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	<title>elinor lower</title>
	<link>https://elinorlower.com</link>
	<description>elinor lower</description>
	<pubDate>Sat, 07 Mar 2026 18:13:58 +0000</pubDate>
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	<item>
		<title>links</title>
				
		<link>https://elinorlower.com/links-1</link>

		<pubDate>Mon, 17 Jun 2024 10:35:58 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

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		<description>elinor lowerdirector / writer / dramaturg
for theatre + film

website


contact


play the prototype



we meet in the woods: project page


buy: haunting ashton court


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	<item>
		<title>film</title>
				
		<link>https://elinorlower.com/film</link>

		<pubDate>Sat, 07 Mar 2026 18:13:58 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

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		<description>DAWNBREAKER
Writer + Director
	
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	As her life-long guardianship of the sun's rise and set comes to an end, a ground-down recluse grapples with the scepticism of her eleven-year-old successor. A bittersweet drama short about what it means to surrender your life to something beyond your understanding.
Director Elinor Lower
Producer Esther Saunders-Jennings
Director of Photography Jack Offord
Editor Jon Aitken
Composer Jack Orozco Morrison
Production Design Holly Coulson

Art Director James Williams&#38;nbsp;

Cast Momoko Mackey + Heather Williams
Commissioned by Exeter Phoenix’s South West Filmmaker Fund. Premiered at Two Short Nights Film Festival 2026
OFFICIAL SELECTION&#38;nbsp;
2026 Sea Change Film FestivalHonorable Mention 2026 Brighton Rocks Film FestivalPRESS:&#38;nbsp;
Devon Cornwall Film Interview


DEAD WIFE HUG

Director + Co-writer
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	It is 1339. (It is 2025.) People are cold. One man, Thomas Blanquette, might have a solution. Written and shot over 48 hours, and based on a local Bristolian legend, DEAD WIFE HUG asks 'how do things get invented?' and, more importantly, 'does my wife have to die for me to make anything good?' A 48-Hour Short about loneliness, the mother of invention.
Director Elinor Lower
Producer Esther Saunders-Jennings
Director of Photography / Editor Jon Aitken
Composer Jack Orozco Morrison
Production Design James Williams
&#38;nbsp;
Prizes
WINNER: Best 48-Hour Film - Two Short Nights Film FestivalScreening link available.&#38;nbsp;


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SON OF HELIOS
2nd AD


	
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	Femi is running away from everything. An identity that no longer fits, the fate that’s already been written, a truth that’s outpacing him. But nothing is working.Director Julia Head
Written by Julia Head, Xahnaa Adlam + Young SixSixDOP Jack OffordComposers Daniel Forbes and Jack Orozco MorrisonProducers Hattie De Santis and Phoebe Holman Sound Editor Tom Codd
Associate Director Xahnaa Adlam
1st Assistant Director Phoebe Holman
2nd Assistant Director Elinor Lower
1st AC&#38;nbsp;Dominika Zieba
Sound Recordist David Bekkevold
Boom Oporators Paul Turner, Tom Codd




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	<item>
		<title>theatre</title>
				
		<link>https://elinorlower.com/theatre</link>

		<pubDate>Fri, 06 Mar 2026 12:02:33 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

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		<description>
GRIMM TALES
Director
	[images coming soon]
	Some princesses. A hare. Spirits and beasts. A clutch of folk tales you almost recognise. In this vivid adaptation of Grimm’s Tales, heroes fight for safety and love, animals squabble to outdo each other, and an archangel attempts to teach a scoundrel a lesson — who will succeed?

Performed at the&#38;nbsp;Palace Court Theatre by graduating actors from Arts University Bournemouth.“A production full of humour and creativity that invites the audience to let their imagination run free. [...] Our storytellers float and fly, race and walk through all eight stories with barely a pause for breath, [...] it is the choreography of the whole that shines.” – Scene One+

Director Elinor Lower
Writer-Adaptors Carol Ann Duffy and Tim Supple, from Kinder- und Hausmärchen by the Brothers Grimm
Costume Design Sofia Mols, Molly Walton, Chloe ShiptonSet + Prop Design Robyn Ashley

Hair and Makeup Design Amy Donnelly

Lighting Design Shae Carroll
Sound Design Elinor Lower with thanks to Ben Osborn and Bethany Stenning (Silver Ley)
Movement Direction Phao MayCompany Stage Manager Hannah McKenzie-Smith
Stage Manager Isabella Walsh-Sinclair

DSM Lily Gentleman
Assistant Stage Managers Joe Napier, Chas Dickenson&#38;nbsp;
Production Manager Ben Goodridge

Photography Scarlett Madison

THE ODYSSEY
Director
	[images coming soon]
	“Odysseus has been gone some twenty years since. What could prevent him from coming home, Telemachus? What could have kept your father away for so long?”
Two decades. An endless wine-dark ocean. A roiling world of adversaries, witches, gods and beasts. Odysseus needs to get home. But that’s in the hands of the Fates, isn’t it?

Performed in The Egg Theatre at Theatre Royal Bath as part of the New Waves Festival.&#38;nbsp;

Director Elinor Lower
Writer Hattie NaylorProduction Design Holly Coulson

Costume Design Lucy Howarth

Lighting Design Lloyd Evans
Sound Design Alex Heane

Movement Direction Anna-Louise FleetStage Manager Gemma Smith

Costume Assistant Sam Kenyon Hamp&#38;nbsp;
Workshop Assistant Sebastian Stevens

Photography Craig Fuller

THE FALL / LOVE AND MONEY&#38;nbsp;
Director
	
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	The Fall: A cast of young people confront the frightening prospect of ageing in a country undergoing crises of housing and care.
Love &#38;amp; Money:&#38;nbsp;Jess and David's ideal blend of love and money is killing them. Funny but heart wrenching, this ingenious drama dares us to enter a dislocated world of bad debts and even worse desires.
A black-box double bill performed by training actors at Bristol School of Acting.
A Headfirst Editor’s Pick.&#38;nbsp;
Director Elinor Lower

Writer James Fritz / Dennis Kelly
Stage Manager Amber Springett
Lighting Design Amy Mumford
Sound Design Moni Mclaren

Production Manager Becky Vowles
Photography&#38;nbsp;Mark Dawson



A FAIRY STORY ANIMAL FARM
Dramaturg
	
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	“Must not spoil the mood, the harvest festival of gentle beginnings. Everything is fine… and if it isn’t, history will tidy it up later.” 

A Fairy Story (Animal Farm) reimagines Orwell’s fable as a meta-surreal, visceral epic of revolution, memory and myth-making. Guided by a Pigeon’s fractured narration, the story unravels into a darkly comic collision of hope,&#38;nbsp;brutality and political reinvention. 
Played at Tobacco Factory Theatres by the graduating actors of Bristol School of Acting.
Director + Adaptor Maisie Newman
Dramaturg Elinor LowerProduction Design Hazel Low

Lighting Design Hugo Dodsworth
Sound Design Ben Osborn
Costume Rhi Good
Additional Writing and Dramaturgy Tom Dewey

Photography Craig Fuller




SINK

Associate Dramaturg; In development
	
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	In Hull, 17-year-old Alva is convinced her feelings control the weather. With impending meterological catastrophe and the surprise reappearance of her childhood best friend, Alva is forced to finally reckon with the depth of her feelings - and the impending doom on her doorstep.
Currently in development with Just Something Different. R&#38;amp;Ded at Artsadmin in 2025.
R&#38;amp;D TEAM:
Writer Clodagh Chapman

Director Maisie Newman
Producer Jess Donn for Just Something Different

Associate Dramaturgs Elinor Lower, James Varney, Sasha Georgette, mandla 
R&#38;amp;D Photography Tom Nevin
Supported using public funding by the National Lottery through Arts Council England.


PHONE PIECE
Dramaturg; In development&#38;nbsp;
	
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	System slippage. Benefits cuts. Bureaucracy. A work for a dancer, two musicians, four speakers, a phone and a microcomputer.Played at The Courts, Bristol.
Composer Calum Perrin

Dramaturg Elinor Lower

Dancer Lucy Waterhouse
Violinist Siobhan Clough

Cellist Zosia Jagodzinska
Tech Consultant Xavier Velastin
 

Producers Laura Mora Knight, Hattie DeSantis and Holly Beasley-Garrigan for Paraorchestra

Production Manager&#38;nbsp;Rachael Duthie
R+D Outside Eyes Rachael Clerke and Hyppolite&#38;nbsp;

Developed under Paraorchestra’s Artist In Residence Programme. 


	


	




ORCHESTRA
Director

	
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	In a church hall, somewhere in England, the best young wind musicians in the country are rehearsing. The pieces are hard, but they can work harder, and this time, they’ll be enough. This time, they’ll make you proud. They tune up, get their music ready, and play. But is striving for artistic excellence worth it if the cost is losing your soul?
Played at The Egg Theatre, Bath.
Director Elinor LowerWriter Charlie Josephine&#38;nbsp;Production Design Holly CoulsonLighting Design Alice BoalComposer Bethany StenningMovement Emily OrmeStage Manager Jack OpieDeputy Stage Manager Chaz WebbCostume Supervisor Ruby NexAssistant Stage Manager Bryony Harrison PettitProduction Manager Ed Borgnis Photography&#38;nbsp;Craig Fuller


I, JOAN
Director
	
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	An endless war. From nowhere, an unexpected leader emerges. Young, poor and about to spark a revolution. Rebelling against the world's expectations, questioning the gender binary, Joan finds their power within, and their belief spreads like fire.
Performed by the graduating actors from Arts University Bournemouth.
Director Elinor Lower

Writer Charlie JosephineProduction Design Alice DruryLighting Design Daniel ParkerComposer Joseph MylesMovement Clara Potter-SweetIntimacy Director Phao WheatleyFight Director Doug CockleCompany Stage Manager Hannah White-MackenzieAssistant Director Sarah AstburyStage Manager Darcy WatkinsDeputy Stage Manager Annika BryanProduction Manager Ben GoodridgePhotography&#38;nbsp;Scarlett MadisonProduction soundtrack&#38;nbsp;↓

joemyles · I Joan OST




WE MEET IN THE WOODS
Creator; In development

	
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&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/418e6fe4c91112055f9a5c1e71a6a2e0496ae154c23b99dc12fede04f3cd7933/WshedWinterShowcase24-Credit-ShamphatPhotography-87.jpeg" data-mid="245740883" border="0"  src="https://freight.cargo.site/w/1000/i/418e6fe4c91112055f9a5c1e71a6a2e0496ae154c23b99dc12fede04f3cd7933/WshedWinterShowcase24-Credit-ShamphatPhotography-87.jpeg" /&#62;

	An interactive theatre game exploring systems of co-creation and consensus building, beginning in a forest.Creator Elinor Lower

Technical Support Martin O’Leary

Photography ShamPhat Photography
R&#38;amp;D supported by the Pervasive Media Studio’s Winter Residency Programme.Play the prologue ↓we meet in the woods [prologue 1.1] by Elinor Lower



	


	













GREEN MAN
Dramaturg; In development


	
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	Tom is a rural West-Country teenager struggling to work out who he is, who he likes, and who he wants to become. One day he comes to school to find that his drama teacher has been replaced, changeling-like, by a compelling new man.

Writer Tom Mackean

Director + Dramaturg Elinor LowerPlayed at and developed with support from the Theatre Royal Bath’s Elevate Festival.
Audience feedback:&#38;nbsp;“A remarkable piece of writing and an intensely riveting performance.”“The language was so subtly articulated – the poetry so astute and resonant.”

“Intimate and intense, the momentum doesn't let you go for a moment. I felt myself holding my breath.”



BEAUTIFUL THING
Director

	
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&#60;img width="4560" height="3040" width_o="4560" height_o="3040" data-src="https://freight.cargo.site/t/original/i/7e02c193375c67e3586d3344fc0f33e13d01987169dc8986e3ed5d393b44a039/3-BSA-Beautiful-Thing-250523-048.jpg" data-mid="245743303" border="0"  src="https://freight.cargo.site/w/1000/i/7e02c193375c67e3586d3344fc0f33e13d01987169dc8986e3ed5d393b44a039/3-BSA-Beautiful-Thing-250523-048.jpg" /&#62;

	South East London, 1993.Section 28’s in the schools and the HIV/AIDS crisis has gripped the media, but in three flats on the&#38;nbsp; Thamesmead Estate, something small and beautiful is beginning to grow between teenagers Jamie and Ste.
Director Elinor Lower Production Design Gi VaseyLighting design Nicola CrawfordSound Design Jack Orozco MorrisonStage Manager Benedict JonesIntimacy Director Lex KabyProducer Joe SpurgeonPhotography Jack Offord
Played at Tobacco Factory Theatres. Performed by the graduating actors of Bristol School of Acting.



HAUNTING ASHTON COURT
Co-director; co-writer

	
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&#60;img width="4104" height="2736" width_o="4104" height_o="2736" data-src="https://freight.cargo.site/t/original/i/ae6266aba51a7fae31607e7efcdd2ad800ae92a8c5b89bf922f5188dddaa5ab2/Haunting-Ashton-Court-28.JPG" data-mid="245752007" border="0"  src="https://freight.cargo.site/w/1000/i/ae6266aba51a7fae31607e7efcdd2ad800ae92a8c5b89bf922f5188dddaa5ab2/Haunting-Ashton-Court-28.JPG" /&#62;

	What are the stories we tell about history? Who has permission to write them? What does it mean to recover those we have forgotten?Devised with a company of young Bristolians, invoking mediums from poetry to film to theatre, Haunting Ashton Court finds the threads of working-class stories, queer stories, Black stories – and pulls.
Directors Elinor Lower &#38;amp; Jack YoungLighting Designer Imogen SenterSound Designer Elinor Lower

Photograph Maria Meco Sanchez[ ] Haunting Ashton Court is a participatory theatre experiment. It investigates the archives around British Country Houses and plants seeds in the gaps. Facilitated by Jack Young and Elinor Lower, and inspired by Saidiya Hartman’s process of critical fabulation, we invite you to tell the stories that have been erased by centuries of ‘history-making’: queer stories, working-class stories, Black stories, tales of the more-than-human and more.

Publication: Haunting Ashton Court: A Creative Handbook for Collective History-Making




OPAL FRUITS
Dramaturg
	&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/22d06dcacd493ba3cbaf668d7324038be5230e34d3b106b13c687fedb9473610/Opal-Fruits_P1055621_Credit-Jai-Bansuri_2cd5e187370c1a76ca5f5bee8ee1ab13.jpeg" data-mid="245743307" border="0"  src="https://freight.cargo.site/w/1000/i/22d06dcacd493ba3cbaf668d7324038be5230e34d3b106b13c687fedb9473610/Opal-Fruits_P1055621_Credit-Jai-Bansuri_2cd5e187370c1a76ca5f5bee8ee1ab13.jpeg" /&#62;

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&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/be8cefad9b546d41a2bb305673afb67bce65d2cdf6fd9ab6900e4781e33752b1/Opal-Fruits_P1055710_Credit-Jai-Bansuri_2cd5e187370c1a76ca5f5bee8ee1ab13.jpeg" data-mid="245743314" border="0"  src="https://freight.cargo.site/w/1000/i/be8cefad9b546d41a2bb305673afb67bce65d2cdf6fd9ab6900e4781e33752b1/Opal-Fruits_P1055710_Credit-Jai-Bansuri_2cd5e187370c1a76ca5f5bee8ee1ab13.jpeg" /&#62;
	“In 1998 Opal Fruits changed their name to- we don’t say that name here. It was all downhill.”Armed with pick n mix, politics and UK Garage, Holly Beasley-Garrigan wants to talk about the fetishisation of the feral female. Opal Fruits is about class, nostalgia and five generations of women from one council estate in South London - an anarchic reimagining of the self-congratulatory solo show, and a wry interrogation of faux-working-class cultural trends.
“Utterly engaging” – Lyn Gardner
“An often-spiteful piece, occasionally tender, aesthetically pleasing and very, very poignant.” – Everything Theatre “A quiet slice of genius” – The Wee Review
“[A] skilled, funny, angular performance” – ThreeWeeks

★ ★ ★ ★ ★ – Everything Theatre
★ ★ ★ ★ – The Wee Review
★ ★ ★ ★ – Bristol Live
★ ★ ★ ★ – Three Weeks
★ ★ ★ ★ – &#38;nbsp;Breaking The Fourth Wall
★ ★ ★ ★ – Plays To SeeSupported by the Pleasance Futures ‘National Partnerships’ Award and Arts Council England.Performer &#38;amp; Writer Holly Beasley-GarriganDirector Maisie NewmanAssociate Director Jenny DaviesDramaturg Elinor LowerAssociate Dramaturg Caroline Williams 
Production Design
Anna Orton 
Associate Designer Olivia AltarasVideo &#38;amp; Lighting Design Rachel SampleySound Design Ellie Holland/DutchieProducers Tom Bevan &#38;amp; Millie Wood-DownieStage Manager Roshan Conn

Photography Jai Bansuri
Played at Pleasance Courtyard, then toured to Bristol Old Vic, Knowle West Media Centre and Streatham Space Project.
Further press:&#38;nbsp;“Beasley-Garrigan is an engaging performer, clearly alert to the paradox of mining her own background to make art that will be consumed by a primarily middle class audience.” - Natasha Tripney, The Stage

“a highly personal debut… demonstrates an ability to play with humour and injustice, and calls for wider representation on our stages” - Kate Wyver, The Guardian







HAMLET
Assistant Director
	
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	'Must I remember?'Hamlet's father is dead. His mother has remarried. He is alone with his thoughts. Then, he speaks. Haunted by grief, and with his world spinning violently out of control, Hamlet has to make some decisions: forget or remember; live or die.&#38;nbsp;Played at Bristol Old Vic.“Shadowy, impressionistic... Howle injects [Hamlet] with a sense of purpose and action”  — The Stage&#38;nbsp;
★ ★ ★ ★ — The Observer
★ ★ ★ ★ — The StageDirector John Haidar
Set Designer Alex Eales
Costume Designer Natalie Pryce

Lighting Designer Malcolm Rippeth

Composer &#38;amp; Sound Designer Max Pappenheim

Video Designer Jack Phelan
Movement Director Lucy Cullingford

Casting Director Sam Stevenson

Fight Director Bret Yount

Costume Supervisor Zoe Hammond

Assistant Director Elinor Lower
Cast Billy Howle, Niamh Cusack, Finbar Lynch, Jason Barnett, Mirren Mack, Taheen Modack, Isabel Adomakoh Young, Firdous Bamji, Catrin Stewart
Photography Marc Brenner



ON ĒGLOND, ON OÞERRE
Dramaturg; In development

	
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	 A bi-lingual Old English and Modern English Text. A translator, a beast, a guard, a slippage through time.&#38;nbsp;A many-headed cry against historically-driven nationalism and eco-fascism, On Ēglond speaks to the condition of becoming 'islanded' in time, place and ideology.May or may not be:  play-script / performance / beast tale / photography / digital installation / a handful of stones

Director Maisie NewmanComposer/Writer Rowan EvansDramaturg Elinor LowerDesigner Mimi Donaldson

Photography Chelsey CliffPig’s head made by Siobhan Raw
Supported by a Creative Fellowship at University College London, Institute of Advanced Studies (2019-20). &#38;nbsp;




	GIANT KILLERDEADWATCHGIANT KILLERDEADWATCH
	One year, the Great Cold.Her wæs se micla wintra.One year, the Chaos Among Birds.Her wæs þæt micle fugla wæl.
</description>
		
	</item>
		
		
	<item>
		<title>cv</title>
				
		<link>https://elinorlower.com/cv</link>

		<pubDate>Sat, 05 Jul 2025 13:04:44 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/cv</guid>

		<description>SELECTED CREDITS
THEATRE: DIRECTING&#38;nbsp;
&#38;gt; Grimm Tales — Arts University Bournemouth — 2026
&#38;gt; The Odyssey — The Egg Theatre — 2026
&#38;gt; The Fall / Love and Money — Bristol School of Acting — 2026
&#38;gt; Orchestra — The Egg Theatre / Bath Theatre Academy — 2025&#38;gt; I, Joan —&#38;nbsp; Arts University Bournemouth — 2024&#38;gt; Green Man —&#38;nbsp; R&#38;amp;D, The Egg Theatre — 2024
&#38;gt; Beautiful Thing — Bristol School of Acting — 2023
&#38;gt;&#38;nbsp;Haunting Ashton Court — co. dir. with Jack Young — Haunting the Archives / Ashton Court Arts Mansion — 2023

&#38;gt; Young Ferment — Bristol Old Vic — 2022
&#38;gt; Dance/Hyena/Skeleton — Bath Theatre Academy  — 2022
&#38;gt; Hamlet — dir. John Haidar — Bristol Old Vic — 2022 [as assistant director]
SHORT FILM: DIRECTING
&#38;gt; dawnbreaker — Exeter Phoenix South West Short Film Commission — 2026
&#38;gt; DEAD WIFE HUG — ratbird productions, Micro Short — 2025
winner, Best 48-Hour Film, Two Short Nights Film Festival&#38;nbsp;THEATRE: DRAMATURGY&#38;gt; A FAIRY STORY ANIMAL FARM — dir. Maisie Newman — Bristol School of Acting — 2026
&#38;gt; SINK by&#38;nbsp;Clodagh Chapman — R&#38;amp;D with Just Something Different — 2025 [associate dramaturg] &#38;gt; Phone Piece by&#38;nbsp;Calum Perrin — R&#38;amp;D with Paraorchestra — 2025
&#38;gt; Cripship by Joseph Wilk — ‘More than AI’ Sandbox / Watershed / MyWorld — 2024 *

&#38;gt; Ancestry by&#38;nbsp;Samantha Lindo — MOBO Help Musicians Fund — 2023
&#38;gt; Anansi’s Big Big Adventure by Edson Burton — Bristol Old Vic — 2022

&#38;gt; Opal Fruits by&#38;nbsp;Holly Beasley-Garrigan — Bristol Old Vic / Pleasance Courtyard — 2022

&#38;gt; Rechnitz — dir. Maisie Newman — Headlong Origins R&#38;amp;D — 2021

&#38;gt; On Ēglond, On Oþerre —&#38;nbsp;dir. Maisie Newman — FEN R&#38;amp;D / UCL Bloomsbury Theatre — 2020-1

*crip is a term that the makers of cripship, along with some of the disabled community, have reclaimed through disability scholarship, culture and activism. You can read about crip reclamation here.

AS WRITER / CREATOR&#38;nbsp;
&#38;gt; We Meet In The Woods — Watershed Winter Residency R&#38;amp;D — 2024



&#38;gt; [breathe] [wave] — BBC Arts New Creatives — 2019PUBLICATIONS&#38;nbsp;
&#38;gt; Haunting Ashton Court: A Creative Handbook For Collective History-Making — 2023 as co-writer/editor
&#38;gt; reach out {and the path diverges} — Art Licks Magazine Issue 27 — 2022&#38;gt; or perhaps — #WhoseFuture citywide billboard campaign, Rising Arts Agency — 2021
AS PRODUCER&#38;gt; Sudden Connections: Digital Commission Series — Bristol Old Vic — 2021&#38;gt; Young Sixsix Library of Black Writing — Bristol Old Vic — ongoing since 2020


OTHER WORK

SCRIPT READING&#38;nbsp;The Egg Theatre / Theatre Royal Bath
Bristol Old Vic Literary Department
FullRogue
TEACHINGBristol School of Acting — Theatremaking BA 

Bristol School of Acting — Stage and Screen BA
Bristol School of Acting — UAL Level 3 Extended Diploma in Acting 
Bath Theatre Academy — UAL Level 3 Extended Diploma in Performing and Production Arts&#38;nbsp;FACILITATIONNational Theatre Connections, Bristol Old Vic, Tender, Platform, Hauser + Wirth, Theatre Royal Bath, Tobacco Factory Theatres, Bath Spa University, Rising Arts Agency, Pervasive Media Studio / Watershed


RESIDENCIES
&#38;gt; Container Mag / B-Form Spatial Audio Residency — 2025-6
&#38;gt; Winter Residency — Pervasive Media Studio, Watershed Cinema — 2024
&#38;gt; International Schillertage Festivalakademie — Nationaltheater Mannheim, Germany — 2023
AWARDS&#38;nbsp;
&#38;gt; Best 48-Hour Film — Two Short Nights Film Festival — 2025 [for DEAD WIFE HUG]
&#38;gt; Top 10% BBC Writers Open Call — 2025

&#38;gt; Longlisted for Slick Films First-Time Filmmaker Fund — 2024
&#38;gt; Longlisted for Channel 4 TV Drama Writers — 2024


EDUCATION &#38;amp; TRAINING&#38;nbsp;PROFESSIONAL DEVELOPMENTBFI NETWORK, FilmHub South West — New Voices — 2025
Film London – Directors’ Lab – 2024The Script Factory — Screenplay Structure For Shorts Lab — 2024EDUCATIONBA English Literature (First Class Hons), University of Bristol

</description>
		
	</item>
		
		
	<item>
		<title>home</title>
				
		<link>https://elinorlower.com/home</link>

		<pubDate>Wed, 17 May 2023 22:29:56 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/home</guid>

		<description>

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</description>
		
	</item>
		
		
	<item>
		<title>about</title>
				
		<link>https://elinorlower.com/about</link>

		<pubDate>Tue, 28 Apr 2020 23:25:09 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/about</guid>

		<description>
	&#60;img width="4211" height="6316" width_o="4211" height_o="6316" data-src="https://freight.cargo.site/t/original/i/9610698c83ec27dd909e5d20f86a397696422ddcfaad92bcbaa20f221466aab6/Eli_Lower_headshot-cSam_Patching.jpg" data-mid="245770108" border="0"  src="https://freight.cargo.site/w/1000/i/9610698c83ec27dd909e5d20f86a397696422ddcfaad92bcbaa20f221466aab6/Eli_Lower_headshot-cSam_Patching.jpg" /&#62;
	elinor [eli] lower (they/them) is a director, dramaturg + writer based in Bristol.&#38;nbsp;Spanning theatre, film and other live + text-based forms, their work wrestles / dances with form, rebellion, queerness, environment, (multi)linguality, tenderness and teamwork. 
Selected recent credits include I, Joan (Arts University Bournemouth),  Phone Piece (Paraorchestra), and&#38;nbsp;Opal Fruits by Holly Beasley-Garrigan (Bristol Old Vic / Pleasance Courtyard).
They were a member of the BFI NETWORK New Voices Cohort for 2025 where they developed the short film Tick Box, currently in pre-production. Their short film dawnbreaker was commissioned by the Exeter Phoenix’s South West Filmmaker Fund and premiered at Two Short Nights Film Festival in 2026. Their micro-short DEAD WIFE HUG won Best 48-Hour Film at Two Short Nights Film Festival in 2025. They were the recipient of the 2024 Winter Residency @ Pervasive Media Studio, to develop a new immersive work:&#38;nbsp;we meet in the woods.
They were the Interim Assistant Producer of New Work at Bristol Old Vic (2022-23), and lecture on Bristol School of Acting’s Theatremaking BA and Stage and Screen BA. They are a Script Reader for The Egg Theatre, Theatre Royal Bath and Bristol Old Vic.





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</description>
		
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	<item>
		<title>DEAD WIFE HUG</title>
				
		<link>https://elinorlower.com/DEAD-WIFE-HUG</link>

		<pubDate>Tue, 26 Aug 2025 01:41:14 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/DEAD-WIFE-HUG</guid>

		<description>dead wife hug
by ratbird&#60;img width="1414" height="2000" width_o="1414" height_o="2000" data-src="https://freight.cargo.site/t/original/i/03d958358224af456a749ffef2239213953e537d2e1ace1842f000519f832bf2/DEAD-WIFE-HUG-poster.png" data-mid="237467211" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/03d958358224af456a749ffef2239213953e537d2e1ace1842f000519f832bf2/DEAD-WIFE-HUG-poster.png" /&#62;
director elinor lower
producer esther saunders-jennings
director of photography / editor jon aitken
composer jack orozco morrison
production design james williamsWINNER: Best 48-Hour Film - Two Short Nights Festival

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featuring
nia evans
james williams
esther saunders-jenningscontact for screening link</description>
		
	</item>
		
		
	<item>
		<title>orchestra</title>
				
		<link>https://elinorlower.com/orchestra</link>

		<pubDate>Sun, 03 Aug 2025 15:25:14 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/orchestra</guid>

		<description>orchestraby charlie josephine
directed by elinor lower&#38;nbsp;
design by holly coulson&#38;nbsp;


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creative team&#38;nbsp;director elinor lower&#38;nbsp;
designer holly coulson
lighting design alice boal
composer bethany stenning
movement emily orme
stage manager jack opie
deputy stage manager chaz webb
costume supervisor ruby nex
assistant stage manager bryony harrison pettitproduction manager ed borgnis&#38;nbsp;
photographer craig fuller</description>
		
	</item>
		
		
	<item>
		<title>i, joan</title>
				
		<link>https://elinorlower.com/i-joan</link>

		<pubDate>Tue, 26 Aug 2025 00:30:56 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/i-joan</guid>

		<description>I, Joanby charlie josephinedirected by elinor lower
design by alice drury
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creative team director elinor lower 
designer alice drury
lighting design daniel parkercomposer joseph mylesmovement clara potter-sweet
intimacy director phao wheatley
fight director doug cocklecompany stage manager hannah white-mackenzie
assistant director sarah astbury
stage manager darcy watkinsdeputy stage manager annika bryan
production manager ben goodridgephotographer scarlett madison
</description>
		
	</item>
		
		
	<item>
		<title>we meet in the woods</title>
				
		<link>https://elinorlower.com/we-meet-in-the-woods</link>

		<pubDate>Sun, 14 May 2023 22:17:30 +0000</pubDate>

		<dc:creator>elinor lower</dc:creator>

		<guid isPermaLink="true">https://elinorlower.com/we-meet-in-the-woods</guid>

		<description>we meet in the woods (a WIP)an interactive theatre game exploring systems of co-creation and consensus building, beginning in a forest.
it is a game. it is a play. it is a story. it is also a bunch of people hanging out in the woods, praying it doesn’t rain. (or that it does.)

it is grown from a curiosity about the ways that forests intuitively self-organise to share resources, disperse information and respond to threats (amongst many other things). I’m interested in our existing human systems for collective care and co-creation, and asking how we might non-extractively fall into step with forests and other ecosystems around us to become softer / wilder / more instinctively generous.
read the project blogs below&#38;nbsp;︎︎︎
&#60;img width="1082" height="1108" width_o="1082" height_o="1108" data-src="https://freight.cargo.site/t/original/i/db583999daad21a6dac2f6ad31e83478bba3073eb8028103511e291fa56c44da/blog-thumbnail-1-we_meet_in_the_woods-elinor_lower.png" data-mid="221820122" border="0" alt="ALT: blog post by elinor lower published 14th March 2024. title: on pushing yourself. an image above the title shows a video game-style title &#38;quot;we meet in the woods: an interactive theatre game (WIP)&#38;quot;" data-caption="ALT: blog post by elinor lower published 14th March 2024. title: on pushing yourself. an image above the title shows a video game-style title &#38;quot;we meet in the woods: an interactive theatre game (WIP)&#38;quot;" src="https://freight.cargo.site/w/1000/i/db583999daad21a6dac2f6ad31e83478bba3073eb8028103511e291fa56c44da/blog-thumbnail-1-we_meet_in_the_woods-elinor_lower.png" /&#62;
&#60;img width="1082" height="1106" width_o="1082" height_o="1106" data-src="https://freight.cargo.site/t/original/i/35351361a43c8eeb70bc4b112f9b0520d89259d9e52f8a1218181946d8b02aa1/blog-thumbnail-2-we_meet_in_the_woods-elinor_lower.png" data-mid="221820121" border="0" alt="ALT: blog post by elinor lower published 17th May 2024. title: prototyping wmitw. an image above the title shows a video game-style title &#38;quot;we meet in the woods: an interactive theatre game (WIP)&#38;quot;" data-caption="ALT: blog post by elinor lower published 17th May 2024. title: prototyping wmitw. an image above the title shows a video game-style title &#38;quot;we meet in the woods: an interactive theatre game (WIP)&#38;quot;" src="https://freight.cargo.site/w/1000/i/35351361a43c8eeb70bc4b112f9b0520d89259d9e52f8a1218181946d8b02aa1/blog-thumbnail-2-we_meet_in_the_woods-elinor_lower.png" /&#62;
play the prologue&#38;nbsp;︎︎︎
excerpted from blog post ‘prototyping wmitw’:&#38;nbsp;My ultimate narrative intention for the game is for it to be something that the players attempt (and succeed at) breaking.
But what is the moment where you first meet the game? Where you glimpse the palette of colours from which the game will draw? 

I wanted to explore how I might make that first moment—the process of ‘onboarding’—as low-stress as possible. For it to feel within the comfort zone of anyone considering playing.

As a first draft of this, I’ve developed a playable prologue, which would perhaps be sent to a ticket-holder the week before they travel to play the game itself in person. Within it, you get a sense of the character you’ll be playing as, the world in which they exist, and a tease of the narrative ahead. It also presents some early-stage choices. Choices (at the moment) don’t necessarily shape the later game, but they colour in your personal protagonist. Not everyone will end with the same picture of the character in their head. It will depend on the options they pick. 

You can play that here. (And if you do, please do leave feedback on the Google Form afterwards!)


we meet in the woods [prologue 1.1] by Elinor Lower

first R&#38;amp;D supported by the&#38;nbsp;Pervasive Media Studio’s Winter Residencies


&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/02178506eb3ffb6cc010cbec00e8ae0a5b2694db28e37951e410bbf79f8e5f6c/1.png" data-mid="205659117" border="0" alt="ALT: a screenshot of my profile on the PMstudio website, laid on top of a photo of a forest." data-caption="ALT: a screenshot of my profile on the PMstudio website, laid on top of a photo of a forest." src="https://freight.cargo.site/w/1000/i/02178506eb3ffb6cc010cbec00e8ae0a5b2694db28e37951e410bbf79f8e5f6c/1.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8c6f59b66699c531f5d6e189349bef3a9058ea39f250f0f64a7491fe78cac8da/2.png" data-mid="205659118" border="0" alt="ALT: overlaid on an image of a forest, text reads: &#38;quot;Elinor Lower is a Bristol-based writer, theatre-maker and participatory artist interested in how we are hyper-individualised as workers, citizens and humans. Elinor will develop we meet in the woods, a place-based multiplayer theatrical game exploring forest intelligence and the ways in which tactile technology such as vibration or sensors embedded in the landscape can make collaboration irresistible, and remind us of the parts of ourselves we have forgotten.  Elinor says:  &#38;ldquo;The idea stems from questions I&#38;rsquo;ve been needling at, about how we might create spaces for collective imagining/decision-making, weave ourselves back into natural spaces and become more porous to more-than-human intelligences. And crucially: how we might do this through stories, games, in ways that are ridiculous, active, fun. I hope to write some fictions, bodge some tactile technologies and invite people to come do some weird stuff together in the woods.&#38;rdquo;" data-caption="ALT: overlaid on an image of a forest, text reads: &#38;quot;Elinor Lower is a Bristol-based writer, theatre-maker and participatory artist interested in how we are hyper-individualised as workers, citizens and humans. Elinor will develop we meet in the woods, a place-based multiplayer theatrical game exploring forest intelligence and the ways in which tactile technology such as vibration or sensors embedded in the landscape can make collaboration irresistible, and remind us of the parts of ourselves we have forgotten.  Elinor says:  “The idea stems from questions I’ve been needling at, about how we might create spaces for collective imagining/decision-making, weave ourselves back into natural spaces and become more porous to more-than-human intelligences. And crucially: how we might do this through stories, games, in ways that are ridiculous, active, fun. I hope to write some fictions, bodge some tactile technologies and invite people to come do some weird stuff together in the woods.”" src="https://freight.cargo.site/w/1000/i/8c6f59b66699c531f5d6e189349bef3a9058ea39f250f0f64a7491fe78cac8da/2.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/40b5b90f1f962b6c754cc326e5cf5604718cfd8b0c51c6357ad8d372f7a39dce/residency-post.png" data-mid="205659119" border="0" alt="ALT: screenshot of Watershed blog &#38;quot;Introducing our winter residency artists&#38;quot; from Jan 2023. Visible text reads: Following an open call for our Winter Residencies programme we&#38;rsquo;re excited to introduce our two recipient artists. Responding to the theme of Other Minds their work will harness forest intelligence - the understanding that forest ecosystems, like societies, are maintained by communication and a collective intelligence - and give voice to domestic machines.  Watershed&#38;rsquo;s annual Winter Residencies programme is an opportunity for artists to develop incredible ideas at the Pervasive Media Studio, Watershed&#38;rsquo;s creative technologies research space.  This year we sought work exploring intelligences that are different to human intelligence: animals, machines, or something stranger.  We asked questions such as: What does it mean to live in a world filled with different forms of thought? How can we create an idea of humanness within computer networks, beehives, or forests, while still maintaining our essential humanity? And how can we use ideas like &#38;quot;artificial intelligence&#38;quot; to expand our understanding of the world, rather than creating new ways to exploit it? These are the kinds of questions we are thinking about, and we invited artists to bring their own." data-caption="ALT: screenshot of Watershed blog &#38;quot;Introducing our winter residency artists&#38;quot; from Jan 2023. Visible text reads: Following an open call for our Winter Residencies programme we’re excited to introduce our two recipient artists. Responding to the theme of Other Minds their work will harness forest intelligence - the understanding that forest ecosystems, like societies, are maintained by communication and a collective intelligence - and give voice to domestic machines.  Watershed’s annual Winter Residencies programme is an opportunity for artists to develop incredible ideas at the Pervasive Media Studio, Watershed’s creative technologies research space.  This year we sought work exploring intelligences that are different to human intelligence: animals, machines, or something stranger.  We asked questions such as: What does it mean to live in a world filled with different forms of thought? How can we create an idea of humanness within computer networks, beehives, or forests, while still maintaining our essential humanity? And how can we use ideas like &#38;quot;artificial intelligence&#38;quot; to expand our understanding of the world, rather than creating new ways to exploit it? These are the kinds of questions we are thinking about, and we invited artists to bring their own." src="https://freight.cargo.site/w/1000/i/40b5b90f1f962b6c754cc326e5cf5604718cfd8b0c51c6357ad8d372f7a39dce/residency-post.png" /&#62;




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actively seeking collaborators for future stages of development, particularly around sound design, radio broadcast and playtesting, so if it sounds like something you’d be into, please get in touch</description>
		
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