Anna Jones is a film and theatre-maker from London based in LA.
Anna is the co-creator and Executive Producer of My America, an Uber web series set in the six days leading up to the 2016 election. She directed four out of the six episodes, along with veteran TV director Asaad Kelada, produced by Sophia Jennings and Lily Campbell of Picrow (the production behind Transparent and other original Amazon shows) and freelance producer Roweena Mackay.
It features co-creator Jamel Davall (Ray Donovan, Law and Order), Carmen Argenziano (Criminal Minds, The Godfather Part Two), Peter Macon (Bosch, Orville) and Elizabeth Sung (Shameless, Memoirs of a Geisha).
Official Selection: Los Angeles Film Festival, Episodes: Indie Series from the Web; Hollyshorts Film Festival; New Haven International Film Festival
Winner, Best Web Series: 15 Minutes of Fame, Palm Bay, Florida; Unrestricted View Film Festival, London, UK
To watch THE series and see related press, visit: www.myamericaseries.com
Last year, Anna directed & co-produced the Now What? trilogy: three LA based short films about a Korean-American man in his 30's juggling friendship, love and career challenges, produced for Brooklyn Seoul Productions with actor/writer Nick Maccarone. The films have been invited to a number of festivals worldwide, including Digital Box Office TV, Move Me Short Film Festival, IPAAF, Highland Park Film Festival in LA, RESOBOX Short Film Festival, >> LOVE Film Screenings in New York, the Chhatrapati Shivaji International Film Festival, India, Dreamers Film Festival, South Korea, the Downtown Urban Arts Festival in New York, the Canadian Diversity Film Festival, the Williamsburg International Film Festival & the Oasis Short Film Festival. Now What? will shortly be available to stream on ShortsTV in the USA and EMEA
Anna's earlier short No Strings, a lyrical silent short with an award-winning score by Angus Macrae based on a poem by actress Emily Bevan, was produced by Steam Media. It features actors Emily Bevan (HBO/BBC’s The Casual Vacancy, BBC3's In the Flesh) with whom Anna co-wrote the script and Tom Rhys Harries (ITV’s Jekyll and Hyde, Crow). It was filmed at vPPR's Ott's Yard. Official Selection: London Short Film Festival, LIQUID Video Art Festival, Highland Park Film Festival.
Anna directs and produces video for Sixth + Western digital agency where she was a Creative Director from 2015-2016. She is on the WeforShe DirectHer list that supports female breakout directors in directing their first TV episode. She has shadowed directors on numerous TV shows, including Alice Troughton on the BBC's The Living and the Dead, Emmy award-winning director Colin Bucksey on Showtime's Ray Donovan and producing director Tim Andrew on MTV’s Teen Wolf. She is a member of Women in Film with mentors Face Production's Samantha Sprecher and Viacom's Taj Paxton. Anna has worked at Sony Pictures, including in development at Lynda Obst Productions. Anna is in the BAFTA LA's Newcomers Program 2016-2018 that supports "rising British stars" in Los Angeles.
On set at vPPR's Ott's Yard in London for NO STRINGS
Anna has worked as a director and producer in the London and New York theatre scenes for over a decade, running Bone Orchard ("One to Watch", Backstage) and the Arts Council England supported NYLon Projects, as well as working as a freelance director in many venues in London and New York, including the Young Vic, The Culture Project and Soho Theatre.
Her work as writer/director includes At the World's Edge, an original commission for the London Sinfonietta with composer Elspeth Brooke and puppeteer Seonaid Goody based on the Demeter and Persephone myth, and Times 365:24:7 ("a teeming mosaic", New York Times), an original commission for The Brick Theater, New York about the 24:7 impact of the news, developed in collaboration with journalists at The New York Times, Reuters, CNN and others. Last year, she led a research and development workshop of Paul Kalburgi's new verbatim drama, In the Tall Grass, at the South Dallas Cultural Center in Texas about the unsolved murder of local trans woman Shade Schuler.
Anna has collaborated on new work with many writers, including Alena Smith (Icebergs, The Geffen; Showtime's The Affair), Suzy Almond (School Play, Soho Theatre), Stella Feehily (This May Hurt a Bit, Out of Joint at The St James Theatre) and Tarell McCraney (Head of Passes, Mark Taper Forum; the playwright behind Barry Jenkins' Moonlight, A24 & Plan B Entertainment).
To see NYLon's theatre work, featuring actors Amara Karan (HBO's The Night Of), BABOU CEESAY (SHOWTIME'S GUERILLA), Emily Bevan (BBC/HBO'S The Casual Vacancy) and Chipo Chung (NBC's The Bible) - including material by J.S. Davall and Anna Jones, Stephanie Fleischmann, Ben Jonson and Alena Smith, visit www.nylonprojects.org
Anna is a Visiting Lecturer on the MA for Writing for the Screen & Stage at Regents University, London. She has also directed in community, school and drama school settings for many venues, including The National Theatre, LAMDA and East 15 in London; and The New Victory Theater and The Center for Arts Education in New York.
Anna studied at Cambridge University and the Yale School of Drama.
Alena Smith's Plucker focuses seriously on a group of 29-year-olds looking long and hard at issues of relationships and commitment, money and discarded dreams. This particular Smith and Jones form a fruitful partnership. Anna G. Jones' production is pleasingly sparky.
The Evening Standard, Fiona Mountford
The nonstop news cycle is the subject of Times 365:24:7, and given the frenetic activity onstage, it's apparent that hard news - covering it and consuming it - can be stressful. Though the main focus is on newspapers, this ambitious play, from the troupe Bone Orchard, also puts television news, talk radio and the blogosphere under its feverish scrutiny.
Full disclosure: Times 365:24:7 drew from interviews company members had with journalists, including David Giambusso, a staff reporter for The Star-Ledger in New Jersey and a freelancer for The New York Times, whose newsroom is one of the settings. But the production has far too much of a political agenda simply to provide a documentary examination of the lives of reporters.
Conceived and directed by Anna G. Jones and devised by the company, the play is a teeming mosaic, miraculously kept under two hours, with many actors in multiple roles.
The New York Times, Andy Webster
Ben Jonson’s 1606 comedy of greed and trickery [The Hackney Volpone], is not, by modern standards, what you would call mainstream theatre. But accessibility is the name of the game in this production by NYLon Projects which places professional actors in the show’s principal roles alongside an ensemble made up of non-thesps from the local community to give the production a Hackney spin.
Heirless Venetian gentleman Volpone (Jamel Rodriguez) feigns a terminal illness to receive lavish gifts from three legacy hunters, each of whom he leads to believe will be named the sole beneficiaries in his will.
Volpone’s deviousness is only equalled by his seemingly-loyal servant, Mosca (Babou Ceesay). These masters of mischief make an entertaining pairing, played with a roguish, slightly homoerotic chemistry. Nuts to their comeuppance; you want them to get away with it. Until the attempted sexual assault, that is.
Director Anna Jones wisely cuts the play’s lengthy sub-plot with Sir Politic Would-Be, giving the story a clear focus. With a minimal set, live piano music and costumes that mix modern and Jacobean elements, the show has a ragtag charm. This is an endearing production and one that doesn’t deserve to slip under the radar.
The Evening Standard, William Moore
Attempts on her Life by Martin Crimp is written without any characters -- in the script a dash is used to mark the change in speaker. In this production together, making them into characters. This brilliant choice of organization gives the wandering dialogue a concrete basis in humanity, literally fleshing out the abstract themes of story telling, identity and modern apathy in security.
A solid ensemble cast under the guidance of an outstanding director tackle a difficult and jarring work, eventually finding transcendence in the bleak ambivalence of modernity.
Yale Daily News, Summer Banks