Ruth Sullivan

The Full Story

Ruth trained at The Arts Educational School, Tring Park, before completing an Honours degree in Theatre Arts and Media in Exmouth and hotfooting it to London to embark on her acting career. Life being slightly unpredictable, she became a Foley Artist and has since worked on hundreds of films and TV dramas. Never giving up on the theatre, she formed her own dance company, Gravitas, before joining the Tower Theatre Company in 2007 to pursue her first love - acting. She has since managed to combine her two careers and has become the "go to" Foley Artist for live theatre sound.

January 27, 2019

Currently directing Mike Bartlett's King Charles III

Amazing response to King Charles III:

Five Stars from LondonTheatre1.com and Four stars from Remote Goat plus a lovely blog from A Dog Faced Boy's Tail.

May 01, 2018

More Magic Flute...

Off to Aix in a few weeks then Amsterdam... And The Magic Flute has been confirmed for a revival at the ENO next Spring!

January 09, 2018

Choreographing 1984 for Tower Theatre Company

Working with the supremely talented Angharad Ormond on the Matthew Dunster adaptation of Orwell's 1984.

January 09, 2018

First Foley of the year

Foley for Killing Eve - the new explosive series from Phoebe Waller-Bridge. Doing footsteps for Fiona Shaw, Sandra Oh and Jodie Comer... Doesn't get much better than this!

April 09, 2017


Kindertransport is transferring! We have a week confirmed Upstairs at the Gatehouse in Highgate 23rd June - 2nd July.

April 05, 2017


British Theatre Guide review of Kindertransport - I got a good mention...

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The strongest performance comes from Ruth Sullivan whose brusque Evelyn emits a coldness which derives from a deeply-buried trauma of abandonment and rejection. Sullivan’s rigid body language is nuanced but strongly betrays Evelyn’s emotional constriction.

Claire Seymour - British Theatre Guide

Such a difficult piece depends on strong, convincing characterisation and this production delivers memorable, striking performances from the three leads. Ruth Sullivan, as Nancy, delivers a stunning, utterly convincing performance as an ordinary woman forced to confront the unimaginable. Sullivan is impressively adept at portraying the shifts in Nancy's character, as she struggles with the terror of her daughter's disappearance, the horror of the discovery of her brutal murder, and the long years of grief, rage and, ultimately, an acceptance that approaches forgiveness. In some of the play's most distressing and tender moments, as when Nancy recalls cradling the "beautiful" skull of her disinterred daughter, Sullivan powerfully commands the attention and sympathy of the audience.

Ben Winyard - Noises Off

Important elements in the staging include the busy employment of an onstage foley artist, particularly for the trials by cataclysmic fire and a deluge of water.

Fiona Maddocks - The Guardian

Ruth was truly amazing as Nancy coming to terms with the disappearance and as the years wore on, the acceptance that she would probably never see her daughter again. There are many ways that Nancy could have been played and Ruth has found the perfect formula – mixing good old fashioned humour with pathos  – and making Nancy a figure that I think all of us could admire and respect. Her opening monologues were heartfelt and totally believable and my positive feelings about her grew and grew throughout the show.

Terry Eastham - London Theatre1

Sullivan brought the show into technicolour with the sounds of birds, thunder, fire, rushing water, and hilarious gags with Papageno.

Jenna Douglas - Scmopera

The untamed wildness of the score finds its complement in the staging, with audience and performers in unusually close proximity, with the sound-effects artist presiding wittily in her kitchenette.

Michael Church - The Independent



76 Gibson Gardens
London, N16 7HD
United Kingdom

+447970 279061

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