Peshkar Crisis Commissions
Instagram animation
'The Gospel According To Instagram' was a response to a social media culture which promotes productivity over wellness. It was commissioned by Peshkar as part of a series produced during the 2020 pandemic. I pitched and researched the original idea. I then animated stock photography and arranged the soundtrack for four distinct animations. The films explore ways we sometimes put self-improvement before self-care.
Dr Garneau's World of Tastes
Presentation design
I created a bespoke collection of slides for geneticist Dr Nicole Garneau. I was inspired by the recurrence of circles in science and food. The slides are bold, fun and complement Dr Garneau's existing branding.
English Heritage
Curriculum and resource design
I developed dynamic day-long training sessions from staff and volunteers at English Heritage. I devised exercises which enabled delegates to improve their storytelling skills, producing accompanying resources. This included a training handbook.
NFL Flag
Activity and resource design
I created a series of experiential and printed resources for NFL Flag. This included team-building exercises designed to generate a buzz at NFL Flag events. I also produced a tour guide for the UK team at the subsequent NFL Flag International tournament.
People's History Museum
Represent! Voices 100 Years On exhibition
This project won a Partnership Award at the North West Cultural Education Awards 2018 (Curious Minds). I worked with excluded young people to create a photography project for a public exhibition. I designed and delivered participatory activities, then curated a “bold, colourful and powerful” final collection of artworks (
Traverse Theatre
Motion Design
I designed short trailers to promote theatrical productions online. It was important to complement pre-existing marketing materials and work with existing assets (including filmed content). Jamie Macdonald ( provided artistic oversight and feedback throughout these projects. Mihaela Bodlovic ( created the original poster images.
The Ghosts of Mr. Dickens
Creative Producer
A new piece of writing set during Dickens’ second tour of America. We aimed to produce a classical play without conforming to classical staging. Produced as Untold Theatre (, this twelve-date tour performed at theatres and community venues across England. We secured successful funding from Arts Council England and the Jim Laker Fund.
  • Coastlands
  • Following a successful pitch, I was commissioned to write one of six audio drama-documentaries about the Sefton coast. Aiming to platform lesser told stories across the area, Coastlands combined documentary sources, personal storytelling and creative writing. The result toured as an installation to cultural venues throughout Merseyside and is also available online. Under the mentorship of Chris Fittock (Red, Nick Hearn Books) I conducted interviews and wrote an original script, around which the verbatim content was structured.
  • Arts by the Sea Festival
  • A combination of street theatre, clown and dance directed by Lee Hart (former Resident Director, Theatre Royal Plymouth). I met with homeless Big Issue vendors and interviewed staff at the Big Issue Head Office, before heading out to sell the magazine myself in Central London. Using this research, the ensemble choreographed a piece that would be performed outdoors. The final performance involved Big Band instrumentalists, percussionists and several local Big Issue Vendors.
The Tempest
Creative Producer
A touring theatre production of The Tempest. I produced this as Untold Theatre ( in 2016. We presented Shakespeare’s narrative in parallel with events from the so-called ‘Migrant Crisis’. The production raised £1,500 for Doctors Without Borders (MSF). The production was reviewed as “original, imaginative and bold” in Broadway Baby, while Everything Theatre wrote that “it left me both inspired and spellbound”. I'm particularly pleased with the critical response to my technical design. A review in RemoteGoat said that "imaginative technical talent…lies behind Joseph Rynhart’s evocative and atmospheric projections." Everything Theatre also said that the 'wow factor' in the production was a "technical ingenuity that uses multimedia to its advantage.”