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Gurpreet Kaur Bhatti writes for stage, screen and radio. Her first play Behsharam broke box office records at Soho/Birmingham Rep. Her second play Behzti was sensationally closed after protests at the Rep. It won the Susan Smith Blackburn Prize. For Clean Break, she has written Scenes from Lost Mothers, a touring production on the experiences of women who have experienced maternal seperation in prison.

Other credits include A Kind of People, Royal Court Downstairs; Choir, Chichester Festival Theatre; Marriage Material, Lyric Hammersmith/Birmingham Rep; Khandan, Royal Court/Birmingham Rep; Behud, Soho/Belgrade; Silence, Donmar Warehouse; 846, Stratford East; Elephant, Birmingham Rep; Dishoom, Rifco/Watford Palace Theatre, Fourteen, Watford Palace; the feature film Everywhere And Nowhere; DCI Stone, Radio 4; Londonee, Rich Mix; Dead Meat, Channel 4 and An Enemy Of The People, BBC.

She is developing original series Masala for Hometeam/Universal, adapting Black & Blue by Parm Sandhu for Cuba Pictures as well as Brando's Bride by Sarah Broughton as a feature for Ffilm Cymru Wales.

She is also developing plays for NT Connections and the Royal Court. She is a voting member of BAFTA, a trustee of the Peggy Ramsay Foundation and an ambassador for Birth Companions, a charity that works to improve the lives of women and babies who experience inequality and disadvantage. Her plays are published by Methuen.

Milli is an award- winning stage and screen director and dramaturg from East London. She is an Associate Artist at Synergy Theatre. She was Associate Director at The Royal Court Theatre until December 2023. Before this, she was Trainee Director and then Literary Associate at The Royal Court, Associate Artist at The Bush Theatre, Resident Assistant Director at Birmingham Rep and Creative Associate at The Gate Theatre. 

Her training includes The National Theatre Director's Programme, and The Old Vic 12. She is a two-time Olivier Award nominee, for her productions of seven methods of killing kylie jenner and Blue Mist, both premiered at The Royal Court Theatre.

Her other work has been nominated for Visionary Arts Awards, Off West End Awards, EE Actas and Asian Media Awards, and her work has both received West End and international transfers. She was photographed by Rankin as part of the 'Performance' series, and an interview about her practice was published as one of 24 in 'Conversations With Women Theatre Directors' by Rosemary Waugh'. 

Pearl Mackie is a British actress trained at Bristol Old Vic Theatre School. On screen she stars in seasons 1 and 2 of Netflix’s The Diplomat, created by Debora Cahn. DS Jen Rafferty in ITV’s The Long Call, a major role in Tom Jones for Masterpiece PBS/ITV, Channel 4’s Friday Night Dinner, and the films Greed and Horizon Line. Most recently she shot indie TV series, Locker Room Talk.

Recent stage work includes Sylvia Samuels in Lucy Kirkwood’s The Human Body at the Donmar Warehouse, and Natasha Elcock in the acclaimed Grenfell: In the Words of Survivors at the National Theatre, directed by Phyllida Lloyd and Anthony Simpson-Pike. She also appeared in Kendall Feaver’s new adaptation of Ballet Shoes at the National.

Pearl is widely known for her ground‑breaking role as Bill Potts, the Doctor’s companion in BBC’s Doctor Who opposite Peter Capaldi — a performance that quickly became a fan favourite.

River is a director and facilitator who creates work rooted in the lived realities of people and communities that are often overlooked for main stage productions. River has directed and co-created plays with Cardboard Citizens, The Complete Freedom of Truth youth company and the NHS. As a facilitator they have worked with a wide range of organisations including Clean Break, QUEERCIRCLE, St. Mungos, Pause and Micro Rainbow. Credits as an Assistant Director include Constellations at New Diorama (dir. Fumi Gomez), The Empty at Tara Theatre (dir. Lakesha Arie-Angelo), Bystanders at Summerhall, Edinburgh Fringe (dir. Adrian Jackson) and Hope a Clean Break film production (dir. Kirsty Housley).

Khadija trained at Royal Central School of Speech and Drama. Recent theatre credits include set and costume design for Safe Space (Chichester Festival Theatre); Miss Myrtle’s Garden, 10 Nights, Philoxenia and Hijabi Monologues (Bush Theatre); Sonder(s) (Roundhouse and Centre 59); Girl in the Machine, The American Dream 2.0 and Love Reign (Young Vic Theatre); Peanut Butter and Blueberries (Kiln Theatre); Every Leaf is a Hallelujah (Regent’s Park Open Air Theatre); Julius Caesar (Shakespeare’s Globe & UK tour);  A History of Water in the Middle East (Royal Court);  set design for untitled f*ck m*ss s**gon play  (Royal Exchange, Manchester International Festival, Headlong & Young Vic); Sundown Kiki (Young Vic); and Skin Hunger (Dante or Die); costume design for Under The Shadows (Almeida Theatre); The Estate (National Theatre); The Secret Garden & Antigone (Regent’s Park Open Air Theatre); Bach and Sons (Bridge Theatre)

Awards she has won include the 2017 Linbury Prize and 2018 Stage Debut Award for Best Designer.

Bethany Gupwell is a London-based lighting designer, trained at the Royal Central School of Speech and Drama.

Theatre includes: Fun Home, Escaped Alone and What If Only; Shed: Exploded View (Royal Exchange Theatre); Bluets (Schaubühne); Are You Watching (Royal Court Theatre); Ohio and The Earthworks(Young Vic); All’s Well That Ends Well (Shakespeare’s Globe); Larmes de Couteau / Full Moon in March (Royal Opera House); Twelfth Night, Quiet Songs, A Play for the Living in a Time of Extinction and Lay Down Your Burdens (Barbican); La Voix Humaine (Opéra National du Rhin); Visit from an Unknown Woman; This Much I Know; To Have and to Hold; Little Scratch; Wolf Cub (Hampstead Theatre); The Virgins, Little Brother, Brown Girls Do It Too and Fitter (Soho Theatre); Robin Hood (Theatre Royal Bath); Here and The Woods (Southwark Playhouse); Lady Dealer (Bush Theatre); War & Culture, Little Scratch and Keep Watching (New Diorama). 

Theatre credits include Sherlock Holmes (Regent’s Park Open Air Theatre); The Manningtree Witches (Mercury Theatre); Bengal Tiger at the Baghdad Zoo, The Bear/The Proposal (Young Vic); The Firework-Maker's Daughter (Polka); Ordinary Decent Criminal (Paines Plough/UK Tour); The Beautiful Future is Coming, The Caretaker  (Bristol Old Vic); Rhinoceros, The Chairs (Almeida); A Good House (Bristol Old Vic/Royal Court Theatre/Market Theatre); The Legends of Them (Royal Court/Hackney Showroom); A Tupperware of Ashes, The Hot Wing King, Trouble in Mind (National Theatre); Brainstorm (Company Three/National Theatre); The Wedding Band (Lyric Hammersmith); Sweat (Nottingham Playhouse); Sweat, Nora: A Doll's House, Macbeth (Royal Exchange); Cinderella (Brixton House); The Magic Finger (Unicorn); Blue Mist, Baghdaddy, Two Palestinians Go Dogging, Maryland, The Living Newspaper: Edition 2 (Royal Court); As You Like It (RSC); Wuthering Heights (China Plate/UK Tour); Songs Across the Sueniverse (Sherman); Misty (The Shed, NYC); seven methods of killing kylie jenner (Riksteatern, Sweden/Royal Court); Silence (Tara Theatre); The Darkest Part of the Night, Reason's You Should(n't) Love Me, Snowflake (Kiln); Rockets and Blue Lights (National Theatre/Royal Exchange) 

Gabriella is a collaborative performer and movement director from London and 
graduated from The Oxford School of Drama after training as a ballet dancer at 
Central School of Ballet.

As a movement director, Gabriella led the revival of Simon McBurney’s The Magic Flute for English National Opera at London Coliseum and Theater Basel, Switzerland), and associate movement directed Second Trimester for BAC and the UK tour.

As a collaborative performer, Gabriella was part of the creating cast for Simon 
McBurney’s Wozzeck for Festival D’Aix, Weimar Nightfall for LA Philharmonic at Walt Disney Concert Hall in Los Angeles and The Rake’s Progress for Festival D’Aix and Dutch National Opera.

Other collaborative performance work includes Treading Water at CAST Doncaster/ The Stage at Leeds, The News for Furnace at Leeds Playhouse, Halbwelt Kultur at Jermyn Street Theatre and Amphibians at The Bridewell. 
Other theatre includes Elmet for The Javaad Alipoor Company at Bradford 2025, Vitamin D UK Tour and Juniper and Jules at Soho Theatre

Catherine Mizrahi is a freelance stage manager.

Recent credits include The Resistible Rise of Arturo Ui (RSC - Swan Theatre), Coven (Kiln Theatre), A Midsummer Night's Dream (Bridge Theatre), Pig Heart Boy (Unicorn Theatre and Tour), A Raisin in the Sun (Lyric Hammersmith and Tour), 2:22 A Ghost Story (Gielgud Theatre), Opening Night (Gielgud Theatre) and Next to Normal (Donmar Warehouse).

Catherine trained at Bristol Old Vic Theatre School.

Nadine is a Freelance Casting Director with over 25 years’ experience - specialising in new writing for stage. Nadine is also Creative Associate at Synergy Theatre Project. Prior to going Freelance, Nadine was in-house Casting Director at Soho Theatre for over fifteen years – working on world premieres by writers including Philip Ridley, Dennis Kelly, Laura Wade, Charlie Josephine, Theresa Ikoko, Arinzé Kene, Roy Williams, Ryan Calais Cameron, Tim Crouch, Shelagh Stevenson and Chloe Moss. 

Recent theatre credits include: A Fine Idea (Arcola Theatre); Slippery (Omnibus Theatre); Ukraine Unbroken (Arcola Theatre); The Pitchfork Disney (Kings Head Theatre); Scenes From The Climate Era (Gate Theatre); LIFERS (Southwark Playhouse); ELMET (Javaad Alipoor Company); The Meat Kings! (Inc) of Brooklyn Heights (Papatango at the Park Theatre); Mother Has Arrived (Corvi-Mora); Providers (Synergy Theatre at Brixton House); Expendable (Royal Court); Miracle on 34th Street (HOME Manchester); Pig Heart Boy (Unicorn/Tour); Wish You Were Here (Gate); The Flea (Yard); My Mother’s Funeral: The Show (Paines Plough).

Maariya's most recent productions include; Designer for Camdenwalla (Camden Peoples Theatre); What Fatima Did (Tara Theatre);  Before the Millenium (Old Fire Station); Fy Enw i yw Rachel Corrie (Theatr Cymru); Costume Designer for Little Brother (Jermyn Street Theatre); Assistant Designer for A Tupperware of Ashes (National Theatre); The Empress (RSC); Hakawatis (Globe); Assistant Costume Designer for The Father and the Assassin (National Theatre); Associate Designer for P-Word (Bush Theatre); Safe Space (Chichester Festival Theatre); Lavender, Hyacinth, Violet and Yew (Bush Theatre); As you like it (Globe); Costume researcher for Life of Pi (American Repertory theatre).

She is a first-class graduate from BA Design for Performance at the Royal Central School of speech and Drama (2021). Before her design training, Maariyah worked at Sands Films as a costume constructor.