Meet the Cast – Jessie Jane Knowles (Part 2)

We held back a few of the questions we put to Jessie for you! If you haven’t read Part 1 of this interview do check it out to hear Jessie’s thoughts on movement, Shakespeare & the company’s development (click here for Part 1). If you’re up to date then read on for some more of her musings:

Continue reading “Meet the Cast – Jessie Jane Knowles (Part 2)”


“How much better is it to weep at joy than to joy at weeping!”

LEONATO speaking in Much Ado about Nothing,  Act 1 Scene 1

Meet the Cast – Jessie Jane Knowles (Part 1)

As we’ll be talking about our actors in most of our posts we thought we’d let you hear about their time with Entita in their own words.

Starting with Jessie Jane Knowles – our longest standing ensemble member who has worked with us on all but one of our shows. If you have any questions you’d like to ask Jessie, feel free to comment below and they might feature in Part 2!

Let’s get started:

So Jessie, how did you first get involved with Entita?

Continue reading “Meet the Cast – Jessie Jane Knowles (Part 1)”

“And keep my drooping eyelids open wide,
Looking on darkness which the blind do see.”

Sonnet 27 – William Shakespeare

Day 1 of R&D – “The undiscovered country”

Up until this point Curtain’d Sleep has only ever existed in ‘Safehouse 1’ in Peckham, as part of Basic Space Festival. Taking the piece out of a derelict Victorian house and converting it for a black box studio is the biggest creative challenge Entita has faced to date. Not only has this opened up huge design questions (which will be the subject of another post soon!) but the conversion will affect the whole tone of the show. Very few immersive shows have been reworked into more traditional studio performances, so to paraphrase Hamlet we are indeed stepping into “undiscovered country”.

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“Now go we in content

To liberty, and not to banishment.”

Celia speaking in As You Like It, Act 1 Scene 3

The Origins of Curtain’d Sleep

When Curtain’d Sleep first came to life in late 2015 it marked a significant departure from our previous work. The project was to be the first time we’d step outside the relative safety of a theatre space by mounting an immersive / site-specific production – a challenge both exhilarating and nerve-wracking in equal measure.

Curtain’d Sleep started as a simple question – why does Shakespeare’s Ophelia die offstage?
Continue reading “The Origins of Curtain’d Sleep”

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