What they do
Our Associate Artists work with HighTide team to ensure that a plurality of artistic voices are always part of the conversation and to make sure HighTide is being provoked to consider issues and experiences affecting our sector and beyond.
Associate Artists read and feedback on scripts submitted to HighTide and are paid a daily rate for this work.
Peggy Ramsay Foundation/ Film 4 Awards Scheme Playwright
Nicola Werenowska is an award winning neurodivergent playwright who is
committed to exploring underrepresented voices in her writing. Nicola is on placement with HighTide for one year after winning the Peggy Ramsey/Film4 Award, which celebrates and supports emerging British writing talent. Nicola was 16 when she was a runner up in the Royal Court Young People’s playwriting competition but due to the debilitating effects of her undiagnosed disability it took her another 15 years before she wrote professionally, following her life-changing dyspraxia diagnosis.
Nicola’s work has been produced widely across the UK. She has been on
attachment to Graeae Theatre, the National Theatre studio and a member of the Royal Court National Writers group. She is Associate Artist at the Mercury Theatre, High Tide Theatre and Lakeside Theatre. Recent projects include writing the libretto for The Paradis Files, a new opera, produced by Graeae, which toured nationally including performances at London’s South Bank Centre, and adapting The Secret Garden for Theatre Royal Bury St Edmunds.
Theatre includes: The Secret Garden (Theatre Royal BSE, 2022); The Paradis Files (Graeae, 2022); Behind Doors (zoom festival short, Mercury, 2020); Late to the Party (community commission, Mercury 2019); Silence (Mercury & national tour, 2018); Guesthouse (Eastern Angles, 2018); Hidden (Oxford Playhouse, Marlowe, Mercury, 2017); Tattooed Under Your Skin (Theatre 503, 2016); Tu I Teraz (Hampstead & on tour 2012/13); CASH! (Mercury, 2013); BirthDate (Nabakov, 2012); Camulodunum (Monologue, Paines Plough’s ‘Come to Where I’m From’ tour, 2010); Hurt (Footprints, 2008); Freedoms of the Forest (Menagerie, 2008); Japanese Stories (dis:play production, Mercury, 2008 ); Peapickers (Eastern Angles, 2007); Aftermath (dis:play, Mercury 2006); Davy’s Day (Mercury, 2004).
Radio/audio includes: Look Me In The Eye (diversity training, Menagerie Theatre, 2020); Amy Dorrit (radio 4 Christmas Classic adaptation, produced by Graeae & Naked Productions, 2018).
Zoë Svendsen is a theatre director and dramaturg, who makes participatory theatre performances and installations exploring ecological crisis and capitalism, as well as reimagining classic texts for the contemporary stage with theatres such as The Globe, the National Theatre, the Young Vic and the RSC. Zoë has recently written the book, Theatre & Dramaturgy, and has been working on a research project as Climate Dramaturg with the Donmar Warehouse, becoming Associate Artist/Climate Dramaturg at HighTide. Zoë is also Associate Artist with Cambridge Junction.
These playwrights, all produced by HighTide in the past, are proudly signed-up as Playwright Pals. This means we sometimes call on them to ‘pass it on’ by mentoring our current writers, speaking at events and generally being our friends. We’re so pleased that HighTide holds a special place in their hearts.
Our Playwright Pals
Waleed Akhtar, David Aula; Luke Barnes; Brad Birch; Jessica Butcher; Serge Cartwright; Elinor Cook; E.V. Crowe; Molly Davies; Vickie Donoghue; Rob Drummond; Chris Dunkley; Thomas Eccleshare; Sophie Ellerby; Kenny Emson; Simon Evans; David Hare; Joel Horwood; Kieran Hurley; Theresa Ikoko; Charlie Josephine; Tabby Lamb; Eve Leigh; Simon Longman; Anders Lustgarten; Nessah Muthy; Luke Norris; Ian McHugh; Vinay Patel; Nick Payne; Margaret Perry; Laura Polikoff; Phil Porter; Danusia Samal; Al Smith; Beth Steel; Sam Steiner; Molly Taylor; Alexandra Wood; Frances Ya-Chu Cowhig.
“HighTide supported me at an important time and whatever I can do to help other writers is a bonus.”
“I owe HighTide a lot; it was the first company to produce me and opened up a lot of doors in my life. Having HighTide as a theatre without walls for the East of England, supporting the region’s voices, can only be beneficial for the East and its artists in terms of social and artistic development. I’d love to help you.”
“I’m all for theatres turning into local support systems for writers not based in urban centers.”
Frances Ya-Chu Cowhig