Theatre Deli is delighted to announce our 2022 programme of residents who will be working with us in Sheffield and London over the summer.

"We are incredibly excited to announce our biggest (and best) residency package to date. We are super passionate about supporting artists and cannot wait to see what great work comes from the artists who are part of this diverse and accessible residency scheme"
Nathan Geering, Co-Artistic Director, Theatre Deli

Theatre Deli will support this talented cohort with space, expertise and funding to develop their work as part of our XL Residency, Classic Residency and Access Residency schemes.

Scroll down to meet our 2022 resident artists and explore their projects...

A black man wearing black jeans, a black jacket, a pink top and trainers stands on a stage next to a drum with his hand to his ear as if listening for the audience.

TATU Stories of healers (working title) by Butshilo Nleya

It's a Motherf**king Pleasure by FlawBored

A white man in a swimming hat and tank top poses in a diving position facing the camera in front of a fountain.

On a dimly lit stage, a contortionist bends on a stand with her arm outstretched in front of a project.

The Swimmer by Charlie Hammond

Chochma ‎חוכמה by Hannah Finn

A shadow of a head and hand on a pavement

Zakiyyah, a Black woman in hear early twenties, leans against the railing outside no. 10 Downing Street

I, Lord by Response Ability Theatre (R.A.T.)

why a black woman will never be prime minister by Zakiyyah Deen


TATU Stories of healers (working title) by Butshilo Nleya

Butshilo Nleya, a  black man wearing black jeans, a black jacket, a pink top and trainers stands on a stage next to a drum with his hand to his ear as if listening for the audience.

TATU *Stories of healers* (working title)
is a Zimbabwean-theatre-in-Britain-performance piece about the experience of displaced healers struggling with the hostile environment, disconnection from their heritage and purpose. Set in Yorkshire, it traces cross generational journeys from the hut, to the townships to council estates dealing with the same issues of patriarchy and poverty. The piece celebrates African dance, singing, mime together with drama through a rich physical and rhythmical performance style.

Supported by Sheba Arts 

About Butshilo

Butshilo is a theatre of the oppressed trained Zimbabwean playwright, artistic director and percussionist whose work centres on place, home and the multiplicity of cultures. Since 2002, he has worked in Africa, Europe and the USA, using words, music and dance to explore the language of cultures, migration, identity and diversity. | Instagram: @_butshilo_ | Twitter: @butshilo 

It's a Motherf**king Pleasure 

Aarian and Sam from FlawBored stand on stage. Aarian wears dungarees and holds a  cane while Sam wears a jazzy suit and looks animated.

In a world where anything and everything is driven by profit, major corporations take advantage of oppressed groups as a way of generating income. But the idea of Blindness has somehow not been commodified as cool or sexy ...yet. A social media star goes viral for an ableist video causing severe backlash for their talent management agency, RIZE Talent. Using their only Blind talent manager as a levy, RIZE Talent desperately try to build the career of a Blind influencer in an attempt to cauterise a PR wound.

"It's a Motherf**king Pleasure" has been shortlisted for the LET Award, The Charlie Hartill Theatre Reserve Fund and is the winner of the Greenwich Theatre Award 2022.

Supported by Pleasance Theatre, Watermill Theatre, Wildcard Theatre, Camden People's Theatre, Theatre Deli and Greenwich Theatre

About FlawBored

is a disability-led theatre company that creates ensemble-based work. We formed out of a need to reinvigorate the way access is considered both within shows and within the rehearsal room, believing that access is not an afterthought. We work through play and access is at the core of everything we do; it’s in the way we devise and therefore it is integrated into the show. A FlawBored show is cheeky, chaotic and most importantly is not disability ‘trauma-porn’ or ‘pity-porn.’ Our ethos is built by our motto ‘Access is easy if you care’. | Instagram: @flawbored_ | Twitter: @FlawBored


The Swimmer by Charlie HammondCharlie Hammond, a white man in silly blue waterproofs and a pink swimming cap holds a blue paddling pool in a city centre and looks faux seriously at the camera.

The Swimmer
is a street show about stupidity, synchronised swimming, getting wild, and land rights. Come join The Swimmer as he sets up the perfect spot for a quick splash, and celebrate in the delights of the outdoors, embracing the cold (and wet) and generally being silly in public. This project is in its development stage, and I am currently looking at how to further engage with communities and work with others interested in outdoor and public space usage, as well as issues around connection, well-being, and community building.


About Charlie Hammond

Charlie is a a clown and performer based in Sheffield and, over the past 9 years, who has created work that is physical, participatory, comic and at times poignant. Charlie has performed throughout the UK and internationally, in theatres, live-art nights, cabarets, and on the streets. Charlie wants to foster participation and connection through performance, and to use disruptions of normality to engage people in their surrounding space. Charlie cares about public space, land rights, and building communities. Charlie has worked with Reckless Invention, Pif-Paf, Giffords Circus, and as a Giggle Doctor for Theodora’s Children’s Charity. | Instagram: @charliemhammond 


Chochma ‎חוכמה by Hannah Finn

Hannah Finn, a white woman wit long brown hair, bends backwards on a dimly lit stageHannah Finn, a white woman wit long brown hair, bends backwards on a dimly lit stageHannah Finn, a white woman wit long brown hair, bends backwards on a dimly lit stage

Chochma ‎חוכמה means wisdom in Hebrew. It speaks to the intuition and wisdom of Hannah Finn’s great-grandmother, who fled Poland just before the Holocaust, and her mother’s decision to leave an abusive relationship. Using contortion, spoken word, physical theatre and contemporary dance, Hannah draws on the strength of her female Jewish ancestors and their incredible stories of survival to regain her own power. Each story is told with a distinct movement quality and weaved together by the feral, untamed wild woman archetype from Women Who Run with the Wolves by Clarissa Pinkola Estes.

Performer and artistic devising: Hannah Finn
Artistic director: Michelle Man
Composer of original music: JJ Lyon
Production: Sascha Goslin and Thea Woodrow

Thank you to my Great Uncle Irwin Feigelman, Adrian Berry and my other mentors on the project.
Dedicated to Sheila Friedman, Rachel Finn, and Rachel Feigelman

Image credits: Chris Welch

About Hannah Finn

Hannah is a Jewish contortionist known for her fluid performance blending dance, physical theatre, and contortion, and creating autobiographical work that addresses her intersecting identities. She draws on themes of feminism and her experiences of antisemitism, invisible disability, and the multifaceted layers of being neurodiverse as stimuli. Hannah stands out with her high level contortion, often performing on her one of a kind spinning cube, and blending her contortion with breakdance elements. She also performs the rare discipline of the Marinelli Bend. Hannah has trained under various acclaimed artists and has performed at venues such as The Birmingham Hippodrome, The Roundhouse, London, and The Place, London.

I, Lord
Response Ability Theatre (R.A.T.)

A shadow of a head and hand on a pavement

Evie can’t pray. Ayeza can’t stop praying. Priya doesn’t want to pray. Jules is scared that the church will get shut down if no-one comes to pray. Will you take this time to pray, or will you find your mind wandering? Part-play, part-service, Response Ability Theatre’s second show I, Lord takes you inside a variety of contemporary experiences of religious abuse and spirituality gone awry. Who defines what’s right and wrong? What right do we have to decide for ourselves? And how do we know which path is ours with so many urgent voices calling us to their side?

Supported by Survivors' Voices 

Written by Nell Hardy
Co-Directed by Layla Madanat and Nell Bailey

About Response Ability Theatre (R.A.T.)

Response Ability Theatre (R.A.T.) makes socially conscious work to represent and support people whose lives have been derailed by trauma. Our shows reflect contemporary experience in poetic ways, telling stories of systemic exclusion with vivid attention to the impact it has on the human psyche. We invite our audiences to recognise themselves and each other in the stories we tell, with humility, empathy, humour, and enthusiasm for the change we all can enact through collective awareness, forgiveness and kindness. We aim for our audiences and participants who meet us feeling like rats, to leave us feeling that bit more human. | Twitter: @R_A_Theatre

why a black woman will never be prime minister
by Zakiyyah Deen

Zakiyyah, a Black woman in hear early twenties, leans against the railing outside no. 10 Downing Street

why a black woman will never be prime minister
is a play written by Zakiyyah Deen. When a young black woman (from south London) and a mayor (soon to be prime minister) keep meeting in likely circumstances (a lecture hall, a unisex toilet and a post-grad internship), we learn why a black woman will never be prime minister. For over 300 years we have had prime ministers in charge of running this country and not once has it been a black woman or even close to being one. Set in present day London this play is a two hander with two characters representing two sides of the argument and essentially two different worlds.


Image credit: Xanthus (@k.jcaptures) 

About Zakiyyah Deen

Zakiyyah Deen is an actor, writer and voice over artist based in London. She aims to show passion and compassion in everything she does. Pieces that will have you laughing one minute and deeping life the next. Acting wise she has worked on Small Axe (directed by Steve Mcqueen) and Enterprice S2 (created by Kayode Ewumi). Her personal essays have been published in The Guardian, sweet-thang zine and BasementApproved. She also wrote a radio play titled Stolen (commissioned by The Tower of London) and a short play titled just trying a ting (commissioned by VAULT Festival in 2020). | Instagram: @zakiyyahdeen  | Twitter: @zakiyyahdeen