WHO IS DOUBLE YAY?
Producer and Commercial Director
Caroline has been making people laugh since the day she was born. Aged three, Caroline descended the stairs of her grandparent’s house, waited till her whole family was looking and announced: ‘Here I Are!’. It’s been hard to miss her ever since. Aged twelve, and armed with a camcorder, she made her first comedy horror spoof: ‘The Blair Pumpkin Project’. At performing arts high school, she founded and ran a comedy and cabaret night, like a sort of comedy-impresario prodigy.
At Caroline’s first serious audition after graduating from Drama Centre London, for a very serious play, she was told that she ‘really found the comedy in the piece’. She wasn’t trying to be funny. Soon after this, she started performing as a Burlesque artist, under the name ‘Peggy De Lune’. Naturally funny, a talented singer and actress, and having danced pre-professional ballet from the age of eleven, her career rocketed – performing in the Hurly Burly show on the West End, hosting the Hurly Burly show in Johannesburg, placing in every burlesque competition she has entered, touring the world with her act and performing at the Burlesque Hall of Fame in Las Vegas.
Caroline continues to perform burlesque and cabaret, as well as creating online video content for Zopa Ltd and performing improv on the London comedy scene.
Caroline’s laughs are varied, but true to her American roots, they’re always Loud. Very loud.
Producer and Creative Director
Natalie came across as a very weird young child. In reality, she was simply exhibiting early signs of being an actor/writer/feminist. After watching the musical Oliver!, Natalie decided to walk along her street one winter evening, wearing only her school shirt and her knickers to ‘feel how Oliver felt when he walked through the snow’. Aged thirteen, Natalie wrote and directed a nativity play at her local church. It featured breakdancing wise men, hippy shepherds and a sheep, which sang the immortal line: ‘We promise we shall never run very far, Dear shepherds we love you, Ba, Ba, Ba’. Aged fourteen, she called her headteacher a ‘facist’ when he refused to introduce gender-neutral uniform. He then kicked her off the school council. But she plans to return to politics one day…
Since graduating from Drama Centre London, Natalie’s favourite acting job was playing a very feral Miranda in The Tempest. As an acting teacher, she has worked for Artis Education, co-founded TIE company Shakespeare Tree and currently teaches at Mountview and Rose Bruford drama schools.
Natalie is a member of Effort Productions Company, where she writes and creates her own solo pieces with the company and performs these regularly.
True to her surname, when Natalie laughs, she brays. Like a great big donkey.
Rebecca Tanwen Morgan
Producer and Operations Director
Rebecca is a natural straight man. She’s been in training since she was a child. After being taken to any show, any show at all, her parents would then have to sit through Rebecca and her sister’s “version” of the show, which was lovingly and thoughtfully crafted for them. Rebecca took it VERY seriously. Her sister…not so much. Her personal favourite is their living-room rendition of Starlight Express, which turned out to be her parent’s least favourite in Rebecca’s body of work. She is still very sorry about what the rollerblades did to the carpet.
Since graduating from Royal Welsh College of Music and Drama, Rebecca’s work as an actress has included roles for the National Theatre, Channel 4 and ITV, but one of her favourite roles was playing the beast Veriditas in a futuristic, sci-fi version of Beauty and the Beast at the Stephen Joseph Theatre. She was half-plant, half-human and a total badass. Rebecca enjoyed playing a character who was in control, powerful, vulnerable, inquisitive, sensitive…. But could also rip your arms off….. Rebecca could relate to that.
Rebecca is in high demand as a voiceover artist, and still acts when she’s asked to. She is currently producing her first indie feature – which is very, very exciting.
Rebecca doesn’t truly laugh out loud very easily – but when she does it’s a proper cackle.
Isobel grew up in a female dominated house (sorry Dad) of technophobes. So as eldest daughter full of her own self-importance the task of passing the hours naturally fell to her. She created games and wrote stories and plays in excess and is happy to report they were all received with critical acclaim by her younger sisters and playmates. There was never any question of 'parts for women' in a world where all were women. It was out of necessity her feminism and imagination were born, and probably why as an adult she is loath to let them go.
Since graduating from Drama Centre London, Isobel has worked extensively as an actress. Her favourite role was playing is a summer of love performing in a 1920s jazz era version of The Importance of Being Earnest, which was all things it should be - maniacal, musical and mythological . With afternoon tea in excess.
At the moment Isobel is writing and performing in a play for the Edinburgh Festival based on the legend of the Selkie (if you don't know it look it up). It's a story of violence, instinct, wildness and ambition - but most of all it's about magic. Because there's always room for more magic.
Isobel's laugh fluctuates. Like she does. Some have called it strange. She is ok with that.