The Effect

Lucy Prebble is a writer for film, television, games, and theater. She was an executive producer and writer on the BAFTA, Golden Globe, and Emmy Award–winning HBO drama Succession, for which she has also won a WGA and a PGA Award. She is the writer and co-creator of I Hate Suzie and I Hate Suzie Too, which was nominated for five BAFTAs including Best Drama, Best Writer, and Best Actress and won her the Royal Television Society Award for Best Writer. She is also the creator and writer of the TV series Secret Diary of a Call Girl (ITV/Showtime).

For theater, Prebble recently had a rewritten version of her award-winning play, The Effect, at the National Theatre, directed by Jamie Lloyd. She wrote the political and emotional meta-thriller A Very Expensive Poison, which was a sell-out, five-star hit for the Old Vic in 2019 and was Olivier nominated for Best New Play. She is the writer of the infamous Enron, a hugely successful piece about the infamous corporate fraud, which transferred to the West End after sell-out runs at both the Royal Court and Chichester Festival Theatre. Her first play, The Sugar Syndrome (2003), won her the George Devine Award and was performed at the Royal Court.

Jamie Lloyd’s credits for The Jamie Lloyd Company include Sunset Boulevard (Savoy; Evening Standard Award for Best Director; seven WhatsOnStage Awards including Best Director); The Effect (National Theatre; five WhatsOnStage nominations including Best Play Revival); A Doll’s House (Hudson; six Tony Award nominations including Best Director and Best Revival of a Play; Drama League Award for Outstanding Revival of a Play and nomination for Outstanding Direction of a Play); The Seagull (Playhouse, Harold Pinter; Evening Standard Award nomination for Best Director); Cyrano de Bergerac (Playhouse, Harold Pinter, Theatre Royal Glasgow, and BAM; Critics’ Circle Award for Best Director; Olivier Award for Best Revival; Evening Standard Award nomination for Best Director; Drama League Award nominations for Outstanding Revival of a Play and Outstanding Direction of a Play; WhatsOnStage Award nomination for Best Director); Betrayal (Harold Pinter and Bernard B. Jacobs; Critics’ Circle Award for Best Director; WhatsOnStage Award for Best Play Revival; Tony Award nominations for Best Director and Best Revival of a Play; Evening Standard Award nomination for Best Director; Drama League Award nomination for Outstanding Revival of a Play; Outer Critics’ Circle Award nominations for Best Director and Best Revival of a Play); Pinter at the Pinter (Harold Pinter); and The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse, and Macbeth (Trafalgar Studios). @jamielloyd

Soutra Gilmour has received huge acclaim for her work, recognized with five Olivier Award nominations and two Tony Award nominations including Best Set Design for Betrayal and Best Costume Design for Cyrano de Bergerac. Theater credits include Sunset Boulevard (Savoy Theatre); Macbeth (Lyric Hammersmith); The Effect and Romeo and Juliet (National Theatre); & Juliet (Shaftesbury Theatre & Broadway); Pinters at the Pinter (Harold Pinter Theatre); Evita (Regent’s Park); The Country Wife (Chichester); Timon of Athens (RSC); Guys and Dolls (Manchester Royal Exchange); Knives in Hens, Inadmissible Evidence, and Piaf (Olivier nomination) (Donmar Warehouse); Apologia, Richard III, The Maids, and The Homecoming (Trafalgar Studios); The Guards at the Taj (Bush Theatre); My Brilliant Friend (Rose Kingston); Pitchfork Disney and Killer (Shoreditch Town Hall); Twelfth Night, Les Blancs, and Antigone (Evening Standard Award) (RNT); I See You and The Pride (Royal Court); Assassins and Merrily We Roll Along (Menier); Bull and When the World Was Green (Young Vic); Reasons To Be Happy (Hampstead); Urinetown (St James); The Crucible and The Duchess of Malfi (Old Vic); Reasons To Be Pretty (Almeida); The Caretaker (Olivier and ES Award nominations) (Sheffield Crucible/Tricycle); and The Commitments and The Lover (Olivier nominations) (West End). Opera credits include Noye’s Fludde (Theatre Royal Stratford East), Turn of the Screw (Regent’s Park), Quartett (ROH and tour), and Iris (Opera Holland Park).

Jon Clark is a Tony- and Olivier Award–winning lighting designer. He has designed extensively in the West End, on Broadway, for the National Theatre, Royal Opera House, Royal Shakespeare Company, and with many other companies in the UK and internationally.

Theater credits include Stranger Things: The First Shadow (West End); Dear England and The Motive and The Cue (National Theatre and West End); A Doll’s House (Broadway); The Lehman Trilogy (Broadway, West End, and National Theatre); The Inheritance (Broadway, West End, and Young Vic); The Shark Is Broken, Betrayal, and King Charles III (Broadway and West End); The Jungle (St. Ann’s, West End, and Young Vic); Cyrano de Bergerac (West End and BAM); The Effect, Amadeus, Anna, Othello, and Hamlet (National Theatre); Evita (Regent’s Park); and The Lorax (Old Vic, US, and Toronto). Opera credits include Pique Dame (Bayerische Staatsoper), Hamlet (Metropolitan Opera and Glyndebourne), The Exterminating Angel (Metropolitan Opera, Royal Opera House, and Salzburg Festival), and Written on Skin (Festival d’Aix-en-Provence, Royal Opera House, Lincoln Center, and internationally). Dance credits include LORE for Wayne McGregor (La Scala, Milan) and The Cellist for Cathy Marston (Royal Ballet).

Clark won a Tony Award and Outer Critics Award for The Lehman Trilogy on Broadway, an Olivier Award for The Inheritance in the West End, and a Green Room Award for Krol Roger in Australia.

Michael “Mikey J” Asante is cofounder and co–artistic director of Boy Blue, founded in 2001 with Kenrick “H2O” Sandy. As a music producer, Asante has a diverse discography catalog, creating music for the films Street Dance 3D and All Stars and enjoying session work and production for major label artists including Delilah, Raleigh Ritchie, Estelle, George the Poet, and Kano. Asante mentors and delivers master classes in directing, choreography, and music. He is a professor of electronic music at Guildhall School of Music, where he was awarded an Honorary Fellowship (HonFGS) in 2018.

Asante’s theater credits include The Effect at the National Theatre as well as Free Your Mind at the Aviva Studios, Tree at the Young Vic, and Blak Whyte Gray at the Barbican Theatre. Other credits include, for television: Criminal Record for Apple TV and collaboration with Brian Eno for the soundtrack on Top Boy; and film: Kneecap. In 2022, Asante was awarded an MBE for services to hip hop dance and music in the Queen’s New Year Honours list.

George Dennis previously worked at The Shed on Straight Line Crazy. His other theater credits include The Seagull and The Homecoming (Olivier Award nomination for Best Sound Design); Lemons x 5, The Importance of Being Earnest, A Slight Ache/The Dumb Waiter, and Sweat (also Donmar Warehouse); The Lover/The Collection and Nine Night (also National Theatre); One for the Road, A New World Order, Mountain Language, and Ashes to Ashes (West End); Blues for an Alabama Sky and An Octoroon (National Theatre); Clyde’s (Donmar Warehouse); Venice Preserved (Royal Shakespeare Company); Julie (Internationaal Theater Amsterdam); The Homecoming, Further Than the Furthest Thing, The Mountaintop, and The Island (Young Vic); The Duchess of Malfi and Three Sisters (Almeida Theatre); Mom, How Did You Meet The Beatles, Sing Yer Heart Out For The Lads, The Deep Blue Sea, and The Norman Conquests (Chichester Festival Theatre); The Southbury Child, Two Ladies, and A Very Very Very Dark Matter (Bridge Theatre); Mary Stuart and The Beacon (Staatstheater Stuttgart); Talent, Frost/Nixon, and Tribes (Crucible Theatre); Hedda Tesman, Richard III, and Spring Awakening (Headlong); Much Ado About Nothing, Imogen, and The Taming of the Shrew (Shakespeare’s Globe); Harrogate, Fireworks, and Liberian Girl (Royal Court); Killer (Off-West End Award for Best Sound Design), The Pitchfork Disney (Shoreditch Town Hall; co-designed with Ben and Max Ringham); and The Convert and Eclipsed (Gate Theatre).

SAY was founded by Sarah Golding and Yukiko Masui in 2019, and they have been associate artists at Dance East since 2022. In 2020, they were selected by The Place to be part of the Choreodrome residency to develop the concept for their show titled the album, which has since then toured nationally and internationally. They performed an excerpt of this piece at the National Theatre Riverstage 2032 (the album: live). Alongside this they were commissioned to create a family version of the show that is in its third year of touring to schools and festivals (the album: skool edition). As a duo they have created a dance film, SAY: AF, with the international festival Dance Umbrella, have recently been featured dancers in the film The Marvels, and were dance captains and performers in the Commonwealth Opening Ceremony 2022. SAY has recently created a piece for TRINITY LABAN (Break It Down) and NDCWales (SAY Something), which is currently touring nationally and internationally including Six Nations rugby’s halftime in Paris.

Kate Waters has been an Equity-registered fight director since 2001, directing fights for theater, TV, and film. She has worked for many of the UK’s major theaters including the National Theatre, Royal Court, RSC, Donmar, The Globe, and in the West End. She is also a qualified boxing coach, coaches at Rathbone Amateur Boxing Club, and is also an England Coach.

Waters’s credits include, for the National Theatre, The Father and the Assassin; The Effect; Small Island; Much Ado About Nothing; Frankenstein; One Man, Two Guvnors; War Horse; Hamlet; Othello; and Women Beware Women. For The Jamie Lloyd Company and ATG: Cyrano de Bergerac, Macbeth, Richard III, The Maids, The Pride, The Hothouse, The Ruling Class, East Is East. Recent theater credits include Macbeth (Wessex Grove, Liverpool, Edinburgh, London, Washington); Portia Coughlan, King Lear, The Secret Life of Bees, and The Tragedy of Macbeth (Almeida); Lord of the Flies (Leeds Playhouse); Private Lives and Clydes: Henry V (Donmar); Sweat (Donmar and Gielgud Theatre); Julius Caesar and Henry IV (Donmar, Kings Cross Theatre, and St. Ann’s Warehouse, Brooklyn); Tina: The Tina Turner Musical (West End and Germany); Hamnet (RSC/West End); Peter Pan, Jesus Christ Superstar, and Evita (Regent’s Park Open Air Theatre); Guys & Dolls, A Midsummer Night’s Dream, and Julius Caesar (Bridge Theatre); The Curious Incident of The Dog in the Night-Time (National Theatre/ West End); and Sing Yer Heart Out for the Lads (Chichester Festival Theatre). Film credits include My Policeman, Death of England, Romeo and Juliet, Pond Life, and Making Noises Quietly. Television credits include Coronation Street, Emmerdale, Hollyoaks, Kisses & Bumflicks, and Coronation Street Live.

Ingrid Mackinnon is an intimacy director, movement director, and choreographer. Intimacy credits include The Duchess of Malfi (Globe), The House of Bernarda Alba (National Theatre), Choir Boy (Bristol Old Vic), Shooting Hedda Gabler (Rose Theatre), Sunset Boulevard (Savoy Theatre), That Face (Orange Tree), The Effect (National Theatre), Tina: The Tina Turner Musical (Aldwych Theatre), Es & Flo (Wales Millennium Centre/Kiln), Phaedra (National Theatre), Super High Resolution (Soho Theatre), Enough of Him (National Theatre of Scotland), and Girl on An Altar (Kiln). Mackinnon was a season associate at Regent’s Park Open Air Theatre in 2022 – 23.

As movement director and choreographer, credits include The Duchess of Malfi (Globe), The Big Life (Stratford East), Dreaming and Drowning (Bush Theatre), Choir Boy (Bristol Old Vic), Portia Coughlan (Almeida Theatre), Shooting Hedda Gabler (Rose Theatre), That Face (Orange Tree), Every Leaf a Hallelujah (Regent’s Park Open Air Theatre), The Meaning of Zong (Barbican/Bristol Old Vic/UK Tour), Blue (ENO), Further Than the Furthest Thing (Young Vic), Trouble in Butetown (Donmar Warehouse), Enough of Him (National Theatre of Scotland), The Darkest Part of The Night and Girl on an Altar (Kiln), Playboy of the West Indies (Birmingham Rep), Moreno (Theatre 503), Red Riding Hood (Stratford East), and Romeo and Juliet (Regent’s Park Open Air Theatre; Black British Theatre Award 2021 Best Choreography).

Alastair Coomer CDG is the head of casting at the National Theatre. He was previously the casting director at the Donmar Warehouse. For the National Theatre, Coomer has worked on over 50 productions including Till the Stars Come Down; The House of Bernarda Alba; The Motive and the Cue; The Crucible (also West End); Blues for an Alabama Sky; The Corn Is Green; The Normal Heart; The Welkin; The Ocean at the End of the Lane; Mosquitoes; This House; The Curious Incident of the Dog in the Night-Time; One Man, Two Guvnors; and War Horse. In London’s West End: City of Angels, Company, This House, American Buffalo, and Much Ado About Nothing. For the Donmar Warehouse casting includes The Weir, Coriolanus, My Night with Reg, Privacy, City of Angels, The Vote, Les Liaisons Dangereuses, Elegy, Faith Healer, Saint Joan, and Limehouse. Coomer’s film credits include Mary Queen of Scots.

Jonathan Glew is a theater director, composer, and dramaturg. He has worked extensively in collaboration with Jamie Lloyd as his associate director on The Effect, A Doll’s House (Hudson Theatre, NYC), The Seagull (Harold Pinter Theatre, West End), Betrayal (Harold Pinter Theatre, West End and Bernard B. Jacobs, NYC), and The Lover/Collection (Harold Pinter Theatre, West End). As a director Glew has recently directed a self-penned adaptation of Spring Awakening and The IT at The Liverpool Institute for Performing Arts. Other work for LIPA includes Girls Like That and Second Person Narrative. Other theater credits include Happy Birthday Harold! (Harold Pinter Theatre, West End), River Ditty (Glass Half Full Productions), Story Lab (Kiln Theatre), and John Lennon in His Own Write (Edinburgh Festival and V&A).

As a composer and lyricist he has written two full-length musicals, A Rake’s Progress and Treasure Island, and is currently working on a new musical on attachment with the National Theatre. He continues to write music for theater, television, and film. Credits include The Nightcrawler (Dizzy O’Dare), She Can Go Anywhere (Story Craft Theatre/York Theatre Royal), Born Of Hope (Actors at Work Productions), Ren (Mythica), Justice (BBC), and Things Will Never Be The Same Again (Tricycle Theatre).

Joel Price trained at Mountview Academy of Theatre Arts. Theater credits include, for the National Theatre: Dear Octopus; as sound designer, Up Next Gala 2024, Perspective, I Want My Hat Back, A Declaration from the People, and Young Patron’s Gala. In London’s West End: Crazy for You, Get Up Stand Up! – The Bob Marley Musical, Blithe Spirit, and A Midsummer Night’s Dream.      Other theater includes, as sound designer, Black Love at the Kiln Theatre; Afterglow at Southwark Playhouse; Sweeney Todd at Twickenham; Lost in Theatre – Recorded Plays for the Royal Court; and The Devil Inside Him at the White Bear. As associate sound designer, work includes Paradise at the National Theatre; Peter Pan at the Troubadour; The Second Violinist at the Irish National Opera; Arlington and Ballyturk for Galway International Arts Festival; The Fifth Column at Southwark Playhouse; The Events for Artists Touring Company; and If You Don’t Let Us Dream, We Won’t Let You Sleep at the Royal Court. Short film credits include HOME: Aamir’s Story.  

Price currently works at the National Theatre as a sound and video supervisor, where he has worked on many productions including Hadestown, Angels in America, Network, and The Lehman Trilogy.

Brandon Allmon-Jackson is a New York–based stage manager and is thrilled to be reuniting with The Jamie Lloyd Company following last year’s production of A Doll’s House on Broadway. The Effect marks his Shed debut with previous credits including Back to the Future (Broadway), The Music Man (Broadway), and five years with Royal Caribbean International where he stage managed large-scale-production shows. He’s also worked in various regional theaters across the country such as George Street Playhouse, Goodspeed Opera, Arkansas Repertory, and the Phoenix Theatre of Indianapolis. In addition to live theater, Allmon-Jackson has dabbled in the world of television, working on shows such as Peacock’s Girls5Eva and TBS’s The Last OG. Outside of stage managing, he is a passionate advocate and supporter of better diversity and inclusion in the arts. Thanks to Jamie for his trust and inspiration, Matthew H. for saying yes, and Matthew G. for his unwavering love and support.

Matthew Henao is a proud Colombian American hailing from Miami, Florida. Raised on rain, sunshine, and empanadas, he studied theater and materials science and engineering at the University of Florida. Most recently, he was the assistant stage manager on the Broadway musical Shucked and is thrilled to continue working with such inspiring artists on his first show at The Shed. Some of his past productions include The Phantom of the Opera, Aladdin, The Music Man, Take Me Out, Dear Evan Hansen, and the first national tours of Hadestown and Frozen. Other NYC credits include Sleep No More, Only Gold (MCC Theater), and various projects with the Public Theater, New York Theatre Workshop, Ars Nova, Clubbed Thumb, and the Juilliard School. When not managing stages, he enjoys yoga, puzzling, reading, gaming, and eating cookies. Much love to his mamita linda, Brandon, family, and friends.