David Levesley is a multimedia journalist focusing on the intersection of cultures and culture. He has written on everything from opera to orgies for GQ, Vice, Slate, the Daily Beast, the Guardian and many more. He is also currently the Social Media Editor for the i Paper, where he writes and produces videos about queerness, politics and the arts.

David is also a playwright and producer, having staged works across the UK and in America. His latest play, Silent Meat, last appeared at the Pleasance theatre in London. He is also an avid storyteller, casual poet and makes a mean brunch. 


Selected Playwriting Credits

David's writing credits are below. For examples of his process as a director of his work and as a writer, his experiences with his new writing are documented on City & Seaside's blog, a writing collective he formed with Cathryn Turhan.

For more information on his official stage adaptation of Evelyn Waugh's Vile Bodies, go to the show's production blog.

Selected Writing Credits

FML The Musical- 2011- Warwick Arts Centre Studio

Vile Bodies- 2012- Victoria & Albert Museum/Warwick Arts Centre Studio

Metaverse- 2012- IATL Studio (part of the Edward Bond@50 Celebrations)

Cinderella The Opera (Rewrite of Rossini's La Cenerentola)-2013-Warwick Arts Centre Theatre (revived for an April run.) Won 'Best Musical/Opera' at Warwick University Drama Collective Awards and 'Best Event' at the Warwick University Society Awards.

The House Beautiful- 2013- The Humanities Studio Warwick University. Nominated for NSDF writing ensemble for the play.

Garden Variety- 2013- Little Zelda Cafe, Brooklyn

Reviews of David's writing

"FML has a huge amount of potential, and I wouldn’t be surprised if it were to go on to bigger and better things. Pastiching theatre of all forms and taking a tongue-in-cheek look at university life, Levesley’s script left not one audience member stern-faced." ~ (Dan Hutton, theatre blogger)

"Vile Bodies was superb, it is the definition of amazing student theatre." (Anna Laycock, theatre blogger)

"The new translation, by Jones and Warwick’s seasoned and multitalented David Levesley (founded on an earlier version by John Aldis), hits the solar plexus of student humour… A Cenerentola just full of ideas, fizzing energy and incredibly funny (no pictures can do justice to its sheer explosive impact)." (Behind The Arras)

"The script was witty, representative of widespread culture and had the audience in stitches on countless occasions. Cinderella has truly made opera accessible to all and gets rid of the negative stereotypes that surround the art form" (The Boar)

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