As a playwright, screenwriter, dramaturg and actor Emily is particularly interested in using her work to explore how technology affects human relationships. Poetical Machines first met Emily Holyoake at a new writing showcase at Derby Theatre in 2014 and had discussed a common interest in science and technology related themes after Emily had been mentioned as someone Poetical Machines might be interested in collaborating with.
When Poetical Machines decided to bring together a team telling Ada’s story and surrounding themes Emily was the obvious choice as writer.
Julia Locascio is a stage director native to Chicago, trained in New York, now based in London. She makes new musicals, anarchic feminist revisions of classic and classical texts, movement-forward devised adaptations, and Waking Theatre.
Waking Theatre enlists scent, flavor, physical sensation, immersive visuals, and intricate sonic landscapes to bring an expanded and specified living awareness to its participants; to capture and detonate life’s sensations so as to make them active, captivating, and often—though not always—in service of a story.
Directing includes: Dead or Alive Poetry Slam (RSC Swan); The Metamorphosesby Brad Birch (RSC Swan, rehearsed reading); Cymbeline (Chinatown Warehouse, Chicago); Eurydice (Red Cloud Opera House/Looking Glass Theatre, New York); Oh, the Humanity (The Den, Chicago); Lemon Cake (133rd St Arts Center, New York/West Loop Warehouse, Chicago); Charlie Blows a Bulb (street clown performance on the Royal Mile, Edinburgh); Mantis (Manhattan Shakespeare Project, New York); Two Men, Butterfly Wings (Drama Centre London).
Staff/Resident/Assistant Directing includes: Dido, Queen of Carthage(RSC), Salomé (RSC), The Kite Runner (Nottingham Playhouse/UK Productions/West End), King Lear (Royal & Derngate/ATG); A Midsummer Night’s Dream (Filter Theatre/Lyric Hammersmith); English Eccentrics (British Youth Opera); SLUG (nabokov/Latitude Festival/National Theatre River Stage), The Rubenstein Kiss (Nottingham Playhouse).
In development: Woman on Paper: Georgia O’Keeffe + Alfred Stieglitz.
BFA New York University Tisch School of the Arts; MFA Birkbeck, University of London.
Julia is a recipient of the Tier 1 Exceptional Promise Visa from Arts Council England.
Charlotte is a London-based set, costume and production designer, she is a graduate of the design course at the National Institute of Dramatic Art in Australia.
2017 began with Charlotte designing The Eisteddfod and A Woman Alone for the Etcetera Theatre in Camden as well as The Mutant Man for The Space Arts Centre. She then designed Footprints on the Moon at Finborough Theatre, Thirty-Three at The Leicester Square Theatre and most recently Mumburger at Old Red Lion.
Whilst in Australia, Charlotte collaborated with Helpmann Award winning director John Sheedy on The Greeks: The Murders as well as Pulitzer Prize nominated writer and director Adam Rapp on the world premiere of Wolf in the River. She also designed productions for the Sydney Fringe Festival and the children’s show Too Many Elephants in this House.
Since moving to London Charlotte has been working extensively as a design assistant for some of Britain’s most exciting and renowned theatre professionals including; Rob Howell, Michael Levine, Hildegard Bechtler, Tim Goodchild and Annemarie Woods. Charlotte’s film credits include work on Wes Anderson’s latest film Isle of Dogs and the award winning short film A Cautionary Tail.
Currently, Charlotte is Assistant Designer to Michael Levine on the Bregenz Festival Lake Stage. Charlotte is always on the look out for new projects and collaborators, with a particular focus on new writing or contemporary adaptations of classic texts.
Alexandra is a Lighting Designer with over twenty years professional experience. Based in Derbyshire her work combines Theatre Lighting Design with Architectural Consultancy and Lecturing for Electrical Design.
Beginning as a lighting technician in Cambridge, Alexandra was then based at the LABAN Centre for Contemporary Dance also touring as a Technical Manager with VTOL.
Alexandra became head of lighting at Derby Playhouse and during a twelve year period there, designed lighting for Derby Playhouse productions, working with Artistic Director Mark Clements and many guest directors.
Since 2004 she has been freelance, lighting productions for regional and national theatre companies including Nottingham Playhouse, New Vic Theatre, Red Earth Theatre Company, York Theatre Royal and Colchester Mercury Theatre.
Ada Lovelace was the first to imagine computing machines that could create music and through this research and development phase we will be exploring new ways of incorporating electronic music performance techniques and technology into theatrical performance.
To investigate this innovative approach to performance and create a beautiful music score Poetical Machines have been joined by the brilliant Haiku Salut. Haiku Salut are multi-instrumental trio Gemma Barkerwood, Sophie Barkerwood and Louise Croft and their music contains elements of electronics and they also are interested in creating their own electronic instruments
Research and Development Facilitator
Research and Development Facilitator
Giles was artistic director of Nottingham Playhouse from 1999 to 2017. Prior to that he was artistic director of the Gate Theatre, London, Literary Manager of the National Theatre and artistic director of the Palace Theatre, Watford. His most recent productions include: The Kite Runner (Wyndham’s Theatre, London); Sleuth; Any Means Necessary; The Glass Menagerie; Tony’s Last Tape; Arcadia. He is also a playwright and his work has been produced widely in the UK and Europe.
When Poetical Machines approached Giles with an idea about creating a piece of theatre based around Ada Lovelace he saw its potential, and has been supportive of the project ever since. With his wealth of experience in developing new writing, as dramaturg & workshop facilitator, Giles will continue to bring his expertise to bear on the project throughout the play’s research and development phase.
Research and Development Dramaturg
Gareth is a dramaturg and theatre-maker based in Nottingham, where he is Literary Associate Artist at Nottingham Playhouse. Other regional theatres and companies he has worked with include Bristol Old Vic, West Yorkshire Playhouse, Manchester Royal Exchange, Derby Theatre, Excavate, Zest Theatre, New Perspectives Theatre Company, Theatre Writing Partnership – where he was Literary Assistant for two years – and Cast in Doncaster – where he was Literary Associate. He was a finalist in the Dramaturgs’ Network 2016 Kenneth Tynan Award for his support of and work with writers across the East Midlands.
As a playwright, his work has been performed at The Bike Shed in Exeter and the SEAS and NEAT international theatre festivals. He also runs Act 2: a new writing company and development platform for playwrights in the East Midlands. He was co-producer of Nottingham’s fringe theatre festival, FONT Fest, for two years and works with the College Street Centre in Nottingham on arts, literacy and education projects in Nottingham primary schools, specifically Opportunity Notts. He is also a 2017 Nottingham Roosevelt Scholar.
Gareth read Drama at the University of Bristol, graduating with first class honours, and trained further with master’s degree in Theatre Practice: Playwriting and Dramaturgy at the University of Exeter.
As a writer and performer, credits include: Births, Deaths and Marriages (NEAT11 with HATCH and Nottingham Forest FC), Nottingham by the Sea: The Last Resort (SEAS International Festival) as yet, Untitled (Bike Shed Theatre) and Notes on Some Persons, Starting to Crack (Exeter Northcott), Thorney Beginnings… and Bolsover Bingo (Excavate/Creative People and Places).
Directing includes rehearsed readings of Nigel’s Adventure in Welfare Land, Preservation, Scraps and Zombie Apocalypse (Cast), Witkiewicz Now: Theatre of the Fantastic, Stasis, The Visit, Bad Blood, Stateless, Send Them Back and ‘Dis Functional Family (Act 2 – Nottingham Playhouse), Absence of Consequence, The Big Hat and Measuring Us (FONT Fest) and Story Scavengers (Derby Theatre). As Dramaturg/Associate: Dancehall, Kes (Cast), Forever Young (Nottingham Playhouse and touring), Families of Lockerbie, Woyzeck, Tony’s Last Tape, How To Breathe, Kings, Any Means Necessary, Darkness Darkness, Shebeen, Poet in da Corner, Ada (Nottingham Playhouse), Goldfish (New Perspectives), 27/Cat in Hell (LaPelle’s Factory), Thorney Beginnings… and Bolsover Bingo (Excavate/Right Up Our Street) and Thrive, First Person (Zest). As Assistant Director: Suspension (Bristol Old Vic).
Gemma is an enthusiastic and creative graphic designer with over eight years experience in the industry. She is passionate about design and is currently employed by Nottingham Playhouse, a highly creative environment that allows her to be innovative in her approach to work. She has worked with a broad range of small and large clients across different sectors, including retail, high street fashion, FMCG’s, travel, magazine publishing and of course theatre.
Originally from York, she came to study BA Fashion Marketing and Communication at Nottingham Trent University and being drawn to the creative modules of the course, decided to study Graphic Design at MA level at Leeds University. After stints living and working in West Yorkshire and Leeds Gemma returned to Nottingham in 2012.
Adam has been a composer & sound designer in theatre for 15 years. Prior to that he was a sound operator for large scale musical theatre, a sound engineer working with rock bands and a bass player in bands.
In 2014 Adam became convinced freelance artists had to create their own projects instead of expecting inspiring projects to come their way. The idea of a theatrical piece about Ada Lovelace came to him in the autumn while composing music for a production of Tom Stoppard’s classic play Arcadia (directed by Giles Croft, Nottingham Playhouse). The play features the character Thomasina Coverly who appears to be based on Ada.
Researching further, Adam became more fascinated in Ada’s life & legacy. This was the idea he had been waiting for, so in Jan 2015 he formed Poetical Machines and started the ADA project.
Excerpt from “What The Butler Saw”
Excerpt from “Getting Better Slowly”
Excerpt from “Arcadia”