In The Haus: Glen Neath

Glen Neath has never been one to follow the traditional path of theatre. Initially drawn to writing, he began his journey with readings at the Royal Court and small pub venue productions before discovering shunt, a boundary-pushing theatre collective. This realisation that theatre could be more than just staged plays led him to collaborate with David Rosenberg in 2011, sparking the creation of DARKFIELD – a ground-breaking series of immersive, binaural audio experiences that transport audiences into unsettling, otherworldly narratives.

As DARKFIELD prepares to launch its newest experience, INVISIBLE, at Adelaide Fringe, Theatre Haus caught up with Glen to explore his creative process, inspirations, and the defining moments that shaped his career. Get ready to step into the unknown.

We’d love to know more about the beginning of your career – where and how did you get your start?

I studied Fine Art but always had an interest in writing. I wrote a few ‘plays’ that had readings at the Royal Court and small pub venue productions. I discovered shunt (where I met David) and realised theatre didn’t have to be just plays. We started working together in 2011.

What or who were some of your early influences or inspirations that shaped your career?

Philip Guston, Samuel Beckett, Richard Maxwell, Harold Pinter, shunt

What are some of the most defining moments or milestones in your career so far?

In chronological order: the day I got a writing agent; the day he sold my first novel and I realised I was going to be published; the audience and critical response to ‘Ring’, the first show David and I made together; the moment we realised the Darkfield shipping container model and saw the possible future.

What is a quirky fact about you, or something people wouldn’t expect about your story?

I was interviewed on national television when I was 10 years old for comics I used to draw and sell at school. The same summer I accidentally burnt down the hay barn on the farm behind my house.

What are you currently working on and how has that creative process been?

We’re creating new localised versions of the container shows for America and Canada. We’re also plotting a couple of new shows.

What’s in your rehearsal bag that you can’t go without?

We don’t rehearse!

Not that I can think of. Read every day though. You can’t have the thought if you don’t have the words to make the thought.

What advice would you give to a young person today aspiring to walk in your shoes?

Make your own opportunities. If an opportunity you didn’t make passes by, grab it. Recognise an opportunity.

What are your future aspirations or projects that you’re excited about?

I’m in my dream role, making work and seeing it get produced. The idea of a Darkfield park in many cities across the world has been an ambition since we made the first shipping container show in the UK. We have realised it not only in London, but also in Australia, with four shows in Adelaide, Melbourne and Sydney, and more recently in America. I’m excited to see that model expand.

Theatre Haus is the ‘home of theatre’, where, what or who do you call home?

My house and my office at the bottom of my garden.

Darkfield’s ‘Invisible’, ‘Flight’ and ‘Seance’ perform at The Garden of Unearthly Delights as part of Adelaide Fringe from 14 February 2025, until March. Follow Darkfield Australia or Darkfield on Instagram for more show updates!

Want to feature in our In The Haus series? Email [email protected].