Brigid Larmour

Director

Brigid Larmour is Artistic Director and Chief Executive of Watford Palace Theatre. She has directed for the Palace: Gary Owen’s We That Are Left and Mrs Reynolds and the Ruffian, Shakespeare’s As You Like It, Alan Ayckbourn’s Absent Friends, Charlotte Keatley’s My Mother Said I Never Should and Von Ribbentrop’s Watch by Laurence Marks and Maurice Gran.

Brigid is a producer, director, dramaturg and teacher with experience in the subsidised and commercial theatre and television. From 1998 to 2006 she was Artistic Director of West End company Act Productions, and adviser to BBC4 Plays. From 1993 to 98 she directed a series of promenade Shakespeares, Shakespeare Unplugged, for RNT Education. From 1989 to 1994 she was Artistic Director of Contact Theatre, Manchester, commissioning the first British plays responding to the rave scene (Excess/XS), and the implications of virtual reality (Strange Attractors, a multimedia promenade production, by Manchester poet Kevin Fegan). She trained at the RSC, and as a studio director at Granada TV.

Ruari Murchison

Designer

Ruari has designed productions in Helsinki (Finland), Washington DC, the Stratford Festival (Canada), Stuttgart (Germany), Luzern (Switzerland), Haarlem (Holland), Elisnore (Denmark) and many regional theatres in the United Kingdom.

Recent design credits include: Mappa Mundi, Frozen, The Waiting Room, The Red Balloon (National Theatre); Titus Andronicus (Royal Shakespeare Company); Othello (Trafalgar Studios); The Solid Gold Cadillac (Garrick); A Busy Day (Lyric Theatre); Peggy Sue Got Married (Shaftesbury Theatre); The Snowman (Peacock Theatre); Toyer (Arts); The Three Sisters on Hope Street, The Glass Room, Gone to LA (Hampstead Theatre); Henry IV parts I and II (Washington Shakespeare Company, USA); West Side Story, The Sound of Music (Stratford Festival, Canada); Hamlet (Elisnore, Denmark); Pravda, The Critic, The Real Inspector Hound (Chichester); The Good Soldier, Master Class (Theatre Royal Bath Productions tour); Macbeth, Medea, The Lion, the Witch and the Wardrobe, The Secret Garden, As You Like It (West Yorkshire Playhouse); An Enemy of the People (Theatr Clwyd); Arthur and George, Cling to Me Like Ivy, Uncle Vanya, A Doll's House, the David Hare trilogy - Racing Demon, Absence of War, Murmuring Judges (TMA Best Design nomination 2003); The Tempest, Macbeth, Hamlet, His Dark Materials, Arthur and George (Birmingham Repertory Theatre); Intemperance, Tartuffe (Everyman and Playhouse Theatres, Liverpool); Mrs Reynolds and the Ruffian, Copenhagen, Alfie (Palace Theatre, Watford).

Opera credits include: Der Freischütz (Finnish National Opera); Peter Grimes, Così fan tutte (Luzerner Opera);
La Cenerentola, Il barbiere di Siviglia (Garsington); L'Italiana in Algeri (Buxton); Les Pèlerins de la Mecque, Zazà (Wexford).

Ballet credits include: Bruise Blood (Shobana Jeyasingh Dance Company); Landschaft und Erinnerung (Stuttgart Ballet, Germany); The Protecting Veil (Birmingham Royal Ballet); The Snowman (Seoul, London, Birmingham Rep, touring).

Matthew Eagland

Lighting Designer

Matthew trained at the Guildhall School of Music and Drama, before working in the lighting departments of both the Yvonne Arnaud Theatre (Guildford) and Cambridge Arts Theatre, and has subsequently designed the lighting for more than 100 productions throughout the UK and around the world.

Recent productions include: Derren Brown’s Svengali tour; Broken Glass (Tricycle Theatre); House of Ghosts (UK tour); The Secret of Sherlock Holmes (Duchess Theatre); Women, Power, Politics (Tricycle); The Talented Mr Ripley (Queen’s Theatre, Hornchurch); Greta Garbo Came to Donegal (Tricycle Theatre); Our Man in Havana (Nottingham Playhouse and tour); and Carrie’s War (Apollo Theatre, Shaftesbury Avenue).

Other highlights: plays: Terre Haute (Trafalgar Studios and 59E59 Theaters, New York); Darwin in Malibu (Birmingham Rep); Moon on a Rainbow Shawl (Nottingham Playhouse); My Boy Jack (national tour); An Hour and a Half Late (Theatre Royal Bath Productions); Little Women (Duchess Theatre); and Copenhagen (Watford Palace). Musicals: Camp Horror (Queen’s Theatre, Hornchurch); Assassins, A Little Night Music, Company, Grand Hotel (Royal Academy of
Music); Alfie (Watford Palace); and Murderous Instincts (Savoy Theatre).

Opera: La traviata, L’Elisir d’amore, La finta semplice, Jacko’s Hour, The Long Christmas Dinner and The Dinner Engagement (double bill), L’Heure Espagnole and Gianni Schicchi (double bill).

Rich Walsh

Sound Designer

Previous sound designs include: Welcome to Thebes, The Observer, Baby Girl, DNA, The Miracle, The Five Wives of Maurice Pinder, Landscape With Weapon, The Reporter,The Alchemist, Exiles, Southwark Fair, The Mandate, Primo, The False Servant, Sing Yer Heart Out for the Lads, Scenes From the Big Picture, Dinner, Closing Time, The Associate, Sanctuary, The Mentalists, The Shadow of a Boy, Free, The Walls (National Theatre); Exposure, Under the Blue Sky, On Raftery’s Hill, Sacred Heart, Trust, Choice (Royal Court); Primo (Music Box Theater, Broadway); Vernon God Little (Young Vic); Dinner (Wyndham’s); What the Night Is For (Comedy); 50 Revolutions (Whitehall); Von Ribbentrop’s Watch, Rock, Fimbles Live!, The Lady in the Van, The Deep Blue Sea, The Unexpected Man, The Nation’s Favourite - the True Adventures of Radio One (national tours); The Price (Tricycle Theatre); Julie Burchill is Away… (Soho Theatre); How to Be an Other Woman (Gate Theatre); Eigengrau, Kingfisher Blue (Bush Theatre); Cue Deadly, Yllana’s 666 (Riverside Studios); Strike Gently Away From Body (Young Vic Studio); The Difficult Unicorn (Southwark Playhouse); Small Craft Warnings (Pleasance, London); Dirk (Oxford Playhouse). Associate Sound Designer on: Beauty and the Beast, The Cat in the Hat (National Theatre).