Rebecca [they / them] is an interdisciplinary theatre director, dramaturg, writer, and researcher from London. They are currently the artistic director of from (a)basement theatre collective, and a graduate from East 15 Acting School with an MA in Theatre Directing (Distinction). They have trained and worked internationally in Poland, Germany, Singapore, India, the Czech Republic, and the UK. Their practice spans site-specific multimedia storytelling, crosscultural collaborations (including projects with hip-hop dancers, spoken word poets, anthropologists, creative technologists, and D/deaf and disabled artists), physical theatre, and immersive documentary performance.
Driven by an activist ethos that centres communal world-building and celebration, their work currently experiments with paradigm shifts, futurism, ecoscenography, and the rediscovery of lost narratives. As a queer, neurodivergent, working-class creative of mixed Southeast-Asian heritage, they strive to facilitate accessible spaces for empathy and expression alike.
They have a passion for facilitating data-driven storytelling, creative joy, and devised work that ventures into the unexpected and the unconventional. Their projects have been described as "experimental theatre at its best", with cleverly created subtleties and brave staging choices.
“⭐⭐⭐⭐ — Rebecca Goh will definitely be a name that I'll look out for in the future. Firstly the testimonies [they have] collated are sensitive and emotionally raw... Where [they have] excelled themselves, however, is in their direction.”
—Matthew Cleverly, theatre critic and artist
:about
"You really stood out in terms of your energy, entrepreneurialism, proactivity, creativity, and passion. Not everyone made an effort to get inside the language in the way you did, prepared thoughts based on the specifics of these pieces and what I’m trying to achieve with them, or asked the kind of questions which are necessary to tease out what this project is all about, and make sure that the ideas for staging, sound, projections, movement and so on draw those meanings out.
I left our conversation really feeling that with your intelligence, drive and sensitivity, I had been talking to someone with the potential to be a future star theatre maker."
“Engaging, thought-provoking and transparent are some of the adjectives that come to mind thinking back on the brilliant performance. A massive congratulations goes out to the director and creator of the play, Rebecca Goh, who devised this marvellous script… I believe the audience left the room with a newfound perspective on the social issues discussed.”
“The maturity and power in your storytelling is a bit of magic I hope you can retain and hone and keep pushing.”
“It was a liberating experience for me. You have created a highly collaborative space where I feel safe yet challenged to explore my artistic and personal boundaries. It opened a new way of devising work with many elements such as space, sound (and the thought of) and bodies in space. It was a great opportunity to push my mindset and limits as a new artist!”
“I loved the setting and the concept (of parthenogenesis:). The museum form was interesting… it (subverted) the conventions of performance, and turn scrutiny into those who scrutinise. The visuals are so stunning and embodied the text perfectly.”
“(Death at the Desktop) was phenomenal. Heart-wrenching, emotive, and the camera angles were inspired. You really pushed the boundaries of what I thought online performance can / could be.”
“I very much enjoyed (The Optic Trilogy), it was thoughtful, beautifully designed... The use of physical theatre added thoughtfully to the symbolism of the play… I felt this was an excellent production, with a real vision and aesthetic. You have clearly developed a strong ensemble commitment between your cast members.”
“Director Rebecca Goh mirrors Pascal’s writing, laden with metaphor and imagery, with a kinetic quality, pitting (characters) as both wrestling rivals and uneasy friends. The blurring between reality and fantasy leads up to an emotional finale that helps this piece become the standout play of the evening.”
“I find myself unexpectedly affected by the transformation in arts writing… since 1988 when I first began in professional theatre. I want to celebrate what’s happened in our scene. Rebecca Goh of ArtsEquator is emotionally centred in [their] writing and yet brilliant in [their] conceptual foundation. There is so much hope for mankind if we just know where to concentrate our energies on…"