Louise Wallinger studied on the Postgraduate Actors course at ALRA after graduating with BA (Hons) in Drama with English from Middlesex University.
After working as an actor Louise became a founder-member of Non-Fiction Theatre Company, the first Verbatim Theatre Company that developed out of Mark Wing-Davey’s Drama without Paper workshop at the Actors Centre in London. The actor records interviews, edits them and then performs the edited interviews exactly as they are hearing them through earphones, with all the quirky imperfections of human speech.
Louise co-created and performed in all of Non-Fiction’s shows including Sex 1 : Death 2 (2001) directed by Mark Wing-Davey, performed at Edinburgh Festival, BAC and Soho Theatre (“a ground-breaking piece of theatre”, What’s On); We Haven’t Said a Porky Pie Yet (2002) commissioned by BAC and performed there and Edinburgh Festival (directed by Mark Wing-Davey) and See-through Soho (2003) for Soho Theatre.
Louise created and performed her first solo verbatim show Cut Me and I Bleed Elvis (2004), Tristan Bates Theatre, and later developed it into a play for BBC Radio 4 (2005) (“Louise Wallinger sent her imagination out for a walk and it came back with the wonderful Cut Me and I Bleed Elvis” The Times; “Highly original” The Observer)
Louise introduced this particular verbatim technique to Tamasha Theatre Company and co-created The Trouble with Asian Men (first produced in 2005) for them. She also performed in the show at Soho Theatre and then on tour (2006). (“Like hearing a collective heartbeat… Glorious, not to say essential viewing” What’s On Stage)
Louise worked as an editor of interviews on DV8’s To be Straight with You (2008) National Theatre.
Louise wrote a second play for BBC Radio 4 Audio Recordings of Human Traffic (2009) (“a highly entertaining thriller” The Stage)
In her latest solo verbatim show Annoying the Neighbours, (premiered at Face to Face Festival of Solo Theatre at Lost Theatre and Edinburgh Festival 2013), Louise has interviewed people about the relationships with their neighbours and the professionals who get involved in their disputes. “Characterful and crisp… it makes its point quietly and with humour” (The Scotsman); “A candid, prurient view of urban London living… as good as reading the Sunday papers” (The Stage)
Louise has taught verbatim technique to actors and writers at Soho Theatre; Theatre Royal Stratford East; on Tamasha Theatre Company’s new writing workshops and at Lost Theatre.