Meet the team

BA (Hons) Directing


Alex Cahill

Lecturer in Theatre and Performance
Programme Lead, BA (Hons) Directing
Programme Lead, BA (Hons) Theatre and Performance
BA (University of Iowa), MLitt (University of Glasgow), PGCE (University of Missouri), PhD (University of Missouri)

Alex is a director with a special interest in Boalian techniques in actor training. She studied directing with professional British director Antonia Doggett, and American professional directors Eric Forsythe and Suzanne Burgoyne, and has apprenticed with Robert Wilson, Brandon Bruce, and Meredith Alexander. She trained in Theatre of the Oppressed as well as various acting techniques to create a unique directing style that focuses on the delicate balance between safety and vulnerability in actors.

Alex’s directing experience includes world premieres of the 2009 Centre for Human Rights Playwriting Award recipient Lisa Leaverton's 'How Catherine D_ Got Her Expression', the 2013 Yale Play Award recipient Jen Silverman's 'Akarui' (assistant director), and numerous short plays. Her direction has been critically acclaimed as ‘daring’, ‘exquisitely beautiful’, and ‘extraordinarily talented’.

Alex’s research focuses on the mental, spiritual, and social welfare of the performer, as well as theatre’s role in the larger community. Her collaboration with Dr Paul Warwick from the Centre for Sustainable Futures (CSF) resulted in the third year Applied Practices module. Using the allegory of genetic codes to illustrate sustainable education and applied practices, Alex and Paul seek to reimagine the basic foundation of these practices and redefine the translations between the performing arts students and the local, academic, and global communities.

John Matthews

Associate Professor in Theatre
Programme Lead, BA (Hons) Acting
BA (London), PhD (Surrey) 

John is a performer and theatre-maker with a special interest in practices of training for performance.

Professional work includes BBC Film Drama, productions at Pleasance Theatre London, Stratford Circus, Theatre 503 and the Shunt Vaults as well as installations at The South Bank Centre London and in the oldest operating theatre in the UK. 

The author of Training for Performance and co-editor of A Life of Ethics and Performance, before joining The University of Plymouth John edited HUB arts magazine and was the Research Fellow of The Stanislavski Centre. 

Lee Miller

Associate Professor in Theatre & Performance
BA (Liverpool), MA (Lancaster), PhD (MMU, Cheshire) 

Lee is a performance-maker with a special interest in site-specific performance practices and collaborative devising strategies. He makes work as part of the Fictional Dogshelf Theatre Company with his partner Joanne ‘Bob’ Whalley.

Professional work includes performances as part of the Liverpool Biennial, Hazard Festival Manchester as well as international venues including Theatre Academy, Helsinki.

As the holder of the first co-authored practice as research PhD to be undertaken in a UK University (with Whalley), he has published widely in journals and books about innovative research practices. Recent publications include Between Us: Audiences, Affect, and the In Between in which Miller and Whalley interrogate the role of the audience in the performative event. Chapters can be found in Research Methods in Theatre Studies, Research Methods in the Social Sciences, Blood, Sweat and Theory: Research through Practice in Performance, Practice-as-Research: In Performance and Screen.

Roberta Mock 

Professor of Performance Studies
Programme Manager, ResM Theatre and Performance
Director of the Doctoral College 
BA (East London), MA (Leeds), PhD (Exeter) 

Roberta is a performance-maker, theorist and historian whose research expertise includes experimental and avant-garde performance, gender and sexuality in performance, and the performance of Jewishness. From 1996-2006, she directed and performed with Lusty Juventus physical theatre, a company she co-founded with Ruth Way and Christine Roberts. 

The author of Jewish Women on Stage, Film and Television, editor of Walking, Writing and Performance, and co-editor of Performance, Embodiment and Cultural Memory, Roberta also edits the Playtext Series of theatre and performance writing for Intellect Books. She has written book chapters and journal articles about many performers and companies including Annie Sprinkle, Ron Athey, La Fura dels Baus, Marisa Carnesky, Roseanne Barr, Joan Rivers, Rachel Rosenthal, Oreet Ashery and Lynn Hershman. She is currently completing a book entitled Doing Performance Research with Baz Kershaw and Gillian Hadley.

Víctor Manuel Ramirez Ladron de Guevara

Lecturer in Theatre & Performance
Programme Manager, MA Performance Practice
MA (London/Surrey), PhD (London) 

Victor is a performer and theatre-maker with a special interest in acting training and intercultural theatre.

He has 22 years’ experience as a performer and director working in México and England and has trained in a range of diverse disciplines embracing aspects of Eastern as well as Western theatre praxis.

His publications include Any Body: The Multiple Bodies of the Performer in Performance Perspectives edited by Jonathan Pitches and Sita Popat. He is also the treasurer of the Standing Conference of Universities Drama Departments (SCUDD) and the UK.

Ruth Way

Associate Professor, Associate Head of School for Performing Arts
Subject Leader for theatre & performance department 
Programme Lead for BA (Hons) Dance

Three year professional training in Contemporary Dance and Choreography (The Place - London School of Contemporary Dance), PGCert (Plymouth), EastWest Somatic Movement Training (6 levels) with Sondra Horton Fraleigh.

Ruth is a dancer and choreographer with particular interests in dance on camera, performance training and somatic movement practice. From 1983-86 she studied further in New York at the Murray Louis Alwin Nikolais School, Merce Cunningham Studio and with Simon Forti and Meredith Monk.

Ruth performed with Dublin Contemporary Dance, Earthfall Dance and with Lusty Juventus physical theatre company. She has presented her practice as research through performative papers, articles, screenings and performances internationally. In collaboration with visual artist and film maker Russell Frampton, she has co-produced and directed dance/art films Enclave and Utah Sunshine and Blind Torrent. Her writing critically analyses these performance and filmic processes to investigate issues of liveness, perception and the body in landscape.

Josh Slater

Head of Movement
BA (University of Chester), MRes (University of Chester) 

Josh is a dance artist and theatre maker with a special interest in dance theatre techniques and practices. He is Artistic Director of enCompass Collective Dance Theatre, creating and performing dance theatre works nationally. Josh makes and tours works as part of Lord & Slater Theatre, Shelley Owen Dance, Piasecka & Piasecki Theatre and LAVERACK Art. Professional work includes performances as part of Lago Film Festival Italy, Cornerstone Festival Liverpool and Platform Festival Manchester.