Dr Harry Derbyshire is Principal Lecturer in English Literature and Drama at the University of Greenwich, where he has taught since 2003.
He has worked on the Reminiscence Theatre Archive with Pam Schweitzer and Heather Lilley, and is co-author with Heather of the article 'Reperforming Memories'.
He has published on Roy Williams and Harold Pinter, and is working on an article about human rights and debbie tucker green with Dr Loveday Hodson of the University of Leicester.
His directing credits include Hurt Me (Ideally by Punching Me in the Face) and Not Stalking David Tennant.
Dr James McLaughlin trained at the University of Auckland in English, Philosophy and Drama before embarking on a career as a comedian, writer and theatre director. He was the founding Theatre Manager of New Zealand’s only improvised comedy theatre, the Covert Theatre. He has fifteen years of professional improv experience, including numerous tours throughout New Zealand, North America and Europe. He trained for two years in The Meisner Technique of Acting under Michael Saccente, one of Sanford Meisner’s students and worked as a freelance actor for various screen projects. In 2005 he relocated to the UK for the MA in Theatre Practice under Phillip Zarrilli where he studied psychophysical acting through the disciplines of yoga, tai chi chuan and kalaripayattu. He completed his PhD on the resonances between the Meisner Technique and contemporary performance in 2013. From 2013 to 2017 he lectured in Drama at the University of Northampton before joining the team at the University of Greenwich.
At Greenwich, James is a lecturer in Drama. He teaches several courses including Other Stages; a Level Six course examining performance traditions from around the world and the theory, ethics and practice of intercultural performance.
James’ three main research interests are comedy, Method Acting, and Intercultural Performance. James is a specialist in the field of comedic performance, especially the improvisation of Keith Johnstone and Del Close. In 2013, he published a journal article entitled ‘Why is Improv Funny?’ in Comedy Studies, edited by Chris Ritchie. He has also given several presentations, the most recent being ‘Stepping off the Cliff: The Sharp Divide between Training and Performance in Improvised Comedy’ at the annual Theatre and Performance Research Association conference.
Since 2016, James has co-edited the Theatre Dance and Performance Training Blog, associated with the scholarly journal of the same name a link to which can be found here.
Dr Simon Bowes is a Lecturer in Drama and a creative arts practitioner. He works across a broad range of disciplines from film to sound art, from video to contemporary theatre. His work is defined by modesty of means and intricacy of thought - distinct within the ecology of British theatre, performance and live art.
Between 2009 and 2014 he led the acclaimed performance company Kings of England, which was commissioned by arts organisations such as Battersea Arts Centre, Greenroom, Leeds Met Studio Theatre, SPILL Festival at The Barbican, Hull Truck Theatre and Atelier Real in Lisbon. His work has been funded by Arts Council England on several occassions.
In June 2015 Simon received a commission from The Yard Theatre in Hackney Wick, supported by the Jerwood Foundation.
Simon recently founded a second company, Ding & sich with the artist and sculptor Annie Lord.
Ed Currie is a theatre technician at Bathway Theatre, the University of Greenwich and a creative arts practitioner.
Together with Sarah Ruff he set up the multimedia, artist-led theatre company Patternfight in 2011 and has performed across the UK and received Arts Council England funding amongst other support opportunities.
Ed also works as a freelance technician for companies such as Living structures, Battersea Arts Centre, John Gordillo, The Waterman’s Arts Centre, The Young Vic Theatre, The Old Vic Tunnels, Oily Cart and Theatre 503.
David Hockham is a stage and production manager working across disciplines. He has lighting and staging design credits to his name for numerous festivals, productions and research projects. As a director he has worked on laboratory performances and site-specific pieces.
David holds an MA in Performance Practice and Research, a BA in Drama and Physical Theatre, a Postgraduate Certificate in Teaching and Learning and has begun a PhD entitled "Are we teaching what the industry wants? A longitudinal study looking at how we teach technical theatre in higher education."
From 2008 till 2010 he toured Europe with his company Lost Banditos and also holds production management credits for the Edinburgh Fringe festival, Blind Summit's Puppetry Monologues, Guildford's International Music Festival, Red Shift & Chung Ying's Jekyll and Hyde, and more recently - Blood for Blood.
David manages his professional portfolio alongside teaching, course development and technical theatre support – first at the University of Surrey, and more recently at the University of Greenwich.
He has managed student work, ranging from large-scale musical theatre at the Yvonne Arnaud Theatre for the Guildford School of Acting to intimate one-on-one experiences.
Jillian Wallis is a Senior Lecturer in Drama & Programme Leader at the University of Greenwich as well as a theatre director who specializes in physical theatre.
Jillian recently worked with Hoax theatre on their performance Stuck and presented a paper From the Pretty Orifice of a Morphing Creature: Pleasure and Pain in Hoax Theatre’s Absurdist Eco Comedy, at Central’s Intersections 2018 conference.
She created a combined performance and film piece The Pub Under The Stairs, part of an ACE funded project inspired by the curious objects dug up when the new Stockwell Street site was built.
Jillian was director and co-creator of Reverie, a contemporary mime show performed at the Cos Reus Festival in Spain, 2015 and toured Greater London in 2016. She was director and co-creator of So Pleased To Meet You, a performance about fantasy and virtual interconnectivity for the DRHA Conference, 2014.
Jillian has published articles in journals such as Body, Space and Technology, and Scene. She holds an MA in Media Arts Performance and Practice and originally trained in Theatre at Dartington College of Arts before becoming a freelance performer and director. She toured with physical and visual companies such as Brith Gof and her own Twisted Stocking Theatre, which received funding from the Arts Council of England and London Borough Grants.
Pippa Guard is a Principal Lecturer at the University of Greenwich.
She trained at RADA where she won the Ronson and Kendall awards. She has done seasons at the Royal Shakespeare Company and the Royal National theatre as well as the London West End.
One of Pippa’s first televsion roles was in A Comedy of Errors, closely followed by The Tempest, All's Well That Ends Well and A Midsummer Night's Dream. She also appeared in an adaptation of Virginia Woolf's To the Lighthouse with Kenneth Branagh and Michael Gough, The Country Diary of an Edwardian Lady and The Riff Raff Element.
More recent successes include Hope and Glory with Lenny Henry and William Gaminara, Hearts and Bones with Dervla Kirwan and Hugo Speer, and two series of The Creatives. She has also appeared in Peak Practice.
In 1998 she graduated with a first-class degree in English and drama from the University of Greenwich. Her published research includes "A Defence of the First English Actress" in Literature & History and she appeared on BBC Radio 4's Woman's Hour to discuss Shakespeare's women.
Dr Natasha Oxley holds a DPhil in contemporary Polish drama from the University of Oxford, an MA in Actor Training and Coaching from RCSSD, a PGDip Acting from LAMDA and an undergraduate degree in Theatre Studies and Polish from the University of Glasgow.
Natasha is the founder and director of Chiffchaff Children’s Theatre which since 2012 has been performing stage adaptations of children’s books for young children and their families in East London, including in educational settings and libraries. Natasha recently set up Theatre Zurybida to stage contemporary European plays in translation.
Natasha has worked as an actor, director, lecturer, teacher, acting coach, translator, drama worker and workshop leader in several contexts. At Greenwich she leads the course in Applied Drama and teaches on other drama courses.