The 306: Dawn. Oliver Emanuel
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was a member of the National Youth Theatre and the National Student Drama Festival, for whom he has also worked extensively. His productions at Royal and Derngate include; the UK premiere of Spring Storm by Tennessee Williams and Beyond the Horizon by Eugene O’Neill, which were presented at the National Theatre of Great Britain and led to a nomination for Best Director at the Evening Standard Awards and won him the TMA award for Best Director, and The Bacchae, Blood Wedding and Hedda Gabler, which were presented as The Festival of Chaos as part of London 2012 Festival.
BECKY MINTO
Set and Costume Designer
Becky has designed a wide range of productions for main-house and touring productions, aerial and dance performances, and site-specific and large scale outdoor events. Her previous designs for the National Theatre of Scotland include Granite, Truant, A Sheep Called Skye, Transform Fife, The Emperor’s New Kilt, The Recovery Position and Ignition, which, along with her design for the site-specific production White Gold (Iron-Oxide) was chosen for the exhibition Make Believe / UK Design for Performance at the Prague Quadrennial 2015 and the V&A Museum, London. Other theatre work includes designs for The Lyceum Edinburgh, Grid Iron, Visible Fictions, Vanishing Point, Dundee Rep, Fire Exit, 7:84, Walk the Plank, Upswing, Scottish Dance and Citizens Theatre.
Becky was Associate Designer for the Opening and Closing Ceremonies of the Glasgow 2014 Commonwealth Games. Other work in 2016 includes Hard Times and Para Handy for Pitlochry Festival Theatre.
EDDIE KAY
Movement Director
As a Movement Director, Eddie’s previous work with the National Theatre of Scotland includes Smiler/Hunter. Other theatre and dance Movement Direction work includes The Pass, You For Me For You (Royal Court, London), Brave New World (Touring Consortium/Royal and Derngate), Scuttlers (Manchester Royal Exchange), The Radicalisation of Bradley Manning, Dead Born Grow (National Theatre Wales), The Blue Boy, Have I No Mouth, This Beach (Brokentalkers), Othello (Frantic Assembly), Kite (The Wrong Crowd) and Bromance (Barely Methodical Troupe).
As an Associate Movement Director his work includes Once (London’s West End) and The Believers (Frantic Assembly).
As a performer, Eddie’s dance, theatre and opera work includes Beautiful Burnout (with National Theatre of Scotland), Hymns, Dirty Wonderland, Othello (Frantic Assembly), Knots (CoisCéim), Bird With Boy, Five Ways To Drown, The Falling Song (junk ensemble), The Blue Boy, Track (Brokentalkers) and Dr Dee (Rufus Norris and Damon Albarn).
His film work as a performer includes Cost of Living, Round 10 and Motion Sickness.
SIMON WILKINSON
Lighting Designer
Simon’s previous work for the National Theatre of Scotland includes Dragon (with Vox Motus and Tianjin People’s Art Theatre), The Day I Swapped My Dad for Two Goldfish, Roman Bridge, Truant and A Sheep Called Skye.
Other recent theatre work includes The Iliad, The Weir, The Lion, The Witch and The Wardrobe, Hedda Gabler, The Caucasian Chalk Circle, The BFG, Bondagers, A Christmas Carol, Cinderella (The Lyceum Edinburgh), The Infamous Brothers Davenport, The Not-So-Fatal Death of Grandpa Fredo, Bright Black, Slick (Vox Motus), Grounded (Firebrand), Tracks of the Winter Bear (Traverse), Light Boxes (Grid Iron), After the End, Topdog/Underdog (Citizens, Glasgow), This Wide Night (Tron, Glasgow), Kora (Dundee Rep), The Lost Things, Feral (Tortoise in a Nutshell), Thingummy Bob, 13 Sunken Years, Antigone (Lung Ha), Sex and God, Pass the Spoon, Wild Life and After Mary Rose (Magnetic North).
In 2015 he won the CATS award for Best Design for Bondagers (having been nominated in 2009, 2012 and 2014).
RICHARD PRICE
Sound Designer
Richard is currently the Interim Head of Sound at the National Theatre of Scotland. He has previously been Head of Sound at Chichester Festival Theatre, Plymouth Theatre Royal and the Leicester Haymarket. He has also worked extensively with Wildworks Theatre Company and the National Youth Theatre on site specific theatre shows. Richard was Sound Designer for the 2012 Olympic Welcome Ceremonies in the Olympic Village, London and Sound Designer for the Enchanted Palace in Kensington Palace for Wildworks. Other previous sound designs include national tours of Twelfth Night and Measure for Measure, The Shape of Things (London’s West End) and various musicals including Half a Sixpence, Iolanthe, Oklahoma and NHS: The Musical (Theatre Royal Plymouth).
REBECCA HAMILTON
Assistant Set Designer
Rebecca trained at the Royal Scottish Academy of Music and Drama specialising in Set and Costume Design and Scenic Painting. She works as a freelance theatre designer, model maker and scenic artist. She works on a wide diversity of projects from small scale theatre and installation art, to feature films and commercial productions. Rebecca is employed on projects which span theatre, film and television and the visual arts for companies such as National Theatre of Scotland, Vox Motus, Tramway, BBC Scotland, Kelsen and Outland Productions.
NATIONAL THEATRE OF SCOTLAND
The National Theatre of Scotland was established in 2006 and has created over 200 productions. Being a theatre without walls and building-free, the Company presents a wide variety of work that ranges from large-scale productions to projects tailored to the smallest performing spaces. In addition to conventional theatres, the Company has performed in airports, schools, tower blocks, community halls, ferries and forests.
The Company has toured extensively across Scotland, the rest of the UK and worldwide. Notable productions include Black Watch by Gregory Burke which won four Laurence Olivier Awards amongst a multitude of awards, the award-winning landmark historical trilogy The James Plays by Rona Munro, a radical reimagining of Macbeth starring Alan Cumming, presented in Glasgow and at the Lincoln Center Festival and subsequently, Broadway, New York and Our Ladies of Perpetual Succour, adapted by Lee Hall from the novel The Sopranos by Alan Warner.
The National Theatre of Scotland creates much of its work in partnership with theatre-makers, companies, venues and participants across the globe. From extraordinary projects with schools and communities, to the groundbreaking online 5 Minute Theatre to immersive pieces such as David Greig’s The Strange Undoing of Prudencia Hart, the National Theatre of Scotland’s aspiration is to tell the stories that need to be told and to take work to wherever audiences are to be found.
Artistic Director and Chief Executive: Laurie Sansom
Chair: Seona Reid DBE
| The National Theatre of Scotland is core funded by the Scottish Government. The National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270), is a registered Scottish charity (SC033377). |
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