Gemma Aked-Priestley

Inherently humans crave connection. We are healthiest and happiest when in a state of sharing: thoughts, laughter, irreverence, compassion and transcendence.

Creating theatre is part of my ongoing quest to cultivate connection.

My work can be identified as visually dynamic and emotionally daring.

People are at the centre of the theatre I create. Aesthetically my work affords actors centre stage as theatrical alchemists.

New writing is my passion. I thrive when collaborating with playwrights; supporting the development of ideas into authentic and uncharted theatrical experiences.

As a woman, from a working-class background, who grew up in Southampton, providing platforms to other under-represented artists is paramount to me.

Credits

Directing credits include My Dad’s Blind (Irish Tour 2019/ Abbey Theatre/Dublin Fringe Festival 2018, Winner of Best Production 2018); Passing (Winner of the Theatre Royal Haymarket’s Masterclass Trust’s Pitch Your Play Award 2018, staged readings at the Theatre Royal Haymarket/Royal Academy of Dramatic Arts/The Bunker Theatre/Pleasance Theatre); The Narcissist (Flux Theatre/Hen and Chickens Theatre) Gracie (Finborough Theatre, Off West End Awards Nomination for Best Actress); Grimm: An Untold Tale (Underbelly, Edinburgh Fringe Festival) and Tender Napalm (Karamel Club Theatre).

Assistant directing credits include Mehmet Ergen on Little Miss Sunshine the Musical (Arcola Theatre); Mehmet Ergen on Stop & Search (Arcola Theatre); Sam Hodges on the world premiere and revival productions of The Shadow Factory (Nuffield Southampton Theatres); Daniel Goldman on Thebes Land (Arcola Theatre); David Mercatali on Tonight with Donnny Stixx (Bunker Theatre); Matt Cowart on Lockhart: A Southern Gothic Musical (Bernie Grant Arts Centre); Ben Kidd on Ghosts (Mountview Academy of Theatre Arts) and Katie Henry on The Grandfathers (Karamel Club Theatre).

Directing credits for short plays and staged readings include EV(E)OLUTION by Chantelle Dusette (Criterion Theatre); The Mulatto Girl by Indigo Griffiths (Nuffield Southampton Theatres); A Prince by Dipo Baruwa-Etti (Southwark Playhouse); Rat King by Genevieve Hulme-Beaman (Bunker Theatre); Biscuit by Reece Connolly (Tristan Bates Theatre) and Cold Call by Felix O’Brien (Theatre 503).

Training

I studied at the University of East Anglia and trained at Mountview Academy of Theatre Arts. I have received bursaries from the Mayflower Theatre, Yorkshire Ladies Council of Education, Barker-Mill Foundation and the JMK Trust.