Board

Vacancy

Foursight Theatre are currently looking to recruit a new Chair of the Board, for more information, please click here.

Anouk Perinpanayagam (Chair)

Anouk is a freelance arts consultant and poetry practitioner. She has been involved in the cultural sector for the last twenty years, working in administrative and managerial capacities with national and international touring theatre companies including Producer with The Right Size, Administrator with Scarlet Theatre in London and Co-Director at The Pegasus Theatre Oxford. She then moved to the West Midlands and into the dance sector working with Kokuma Dance Theatre, Claire Russ Ensemble and Chitraleka Dance company after which she worked with the Performing Arts department of West Midlands Arts. The last seven years have concentrated on widening her ‘portfolio’ career across an eclectic mix of clients and projects embracing professional development, training, mentoring and coaching as well as organisational and audience development, and research. Aside from Foursight, Anouk is also on the Board of the Birmingham Rep Theatre and the Ikon Gallery, and is an adviser to the British Council and Arts Council England.

Sally Cook (Vice Chair)

Sally joined the Board of Foursight several years ago and served as chair from 2003-2005. In addition, she serves on the board of Village Playhouse – all this for an inveterate non-theatrical. She is currently also heavily involved in running Whitmore Reans Credit Union - a community-based, profit sharing, financial co-operative - in a voluntary capacity. Paid work is in the form of gardening, regularly for one and intermittently for a second elderly person.

Sally is 52, the mother of 4 adult-ish children and lives in Whitmore Reans with the youngest of them, her partner Tom and friend Chris. She has lived in Wolverhampton since 1988 and has previously lived in Telford, Bristol, London, Sheffield, Newcastle-upon-Tyne and Barton under Needwood, a large village. She will never willingly live in a village ever again.

Having positively chosen to care for her children at home as they were growing up, Sally has had a spasmodic but varied work history since graduating in the distant past. She has worked as a nurse, library assistant, bar person, conference planner, information officer, social work assistant, child minder, life model and gardener. Previous voluntary work has included 5 years as a counsellor with Shropshire Rape Crisis and 10 years on the Management Committee of Whitmore Reans Community Day Nursery. She has also served for a total of 16 years as a school governor in the Wolverhampton primary and secondary sectors. She has always been involved, to varying degrees, in politics including the Labour Party (in more hopeful times!), Bristol Women’s Council, Latin American Solidarity, CND and Miners’ Support Groups. She is currently a paid-up but non-active member of both Amnesty and the Palestinian Support Group and regards her commitment to and work with the Credit Union as political in the most potent sense.

Sally’s passions are her family as widely defined - including her extended family and friends-made-family - gardening alone and peacefully, and history. The qualities she most values in people and thus aspires to are kindness and constancy.

Dawinder Bansal (director)

Dawinder has worked in the arts for just under 5 years. Working as a freelance writer and project manager she has managed and continues to work on a variety of arts and heritage projects across the West Midlands. Clients include BBC, Channel 4, Maverick TV, Birmingham REP, mac, Arena Theatre, English Heritage and Dudley Metropolitan Council. Dawinder writes for 4talent, the Channel 4 website dedicated to creative industries. She also has a regular comedy column called The Two Rannies for Asian Woman magazine and organises comedy nights for established and up and coming comedians.

Dymphna Callery (director)

Dymphna's theatre credits include Ibsen’s A Doll’s House and Edna O’Brien’s Virginia, together with original plays Olywyn: For One Woman and Cello, Skinning the Hare, and stage adaptations of Thérèse Raquin and Women In Love. She has a Masters Degree in Writing Studies and her poetry collection What She Said and What She Did was published in 1996. She moved to Wolverhampton in 2000 from Liverpool, and teaches on the Drama and Performance degree at the university. Her book Through The Body, a practical guide to physical theatre, was the first in this field and sells well globally. She is developing a new book on devising with colleagues at the university. Dymphna was introduced to Foursight's board through Kate Hale. Her major theatrical interests are physical theatre and playwriting - hence her particular interest in Foursight’s work. She has given up other board memberships (including Total Theatre) to stay with Foursight because it’s such good fun!

Kate Hale (co-opted board member)

Kate is one of Foursight Theatre's Associate Artists and a founder member of the company. She trained at the University of Exeter and subsequently with Philippe Gaulier in London. She was an Artistic Director of Foursight for 11 years and involved as a director on Pink Smoke in the Vatican, Slap!, Shoot The Women First, Boadicea, and The Trout Sisters. She performed in Hitler's Women, Shoot The Women First and Bloody Mary and the Virgin Queen . In her capacity as Education Director of Foursight (1998-2002), Kate created and directed several plays for schools, youth theatres and universities. As an Associate Artist since 2002, Kate has continued to work with the company as a director, a tutor on the Serious Play actor training courses and, during research and development projects, as a devising actor. She most recently worked with the company as dramaturg for Thatcher the Musical!. Kate also works as a freelance artist for other arts organisations and is a senior lecturer in Drama at the University of Wolverhampton, where her teaching focuses on Applied Drama, Theatre of the Oppressed and devising techniques. She is currently working towards a Practice as Research MA at the University of Warwick which asks the question, "What systems are needed to ensure that collective, actor -centric devising processes remain truly democratic?”