© 2019  Asha Jennings-Grant

Theatre

William Shakespeare's Taming of the Shrew was a gender reversed production by theatre company Custom/Practice. Asha introduced the cast to Elizabethan and Historical dance styles. She also created the format and choreography for the final jig of the finale.

Asha worked on The Magna Carta Plays as Movement Director with Artistic Director of Salisbury Playhouse Gareth Machin. She specifically worked on the play Pink Gin where she explored rhythms and stylised movement sequences with the cast.

PUSH was a re-adaptation of the novel originally written by Sapphire. Created and devised by BA acting students at The Royal Central School of Speech and Drama, Asha worked specifically on the 1980s Hip Hop style of the play. She created the movement sequences that introduced the actors to the movement language and overall style that lent itself to the piece.

 

The award-winning Caligari Experience was a production combining film projection, digital graphics, live music and circus arts based around the gothic silent film The Cabinet of Dr Caligari. Asha's movement and choreographic work on the production highlighted pivotal moments in the film, both narrative and atmospheric. As well as ensemble work, she also worked closely with solo and duo circus performers in their specific fields.

 

Machinal, set in the 1920s, was a promenade piece leading the audience through alternate scenarios of the same story. Asha worked with the cast on Charleston and Lindy Hop dance sequences that were stylistically embedded into scenes. Machinal was performed by Rose Bruford College American Theatre Arts students.

Asha collaborated with director James Williams on the youth theatre production of Watership Down. Telling the story of a group of rabbits and their encounters with the rest of the animal world, she specifically worked on the animal movement qualities. She also advised on fight sequences and general staging.

 

Opera

 

Asha has worked on two operas with Highbury Opera Theatre: Benjamin Britten's Noye's Fludde and James MacMillan's Clemency. She offered her advise on general ensemble staging, movement sequences and character physicality. With Clemency, she worked very closely with the singers on their performance and presence as spiritual beings.