Jo trained at RSAMD and works as an actress in all media. Regional Theatre includes: Men Should Weep (7:84), Les Belles, Seours, The Steamie, The Ride down Mount Morgan, Twelfth Night, and Medea. West End credits include: Perfect Days, Evita (original cast,) The Beggars' Opera, and Guys and Dolls (Royal National Theatre.) Televison and Film includes: Cloud Howe, The Singing Detective, Sometime in August, Great Expectations, River City, Judge John Deed, Psychos, Big Battalions, and Pirates of Penzance.

A growing fascination with how we sound and how it tells the story of who we are led to a post-graduate qualification from the Central School of Drama. Jo has taught at RADA, LAMDA, Rose Bruford, ALRA, and Oxford University. She coaches internationally for theatre and film. West End credits include: Whistle Down the Wind, King Lear, Petrol Jesus Nightmare, Footloose, Smoking with Lulu. Television credits include: Losing Gemma, The Kindness of Strangers, Island At War, Low Winter Sun, Anchor Me, and Love From Colditz. Film credits include: Brick Lane, The Trench, Sleepy Hollow, The Restraint of Beasts, 28 Days Later, American Haunting, Young Adam, The I Inside, Mean Machine, Dear Frankie, Starter For Ten, and still to be released Hallam Foe, Angel Deverall, True North, and Trans-Siberian. Actors she has worked with include: Sean Bean, Jamie Bell, Brendan Gleeson, Rebecca Hall, Woody Harrelson, Rhys Ifans, Michelle Krusiec, Damien Lewis, James McEvoy, Emily Mortimer, Samantha Morton, Sophia Myles, Stephen Rea, Mark Strong, Tilda Swinton, and Michelle Yeo.

Tim Woodward trained at RADA before commencing his career at The Citizens Theatre Glasgow. Theatre credits include; Ten Rounds at the Tricycle Theatre, Hamlet at The Globe Theatre, Anthony & Cleopatra and As You Like it for the RSC, The Colour of Justice at the Tricycle Theatre, Burning Blue at the Haymarket and Ambassadors Theatre, Medea a the Almeida and on Broadway and An Awfully Big Adventure at the Liverpool Playhouse.

Extensive TV includes; The Secret Road to Nuremberg, Poirot, Murphy’s Law, Murder Squad, Midsomer Murders, Blue Murder, Vanity Fair, The Bill, Silent Witness, Heartbeat VI, Prime Suspect, Pie in The Sky, Absolutely Fabulous and many others. Film credits include; Enemy of the Unseen, K19- The Widow Maker, The Scarlet Letter, Kind David and The Europeans.

Tim Carroll began his career with the English Shakespeare Company, for whom he directed Julius Caesar, Cymbeline and The Tempest. As Associate Director of the Northcott Theatre in Exeter (1994-5) he directed many productions including Amadeus, The Last Yankee, Charley's Aunt, Abigail's Party and several new plays. Since then he has been a guest director at many theatres: most recently he directed W.S. Gilbert's Engaged for the Orange Tree Theatre, Richmond. Since 1997 he has directed three productions in Hungary: The Clearing; Fair Ladies at a Game of Poem Cards and The Duchess of Malfi. This year he directed The Tempest in Lisbon.

His first opera production was for Kent Opera in 1994: Benjamin Britten's The Prodigal Son. He is now Director of Productions for Kent Opera, for whom he has staged Purcell in the Theatre (1995), Monteverdi's Orfeo (1997/8), Handel's Acis and Galatea (2002) and Britten's Albert Herring (2003). Other operas include Eight Songs for a Mad King (Maxwell Davies), El Cimarron (Henze) and Twice Through The Heart (Turnage) for Psappha Modern Music Ensemble. At the Gran Teatre de Liceu, Barcelona since 1999 he has staged three Sarah Walker shows: Cabaret Classico, The Divine Sarah and White Christmas, as well as Britten's Five Canticles. In 2003 he directed Monteverdi's il ritorno d'Ulisse in patria for the Britten-Pears School in Aldeburgh and at Shakespeare's Globe.

Tim Carroll is Associate Director of Shakespeare's Globe in London, where he has directed Peter Oswald's Augustine's Oak in 1999, The Two Noble Kinsmen in 2000, and Macbeth in 2001. In 2002 his production of Twelfth Night won Evening Standard, Time Out, Critics' Circle and Olivier Awards, and in 2003 Twelfth Night was revived for a record-breaking run at the Globe, followed by a tour of the United States. He also directed The Golden Ass, a new verse play by Peter Oswald. Last year at the Globe he directed Richard II and Dido, Queen of Carthage. This year he directed Romeo and Juliet.

Tamara’s theatre credits include: The Importance of Being Earnest (Shakespeare Theatre of New Jersey, USA); the premiere of Who’s The Daddy (King’s Head Theatre, London); Odysseus (RADA); The Golden Ass (University of South Florida, USA); Sitting Pretty (Watford Palace Theatre); One Flew Over the Cuckoo’s Nest (Assembly Rooms Edinburgh and West End – Co-Director with Terry Johnson); Much Ado About Nothing (Shakespeare’s Globe); Markings (premiere, Southwark Playhouse and Traverse, Edinburgh); A Tempestade (Associate Director, Teatro Sao Luiz, Lisbon); Young Emma (premiere, Finborough Theatre, London); Daylight Spirits (Mercury Musicals workshop at the Arts Theatre); The Graduate (UK Tour); Something Cloudy, Something Clear (UK premiere, Finborough Theatre, London); La Traviata (co-director, English Touring Opera). She has been assistant director on numerous productions, including Macbeth, Twelfth Night, The Golden Ass and Richard II at Shakespeare’s Globe, Sweet Panic and Life x 3 in the West End and La Finta Giardintera and Sárka & Osud at Garsington Opera. She is a graduate of the University of Bristol and trained as a directing intern at the Shakespeare Theatre of New Jersey.

Siân trained at the London College of Dance and Drama. She founded the Kosh dance theatre company with Michael Merwitzer in 1982 and has performed in all its productions. Choreography and theatre awards include the Manchester Evening News Dance Theatre Award, Cairo Experimental Theatre Award, New York Film & Television Festival Bronze Medal, Best Foreign Theatre Presentation in Chile. Siân has been Master of Dance for the Globe Theatre Company since the year 2000. Other work includes performing in Opera North’s La Traviata; choreography for ENO’s A Better Place; choreography for RSAMD’s production of Stravinsky’s Renard; choreography for the Gate Theatre’s  Marieluise; Movement Director of the Royal Shakespeare Company on The Winter’s Tale, Timon of Athens, Macbeth, As You Like It and Jubilee. Siân recently performed in Twentieth-Century Girls and directed A Square of Sky for The Kosh. Siân was Master of Dance for the Globe Theatre’s 2005 productions of The Tempest, The Storm and The Winter’s Tale and performed in both The Tempest and The Storm. Siân is currently working with the Kosh in collaboration with the Royal Court Theatre anddirector Richard Wilson on the development of a new dance theatre production.

Yolanda trained at the Drama Centre London under the auspices of Christopher Fettes and Yat Malgrem.  She has worked extensively in theatre, television and film, her latest credits include: Pinochet’s Progress ( BBC )  Hermione in The Winter’s Tale,  Beatrice in Much Ado About Nothing, Queen Elizabeth in Richard III, (Shakespeare’s Globe Theatre)Titania in A Midsummer Night’s Dream (RSC).

Yolanda is a freelance practitioner at Shakespeare’s Globe and works across all ages including MA, undergraduates students and international outreach.  Since 2003 she has also worked for the PDLL department at Central School Of Speech and Drama leading courses on Shakespeare and  Acting.

Tim Carroll working with students during the 2003 BRIT Program

Tim Carroll began his career with the English Shakespeare Company, for whom he directed Julius Caesar, Cymbeline and The Tempest. As Associate Director of the Northcott Theatre in Exeter (1994-5) he directed many productions including Amadeus, The Last Yankee, Charley's Aunt, Abigail's Party and several new plays. Since then he has been a guest director at many theatres: most recently he directed W.S. Gilbert's Engaged for the Orange Tree Theatre, Richmond. Since 1997 he has directed three productions in Hungary: The Clearing; Fair Ladies at a Game of Poem Cards and The Duchess of Malfi. This year he directed The Tempest in Lisbon.

His first opera production was for Kent Opera in 1994: Benjamin Britten's The Prodigal Son. He is now Director of Productions for Kent Opera, for whom he has staged Purcell in the Theatre (1995), Monteverdi's Orfeo (1997/8), Handel's Acis and Galatea (2002) and Britten's Albert Herring (2003). Other operas include Eight Songs for a Mad King (Maxwell Davies), El Cimarron (Henze) and Twice Through The Heart (Turnage) for Psappha Modern Music Ensemble. At the Gran Teatre de Liceu, Barcelona since 1999 he has staged three Sarah Walker shows: Cabaret Classico, The Divine Sarah and White Christmas, as well as Britten's Five Canticles. In 2003 he directed Monteverdi's il ritorno d'Ulisse in patria for the Britten-Pears School in Aldeburgh and at Shakespeare's Globe.

Tim Carroll is Associate Director of Shakespeare's Globe in London, where he has directed Peter Oswald's Augustine's Oak in 1999, The Two Noble Kinsmen in 2000, and Macbeth in 2001. In 2002 his production of Twelfth Night won Evening Standard, Time Out, Critics' Circle and Olivier Awards, and in 2003 Twelfth Night was revived for a record-breaking run at the Globe, followed by a tour of the United States. He also directed The Golden Ass, a new verse play by Peter Oswald. Last year at the Globe he directed Richard II and Dido, Queen of Carthage. This year he directed Romeo and Juliet.

Tamara Harvey has directed and assisted directed at some of England's most renowned theatrical venues such as Shakespear's Globe Theatre and Gielgud Theatre in London. Her directing has taken her across Europe and across the Atlantic to direct at the Shakespeare Theatre of New Jersey in 2000. We are honored to have her here with us directing this year's BRIT program.

Ms. Williams is co-founder of The Kosh, an arts production company in England. The Kosh creates live physical performance events and video productions. Founded in 1982, the aim of The Kosh is to make the arts accessible and through the arts provide life-enhancing experiences. Dancers, actors, writers, designers and educationalists are involved in devising original theatre performances and video productions.

Laura trained in interior design and at the Motley theatre design course. She designs for theatre, opera and dance, and has collaborated on numerous devised pieces. She is also the Environmental Engineer of the International Necronautical Society (www.necronauts.org).

Recent work includes: Faustus and Othello (nominated for TMA award), both for Northampton Royal; The INS Broadcasting Unit (ICA); Elixir of Love (New Zealand Opera) and The Master and Margarita (NYT).

Previous work includes: Dido, Queen of Carthage, The Golden Ass and Macbeth (all at Shakespeare¹s Globe); Cosi Fan Tutte (English National Opera); Mister Heracles (TMA award for Best Design), Dealers Choice, Kes and Betrayal (all West Yorkshire Playhouse); A Reckoning and Office (both Soho); Cinderella, the musical, and Hamlet (both Bristol Old Vic); Swan Lake Re-mixed (Volkoper, Vienna); Falstaff (ENO/Opera North); Breath, Boom and Bailegangaire (both Royal Court); Look Back in Anger and Crimes of the Heart (both Royal Exchange); The Rake¹s Progress (WNO). Devised work includes: Clair de Luz, If We Shadows, Blood, Never Better, A Plague on Both your Houses and Maps for Lost Lovers.