Rubie, Nina Scott and Polly Rowley-Sams as The Musical Spores / Photo by Tegid Cartwright
Dan de la Motte and Nina Scott as Shaggy Ink Caps / Photo by Sonia Visual Storytelling
Photo by Tegid Cartwright
Rubie, Nina Scott and Polly Rowley-Sams as The Musical Spores / Photo by Tegid Cartwright
Nina (they/them) is a political theatre maker and educator based in London. Their work is celebratory, immersive and collaborative, exploring different creative tools for social change.
Nina is Producer, Director and Co-Writer of 'Be More Mushroom', a raucous, educational musical for kids and grown ups exploring what fungi can teach us about identity, power and society. Be More Mushroom started as Nina's Applied Theatre MA dissertation and was developed as part of a residency at St. Margaret's House with Dan de la Motte and a group of queer performers, musicians and mycologists. Nina also produced the educational strand of the project, a series of workshops which explored the relationship between queer theory and fungi. All performances and workshops were sold out and received unanimously positive feedback from audience and participants. This project has a big life ahead of it so watch this space!
Nina is an experienced educator and facilitator. They regularly work with ULEX, recently delivering 'Integral Activist Training' and Creative Tools for Social Change' in Catalonia for 50 activists in Europe (2022). Nina often runs Theatre of the Oppressed trainings in community and academic settings. They trained with Jana Sanskriti, Centre for Theatre of the Oppressed and have lectured at Queen Mary's, Roehampton, UEL and Rose Bruford. They produced and delivered Theatre of the Oppressed for Housing Justice and Theatre of the Oppressed for Renters Rights (Concrete Action and London Renters Union 2019-2021) using theatre to teach eviction resistance and housing rights.
Nina was Artistic Director of You Should see the Other Guy Theatre (2014-2022), a London based grassroots collective made up of queer and women artists which worked on and off stage to tackle housing injustice. Nina has co-written and directed YSSTOG's Land of the Three Towers (Camden People's Theatre 2015-2019), a series of verbatim musicals which were performed on London housing estates. The plays share different methods of resisting gentrification and regeneration. Land of the Three Towers: Vol I has been published in Radical Housing: Art Struggle and Care (ed, Ana Valencia, 2021) which can be downloaded and ordered here.
Nina's baby (pun intended) is Womb with a View (WINNER Best Festival Venue, IAF 2017, WINNER Shambala micro-venues competition 2016), an immersive venue which gives birth to new ideas and an interactive performance which gives birth to YOU. The womb sets out to queer narratives of wombs, childbirth and parenthood. In 2021 Nina received Developing Your Creative Practice Funding to develop Womb with a View, exploring queering trans healthcare and telling the story of birth through cabaret, song and silliness.
Nina has designed celebrated costumes for award winning companies including Kill the Beast's He Had Hairy Hands (WINNER Peter Brook Festival Award, WINNER Manchester Theatre Awards, BBC Top Pick of the Fringe) and The Boy Who kicked Pigs.
Nina loves to teach singing and song-making. They are a long standing member of queer choral collective F*Choir.
 |  |
|---|---|
 |  |
 |  |
THE BOY WHO KICKED PIGS (2014)
Writer: Kill the Beast
Performers: David Cumming, Natasha Hodgson, Ollie Jones, Zoe Roberts
Director: Clem Garritty
Lighting Designer: Elliot Griggs
Model Box Design: Clem Garritty & Bryan Woltjen
Costume Design: Nina Scott & Rachel Schofield Owen
Music: Ben Osborn
The wonderful characters themselves that are so incredibly visual in the book do truly come alive on stage, with costume and make up being such a crucial key and designed so brilliantly by Nina Scott and Rachel Owen. ***** Sound and Vision
There is a highly stylised feel to the design, Nina Scott's costumes are muted in colour but with masses of detail and faces and hair are inhumanly pale. At times it looks as though a macabre cartoon has been brought to life. ***** What's on Stage
Packed with ingenuity and visual brilliance, The design of the show is remarkable, a symphony in grey [...] This is inventive, visually stunning stuff, made with a love and awareness of what has gone before. ***** A Younger Theatre
The costume and set designers deserve credit. With each player having multiple characters to portray, the costume changes must be quick, and yet with only minimal changes in dress, the distinction between characters is immediate and undeniable. ***** Cult Box
Nina Scott and Rachel Owen’s melancholic grey costumes and Bryan Woltjen’s kooky black and white projections really set the scene for this wickedly remarkable production **** Theatre Reviews Hub
The company create a whole visual style that’s perhaps a little more Tim Burton than David Roberts (the illustrator of Baker’s book) within which Nina Scott’s amazing costumes and Brian Woltjen’s backdrops play a key part - The Reviews Hub
Even more notable is how costume designer Nina Scott converted David Robert's‘ illustrations into a visual piece.**** TV Bomb
Yes, what I liked about the beautiful, monochrome look of the production was its displacement of time, that idea of the real world pulled, sometimes grotesquely, out of shape. I was blindsided by how distinctive the voice was, how great the visuals were and just how playful and dark the entire thing was **** Exeunt Magazine