CAMDEN FRINGE 2026

On this leg of the journey, you will find a collection of contributions and highlights from the four (4) shows I was commissioned by during the Camden Fringe Twenty-Twenty-Six (2026) period. As such, this excludes my ongoing work with Canal Café Theatre. These include, in chronological performance order:

‘Perdita’ by Sophie Todd, performed at the Old Red Lion;
‘Cut the Tapes’ by Megan Peck, performed at the Libra Cafe Theatre
‘HEEL’ by Delia Kenagy, performed at the Libra Cafe Theatre
‘One Man’s Land’ by Josie Rose Embleton, performed at the Hen and Chickens Theatre

CONTENT NOTES/ WARNINGS FOR ALL FOUR (4) SHOWS HAVE BEEN INCLUDED.

‘PERDITA’

Performed at: SHAKEFEST @ the Old Red Lion

July - August 2026

Credits:

Writer: Sophie Todd

Director and Tech Designer: Freja Gift

Publicity and Poster Design: Kevin Martin Murphy

Lighting Programmer and Operator: EJ Walker

Sound Operator and PSE: EJ Walker

Performers:

Tom, Colonel Ban and others: Kevin Martin Murphy

Mary: Sophie Todd

Jane, Polly, Maria, Dorothea and Others: Emma Zadow

Poster Design: Kevin Martin Murphy

A song I associate with this project:

‘DJ Got Us Falling In Love’ - Strings from Paris (from ‘Bridgerton’ Season 4)

Development

BEFORE WE GO ANY FURTHER!

THE SNIPPETS I’M ABOUT TO SHOW YOU CONTAIN: PREGNANCY AND SIMULATION OF BIRTH; MISOGYNY AND ENFORCED GENDER ROLES; PHYSICAL AND VERBAL DOMESTIC ABUSE; SIMULATED INJURY, ILLNESS AND BLOOD

QLab and Cue ‘Cheat’ Sheet:

To be honest, because I was brought on to program and operate rather than design, I don’t have as much to show you on this side of the production process. Much of my process happened in the room on the day of the tech rehearsal and first show, so I only really have a segment of the ‘cheat’ sheet I wrote my future operating self, and the corresponding section of the QLab I compiled with the files the company had sourced and recorded for me.

I did also end up editing the voice-over files, adding some reverb and EQ to create a more bassy tone.

The Final Product

AUDIO SAMPLE:

Here are three examples of the V/Os I edited to act as transitions between scenes.

PHOTO GALLERY TO COME!

‘CUT THE TAPES’

Performing at: the Libra Cafe Theatre

July - August Twenty-Twenty-Six (2026)

Credits:

Co-Producing: Maria Jaszewska | Megan Peck | Aaron Reyes-Bordado

Writer: Megan Peck

Director: Tara Jamora Oppen

Music Director: Maria Jaszewska

Marketing Materials: Billie Contreras

Lighting Designer, Programmer and Operator: EJ Walker

Sound Designer, Operator and PSE: EJ Walker

Performers:

Katie: Maria Jaszewska

Sarah: Megan Peck

Jay: Aaron Reyes-Bordado

Poster Design: Billie Contreras

A song I associate with this project:

‘Pandemonium’ - The 25th Annual Putnam County Spelling Bee

Development

BEFORE WE GO ANY FURTHER!

THE SNIPPETS I’M ABOUT TO SHOW YOU CONTAIN BRIEF MENTIONS OF: ALOHOL AND DRUNKENNESS

Whole-Script First Ideas:

(These ideas get slimmed down quite significantly as the process progresses! We lose all the door SFX moments, and the drone and dimmer lighting state for ‘poignant moments’.)

Then…

Version two of my script mark-up:

(Here are three pages of a wider script!)

Then…

Final QLab (snippet overlapping somewhat with the above section of script) and Cue Sheets!

I primarily used my script mark-up to keep track of my cues, but because of the fact that the lighting desk at the venue was more of a DMX controller with limited memory banks that were preset by the venue staff, I recorded which of the eight preset options I’d use for each state shift in a notes document:

The Final Product

AUDIO SAMPLE:

Here is a sample of the simple loop I created to underscore Jay’s sci-fi monologue at the beginning of the show. I also layered spaceship ambience under this.

PHOTO GALLERY

Photo Credit: Billie Contreras

‘HEEL: A PLAY’

Performed at: the Libra Cafe Theatre

August Twenty-Twenty-Six (2026)

Credits:

Writer: Delia Kenagy

Director and Producer: Allissa Flood

Props Designer: Krystal Anderson

Lighting Designer, and Lighting and Sound Operator (First Night): Conor Costelloe

Sound Designer, and Lighting and Sound Operator (Second Night): EJ Walker

Performers:

Eli (Elias) Mitchell: Tom Inman

Dannika (Dani): Lotti Kovari

The Intern, The Executive, and The Man in the Dog Suit: Aaron Julius Punnen

Poster Design: Allissa Flood

A song I associate with this project:

‘Kiss Ur Face Forever’ - Orla Gartland

Development

BEFORE WE GO ANY FURTHER!

THE SNIPPETS I’M ABOUT TO SHOW YOU CONTAIN: DUBIOUS CONSENT BETWEEN CHARACTERS ONSTAGE, AND GRAPHIC MENTIONS/ DEPICTIONS OF ABUSE OF POWER, RAPE AND SEXUAL ASSAULT; SIMULATED SEX; SIMULATED VIOLENCE; MENTAL HEALTH AND SUICIDE; STRONG, GRAPHIC LANGUAGE

Initial Script Mark-up:

As always, you’ll get to see just how much this segment changes over the course of the process!

The Cue Sheet and QLab Doc:

(These cover both the scene above, and the scene after it. I also repurposed a previous composition, edited voice-overs, and compiled soundscapes for the transition sequences throughout the play, which can be seen below)

The Final Product

AUDIO SAMPLES:

I ended up making two primary soundscapes for this show. One was a transition soundscape, featuring a remixed and edited version of the piece I composed for MACPM’s Project Three backed by crackling, as if from a record player, a heartbeat-like thumping from a mellotron MIDI sound tracked somewhat in time with the music, and some voiceovers, which in themselves created a scene when the transitions were played in sequence. The other was a stripped down version of this with just the crackling and heartbeat, which played during pertinent narrative beats and moments.

PHOTO GALLERY

Photo Credit: Allissa Flood

‘ONE MAN’S LAND’

Performed at: the Hen and Chickens Theatre

August Twenty-Twenty-Six (2026)

Credits:

Writer: Josie Rose Embleton

Producer: Glerren Bangalan

Director: Esthér Fernández Guerra

Associate Director: Tara Jamora Oppen

Set Designer: Martha Ma

Lighting Designer, Lighting Programmer, and Lighting Operator (Second Night): EJ Walker

Sound Designer, Sound Operator, PSE, and Lighting Operator (First Night): Tara Jamora Oppen

Performer (Margaret and others): Josie Rose Embleton

Photo Credit: Fiona Fellows

A song I associate with this project:

‘Dusk’ - Chelsea Wolfe

Development

BEFORE WE GO ANY FURTHER!

THE SNIPPETS I’M ABOUT TO SHOW YOU CONTAIN BRIEF MENTIONS OF: WAR; SHOOTING/ HUNTING

Despite the fact that I ws brought on quite last-minute to cover for the company’s original lighting designer, I still managed to plan three different version of the lighting design, and show two of them during the run!

The first was a version of the design made for a rig with colour-changing DMX/ LED capacity. Here’s a snippet:

I then received the tech spec for the venue, which featured an entirely generic rig, capable of a warm and cold wash, and (as I discovered when we entered the space) one side light crossing SR - SL with a pink gel in it. This turned out to be perfect. This snippet does not quite reflect how the play looked in actuality, but it does show how I used the rig plan and tech spec I was given to adapt my lighting design:

This worked for the first night very well, I feel!

HOWEVER!

Due to Shenanigans surrounding loading and saving the showfile onto our USB stick from the Zero88 Jester desk, we ended up losing our showfile around half an hour before the final show.

SO!

Thinking on my feet, I replicated and programmed the basic lighting states I had created for the show into seven submasters. I then used these and the regular lighting patch in Program Mode to busk the show live. Tara also called the show for me, which was immeasurably helpful!

Though I feel it still went pretty alright, and I was able to improve upon some of the lighting states I hadn’t liked as much from the night before in the moment, the piece did flow quite differently, as my fades were replaced with snaps in many places.

This was also fascinating exercise in really comprehending how much fade times and lighting in general can impact the overall tone, and not just the pace, of a show. I found that the audience responded a lot more strongly to comedic moments when the lighting state coming in or out at the same time snapped, rather than faded. This reinforces the lessons I’ve learned from teching for shows like NewsRevue.