Jolie Booth began training in the performing arts as a dancer from ages of 5 to 11yrs and then as an actor from 11 to 16yrs at local youth groups. She began working at an award winning Tudor Re-enactment called Kentwell Hall aged 10yrs old and spent a week each summer living as a travelling troubadour in a mummers troupe called the Suffolk Howlers, who are still performing together 26 years later, making them somewhat specialists in their field (no pun intended).
Studied theatre throughout GCSE's & A'Levels, completing A'Level Theatre Studies at Colchester Sixth Form College in 1996, then in 2001 completed a degree in English at Nottingham Trent University. Directed Equus and Alice Through the Looking Glass as part of the Nottingham Trent Drama Society.
Set up and edited Flow Magazine in 2002 - a radical feminist webzine, one of the first of its kind, which became national news when Julie Burchill wrote about it in her column for the Guardian and then subsequently for Flow Magazine itself.
Became a semi-finalist in the 2003 "So you think you're funny?" stand-up comedy awards performing at the Gilded Balloon. Trained in contemporary clowning with Angela De Castro and became a member of the HaHaHarmonics choir. Off the back of this supported John Jordon (of Reclaim the Streets) with setting up and training the Clandestine Rebel Clown Army (CIRCA). In 2003 established Kriya Arts a cutting edge arts and production company.
Between 2003 and 2004 moved to a large squat in Berlin and was part of Piratinnen Puppeteen theatre company. They travelled around squat bars presenting videos and puppetry performances on the theme of piracy.
From 2004 to 2008 worked as part of a new media collective in Brighton called Nothing to See Here Productions and they spent their time making websites, music promos, short films and branding for the likes of Fat Boy Slim, Alice Russell, Quantic Soul Orchestra and Juliette Lewis. They also worked with artists such as Matt Sewell and Adam James on live art events like the first ever You, Me, Bum Bum Train. During this time they were all hands on deck so learnt a myriad of production skills as well as being the in house actress.
From 2007 to 2008 trained in acting at the Academy of Creative Training in Brighton.
In 2008 began working with the world famous fool Jonathan Kay as his producer and also trained and performed with him. Together they created the Nomadic Academy for Fools. After a few years the graduates from the academy, Jolie included, began touring professional work under the company name Theatre of Now.
From 2012 onwards produced and performed a cameo part in the award winning Backstage in Biscuit Land by Touretteshero, which was selected for the British Council Showcase and iF Platform in 2015, and also produced Tangram Theatre's multi-award winning Scientrilogy.
Her first novel The Girl Who'll Rule the World was published by the Kings England Press in 2016.
"I create safe spaces within which audiences can relax, open up and explore. My work is extra-live, which means that the usual rules of theatre etiquette do not apply and therefore anything can happen.
In the background to my practice I'm interested in the history of performance, from our earliest forefather's attempts at explaining how they'd survived death by performing elaborate ceremonies, to the power of show business today. I'm exploring how theatre can be used as an act of subversion, healing and discussion. I'm continually delighting in its inherent magic, the act of creation being the most magical act of all.
But the forefront of my practice comes with a mainstream face. I work with cutting edge mediums, performance artists, designers and producers so that the interface with the audience is edgy and enticing.
I'm interested in how theatre can be used as a tool for change. Theatre allows for a safe and sacred space within which issues can be discussed without fear of retribution. But to get people there in the first place the work needs to be accessible and inclusive. It needs to look like fun. The face of my practice has taken many guises, but behind the mask, my practice is always about working with the audience to challenge and crack open our preconceptions (especially my own).
The question mark is my crucifix."