James Millar Photography

We are delighted to announce that our 2017 production will be Romeo and Juliet. See a trailer for the performance below.
The production will be directed by Tatty Hennessy. Tatty trained at LAMDA. She recently directed The Snow Queen (Theatre N16) and Acorn (Courtyard Theatre).She has directed work for Pint Sized, Miniaturists,Theatre Renegade, Not Too Tame, and The Reversed Shakespeare Company. She is an associate director with Merely Theatre, a Shakespeare repertory company about to embark on their second UK and Ireland tour. She has been an associate director at the Lyric Theatre, Park Theatre and Shakespeare’s Globe, including The Duchess of Malfi in the Sam Wanamaker Playhouse, and the world tour of Hamlet, which visited every country in the world over two years. She is also a playwright and graduate of the Royal Court and Lyric Young Writers' Programmes.
Note from the Director

To me, the heart of Romeo and Juliet is the generational divide between the young and old, and the exploration of the devastating consequences of blindly inherited feuds. Of all of Shakespeare’s tragedies it is the most youthful, full-blooded, sexually charged and heady, full of paeans to the speed of young love, the giddiness of youth, the rashness of quick violence, the heat of the summer. I wanted a setting that would play well to the colour and light, as well as the tragic, in Shakespeare’s text.

So I’ve been drawn to the play’s Italian setting, and, inspired by the Elena Ferrante novels, have set the play in sun-drenched 1950s Italy. It’s a fascinating decade, on the cusp, with perhaps the greatest divide of expectation and experience between generations of the century, half looking back to a time of war and deprivation and half looking forward to a future of optimism, progress, freer love and greater choice as the country rapidly tore itself out of economic hardship and into prosperity. It was also a time when the idea of the loyalty and strength of the family unit still held great sway, and a place where the spectre of inter-familial feuding and violence was prevalent.

So we see Romeo and his friends as young post-war Italian men, Juliet as a young woman starting to hope for the liberation and choice that women were about to be afforded but still just chafing under the yoke of traditional family expectation and values. Capulet, Montague and the Prince become Italian patriarchs and business magnates, the feud takes on overtones of the mob. Religion, central to the themes in the play in a way not always immediately clear to a modern audience, makes clear sense in a devoutly Catholic context. 

Stylistically I want to display the pace and humour of the play to be highly responsive to each space we perform in, and to have no barrier between audience and actor. I want the audience to be a part of every conversation. 

Photo credit: Mathew White 




 YARIT DOR - Movement and Fight Director

Yarit is a former dancer and dramaturge of Hagit Yakira Dance Company and is an Associate Artist of The Director’s Cut Theatre Company and an Associate Tutor at RADA.

She has choreographed movement and violence on a variety of shows from musicals and new writing to classics and devised theatre. 

Theatre credits include: Assata Taught Me (The Gate Theatre), The Iphigenia Quartet (The Gate Theatre), Dark Tourism (Park Theatre), Diary of a Madman (The Gate Theatre), Disgraced (English Theatre Frankfurt), Zastrozzi (Norwich Dragon Hall), Titus Andronicus (Greenwich Theatre), Macbeth: Fire Burn (Colchester Shakespeare Festival), Henry V (Peckham Asylum), Kiss of the Earth (Corn Exchange Newbury), The Sorrows of Satan (Tristan Bates), Noonday Demons (King’s Head Theatre), Macbeth (RIFT Theatre), A Skull in Connemara (White Bear Theatre), Somewhere Between a Self and An Other (Dance 4 Nottingham), Leah (The Place). www.yarit-dor.com 

SUE FLETCHER - Executive Producer

Sue had a forty-year career in book publishing, including as co-founder of Headline and deputy MD of Hodder & Stoughton. She has an MA in Theatre and Performance from Queen Mary University of London, and in 2011 was one of the judges of the Olivier Awards. 


Tatty's recent work as a director includes The Snow Queen (Theatre N16) and Acorn (The Courtyard). She has directed new work for Pint Sized, Theatre Renegade and the Miniaturists, and is an associate director with Merely Theatre, a gender-blind touring Shakespearean rep company. She has been an Assistant Director for the Park, Lyric and Globe theatres, including the recent Globe to Globe World Tour of Hamlet which visited every country in the world. She is also a playwright and graduate of the Royal Court and Lyric Theatre Young Writers’ programmes.

ALIX HENRY - Stage Manager

Alix has just spent the last eight months as Stage Manager on The Commitments UK and Ireland tour. Before that she was Venue Manager for 6 temporary venues with Assembly Festival during the Edinburgh Fringe, a company she has worked for since 2012. 

Other theatre credits include Adelaide Fringe, Sydney Festival, Citizens Glasshouse (Cardboard Citizens UK tour), The Importance of Being Earnest (London Classic Theatre), A Christmas Carol (Talkwood Productions). 

Alix is looking forward to returning as Stage Manager with Shakespeare in the Squares for the second year after such a successful run on Much Ado About Nothing in 2016.  

TOM LATTER - Assistant Director

  Tom trained in Directing at Mountview Academy. 

Theatre credits as director include: Wet Bread (Brighton Fringe), Speak Low if You Speak Love: Shakespeare's Sonnets, An Elizabethan Christmas (Hampton Court Palace), Dirty Promises (Hope Theatre – nominated for Best Director, Off West End awards), The Comedy of Errors (The Space), The Stolen Inches (New Diorama), The Death of Norman Tortilla (Tristan Bates).

Tom has directed a number of short plays and readings at the Arcola, Rich Mix, Southwark Playhouse, Tristan Bates, Old Red Lion, and Theatre503.

Theatre credits as Assistant Director include: Powerplay by Sarah Dickenson, Encounters with the Past by Elizabeth Kuti (Hampton Court Palace), Valhalla by Paul Murphy (Theatre503), all directed by Jo McInnes, Our Ajax by Timberlake Wertenbaker, directed by David Mercatali (Southwark Playhouse).

Tom is the Artistic Director of Sheer Drop Theatre, Associate Director at Hampton Court Palace for 2017, and co-founder of Scaffold Shakespeare Company.

CHARLIE LITTLEWOOD - Assistant Stage Manager

Having played a part in Shakespeare in the Squares’ inaugural team, Charlie is excited to be back this year. While growing up in Oxford, he was a regular fixture in local theatre both on stage and behind the scenes. He has been involved in a wide range of productions, from a classical Greek performance of Euripides’ Medea, to Joe Orton’s Loot, to Shakespeare’s Measure for Measure. Drama has continued to be a strong thread in his academic life, both during his undergraduate studies at Cambridge, and also at Yale University in the USA, where he is currently a graduate student.

SUNEEDA MARUTHIYIL - Production Manager

Suneeda trained at Mountview Academy of Theatre Arts .

She is a freelance Production / Company Stage Manager and Designer/Maker and has worked on a variety of productions and events over the last 9years. 

For more info visit: www.adeenus.com

MARTIN NEILD - Executive Producer

Martin has worked in publishing for over thirty years. He worked for Macmillan in Australia, Africa and London and then became Managing Director and Chief Executive of Hodder & Stoughton Publishers in 1993. He is chair of the Chipping Norton Literary Festival and a trustee of the Michael Cuddigan Trust which gives grants to young composers. 


Emily trained at Wimbledon School of Art. 

Costume design credits include: Robinson Crusoe and Robin Hood (The Theatre, Chipping Norton), The Fifth Column, Antigone, What the Women Did (Southwark Playhouse), Martine (The Finborough Theatre), The Living Room, Anyone Can Whistle, Bloody Poetry, Natural Affection (Jermyn Street Theatre), Shiverman (Theatre 503), Murder In The Cathedral (Oxford Playhouse), London Wall (Finborough Theatre and St James Theatre), Flock (Northern Stage), Lingua Franca (Finborough Theatre and E9E59 - New York), EX (Soho Theatre). 

Film credits include: Drunk Butterflies (Rockhopper Productions), London Wall (Master Media). She has recently been working on film installations with The Postal Museum (opening 2017) and The SS Great Britain (opening 2018).

Emily has twice been the recipient of the Off West End award for best costume design: in 2011 for Anyone Can Whistle and again in 2016 for The Cutting of The Cloth. She was nominated in the same category in 2014 for Martine.  

HOLLY CLARKE - Assistant Costume Designer

Holly Clarke trained at Wimbledon School of Art. She was part of the design team for the inaugural production of Shakespeare in the Squares' Much Ado Abut Nothing and has also worked on films including 'Le Weekend' and 'Autopsy of Jane Doe'.

SAVANNAH WHALEY  - Digital Marketing

Savannah is an Assistant Director at Purple Moon Drama, a facilitator at Arcola Youth Theatre and an assistant tutor at Clean Break. She is on the Finborough Theatre’s Literary Team and is an arts critic for Londonist. 

Theatre credits include: Cathy Come Home (Workshop Assistant – Cardboard Citizens at The Barbican), Much Ado About Nothing (Digital Marketing – Shakespeare in the Squares), Daddy’s Girl (Producer – Vault Festival).
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