As You Like It
16 magical venues
5,000 tickets sold
Our 2018 production of As You Like It was set in the late 60s with the bucolic atmosphere of a rural music festival – an “exuberant celebration of the Summer of Love”
‘exuberant celebration of the Summer of Love’
– The Arts Desk
‘Shakespeare stripped back but not short-changed’
– Broadway World
‘The perfect summer choice inserting new life into green spaces’
– London Calling
Jack trained at the Guildford School of Acting.
Theatre credits include: Romeo and Juliet (Shakespeare in the Squares), Peter Pan (Derby Theatre), Alfie Strange: Trained Time Travellers Only (New Wolsey Theatre Tour), Underneath a Magical Moon (York Theatre Royal and UK Tour), My Friend Peter (Arts Theatre and UK Tour), Cymbeline (Guildford Shakespeare Company), Party Piece (New Wolsey/Edinburgh Fringe), The Crash of Elysium (Punchdrunk) and The Rising (Gecko).
Comfort is a London based graduate of Manchester School of Theatre.
Recent credits include Ophelia (Etcetera Theatre) I, Dido (DOT Productions), The Minimum Requirement (Arcola Theatre), Philis In London (Greenwich Theatre), JACK & I: The Jack The Ripper Musical (Baron’s Court Theatre) and The Tempest (Etcetera Theatre).
Theatre credits whilst training include Louisa in The Art Of Success, Megaera in Welcome To Thebes, Ruth in 13, Isabella in The White Devil, Viola in Twelfth Night and Grusha in The Caucasian Chalk Circle.
Audrey/ Adam/First Lady
Theatre Credits Include Unexpected Joy (Southwark Playhouse), Dick Whittington (Lyric Hammersmith), As You Like It (Shakespeare in the Squares), Myth (The Other Palace), Bananaman (Southwark Playhouse), Lizzie (London and Denmark – Off West End Award nomination and West End Wilma Award nomination), Disaster – The Musical (Charing Cross Theatre), Oliver (Grange Park Opera), Carrie (Southwark Playhouse), Rock of Ages (Original West End Cast – Broadway World Award for Best Supporting Actress), Footloose (UK and Ireland Tour), The Wedding Singer (UK and Ireland Tour), We Will Rock You (Dominion Theatre – West End), Fame (Aldwych Theatre – West End), Evita (Adelphi Theatre – West End), Little Shop of Horrors (The Duke of York’s Theatre – West End) and several others.
TV and audio Credits Include Talk Sport, The Amazing World of Gumball (Cartoon Network) and Drop Zone (BBC).
Sian studied English Literature at Magdalen College, Oxford, going on to study Eighteenth Century Culture.
Previous Theatre includes: Antigone; The Country Wife, Bond’s Restoration, (Tokyo Globe and the Maly Theatre, Moscow); Romeo and Juliet (Shakespeare’s Globe), and most recently, Clytemnestra in Dumbwise’s production of Electra at The Bunker Theatre.
Television includes: Eastenders; Doctors; Holby City; Trial and Retribution; Baby Father; McCallum. Film includes: The Beach; About a Boy and Shoot the Messenger. Sian is also a songwriter, published by Universal Music.
Katherine trained at Mountview Academy of Theatre Arts.
Theatre credits include: Peter Pan (Mercury Theatre, Colchester); Animals of Farthing Wood (Workshop, Chipping Norton Theatre); Comedy of Errors (Workshop); Swallows (The Old Red Fire Station, Oxford), Inheritance (The Lost Theatre); Newsrevue (Canal Cafe Theatre); The Smallest Story Ever Told (The King’s Head); Unsigned (Tristan Bates Theatre); One Man Two Guvnors UK Tour (National Theatre); Passport to Pimlico (SouthWest Fest); The Blonde Bombshells of 1943 (Oldham Coliseum/New Vic Theatre); Ophelia in Hamlet (Young Shakespeare Company); Kate Monster / Lucy in Avenue Q (UK Tour, Cameron Mackintosh); Flor de Muerto (The Junction, Cambridge); The Laramie Project & The Laramie Project: 10 Years Later (Greenwich Theatre); The Finders (Greenwich Theatre).
Television and Film includes: Ireland AM (TV3), Saving Santa (Gateway Films).
Stanton graduated from Mountview Academy of Theatre Arts in 2015.
Theatre Credits include: Macbeth,( Southwark Playhouse), The Tempest, (Southwark Playhouse), Richard III & Much Ado About Nothing, (The Handlebards), Queers, (The Kings Head Theatre).
Television Credits include: The Forgiving Earth (BBC/ Netflix).
Duchess Senior/ Duchess Frederick
Julia is very happy to be returning to Shakespeare in the Squares having performed Sister Laurence in their production of Romeo and Juliet in 2017.
Jan Henrik Verstraten’s film Thessalus and Medea (Flying Dutchman Films) is being premiered on May 18 in which she plays the Nurse.
Theatre credits: Elizabeth I in Will Tuckett’s Elizabeth at the Linbury Studio, Royal Opera House; Ben Elton’s first play Gasping at the Theatre Royal Haymarket; The Duchess of Malfi, Woman In Mind and Hamletmachine at the Edinburgh Lyceum; The Secret Life of Swift and Gulliver on tour and at the Riverside Studios; The Threepenny Opera, Julius Caesar and The Bright and Bold Design at the New Vic Theatre; The Secret Garden at the Tobacco Factory, Bristol; A Taste of Honey, Skinned, The Wizard of Oz at the Nuffield Theatre. Also for the Nuffield she played in Maggie Nevill’s new plays Alchemy in the UK and The Grizzled Skipper, directed by Patrick Sandford. Bill Kenwright’s production of Lady Windermere’s Fan at the Theatre Royal Haymarket; She Stoops To Conquer and The Bandwagon at the New Farnham Rep; The Tragical Historie Tour and Come On, Jeeves! at the Chester Gateway; Shakespeare for Everyone with the RSC; Moments Of Madness with Volcano Theatre Company.
Also the feature film La Solution Imaginaire for Channel 4; The Ink Thief for Tyne Tees TV; The Tartarus Gate and The Island of Lost Souls (Dr. Who); Snow Blind (A Sarah Jane Smith Adventure), Death Trap! (Judge Dredd), Seven Days to the Grave (Pathfinder Legends – 3.2 ) all audiobooks for Big Finish Productions.
Sydney K. Smith
Sydney trained at Drama Studio London.
Theatre credits include: The Grand Budapest Hotel (Secret Cinema); The Butterfly Lion (Colchester Mercury & BKL No.1 National Tour); Murder On The Nile (Bill Kenwright No.1 National Tour); One Flew Over The Cuckoo’s Nest (Leicester Curve); The Merchant of Venice (Derby Theatre); LaDiDada (New Diorama Theatre); Egusi Soup (Eastern Angles); Pieces of Pinera (Arcola Theatre); Stand By Your Van (Edinburgh Fringe); Upstairs in the Sky (Quicksilver Theatre); The Picture of Dorian Gray (ADG European Tour); 200 Years (Watford Palace Theatre); King Arthur (Arcola Theatre); The Time of The Tortoise (Theatre 503); Who’s Afraid of the Big Bad Book (Soho Theatre); Sweetpeter (Company of Angels); Dazzling Medusa (Polka Theatre); The Jungle Book (Royal Derngate Northampton); Slave/Teacher (Lyric Hammersmith), Peter Pan Goes Wrong and The Play That Goes Wrong (Mischief Theatre).
Film and television credits include: The Bill (Thames Television), New Tricks & Doctors (BBC), At First Sight, The Plague and Coffee.
Voice over credits include: Guinness Black Stars (Saatchi & Saatchi).
Emmy trained at Rose Bruford College.
Theatre credits include: Sleeping Beauty (Clwyd Theatr Cymru), Beauty and the Beast (Liverpool Everyman) and Much Ado About Nothing (Mercury Theatre, Colchester).
Screen credits include: No Words For That (NFTS), Leash (Footprint Films) and Pobol y Cwm (S4C)
Charles/Silvius/Sir Oliver Martext
Lamin Touray is a recent Graduate from the Academy Of Live and Recorded Arts.
Professional credits include The Biscuits (CBBC), About a boy (BBC Radio 4), The Hidden Victims of Grooming (BBC Stories), The contraband Crisis (BBC Radio 4) and he has recently finished playing the Role of Heathcliff in Wuthering heights (Theatre Royal Wakefield and East Riding Theatre Hull).
Behind the Scenes
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.
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.
Rachel has worked as a freelance Stage Manager since graduating from Rose Bruford College of Theatre and Performance in 2014. She has worked on a variety of productions including tours, operas, open-air, musicals, and plays. Recent productions include: The Unemployed Actors Union at Theatre N16’s new venue ‘The Styx’, Alice in the Cuckoo’s Nest with Librarian Theatre, The DARE Festival at Shoreditch Town Hall, The Midnight Gang at the Chickenshed, No Place for a Woman at Theatre 503 and The Funfair at the Academy of Live and Recorded Arts. Rachel enjoys going back to the Twinwood Vintage Festival every August bank holiday where she works as the stage manager for the Main Arena
Molly has worked as a costue assistant for both television and theatre, with credits including Channel 4’s Hollyoaks and Calliston at the Arcola. She has previously worked alongside Emily Stuart on Jermyn Sree Thetare’s ambitious staging of Noel Coward’s Tonight at 8.30. Earlier this year, Molly earned her first design credit at the Vaults Festival for Out of Spite’s People Who Need People.
Richard is a musical director, qualified teacher, vocal coach and composer. He has been involved with two Olivier-nominated productions, as composer and improvising musical director, both nominated for ‘Best New Comedy’ in 2016 and 2018 (Peter Pan Goes Wrong at the Apollo Theatre and Mischief Movie Night at the Arts Theatre, respectively).
He has recently worked as an MD on Sasha Regan’s All Male lolanthe and Sasha Regan’s All Male Mikado for their national tours, Secret Garden at the Ambassadors Theatre, NewsRevue at the Canal Cafe Theatre and Road Show, Lucky Stiff, Anyone Can Whistle and Out House at the Union Theatre.
Becky is a freelance casting director. Her theatre credits include White Fang (Park Theatre), Cause (Vault Festival) and The Frontier Trilogy (Theatre Rabenhof, Vienna) as well as on sage readings of Gosford Park, Four Weddings and a Funeral and Sense & Sensibility (all The Festival a Hampstead Theatre). Other credits include short film fragment (Tempest Productions).
Tatty is an award-winning playwright, dramaturg and director. She is the Baylis assistant director at the Old Vic, assisting on Max Webster’s production of Fanny and Alexander in spring 2018. Her previous directing credits include directing her own adaptation of The Snow Queen at Theatre N16 and a revival in spring 2017, her first play, All That Lives, at the Ovalhouse, Acorn at the Courtyard and Shakespeare in the Squares’ 2017 production of Romeo and Juliet. She has assisted Adele Thomas on The Orestaia at Shakespeare’s Globe, Brendan O’Hea on the Park’s production of An Audience with Jimmy Savile and Dominic Dromgoole on the Hamlet World Tour, visiting every country in the world. As a writer, she won the Heretic Voices competition in 2017 with her play, A Hundred Words for Snow, which received an acclaimed production at the Arcola in early 2018.
Tom trained in Directing at Mountview Academy.
Upcoming theatre as director: The Rise and Fall of Little Voice by Jim Cartwright (Park Theatre, Aug – Sep 2018)
Previous theatre as director includes: An Elizabethan Christmas (Hampton Court Palace), Wet Bread (Brighton Fringe / King’s Head Theatre), Speak Low if You Speak Love – Shakespeare’s Sonnets (Scaffold Shakespeare Company & Hampton Court Palace), Dirty Promises (Hope Theatre – nominated for Best Director, Off West End awards), The Comedy of Errors (The Space), The Death of Norman Tortilla (Tristan Bates). He has taught at drama schools including Rose Bruford and ALRA and directed short plays, workshops and readings at venues including Theatre503, Arcola, Rich Mix, Old Red Lion and Southwark Playhouse.
Upcoming theatre as assistant director: The Messiah by Patrick Barlow (UK tour and West End, Oct-Dec 2018)
As Assistant Director: Romeo and Juliet, directed by Tatty Hennessey (Shakespeare in the Squares), Powerplay by Sarah Dickenson, Encounters with the Past by Elizabeth Kuti (Hampton Court Palace), and Valhalla by Paul Murphy, all directed by Jo McInnes (Theatre503); Our Ajax by Timberlake Wertenbaker, directed by David Mercatali (Southwark Playhouse).
Tom is the Artistic Director of Sheer Drop Theatre – developing and producing new plays; and co-director of Scaffold Shakespeare Company.
Assistant Stage Manager
Grace studied Film and Screen studies combined with Drama and Theatre studies at Bath Spa University, where she discovered her love for working backstage. Since graduating in 2016 she has been part of Shakespeare Live’s open-air productions of The Tempest and A Midsummer Night’s Dream and worked as Production ASM for Iris Theatre’s 2016 performance of Treasure Island. Grace has been working as Technical ASM on a wide range of shows at The Mill at Sonning for nearly two years. She is really excited about being part of the Shakespeare in the Squares team this year.
Andrew has had a 10-year career in music publishing at Boosey & Hawkes and Universal Music. He runs his own events including a club night for his music blog Human Drizzle, leaves postcards around London for his project Hello Stranger and more recently qualified as a yoga teacher.
Kieran trained at the University of Manchester and Trinity Laban Conservatoire of Music and Dance. He also enjoys a burgeoning career as a freelance horn player with orchestras including the London Concert Orchestra. Theatre includes La Boheme (OperaUpClose), Faceless (Park), Company (David Adkin Ltd), Hearing Things (UK tour), Eyes Closed, Ears Covered (Bunker). Site-specific work includes A Midsummer Night’s Dream and Whispers of Heaton (Feelgood Theatre Productions). Dance includes Machine Show (DanceXchange).
Emily trained at Wimbledon School of Art.
Costume design credits include: Romeo & Juliet and Much Ado About Nothing (Shakespeare in the Squares); Sleeping Beauty, Robinson Crusoe and Robin Hood (The Theatre, Chipping Norton), Tonight at 8.30, The Blinding Light, 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), Romeo & Juliet (Cambridge Arts 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.
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).