Creative Team



Musical Director

Frederick is a multi-instrumentalist, and singer from North London, where he’s currently studying oboe at Guildhall School of Music and Drama. He’s a keen interpreter of early music and plays harpsichord for NRC alongside his musical direction. 


Mainly — works on musical projects with the New Renaissance Collective as well as acting as musical director and producer for Ante Terminum Productions. He recently returned to St. Bartholomew the Great to conduct Bach’s St. John Passion and assisted on Dido and Aeneas with Mary Bevan at Queille Festival, France. 


Otherwise — accompanies singers in concert and in competition, and has directed his own musical composition for the play Timetravellers by Anastasiia Kosodii at the Teatr Lesi, Lviv.


Previously — studied Experimental Psychology at Oxford University and spent some happy months in Vienna. 

Angus Bower-Brown


Angus is an actor/musician from Lincoln, passionate about collaboration and how it can be used to reinterpret classical theatre.


Mainly — works as a dramaturg for the New Renaissance Collective, collating texts, adapting poetry and the written word into new theatrical forms and working out how to give their highly collaborative, experimental shows a written structure. 


Otherwise —  works as an actor, including in: Cousins at the Soho Theatre, Goodnight Mr. Spindrift (The Old Red Lion), Spring Storm (The North Wall), Richard II (NRC: St. Bartholomew the Great); writes for Danse Macabre, plays open mics and helps judge the annual London Horror Playwriting Competition.


Previously — trained at the Oxford School of Drama and read Music at York University.

Camilla Seale

Artistic Director

Camilla is a classical soprano from North London. She's interested in how emotional connection can be fed into singing onstage. 


Mainly — sings in operas like Tom Smail’s new work Blue Electric (Barbara, Tête à Tête Festival), Beaten Gold (Poppea, NRC: St Bartholomew the Great), Mozart's The Magic Flute (Pamina, Cavatina Opera; 1st boy, Edinburgh Festival), John Tavener’s Mary of Egypt (Mary, King’s College Chapel, Cambridge) and Britten’s A Midsummer Night’s Dream (Moth, Aldeburgh Festival). 


Otherwise — sings as a concert soloist and ensemble singer, spending quite a bit of time with Renaissance madrigals, and trains in the Meisner acting method at the Salon Collective. 


Previously — has written and thought about inequality in freelance music-making (LSE, Classical Music magazine), read English at Cambridge University and lived in Berlin. 

Sam Rayner


Sam is a theatre and movement director, fascinated by comedy, physical theatre and drama — particularly how the three can operate together.


Mainly — directs for the New Renaissance Collective, including Venus and Adonis (in development) and Beaten Gold (St. Bartholomew the Great). Also co-creates genre-fusing comedies, like Nougat for Kings (Underbelly, Edinburgh) — praised as 'hard to take your eyes off' (The Scotsman) — and Panamax: a New Comedy Podcast, with his (other) company Unleash the Llama.


Otherwise — works as a movement director for comedy, including Jack Whitehall: At Large (Arena Tour/Hammersmith Apollo/Netflix); Jordan Brookes: Bleed, and SHEEPS: Live and Loud (Pleasance Theatre/Soho Theatre) and an associate director on musicals like Broken Wings (Theatre Royal Haymarket); The Adventures of Pinocchio (Ambassadors Theatre); and Tick, Tick… Boom (Park Theatre). Plans to write a play.


Previously — trained at l’École Internationale de Théâtre Jacques Lecoq and read English at Cambridge University.




Frances is a theatre producer and director who splits her time between East Sussex and London. She’s driven by a desire to create emotionally immediate, definitively beautiful theatre. 


Mainly — collaborates with the New Renaissance Collective to develop a brave, compelling and accessible programme of work; produces new writing and reimaginings of classics, such as Penelope Skinner’s Eigengrau (Waterloo East Theatre, September 2019), Paula B Stanic’s Tracks, currently in R&D with Park Theatre, and Helikon Theatre Company’s modern reworking of The Winter’s Tale (The Warren: The Hat, Brighton Fringe 2019).


Otherwise — works on large and medium-scale commercial theatre, recently including Saturday Night Fever, Blood Brothers, Cilla, The Mousetrap and Joseph and the Amazing Technicolor Dreamcoat.


Previously — worked in venue management at Brighton Open Air Theatre and read History at Oxford University, focusing on the Renaissance period. 

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