About Mercia Theatre Company

Mercia Theatre Company was formed to make room for work that’s intelligent, actor-led and rooted in real events. Based in the Midlands, we like to work with people from here — but we’re not parochial. If the story’s good, we’re interested.

Our process is collaborative: script, room, research, repeat. We work with performers who can handle text and with creatives who aren’t afraid of material that nudges at politics and power.

We also partner with venues to stage small-to-mid-scale work, starting with The WilsonPapers.

Creative Team

Simon Ashton

Director / Producer

Simon Ashton is a Birmingham-based actor and director whose work bridges classical and contemporary theatre. Drawn to complex, morally ambiguous characters and material that challenges audiences, he brings precision, collaboration and a text-led focus to every project.

Recent stage work includes Hogan Wise in Jah Makin’ It Happen (GAP Entertainment), Mack in Debris (The Cheltenham Playhouse), and Abraham Van Helsing in Dracula (The Old Fire Station Theatre). Previous roles include King Lear, Dale Harding in One Flew Over the Cuckoo’s Nest, and John Syddall in Eyam.

A former Assistant Director at Birmingham Theatre School, Simon combines technical craft with a grounded, physical performance style. His work often explores authority, vulnerability, and the fine line between darkness and humour — qualities that define both his direction and his performances.

Alex Viveash

Writer / Co-Producer

Alex Viveash is a playwright whose work looks at the fine line between guilt and redemption. Based in Cheltenham, Alex writes character-driven pieces, blending sharp dialogue with a lyrical introspection, looking at the quiet moments that shape everyday life.

His writing is rooted in emotional realism, with interactions between a small number of characters at any one time a particular focal point.

With a background in professional communications and editorial work, Alex brings a precision to his writing which resonates both on the page and on the stage. His first play, Debris, looked at the role-reversal that takes place between alcoholics and their children, and was praised for its raw emotion and intensity.

The Prime Minister’s Papers is his second play. He is currently herding several narratives towards completion, ranging from espionage and posthumous legacies to the breakdown of relationships (and sinks). He is powered by tea, ’80s hits and many packets of Chesterfield Blue.