Glass Half Full Theatre are dedicated to telling contemporary stories that are engaging,funny and thought provoking. We aim to make theatre for all.

We have a special interest in dark comedy and contemporary issues.

stephanie Perry

Stephanie set up Glass Half Full after finishing a Foundation Acting course at Italia Conti Academy of Theatre Arts 2015-2016. She then took classes under Mary Doherty at The Actor's Class (Intermediate and Foundation). Stephanie is ‘New Writing Producer’ for working class company Actor Awareness.

'The Monologues of a Tired Nurse' was Stephanie's autobiographical play combining her years of nursing to create a story that brought awareness about working in the NHS. It received 4-Star reviews. Her second play received 4-Star reviews when it won a open script submission Australia March 2017 and was produced by Owl and Cat Theatre, Directed by Thomas Ian Doyle. On 2018 she wrote, produced and co-directed ‘Our Big Love Story’, The Hope Theatre March 2018 which received Multiple 4-Star reviews and nominated for BEST OF International Youth Arts Festival. In 2019 she wrote, produced and directed ‘How To Save a Life’ Edinburgh Fringe at Underbelly, the show transffered to London as part of Soho Rising at SOHO theatre 2019, the show received great reviews, was Nominated for the SIT UP awards 2019 and Transfered to Theatre 503 Feb 2020. Stephanie recently wrote ONCOMM nominated and 5 star reviewed ‘Jess’ which was last performed at Lion and unicorn theatre May 2022 to good reviews.

Stephanie has completed the New Writing Showcase at Criterion Theatre 2019 and 2020 working on a play called ‘Last Supper’.

 Stephanie has currently finished a draft of ‘The Monologues of a Tired Nurse’ into a book and is seeking a literacy agent.

Stephanie is a proud working class actress and practicing Children's nurse

Jess

★★★★★ Upper Circle Review: ★★★★★ Jess, Online@theSpaceUK - Upper Circle (upper-circle.com)

★★★★ JESS by Stephanie Perry at The Lion and Unicorn Theatre May 2022 (londonpubtheatres.com)

‘Silver’s script is a fine example of character development’. Jess at Online@theSpaceUK (britishtheatreguide.info)

‘Jess is a mature piece of work and, as such, does not pretend there can be a happy ending to Jess’s confused situation’

‘Jess allows itself to be emotionally ugly through its frank honesty in a way that feels vitally needed. This piece ultimately finds strength in its duality: its sharp innovation highlights moments of softness, it is thoroughly intellectual in its expression of emotion’

‘Jess’ character is complex and interesting to observe - sometimes likeable, sometimes unappealing, but above all, relatable.’

‘Stephanie’s script is a skillful exploration of loneliness, loss and the high stakes of an extremely responsible and pressurised job. Perry succeeds in truthfully exposing the damage of loneliness: ‘They say loneliness in the leprosy of the modern world’

Jess was performed May 2022 at Lion and unicorn theatre, London, UK. It was directed by Amelia Lovsey, performed by Kate O'Rourke, Lucy Glass brook was responsible for the movement and Ben Reid for the lighting and technical skills during the production.

How To Save a Life, nominated Sit Up awards 2019 and part of SOHO rising 2019 and Theatre 503 2020.

Written and Directed by Stephanie Silver

REVIEWS

★★★★★ http://getthechance.wales/2019/08/10/review-how-to-save-a-life-glass-half-full-theatre-edinburgh-fringe-festival-by-hannah-goslin/

★★★★ https://www.londontheatre1.com/reviews/play/review-of-how-to-save-a-life-at-the-lion-and-unicorn-theatre/

★★★★ https://theatreandartreviews.wordpress.com/2019/07/22/how-to-save-a-life-by-stephanie-silver/

★★★★ https://myfairtheatregoer.com/2019/11/22/review-how-to-save-a-life-soho-theatre-

HIDDEN GEM / http://fringereview.co.uk/review/edinburgh-fringe/2019/how-to-save-a-life/

★★★ 1/2 https://www.withinherwords.co.uk/post/how-to-save-a-life-underbelly-bristo-square-clover

2018

Our Big Love Story

Premiered at The Hope Theatre, Upper Street March 2018. ‘Our Big Love Story’ then went to The Hope Courtyard Theatre, March 2018 and International Youth Arts Festival August 2018. Nominated for Best of Fringe award.

★★★★ @MiroMagazine
★★★★ @CTheatrePassion
★★★★ @SW_Londoner
★★★★ @Michael30517721
★★★★ @SecretReviewLDN

https://secretreviewldn.wordpress.com/2018/03/30/our-big-love-story-the-hope-theatre/

https://www.carnstheatrepassion.com/team-review-big-love-story/

http://www.swlondoner.co.uk/heart-wrenching-and-laced-with-emotion-our-big-love-story-at-the-hope-theatre/

http://www.miromagazine.com/theatre/review-big-love-story-baig-hope-theatre/

https://breaking-the-fourth-wall.com/2018/03/24/our-big-love-story-hope-theatre-review/

https://twolassesinlondoncom.wordpress.com/2018/08/02/our-big-love-story-glass-half-full-theatre-at-the-courtyard-theatre-hoxton/

‘Walk of Shame’ The White Bear Theatre, December 2018

& The Space ONLINE Festival, 2020

★★★★ https://mytheatremates.com/walk-of-shame-glass-half-full-theatre-online-review-louise/?utm_source=dlvr.it&utm_medium=twitter&utm_campaign=walk-of-shame-glass-half-full-theatre-online-review-louise

★★★★ http://everything-theatre.co.uk/2021/01/review-walk-of-shame-onlinethespaceuk.html

https://www.indiependent.co.uk/theatre-review-walk-of-shame-onlinethespaceuk/

★★★★ https://www.thereviewshub.com/walk-of-shame-online-spaceuk/

https://www.britishtheatreguide.info/reviews/walk-of-shame-online-thespace-19683

https://loureviews.blog/2021/01/14/onlinethespace-walk-of-shame/

HIDDEN GEM http://fringereview.co.uk/review/fringe-online/thespaceuk-online/2021/walk-of-shame/

★★★★ https://www.express.co.uk/entertainment/theatre/1066886/Walk-of-Shame-play-review-glass-half-full-theatre-sexual-consent-me-too-white-bear-theatre

Watch Extract: Walk of Shame- Online@theSpaceUK

2017

‘C’est la Vie’ Theatre N16, May 2017

‘The Monologues of a Tired Nurse’ Edinburgh Fringe Festival, August 2016. Lion and Unicorn at Camden Fringe festival 2017 and Wandsworth Fringe Festival 2017

SERIES OF short PLAYS is a new writing platform for writers and directors. It is an event that takes space over two days and gives a unique spin to the average fringe new writing night. Using 4 directors and a pool of actors we give 4 writers two very different versions of their play. We hope this style of event nurtures the writers into discovering new ideas for going forward.

SERIES OF short PLAYS, Jermyn Street theatre, June 2019

Photos by Jennifer Evans Photography. Actors: Ikky Elyas, Grace Hadleigh, Holly Ashman, Alex Britt and Sulin Hasso

'The Monologues of a Tired Nurse' Barons Court Theatre, Feb 2017. Photo cred: Jennifer Evans.

Productions

‘How To Save a Life’ by Stephanie Silver, Underbelly Edinburgh 2019, Soho Theatre ‘Soho Rising 2019’, Theatre503 2020, Nominated SIT UP Awards 2019

‘Taking Liberties’ by Caroline Gray, Tristan Bates Theatre, Actor Awareness Working class season, Jan 28th/29th 2019

‘How To Save a Life’ Glass Half Full Theatre, Theatre N16, Catapult, 2018 / Underbelly Edinburgh Fringe 2019/ Soho Rising at Soho theatre, Theatre 503 and Uk tour 2020

‘Our Big Love Story’ Glass Half Full Theatre at The Hope Theatre, London, March 20th - 7th April 2018. Assistant Director

New Writing Nights ‘Short plays’

‘Final Goodbye’ by Steven Lancefield, The Space Arts Centre, 2018

‘Dress Down Friday’ by Lisa Craig, Little Pieces of Gold, Southwark playhouse, September 2018

‘How To Save a Life’ SERIES OF short PLAYS, Glass half Full Theatre, TheatreN16, June 2018

‘High Tops’ by Ben Swatchz, Cuckoo Bang, The White Bear Theatre. April 2018

‘Telo’ by Megan Fellows, New Dreams Theatre, Bread and Roses Theatre. May 2018

‘The Interview’ by Stephanie Silver performed at a New Writing Event at The Pineapple Pub. Dec 2017

‘Maternity’ by Stephanie Silver, Scratch The Surface/Instinct Theatre, Bread and Roses Theatre, Sept 2017

‘Little Secrets’ by Stephanie Silver, Lost One Act Festival, Stockwell Playhouse, May 2017

References

‘Having been directed by Stephanie on multiple shows I have really come to adore  her style of directing. She creates such a comfortable, safe environment for an actor to play and guides you to make the strongest decisions. Each part of a script is developed and discovered in detail, leaving no questions unanswered for the actor. With such clarity of dramatic
vision she is unquestionably one of the best directors I’ve worked with’ Actress, Heather Howard

'I had a great time working with Stephanie (AD Glass Half Full Theatre); she's got an amazing talent for really bringing out deep connections between actors and the text, and each other. We were working with very (emotionally) challenging material, and Stephanie seemed to have an endless capacity for changing working methods to keep our energy high and our engagement strong. I feel like I learned a huge amount from her and would love the chance to work with her again. She really understands actors and their process and how to get the best out of them' Actress Lois Temel

‘Stephanie recently directed me as Maria in ‘How To save a Life.; Her approach to directing is very fresh, fun and collaborative experience. She has great intuition and I really trust her choices as a director, her direction really helped me to deliver my best performance.’ Actress, Katerina Robinson

I first met Steph in 2017 during the 'Actor's Awareness' festival at the Baron's Court Theatre (where I performed in 'WorSooz' directed by Kevin Russell). I have worked as an actor under Steph's direction on two occasions, both in 2018, at the Bread and Roses Theatre (in 'Telo') and at the Southwark Playhouse (in 'Dress Down Friday'). I enjoyed both occasions tremendously. This was, in a large part, due to the sheer positive energy that Steph brings into the rehearsal room. Her infectious good humour makes the whole experience a delight. Regarding her method of direction, Steph always demonstrated an intimate understanding of the text and what the performance had to convey. Having said that, Steph is firmly part of the school of directing that enables actors to make their own discoveries first and for the director to then mold those discoveries. While this suites me personally given my training in the Meisner technique, I believe it enables the best performances as it is a truly collaborative relationship between the director and actor. I very much hope that I get to work with Steph again and I strongly recommend her to you as a director.’ Actor, Nigel Fyfe

"Steph is fantastic to work with. Both nurturing and encouraging, she pulls out of you as an actor exactly what is needed at any given moment by constantly getting you to question your choices. And always with a warm smile on her face. Hard-working, driven and so passionate about her work, you can't help but get caught up in her enthusiasm. Steph has certainly taught me a lot." Actor, John Mark Slade

Social media

Twitter

The Monologues of a Tired Nurse: https://breaking-the-fourth-wall.com/2017/02/23/the-monologues-of-a-tired-nurse-barons-court-theatre-review/ https://theblogoftheatrethings.com/2017/08/18/review-the-monologues-of-a-tired-nurse-at-the-lion-and-unicorn-theatre/http://fringereview.co.uk/review/edinburgh-fringe/2016/monologues-of-a-tired-nurse/

C’est La Vie, WINNER Open script submission, Owl and Cat Theatre Australia, Melbourne 2017: http://www.whatdidshethink.com/2017/03/cest-la-vie-theatre-review.html / http://theblurb.com.au/wp/httptheblurb-com-aureviewscest-la-vie-owl-cat-theatre-review/

Others:

Series of Short Plays: https://breaking-the-fourth-wall.com/2018/06/02/series-of-short-plays-theatre-n16-review/

Our Father https://www.londontheatre1.com/reviews/actor-awareness-intergenerational-night-at-spotlight-theatre/

‘My favourite – because I disliked it so much – was our Father which was not only the stand out show of the evening but served as a perfect reminder of the true power of theatre to move people. Too often audiences seem to think that theatre is just an extension of film – keep an eye out for Disney’s Finding Dory on a stage near you LOL – but the reality is that being in a small performing space with real live human beings just there in front of you can have more of an effect on the emotions than millions of pounds spent on some glitzy west end show. I’m really looking forward to the next Scratch night’ Terry Eastham, London Theatre 1