Emma Rice
Emma Rice became a theatre practitioner in response to a cultural shift away from naturalism towards physical, ensemble-led and imaginative theatre. Influenced by practitioners such as Brecht, Grotowski and Mnouchkine, as well as folk storytelling traditions, Rice creates theatre that is non-naturalistic, political, musical and emotionally direct. Her work prioritises storytelling, collaboration and audience connection, redefining how classic stories can be told for modern audiences.
Early Life:
Emma Rice trained at Guildhall School of Music and Drama, where she developed skills in physical theatre, music and ensemble work.
Early in her career, she became involved with Kneehigh Theatre, a Cornwall-based company known for devised, physical, non-naturalistic theatre.
Kneehigh's rural location and collaborative ethos strongly shaped Rice's belief that theatre should be communal, imaginative and accessible.
Influences and the types of plays she creates. The main themes centre around love, desire and relationships. Romantic love, jealousy and obsession and longing are central. Relationships are often messy and intense, rather than idealised. Some examples of plays you can perform in this style is Wuthering Heights and Wise Children (includes complex family and romantic relationships). Another key theme is Gender, Feminism and female agency like Katie Mitchell. She reclaims stories and tells them from the female perspective rather than focusing on the male villain/hero. This includes Bluebeard. Finally power, control and oppression in relationships. Authoritative figures are often exposed as being flawed or abusive.
Techniques:
Storytelling as a Core
Rice describes herself foremost as a storyteller, weaving narratives using multiple theatrical languages rather than straightforward dramatic realism.
Mixed Performance Styles
Her productions typically fuse diverse elements such as:
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Music and song — either integrated into the action or performed live by the cast.
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Dance and physical theatre — movement often conveys emotion and narrative in place of realism.
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Comedy and spectacle — moments of humour and carnival-like energy are frequent.
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Circus-like tricks and variety theatre influences — playful, surprising interactions and performance skills beyond acting.
Non-Naturalistic & Layered Storytelling
Rather than literal representation, Rice often uses:
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Metaphorical staging — e.g., depicting violence through dance or song instead of graphic realism.
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Ensemble work — the company functions as a collective storytelling entity, with actors taking on multiple roles.
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Open theatrical forms — projections, music, live sound, and moment-to-moment invention create layered, imaginative worlds.
Collaborative, Devised Processes
Rice often develops shows collaboratively with composers and her ensemble, shaping music and performance organically during rehearsal.
Audience Engagement and Playfulness
Vaudevillian staging:
- Standardized Stage Layout: The physical stage was organized into numbered sections (called "One," "Two," "Three," and "Four" or "Full Stage") using standardized, transportable scenery elements like drops, wings, and box sets (e.g., parlour, kitchen, office). This allowed touring acts to move from theatre to theatre and use the house's existing stock scenery with minimal adaptation, often only carrying special props or costumes.
- Proscenium Arch Focus: Performances took place within the proscenium arch, which acted as a "picture frame" for the audience. The area between the footlights and the main curtain was called the "apron," where solo acts often performed
- Flow: Having four numbered sections demands smooth transitions between scenes using props, physical theatre etc.
Her productions frequently break from convention to engage the audience — in North by Northwest, for example, she used vaudevillian staging, fourth-wall play, and multi-role performance to reinterpret the classic story.