The richness of his ideas, intensity of vision and the precision of his direction confirm what I felt when I first came upon his plays, that here is a playwright with important messages to convey and with the skill and imagination to do this so vividly that the images he creates stay long in the mind.
Jeremy Kingston, critic for The Times, from the foreword to “Fulfil Me Fully, Phil and other plays”
Sebastian began writing creatively, with his grandmother’s encouragement, when he was 6. Over the years he has explored all forms of writing, but when he wrote his first play at 12, he fell in love with the medium, and has since experimented with what it means to write for theatre, constantly questioning the common norms and trying to find a new way to tell stories on stage.
He received his first assistant director job at the age of 16 and directed his first professional production when he was 18. He has since directed new writing and classics, bringing his unique twist to productions.
At the very late age of 19 he started dancing ballet and contemporary dance, before studying at the Laban Centre in London. Coupling his experience in theatre directing with dance, his choreography style, which combines highly technical dance moves with classic theatrical storytelling techniques, was never more apparent than in his production, God Cried Woof, which was inspired by, and set to, Beethoven’s third symphony in its entirety. He now mostly works as a movement director for theatre, but still dreams of one day choreographing all of Beethoven’s symphonies.
His first job after graduating from high school was translating plays for the Library Theatre, where he translated plays by Jez Butterworth, Somerset Maugham, Barry Reckord, David Mercer and more. Since then, he has developed his linguistic skills into many other forms, including books, subtitles, legal and medical texts, interpreting, editing, proofreading and many more. He never stopped translating for theatre though, continuing with his translation and adaptation of Büchner’s Woyzeck and Ibsen’s Peer Gynt, as well as Chanoch Levin’s The Child Dreams, by far, his favourite play to translate.
His passion for languages was explored when he had a residency with Nottle Theatre Company in South Korea in 2007, as well as when he worked with UKCI writing plays for schools in China. and has been continued through his translation work, and his teaching work.
For five years he worked as the Literary Manager at the Space in London, creating and managing many different programmes to help develop new writing.
His accolades include winning the Peggy Ramsay Award for writers, as well as being one of four finalists for the Best Director category at the 2010 OffWestEnd.Com Theatre Awards (the Offies), and being the only person ever to be nominated for three Offies in three different category sets.
You can read a review of his work by Jeremy Kingston of The Times by clicking here
and an analysis of his work by Gilat Vet, the Artistic Advisor to Acting Like Mad by clicking here