Danny Lee Wynter plays Lefranc. Danny’s extensive theatre credits include The Glass Menagerie (Nuffield Southampton), Much Ado About Nothing (The Old Vic), Bedlam, Henry IV, parts 1and 2, King Lear and The Frontline (all Shakespeare’s Globe), and The Changing Room (Royal Court Theatre). Television credits include Stephen Poliakoff’s  Joe’s Palace and Capturing Mary, Partners in Crime, Holby City, Episodes, Beat Girl and Luther, and on film, Hot Fuzz. Danny is a founder of the campaigning group, Act for Change.

Joseph Quinn plays Maurice. Joseph graduated from LAMDA in 2015, and Deathwatch is his professional stage debut. Television credits include Dickensian and Postcode.

Tom Varey plays Green-Eyes. Tom graduated from RADA in 2014, and his professional theatre credits include One Arm (Southwark Playhouse), A Midsummer Night’s Dream (Liverpool Everyman and Playhouse); and for television, No Offence and The Village.

Emma Naomi plays The Watch. Emma graduated from Guildhall in 2015. Theatre credits include The Crucible (Bristol Old Vic) and she recently played the lead in feature film House Girl.

Geraldine Alexander is an actor, writer and director, and this will be her second production for the Print Room, following Amygdala, which was successfully presented at the Print Room’s former venue in 2013. Her acting credits on stage include The Curious Incident of the Dog in the Night Time, Pillars of the Community and Strange Interlude at the National Theatre, Holy Warriors and Titus Andronicus at Shakespeare’s Globe, Fall at the Traverse Theatre, Neil Bartlett’s adaptation of The Maids, and State of Emergency at the Gate. Extensive television credits include Shetland, Any Human Heart, The Government Inspector, Silent Witness, Dance to the Music of Time and Poirot. Writing work includes a workshop of her play, My Mother’s Skin, directed by Marianne Elliot at the National Studio, and she is co-writing a TV series Running with Georgia Pritchard. Directing credits include Weisman and Copperface at the RSC Festival, and for RADA, she has directed The Seagull, Present Laughter and Thornton Wilder’s Our Town.

Jean Genet (1910 – 1986) was a French novelist, playwright, poet, essayist and political activist, and is considered to be one of the most controversial writers of the twentieth century, whose work influenced writers such as Samuel Beckett, Eugene Ionesco and Harold Pinter. He was described by Simone de Beauvoir as a “thug of a genius”, he moved from a life as a vagabond and petty criminal to a successful career as a writer. In 1943, after being imprisoned for theft, Genet began writing. Ignoring traditional plot and psychology, Genet’s plays rely heavily on ritual, transformation, illusion and interchangeable identities. His experiences in prison would inform much of his work, and the homosexuals, prostitutes, thieves and outcasts of his plays are trapped in self-destructive circles. His major works include the plays The Balcony, The Blacks, The Maids and The Screens, and the novels Querelle of Brest, The Thief’s Journal and Our Lady of the Flowers.

David Rudkin is a stage and TV dramatist, screenwriter, opera librettist and translator (mainly of Greek Tragedy and Ibsen). He has worked for over 50 years in all media and in a wide range of genres. Among his prize-winning works are stage-plays Afore Night Come (1962) and Ashes (1974), the films Testimony on the life of Shostakovich (1987), the Irish classic December Bride (1989), and the radio-play The Lovesong of Alfred J Hitchcock (1993). He is thought of as an ‘uncompromising’author of ‘fierce dark imagination’; and The Observer has described him as Britain’s ‘greatest living dramatic poet’.  His most recent publications include two stage-plays, Red Sun and Merlin Unchained (Intellect Books, University of Chicago Press);  translations of Ibsen’s Peer Gynt and Rosmersholm and When We Dead Waken (Oberon Books). Among his current projects are collections of novellas and short stories, a radio play Macedonia;  and a completion, at its author’s deathbed request, of the unfinished last play of John Arden.