Lara Stavrinou – Playwright

Lara Stavrinou has written for youth theatres, had worked staged at the Hampstead Theatre's Start Night, and had a play performed as part of the Runnymede literary festival whilst she completed her degree in Drama and Creative Writing. Derelict itself has had readings at Theatre503 and at the Hampstead Theatre.

Lara has also worked on various creative learning projects with the Hampstead Theatre, where she teaches year 5 and 6 students to write plays. She also worked as the assistant Dramaturge for a recent new writing endeavour between the Hampstead Theatre and the RSC and enjoys freelance work in Literary departments (especially when it involves reading new scripts and developing other artists). She is currently embarking on the Royal Court Young Writers’ programme and hopes to continue exploring pertinent contemporary issues in her writing, without ever losing touch with the raw humanity that can make theatre so poignant. She believes in flawed characters, contentious issues, and the beauty that lies in honest writing.


Simon Cummin - Executive Producer:

Simon’s passion is producing theatre in unusual and exciting spaces. He has produced work in diverse spaces, such as Victorian prisons, a Regency period mansion and catacombs.  He is a great believer that theatre should be responsive and aware of its environment. His most recent project ‘Home’ was a three day mini site-specific festival, giving artists the opportunity to develop work in a space with its own unique character. The diverse range of work produced at the festival reinforced his belief that found space and site-specific theatre is not stylistically limited – every project has its own flavour.


Lotty Englishby - Director

Lotty Englishby studied Drama and Theatre at Royal Holloway University before working on a range of projects as a costume designer, deputy stage manager and wardrobe mistress. She is now pursuing her passion for directing after being inspired by working with Alison Hodge at university.
Lotty is keen to create theatre which is relevant to the current political and economic climate. She advocates unusual staging techniques, especially performance techniques which immerse the audience more than archaic end-on configurations. She wants to welcome them into the vibrant world of the squat and thereby encourage them to entertain their own opinions and form allegiances with the characters they meet there