Natalie is a playwright, blog writer, occasional performer, song lyricist, Co-Director of , writing coach, a cultural producer of arts and heritage projects and a pond tourist. Her first play Metal Remains, written for and produced by Theatre West in Bristol, was shortlisted for the Meyer Whitworth Prize. Currently Natalie is starting to write about her experiences of learning to swim later on in life.
Natalie’s next full length play, Coasting, was developed, commissioned and produced by Bristol Old Vic. Her short play Scottish Kiss was for Paines Plough’s Come to Where I’m From, Wild Doves was for Bristol Old Vic’s Short Fuses season. Rift; produced by the Brewhouse Theatre Taunton was awarded the Inspire mark as part of the Cultural Olympiad 2012. Exodus was part of Box of Tricks Word: Play/NWxSW tour.
Oxygen for Dreadnought South West toured along the route of the Great 1913 Women’s Suffrage Pilgrimage from Land’s End to Hyde Park, premiering at St Just Town Hall, whilst also touring to Theatre Royal Plymouth, Rougemont Gardens in Exeter, Teignmouth, Yelde Hall Chippenham, The Orange Tree in Richmond. Natalie’s next play for Dreadnought South West was The Cause, which toured across the South West in 2018. It was part of Arts Council England’s Strategic Touring Programme and is published by Methuen & Co. Oxygen will be published in 2020.
Collaborations include; Etch for Exim Dance, This City’s Centre for Blind Ditch. Electric Spaces, for We’ll Meet in Moscow’s In Other Words, where she was also project lead. Natalie’s writing career was ignited by participating in the Hall for Cornwall’s Responses Project in 2006/07. Her work centre stages women and LGBTQ+ characters and voices,
whilst also working with a socially engaged practice where individuals and communities are integral to the process of writing and for making the work in the first place.
In 2018 and 2019 she was awarded Arts Council England South West Project Grants funding to develop RnD projects on The Sound, a new play about young queer lives in Plymouth. This project has also supported on a wider level young queer artists in the South West and has led to the first Rainbow Trail at RAMM. Development work on the play took place at Theatre Royal, Plymouth.
Natalie’s play Blessed was developed and supported by the Traverse Theatre, Edinburgh as part of their Open Submissions programme 2019, and was part of the First Stages Festival in November 2019.
We’ll Meet In Moscow was part of Shift Scots Pride Plays Festival in collaboration with the Traverse Theatre in February 2020.
Readings of Natalie’s work have taken place at the Traverse Theatre, Theatre 503, Soho Theatre, Bristol Old Vic as part of their ongoing Bristol Ferment platforms, Hall for Cornwall, Theatre Royal, Plymouth, Exeter Phoenix, Exeter Bikeshed Theatre to name a few!
Natalie is currently Writer In Residence at the Royal Albert Memorial Museum (RAMM) as part of a partnership with the University of Exeter led by Dr Jana Funke called: Out and About: Queering the Museum. Here a programme of work with take place until 2021 to ‘queer the museum’, including Natalie writing a poetic queer narrative of RAMM, new work about Lesbian Medieval Nuns, and leading on cultural heritage production through the project. It is funded by the National Lottery Heritage Fund and the University of Exeter.
Natalie is currently under commission to the University of Exeter’s Wellcome Centre for the Cultures and Environments of Health in partnership with Exeter Northcott Theatre, to write about Loneliness in relationship to queer narratives and LGBTQ+ stories. The project is led by Dr Fred Cooper.
“There’s no mistaking the distinctive timbre of McGrath’s work.” – Lyn Gardner
“McGrath is a playwright of promise.” – The Times
“beautiful and uplifting” – On Oxygen The Stage
“I thoroughly enjoyed The Cause at the Assembly Rooms, on a cold night with a full house. In particular, I thought the script particularly strong and thoughtful, never didactic but reflecting the passion, despair and commitment of both women and the impossibility of reconciliation, both between their methods of gaining suffrage and in themselves. The performances were particularly strong and moving and gave added poignancy and depth to the story and political landscape in which the meeting was set.
“For me, as for many others I imagine, there were many contemporary resonances: #MeToo, obviously, with understated but very powerful observations of the abuse both women suffered, but also the current political hegemony, unequal pay and opportunity, male complacency and of course how power works and ultimately controls dissent.”
Paul Goddard, Arts Council England