was ‘pick of the week’. www.bhucharboulevard.com
Suman Bhuchar has over 30 years experience working in theatre and recently curated and produced, Retracing Our Footsteps (May 2018) at the Royal Court. As Tamasha’s Press & marketing consultant, she worked to attract diverse audiences for work like East is East, Balti Kings and Strictly Dandia. Other credits: Midnight’s Children (Royal Shakespeare Company, 2003), Bombay Dreams (Really Useful Group, 2002), East is East revival (2014/5 Jamie Lloyd productions). Suman is a contributor to theatrevoice.com; was an Honorary Fellow at University of Warwick (co-curation of Multicultural Shakespeare debate V&A 2014). Producer credits: Exec on A Perfect Ganesh (Phizzical 2008) & co-producer on Lights, Camera, Akshun! (Radio 4 Culturewise 2014). She has made over 20 broadcast programmes for television and produced, Alone Together (a portrait of the Singh Twins) which received ‘Best Film on Art’ prize at Asolo, 2000.
Neela is playwright and qualified Maths teacher. Her writing credits include Playing Fields (Soho Theatre 2002), Lock the Gates (National Youth Theatre 2003), Stop. Rewind. (Tamasha & Mulberry School for Girls 2011), The Brave Little Tailor (Roundhouse Radio 2011), The Talk, a headphone verbatim play about the history of sex and relationship education in England which played at Rich Mix and VAULT Festival 2018 & has been presented at teacher training conferences. It has now received ACE support for a short tour. She is co-creator for Young Hot Bloods, a verbatim play on feminism to explore the Suffragette century funded by Waltham Forest council and presented at From the Forest Festival 2018. She is currently working on a new headphone verbatim play for schools on ‘consent’ and she has taught Maths, economics, drama, PSHE and script-writing at schools across London. Neela also has experience as a Head of Department for Business and Economics and in coordinating whole school approaches to mathematical enrichment.
Kristine Landon-Smith is an experienced director, educator and producer. A co-founder of Tamasha theatre (with SB), she co-headed the company from 1989-2012 directing many successful shows, including East is East (1996), Strictly Dandia (2003), The Trouble With Asian Men (2007), The House of Bilquis Bibi ( 2010) , The Arrival (2013), before stepping down and working at National Institute of Dramatic Art, Sydney (2013-2016). As a freelance director, she continues to evolve her theatre practice through further study, directing, speaking and publishing. She has written on voice and intercultural practice, conducted master classes, applied and developed theatre practice in community and education settings. Her work in headphone verbatim with plays like One Book One Pen (2018), I Walk in Your Words (2016/7), and The Talk (2018 with Neela Doleẑalová), has placed her at the heart of understanding the subtleties and nuances of an approach that is intercultural at its core providing an opportunity to reject the notion of stereotype and engage with the nuance and distinctive complexity of each and every personal story. www.kristinelandonsmith.com