Lou Prendergast is a Glasgow-based writer, director, performer and theatre-maker. She recently completed a writing attachment with the National Theatre of Scotland. A former journalist, she graduated in Sculpture at the Glasgow School of Art in 2011, having specialised in site-specific installation. Theatre is now the space where she brings synthesis to her intellectual, political and visual ideas, with a creative practice realised via a female perspective, a mixed-race sensibility and a social conscience.
An artist residency with Ankur Productions in 2012 culminated in a scratch performance of the monologue Waiting for My Daddy (Ankur/Citizens Theatre, 2010). Her presentation of Whatever Happened to Harry? (Arches LIVE 2012) won the Arches Blackbox Graduate Award; and the third part of the trilogy, Fifty Shades of Black (Ankur/Citizens Theatre, 2013), was then 'remixed' as Fifty Shades of Black (Dub Version) (Ankur, CCA, 2013). She received a Creative Scotland 20 for 14 Commonwealth commission for Blood Lines (The Arches, Culture 2014). Tommy’s Song (NTS/Oran Mor, 2015) marked the first play not performed by Prendergast herself. Performances in other people's shows include the 2013 and 2014 presentations of Cain's Book (Untitled Projects/The Arches) and Emancipation Acts (ACCG/Culture 2014).
Prendergast is also working on a PhD in contemporary playwriting at the University of the West of Scotland supported by Playwrights' Studio, Scotland. As part her research, she is developing a new theatre company, Black Star Projects, in line with her vision for a 'conscious theatre practice' in which the embodied experience of yoga and meditation is channeled through the creative process and into the work.
Morris, Michael. Scotland and the Caribbean, c.1740-1833: Atlantic Archipelagos. New York and London: Routledge, 2015. Print. Studies in Cultural History Series.
—. “Yonder Awa: Slavery and Distancing Strategies in Scottish Literature.” Recovering Scotland's Slavery Past: The Caribbean Connection. Ed. Tom M. Devine. Edinburgh: Edinburgh University Press, 2015. 41- 61. Print.