Helen Evans

Helen Evans

Role

Professorial Staff - Musical Theatre

Area of work

Acting Tutor and Module leader for Creative Futures

Contact details

Biography

Helen holds a first class BA (Hons) Acting from Bretton Hall University College, and an MA (with distinction) in Performance Practices and Research from The Royal Central School of Speech and Drama. She is currently working towards her doctorate, titled, I Spy: Paradox, Politics and the Participant-spectator Turn, as a recipient of a Royal Central School Research Bursary. Helen’s pedagogy has evolved through a combination of University and Conservatoire teaching and directing. This includes previous work at The Royal Central School of Speech and Drama, The University of Chichester, The Musical Theatre Academy (where she was Head of Acting), Brunel University and Bretton Hall College of the University of Leeds. Helen inter-pollinates the different, and ongoing aspects of her career as an Actor, Singer, Lecturer, Director, and Research-Practitioner.

Directing credits include: For Trinity Laban Conservatoire of Music and Dance – Pirates of Penzance, Anything Goes, Company, Devised Musicals, and the 2015 Graduate Showcase; for The Musical Theatre Academy - Electra; The Caucasian Chalk Circle; Epsom Downs; Zombie Prom and straight Acting and Musical Theatre showcases; for The University of Chichester - various devised and experimental works; for Bretton Hall - The Beggar's Opera and Company; for Antic Disposition – choreography/movement direction for Romeo and Juliet; and personal devised performances including, Sanctity of Hair (London Institute of Contemporary Arts); Sonnet Apples (Centre Pompidou, Paris); and Permanence Transience, Consensus and Private Eye; Public I, as part of her practice based research at The Royal Central School of Speech and Drama.

Performance Credits include: Flora Goforth in The Milk Train Doesn’t Stop Here Anymore (2015); Nurse in Romeo and Juliet (2014, France and Middle Temple Hall, Embankment); Soloist in West End in Concert tours (2012 - ongoing); Maria in Twelfth Night (2013, France Tour)); Titania and Hippolyta in A Midsummer Night’s Dream, (2012, Festival Du Quercy et Perigord Tour and Middle Temple Hall, Embankment); Various in The Vagina Monologues and A Memory, A Monologue, A Rant and A Prayer (in aid of Charities against the abuse of women); Alumni Choir in Les Miserables 25th Anniversary Concert (2010, O2 Arena); Various in The Shakespeare Revue (Between 2007 and 2012, Hampstead Theatre, UK Tour, and Festival Du Quercy); Woman in A Woman Alone (2010, For DogOrange, The Horse, Waterloo); Cleopatra and Edith Pretty in BAFTA winning Relic: Guardians of the Museum (2010, BBC); Madame Deux Visage, Librarian Mutternot and Ethelena in 4 series of BAFTA winning Trapped (Between 2007 and 2010, CBBC); Miss Dinsmore and Ensemble in Singin' in the Rain (2009, National Tour); Jen in the UK Premier of John and Jen (2008, The Finborough Theatre) and In concert with Andrew Lippa (2008, Knightsbridge); Leading Lady/Fan in A Portrait of Ivor Novello (2007, UK Tour); and various concerts, cabarets, and variety shows.

Conference Presentations:

  • 2012, Participation: About Turn (Concerning Spect-actorship), TaPRA Conference held at the University of Kent, supported by a bursary award from both TaPRA and the Royal Central School of Speech and Drama.
  • 2012, PUBLIC ‘I’: Intramediality, SurVEILance and the Interactive Turn, Performing Research: Creative Exchange Conference, The Royal Central School of Speech and Drama
  • 2011, Intermediality: surVEILance and the Interactive encounter, TaPRA Conference, Kingston University • 2010, What Are You Looking At? Participant-spectatorship and Thirdspace Intersubjectivity, Central School of Speech and Drama
  • 2006, Appropriating InAppropriateness: Transgression, Discomfort and Conscience (emerging a method/ology), MA, Central School of Speech and Drama

Teaching Experience

Actor Training/praxis for both straight and Musical Theatre, and informed by both Dramatic and Postdramatic disciplines; Naturalistic and Non-Naturalistic modes of theatre; Classical Theatre, including Shakespeare; Linguistic and Physical Comedy; Devised, collaborative Theatre from both linguistic and somatic origins; and Directing both devised productions and established texts

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