Joel Horwood - Director
Born and raised on Whadjuk Nyoongar land, Joel graduated from the Acting program at the Western Australian Academy of Performing Arts (WAAPA) in 2014. While in their final year at WAAPA, Joel was cast as Henry in Next to Normal for Black Swan State Theatre Company, for which they were awarded Best Supporting Actor at the Performing Arts WA Awards. Since moving to Ngunnawal Country in 2018, Joel has worked across a broad range of projects, including voiceover work for the National Portrait Gallery, and a number of creative developments at The Street. Last year, Joel was honoured to receive the Helen Tsongas Award for Excellence in Acting at the 2024 ACT Arts Awards, following a prolific year on stage. Recent acting credits include Toby Darling in The Inheritance (Everyman Theatre, 2024 Ovation Award), Konstantin in Seagull (Chaika, 2024 Canberra Critics Circle Award), Warren in Ordinary Days (Q The Locals), Timothy Conigrave in Holding the Man (Everyman Theatre), Bobby Strong in Urinetown (Hayes Theatre & Heartstrings Theatre), and Jack Worthing in The Importance of Being Earnest (ACT Hub).
In 2023, Joel made their directorial debut with Noel Coward’s Hay Fever for ACT Hub. They followed this production with Shakespeare’s King Lear for Echo Theatre, Every Brilliant Thing by Duncan Macmillan (ACT Hub), The Moors by Jen Silverman (Lexi Sekuless Productions), Sweet Charity for Free-Rain Theatre, and most recently, John O’Donovan’s If We Got Some More Cocaine I Could Show You How I Love You for Everyman Theatre. A Doll’s House, Part 2 marks Joel’s first production at Canberra REP.
On screen, Joel has appeared as Josh in Last King of the Cross (Paramount +), Dan White in Secret City (Foxtel) and Len Barwick in The War That Changed Us (ABC/Electric Pictures). In 2021, Joel made their feature film debut in The Greenhouse (Thomas Wilson-White) which was selected for BFI Flare in London, Frameline in San Francisco, and won Best Australian Feature at Melbourne Queer Film Festival. Joel will also feature in Snatchers, a film by Craig Alexander and Shelly Higgs, set to premiere at Raindance in London later this year.
Tom Berger - Set Designer
Although Tom is a newcomer to REP, having only joined earlier this year, he put his hand up when a set designer was needed. This being his first set design, he is very grateful for the opportunity, and for the assistance that everyone at REP have given him. He is very happy with the outcome, as are the director and the construction team. Tom hopes to continue working creatively for the years to come.
Lachlan Houen – Lighting Designer
Lachlan is a theatre director and lighting designer living and working on Ngunnawal land. Currently in his final year of a BA (English) at the ANU and working at The Q, Lachlan has developed a passion for the performing arts. His directing credits include The Laramie Project (2022), An Ideal Husband (2022), Mr Burns, A Post-Electric Play (2023), Lord of the Flies (2024), Mojo (2025) and Blithe Spirit (2025). His assistant directing credits include Five Women Wearing the Same Dress (2024, dir. Steph Roberts) and The Inheritance (2024, dir. Jarrad West). He is thrilled to be directing The Almighty Sometimes at The Q in November, which will mark the debut production of his theatre company, Off the Ledge Theatre. Lachlan’s lighting credits include Mojo (2025), If We Got Some More Cocaine… (2025, dir. Joel Horwood) and The Inheritance (2024, dir. Jarrad West), for which he was awarded Outstanding Achievement in Lighting Design at the 2025 Ovations Awards.
Helen Drum – Costume Designer
Helen hopes you enjoy REP’s production of this modern extension to a well-loved play. Designing for this play is a personal sequel—having designed the costumes for REP’s 2019 production of A Doll’s House. But there the comparison stops—the modern concept leads well—enjoy!
Helen has also designed costumes for REP’s productions of Away (2024), Home I’m Darling! (2023), Hotel Sorrento (2022), The Grapes of Wrath (2020), A Doll’s House (2019), One Man, Two Guvnors and Oh! What a Lovely War (2018), A View from the Bridge (2017), Witness for the Prosecution (2016), Gaslight (2015), Arcadia (2014) for which she was awarded the 2014 CAT Award for Best Costume Design, Jazz Garters 4 (2013), The Memory of Water (2012), The Pig Iron People (2011), part of the design team for Lady Windermere’s Fan (2010), Moon over Buffalo (2010), Les Liaisons Dangereuses (2009), Cosi and The One Day of the Year (2008), Elizabeth Rex and Hay Fever (2007), The School for Scandal (2006), After the Lions, Galileo, Amadeus, Charley’s Aunt, 84 Charing Cross Road and The Rivals—and helped out on a few more.
Neville Pye – Sound Designer
Neville has produced an impressive array of sound effects for this production, which have been skilfully interwoven into this show. He always goes above and beyond – sometimes waaaay beyond! His dedication is deeply appreciated by all who work with him, as indeed are the ear plugs, during cast warm ups. Over the past 9 years Neville has been the Sound Designer for more than 50 theatre productions and radio plays, with Shadow House Pits, Canberra REP, papermoon theatre, Alchemy Artistic, Chaika, Everyman, and Echo Theatre. His most recent highlights have been The Boys, Rosencrantz and Guildenstern are Dead, Three Tall Women, and Sense and Sensibility (2022); Holding the Man, Amadeus, The Children, and King Lear (2023); Seagull, Dead Man’s Cell Phone, A Streetcar Named Desire, Lord of the Flies, Away, and Bloody Murder (2024); Baby Jane and, most recently, The House of Bernarda Alba (2025).
Rosemary Gibbons - Properties
Rosemary moved to Canberra a couple of years ago and after a lifetime of involvement in amateur theatre in NZ, can be found either acting on stage or assisting anywhere backstage. Truth be told, she really just enjoys being part of a talented team. As part of the team for this production, her principal role is sourcing and managing props.
Rosemary also helps out with REP’s administration, and provides invaluable assistance to both our Business Manager and the Canberra Repertory Society itself.
