Écrits
Publications: Les monologues Dear Mr. President, Dateception et Stuffed, vont être publiés en Anglais par Tamasha Theatre Company et Oberon Books dans leur anthologie Hear Me Now, une collection de monologues de l'audition pour des acteurs des minorités visibles. Je suis également l'éditrice de toutes les publications du Bread & Roses Theatre.
En ce moments j'écris aussi regulièrement des articles pour RosaMag, le premier magazine en ligne en allemand pour et par des femmes afro-allemandes, et auparavant j'écrivais pour le magazine britannique de culture FemaleArts pour plusieurs années. De plus je fais mon doctorat sur le sujet "Diasporadical Stages - Contemporary Afro-European Theatre and Performance" à l'Université Libre de Berlin (FU).
Pièces de théâtre: (S̶)Elfish Christmas et CinderElla - And Her Smelly Old Slipper (tout les deux Bread & Roses Theatre); pièces courtes Bottom Girl (Southwark Playhouse), The Point of No Return (The Station House), The Election (Bread & Roses Theatre) et The Appointment (Theatre N16; Arts Theatre West End & Hen and Chickens Theatre); monologues Trumptopia 2084 (Bread & Roses Theatre), Hail Your Majesty (Bussey Building, The Space & d'autres), Man Up, Man Down (Bread & Roses Theatre) et Cassie Knows Best (Corbett Theatre) et aussi des adaptations de Miss Julie de Strindberg et The Proposal de Tchekhov.
En ce moments j'écris aussi regulièrement des articles pour RosaMag, le premier magazine en ligne en allemand pour et par des femmes afro-allemandes, et auparavant j'écrivais pour le magazine britannique de culture FemaleArts pour plusieurs années. De plus je fais mon doctorat sur le sujet "Diasporadical Stages - Contemporary Afro-European Theatre and Performance" à l'Université Libre de Berlin (FU).
Pièces de théâtre: (S̶)Elfish Christmas et CinderElla - And Her Smelly Old Slipper (tout les deux Bread & Roses Theatre); pièces courtes Bottom Girl (Southwark Playhouse), The Point of No Return (The Station House), The Election (Bread & Roses Theatre) et The Appointment (Theatre N16; Arts Theatre West End & Hen and Chickens Theatre); monologues Trumptopia 2084 (Bread & Roses Theatre), Hail Your Majesty (Bussey Building, The Space & d'autres), Man Up, Man Down (Bread & Roses Theatre) et Cassie Knows Best (Corbett Theatre) et aussi des adaptations de Miss Julie de Strindberg et The Proposal de Tchekhov.
Formation |
Tamasha Playwrights
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Criterion Theatre New Writing Program
2017 |
FILM (script en développement)
Black Out
Trois personnes arrivent dans un appartement de vacances loué par une amie commune. Peu de temps après leur arrivée, il semble y avoir une panne de courant dans tout le quartier, sauf leur apatement. Mais en essayant de quitter l'appartement, ils réalisent rapidement que quelque chose d'autre se passe... Rien en dehors de l'appartement ne semble plus exister.
L'exposé a été préselectioné pour "Dauerkolonie deutsche Film" du Max Ophüls Preis 2019.
L'exposé a été préselectioné pour "Dauerkolonie deutsche Film" du Max Ophüls Preis 2019.
Théâtre
(en Anglais)
May 2017 - The Station House
The Point of No Return
Produced by Get Over It Productions as part of their scratch night The Scene.
In a dystopian future Emmel is being thrown out of the glorious New World, a totalitarian state, that claims to put women first. He has been forcibly separated from his friend, Natty, and their newborn baby, and now only has a strange woman called Katty to see him off. |
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February 2017 - The Bread & Roses Theatre
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Trumptopia 2084
It's 2084. The 60 year anniversary of the greatest country in the world and King-Emperor-President Donald Trump IV is ready to celebrate. Only, it isn't all as great as it seems...
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November 2016 - The Bread & Roses Theatre
The ElectionNatty is living in a totalitarian state in a dystopian future. A society created as a gone-too-far-attempt of destroying the patriarchy, this world seemingly puts women first and sees men as a mere commodity. But Natty has come to learn that nothing in this 'New World' is truly as it seems, hence she runs for elections in her quest to fight for true equality. Annoyingly she also has to deal with her forced husband Flappel and 'New World' enthusiastic competitor Cara. The dark comedy is a continuation of my short play The Appointment, taking place a year later, but works as a stand-alone piece.
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July 2016 - The Bread & Roses Theatre
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Man Up, Man DownOne box can be even better than another when you need to escape from the pressure of the harmful expectations the world has for you. But when nothing can contain you and keep you safe, what is the way out?
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March 2016 - Southwark Playhouse
April 2016 - The Bread & Roses Theatre
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A 10-minute-short-play originally commissioned by Little Pieces of Gold for The Class Ceiling
Candy is the top prostitute at her brothel, closest to her pimp. She considers herself a true feminist and is proud of her career choice. One day she meets Pope Joan and Marlene, two characters from Caryl Churchill’s Top Girls frozen in time. Both consider themselves high-flying business women in their own times. So does Candy living in the 21st Century. The three women discuss class and their social statuses and whether one should just fit into their designated role in society and be content or try to break out of it and fight for more. A contemporary response to Caryl Churchill’s 1980s play Top Girls, Bottom Girl is a darkly-comic and surreal exploration of social class in the 21st Century and questions whether there have been any improvements throughout the years or if it has rather gotten worse in recent times. |
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★★★★★ "The first half of the evening concluded with Bottom Girl by Tessa Hart and directed by Craig Sanders – a response to Caryl Churchill's Top Girls. Using rhyme and repetition, the three characters compare themselves to the reality of women in the 21st century... During the interval, some of the people near me openly stated that Bottom Girl was their favourite play of the evening up to that point." - 5 stars, FemaleArts on Little Pieces of Gold: The Class Ceiling
November 2015 to February 2016 at The Space, The Bread & Roses Theatre, Theatre N16, The Bussey Building & The Hen & Chickens Theatre
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Hail Your Majesty
A 10-Minute-Monologue originally written for The Princess Monologues A real-life Princess. In the 21st Century. Born into one of the richest Royal Families in the World. She has it ‘all’... Except her own voice. |
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December 2015 - The Bread & Roses Theatre
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(S̶)Elfish Christmas
A One-Act Family Christmas Theatre Show The Chief Elf accuses Elfidanina of stealing all of this year's Christmas presents; now Elfidanina must call for the help of her best friend Elfidanini and a mysterious Fairy to find the presents and save Christmas! A fun show for the whole family, recommended for ages 4+. |
AUGUST 2015 - The Bread & Roses Theatre
CinderElla
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February 2016 - Theatre N16 / Fragments
November 2015 - Arts Theatre (West end) / Women Redressed
August 2014 - The Hen & Chickens Theatre / Camden Fringe
The Appointment
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The Legend of the Female Species.
And their mysterious swelling bellies. In a dystopian future the female kind has become a rare occurrence. Natty lives in hiding with her closest friend Emmel, until one day a mysterious appointment reveals more is going on in the world than they could ever have imagined. A post-apocalyptic 10-12 minute short play. 
Photographer: Victorine Brown
Photographer: Victorine Brown
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April/May 2015
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oCTOBER 2014
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mAY 2010
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REHEARSED READING
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Being John Barrowman
by Tessa Hart - directed by Kasia Różycki Rehearsed Reading Monday 7th December 2015 at The Bread & Roses Theatre Goblin Baby Theatre Co. presents a one-off rehearsed reading of a work in progress. Christmas Eve. On top of a skyscraper. Sky is right at the edge. Sky is also convinced of being John Barrowman. 
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tu: pɔɪnt faɪv
written & directed by Tessa Hart Rehearsed Reading Wednesday 10th February 2016 at The Bread & Roses Theatre Rehearsed reading as part of the One Billion Rising Festival Tou Poynt Faive tells the story of one woman's journey through the net of human trafficking in the UK, the people she encounters along the way, and the ones she doesn't. 
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