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.
at the Watermill Theatre
Foley Consultant on Emma Rice's adaptation of Brief Encounter, directed by Robert Kirby with musical direction by Eamonn O'Dwyer and choreography by Anjali Mehra.
Playing from 14th October-13th November
at the Tower Theatre
Performing as an ensemble member and puppeteer for this magical family show, adapted from Michael Morpurgo's popular children's book. Directed by Angharad Ormond.
Playing from 23rd-31st October
Bouncers and Shakers
at the Tower Theatre
I'm directing this fast and furious double bill next Spring. Expect high energy, joint-jumping performances and lots of classic 80s pop music.
Playing from 10th-26th March
Such is the case with Beckett’s protagonist, brought to shimmering life by Ruth Sullivan... Sullivan delivers a performance that is mercurial in nature, delicately pitched to both the light-hearted (Winnie’s mock disgust at Willie’s enjoyment of a lewd postcard), as well as the sombre (Winnie’s reflection on her “natural weakness”). Particularly memorable is her enthusiastic applause for Ian Hoare’s croaking song – mimicking the tune from Winnie’s music box (concealed, along with a revolver, in her handbag); as her desire for an “encore” is rebuffed, Winnie’s applause diminishes, her smile steadily erased along with it. Pitifully, she asks: “and now?” – once again, left facing the dreadful silence into which Beckett’s moribunds are so frequently drawn.
James Baxter for the Beckett Society
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