Charlotte Cox
3A, Willoughby Road,
NW3 1RP
07598166569
charliecox28@aol.com

Education:
April 2013:
QTLS
Sept 2007:
Institute of Education, University of London: PGCE in FE, In Performing Arts, PTLLS
Sept 2006:
Working Men’s College: GCSE in Higher Maths.
Sept 2005:
Central School of Speech and Drama: Studied for an MA in Applied Theatre.
Feb 2002-5:
The London Metropolitan University, Holloway: A Joint BA Hon’s Degree in Performing Arts and in Education. (2:1)
Sept 1981:
Chelsea College of Art: Foundation Degree in Fine Art.

Employment History:
January-February 2015: Directing Apple Core by Dylan Sodbury, for the 5 Min Festival at the Lost Theatre, on 05/02.
December 2014: Directing One Woman Show for early next year.
October 2014:
Directing/Performing in a Dario Fo Play, never performed in English before, Translated by Joseph Farrell.
July 2014:
Directing a Scratch Performance at the Cockpit Theatre, London.
May 2014:
Directing/Facilitating, Living Theatre Project.
March 2014:
Produced/Facilitated a Seminar/Master Class, for the Italian Pirandello Studies, Department at UCL, in the form of a Neutral MASK Workshop.
Jan 2014-:
Training Professionals in Public Speaking, clients include Academics at the University of London.
On Going: Actor/Director/Script Writer, for NoNameProductions, incorporating, KitchNsynC Dramas.
Facilitating Script-Writing Workshops.
Nov 2013:
Stage Manager for, ‘Red Letters’ a play adapted by the SoandSoArts club.
Oct 2013-14:
‘Fun Palaces’, directing a site specific community project in commemoration of the life of Joan Littlewood, in conjunction with Stratford Theatre. Performing in Camden Town.
Oct 2013-
Professional Director on a Physical Theatre Production, combining all disciplines, in the performing arts.
2013-Oct 2013:
Lecturer/Head of the Access Course in the Performing Arts, at an FE College in London.
Duties included: Designing Entry Level 1, Btec Level 3 and the Access courses, Devising schemes of work, Lesson Plans, Directing, personal tutor for the Access students supporting the staff within the performing Arts Department.


Sept 2013-13:
Worked with the BAC on a personal stories community project.
July 2013:
Performed at the Barbican Theatre in HAND, a Physical Theatre Production. Director/Choreographer, Rosie Whitney Fish.
Jan-April 2013:
Professional Actor/Assistant Director in Six Characters in Search of an Author
Performed at The Rose Theatre. Directed by Manuela Ruggiero for WOH Productions.

Sept 2012-13:
Script Writing a Feature Film and work on a Site-Specific Production, examining issues around mental health institutions.
Sept-Dec 2012:
Stage Manager for So and So Arts at Chelsea Arts Theatre and Marylebone Gardens.

July-Aug 2012:
Senior Mentor in residence for The Challenge, A Government Funded Community Programme.
I was responsible for 12, 16-17 year old students on a physical challenge course in the Peak District.
I led the team by example under the Instruction of an ex SAS Soldier, and Abseiled down a very tall bridge, went cave walking and pot holing for 4 hrs, rock climbed without a safety harness for 4 hrs, walked and rock climbed over two peaks for 8hrs and camped out, climbed up a very tall totem pole and jumped on to a trapeze and completed an Army Assault Course.
The objective was to collaborate in a team Bonding Exercise, to create a sense of achievement within the group by going out of one’s comfort zone, to take risks and to be responsible for the wellbeing of others and to show ones leadership skills.
At the end of the week I am very proud to say that my Team won the Team Challenge!

Jan-Sept 2012:
Supply teacher in The Performing Arts:
Including the John Lyons Independent School, Harrow. Responsibilities: Writing lesson Plans, Teaching BTEC Performing Arts and levels 3-5, embed Key Skills, Behaviour Management and rehearsing after school.
July-Sept 2010-11:
Script Writing/Directing.
April-Dec 2010:
Supply Teacher throughout London, including Queen Elizabeth Girls School, Barnet.

Dec 2009-April 2010:
Performing Arts Teacher/Director, Maternity Cover, at Harrow College of Further Education, Middlesex.
Responsibilities: Drama Lecturer/ Duties: Lesson Planning, Marking Work, Assessing Behaviour and Aptitude, Writing Reports, Preparing student’s’ for life- long learning, Registers, Checking Attendance and Follow up Reports, creating Individual Care Plans, sharing information with appropriate staff members as and when problems present themselves and being Responsible for all aspects of BTEC 1ST’s educational experience and welfare, as their Tutor.
Sept 2008-09:
Supply Teaching throughout London including:
St Pauls Community School, White Chapel.


Sept 2007-July 2008:
Full-Time Performing Arts Teacher/Director at The Arts Depot, teaching BTEC 1-3 Including 2nd Year Foundation Degree.


Sept 2005-07:
Projects in the performing Arts which include:
Working in Hackney with GCSE students from disaffected areas, making Shakespeare more exciting and accessible.
Working with the Sri-Lankan Community in Mile End, examining issues around Cultural Capital and the fear of Westernisation. Finding Resolutions out of Conflict.
Working with CanDoCo a Disabled Dance Company during their training.

Working as an Actress in Deep End in collaboration with Soho Theatre.

From 1982:
Full-Time Mother/Actress/Children’s Entertainer/Carer, Artist/Painter.
Other then gaps in my CV for study; I became a carer to my Daughter in 1998 when she had a Brain Haemorrhage. Her recovery took a very long time and I have built my life around her needs. I am pleased to say that she is now independent.

1St Referee:
Francesca, Deputy Head.
29, Granville Square,
London, WC1X 9PD
Tel:07956653139
Email: Francesca258@btinternet.com

2nd Referee:
Dr Enza De Francisci
Department of Italian
School of European Languages, Culture and Society
University College London
Gower Street
WC1E 6BT
e.francisci@ucl.ac.uk

3rd Referee:
Keith Larkin, Lecturer/Colleague, in the Performing Arts.
Tel: 07960000411
Email: keithlarkin191@hotmail.com



Here is one review for 6 Characters in Search of an Author from which I played the role of the Director.
On paper, reviving Six Characters in Search of an Author sounds like a strange way to contribute to the Rose's "Shakespeare Revealed" programme in the month of that playwright's four hundred and forty-ninth birthday. Pirandello's play was a standard-bearer for the twentieth-century theatrical revolution which promised to dismantle the literary idols of the past, throwing the old classics onto what T.S. Eliot called a "heap of broken images". Though perhaps out of step with the Bard homage which the season proposes, the revival takes an opportunity like no other for an elegant conceptual gesture: what could possibly be more appropriate than to stage Modernism's favourite play literally in the ruins of a classical theatre?
Six Characters is a clever mind game, meditating on the nature of theatre and fiction in general. The Director at one point explains "We create an illusion here for the audience, in order to suspend their disbelief", but reality is a fluid concept in the world Pirandello conjures. Interrupting a rehearsal – originally for another play by the same author, here, for Henry V – six mysterious figures burst in on the director, abandoned by their creator and demanding to have their story told, complaining of the agony of their unreleased passion. Their tale slowly unfolds, dominated by the penitent but deceptive Father and his bitter, sneering Stepdaughter: a broken family, a terrible encounter in a brothel, and a horrible accident in which a small girl drowned. They bicker with the director over stage realism, unsatisfied when she introduces any artificial elements or artistic amendments: the mute Boy is introduced only for the Director to interject "oh, we'll cut him out; children are a nightmare", to the vocal disapproval of the family. By the end, the Director's view of reality has been radically fractured, and the play ends with her wail of existential angst, to the bemusement of the returning actors.
The performance space at the Rose is a shelf on the edge of a cavern: the archaeological site which provided the blueprint for the nearby Globe, now stripped to dusty stone, with a reflective pool of water in the base and lit gorgeously by the odd warm glow as well as neon red strips which reveal the skeleton structure of the lost theatre. Occasionally, when the Characters lapse into impotent silence, fragments of their story are enacted in dance, on the far side of what was presumably once the groundlings' pit. The space is a marvel and expertly used; even when the bulk of the action is in the small space at one edge, the sense of a dark chasm looming behind the actors lends spookiness and gravitas in equal measure.
The nod to Shakespeare in the prologue is well-judged to take advantage of the unique performance space. On the director's impatient command, the actress who doubles as the Stepdaughter launches into a familiar monologue: "O for a Muse of fire that would ascend/ the brightest heaven of invention..." This is Shakespeare at his most "meta", acknowledging that his stage is a bit small for the battle of Agincourt and pleading that the audience fill in the missing armies with their imaginations. It is also widely considered to be either a farewell to a theatre that the company were outgrowing, or a disingenuous celebration of the spanking new Globe – whose opulence made the Rose look old-fashioned and led to its abandonment for theatrical purposes by 1603.
Besides substituting Shakespeare for Pirandello's self-plagiarising, this adaptation by Manuela Ruggiero and Anthony Khaseria condenses the original by cutting the Actors out of the bulk of the play, doubling them with the Characters so that their storytelling is witnessed by the Director alone. The change suppresses some of the meta-theatrical jokes from the original, but allows a more sincere focus on the story which plagues the Characters. The opening rehearsal scene is refreshingly naturalistic, the actors muttering and mumbling over their grumpy director and a late cast-mate, making a striking contrast with the heightened reality once the Characters show up, all earnest speeches and intensity. The cast make the transition beautifully, and no meta-theatrical hijinks could dispel the agony which emanates from the Mother as the story unfolds. Relying largely on the magnificent performance space, the production is aesthetically muted, though the use of hats to denote character as a kind of meta-costume is witty and effective. Occasionally the sound and lighting cues are a little clunky, but if the atmosphere slips it is only for a split second.
Immersive and visually inventive, the performance more than delivers on its complicated conceptual promise, and makes a ninety-year-old play speak in new and fascinating ways.

Sally Barnden: One Stop Arts: