Róisín McBrinn is a theatre director. She became Joint Artistic Director of Clean Break in 2018. Prior to this she was Head of the Artistic Programme since 2014 with responsibility for commissioning and developing writers and artists. She has directed many productions including shows at The Abbey Theatre, The Gate Theatre (Dublin), West Yorkshire Playhouse, The Donmar Warehouse, Sheffield Theatres, The Bush Theatre and Sherman Theatre.For Clean Break, she has directed Joanne by Deborah Bruce, Theresa Ikoko, Laura Lomas, Chinonyerem Odimba and Ursula Rani Sarma; House by Somalia Seaton; Amongst the Reeds by Chinonyerem Odimba; and Thick as Thieves by Katherine Chandler.Lauren Mooney is a writer, producer and dramaturg. She joined Clean Break in 2016 and worked as their Literary Producer until autumn 2018, supporting emerging writers and producing the company's engagement work in prisons. Since 2015, she has co-run Kandinsky Theatre Company with director James Yeatman, where her work as producer and co-writer includes Dog Show, Still Ill and Trap Street (all New Diorama Theatre). In 2019, the company’s work will include Dinomania (New Diorama Theatre), There Is a Light that Never Goes Out (Royal Exchange Theatre, Manchester) and a transfer of their 2018 show Trap Street to the Schaubühne am Lehniner Platz in Berlin. She is a graduate of the Royal Court Introduction to Playwriting course (2015) and has written extensively about theatre, arts and culture for Exeunt, The Stage and The Guardian. She is currently the David Higham Scholar on the Creative Writing MA at University of East Anglia.

A very thorough book with some extremely interesting activities outlined for rehearsing Shakespearean monologues.

• Clean BreakIntroduction Lucy Perman Acknowledgements Little on the inside by Alice Birch, B [ BLANK ] by Alice Birch, A Black Crows by Linda Brogan, Leonora Jadan by Danni Brown, Jadan Joanne by Deborah Bruce, Kath Didn’t Die by Annie Caulfield, Dinah Thick as Thieves by Katherine Chandler, Karen Spent by Katherine Chandler, Nat Apache Tears by Lin Coghlan, MerleHead-Rot Holiday by Sarah Daniels, Helen Trainers by Raina Dunne AKA Titch, Ellie Fingertips by Suhayla El-Bushra, Kidisti Pests by Vivienne Franzmann, Pink Sounds like an Insult by Vivienne Franzmann, Brenda Blis-ta by Sonya Hale, Kat Daddycation by Katie Hims, Jess The Garden Girls by Jacqueline Holborough, Mary Killers by Jacqueline Holborough, The Prisoner FKA Queens by Theresa Ikoko, Ngozi Firm by Daisy King, Stevie it felt empty when the heart went at first but it is alright now by Lucy Kirkwood, Dijana Wicked by Bryony Lavery, Rosie That Almost Unnameable Lust by Rebecca Lenkiewicz, Katherine Typical Girls by Morgan Lloyd Malcolm, Munch Amazing Amy by Laura Lomas, Amy Inside a Cloud by Sabrina Mahfouz, Carly A Bitch like Me by Natasha Marshall, Lesha Fatal Light by Chloë Moss, Jay This Wide Night by Chloë Moss, Marie Amongst the Reeds by Chinonyerem Odimba, Gillian Te Awa I Tahuti (The River that Ran Away) by Rena Owen, Toni Mules by Winsome Pinnock, Allie Taken by Winsome Pinnock, Della Yard Gal by Rebecca Prichard, Boo Joanne by Ursula Rani Sarma, Grace Red by Anna Reynolds, KayHouse by Somalia Seaton, Mama Mercy Fine by Shelley Silas, Mercy 21.23.6.15 by Sandrine Uwayo, A VoiceAnd I and Silence by Naomi Wallace, Dee Permissions Acknowledgements

Róisín McBrinn is a theatre director. She became Joint Artistic Director of Clean Break in 2018. Prior to this she was Head of the Artistic Programme since 2014 with responsibility for commissioning and developing writers and artists. She has directed many productions including shows at The Abbey Theatre, The Gate Theatre (Dublin), West Yorkshire Playhouse, The Donmar Warehouse, Sheffield Theatres, The Bush Theatre and Sherman Theatre.For Clean Break, she has directed Joanne by Deborah Bruce, Theresa Ikoko, Laura Lomas, Chinonyerem Odimba and Ursula Rani Sarma; House by Somalia Seaton; Amongst the Reeds by Chinonyerem Odimba; and Thick as Thieves by Katherine Chandler.Lauren Mooney is a writer, producer and dramaturg. She joined Clean Break in 2016 and worked as their Literary Producer until autumn 2018, supporting emerging writers and producing the company's engagement work in prisons. Since 2015, she has co-run Kandinsky Theatre Company with director James Yeatman, where her work as producer and co-writer includes Dog Show, Still Ill and Trap Street (all New Diorama Theatre). In 2019, the company’s work will include Dinomania (New Diorama Theatre), There Is a Light that Never Goes Out (Royal Exchange Theatre, Manchester) and a transfer of their 2018 show Trap Street to the Schaubühne am Lehniner Platz in Berlin. She is a graduate of the Royal Court Introduction to Playwriting course (2015) and has written extensively about theatre, arts and culture for Exeunt, The Stage and The Guardian. She is currently the David Higham Scholar on the Creative Writing MA at University of East Anglia.

A very thorough book with some extremely interesting activities outlined for rehearsing Shakespearean monologues.

• Clean BreakIntroduction Lucy Perman Acknowledgements Little on the inside by Alice Birch, B [ BLANK ] by Alice Birch, A Black Crows by Linda Brogan, Leonora Jadan by Danni Brown, Jadan Joanne by Deborah Bruce, Kath Didn’t Die by Annie Caulfield, Dinah Thick as Thieves by Katherine Chandler, Karen Spent by Katherine Chandler, Nat Apache Tears by Lin Coghlan, MerleHead-Rot Holiday by Sarah Daniels, Helen Trainers by Raina Dunne AKA Titch, Ellie Fingertips by Suhayla El-Bushra, Kidisti Pests by Vivienne Franzmann, Pink Sounds like an Insult by Vivienne Franzmann, Brenda Blis-ta by Sonya Hale, Kat Daddycation by Katie Hims, Jess The Garden Girls by Jacqueline Holborough, Mary Killers by Jacqueline Holborough, The Prisoner FKA Queens by Theresa Ikoko, Ngozi Firm by Daisy King, Stevie it felt empty when the heart went at first but it is alright now by Lucy Kirkwood, Dijana Wicked by Bryony Lavery, Rosie That Almost Unnameable Lust by Rebecca Lenkiewicz, Katherine Typical Girls by Morgan Lloyd Malcolm, Munch Amazing Amy by Laura Lomas, Amy Inside a Cloud by Sabrina Mahfouz, Carly A Bitch like Me by Natasha Marshall, Lesha Fatal Light by Chloë Moss, Jay This Wide Night by Chloë Moss, Marie Amongst the Reeds by Chinonyerem Odimba, Gillian Te Awa I Tahuti (The River that Ran Away) by Rena Owen, Toni Mules by Winsome Pinnock, Allie Taken by Winsome Pinnock, Della Yard Gal by Rebecca Prichard, Boo Joanne by Ursula Rani Sarma, Grace Red by Anna Reynolds, KayHouse by Somalia Seaton, Mama Mercy Fine by Shelley Silas, Mercy 21.23.6.15 by Sandrine Uwayo, A VoiceAnd I and Silence by Naomi Wallace, Dee Permissions Acknowledgements

Róisín McBrinn is a theatre director. She became Joint Artistic Director of Clean Break in 2018. Prior to this she was Head of the Artistic Programme since 2014 with responsibility for commissioning and developing writers and artists. She has directed many productions including shows at The Abbey Theatre, The Gate Theatre (Dublin), West Yorkshire Playhouse, The Donmar Warehouse, Sheffield Theatres, The Bush Theatre and Sherman Theatre.For Clean Break, she has directed Joanne by Deborah Bruce, Theresa Ikoko, Laura Lomas, Chinonyerem Odimba and Ursula Rani Sarma; House by Somalia Seaton; Amongst the Reeds by Chinonyerem Odimba; and Thick as Thieves by Katherine Chandler.Lauren Mooney is a writer, producer and dramaturg. She joined Clean Break in 2016 and worked as their Literary Producer until autumn 2018, supporting emerging writers and producing the company's engagement work in prisons. Since 2015, she has co-run Kandinsky Theatre Company with director James Yeatman, where her work as producer and co-writer includes Dog Show, Still Ill and Trap Street (all New Diorama Theatre). In 2019, the company’s work will include Dinomania (New Diorama Theatre), There Is a Light that Never Goes Out (Royal Exchange Theatre, Manchester) and a transfer of their 2018 show Trap Street to the Schaubühne am Lehniner Platz in Berlin. She is a graduate of the Royal Court Introduction to Playwriting course (2015) and has written extensively about theatre, arts and culture for Exeunt, The Stage and The Guardian. She is currently the David Higham Scholar on the Creative Writing MA at University of East Anglia.

A very thorough book with some extremely interesting activities outlined for rehearsing Shakespearean monologues.

• Clean BreakIntroduction Lucy Perman Acknowledgements Little on the inside by Alice Birch, B [ BLANK ] by Alice Birch, A Black Crows by Linda Brogan, Leonora Jadan by Danni Brown, Jadan Joanne by Deborah Bruce, Kath Didn’t Die by Annie Caulfield, Dinah Thick as Thieves by Katherine Chandler, Karen Spent by Katherine Chandler, Nat Apache Tears by Lin Coghlan, MerleHead-Rot Holiday by Sarah Daniels, Helen Trainers by Raina Dunne AKA Titch, Ellie Fingertips by Suhayla El-Bushra, Kidisti Pests by Vivienne Franzmann, Pink Sounds like an Insult by Vivienne Franzmann, Brenda Blis-ta by Sonya Hale, Kat Daddycation by Katie Hims, Jess The Garden Girls by Jacqueline Holborough, Mary Killers by Jacqueline Holborough, The Prisoner FKA Queens by Theresa Ikoko, Ngozi Firm by Daisy King, Stevie it felt empty when the heart went at first but it is alright now by Lucy Kirkwood, Dijana Wicked by Bryony Lavery, Rosie That Almost Unnameable Lust by Rebecca Lenkiewicz, Katherine Typical Girls by Morgan Lloyd Malcolm, Munch Amazing Amy by Laura Lomas, Amy Inside a Cloud by Sabrina Mahfouz, Carly A Bitch like Me by Natasha Marshall, Lesha Fatal Light by Chloë Moss, Jay This Wide Night by Chloë Moss, Marie Amongst the Reeds by Chinonyerem Odimba, Gillian Te Awa I Tahuti (The River that Ran Away) by Rena Owen, Toni Mules by Winsome Pinnock, Allie Taken by Winsome Pinnock, Della Yard Gal by Rebecca Prichard, Boo Joanne by Ursula Rani Sarma, Grace Red by Anna Reynolds, KayHouse by Somalia Seaton, Mama Mercy Fine by Shelley Silas, Mercy 21.23.6.15 by Sandrine Uwayo, A VoiceAnd I and Silence by Naomi Wallace, Dee Permissions Acknowledgements