Cassandra In Souliloquy.

Performed by Julia Harari
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Troilus and Cressida.

In Souliloquy is devised and produced by V&T


Knowing can be such comfort to a bloody end.

Orlando In Souliloquy.

Orlando In Souliloquy from In Souliloquy on Vimeo.

More than trees grow in the woods.

Performed by Kaiden Du Bois
Written by Victorine Pontillon
Directed by Victorine Pontillon
After William Shakespeare’s As You Like It.

Special thanks to Jennifer Hook and Tilly Lunken.

In Souliloquy is devised and produced by V&T
Orlando In Souliloquy is part of Cycle 4 of this project.


Introducing: Lydia Lane as Marina.

We are excited to announce Lydia Lane joining In Souliloquy as Marina (after Pericles Prince of Tyre) for Cycle 4. This is an exploration of the inner strength of the character and the importance of knowing yourself.

headshot black and white lydia

Lydia Lane holds an MA in Acting (Theatre) from East 15 Acting School. After finishing her studies in 2010 she has been working consistently as an actress and voice over artist.

Recent work credits include Welcome to England (Bread and Roses Theatre), The Devil and Stepashka(The Space Theatre), Timeshare (Hen and Chickens), Last Man in Watford (Southwark Playhouse),Under The Skin (Tristan Bates), Agamemnon (Courtyard Theatre), a commercial for PHILIPS and the short film Jean and Jean. Lydia is an artistic associate of Goblin Baby Theatre Co., a London based activist theatre company and she has also been actively involved with Sibling Productions/Short Cuts Festival from 2012 till 2014. Furthermore she is part of the One Billion Rising campaign and a great supporter of Eve Ensler’s activist work.

At the moment she is taking part in the UNSEEN (a series of film acting workshops) run by directors and writers Arjun Rose and Carl Ramsey in collaboration with London Film Studios.


True strength comes from knowing yourself.


Introducing: Tracey Pickup as Lady Macduff.

We are delighted to be collaborating with Tracey Pickup in the role of Lady Macduff for In Souliloquy Cycle 4. Lady Macduff has so little voice in Macbeth – effectively reduced to a demonstration of how far Macbeth is falling into delusion. Here she records and unleashes her pain.

Tracey Pickup B_W

Tracey is a London-based theatre, screen and voice-over actress. She trained at the prestigious Maggie Flanagan Acting Studio in New York under intensive Meisner Training, and went on to complete her Masters at East 15 Acting School in London. Most recently she played the audacious Alice in Noel Coward’s ‘The Better Half’ to incredible reviews, and has filmed a couple of TV commercials for Halfords and Santander. Her passion and taste for Shakespeare began when she was only 12 years old when she played the role of Trinculo in ‘The Tempest’ in an outdoor adult community production in Devon, her home county. She has just filmed an new showreel and is very excited to be involved with Insouliloquy in the year celebrating Shakespeare’s 400th Anniversary!


A mother’s attempt to record the silence.

Introducing: Kaiden DuBois as Orlando.

Joining our In Souliloquy team for Cycle 4 is Kaiden DuBois – as Orlando (After As You Like It). In a tale of adventure in the woods we learn a little of how this boy grew into the man he became.


Kaiden graduated from Bath Spa University in 2011 with first class honours and has toured some of Shakespeare’s most beloved plays both nationally and internationally. Previous roles include: Romeo in Romeo and Juliet, Malcolm/Second Witch in Macbeth, Pompey in Measure for Measure, Jessica in The Merchant of Venice, amongst others. He has worked with Tilly before in her deliciously dark comedy Fresh Legs and is very excited to be joining the In Souliloquy family!


You can find out more on Kaiden’s website!

Much more grows up in the woods than trees.

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!

Why Ophelia?

One of my good friends loves art in the way I do – she becomes emotionally attached to it and it informs her own creative process and writing. One such piece is Ophelia – Millais. She loves it. We had dinner last week with two other friends and I had such a violent reaction to her raptures it led to an interesting discussion. She and one other emphasising how beautiful it is with the other side of the table not disputing the beauty but saying it’s also really, really horrible.


I just can’t bear this fetishising of death. Ophelia is not a lost love-lorn princess asleep in a river – she is a person who made the choice, the final choice to kill herself in a horrible way. Her death is not about flowers floating in dark water, it’s about sinking away from the light. It is such classical male gaze – to take a decision made by a girl and strip it of any meaning beyond aesthetics. I actually didn’t realised how angry about this until a) I wrote Ophelia and b) how surprised everyone was to my visceral disgust at seeing a postcard.

Ophelia In Souliloquy deals with this directly. She is at once accepting and embracing the she has chosen and also quietly furious at how it has been memorialised.

She doesn’t care if we do not understand why, but there is a why far beyond the absence we get in the play and the famous images of her death that litter our art history. In truth the images of her lying back forever half submerged make her skin crawl. Ophelia is honest, she does not care for beauty.


As you watch this performance, watch the lovely and talented Lilian Schiffer work her way through the shifts in the text as she rises above her grave. At some key moments her eyes focus on you watching and she won’t let you look away. Don’t paint over her pain, she says – I am far more than written. Listen to what I am saying and hear my grief, my anger, my despair and finally my salvation.

I think as artists we have responsibilities to engage with what has come before. There is no doubt that Hamlet is an incredible piece of writing and that Millais’ Ophelia is an exquisite rendering of a pre-Raphelite aesthetic – but think on this. The girl whose death is reduced to how it effects another and is only remembered as beauty? The female voice is so often removed or silenced from history. Ophelia is so much more than that. We are all more than that.

Ophelia In Souliloquy from In Souliloquy on Vimeo.

Perhaps one of the most important gifts we have as writers is that we can give others a voice. Think of how much richer our understanding can become by listening.

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!








Titania In Souliloquy.

Titania In Souliloquy from In Souliloquy on Vimeo.

Queen of more than she ever imagined.

Performed by Eliza Power
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Midsummer Night’s Dream.

Special thanks to Steven M. Levy & Charing Cross Theatre.

In Souliloquy is devised and produced by V&T.
Titania In Souliloquy is part of Cycle 3 of this project

Blue Feather by Kevin MacLeod (
Licensed under Creative Commons: By Attribution 3.0


Ophelia In Souliloquy.

Ophelia In Souliloquy from In Souliloquy on Vimeo.

She chose her own end. Don’t forget that.

Performed by Lilian Schiffer
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Hamlet.

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

In Souliloquy is devised and produced by V&T.
Ophelia In Souliloquy is part of Cycle 3 of this project.

Duet Musette by Kevin MacLeod (
Licensed under Creative Commons: By Attribution 3.0