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ARI 🍋

@ariannabrnca

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This is the culmination of my time at Central. Thank you to all my scene partners. You were the most fun to play with. Thank you for having my back. Thank you to Morwenna for having me in this program and teaching me all you did. Thank you to all the directors and instructors who came through. I learned a lifetime of knowledge from you all. And thank you to my MA acting classmates. My first colleagues in London. You are all fantastically talented and funny and fun. I look forward to seeing you all shine out there 🌞

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Okay fine, I’ll process it. I am processing it.

Scenes from a summer with people I love doing the thing we all love. And the end to a year I loved, completely.

@cssdlondon over and out 🥹

(Apparently you can only tag 20 people - it’s difficult having 47 wonderful people in your life 😪)

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Time to say goodbye to This Restless House and the iconic, and fan favourite parts of Doctor, Agamemnon’s Ghost, Old Man No.9, Orgy Enjoyer No.2 and Singing City Cleaner.

Photos - @camharlephoto

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A wise man once said nothing at all

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movement for Orlando
Courtyard Theatre, London, UK
May 2026

directed by Shani Erez

performed by Arianna Branca, Chaya Gonzales, Muireann Guilfoyle, Lara Rose Hancox, Tiantian Liang, Liam Macillan , Angus Morrison, Abraham Tioluwanimi, Tanyaradwa Violet.

written by Virginia Woolf, adapted by Neil Bartlett.
(remaining credits in comments)

academic and creative process below.

I think of my work on this production in three categories:
1. Character physicality
2. Ensemble movement / spacial composition
3. Intimacy

Although dance (especially modern and contemporary dance) are largely considered “abstract” art forms (very arguable), I’ve always had a need to know who or what the dancer is embodying and what that entities’ relationship is to others in the piece, the audience, and the space or environment/world of the work.

This need and desire came to an ah-ha movement for me while performing in Then She Fell. Character work clicked as I became extremely curious and accurate around who a character is, how they move, and why they move the way they do.

In the process for Orlando I got to apply these skills to many characters that traveled 500 years through time and gender. Satisfying my love for history, storytelling, and the nuances of character movement.

For Virginia, we found that she moved extremely tidily. Her gestures were vertical and close to her body (literally taking up as little space as possible). Her weight evenly in both legs at all times. Her movement was a Dab (a Laban Effort for the movement nerds) meaning everything she did was direct, light, and sudden. (image 6)

Nell (played by @ariannabrnca ) , a sex worker in the 1700’s, moved in a stark contrast to Virginia. Ariana and I found that Nell’s postures were angular and took up horizontal space. Her weight was leaning into one hip or the other. Her pelvis and jaw were loose and she moved both indirect and strong. (image 7&8)

Working with the actors on the foundational physical details for the many characters they played and witnessing them embody, interpret, and soar with them was a creative privilege and a highlight of my masters program and of my year.

photos:@camharlephoto

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A Dua Lipa kind of month

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And the last, I swear!

ORLANDO by Neil Bartlett
RCSSD
Directed by Shani Erez

📸 @camharlephoto

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Okay one more x

ORLANDO by Neil Bartlett
RCSSD
Directed by Shani Erez

📸 - @camharlephoto

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Some overdue Orlando pics!

ORLANDO by Neil Bartlett
RCSSD
Directed by Shani Erez

📸 - @camharlephoto

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My friend Oscar Peterson mon Ami Oscar

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Jan-Feb landscape dump ✨

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“Now who do you love, Orlando?”
.
Orlando by Virginia Woolf adapted by Neil Bartlett | Dir. Shani Erez | RCSSD | 2026
.
Set & Costume : Dana Tsarfaty
Lighting : Leo Steele
Sound : Bili Keogh
Movement : @morgishborgg
SM : Lisa Cochrane
ASM : Daisy Halligan & Emily Pettican
Costume Supervisor : Nicola Stimpson
Photography : @camharlephoto

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