ET TU: Sebastian & Petruchio.

Et Tu – Sebastian & Petruchio. from In Souliloquy on Vimeo.

Sebastian – William Sebag-Montefiore
Petruchio – George Turner

Written by Tilly Lunken
Directed by Victorine Pontillon
In Souliloquy is devised and produced by V&T
ET TU: Sebastian & Petruchio is part of a cycle of six dualogues.

Music: Porsch Blues Kevin MacLeod (
Licensed under Creative Commons: By Attribution 3.0

Special Thanks to Steven M Levy and the Charing Cross Theatre.


Introducing the first release in our ET TU series! Sebastian is loved up and wants to fix the world, Petruchio is determined his love cannot be fixed.

Et Tu: Sebastian & Petruchio Filming – behind the scenes!

Welcome to our exclusive and exciting behind the scenes fun of our first Et Tu shoot!

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A moody Petruchio, brooding and all out of love awaits the company of Sebastian… reviewing his lines? There were so many great moments on this day!


At times it was very serious. And very fun.

We had a long day in the Players Bar (thanks to the Charing Cross Theatre for hosting our boy and their little drama). Many thanks again to George Turner (Petruchio) and William Sebag-Montfiore (Sebastian) for joining the team to work on Easter Sunday!

Hope you all had a lovely break – stay tuned for more behind the scenes easter eggs (totally went there) and updates as it gets edited and leading up to the release!



First Rehearsals for Et Tu!

Here, enjoy some sneaky pictures of rehearsals for Et Tu: Sebastian & Petruchio.


The first of which started our new favourite hastag #SociallyAcceptableManspreading!

Also featuring in this rehearsal – a director with script fanned out across the floor in an appropriate manner and a writer who used hers as a plate for biscuits.


Such intensity!

Thanks to Jon and George for a wonderful first rehearsal – it was a joy to see these characters leap off the page and onto the floor.

Don’t forget you can see them on stage next week (April 5th Waterloo East Theatre in #Briefs).


Introducing: George Turner as Petruchio. #EtTu

We are very excited to announce for Et Tu – George Turner playing the first of our very fine characters joining the expanding In Souliloquy family – Petruchio from Taming of the Shrew.

George is playing Petruchio both for our digital theatre piece and also live on stage for Briefs (Wednesday, April 5th, Waterloo East Theatre). We are chuffed to have such a great energy in the room!


Theatre: Barrett, A WEDDING TOO FAR, Platform Theatre. Mercutio, ROMEO & JULIET, The Hawth Ampitheatre. Mercutio, ROMEO & JULIET, Brighton Open Air Theatre. Eilert Lovborg, HEDDA GABLER, Gatehouse Theatre. Adam, SOMEONE WHO’LL WATCH OVER ME, The Bridewell Theatre. Steve, PINNING BUTTERFLIES, Central Saint Martins, The Royal Albert Hall. Peter, AFTER THE DANCE, Gatehouse Theatre. Tom, THE ACCRINGTON PALS, The Bridewell Theatre. Short Film: Eustace, WINKING IN THE GARDENS AT SUNSET, British Film Festival.

George plays a Petruchio who is a little bit lost, but his drunken meeting with Sebastian might just wake him up to what he has.

(Meanwhile if you are interested check out our Katherina – we reckon these two probably make a pretty fine pair).

Introducing… ET TU.

In super exciting news we are announcing a brand new series: ET TU.

Our first year was focused on writing and producing monologues – the form being ideal to explore what digital theatre means to us, but also a way we could ease into a world and build it up brick by brick. It makes then sense to announce as we enter our second year of production a new series of new pieces – six dualogues, each with two characters from different plays, curated into a new situation.

There are funny ones and serious ones (and yes drunk ones) but we can assure you you will recognise both the language, rhythms and voices of these characters even out of context!

Working in this slightly expanded form means we are pushing and exploring our medium, we are playing with what digital theatre can be and we are also expanding our world (yes, think Marvel, we are so there) to bigger stages bit by bit.

The first we are filming is ET TU: Sebastian & Petruchio where these two very quick-to-wed gents discuss the small matters of love and marriage. After Twelfth Night and Taming of the Shrew these men are married and have happy wives at their feet – which explains why they are both out getting drunk on their own in the middle of the night.

This script is also debuting LIVE, next Wednesday the 5th April at BRIEFS – a short play night at the Waterloo East Theatre. Tickets available here. Come join our loving husbands as they work out what it just might mean to have married the love of their life.

We will be announcing both our digital and live casts very soon!


Cycle 3 Character Recap!

Today marks the day we start our casting announcements for Cycle 4 – but before we move onto that. Here is a mini recap of who we heard from in Cycle 3.



Katherina In Souliloquy.


Tybalt In Souliloquy.


Cleopatra In Souliloquy.


Abhorsen In Souliloquy.


Ophelia In Souliloquy.


Titania In Souliloquy.

We hope you’ve enjoyed this varied collection of voices as much as we have!

Behind the Scenes Cycle 3!

A little selection of the work behind the scenes of shooting Cycle 3 and how fun at times it can be. Thanks again to everyone involved!








Katherina In Souliloquy.

Katherina In Souliloquy from In Souliloquy on Vimeo.

This Kate knows well the value of her kisses.

Performed by Annie McKenzie
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Taming of the Shrew.

In Souliloquy is devised and produced by  Victorine Pontillon and Tilly Lunken.
Katherina In Souliloquy is part of Cycle 3 of In Souliloquy

Court of the Queen by Kevin MacLeod (
Licensed under Creative Commons: By Attribution 3.0



Review: Taming of the Shrew at Shakespeare’s Globe.

Set in 1916 Ireland the Globe’s current production of Taming of the Shrew, is directed by Caroline Byrne and grounded in language and song. This understanding breathes fresh life into the central relationships, the world of the play and fills the theatre with wonderful music. Working with dramaturg to Morna Regan to frame the action with song was a clever way to engage with the text in a contemporary context. It’s then Aoife Duffin’s performance as Katherina who anchors the show – this song rising to bookend each act and her voice soaring up with a strength that we know will never be silenced.


Often described as a ‘problem’ play due to its seeming acceptance of domestic abuse and misogyny this play is normally updated or tweaked before being presented to a contemporary audience. Are we supposed to find that Petruchio doesn’t feed Kate funny? Is it witty that he won’t let her sleep or wash? It’s clear the text positions this interaction between the newly weds as a game but watching it on a stage is very uncomfortable and actually apart from anything else in this production feels false to his character.

The Petruchio in this version (Edward McLiam) has a whole lot going for him. He has a great beard, great coat, great boots and clearly loves both the idea of Katherina and her feistiness. He wears this quite openly and although he tricks her into a wedding she definitely likes him. No man has ever fought back with wit and strength and responded in kind to her fire – this one does and part of her wants to marry him. The scene where they meet is played out wonderfully – it really feels like a courtship of souls testing each other out.

Which is why I would argue it really doesn’t sit right when he rocks up to the wedding like he does and then proceeds to be horrible to her for ages – like this man as we have met him – would so not do that to that extreme and decay into the disgusting man he does. Petruchio only returns to himself once he puts on his coat again and he drags his new wife back to visit the others. Here, the games are more in actual play rather than downright abusive. I’m really not sure darkening him and the tone so much worked for either developing his character or their relationship – although it does force Kate on a desperate journey. It felt misplaced in contrast to their clear chemistry earlier.

That said when they kiss the entire audience collectively catch their breath at the romance and the interpretation of the speech at the end was great. Having recently studied this in significant depth it was revelatory to see it perform live and consider how other characters reactions (especially Petruchio) shape our understanding of her words. Katherina is no simple woman – she is far more complex and real than us all. Meanwhile while I was sitting there entranced and analysing it my dad was crying – so it hit out on many levels the perfect note.

There were a lot of power shifts that really worked but while I feel there were some beautiful new insights into the central characters, perhaps further interrogation of the midsection of the play might have realised them even more. Perhaps even having them connect too well too early undermined the violence? It’s really interesting that for a production that knocked that last speech by Kate out of the park, the ‘problem’ for me ended up in the middle.

In contrast the rest of the play – the other pair of lovers and the servants are all rather jolly, well performed, endearing and almost incidental. Casting women as the servents worked well and Imogen Doel in particular as Tranio has great fun. Gary Lilburn as Baptista is great as the out of depth patriarch and rival suitor for Bianca, Hortensio is an audience favourite. It is truly a strong ensemble performance. But the drama is where it should be – revolving around the central pair. The ins and outs of how that dynamic plays out is the heart of the play and Caroline Byrne doesn’t step or shy away from that.

Tying everything together all together is the wonderful music – which underscored the play and action beautifully. What is clear (in spite of my reservations) is this production is committed to vision and interpretation and that decision, supported by strong dramaturgical support makes this Taming of the Shrew really sing.


Four Angry Twitter Shakespeare’s for a most excellent experience and production!  Taming of the Shrew is currently playing. You can book tickets here.

PS. Shakespeare in Irish accents is the best – check out our Juliet in Souliloquy for further proof. Oh and keep your eyes peeled for our Katherina In Souliloquy for #Cycle3 – coming very soon to In Souliloquy. – Tilly x

Introducing: Annie McKenzie as Katherina.

We are delighted to annouce Annie McKenzie will play Katherina (after Taming of the Shrew) for In Souliloquy Cycle 3. This Kate knows well the value of her kisses.

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Since graduating from East 15, Annie has worked on many projects as an actor, writer and director; including Ionesco’s ‘The Bald Prima Donna’, and two seasons of work with all-female Boireannach Theatre Company. Annie’s solo show ‘Happiness is a Cup of Tea’ opens at Pleasance Courtyard on 3rd August as part of 2016’s Edinburgh Fringe, and she has been a part of the Soho Young Company since 2015, working on her first full-length play with dramaturg Chris White. Annie’s thrilled to be working with the In Souliloquy team, and can’t wait to get her teeth into Katherina, one of Shakespeare’s strongest female characters.

Annie is playing a Katherina who knows both herself and her husband well enough to know what their only possible future together can be.