Young People’s Theatre Director, 1987 – 1993
Deborah joined Half Moon Theatre as Director of the Young People’s Theatre in 1987. During her tenure she developed bilingual English/Sylheti-Bengali productions, the first one of which was Dear Suraiya… Love Rehana in 1988. Other productions she directed included Bad City, Peacemaker, Extra-Ordinary Behaviour, Bag Dancing, Fishing Up the Moon, Positive Knowledge, Rattlin’ the Cage, The Second Shoe and A Divided Kingdom.
Prior to joining Half Moon Theatre, Deborah was Assistant Director at the Unicorn Theatre for Children, led the young people’s programme and directed several productions at the Tricycle Theatre and worked with London Bubble Theatre. Since leaving Half Moon Theatre, she has been Director at Ovalhouse.
Full interview. Deborah Bestwick was Director of the Half Moon Theatre young people’s company in the late 1980s and became Director of Half Moon Young People’s Theatre in 1990. Interviewed by Aimee Thompson.
Deborah Bestwick was Director of the Half Moon Theatre young people’s company in the late 1980s and became Director of Half Moon Young People’s Theatre in 1990. She talks about the establishment of Half Moon Young People’s Theatre and the opportunities and challenges, including the new theatre on White Horse Road
Deborah Bestwick talks about Rattlin’ The Cage, the first show done by the newly established Half moon Young People’s Theatre in 1990.
Deborah Bestwick talks about the main house production of Peacemaker by David Holman.
Deborah Bestwick remembers the development of Kola Pata Bhut which came out of a writers scheme for Bangladeshi women.
Deborah Bestwick talks about the last main house production by the young people’s company, Fishing Up The Moon by Lin Coghlan.
Deborah Bestwick shares the development process of Dear Suraiya… Love Rehana and explains the impetus for the story.
Deborah Bestwick talks about the cultural and political context of the company’s work in the late 1980s.
Lin Coghlan was a writer-in-residence at the young people’s company in the late 1980s when Half Moon Theatre was on the Mile End Road. She talks about the methodology she used working with Deborah Bestwick.
Lin Coghlan talks about the importance of the bi-lingual productions and the impact this work had on her later career.