Richard Philipps (Chair)
Cheek by Jowl has worked repeatedly with a number of creatives over the years. Find out more about these Associates whose practice is a key element of many of our productions.
Since the late 1980s Paddy has provided the musical score for many of Cheek by Jowl’s productions. Paddy studied music at university but believes that the only training for work in theatre comes through the experience of simply doing it. Paddy has worked extensively as a composer and music director for theatres throughout the UK and Ireland, composing for over 150 productions for companies and theatres, including Cheek by Jowl, the National Theatre, Royal Shakespeare Company, Donmar Warehouse, Out of Joint, Abbey Theatre, Gate Theatre, Druid Theatre, Manchester Royal Exchange, the Royal Court, Liverpool Everyman and many others.
He also composes for BBC Radio Drama, RTE Radio Drama and has several TV and film credits. He is a recipient of the Christopher Whelen Award for Music in Theatre and the Critics Award for Theatre in Scotland. He musically directed and co-produced the Donmar Theatre recording of Stephen Sondheim’s Company, which won the Music Industry Award for Best Cast Album.
Paddy Cunneen is represented by Macnaughton Lord Representation.
“With Cheek by Jowl, it’s usual to let the company members be the prime resource… It’s important for me to undergo the same kind of open-ended rehearsal that everyone else goes through. I try to write for the production and not for the play.”Paddy Cuneen
Since the late 1980s, Jane has provided the movement direction for many of Cheek by Jowl’s productions. Jane studied acting at London’s Central School of Speech and Drama, and later with Jacques Lecoq in Paris. She also trained as a teacher, focusing on movement-base subjects such as improvisation and historical dance. She was a founder-member of Common Stock, one of the first community theatre companies in London. She moved away from teaching in drama schools when she became Di Trevis’ movement director at the National Theatre, under Peter Hall. She was later appointed Head of Movement by Richard Eyre and held the post from 1999 to 2001.
Jane’s work outside Cheek by Jowl includes choreography and movement direction for the National Theatre, the Royal Shakespeare Company, the Royal Opera House, Glyndebourne, Salzburg Festival and English National Opera. She has worked on many productions for television, including Pride and Prejudice for the BBC, which was nominated for an Emmy Award. Her film credits include work for Tri-Star, Miramax and BBC Films.
Jane Gibson is represented by Rayfield Allied for her opera work.
“Declan is perfectly prepared to give me the time and space to help the actors use their bodies like a good clay, which can transform into something and take on another rhythm. Declan makes an investment in movement and then he gets his pay-back, which is that the actors are physically dynamic in Cheek by Jowl. It’s one of the things that audiences look forward to.”Jane Gibson
Since the early 1990s, Judith has designed the lighting for many of Cheek by Jowl’s productions. Judith Greenwood studied English at university and was selling tractor parts before experiencing an epiphany at an RSC production of Three Sisters. She recalls: “In that show, a girl came on during the interval and started preparing the stage for the second half. It suddenly dawned on me that people apart from actors were employed to work in this amazing world.”
After working with Cheek by Jowl on Sara in 1990 and co-designing the lighting for Hamlet in the same year, Judith went on to light As You Like It and many other productions. Besides her work with the company, Judith has worked for Impact Theatre Co-operative, Avignon Festival, International Theatre Confederation, Salzburg Festival, the Institute of Contemporary Art in London and the Royal Shakespeare Company. She works regularly in Beirut, lighting for the singer Feyrouz and for the playwright Ziad Rahbani.
“I do read the script but I let Declan and the actors show me what the play is about in rehearsals.”Judith Greenwood
Owen has worked with Cheek by Jowl since 2006, assisting Declan Donnellan on international productions of The Changeling, Cymbeline, Troilus and Cressida, Macbeth and ‘Tis Pity She’s a Whore. Owen co-directed the 2012-13 production of ‘Tis Pity She’s a Whore.
Owen trained at Drama Centre London. He is Artistic Director of Eyestrings Theatre, whose productions include Edward II, In Bed with Messalina, The Duchess of Malfi and Hamlet. Owen has directed Salomé for the Royal Shakespeare Company. He has also directed at the Guildhall School of Musical and Drama, RADA and Drama Centre London. He leads acting workshops on Shakespeare in New-York.
Catherine has worked with Cheek by Jowl since 2006, composing the music for The Duchess of Malfi, Othello, The Changeling, Troilus and Cressida and Macbeth. Catherine’s theatre credits include: As Musical Director – Guys and Dolls, Sweet Charity (Sheffield Crucible), Boys From Syracuse, A Funny Thing Happened on the Way to the Forum, Kiss me Kate (Open Air Theatre Regent’s Park), Gypsy and Fiddler on the Roof (West Yorkshire Playhouse). As Composer – Great Expectations (Royal Shakespeare Company), The Mandate (National Theatre), Arcadia (Bristol Old Vic), Midsummer Night’s Dream (Open Air Theatre, Regent’s Park) and Caucasian Chalk Circle (Liverpool Everyman). Her film credits include: Charlie and the Chocolate Factory and De-Lovely.
Patsy has worked with Cheek by Jowl since 1985. Patsy is Head of Voice at the National Theatre and at the Guildhall School of Music and Drama. Her many publications include The Actor Speaks, The Need for Words, The Right to Speak and Speaking Shakespeare.
Marcus was Assistant Director of Cheek by Jowl’s English-language production of The Winter’s Tale and French-language production of Périclès, Prince de Tyr. Marcus is Cheek by Jowl’s lead workshop practitioner, delivering education and theatre-maker workshops which explore the company’s rehearsal techniques and approach to acting.
Marcus has worked as a Director across Europe and in Russia after training at the Royal Scottish Academy of Music and Drama and École Philippe Gaulier.
Marcus’ theatre credits include: Bajarse Al Moro/Going Down to Morocco (Cervantes Theatre), The Agony and Ecstasy of Steve Jobs (Gilded Balloon); Vote for Me (The Arches); The Night Before the Trial (Tron Theatre); Romeo and Juliet (Taganrog Opera Drama Theatre); King Ubu (Play, Pie and A Pint), The Odd Couple, Macbeth, Cinderella (Perth) and Fleeto (Tumult in the Clouds).