ARTISTIC POLICY

Lifeblood Theatre Company was established with the long-term objective of developing and producing exciting and innovative text-based theatre. The company is passionate in its belief that language is ‘the Lifeblood’ of theatre, and is committed to high quality work that places text firmly at the centre. This text-based approach facilitates the development of a distinctive style that reinforces and clarifies the delivery of poetic, rhythmic writing, from which is created compelling and accessible theatre.

"A thrilling affirmation of what happens when a searing imagination seizes a drama and it arrives in the hands of practitioners who interpret with uncompromising vigour…"
*****THE SCOTSMAN on The Lifeblood

CREATIVE TEAM

SUE SCOTT DAVISON - Creative Producer
Following a twenty five year career as an actress, Sue became a producer in 2003. She established Lifeblood Theatre Company and its sister company Scott Davison Productions with the aim of producing high quality commissioned and established texts for both commercial and subsidised theatre.

Sue commissioned and developed Liberty by Glyn Maxwell, which was co-produced with Shakespeare’s Globe in 2008 followed by a a national tour. She has produced The Lifeblood (Edinburgh & Riverside), which was voted best performance and play by The British Theatre Guide 2004, Two Way Mirror (Theatre Museum), Future Me (Theatre 503), which will tour the UK in Spring 2009, and will produce Glyn Maxwell’s newest work, The Ruins in 2009, as well as his adaptation of Fyodor Dostoevsky’s, The Gambler in the near future.

Sue was awarded a Stage One New Producer’ s Bursary in support of her work with Lifeblood Theatre Co, and has won a Meridian Theatre Interact Award for the development and production of Liberty. She is also involved in Newbury Corn Exchange’s Evolve project, which promotes the development of artists and new work.

GUY RETALLACK - Artistic Associate
Guy Retallack - World's End (Trafalgar Studios), Future Me (Theatre503), The Lifeblood (Edinburgh & Riverside), Faster for The Brits Off Broadway Festival (59E59 theatre, New York), National Hero with Timothy West & Nicola Macauliffe (Edinburgh & National Tour) , Tommy for Bill Kenwright, which was nominated for Best Musical by The Manchester Evening News Awards 2005. Other credits include, The Secret Rapture (Lyric, Shaftsbury Ave.), Office Games (Pleasance, London), Faster (Lyric, Hammersmith, BAC & International Tour), This Story of Yours (New End), Richard III with Eddie Marsan (Pleasance, London), Emma with Doon Mackickan, nominated for Best Ensemble by the Stage 1998 (Watford, Tricycle & Edinburgh), Dangerous Corner & Hard Times (Watermill, Newbury), Things We Do For Love with Abigail McKern (Chester Gateway) and The Master and Margarita (BAC). Staged readings for BKL include Jack by Michael Rudman (Desmond Barrett and Alex Jennings), Bleak House by Charles Dickens in a new version by Stephen Brown, and The Last Photograph by Gyles Brandreth (Romola Garai and Russell Beale).

GLYN MAXWELL - Artistic Associate
Glyn Maxwell's plays have been staged in London, Edinburgh and New York and include The Lifeblood, which was voted Best Play by The British Theatre Guide 2005 (Edinburgh & Riverside), The Only Girl in The World (Arcola), The Forever Waltz (New York & Edinburgh), Wolfpit (New York & Edinburgh), Broken Journey (London, New York) and The Black Remote (National Theatre Connections Festival). Opera libretti include The Girl of Sand (for Elena Langer, Almeida Opera Festival) and The Birds (for Edward Dudley Hughes/I Fagiolini, City of London Festival). His poetry has won several awards including the Geoffrey Faber Memorial Prize for The Nerve (2003); his latest book is The Sugar Mile. His Plays One & Two are published by Oberon, and his novel The Girl Who Was Going To Die was published in 2008 by Jonathan Cape.

CHRISTOPHER CORNER - Project Manager
Chris has extensive experience of successfully managing projects for many leading theatre companies including The Wrestling School, Moving Theatre, Paines Plough, Kalii, Wedding Collective, Royal Opera Education, Escape Artists and Out of the Box.

CASTING
We do not accept unsolicited CVs from actors. When we are casting for a production this is normally via the distribution of a breakdown through the usual avenues of Spotlight, PCR and recognized agents.

INTERNSHIPS
Opportunities are occasionally available for internships at our London offices for both SDP and Lifeblood Theatre Co.These positions are most suited to current or recently graduated students with an interest in pursuing a career in theatre production or administration. Please apply by emailing us with a CV, outlining your interest, experience and availability.

SCRIPTS
Playwrights are welcome to submit material for consideration but we cannot guarantee a detailed response as we do not have a structured play reading programme in place. Please email scripts for consideration.  Postal submissions are also welcome but cannot be returned.