KT is a screen and stage writer with a particular interest in genre, female-led stories, and queer themes. She graduated with a 2.i in Neuroscience from Cambridge in 2013 and promptly ditched the science to start making things up. She was selected for BFI-Network 2021, WFTV Mentoring Scheme 2022, and has an extensive background as an AD.
KT is currently writing grounded speculative thriller series EYLAND for Anton, with director Otto Bathurst (Halo, His Dark Materials, Peaky Blinders). She rewrote Lorna Tucker’s first fiction feature, BARE for Raindog/the BFI and is also working with Other Productions, Dreamscape Media, Fable Films, and Causeway Pictures. She developed an original concept sci-fi series about virtual reality, aliens, and living forever with Alicia Vikander, and is writing a YA sci-fi about pro-gamers for Submarine. She's also fond of super-heroes and wrote a piece about Natalie Portman's Thor for The Independent - Voices. Her debut original concept feature, MERMAID X, is in development with producer Douglas Cox (Host, Dashcam). It received early development funding from the BFI.
KT's play, VILLAIN, INTERRUPTED - supervillains in prison therapy - ran at the Camden Fringe 2019 to critical acclaim. It was a finalist in the Off-West-End Awards 2020 - Short Run and was created by Dolls in Amber, a queer, female led company KT co-founded with director Micha Mirto: 2 geeky women making sci-fi theatre on a dime.
With writing partner Francesca Forristal, KT re-wrote horror feature THE BUNKER GAME (Eagle Pictures) which shot on a budget of €3mil. They are also writing spec horror DON’T TELL MUM, which was selected for the FrightFest New Blood Scheme 2021, and their haunted house series MARIANA is in development with BFI Vision Awardees Erebus Pictures.
by Dolls in Amber
For six months, Gina worked as a therapist in a prison for super-villains. Fearlessly idealistic, she was determined to turn them all into Heroes. Things didn’t go exactly to plan - now she’s telling her story…
In a play exploring redemption, rehabilitation and the nature of evil (but funny), we follow Gina as she plunges into the prison system for powered people, and is forced to question everything she believes in. From Daddy issues (therapy staple) to toxic masculinity, Gina grapples with problems she’s ill-equipped to face. Will they see the error of their ways? Or is the error Gina’s in thinking they’re redeemable?
Combining black comedy with larger than life characters, the show fuses a love of comic-books with the endless possibilities of theatre. Following the lead of blockbusters like Black Panther and Captain Marvel, it uses humour, adrenaline and a mad-cap narrative (plus the occasional shadow puppet) to explore deeper themes; in this case society’s troubling propensity for criminalising non-neuronormativity.
Always Time for Theatre - ★★★★★️ "In Roberts’ writing there’s a feast of light and dark, riotous action and understated moments...the kind of work which sells fringe theatre as a vital space for exciting new work"
London Pub Theatres - ★★★★️“Effortlessly quick and witty... riotous good fun packed full of high energy escapades and brimming with human warmth.”
View from the Cheap Seat - "smart, inventive and thoughtful" "truly insightful, extremely funny"
London Theatre 1 - ★★★★️