The Anglofiles: Chloe Champken on British Theatre in NYC and the Edinburgh Fringe
In our latest Anglofiles feature, we’re spotlighting Chloe Champken, a British multi-hyphenate creative who is redefining what it means to be a "dual-citizen" of the theatre world. You might recognize her name from our recent interview with Joe Staton, where she served as the directorial force behind his hit play, Snazzy!
A graduate of the Trinity Laban Conservatoire in London and the Stella Adler Studio of Acting in NYC, Chloe has co-founded two distinct ensembles that act as a bridge between her two homes. With Crowded Space (co-founded with fellow Brit Michael Reid), she breathes new life into English classics. Meanwhile, her ensemble Devious Minds (co-founded with Brooklynite Gabriel Drax) focuses on bold, new collaborative works.
Whether she's prepping a new play for the Edinburgh Festival Fringe at the Underbelly or staging Shakespeare in a Manhattan black box, Chloe’s work is a masterclass in fusing British and American storytelling.
You moved from Trinity Laban in London to the Stella Adler Studio of Acting in NYC. What was the biggest "culture shock" you experienced when transitioning into the New York theatre scene?
I was immediately sucked into New York’s undercurrent of artists who work day and night to make their dreams a reality. Coming from a degree in Musical Theatre in London, you’re not really introduced to the grind of developing new works as a creative. But in New York, it’s like a drug; once you’re a part of it, you never want to stop.
Through your company Crowded Space, you and Michael Reid made the New York Debut of the British play England by Tim Crouch. Why do you think New Yorkers are drawn to these British stories?
Whether people like to admit it or not, we do have a great deal in common. What Michael and I do through Crowded Space is find and create plays that have universal messages at their heart and then find the American/British coalition within that.
In ‘England,’ we have a British protagonist with a very successful American boyfriend, dealing with themes of abandonment and privilege. It’s a deep dive into the loss of identity, but at the end of the day, mortality is the thing that hits home for everyone.
As for the more classic plays like Shakespeare, Wilde, and Coward, I think there is a wholesome infatuation with British "airs and graces" and the fact that something like Shakespeare pre-dates the United States by hundreds of years.
With your ensemble Devious Minds, you andGabriel Drax build new playsfrom scratch. How is the process of creating a brand-new show in Brooklyn different from staging Shakespeare?
This is a different beast altogether. I’m lucky that I get to work with such a talented playwright as Drax, who is now a member of The Actors Studio’s Playwright/Directors Unit. He makes my job easier with outstanding plays, and we truly just collaborate and create from the ground up.
I use the same approach for both Shakespeare and new plays: collaboration is key, and you get your first ideas from the text. Both require immense attention to detail, but there is definitely more freedom with new plays. You really are starting from a blank canvas.
You’ve directed at iconic venues like The Flea and The Chain. Between acting and directing, which role do you find more challenging when starting a project from scratch in NYC?
That is a hard one because they both have their own equally big challenges. As a Director, you have 101 things going on in mind at once, from staging, set design, costume, rehearsal schedules, PR, lighting, sound, script edits, and the hardest one, working with actors (I joke, I joke).
Honestly, having studied as an actor first gave me invaluable skills; I understand and just "get" actors. I’ve been in plays where a Director has humiliated me in front of a cast, and I’ve also witnessed some of the best direction when an actor transforms. That’s what I strive to do.
As an actor, your world is smaller and more precious. It’s yourself, your lines, and your partner. But the most challenging part of that is yourself, and I like that as a Director I don’t put anywhere near as much pressure on myself as I do when I’m acting.
This August, you’re taking Michael’s new play, Safety, to the Underbelly at the Edinburgh Fringe. How does it feel to represent a British-American collaboration at such an iconic UK festival?
It’s ironic that two British people are brought together by New York City and, from that collaboration, are returning to our roots. The Edinburgh Fringe is a creative’s dream, let alone such a prestigious venue as the Underbelly.
Michael and I have taken part in the Fringe before and agree it is a magical place. Safety is going to be an incredible experience, with hopes to bring it to London and New York in the future.
You often work with performers from both London and New York. What’s the most exciting thing that happens in the room when those two distinct creative styles meet?
In London, actors are so quick to say where we trained and with whom. You're expected to go to certain acting schools to even dream of a career. In New York, some of the best people I’ve worked with haven't trained at all; it's what you call "raw talent". It’s a big culture shock, but in New York, all you need is a hunger, drive, and good instincts
The "Anglofile" Quick-Fire
Favorite NYC spot for a "taste of home"?
My Aunt's house in Greenpoint; she always made the best cup of tea.
The British snack you miss most in Manhattan?
Walkers Prawn Cocktail Crisps
Dream NYC landmark to stage a play?
I have a plan to do a play at the Pier 40 Picnic House looking out over the Freedom Tower
Your "dream project" or piece of British history you'd love to bring to the NYC stage?
My dream project? Honestly, it’s a toss-up, but getting Noel Coward’s Private Lives on stage with Crowded Space is right at the top, and we’ve actually already started the assembly process!
On the history side, I’ve always been fascinated by 1066 and the Battle of Hastings. It’s the one date every British child knows by heart, largely thanks to that '0800 00 1066' Hastings Direct jingle that’s permanently burned into our brains. It just so happens a dear friend of mine, a phenomenal UK-based Musical Director, has written an absolute epic of a musical about it. We’re already plotting a New York debut, so definitely watch this space!
Stay connected with Chloe by following Crowded Space for updates on her upcoming production of Safety at the Edinburgh Fringe, and following her journey on Instagram.
