Julian Felice was born in Gibraltar and started acting in his teenage years before moving to the UK to study Drama at the University of Kent. After gaining a Masters in Drama, specializing in Shakespearean performance, he gained further experience in directing and working with young people. He trained as a drama teacher at Central School of Speech and Drama before returning to Gibraltar. In addition to his experience as an actor and director, Julian has also written a number of plays on a variety of different subjects. He lives in Gibraltar with his wife and two children.
Cast of 12 plus ensemble. Most roles are gender flexible except for those noted. Doubling possible.
James, a young boy, suffers from Angelman Syndrome. This neurodevelopmental disorder causes problems with speech and mobility forcing him to spend his life in a wheelchair. The story shifts from James’ imagination where he dreams of being a superhero called “The Amazing Angel-Man” to the real world, where the realities of his condition have a serious impact on his family, particularly his father. As the play progresses, these two separate worlds start to overlap, leading to an uplifting resolution that upholds the values of hope and imagination. The play was ...
10 m, 4 w, 1 flex, 1 boy, some doubling possible
Challenger: To Touch the Face of God tells the powerful story of the Challenger disaster of 1986. It dramatizes the stories of the seven individuals who tragically lost their lives in this event, while also drawing attention to the controversial circumstances which led to one of NASA’s blackest days. Although some of the scenes depicted are fictional dramatizations, many of the sentences are the actual words used by the astronauts themselves. Scenes and settings flow seamlessly together with only lighting to distinguish them. The result is a hard-hitting and ...
Approx. 8 m, 5 w, numerous flexible roles and chorus
"Mary Jane of Whitechapel" is set during the Autumn of Terror of 1888 when London was haunted by the spectre of a killer which, even now, we know only by the name of Jack the Ripper. Alternating between the investigation into the killings and the life of Mary Jane Kelly, the Ripper’s final victim, the play re-creates the dark atmosphere of a city horrified by blood and violence. Most of the play is based on real people and incidents: the frantic officers on the case, the scores of suspects, the vigilantes who attack foreigners, and ordinary people, scared of ...