Kohlhaas

Theatre credits include: Bengal Tiger at the Baghdad Zoo, Death of a Salesman, Been So Long (Young Vic); Get Up Stand Up (West End); Misty (Bush/West End); Alterations (National Theatre); One Night in Miami (Donmar); Girl from the North Country (The Old Vic/ West End); Lion King (West End)

Film credits include: Harvest; Lee; Love Again; Tuesday; Ear for Eye; I’m Your Woman; Lola; How to Build a Girl; Been so Long; The Pass; Fantastic Beasts and Where to Find Them; Freestyle

Television credits include: I am... Hannah; The Long Song; Informer; King Lear; Crazyhead; Our Girl; Youngers; Eastenders; Casualty

Omar Elerian is a freelance director, dramaturg, and theatre-maker. Italian of Palestinian descent, Elerian trained in Italy and then graduated from Lecoq International Theatre School in Paris in 2005. He was the resident associate director at London’s Bush Theatre from 2012 to 2019 where he commissioned and directed some of the theatre’s most successful shows.

His directing credits include the smash-hit Misty by Arinzé Kene (Bush Theatre, West End and New York), NASSIM by Nassim Soleimanpour (Bush Theatre, Traverse Theatre, and world tour), Going Through by Estelle Savasta, and Islands by Caroline Horton. His most recent directing credits include Nowhere by Khalid Abdalla (FUEL/BAC/tour) The Chairs and Rhinoceros by Eugene Ionesco (Almeida Theatre); Two Palestinians Go Dogging by Sami Ibrahim (Royal Court), As You Like It (Royal Shakespeare Company), ECHO by Nassim Soleimanpour (LIFT/Royal Court/tour) and Bengal Tiger at the Baghdad Zoo by Rajiv Joseph (Young Vic).

Jackie Shemesh is a lighting designer for Theatre, Dance and Opera.

Theatre credits include: Bengal Tiger at the Baghdad Zoo, Changing Destiny, In the Penal Colony, A Face in the Crowd, Oh my Sweet Land (Young Vic); Interview (Riverside Studios); Rhinoceros,The Chairs, Uncle Vanya, Mary Stuart (also Duke of York’s) (Almeida); Nowhere ( Fuel, BAC & HOME) Death of England: Trilogy (also @sohoplace), Hansard (National); Ben & Imo, As You Like It (RSC); Pandemonium ( Soho Theatre); Two Palestinians Go Dogging, ECHO (Royal Court); The Seagull (Playhouse); The Beloved, Islands, Misty (also Trafalgar Studios, Bush Theatre, Shed NYC); What if Women Ruled the World, Ceremony (Manchester International Festival); White Noise (Bridge Theatre)

Dance credits include: Juliet & Romeo (Lost Dog Dance Company);Venus 2.0 (Impermancene); Ruination (ROH & Venice Bienalle); Goat, Cerberus, Death trap (Rambert Dance); The Ways, The Fortune, The Fall, Continual Cry (Jamila Jonson-small); Picnic, White Hare, Run Mary Run, 8 MIN (Sadler’s Wells); Beheld, Hot Mess, Let’s Talk About Dis (Candoco Dance); The Murmuring, Young Men (Ballet Boyz)

Opera credits include: Orpheus (Opera North); Ulysses (Grange); Violet (Aldeburgh Festival)

Matthew has made music from the complete life of a single pig, a bomb exploding in Libya, an orgasm, a town in Poland, a nightclub full of people, someone swimming the English Channel, a tank driving over a meal made for Tony Blair, 20,000 dogs, the sewers beneath Fleet Street, 245 shops in a shopping centre, a horse skeleton and countless thousands of other noises. 

He sometimes uses these kinds of sounds in his scores for Oscar-winning films, award-winning television shows, plays, radio shows, opera and games. He has done a project with 1000 musicians and singers across Europe and toured the world both as a performer and as a DJ. He cut his teeth in dance music and has produced some inventive and influential music for clubs. 

Matthew has a PhD in working with sound in music and has published a book called The Music, which is a description of an album he’ll never make. 

Theatre work includes People, Places and Things and Edgar and Annabel (both National Theatre); Titus Andronicus (RSC); Machinal and Top Girls (Broadway); Drunk Enough to Say I Love You and Gundog (Royal Court)

Ana Inés Jabares-Pita is a Spanish designer based in London. She works internationally in opera, dance, theatre, fine arts, and film with a particular interest in music and large concert events.  She was a winner of the prestigious Linbury Prize for design in 2013, and a Jerwood Young Designer at the Gate Theatre in London in 2014. She was a winner of Hechos de Talento in 2015 becoming an ambassador for Spanish design internationally, and the face of their campaign in iconic sites such as Piccadilly Circus and Times Square. 

Her many Theatre designs include The Great Gatsby (Uppsaala Stadsteater), Rhinoceros (Almeida Theatre), The Fair Maid ofthe West and  As You Like It (Royal Shakespeare Company), Pride & Prejudice (*sort of)  (West End/Tron Theatre/Blood of the Young/UK Tour), Burn (Set Design - National Theatre Scotland/The Joyce Theater, NYC),  The Grand Old Opera House Hotel (Traverse Theatre),  The Lovely Bones (Birmingham Repertory Theatre/UK Tour), Faustus, That Damned Woman (Headlong Theatre/Lyric Hammersmith), The Driver’s Seat (National Theatre Scotland); Wish List (Royal Exchange Theatre, Manchester /Royal Court Theatre), LeLa & Co (Royal Court Theatre), The Echo Chamber (Young Vic Theatre), and Idomeneus (Gate Theatre) which was selected to become part of the V&A archive.

For Opera and Dance Ana has designed Tales of Love and Loss (Linbury Theatre), 1000 Airplanes on the Roof (Neuköllner Oper), Uprising and The Wreckers Glyndebourne Opera), Breaking The Waves (Theater St Gallen, Switzerland), In Flagrante (Scottish Opera), TheFlying Dutchman (Opera Up Close/UK Tour), West Side Story Symphonic Dances (Phoenix Dance Theatre/ Opera North),  Elixir of Love (Waterperry Festival Opera), To See The Invisible (World premiere, Aldeburgh Festival), The Art of Violence and Animalis choreographed by Dane Hurst (for Dulwich Picture Gallery).