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our story

 

Vladimir Shcherban graduated from the Belarusian State Academy of Arts in 1997, specializing in Drama Direction. From 1997-1999 he worked at the Regional Dramatic Theatre in Mogilev. From 1999 he worked as a director at the Yanka Kupala National Academic Theatre until 2006, when he was dismissed for joining the Belarus Free Theatre. He directed the majority of BFT shows, including 4.48 PsychosisBeing Harold Pinter, Minsk 2011, Zone of Silence, New York '79, King Lear, Price of Money and Tommorrow I Was Always A Lion. These shows have toured internationally to huge critical acclaim. His shows have won a Fringe First, an Obie Award and been nominated for a Drama Desk Award in New York. He is the co-founder of Laboratory Fortinbras, an underground drama school in Minsk. In 2011 he received refugee status in the UK.

Oliver Bennett studied at Warwick University and trained as an actor at RADA. he has worked extensively on stage and screen, working with Edward Bond, Howard Barker, David Hare and David Leveaux. His credits include Backbeat (Glasgow Citizen's Theatre, West End, Toronto and LA), Tomorrow I Was Always A Lion, Price of Money (BFT), Worst Wedding Ever (Salisbury Playhouse), Booby's Bay (Finborough), The Coroner (BBC), All Is By My Side. He is also a writer, winner of the 2017 Mercury Playwriting Award and recipient of a Peggy Ramsay Bursary. His debut play Europe After The Rain opened at the Mercury in May 2018.

Vladimir and Oliver started working together five years ago on the show Countable/Uncountable at the Yard Theatre. They have collaborated on several BFT shows. They are currently developing several projects including a TV series, a short film, an original theatre script for a biopic of the death of Soviet director Vsevolod Meyerhold and his wife, who were tortured and murdered by Stalin, an adaptation of Kafka's A Judgement, as a response to the anniversary of the Velvet Revolution in Czechoslovakia. They founded international company HUNCHtheatre in May 2018 in order to work without any barriers - cultural, linguistic, political or bureaucratic - and find a new way of making theatre now.