Nicky Priest in Jellyfish by Ben Weatherill. Photo: Samuel Taylor
Kelly likes dirty jokes and finding creatures washed up on the shore. Neil likes Kelly, who makes him dizzy and breathless. But Agnes, Kelly’s mum, struggles to accept their new relationship.
Jellyfish is the story of a first kiss, chips by the beach and coming of age with Down’s Syndrome in a seaside town. It’s a unique romance across uncharted waters which asks: does everyone really have the right to love as they choose?
Amy Jane Cook is a Designer, whose previous designs at Bush Theatre include: 66 Books, Where’s My Seat? and Mudlarks.
Other theatre includes: Not Talking (Arcola); Lava (Nottingham Playhouse); Our Blue Heaven (New Wolsey Theatre); The Rise and Fall of Little Voice, St Nicholas (Theatr Clwyd); Insignificance (Theatre Clwyd/Langham Place, New York); Up N Under (UK Tour); The 8th
(Barbican); Mydidae (Soho Theatre/Trafalgar Studios); 66 Books
(Bush/Westminster Abbey); Mudlarks (Bush/HighTide Festival); Medea (Gate Theatre); 65 Miles, Once Upon a Time in Wigan (Hull Truck); Hamlet (Young Vic/Maria Theatre); The Water Engine (Old Vic Tunnels); Glory Dazed (Soho Theatre); The Mobile Phone Show
(Lyric Hammersmith); Almost Maine (Park Theatre); The Separation (Project Arts Centre, Dublin/Theatre503); Where the Mangrove Grows (Theatre503); To Dream Again (Clwyd/Polka); The Giant Jam Sandwich (Trafalgar Studio/Derby Live/Polka) Thumbelina’s Great Adventure (Cambridge Arts Centre); I (heart) Peterborough (Pleasance/Tour).
Website: www.amyjanecook.com
Ben is a writer for theatre, radio and television. His debut full-length play, Chicken Dust was written while he was playwright in residence at the Curve Theatre. Chicken Dust premiered at the Finborough Theatre, before transferring to the Curve. He has had work performed at the National Theatre Studio, Theatre 503, The Old Red Lion and the Theatre Royal Haymarket. In 2016, he was thrilled to be part of Channel 4’s 4Screenwriting course. Since then, he has begun to develop TV projects with independent production companies and is under commission to Channel 4. For radio, he has written an Afternoon Play for BBC Radio 4 and is on a shadow scheme for The Archers.
Celia is a producer based in London, interested in developing new work.
Producing credits include: Offie-Nominated Vincent River (Park Theatre), Dirty Little Machine (VAULT Festival), Rabbits (Park Theatre), Offie-Nominated Thérèse Raquin (Southwark Playhouse), Happy to Help (Park Theatre), The Cause (Jermyn Street Theatre).
Associate credits include: Dirty Great Love Story (Arts Theatre – West End), Dinner with Friends (Park Theatre), Electric (Big House Theatre, Rio Cinema).
General Management credits include: Distance (Park Theatre), Vixen – an immersive re-imagining of Janacek’s classic, with support from the English National Opera.
Jellyfish has been cast with the use of ProFile – an online video database of d/Deaf and disabled performers, built by the National Theatre and Spotlight, for the use of casting directors and other professionals in the theatre, film and television industries to discover new d/Deaf and disabled talent, and to champion this group of artists. It is a free service both for actors and users, and is the first of its kind in the UK. profileperformers.com
Ella Wahlström is a London-based Sound Designer who trained at Rose Bruford. She was an original sound operator of Complicite’s The Encounter, a Co-Sound Designer of Robert Wilson and Mikhail Baryshnikov’s Letter to a Man and the Sound Designer of Esa-Pekka Salonen’s cello concerto.
Her theatre sound design credits include: Peter Pan Goes Wrong (Mischief, West End), No Place for a Woman (Theatre 503) Three Generations of Women (Broken Leg Theatre Greenwich Theatre), The Life (English Theatre Frankfurt), The Bunker Trilogy, The Frontier Trilogy and The Capone Trilogy (Jethro Compton, Edinburgh Fringe and international touring), Empty Vessels (Rosemary Branch Theatre), Sirenia (Jethro Compton, Edinburgh Fringe), The Ballad of Robin Hood, Klippies (Southwark Playhouse), In Lambeth (Spellbound Productions, Southwark Playhouse), Chicken Dust (Finborough Theatre), Carroll: Berserk (Spindrift Theatre, Drayton Arms Theatre), A Study in Scarlet (Tacit Theatre, Southwark Playhouse), Titus Andronicus (Hiraeth, Arcola), Romeo and Juliet (Hiraeth, Upstairs at the Gatehouse, Theatre Uncut, Young Vic), The Revenger’s Tragedy and Henry V (Old Red Lion Theatre).
As Associate Sound Designer, her credits include: Othello (Frantic Assembly), JOHN (DV8) and The Cripple of Inishmaan (Noel Coward Theatre).
Hana grew up in the British Virgin Islands, currently devising with Graeae Theatre Company’s Ensemble. She earned an interdisciplinary degree in climate politics, anthropology, theatre, literature and movement, then trained at The Eugene O’Neill Center, USA.
Previously assisted Graeae’s Play to Write Showcase (The Curve Theatre, Leicester), directed Waiting for Lefty (CB Mountain Theatre, USA), facilitated work with young people (Dartington Hall), performed in Faustus III (Bread & Puppet Theatre, USA), The Odyssey (Double Edge Theatre, USA) and Chekhov’s The Sneeze (Criterion Theatre, USA).
Hana is a member of the Royal Court Young Script Panel and performed with The Almeida’s Participation Program.
Mark Cartwright works at Runaway Entertainment and also produces independently. He is currently producing Shrek The Musical (UK National Tour).
Recent credits include: Crazy For You (Associate Producer, UK National Tour); Kiss Me, BU21, The Wasp, Four Minutes Twelve Seconds (Trafalgar Studios); Shrek The Musical (UK National Tour 2014-16); I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole (Gate Theatre); Jigsy (Assembly Rooms, Edinburgh/Tobacco Factory, Bristol/ Royal Court, Liverpool); Fireface (Young Vic); The Hairy Ape (Southwark Playhouse), Bunny (Soho Theatre/59E59 Theaters, New York); Blue Surge (Finborough); The Boy on the Swing (Arcola Theatre).
Sarah has a degree in Linguistics from the University of Edinburgh, and an MA in Acting from ArtsEd. She went on to train as a Voice and Dialect Coach at the Royal Central School of Speech and Drama, on the prestigious MA Voice Studies programme. Sarah’s work includes accent coaching, providing show support and aiding international performers with their spoken confidence.
Institutions and organisations that Sarah has worked with include: City Lit (People of Thebes); RCSSD (MA Acting for Screen, MA Music Theatre); Italia Conti (BA Acting), Black Sheep Productions (Pizza Man).
Tim’s theatre credits as a director include: The Ferryman (New Cast Director, Gielgud Theatre), Masterpieces (Surprise Theatre, Royal Court Upstairs); Romeo and Juliet (Shakespeare’s Globe/Spoleto Festival, USA); Love’s Labour’s Lost (Madrid and tour, in association with Shakespeare’s Globe); Don Juan (Alcala de Henares); Fred’s Diner (Chichester Festival Theatre); Henry V (Trafalgar 2/Rustavelli, Georgia); BASH (Barons Court).
As associate director, theatre includes: Taken at Midnight (West End); King Lear (NT); This May Hurt a Bit, Our Country’s Good, Pitcairn (Out of Joint); South Downs/The Browning Version, Top Girls, Yes, Prime Minister (Chichester Festival Theatre & West End), Alice in Wonderland (Chichester Festival Theatre).
As assistant director, theatre includes: The Master Builder, Pygmalion (Chichester Festival Theatre); Eigengrau (Bush Theatre); Slaves (Theatre503).
Tim is Associate Artist at Out of Joint and was co-founder and Artistic Director of the Theatre on the Fly: a temporary theatre celebrating Chichester’s 50th anniversary in 2012.
