Helen Evans

Acting Tutor and Module leader for Creative Futures

Musical Theatre

Trinity Laban Conservatoire of Music and Dance
Faculty of Music
King Charles Court
Old Royal Naval College
Greenwich
London
SE10 9JF

Email: [email protected]

Area of Work

Acting Tutor and Module leader for Creative Futures
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Biography

Helen holds a first class BA (Hons) degree in 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 nearing completion of her doctorate, titled, I Spy: Surveillance, Politicity, 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 ongoing and periodic work as Associate Lecturer and Director at The Royal Central School of Speech and Drama and at The University of Chichester.  Previously, she has worked at The Musical Theatre Academy (as Head of Acting/Director), Brunel University and at Bretton Hall College of the University of Leeds. Helen inter-pollinates the different aspects of her career as an Actor, Singer, Lecturer, Director, and Academic.

 

Teaching Experience 

Course design; Actor Training/praxis for both straight and Musical Theatre, and informed by both Dramatic and Postdramatic disciplines; Acting-through-song; Naturalistic and Non-Naturalistic modes of theatre; Classical Theatre, including Shakespeare; Linguistic and Physical Comedy; Devised, collaborative Theatre from both linguistic and somatic origins; directing both devised productions and established texts; and mentoring for practice-as-research and dissertations.

 

Conference Presentations

  • 2016, Public/Private: Tails of Rabbit and Eye, under 'Performance and New Technologies’, Theatre and Performance Research Association Conference, The University of Bristol
  • 2012, Participation: About Turn (Concerning Spect-actorship), under ‘The Tyranny of Participation’, TaPRA Conference, University of Kent at Canterbury (supported by a bursary award from TaPRA
  • 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, under ‘Directing and Dramaturgy’, 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

 

Directing Credits

For Trinity Laban Conservatoire of Music and Dance

Spectaculum; Pirates of Penzance; Anything Goes; Company; Devised Musicals; and the 2015 and 2016 Graduate Showcases; 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, Sanctity of Hair (London Institute of Contemporary Arts); Sonnet Apples (Centre Pompidou, Paris); and Permanence Transience, Consensus, Private Eye; Public I, and I/Spy as part of her practice based research at The Royal Central School of Speech and Drama.

 

Performance Credits

Sissy Goforth in The Milk Train Doesn’t Stop Here Anymore (2015, Bristol Old Vic, R&D for Nia Lynn); Multi-roles in Love Song of the Electric Bear (2015, Arts Theatre, West End), Nurse in Romeo and Juliet (2014, France and Middle Temple Hall, Embankment, for Antic Disposition, winners of the Peter Brook / Equity Ensemble Award 2014); 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); Multi-roles 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/ 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

  • 2016, Public/Private: Tails of Rabbit and Eye, under 'Performance and New Technologies’, Theatre and Performance Research Association Conference, The University of Bristol
  • 2012, Participation: About Turn (Concerning Spect-actorship), under ‘The Tyranny of Participation’, TaPRA Conference, University of Kent at Canterbury (supported by a bursary award from TaPRA
  • 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, under ‘Directing and Dramaturgy’, 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