main-background new title lpt

         THE TEAM




Susan Penhaligan

Susan is celebrated star of stage, screen and film.  She is deeply supportive of pub theatres. 


“Pub theatres are so important for the development of theatre professionals, and keeping alive our theatrical history.” 

                                                               - Susan Penhaligan


Read full article and biography here 




Heather Jeffery is also playwright and was formerly Artistic Director of Changing Spaces Theatre.  Her credits include productions at Drayton Arms Theatre (Kensington), Old Red Lion Theatre (Islington), VAULT festival (Waterloo), St Paul’s Church (Covent Garden), Cockpit Theatre (Marylebone) and Midlands Arts Centre (Birmingham)


Our Writers/Reviewers:


Richard Braine is actor, director and playwright.

As an Actor he has worked extensively throughout the country including Chichester Festival Theatre, Manchester Royal Exchange, Birmingham Rep, and Stephen Joseph Theatre in Yorkshire. His Television and Film credits include: “Calendar Girls”, “Pride, Prejudice and Zombies”, “Finding Neverland”, “Bridget Jones”, “Suspicions of Mr Whicher”, “Mr Selfridge” and many years ago Gussie Fink-Nottle in “Jeeves and Wooster”. He has also filmed over 150 Commercials all over the world.

He has directed the European premiere of Sternheim/Martin “The Underpants” at The Old Red Lion Theatre and written three plays: “Being There with Sellers”, “Bedding Clay Jones” and “Sexing Alan Titchmarsh”


Siân Rowland is a playwright and comedy writer represented by Kitson Press. Her five star reviewed play Gazing at a Distant Star ran at the Edinburgh Fringe as a Greenwich Theatre production.


Annie Power is an award-winning writer, director and FCP Editor.


Dionne Farrell currently works in Television and Film production, with a real passion for theatre. When not spectating, she is either performing with a local am-dram group, or trying to write for the stage!


David Weir wrote CONFESSIONAL, which features in the Oran Mor Play, Pie, Pint season in Glasgow this May.  Previous plays include the post-referendum family drama BETTER TOGETHER, Brockley Jack Theatre, London (2016), and others have been performed at the Arundel and Windsor festivals, Greenwich Theatre, the Isle of Wight, and a pub lunchtime theatre in Perth, Australia. BETTER TOGETHER (2015) and LEGACY (2011) were longlisted for the Bruntwood Prize, and LEGACY shortlisted for the King’s Cross Award. He won the Constance Cox Award in 2015 and was a Kenneth Branagh Award winner in 2011.


Andrew Curtis is a playwright who regularly has plays performed in London fringe theatre. He graduated from three cohorts of the Royal Court Theatre’s Young Writers Programme.


Verity Williams is a poet, actor, playwright, dog enthusiast and committed gin drinker (not necessarily in that order). Born and raised in Dorset, Verity has a BA in English and Drama from Royal Holloway, an MA in Creative Writing from Bath Spa and an MA in Acting from East 15.


Joanne Griffiths has lectured in theatre studies for over twenty years.  She is a keen playwright and founder member of Two42 Theatre Company.   She made the top 20 in Bristol Old Vic’s open submissions 2016.  


Kate Pettigrew is a journalist, playwright and director. Her plays have covered subjects including Brexit, dementia and talking sheep.


Jack Albert Cook is a playwright, based in London, but originally from the sunnier climate of Newcastle Upon Tyne. He graduated from Bath Spa with a BA in Drama and an MA in Scriptwriting and his work has been performed at Tristan Bates Theatre, Theatre 503 and the North Wall Arts Centre.'


Sepy Baghaei is a theatre director originally from Sydney, Australia. She runs independent theatre company Suitcase Civilians, which produces internationally touring work. Sepy holds an MA in Advanced Theatre Practice from the Royal Central School of Speech and Drama.


Deborah Jeffries is a PhD Researcher at the University of East London and Rose Bruford College. Her thesis is entitled ‘Legitimising the Victorian Music Hall’, and contests the notion of legitimate versus illegitimate theatre. It also investigates theatre architecture, purpose and licensing. She has worked for Hoxton Hall and Wilton’s - two of the UK’s four operational Victorian music halls, as well as the more modern incarnation, Brick Lane Music Hall. Her MA in Drama from Goldsmiths explores the difference between music hall and variety theatre, and the place of each genre in modern popular culture. She has reviewed music and theatre across the UK for over 30 years.


Luke Ofield is a writer and director who runs his own theatre company, Unmasked Theatre, in the deep and exotic South (…Brighton). A drama and classic history graduate (so completely unemployable) from the University of Kent), Luke has an unhealthy love for clever transitions and creative lighting. He is also probably the worst singer to ever have lead billing in a musical.