Impro is a life-long passion for me.  I trained with Keith Johnstone and then returned with the Salvo’s to San Francisco to study long-form or story based impro.  I’ve now been involved in well over 150 entirely improvised stories from scratch and as I was warned by Improbable’s Lee Simpson I am addicted.  I am always over-awed by what impro can be both for actors and the audience.

Lately I’ve been stretching the definitions of my whole theatre practise.  I’ve always made theatre through a devising process and in a way I guess I’m the auteur of my own work, although I kind of hate that term.  In a way I don’t care how work is arrived at, and I’m excited that the boundaries are now being blurred between new writing and devising right now in the theatre.

IMG_1968I was given an attachment last year to the National Theatre Studio to explore my work beyond Cartoon de Salvo.  I’ve really enjoyed writing the NTW play and it’s journey has very much been through a devising process to now a scripted one.  Following the attachment I was encouraged by Sarah Murray, Matthew Poxon and Selma Demitrijevic to write some thing else…this led to being invited on the Royal Court’s first 26+ writers group and a play called ‘The Life that I Have’.  And strangely all this comes full circle.  Writing feels entirely connected to impro for me, and if an impro background has been good enough for Stella Duffy and Patrick Marber, it’s good enough for me…

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