Her life in theatre took a fated turn when she began studying at E15 Acting School, Britain’s alternative to RADA in the 60s. A journey from peripatetic theatre in Devon to taking lead roles for Vancouver playhouse, Canada, again took an unusual turn when meeting a member of Grotowski’s more than alternative company in Poland.

Off to New York to study with the avant garde directors of the time: Andre Gregory and Jacques Schwatt, who persuaded her to co-instigate the 12th Avenue Theatre Project in Vancouver. However, the travelling did not stop there. Australia was next. Being fortunate enough to be hired as a lecturer in Darwin University’s Performing Arts Department opened her eyes to the mastery of one Gunduz Kalic, and from him she has learnt the art of never saying can’t.

Since that time she has rehearsed and led company after company of performers through the rigours of creating high calibre shows accessible to all (many of them created for sell out dinner theatre seasons). Australia was a long-time base with her becoming an Associate Director of Taking Liberties one of the country’s most highly innovative independent theatre companies. In these years she honed her project management, repetitateur, comedic, dialogue writing, and sponsorship raising skills becoming an extremely well-rounded theatre practitioner.
Back in the UK, work began with the Bath Spa Performing Arts Department, one of the most outstanding in the UK in the early 2000s: another product of Master of Theatre, Gunduz Kalic, whose nurturing produced some amazing young talent, that has gone on to produce equally amazing theatre pieces. Heather’s journey continued as she organised a tour to the States and Canada for the graduating students of the time.

The places visited still talk of the fresh and outstanding quality of their work. Thinking that perhaps it was time to go out to graze, she turned to other areas to slow down the pace, but has fast returned to the delight of working to create with a talented group of young artists. She trusts that by sharing creative ideas with them , and persuading them to refuse to be happy with anything but the best in entertainment, she and the company can continue to regale and delight audiences with theatre full of life and soul.


Craig has just finished his sixth comic lead with The Pantomime Company. His forte is in comedic slapstick roles which has allowed him to work with some of the pantomime industry’s greats: Norman Barret MBE and Richard Cadell.

Other theatre credits include: Antipholus in Comedy of Errors (Minack Theatre, USA Tour). Beast Beauty and the Beast (Phoenix Theatre, Exeter), Ensemble Electra (Camden People’s Theatre), Shadow Heresies (Bristol Old Vic), Clowns in Mistero Buffo (Rondo Theatre, Bath) Neville/Salados Crabbos 20,000 Leagues Under the Sea (Phoenix theatre, Exeter).

He has compered many corporate events throughout the country putting to work his strong focus on commedia d’ell arte, fooling clowning and physical theatre, all of which he continues to develop throughout his work.


Samantha Fields has been working as a professional actress since 2014.

Favourite roles include Viola in a child-friendly adaptation of Twelfth Night and the Blue Fairy in Pinnochio.

Samantha started vocal training at age 11 and has done every type of singing from pub gigs to musical theatre concerts and everything in between.

Theatre is her passion in all of its forms, and she is thrilled to be working with such an innovative company as Full Tilt Theatre Company.


Lukas is a composer and musical director, with a major interest in different approaches to musical theatre and film.

He spent the major part of his teens singing in several choirs, before becoming interested in the composition of music. He has been involved in numerous projects including two of his own musicals: The Beau Monde and An Idiot's Guide to Ibiza. More recently he was appointed musical director on an original musical, 191 Days, the musical director and orchestrator on a jukebox musical A Little Bit of Life, as well as the musical director, conductor and orchestrator on a gender-queer production of The Importance of Being Ernest.
He has worked as a vocalist in an original musical entitled Looking for You.