Katharine trained as an Actor Musician at Rose Bruford College and has an MA with Distinction in Devised Performance from the University of Winchester. Her varied work as a professional actor musician has included Poppy at the ICA and Disjointed at Jermyn Street Theatre; touring with Quantum Theatre for Science; the films Ali G in Da House (Working Title) and Bonviva (DMI Productions), and a Tetley Tea advert.
Katharine’s directing credits include: Synthetica…A Toxic Enchantment (The Place – Tête à Tête Opera Festival and The Lighthouse, Poole): a song cycle for voice, trumpet and live vinyl DJ written by composer Karen Wimhurst; Freedom, Bread & Peace (The Shelley Theatre, Boscombe): a multi-media music theatre performance with a score by Karen Wimhurst, commissioned by Soundstorm and the Arts University Bournemouth for the Bournemouth Arts by the Sea Festival; and with her own company Sandpiper Theatre: Mermaid & The Oyster, a site-specific piece devised in association with Oyster Pleasance for the 2014 Bournemouth Arts by the Sea festival, and as part of TheGallery’s Bathing Beauties exhibition (AUB); and A-Roving We Will Go, a promenade-style piece using actor musicians, written especially for the opening of the 2012 Bournemouth Arts by the Sea Festival. For the Arts University Bournemouth her credits include: Turn of the Screw: a new musical written by Paul Knight and Chloe Austin, based on the novel by Henry James; and The Lion, the Witch & the Wardrobe and Into the Woods: both co-productions between Kokoro, Bournemouth Symphony Orchestra’s new music ensemble, and graduating students from the Arts University Bournemouth.
A pianist, flautist and singer, Katharine also composes and arranges music for the theatre and spent 10 years working as a freelance singing teacher and musical director before moving into Higher Education. She has composed music for theatre productions such as Second Person Narrative, Ashgirl, Daisy Pulls it Off, The Good Person of Szechwan, Vanity Fair, Canterbury Tales, On the Razzle, Spring Awakening, Tales from Ovid, Beauty & the Beast and Mother Courage. Musical director credits include The Light Burns Blue, Dracula, A Midsummer’s Nights Dream, Much Ado About Nothing and Blithe Spirit.
Katharine is also the co-founder of Gaudy Bunting, a theatre company which investigates the wider political perspective of different female roles, framed within a subversion of the classic comic double act (www.gaudybunting.com).
Recent professional practice includes:
As an independent director credits include: Synthetica…A Toxic Enchantment (The Place – Tête à Tête Opera Festival and The Lighthouse, Poole); Freedom, Bread & Peace (The Shelley Theatre, Soundstorm and Bournemouth Arts By the Sea Festival): with Sandpiper Theatre: Mermaid & The Oyster, a site-specific piece devised in association with Oyster Pleasance (Bournemouth Arts by the Sea festival and AUB TheGallery Bathing Beauties exhibition); A-Roving We Will Go (Bournemouth Arts by the Sea Festival).
With Gaudy Bunting: An Evening with Miss Hazel & Miss Katharine (University of Winchester); and The ‘How to Never Forget Anything Ever Again’ Show which premiered at the Nuffield Theatre’s first Experiment night in 2014, and went on to perform in the Bournemouth Emerging Arts Fringe (2014) and at the Ventnor Fringe Festival (2015).
Areas of teaching expertise include:
Acting through song, actor as composer, devising, ensemble and solo singing, musical theatre, actor-musicianship, musical directing, music composition for theatre, acting fundamentals, psychological realism.
- The Association of Teachers of Singing http://aotos.org.uk
Katharine’s ongoing research interests are on how musicality may be used as a devising technique in theatre performances. This is something she continues to explore through her own work as a director but also through her teaching of singing to undergraduate training actors. Through her work with Gaudy Bunting (www.gaudybunting.com) Katharine creates work that investigates the wider political perspective of different female roles, framed within a subversion of the classic comic double act.