What we do & why
Braw Clan is an award-winning theatre company making new Scots language plays for rural audiences in Clydesdale and southern Scotland. We bring powerful stories and world-class performers to your village hall.
There's always English as well as Scots in our plays, and our productions are interpreted into BSL. If you're not sure whether you can understand Scots, find out at ayecan.com. Have a look at our past work here.
"When I was young, speaking Scots was not allowed. Seeing this play made me very happy."
SECRET WRAPPED IN LEAD
"Scots is beautiful and very rich but at risk of being lost. It's important to nurture it. It's part of our identity."
SECRET WRAPPED IN LEAD
"I wasn't sure before I came but I really enjoyed the story and hearing the Scots language."
SECRET WRAPPED IN LEAD
What we do & why
Braw Clan is an award-winning theatre company making new Scots language plays for rural audiences in Clydesdale and southern Scotland. We bring powerful stories and world-class performers to your village hall.
There's always English as well as Scots in our plays, and our productions are interpreted into BSL. If you're not sure whether you can understand Scots, find out at ayecan.com. Have a look at our past work here.
"When I was young, speaking Scots was not allowed. Seeing this play made me very happy."
SECRET WRAPPED IN LEAD
"Scots is beautiful and very rich but at risk of being lost. It's important to nurture it. It's part of our identity."
SECRET WRAPPED IN LEAD
"I wasn't sure before I came but I really enjoyed the story and hearing the Scots language."
SECRET WRAPPED IN LEAD
Martin Travers, Braw Clan's playwright and Creative Producer, on why he writes plays in Scots.
I fell in love with Scots on the hip of my Auntie Isobel.
Like a lot of Lanarkshire women born in the 1930s she left school at 14 and went to work in a factory. Her Scots tongue was always direct. Unfiltered. Armour piercing. Earthy and organic. And could be delivered in a swirling plume of laughter that was infectious. My baby brain soaked it up. Scots was my language. The language of the kitchen and the glen and of safety and love.
A language that lived in the air between people.
It was the language I spoke and the language I dreamed in. Then I was dragged to school.
Throughout my early life reading was never a joy for me. Written English was another language with horrible rules and impossible spellings that didn’t sound like the words my brain knew. English felt imposed on me. It made me feel stupid. Inadequate. “Speak properly!” reverberated down the corridors of my primary school years.
I went to a Catholic school, so for some reason we didn’t do any Scots - not even Robert Burns.
For years I thought Burns night was for red-faced whiskey-glugging golf bores wearing itchy tartan trousers.
At high school when we should have been reading John Galt we got Shakespeare and Trollope and, thankfully, the magnificent poems of Gerard Manley Hopkins. Hopkins led me to Dylan Thomas. Both men’s poetry connected
with something deep in me. The reel of life in me. The words they used and the order they put the words in was like listening to the rhythm of steam engines and crashing waves. Their fury and their flourish reminded me of the rhythmic blether of Scots I was baptised in as an infant.
I was fascinated by their version of English - it felt pagan and from the dark places in nature. As a writer, I owe as much to Hopkins and Thomas as I do to Burns, Robert Ferguson and Tennessee Williams.
My early theatre experiences came through reading plays. I fell in love with the big character-driven American plays.
And I’m still in love with them. A simple story told well is a thing of wonder. A great line is a great line forever.
It wasn't until later that I had the chance to read the works of Ena Lamont Stewart, Joe Corrie, Hector MacMillan, Robert McLellan, and Irvine Welsh. There are some wonderful world-class Scots plays out there but not enough in my opinion.
Braw Clan is here to make new, dynamic, dark and delicious plays that bring new audiences to Scots.
We want to get people excited about our magnificent language. And we want make work for Scotland-based actors that they'll be proud of.
Why do I write in Scots? It has the power to be tender, savage, hilarious and dramatically theatrical. And if I'm honest, it is a compulsion, an addiction, a black art. I want other writers to fall under its spell too. It's the language I still dream in.
I want our audiences to hear it in the air and sweat of every story Braw Clan perform for you. Come on the journey with us. Sit in the village halls of Clydesdale with us. Be as captivated by the power of Scots as we are. Be brave. Be in awe. Deil the fear.
Martin Travers, Braw Clan's playwright and Creative Producer, on why he writes plays in Scots.
I fell in love with Scots on the hip of my Auntie Isobel.
Like a lot of Lanarkshire women born in the 1930s she left school at 14 and went to work in a factory. Her Scots tongue was always direct. Unfiltered. Armour piercing. Earthy and organic. And could be delivered in a swirling plume of laughter that was infectious. My baby brain soaked it up. Scots was my language. The language of the kitchen and the glen and of safety and love.
A language that lived in the air between people.
It was the language I spoke and the language I dreamed in. Then I was dragged to school.
Throughout my early life reading was never a joy for me. Written English was another language with horrible rules and impossible spellings that didn’t sound like the words my brain knew. English felt imposed on me. It made me feel stupid. Inadequate. “Speak properly!” reverberated down the corridors of my primary school years.
I went to a Catholic school, so for some reason we didn’t do any Scots - not even Robert Burns.
For years I thought Burns night was for red-faced whiskey-glugging golf bores wearing itchy tartan trousers.
At high school when we should have been reading John Galt we got Shakespeare and Trollope and, thankfully, the magnificent poems of Gerard Manley Hopkins. Hopkins led me to Dylan Thomas. Both men’s poetry connected with something deep in me. The reel of life in me. The words they used and the order they put the words in was like listening to the rhythm of steam engines and crashing waves. Their fury and their flourish reminded me of the rhythmic blether of Scots I was baptised in as an infant.
I was fascinated by their version of English - it felt pagan and from the dark places in nature. As a writer, I owe as much to Hopkins and Thomas as I do to Burns, Robert Ferguson and Tennessee Williams.
My early theatre experiences came through reading plays. I fell in love with the big character-driven American plays.
And I’m still in love with them. A simple story told well is a thing of wonder. A great line is a great line forever.
It wasn't until later that I had the chance to read the works of Ena Lamont Stewart, Joe Corrie, Hector MacMillan, Robert McLellan, and Irvine Welsh. There are some wonderful world-class Scots plays out there but not enough in my opinion.
Braw Clan is here to make new, dynamic, dark and delicious plays that bring new audiences to Scots.
We want to get people excited about our magnificent language. And we want make work for Scotland-based actors that they'll be proud of.
Why do I write in Scots? It has the power to be tender, savage, hilarious and dramatically theatrical. And if I'm honest, it is a compulsion, an addiction, a black art. I want other writers to fall under its spell too. It's the language I still dream in.
I want our audiences to hear it in the air and sweat of every story Braw Clan perform for you. Come on the journey with us. Sit in the village halls of Clydesdale with us. Be as captivated by the power of Scots as we are. Be brave. Be in awe. Deil the fear.
Gripping stories, in Scots.
Braw Clan's actors work far and wide, performing for companies like Shakespeare's Globe, the BBC, ITV and Netflix. But Clydesdale is our home. When we turn up to do a play in your village hall, you better believe we're going to make it a night to remember.
Sign up for our fortnightly newsletter to find out what's on.
Your information will never be shared. By subscribing you agree to our privacy policy.
"After watching the play, I feel re-energised about my village and sharing our stories."
AUDIENCE MEMBER
"When I was young speaking Scots was not allowed. Seeing this play made me very happy."
AUDIENCE MEMBER
"I wasn't sure before I came but I really enjoyed the story and hearing the Scots language."
AUDIENCE MEMBER
Gripping stories, in Scots.
Braw Clan's actors work far and wide, performing for companies like Shakespeare's Globe, the BBC, ITV and Netflix. But Clydesdale is our home. When we turn up to do a play in your village hall, you better believe we're going to make it a night to remember.
Sign up for our fortnightly newsletter to find out what's on.
Your information will never be shared. By subscribing you agree to our privacy policy.
"After watching the play, I feel re-energised about my village and sharing our stories."
AUDIENCE MEMBER
"When I was young speaking Scots was not allowed. Seeing this play made me very happy."
AUDIENCE MEMBER
"I wasn't sure before I came but I really enjoyed the story and hearing the Scots language."
AUDIENCE MEMBER
Gripping stories, in Scots.
Braw Clan's actors work far and wide, performing for companies like Shakespeare's Globe, the BBC, ITV and Netflix. But Clydesdale is our home. When we turn up to do a play in your village hall, you better believe we're going to make it a night to remember.
Sign up for our fortnightly newsletter to find out what's on.
Your information will never be shared. By subscribing you agree to our privacy policy.
"After watching the play, I feel re-energised about my village and sharing our stories."
AUDIENCE MEMBER
"When I was young speaking Scots was not allowed. Seeing this play made me very happy."
AUDIENCE MEMBER
"I wasn't sure before I came but I really enjoyed the story and hearing the Scots language."
AUDIENCE MEMBER
Clare Yuille, Braw Clan's Creative Director, on why we put spoken Scots on stage.
At 16, I thought professional actors in Scotland were in Scots plays all the time.
I assumed they must be, because I was.
My amateur dramatics group, Biggar Theatre Workshop, had just performed Philotus, the oldest Scots comedy in existence, for the first time in 400 years. Adapted by Dr Jamie Reid-Baxter and directed by Ann Matheson, this riotous court play fizzing with politics, lust, scandal and merriment went along like a rocket, to huge acclaim.
If we were on stage in ruffs, bringing the house down with rhyming couplets, I thought it must be standard for professional actors.
I didn't realise that Clydesdale is a special place for the Scots language, and that I was very lucky.
After the success of Philotus, there was a sold-out production of James Scotland's The Sorceror's Tale, an adaptation of Robert McLellan's Linmill Stories directed by Ann Matheson and Kate Reilly, and a Scots language play about Marion Braidfute, the wife of William Wallace, for Lanark Players.
At the same time, The Brownsbank Trust, established to preserve the legacy of the poet Hugh MacDiarmid, was helping to bring ground-breaking Scots writers into Clydesdale's schools. We were taken to poetry readings and flytings, given books and dictionaries, and encouraged to write, speak and perform in Scots of all kinds, including for Higher English.
I got drunk on the sounds, rhythms, stories and humour.
Lanarkshire and Ayrshire words from my childhood, Jacobean words sizzling with power, bits out of Trainspotting.
I absorbed it all, dying to be in a Scots language play again. But by the time I was training to be an actor, it was clear that my experience of speaking and hearing Scots on stage was rare. It still is.
Almost no plays in Scots are put on in Scottish theatres.
Braw Clan is here to fix that.
When she heard a blackbird sing, my gran would say "it's throwing its heart to the sky."
That's what speaking Scots on stage is like for me as an actor. And when I hear it as an audience member, sometimes it's so beautiful, alive and strange, I don't know whether to laugh or cry. Even when I don't understand every word, they understand me. It's like being home at last.
Audiences in Scotland deserve the chance to find how out they feel about Scots language theatre. I'm proud to be part of that work, and I'm proud it's happening in Clydesdale.
Clare Yuille, Braw Clan's Creative Director, on why we put spoken Scots on stage.
At 16, I thought professional actors in Scotland were in Scots plays all the time.
I assumed they must be, because I was.
My amateur dramatics group, Biggar Theatre Workshop, had just performed Philotus, the oldest Scots comedy in existence, for the first time in 400 years. Adapted by Dr Jamie Reid-Baxter and directed by Ann Matheson, this riotous court play fizzing with politics, lust, scandal and merriment went along like a rocket, to huge acclaim.
If we were on stage in ruffs, bringing the house down with rhyming couplets, I thought it must be standard for professional actors.
I didn't realise that Clydesdale is a special place for the Scots language, and that I was very lucky.
After the success of Philotus, there was a sold-out production of James Scotland's The Sorceror's Tale, an adaptation of Robert McLellan's Linmill Stories directed by Ann Matheson and Kate Reilly, and a Scots language play about Marion Braidfute, the wife of William Wallace, for Lanark Players.
At the same time, The Brownsbank Trust, established to preserve the legacy of the poet Hugh MacDiarmid, was helping to bring ground-breaking Scots writers into Clydesdale's schools. We were taken to poetry readings and flytings, given books and dictionaries, and encouraged to write, speak and perform in Scots of all kinds, including for Higher English.
I got drunk on the sounds, rhythms, stories and humour.
Lanarkshire and Ayrshire words from my childhood, Jacobean words sizzling with power, bits out of Trainspotting.
I absorbed it all, dying to be in a Scots language play again. But by the time I was training to be an actor, it was clear that my experience of speaking and hearing Scots on stage was rare. It still is.
Almost no plays in Scots are put on in Scottish theatres.
Braw Clan is here to fix that.
When she heard a blackbird sing, my gran would say "it's throwing its heart to the sky."
That's what speaking Scots on stage is like for me as an actor. And when I hear it as an audience member, sometimes it's so beautiful, alive and strange, I don't know whether to laugh or cry. Even when I don't understand every word, they understand me. It's like being home at last.
Audiences in Scotland deserve the chance to find how out they feel about Scots language theatre. I'm proud to be part of that work, and I'm proud it's happening in Clydesdale.
We tell spell-binding stories, in your village hall.
You know how almost no plays in Scots are put on in Scottish theatres?
Well, what Braw Clan does is make new theatre in Scots, inspired by the people of Clydesdale, and we tour it to rural communities in the south of Scotland. We bring world-class performers and powerful local stories to your village hall so you can enjoy them with your family and neighbours.
In fact, someone who came to a Braw Clan performance said “After watching the play, I feel re-energised about my village and sharing our stories."
Pay what you decide, after you've seen the show.
Braw Clan's theatre tickets are priced on a Pay What You Decide basis.
There's no up front cost - you book in advance as usual, but without making a payment. After you've seen the show, you decide what you think it's worth. This removes any risk of paying for something you might not enjoy. If you haven't enjoyed the show at all, you don't have to pay anything.
All money collected (you can pay by card or cash,) helps Braw Clan make more plays, so we hope you'll give generously.
We tell spell-binding stories, in your village hall.
You know how almost no plays in Scots are put on in Scottish theatres?
Well, what Braw Clan does is make new theatre in Scots, inspired by the people of Clydesdale, and we tour it to rural communities in the south of Scotland. We bring world-class performers and powerful local stories to your village hall so you can enjoy them with your family and neighbours.
In fact, someone who came to a Braw Clan performance said “After watching the play, I feel re-energised about my village and sharing our stories."
Pay what you decide, after you've seen the show.
Braw Clan's theatre tickets are priced on a Pay What You Decide basis.
There's no up front cost - you book in advance as usual, but without making a payment. After you've seen the show, you decide what you think it's worth. This removes any risk of paying for something you might not enjoy. If you haven't enjoyed the show at all, you don't have to pay anything.
All money collected (you can pay by card or cash,) helps Braw Clan make more plays, so we hope you'll give generously.
Founding Members
Creative Producer
Martin is a playwright and producer whose work has been produced by NTS, Citizens Theatre, In Cahootz, Scottish Opera and Oran Mor. His plays include Whatever Happened to the Jaggy Nettles? which won Best Play For Young Audiences at the Writers' Guild Awards in 2022. Martin helped found the multi-award-winning WAC Ensemble, Scotland's first professionally supported, care experienced theatre group.
Creative Director
Clare is an actor, marketing consultant and youth theatre director. Her acting credits include ITV, BBC, The Royal Lyceum, the Tron, Vanishing Point, the Royal Exchange, Dundee Rep and Lessons Of The Hour by Turner prize nominee Isaac Julien. Her shop, Merry + Bright, has been open on Biggar High Street for 14 years. Clare is the founder of Indie Retail Academy, where artists learn to sell to independent shops.
Actor
Morven Blackadder is an actor and musician. Her professional appearances include Lizzy Cratchit in An Edinburgh Christmas Carol at the Royal Lyceum Theatre, and Primrose in Secret Wrapped In Lead for Braw Clan. She attended the Royal Lyceum Youth Theatre and is a senior member and workshop assistant at Corn Exchange Young Performers. Morven also volunteers with Limelight Music, sings and plays the guitar.
Actor
Anthony is an actor, shopkeeper and youth theatre director who's worked with the Royal Lyceum, the Citizen's Theatre, the Library Theatre, the Royal Exchange, Pitlochry Festival Theatre, Chichester Festival Theatre and Eden Court, in shows like Pressure, White Christmas, Oliver Twist and Great Expectations. His television and film credits include The Last Bus, Falling For Figaro, Outlander, Coronation Street, Girlfriends, Garrow's Law and MI High.
Director, Musical Director
Gordon is multi-award winning director, artistic director, producer, composer and musical supervisor. He's worked in the arts for over 40 years and his credits include Bell Records, Warner Chappell Music, The Royal Exchange, Belgrade Theatre, MacRobert Arts Centre, Red Ladder, Royal Lyceum, National Theatre of Romania, Merlin Theatre Budapest, Parapanda Arts Lab Tanzania, Communicado, TAG, The Citizens Theatre, Wildcat and the King's Theatre.
Filmmaker
Cristina is a filmmaker, animator and visual artist whose work includes Blank (Cannes Short Film Corner Selection), The Old Man and the Whale (Euzcal Zine Bideo Bilera Film Festival Selection) and Slay (Berlinale Talent Campus Selection) which granted her a mentorship with the film director Wim Wenders. She's Creative Co-Ordinator for Common Weal, producing, directing and animating all of their videos and films.
Sound Designer, Composer
Jack is a singer-songwriter, producer and multi-instrumentalist whose EPs include Sharkey's Parade and Nobody Gets Hurt. He's performed and recorded across North America, Europe and Australia, including multiple tours with Americana band Over The Rhine and rootsy Canadian outfit Cowboy Junkies. He's shared stages with Buddy Miller, Sarah Mclachlan and Ron Sexsmith, and performed with Patti Smith.
Costume Designer
Hazel graduated with a distinction in Theatre Costume Interpretation from Edinburgh College. Her varied career includes making hats for the Cincinnati Conservatoire's production of A Love Of Three Oranges in Tuscany, catwalk outfits for Creative Stitches at the SECC, costumes for degree shows, dresses and props for Gala Day courts and Thankerton Fire Procession, and creating a giant squid for a production of Treasure Island.
Actor
Robin has worked in theatre, TV, film and radio all over the world. His credits include The Slab Boys, Murder Rooms, Cadfael, Medea on Broadway, Edward 'Babe' Heffron in HBO's Band of Brothers, River City, Shetland, The Victim, Guilt, Stonehouse, The Gold, Outlander and the independent film A Violent Man. Robin is also a prolific radio and voiceover artist and was nominated for 'Best Actor' at the 2021 BBC Audio Drama Awards.
Actor
Fletcher enjoys a wide and varied theatre career, working with companies like the Royal Lyceum, Lung Ha, the Tron and the Citizens Theatre. Her credits include The 306 Day, Shift, The Reason I Jump, First Snow and Medea for NTS. Fletcher is Project Director for Limelight Music, delivering training and opportunities for people with impairments, and has been the on-train announcer for all trains in Scotland for 18 years.
Actor
Helen is an actor and voice artist who has worked with the Macrobert Arts Centre, Horsecross Theatre, Fire Exit, Òran Mór, the Tron and Mull Theatre. Her TV and film credits include Bold Girls, Scot Squad, Outlander, Rillington Place and The Sopranos. Her recent voice credits include the UK edit of the Netflix animated series Ridley Jones and Mumfie. Helen won the Romantic Novelists’ Association Narrator of the Year award in 2022.
Actor
James works with theatre companies including The National Theatre of Scotland, Dundee Rep, The Tron, The Royal Lyceum, Stellar Quines, Mull Theatre, Pitlochry Festival Theatre, Dundee Rep and Òran Mór, on shows like Sunshine On Leith, Whisky Galore, The Drawer Boy and Rites. His TV credits include 10 series of the BAFTA award-winning Raven for CBBC, Molly and Mack for CBeebies, River City, Still Game, Taggart and Outlander.
Actor
Michael has worked for most
Scottish theatre companies, playing leading roles including Robert Burns, John Guthrie, Salieri and many panto villains. He recently finished a tour of 549: Scots of the Spanish Civil War for Wonder Fools. On television, Michael starred as Tarot in Ace of Wands in the early 70s, and has been in Cardiac Arrest, Taggart, Hamish Macbeth, Dear Green Place, Gary: Tank Commander, Still Game, Vigil and Karen Pirie.
Production Manager
Paul's projects include the YTAS annual multi-site festival in Edinburgh, Ayr, Aberdeen, Glasgow, Perth and Glenrothes, and all technical and production aspects of Lyceum Youth Theatre's shows for the National Theatre's Connections festival. He also managed interdisciplinary projects involving Balerno High, Leith Academy, Wester Hailes Education Centre, Currie High School and South Queensferry High School.
Creative Associates
Actor
Joyce was raised in Torry, Aberdeen, and graduated from the Royal Conservatoire of Scotland in 1991, after winning the Duncan Macrae Prize for Scots Verse. She enjoys an extensive theatre career, playing roles like Maw Broon, Titania and Jean Guthrie in Sunset Song. Joyce has many TV credits and has been the feature of three documentaries, but it is her role of Roisin in BBC Scotland's River City for which she is best known.
Actor
Martin is a prolific theatre actor whose appearances include the Finborough, the Citizens Theatre and the Traverse. He recently starred in Moorcroft for the Tron / National Theatre of Scotland. His TV and film credits include: Dear Green Place, One Night In Emergency, Case Histories, Outlander, Cloud Atlas, Filth and Country Music. A documentary featuring Martin called Marty Goes To Hollywood won a New Talent BAFTA.
Actor
Dani's many theatre appearances include the Vault Festival, National Theatre / Edinburgh Festival Theatre, the Royal Lyceum, Birmingham Rep, The Citizens Theatre, The National Theatre of Scotland and London's Westend, in shows like The James Plays, Rebus, Long Shadows and Peter Gynt, Sugar Coat, The Venetian Twins and Chariots of Fire. Her TV and film credits include Casualty, Armchair Detectives, Skin Deep, I Am Me and Rat Trap.
Joyce is an Associate Member of Complicité, a movement consultant, director and dramaturg. She assisted Deborah Warner at the Old Vic, the Barbican, National Theatre, ENO and Glyndebourne, and has provided direction and consultancy for the Aix Festival, Sky TV, Lyric Hammersmith, Birmingham Rep and the RSC. Joyce was Choreography Assistant to Toby Sedgewick at the opening ceremony of the London Olympic Games.
Linsey graduated from the Royal Conservatoire of Scotland in 2006 with a BA in Technical and Production Arts and has worked in various stage management roles for companies including the Tron Theatre, the Citizens Theatre, Fire Exit, Visible Fictions and Fish & Game. Linsey has toured nationally and internationally with a range of theatre companies, including NTS, Birds of Paradise and the Macrobert Arts Centre.
Jordanna brings history and archives to life in contemporary theatre productions and events. Her projects include the sell-out promenade production This Won’t Hurt A Bit for Surgeons Hall, multi-disciplinary production A Cabaret of Pestilence (TRACS, Digit2017, Mercat and SHM) and 5-star Edinburgh walking tour Blood And Guts. She developed and directed Go Home And Sit Still for RCSED Library & Archives and Me, Myself & Mary Queen of Scots by Raymond Friel.
John is an award winning actor, writer and composer. He co-wrote the top 5 album Seven Years Ten Weeks and has supported artists like Bryan Adams and Elton John. His musical theatre projects include Glasgow Girls, Wasted Love and The Stamping Ground. Recent composing and arranging credits include Beauty And The Beast (Beacon) and The Pickled Republic (Scissorkick.) John is now adapting Wasted Love for Canadian television.
Rosalind is actor, director and theatre maker who graduated from the Royal Conservatoire of Scotland. Her recent directing credits include Pekku for Red Bridge / Kyoto City Culture, Kissing Linford Christie for Vickie Beasley / Catherine Wheels / TiSS, Cinderella for Platform Theatre, The Secret Garden for Red Bridge Arts, Lost Lending Library and Small Wonders for Punchdrunk Enrichment and How To Sing It for Isobel McArthur / Tron.
Pippa is an award-winning composer, sound designer and music director who scores for screen, theatre, dance, choirs and orchestras. Known for her stylistic breadth, she works with writers, directors, filmmakers and choreographers as well as folk, indie, jazz and classical musicians. Her theatre credits include NTS, Royal Lyceum, Pitlochry Festival Theatre, Horsecross, Rapture, Edinburgh International Festival, Royal Court and Tim Crouch.
Madeleine is a hair & makeup artist working in television, film and theatre, including the Playhouse and Edinburgh Festival Theatre, whose clients have included the BBC, STV, CBBC and Channel 4. As key artist she worked on Mayflies for the BBC and the feature films Calibre and Limbo. Her further credits include Indiana Jones, Dungeons & Dragons, both series of the Irvine Welsh drama Crime for ITV, Outlander and First Footing, also for the BBC, for which she was Hair & Makeup Designer.
Jessica is a set and costume designer who’s worked with the Royal Lyceum, The Citizens Theatre, the Tron, Dundee Rep, Pitlochry Festival Theatre, The National Theatre of Scotland, Vanishing Point, Scottish Opera and Firefly Youth Theatre in Livingston. Recent production designs include Thora for the St Magnus Festival in Orkney, Other Side of the River for In Motion, Summer on Stage for Lyceum Youth Theatre and Lost for Tron Youth Theatre. Her next project is the Tron panto.
Alex has been a photographer for almost 15 years, working with clients to achieve shots and catch candid moments. His theatre photography includes The Dodo Experiment for The Citizens Theatre WAC Ensemble, Pigeon, Oor Carol And The Seagulls, The Heckleburnie Hecklers, Sherrif Dick’s Swan Song and Wid Ye Credit It? for In Cahootz and Secret Wrapped In Lead for Braw Clan. Alex documented John Byrne’s work on The Slab Boys for The Citizens Theatre in 2015.
Wendy has been a freelance Arts Publicist and Marketer since 1994. This has involved developing and utilising a wide range of skills including fundraising, event management, general administration, implementing and managing high-profile press and marketing strategies and campaigns as well as evaluating and monitoring projects.
Actor
Chiara's theatre credits include Tally’s Blood, Mamma Mia!, Glasgow Girls, The Snow Queen, The Yellow on the Broom, Eddie & The Slumber Sisters and Thread for companies like Dundee Rep, Raw Material, Òran Mór, National Theatre of Scotland and Noisemaker. On screen she's appeared in the Scotland is Open campaign, The Famous Grouse and Logan High for the BBC. Chiara is also also co-director of Drive Official, producing events around Scotland.
Lisa works in education, and theatre across Scotland. A former pro sports cheerleader and Dance Artist in Residence for Scottish Dance Traditions, in 2009 she formed 1940/50s inspired dance troupe The Kennedy Cupcakes. Her choreography credits include the Tron, Theatre Royal Glasgow's Stage Experience, Blanto and ACAOS. A podcast host and keen poet, Lisa is passionate about the power of dance to build connections and break down barriers.
Actor
Caroline is an actor, movement artist and facilitator who trained at Steps on Broadway in New York and New College, Lanarkshire. Her screen credits include Outlander for Starz, Crime for ITV and Glasgow Town for Blazing Griffin. On stage she's appeared in And. And. And., The Funeral Club, Leopards Ate My Face, A Daurk Maiter, Aladdin and Sleeping Beauty for companies like Òran Mór, the Traverse, The Citizens Theatre and the Alhambra.
Actor
Kieran is an actor whose roles include Mark in Whatever Happened To The Jaggy Nettles? Directed by Guy Hollands for the Citizens Theatre, this award-winning play redefines the young punks of the 70s as idealistic, poetic, wonderful and doomed. Kieran’s other credits include The Dodo Experiment, directed by Fiona Mackinnon for the Citizens Theatre WAC Ensemble, and his new short form play 86 Blue Moon.
Action Designer
Originally from Canada, EmmaClaire is an actor, fight director and movement director. Her fight director credits on stage include Dracula; Mina’s Reckoning, The Panopticon, This Restless House and Dragon for NTS, The Snow Queen for the Royal Lyceum, Crocodile Fever and Ulster American for the Traverse, All My Sons, Gagarin Way, August: Osage County, Deathtrap and Titus Andronicus for Dundee Rep, and Julius Caesar, Jekyll and Hyde, The Tempest, and Measure for Measure for Bard In The Botanics.
Consultant
Pamela is public health and social researcher with over twelve years’ experience in the third and academic sectors. She’s also a broadcaster, presenting both series of the popular My Family, Mental Illness... And Me podcast for the childrens’ charity Our Time. Her guests have included Joe Wicks, Cyrus Pattinson and Emma Kennedy, and the podcast has been featured by The Times, Independent and The Herald.
Board
Chair
