Louise Breckon–Richards was born and brought up in North Wales where her first interest in acting came from attending the Clwyd Youth Theatre. She then went on to train for three years at the Guildhall school of Music and Drama graduating in 1993.

Since then, she has gone on to appear in numerous theatre, television and film productions. Full spotlight c.v here

Theatre includes playing Juliet for the English Shakespeare Company’s Romeo and Juliet, Under Milk Wood and A Little Night Music at the National Theatre, The Sound of Music at West Yorkshire playhouse, working at Harrogate theatre, the Mercury Colchester, Windsor Theatre Royal and many other touring productions. Most recently she played the part of Bet in Emlyn Williams’ play ‘The Wind of heaven’ at The Finborough Theatre.

Television includes,  We hunt together, Coronation Street, Temple, Sherlock, Midsomer Murders, Casualty, Holby City, Bedtime, Doctors, Belonging, The Bill, Underworld, Mortimer’s Law, Foyle’s War, Eastenders Cuckoo. Short films include: Through the Hawthorn – An animation short for likely story and Mike directed by Petros Silvestros winning a crystal bear at The Berlin International film festival 2014 and Corvus.
Feature films include, Dirty War, To Kill a King, Beautiful People and Time will tell.

For radio she was in Precious Bane and extracts from The Old Curiosity Shop for the BBC. She has also filmed many commercials for such companies as Dettol, Vanish, VW, B and Q, Halifax, Natwest and more.

Louise is also a writer. She has written Five full length plays, and one screenplay. They include Four O’clock flowers (The Space arts centre May 2019) which is now also a feature film co -written with Peter Callow, shot in Spring 2021, due out 2022, Trace, which had a research and development period supported by Arts council England with Lexi Clare productions ( May 2019) Fire blight selected for  PlayWrought#5 Arcola ( 2017) and Longlisted for Theatre 503 Playwriting award 2015. ‘The Cloak of visibility’ The Space June 1- 5th 2021 and Oncomm award nominated (offies for short runs)  Flyology’ a commission for a drama college and ‘In the mouth of the river’, (first seen at The space as a short as part of the two fest now full length and in development)

She has also written two comedy shorts, ‘Back to the Tower’ ( Bunker Theatre/Happy ever after eve with WoLab) and ‘Cutie crochets’. Coronavirus theatre company, streamed online 2020.

In Autumn 2016 she also co -created, produced and starred in her one woman show Can you hear me running? at The Pleasance Theatre London  written by Jo Harper. The  Read some of the great responses here:

Reviews Wind of Heaven DEC 2019:

 In Louise Breckon-Richards’ lovely Bet, an indelible presence is felt in her performance of stillness and honesty, strongly reflecting her servile status within the time and the place. London Pub Theatres ***** Saul Reichlin

Perceptive and penetrating performances come also from Louise Breckon-Richards as Gwyn’s mother. The reviews Hub *****David Guest

Louise Breckon-Richards as Bet perfectly captures the status of a housemaid, exuding dutiful warmth towards her mistress, offering comfort when needed and at times an air of enchanting naievete. ****  Broadway Baby. Richard Beck

Bet (given a mixture of maternal warmth and wonder by Louise Breckon -Richards) The Arts desk **** Heather Neill

 Reviews: Can you hear me running? Pleasance Theatre Oct 2016 Lovingly performed by Breckon Richards. She keeps it real throughout, she has an extraordinary capacity to draw the audience in. London Theatre 1     5***** review Can you hear me running? Pleasance Theatre Oct 2016

A frank, assured performer, she slips between playing herself and the other characters in her story with ease,  –  The stage

It’s a courageous, honest and very physical performance, – The blog of Theatre things

Louise Breckon-Richards’ performance is mesmerising, as she recalls everything in vivid detail, managing to effectively convey exactly how she is feeling – not always relying on the words but rather the movements and expressions as she moves across the space, saying a lot more than a thousand words could. There is certainly plenty of truth and frankness of everything that she goes through that shines through in her performance. Love London Love Culture

Alongside the narrative, photography and staging, she deserves heaps of praise for her performance, which is incredibly human and both funny and heartbreaking.  The upcoming

Personally, I found it incredibly moving. When I left the theatre, I wanted to sing, scream, call up a friend and pour every little thought I had into their ear. The play highlights the power that lies within our voices, and questions if we can truly be ourselves without it.  – Carns theatre passion 4 **** review