Sue Healy

regional managing editor
From Ireland, Sue Healy is a Lecturer in Creative Writing and Publishing at the University of Lincoln. She is an award-winning writer and playwright. In 2018, her play Imaginationship had a sold-out, extended run at the Finborough Theatre, London and showed later at the Stephen Joseph Theatre, Scarborough. Sue is Literary Manager at the Finborough Theatre, has a PhD in modern theatre history (Royal Court Theatre). Sue’s previous full-length stage productions include Cow (Etcetera Theatre, 2017) and Brazen (King’s Head Theatre, 2016), funded by Arts Council England. Her short plays have been performed at the Criterion (Criterion New Writing Showcase), Arcola (The Miniaturists) and Hackney Attic (Fizzy Sherbet Shorts). Sue’s radio work includes nine plays broadcast on BBC Radio 4 (Opening Lines winner), WLRfm and KCLR96fm. Sue’s work has been supported and developed by Dublin’s Abbey Theatre, the Peggy Ramsay Foundation and Arts Council England. She is a recipient of the 2018 MGCfutures Bursary, the John Hodgson Theatre Research Grant and has been named a 2019 Hawthornden Castle Fellow. Sue’s prose has won The Molly Keane Award, HISSAC Prize, Escalator Award, Meridian Prize and has been published in nine literary journals and anthologies including: The Moth, Flight, Tainted Innocence, New Writer, Duality, HISSAC, New European Writers. She has been writer-in-residence on Inis Oírr, Aran Islands, and at the Heinrich Boll Cottage on Achill Island. Sue has also benefitted from annual artist residencies at the Tyrone Guthrie Centre, and at Ginestrelle, Assisi in Italy. She has been a finalist for BBC Scriptroom 12, Eamonn Keane Playwriting Prize, Nick Darke Award and Old Vic 12 New Voices. Sue is a 2009 UEA Creative Writing MA alumna. She spent eleven years in Budapest, where she edited Hungary A.M.
Like Us On Facebook

Featured Writers
Most Popular Posts
Polishness And Its Place in Europe: Polish National… by Kasia Lech 7th January 2021
“A Little Life”: Adaptation and Mixed Reality by Olivia Ek 20th April 2020
Shoebox Musicals: A Story of TikTok, The Pandemic,… by Michael Schweikardt 1st December 2020
Afro-Latinidad And The Greater Good Of The Latinx… by Trevor Boffone 12th December 2020
Minecraft Plays in Covid Times with Director/Artist… by Melissa Trepa 11th January 2021
Maintaining Whoville: Interview with Designers Chris… by Colden Lamb 27th December 2020
Out of the Darkness: A “Visit” with Lighting… by Colden Lamb 10th January 2021
The Rise of the Ridiculous in “Circle… by Timothy L'Ecuyer 6th January 2021
A Son, His Father, and Steampunk: Reliving Days of… by Fu Beimeng 10th December 2020
Radio-Drama Vibe of Resounding’s… by Alexander Fatouros 19th December 2020
Recent Posts
- Cards For Humanity: “Social Alchemix (Live!)” by Wil Petre 17th January 2021
- “The Dybbuk” Or a Play Possessing Audiences for a Century 17th January 2021
- Intriguing and Peculiar Immersive Theater with Grounded Aerial’s “The Insectinside” 16th January 2021
- How to Write a Pandemic Play 15th January 2021
- Choosing the Stories You Tell: An Interview with Kelley Girod 14th January 2021
- A Woman and an Immigrant, but Most of All, a Scientist: Musical “Marie Curie” Review 13th January 2021
- “Mnquma & Ithemba”: African Contemporary Dance-Based Storytelling 12th January 2021
- “S-27” at The Finborough Theatre 11th January 2021
- Minecraft Plays in Covid Times with Director/Artist Susie Lawrence 11th January 2021
- Out of the Darkness: A “Visit” with Lighting Designer Japhy Weideman 10th January 2021