The work of an extraordinary performer as singer, actor, musician and mover... totally inhabiting an original practice and its ongoing research. The searching is within the body and voice and so too the investigation takes place live, and in the moment as we witness it in the body and between us. The vocal exploration is only possible because of the unique command over performance, live interactions with the audience and craft.
Niamh Dowling, Principal of RADA
I found the work to be overflowing with talent and craft, and like no other piece of theatre I've ever been a part of. I was drawn-in by Anna-Helena's presence, confidence and ease on stage, and awed by the creativity in the storytelling. I am so excited by it!
William Ryder MFA CPA, actor, voice & speech educator (Patsy Rodenburg Associate) and corporate coach
A Voice Lesson (Reimagined
Based on an idea by Anna-Helena McLean
A posthuman odyssey disguised as a voice class. Join us for a filmed sharing of two new scenes from an immersive performance-in-development that takes a contemporary departure from Virginia Woolf’s Orlando — where her stream of consciousness meets the algorithmic flow of AI. Here, the audience join a voice class like no other, blending live looping, cello, AI projection and collective song to explore how voice can bridge body and technology. This participatory event is accompanied by workshops and welcomes diverse community voices.
Created in collaboration with Andrew A C Cooper, Kendell Foster, Elena Voce Hood, Zahra Mansouri, Karen Simeçek, Thomas Siriani, Scarlett Stitt, Erin Washington and [rn_1]
A posthuman odyssey disguised as a voice class. Join us for a filmed sharing of two new scenes from an immersive performance-in-development that takes a contemporary departure from Virginia Woolf’s Orlando — where her stream of consciousness meets the algorithmic flow of AI. Here, the audience join a voice class like no other, blending live looping, cello, AI projection and collective song to explore how voice can bridge body and technology. This participatory event is accompanied by workshops and welcomes diverse community voices.
Created in collaboration with Andrew A C Cooper, Kendell Foster, Elena Voce Hood, Zahra Mansouri, Karen Simeçek, Thomas Siriani, Scarlett Stitt, Erin Washington and [rn_1]
A posthuman odyssey disguised as a voice class
(Think Florence + the Machine meets Laurie Anderson)
Orla, a voice teacher, welcomes the audience as her students for a lesson that begins in everyday chaos and slips into cosmic revelation.
Through live looping, electronic cello, AI projection, and audience call-and-response, voice becomes voltage — a living bridge between flesh and frequency, between the human and the more-than-human. Inspired by Virginia Woolf’s Orlando, Orla’s studio becomes a feedback chamber where light, sound, and language blur into white noise — the sound of a body remembering itself.
What starts as razor-edged humour and sharp social commentary on burnout, gender, and digital life breaks open into something stranger: an ecstatic act of resistance in a world that’s forgotten how to feel.
It’s part stand-up, part sound experiment — a data-age confession where glitch becomes grace and distortion hums at the edge of consciousness.
In a digitised future, embodiment might be the only power we have left.
This is theatre that breathes.
Sing it before the signal fades.
Orla, a voice teacher, welcomes the audience as her students for a lesson that begins in everyday chaos and slips into cosmic revelation.
Through live looping, electronic cello, AI projection, and audience call-and-response, voice becomes voltage — a living bridge between flesh and frequency, between the human and the more-than-human. Inspired by Virginia Woolf’s Orlando, Orla’s studio becomes a feedback chamber where light, sound, and language blur into white noise — the sound of a body remembering itself.
What starts as razor-edged humour and sharp social commentary on burnout, gender, and digital life breaks open into something stranger: an ecstatic act of resistance in a world that’s forgotten how to feel.
It’s part stand-up, part sound experiment — a data-age confession where glitch becomes grace and distortion hums at the edge of consciousness.
In a digitised future, embodiment might be the only power we have left.
This is theatre that breathes.
Sing it before the signal fades.
This physical theatre practice shows the essential integration of consciousness, thought, and voice through embodiment. This work touches the visceral core that so many inhibit, and pulses with roots in a deep mystical and shamanic way of being that brings real presence to theatre practice. Anna-Helena is a reflective practitioner at the top of her craft.
Les Lancaster, Director of The Alef Trust
A multi disciplinary performance world and fusion that allowed space to journey both in the narrative of the piece, but also within the self. An insight into the world of an artist -presenting both mastery and cutting edge enquiry that we can move and breathe inside.
Kate Lush, Safe Sets Intimacy Coordinator
This work is truly groundbreaking.
Pamela Prather, President of VASTA (Voice and Speech Trainers Association)
New trailer by Thomas Siriani coming soon in 2026
Orla teaches voice — or she used to.
A once-brilliant teacher now drowning in self-doubt, she turns a simple lesson into a sonic experiment on how to stay human in a mechanised age.
Working with a student on Virginia Woolf’s Orlando — that moment when Orlando steps into the light and the world begins to change — Orla finds the scene leaking into her own life.
Books open; words spill into symbols and constellations. Her window becomes a stage — part eye, part screen — where sound and light entwine, creating a living feedback loop between thought and matter, teacher and student, human and machine.
As her world unravels, her students — played by willing audience members — help her rebuild it through breath, beat, and sound.
Part lecture, part concert, part live mutation, A Voice Lesson (Reimagined) fuses human breath and machine pulse into one living feedback loop — where glitch becomes grace and distortion hums at the edge of consciousness.
In a digitised future, embodiment might be the only power we have left.
Bring your voice. Leave changed.
A once-brilliant teacher now drowning in self-doubt, she turns a simple lesson into a sonic experiment on how to stay human in a mechanised age.
Working with a student on Virginia Woolf’s Orlando — that moment when Orlando steps into the light and the world begins to change — Orla finds the scene leaking into her own life.
Books open; words spill into symbols and constellations. Her window becomes a stage — part eye, part screen — where sound and light entwine, creating a living feedback loop between thought and matter, teacher and student, human and machine.
As her world unravels, her students — played by willing audience members — help her rebuild it through breath, beat, and sound.
Part lecture, part concert, part live mutation, A Voice Lesson (Reimagined) fuses human breath and machine pulse into one living feedback loop — where glitch becomes grace and distortion hums at the edge of consciousness.
In a digitised future, embodiment might be the only power we have left.
Bring your voice. Leave changed.
