Adam Snyman is an emerging theatre maker with a deep passion for storytelling, particularly stories that bring laughter and joy to audiences. With a strong foundation in performance and screen production, Adam is committed to creating work that is both entertaining and heartfelt. He began his formal training at the Western Australian Academy of Performing Arts (WAAPA), where he completed a Bachelor of Performing Arts, honing his skills in acting, collaboration, and stagecraft.

Maya-Rose Chauhan is a UK-born writer based on Noongar Boodja, born to Indian and Irish parents and brought up on Wardandi Boodja. After presenting Saga Sisterhood, produced by Sukhjit Kaur Khalsa, at Mapping Melbourne, the Centre for Stories and The Blue Room Theatre's Winter Nights Season (2018-19), she wrote and developed a show under the mentorship of Laura Maitland for 600 Seconds in 2020 with 'Its All Relative - a Family Saga'. Maya-Rose has received mentoring from Finn O'Branagain, Barb Hostalek (To the Front 2020) and, in memoir writing, with Rosemary Sayer though a Centre for Stories Fellowship.

Oliver Hughes (he/him) is a proud, award-winning, Noongar actor and writer from Perth. He began training at John Curtin College of the Arts and continued onto WAAPA in the Aboriginal Performance course (graduating 2021), followed by the Bachelor in Performance Making (graduating 2024). His credits include work with Yirra Yaakin in Ngalaka Daa (2018-2021) and Panawathi Girl (2022). Spare Parts Puppet Theatre in Wundabaa Gaay-Guwaali (2022), Hare Brain (2024), The Murmuration of Lost Birds (2024) and Reach For The Sky (2025). Other credits include Out For The Count (2025), ASK (2024), Salted Pretzels (2023)(PAWAA Nomination), BESIDE (2021).

Prince Attwood (they/him) is an emerging performance maker, actor, and composer currently undertaking their final year of Performance Making at WAAPA. Prince’s identity as mixed-race, gender queer, pansexual largely informs their practice, as they adopt a de-colonial lens to examine what it means to traverse the world in opposition to normative and colonial boxes. Prince’s most recent work, “BLOOP BLOOP” was developed as a part of the 2026 New Beginnings program, and is entering it’s second round of development as a part of the Blue Room Theatre’s Winter Nights program, as “Your Dad’s Probably a Racist”. Since 2022, Prince has worked diligently in the youth advocacy space, working closely with the Youth Pride Network as their both their Secretary (2023), and Vice-Chair (2024 - 2025), as well as being selected for the 2024 Labour Movement Internship, where they worked between Perth and Canberra to drive action for marginalised communities.

Shelby McKenzie (They/She) is a performer, theatre maker, and movement artist. They graduated with first-class honours from WAAPA, where they focused on embodiment in live theatrical performance. Their thesis, Moments in Performance; developing an aid for articulation and reflection has been published through the Edith Cowan University library. Shelby is a bilingual/bi-modal artist studying towards a diploma in Auslan, with the intention of incorporating the language into their practice. They aim to increase access to and opportunities in theatre through language-inclusive practices. Most recently, Shelby acted in the Western Australia Opera’s Il Trovatore at His Majesty’s Theatre and The Twelve: Cape Rock Killer. Soon, Shelby will be co-directing New Beginnings 2026 for Blue Joy Theatre Company as well as working as a devisor/performer on one of the four developments. In 2026, Shelby will be developing work interstate and internationally as she travels to Sydney and Toronto to further her career in theatre and film as an actor, deviser and director.

Kate Naunton Morgan (she/her) is an actress, model, and marketing professional with over a decade of stage and screen experience. A graduate in Theatre, History, and Marketing, her recent stage credits include the titular roles in Emma (dir. Simon James) and Antigone (dir. Ellis Kinnear), as well as Red Ticket (Blue Room 2026 Annual Season), Not Another Murder Mystery (FRINGE WORLD 2025) and UFO (FRINGE WORLD 2024). Her screen work includes The Engagement Party (dir. Dacre Montgomery) and The Palm Print (dir. Allison James). As a model, Kate has worked across runway, editorial, beauty, lifestyle, and commercial for brands including L’Oréal, Goldwell, and RAC. Alongside performing, she works in arts marketing with CinefestOZ, Reprise Theatre Company, Blue Joy Theatre Company, Mobus Entertainment, and All Bite No Bark Curation.

Afeif Ismail was born in Elhasahisa, Sudan. A published poet and playwright, he arrived in Australia in 2003. Afeif has published many works of poetry in Arabic: Traps and some Tracks, Bet of the Argil, A Passage to the Aroma of Invisibility, and It’s your Bird. He has published many works of poetry in English too, such as Bet of the Argil, Mum! This World Lies to Us, Orphaned Birds and The African Magician playscript. Afeif’s plays in Arabic have been produced in cities, towns and villages across Sudan from 1985 to 2000. His play for children, The African Magician, was commissioned and produced by Barking Gecko Theatre Company in Western Australia in July 2010. Afeif was short-listed for the inaugural Kit Denton Fellowship for Writers of Courage in 2007. He was selected to workshop this play, with co-transcreator Vivienne Glance, at Playwriting Australia’s Canberra Workshop in June/July 2008. Afeif was awarded the inaugural Australian National Playwrights’ Conference (ANPC) Bursary in 2008. In 2009 he was a recipient of an inaugural Western Australian Theatre Development Initiative for his play The Shrouds or the Dead. The African Magician was nominated for the 44th Annual AWGIE Award best script for Children Theatre in 2011and another play, Son of the Nile, was produced by Murdoch University Theatre in Education in Western Australia in 2012.