The Playboy Of The West Indies Digital Programme

Presented byCHILDREN’S the Birmingham 2022 Festival THEATRE PARTNERSHIP & BIRMINGHAM REP PRESENT

PROGRAMME

A NOTE FROM THE ARTISTIC DIRECTOR This year - from September '21 to October '22 Birmingham Repertory Theatre Company is marking 50 years in this iconic theatre, and we’re inviting you to celebrate with us. The Company is well over a hundred years old, but moved here, to Graham Winteringham's magnificent RIBA Award winning building from the 'Old Rep' in 1971.

Since then, many world premieres have graced our stages, and many more significant actors, directors, writers, and designers have created work here that has lived long in the memories of those who saw it. The Rep is a special theatre in a special city.

Birmingham today is on the move: the world’s most important, super-diverse city, one of the youngest in Europe, has the Commonwealth Games, and The Rep is right at the heart of that creativity and buzz. And Commonwealth – whatever it means to you – is at the heart of our programme in 2022.

In 1984, Mustapha Matura adapted J M Synge's Irish classic - set in the wilds of the west coast of Ireland, and first performed in 1907 at The Abbey Theatre, Dublin.

Matura's new version, set in 1950's Trinidad, emphasised the comic elements and brilliantly transplanted the play into a completely different, yet strangely similar rural setting. The tall story spun by a young man in a bar that bewitches everyone in the village remains the same, as does the celebration of the lyrical nature of the local accent and speech. The Rep is now thrilled to be bringing this world-premiere musical adaptation of Matura's version to the stage.

Live theatre of any kind is a unique shared part of our culture... I believe the stages of The Rep are some of the best places in the UK to experience the excitement and joy it can bring, and look forward to sharing The Playboy of The West Indies with you.

Sean Foley

As the city’s world-class producing theatre we have been enormously grateful for the support of Birmingham 2022 Festival for some of our programme this year - with The Playboy of The West Indies being one of the shows directly supported by them.

GLOSSARY SAPATS: a cheap type of footwear

JUMBIE: a type of ghost

OBEAH WOMAN: a woman who practices folk religion

WAJANK: a hooligan

PECONG: a type of teasing

PLAY MAS: to go crazy

FIRE ONE: drink one (rum or spirits)

MAMAGUYING: to make fun of

PACKOTI HOUSE: a brothel

TOTIE: penis

GARRAYING: talking for the sake of it

BAZODEE: crazy

WASHICONGS: plimsoles, or sneakers

PUT GOAT MOUTH ON HIM: to wish someone bad luck

BELA: a type of dance like a quadrille

SOUKINGYA: a vampire-like demon

FLAMBEAUX: a petrol bomb used to provide light

BUSH BATH: a folk cure for bad luck

CASA BALL: a sweet like a gobstopper or jawbreaker

TOCO: a village and beach on the north coast

DISCOVERY DAY: a public holiday to celebrate Columbus’s landing (not observed since independence)

CARONI CANE: sugar cane grown in Caroni

GALLERY WIT: showing off COPRA: a fribrous matter that is a by-product of the coconut SAGA BOY: a flashy fellow

SAN-E-MAN-E-TEH: without humanity BRUSHING WOMAN: having sex with a woman PIROGUES: an open-topped boat MY KNOCK’S IN: my luck’s in (from marbles game)

MUSTAPHA MATURA TIMES OBITUARY There were also riffs on established works, such as in Playboy of the West Indies (1984), a Caribbean version of Synge’s The Playboy of the Western World that he adapted for BBC Two in 1985. He even took liberties with Chekhov in Trinidad Sisters (1988).

Flamboyant playwright who brought tales of life in the Trinidadian sun and the struggles of Windrush immigrants to the London stage.

Shortly after Mustapha Matura arrived in London from Trinidad he found work as a hospital porter. It was, after all, a “theatre job”, he would joke. Although “wheeling people in and wheeling bodies out” was not the most exciting way to make a living, like everything else that Matura did — office boy, stockroom assistant, film extra, failed gigolo — it provided rich material for his storytelling.

A friend from his school days recalled that even as a boy Matura had been a storyteller. “We used to call him the Rakeman, because he was always raking in stories about what was going on,” he told The Sunday Times in 1974.

Matura’s plays were about Trinidadians and the Tropics, and teemed with the sensuality of life in the sun, where crabs come out of the lagoon at midnight and dowries are measured in fishing boats. As he told The Times in 1983: “The theme that runs through my work is the discovery of Caribbean sensibilities and culture.”

After his first three plays were performed as Black Pieces at the ICA in London in 1970, Irving Wardle wrote in The Times that they “suggest the work of a black Cecil Taylor: a writer divided between revolutionary conviction and human feeling, who writes plays to resolve this discord within himself”.

Soon afterwards came As Time Goes By (1971), an entertaining tale about a Trinidadian couple adjusting to life in London, although not far beneath the surface lies bitterness about what they have left behind. His first big success was Play Mas (1974) set in Trinidad at a time of post-colonial political unrest. It won the Evening Standard award for most promising playwright.

When Rum an’ Coca-Cola opened at the Royal Court in 1976 Matura received a phone call from the drinks company. “Does it denigrate Coca-Cola,” demanded the caller. “No,” Matura replied. “What’s it about?” “Two men.” “Are they homosexual?” “No, it’s about two calypso composers.” “Oh.” “And you’ll be getting the name CocaCola in neon lights in a prime position.”

In 1991 Matura was the first Caribbean playwright to be produced at the National Theatre, with The Coup, about an imaginary botched revolution led by a charismatic leader that he described as an “honest and vivid” portrait of Trinidad. He had been commissioned to write about Mary Seacole, the British-Jamaican nurse, but as one character in the play observes: “Trinidadians don’t like nobody to tell dem wat to do, yer know, they don’t like it at all.”

A newspaper profile at the time described Matura as being “taller than the tallest story — and he specialises in those”, adding: “He has long hair, a booming voice, wears shades indoors, and has a morose walrus moustache which looks as if it might be false.” Lively and gregarious, he was a wellknown figure in Notting Hill, where during carnival he would take friends from bar to bar, enjoying a glass of rum in each.

One friend said that he never smoked, “except for illegal substances”.

His work had a serious undercurrent. British audiences, he told The Times in 1993, should realise that Caribbean culture is, in part, a legacy of Britain. “If you colonise a country . . . you create a version of yourself. The Caribbean people are products of an English education and an English system. You managed our lives. You have a responsibility to us.”

He was born Noel Mathura in Trinidad in 1939. His Hindu father, himself the son of a rural Brahmin priest who had emigrated from India, was an unsuccessful car salesman; his mother, a devout Anglican and a Creole of partScottish, part-African descent, worked in a department store.

The family lived in Belmont, Port of Spain, where his first school was a wooden room on stilts. At secondary school he became “a solitary subversive”, on one occasion collecting six strokes from a police cane for breaking a rule that decreed that there were to be “no rubber band and bent pin battles on [the] last day of school”.

He spent five years in a solicitor’s firm, but was sacked after absent-mindedly leaving the cash to pay the weekly wages in the foyer of a client’s office. He moved on to stock management in a French hotel and began saving for his dream — a move to London, where he was determined “to do something artistic”. Yet he became involved in an accounting scam with the barmen and was again fired.

The entanglements of the hotel’s staff and guests inspired Independence (1979).

Welcome Home Jacko, Matura’s play about young British Rastafarians. It ended up in New York, where it was seen by 20,000 people.

It was there that Meetings, about a Trinidadian couple struggling to adapt to being cash-rich but time-poor, was first seen in 1981. Matura believed that New York audiences did not have the same hang-ups about the West Indies as those in London. “The English want to know about India with all the glorious Raj,” he said. “Until they get an acceptable image of the Caribbean . . . they’re not going to think about it.”

Setting sail in 1962, just before Trinidad gained independence, he spent the 14-day sea crossing beneath decks in steerage class with 200 men, documenting the gambling, stealing and fighting. On arrival he mailed the journal to his girlfriend in Trinidad, but later mourned its loss.

In London he stayed at a friend’s house, where on the first morning he was awoken by a glamorous artist’s model from Chelsea who had just come out of prison for bounced cheques. According to the biography on Matura’s website: “She gave him a brief insight into and taste for the bohemian life in London. When his money ran out, so did she.”

After his porter’s job at the National Temperance Hospital he headed to Italy with Horace Ové, a Trinidadian friend who had heard that there was work there in erotic films and providing intimate services for sex-starved rich women. He was wrong. Instead, he was taken on by a Rome theatre to operate the curtain on a production of Langston Hughes’s Shakespeare in Harlem. However, he was so busy daydreaming of writing his own plays about the West Indian experience in London that one night he opened the curtain early. The next evening he brought it down at the wrong time. Once again he was unemployed.

When he returned to London his career as a playwright began to take off and he changed his name to Mustapha Matura. “I liked the sound of it,” he said. “It was the Sixties.” To make ends meet he spent four years in the Helena Rubinstein cosmetics factory before becoming a stockroom assistant in a Jewish dress factory off Tottenham Court Road.

In those early years he frequented the shops, pubs and coffee houses of Ladbroke Grove. “People don’t just give me ideas for stories,” he wrote in Inside Notting Hill (2001), a guide to the area. “In the Grove they give you their life stories also, and they come in every shape and size, from the acted-out telling to the perfectly timed punchlines. What more could I ask for?”

The financial rewards that came with box-office success and a clutch of prizes meant that Matura could concentrate on writing. In 1978 he co-founded the Black Theatre Co-operative (now called Nitro) with Charlie Hanson after they failed to interest any fringe theatres in

For much of the past 40 years Matura had been married to Ingrid Selberg, who works in children’s book publishing.

They met when Independence was staged at the Bush Theatre in London and she recalled how he was “magic on the dancefloor at the afterparty”. She survives him with their daughter, Maya, who works in digital marketing in London, and their son, Cayal, who works in advertising in New York. He is also survived by two children from an earlier marriage to Marian (née Walsh): Dominic, a music publishing director, and Ann, who is in public relations.

Matura had recently been overseeing revivals of his work and concentrating on poetry and art. He had also been developing a musical version of Playboy Of The West Indies with Nicolas Kent, Clement Ishmael and Dominique Legendre, which was workshopped at the National Theatre last year and will go into production in 2021.

After Matura was last week taken ill on a transatlantic flight shortly after take-off, the aircraft was diverted to St John’s, Newfoundland, but he could not be resuscitated.

His death was no less dramatic than his life.

Mustapha Matura, playwright, was born on December 17, 1939. He died of a heart attack on October 29, 2019, aged 79.

Written by Frank Herrmann, and originally published in The Times, 4 Nov 2019.

CAST Ivy Elizabeth Ayodele

Fisherman Pepe Nathaniel Morrison

Ken Durone Stokes

Mac Guy Burgess

Jim Neil Patterson

Alice Rachel Summers

Mikey McCallam Connell

Peggy Gleanne Purcell-Brown

Phil Chris Tummings

Stanley Derek Elroy

Schoolgirl Iris Tendai Rinomhota

Mama Benin Angela Wynter

Writer Mustapha Matura

Choreographer & Movement Director Ingrid Mackinnon

Casting Director Debbie O’Brien

Composer Clement Ishmael Dominique Le Gendre

Set Designer Michael Taylor

Production Manager Sam Paterson

Costume Designer Natalie Pryce

Voice & Dialect Coach Simone Sauphanor

Lighting Designer Matt Eagland

Fight Director Yarit Dor

Sound Designer Tony Gayle

Co-producer Nick Of Time Productions

CREATIVES

Lyricist Clement Ishmael Nicolas Kent Dominique Le Gendre Mustapha Matura Co-director Clement Ishmael Nicolas Kent Dominique Le Gendre

Musical Director Ian Oakley

STAGE MANAGEMENT

PRODUCTION

Company Stage Manager Liz Kay

LX Programmer Liam Jones

Deputy Stage Manager Sarah Coates

Sound No.1 James Woodcock

Assistant Stage Manager Maddy Wade

Sound No.2 Ryker Young

Lighting Hires - PRG Sound Hires - Stage Sound Services

MUSICIANS

Stage Technicians Charlotte Dodd, Leeza Hardy, Josh Burnside, Oliver Hodge, Chris Moss

This production has been generously supported by the John S Cohen Foundation, the Kobler Trust and the 29th May 1961 Charity.

Upright Bass Jenni Molloy Guitar / Cuatro John Carlos / Ayarde Garcia Clarinet / Flute Glenn Williams Percussion Will Fry Rehearsal Pianist Dane Preece

Hair and Make Up Andriea Nelson Costume Dresser Roanne Bray

Set Construction, Scenic Painting, Sound and Lighting Practical’s, Props and Costumes made by The Rep Lighting operated by Rep staff

With thanks to; the National Theatre Studio for helping to develop the musical in a workshop in 2017; the Salisbury Playhouse and Grange Park Opera for the loaning of set pieces and equipment.

CAST & CREATIVES

Elizabeth Ayodele Ivy Elizabeth is a recent graduate of Royal Central School of Speech and Drama and before that she was part of the first cohort of Open Door. Her year since graduating has been quick and wonderful, with theatre credits including Small Island at the National Theatre directed by Rufus Norris and How To Save The Planet When You’re A Young Carer And Broke directed by Stef O’Driscol, which toured with Boundless Theatre.

Guy Burgess Mac

McCallam Connell Mikey McCallam is an actor, singer and writer and a platinum accredited songwriter. He recently co-wrote lyrics and melodies for the ACE funded musical workshop production of The Coloured Valentino which was staged at The Arcola Theatre in January 2022 and is now collaborating on the writing of a new mockumentary-style musical which is intended to be work-shopped in 2023.

Theatre credits include: Small Island (National Theatre); The Coloured Valentino (She’s Diverse Productions); Artaban The Musical (Three Gems Productions); Mass Carib (National Tour); Oh Babylon, Moondance Night, The Black Jacobins (Talawa Theatre); Dr No (Moving Parts Theatre); The Mikado and The Antigone (L’ouvertre Theatre).

Recording credits include: Tina Turner – Twenty Four Seven (Parlaphone Records); Solomon Album Release (Champion Record/Goodsingle Records) and The Tony Rich Project (Top Of The Pops).

Guy trained at LAMDA. Theatre credits includes: The Railway Children (Hull Truck Theatre Company); Hamlet (National Theatre); Imperium (Gielgud Theatre); The Jew Of Malta, Loves Sacrifice, Volpone, Coriolanus (Royal Shakespeare Company); The National Joke (Stephen Jopseph Theatre); Waiting For Godot, Twelfth Night (West Yorkshire Playhouse); The Winter’s Tale, Hamlet, A Midsummer Nights Dream, Romeo & Juliet, The Taming of the Shrew, A Connecticut Yankee In The Court of King Arthur (Regent’s Park Open Air Theatre); Cat On a Hot Tin Roof (Novello Theatre; Olivier Award for Best Revival); Dr Faustus, The School For Scandal (Greenwich Theatre); Nights At The Circus (Young Vic); Poison (Tricycle Theatre); Ariadne auf Naxos (Festival Theatre, Edinburgh); The Ascending, Satellite, Hiawatha (Sheffield Crucile); Hair, Godspell, The Recruiting Officer, The Revengers Tragedy. (Theatre Clywd); The Merchant of Venice, Volpone (English Shakespeare Company); Abigail’s Party, Peter Pan and The Snow Queen, (York Theatre Royal).

Television credits include: Whitstable Pearl (Buccaneer Media); Waffle The Wonder Dog (CBeebies); Doctors, Holby City and EastEnders (BBC).

Film credits include: Looking For Langston (BFI/Sankofa).

Radio credits include: Dr Who (Big Fish); Words And Music (BBC Radio 4). (he/him).

Derek Elroy Stanley Derek trained at The Rose Bruford College.

Theatre credits include: Value Engineering (The Tabernacle/Birmingham Rep); Grimm Tales (The Dukes Theatre); Aladdin (Churchill Theatre); Calendar Girls The Musical (UK Tour) The Wind In The Willows (The Rose Theatre); Screwed (Theatre 503); Routes (Millennium Theatre); Robin Hood (Theatre Royal Stratford East); One Man, Two Guvnors (The National Theatre/Adelphi Theatre/ UK Tour); Kinston 14 (Theatre Royal Stratford East); Little Red Riding Hood, Aladdin, The Harder They Come (Theatre Royal Stratford East); The Harder They Come (The Playhouse Theatre & UK/International Tour); 6 Mics No Luggage (Edinburgh Festival); Dick Whittington And His Cat (The Barbican); The World Cup Final 1966 (Battersea Arts Centre); The Gruffalo (Tall Stories USA & Canadian Tour); The Blues Brothers (German Tour); ‘666’ (The Riverside Theatre/European Tour); I Was Looking At The Ceiling And Then I Saw The Sky (The Southwark Theatre/ The Royal Opera House); Big Nose & Mother Goose (The Belgrade Theatre); The Adventures of Huckleberry Finn (Theatre Royal Northampton); Foe (Theatre de Complicite Tour); Carmen Jones (European Tour) and Dirty Reality & Forgotten Heroes (Black Mime Theatre).

Derek Elroy Stanley cont’d Television credits include: Fortitude 2, Rev, If, Casualty, Crimewatch, Hope And Glory, Noel’s House Party, Backup, The Bill (BBC) and Buried Treasure (ITV).

Film credits include: Stupid Boy (Athentiv); Their Story, Your Choice (BB Productions); Val & Elsie (BB Productions); Breakfast On Pluto (Breakfast on Pluto Productions); The Diary of Bridget Jones (Working Titles); The Nutcracker (Sands Films) and Revolver (Crucial Films).

Radio credits include Bad Salsa (BBC Radio).

Gleanne Purcell-Brown Peggy Gleanne graduated from The Urdang Academy in 2016.

Theatre credits include: She Loves Me (Sheffield Crucible); Curtains (The Wyndhams Theatre/UK Tour); The Producers (The Royal Exchange) and Spamalot (UK Tour).

Film credits include: Living (2022).

Gleanne is very excited to be a part of the Birmingham Rep Festival this year and is ready to spread some love, laughter and joy with this incredible company. Thank you to her family & friends who showed constant love and support.

Nathaniel Morrison Fisherman Pepe

(she/her).

Nathaniel trained at Mountview Academy of Theatre Arts.

Theatre credits include: Dancing In The Streets (Cambridge Theatre/UK Tour); Tonight’s The Night (UK Tour); Porgy And Bess (Savoy Theatre); Joseph and…Dreamcoat (Adelphi Theatre); Sister Act (London Palladium); Hairspray (UK Tour); Jersey Boys (UK and Ireland Tour/Piccadilly Theatre); Five Guys Named Moe (The Marble Arch Pop Up Theatre); Waitress The Musical (Adelphi Theatre) and recently The World Premiere UK and Ireland Tour of Disney’s Bedknobs and Broomsticks.

Nathaniel looks forward to performing in his hometown in the production The Playboy of The West Indies at Birmingham Rep.

Tendai Rinomhota Schoolgirl Iris Tendai trained in Musical Theatre, receiving a BA Hons from the Arts Educational Schools London and has since gone on to feature as Rizzo in the Grease UK tour (Leicester Curve) and Gemma Andrews in Emmerdale (ITV). Other shows include Annie (Leeds Playhouse) and Once On This Island (ArtsEd).

(he/him).

Durone Stokes Ken Neil Patterson Jim Neil has had a long and varied career within the arts. He received a broad based training in theatre arts at the Doreen Bird College which gave him an excellent grounding in dance, acting and singing. Roles have ranged from Banquo in Macbeth (The Wyvern Theatre) to Hoke in Driving Miss Daisy (Theatre Royal Bath) and Scar in The Legend Of The Lion King (Disney Paris). Neil enjoys many ‘hobbies’ including performance poetry and song writing.

Durone Stokes’ theatre credits include: A Taste Of Honey (Trafalgar Studios/National Theatre Tour); Dreamgirls (Savoy Theatre) and Grand Hotel (Southwark Playhouse).

Rachel Summers Alice Rachel trained at Royal Central School of Speech and Drama.

Theatre credits includes: Petula (National Theatre Wales); As You Like It (Guildford Shakespeare Company); The Boss Of It All (Soho Theatre); Upstart Crow (Gielguld Theatre); Trade (New Perspectives Theatre); Conundrum (Arcola Theatre); This Island`s Mine (King’s Head Theatre); Dare To Dare (The Space Theatre); The Sun, The Moon and The Stars (Yard Theatre); Don Quixote in Algiers (White Bear Theatre); Far From Fiction (Lion and Unicorn Theatre); Papa’s Bathtub Gin (Rosemary Branch Theatre); A Novel Approach - Bookends (Etcetera Theatre) and Macbeth (Cockpit Theatre).

TV and film credits: The Nevers (HBO) and Calloused Hands (Woolfcub Productions). (she/her).

Chris Tummings Phil Chris is a multi-talented performer who made his professional acting debut in 1979 with Mustapha Matura’s Welcome home Jacko at The Factory in London. He was a founder member of the Black Theatre Co-operative producing plays about the Black experience. He has since worked extensively in theatre, TV, and film throughout the years along with being a singer and musician.

Theatre credits include: Soul Sister (Savoy Theatre/UK and world tour); The Harder They Come (Playhouse Theatre/UK and World tour) and The Big Life (Apollo Theatre).

TV credits include lead performer in No Problem (LWT), Desmond’s and comedy sketch show Get Up Stand Up (Ch4). He has recently been seen in The Widow (Amazon prime) and Stay Close (Netflix) and can currently be seen in The Bezonians in selected cinemas and streaming platforms. (he/him).

Angela Wynter Mama Benin Angela has recently filmed Vampire Academy (Peacock).

Her other television credits include Mood, Les Miserables (BBC); Vera (ITV); Bulletproof (Vertigo Films) and The Tunnel (Sky1).

Angela’s stage credits include: The Wizard Of Oz (Leeds Playhouse); Ear For Eye (The Royal Court Theatre); The Hotel Cerise (Theatre Royal Stratford East); The Amen Corner (National Theatre) Catalyst (Oval House) and The Lion King (Lyceum Theatre).

Dominique Le Gendre Director, Composer and Lyricist Composer, music producer and co-founder/artistic director of StrongBack Productions, Dominique was born and brought up in Trinidad and Tobago. Actively involved in Trinidad’s cultural life from an early age, she played guitar and cuatro for her church choir, composed songs for the annual school calypso competition, assisted on theatre productions as a teenager and worked as a runner for Trinidad’s pioneering audio visual production company Banyan Productions. Dominique trained as a classical guitarist in Paris, France with Ramon de Herrerra while pursuing parallel studies in harmony, music analysis and musicology at the Sorbonne.

A Londoner for over 35 years, she is a former Associate Artist of the Royal Opera House and Manning Camerata.

Her music has been commissioned and performed by numerous ensembles including Royal Opera House Soloists, Manning Camerata, Philharmonia Orchestra, Tête-a-tête, Nevis Ensemble, Calabash Foundation for the Arts (T&T) Metamorphosis Dance (Trinidad and Tobago), Ibis Ensemble (Trinidad and Tobago), Ensemble Du Monde (USA), violinist Wendy Case (USA), soprano Natalia Dopwell (Trinidad and Tobago) and piano and clarinet duo Joze Kotar and Luca Ferrini . She has collaborated with artist, photographer Ingrid Pollard, composed music extensively for radio drama for BBC radio 3 and 4, independent films and television including Waris Hussain’s Sixth Happiness and Mike Hodges’ The Healer. Dominique’s music features in awardwinning audio and film productions: Arkangel Complete Shakespeare directed by Clive Brill; Frances-Ann Solomon’s radio adaptations of Grace Nicholls’ poem I Is a LongMemoried Woman and poet Jackie Kay’s Adoption Papers; the film Dreams In Transit by Karen Martinez-Lambert and the critically acclaimed Shakespeare’s Globe production of Richard II directed by Adjoa Andoh and Lynette Linton.

For theatre, Dominique has composed incidental music for Theatre of Black Women, Women’s Theatre Group, Avon Touring, Theatre Centre, Double Exposure Theatre Company, Wild Iris, Talawa Theatre, London Bubble and Shakespeare’s Globe among others. Her chamber music has been recorded by international soloists and ensembles. She is developing a musical with writer/director Lakesha ArieAngelo alongside commissions for ORA singers. Dominique is represented by Hennessey Brown Music.

Clement Ishmael Director, Composer and Lyricist Clement Ishmael is a British born Canadian Composer, Conductor and Arranger.

He is currently Worldwide Music Supervisor for Disneys’ The Lion King.

He is a graduate of the University of Toronto and Royal Conservatory of Music, where he specialised in composition and conducting as well as singing with Joyce Britten.

Conducting credits include The Rotterdam Philharmonic, West London Gospel Choir, Awakening at Sadlers Wells, Abbey Players Opera Company, Ad Astra Chorus and Addison Jazz Ensemble.

West End credits include: The Lion King (Lyceum Theatre), Five Guys Named Moe (Lyric Theatre), Ain’t Misbehavin’ (Her Majesty’s Theatre), Smokey Joe’s Café (Prince of Wales Theatre), and Soul Train (Richmond Theatre).

He has also directed and arranged the music for The Amen Corner, Sweet Lorraine, Up Against the Wall, The Grape Vine, The Cavalcaders, Gem Of The Ocean at the Tricycle Theatre.

His classical compositions and arrangements have been performed worldwide as well as being broadcast by BBC Television and Radio.

His first Opera Looking At The Sun was performed at the Battersea Arts Centre and his chamber opera Grazyna was performed at the Royal Opera House’s Lindbury Studio.

Clement’s commission, for the London Piano Trio was debuted at the Capri Music Festival in Italy. He composed a four movement piece for strings from the Rotterdam Philharmonic Orchestra. His current projects include his third opera Antigone with librettist Mel Cooper and music for the children’s musical The Gathering Clement’s debut album “Poetry in Song” (recorded and produced by Dr John Rutter) had its European premiere in 2019 at King’s Place London having previously been presented at the Glen Gould Studio in Toronto.

Alongside Playboy Of The West Indies, Clement recently consulted on The Lion King segment of the BBC’s Platinum Party at The Palace. The event was at the heart of the Queen’s Platinum Jubilee celebration 2022. The evening pivoted around global themes that were born, or evolved during the breadth of her Majesty’s reign due to extraordinary British and Commonwealth contributions including fashion, sport, the environment and 70 years of Pop music and musicals.

BBC Studios Productions staged the event and produced the Live broadcast on behalf of the BBC and Buckingham Palace.

Nicolas Kent Director and Lyricist Nicolas Kent started his career at the Liverpool Playhouse in 1967. He was the Director of the Watermill Theatre in 1970 and The Traverse Theatre, Edinburgh 1971-72. He was a director of the Oxford Playhouse Company from 197681. From 1984 - 2012 he was the director of the Tricycle Theatre, London.

His political plays at the Tricycle, which became known as the Tricycle Tribunal plays, include: Half The Picture- The Arms To Iraq Inquiry, The Colour Of Justice - The Stephen Lawrence Inquiry, Nuremberg, Srebrenica, Guantanamo (nominated for an Olivier award) The Riots (2012) and Bloody Sunday (Olivier Award for Special Achievement).

Most were broadcast by the BBC, and two were performed in the Houses of Parliament and one on Capitol Hill, Washington. In 2009, he directed the 9-hour trilogy The Great Game – Afghanistan (nominated for an Olivier award) in London, and subsequently toured America, and was invited to give two command performances for the Pentagon in Washington.

For the National Theatre he directed Another World Losing Our Children To Islamic State in 2016, and his own play All The President’s Men? about President Trump’s cabinet nomination hearings in a co-production by the National Theatre & the Public Theater in the West End and on Broadway in 2017.

In 2018 he directed a nine month UK tour of Mark Thomas’ Check-up Our NHS@70 and during the Covid-19 pandemic again with Mark Thomas and the Wellcome Trust a series of podcasts about health –workers.

He has directed and produced around the world including in London’s West End, for the RSC, the Royal Court, Donmar Warehouse, Hampstead Theatre, The Old Vic & The Young Vic, as well as on and off-Broadway in New York, Hong Kong, Cape Town, Seoul, Baghdad and Tokyo . Also numerous television plays for BBC TV and plays for BBC Radio 4.

Most recently he produced & directed Grenfell: Value Engineering in London, at the Birmingham Rep and on Channel 4 Television this June.

Ingrid Mackinnon Choreographer and Movement Director Ingrid is a London based movement director and choreographer.

Movement direction credits include: Girl On An Altar (Kiln Theatre); The Meaning Of Zong (Bristol Old Vic/UK Tour); Moreno (Theatre503); Red Riding Hood (Theatre Royal Stratford East); Antigone (Mercury Theatre); Romeo And Juliet (Regent’s Park Open Air Theatre; Black British Theatre Awards 2021 Best Choreography); Liminal – Le Gateau Chocolat (King’s Head Theatre); Liar Heretic Thief (Lyric Hammersmith); Reimagining Cacophony (Almeida Theatre); First Encounters: The Merchant Of Venice, Kingdom Come (RSC); #WeAreArrested (Arcola Theatre and RSC); Josephine (Theatre Royal Bath); Typical (Soho Theatre); The Border (Theatre Centre); Fantastic Mr. Fox (as Associate Movement Director, Nuffield Southampton and National/International tour); Hamlet, #DR@CULA! (Royal Central School of Speech and Drama) and Bonnie & Clyde (UWL: London College of Music).

Other credits include: Intimacy support for Legally Blonde, Carousel (Regent’s Park Open Air Theatre) and intimacy director for Girl On An Altar (Kiln Theatre). (she/her).

Michael Taylor Set Designer Michael trained as a designer at RADA. Credits include: Billy Elliot, West Side Story, What The Butler Saw, A Streetcar Named Desire (Leicester Curve); NHS The Musical (Plymouth Theatre Royal); The Good Life (tour); White Christmas (Leicester Curve/Dominion Theatre/Tour); The Man In The White Suit (Wyndhams); The Best Man (West End/Tour); The Dresser (Duke Of York’s); The Ladykillers (Gielgud Theatre; WhatsOnStage and Olivier Award Nominations); Clever Dick, My Boy Jack (Hampstead Theatre); Kill Johnny Glendinning, Waiting For Godot, Death Of A Salesman (Edinburgh Lyceum); The Lonesome West, Ballyturk (Tron Theatre, Glasgow); Ben Hur, The Shadow Of A Gunman (Tricycle); Anne Boleyn, All’s Well That Ends Well, A Winter’s Tale, In Extremis (Shakespeare’s Globe); A Christmas Carol (Northampton Royal Theatre and Corby Cube); Amphibians (RSC); Mountain Language (written and directed by Harold Pinter, National Theatre); The Fatherland (Riverside Studios); Holy Days, The Attractions (Drama Magazine Best Designer Award) and Jazz And The Blue Kitten (Soho Poly).

Previously at Birmingham Rep: Out in the Open, No Sweat, The Winslow Boy.

Natalie Pryce Costume Designer As set and costume Designer, theatre credits include: Of The Cut (Young Vic); The Gift (Royal Academy of Dramatic Arts); The Tide (UK Tour); Red Velvet (Royal Academy of Dramatic Arts); 846 Live (Greenwich + Docklands International Festival); Me For The World (Young Vic); Ducklings (Manchester Royal Exchange); The Tide (UK Tour) and Not Now Bernard (Unicorn Theatre).

As co-set and costume designer: For All The Women Who Thought They Were Mad (Stoke Newington Town Hall).

As associate designer: SAMSKARA (The Yard Theatre).

As costume designer, theatre credits include: Black Sun (Ballet Black National Tour); A Number (Old Vic); Old Bridge (Bush Theatre); White Noise (The Bridge Theatre); Is God Is (Royal Court Theatre); ANNA X (Harold Pinter Theatre); RagMme (ArtsEd) and Tales Of The Turntable (Southbank Centre).

As costume supervisor: The Winter’s Tale (Shakespeare’s Globe).

Film credits include: My Name Is Leon (BBC); Myrtle, Fourteen Fractures; Fellow Creatures and Swept Under Rug (short).

Natalie is a set decorator trainee through the Talking Point Mentoring Network, and a costume trainee with Trainee Finder, both for film and television. Natalie is thrilled to be making her Birmingham Rep debut.

Matthew Eagland Lighting Designer Matthew trained at the Guildhall School of Music and Drama, and was head of the lighting department at Guildford, and subsequently Cambridge Arts Theatre. He has designed the lighting for many productions and events throughout the UK and around the world, including recently: The Children (Salisbury Playhouse) and An Hour and a Half Late (Theatre Royal Bath).

Previous highlights include: Grenfell: Value Engineering (The Tabernacle/Birmingham Rep/Channel 4); The Life I Lead (UK Tour); Outlying Islands And The Effect (Firebrand); The Nightmares Of Carlos Fuentes (Arcola); This Was a Man (The Finborough); Flow And Ignis (The Print Room); Derren Brown’s Svengali (Shaftesbury Theatre); Cool Hand Luke (Aldwych Theatre); Broken Glass (Vaudeville Theatre); Terre Haute (Trafalgar Studios and 59E59 Theater); The Secret Of Sherlock Holmes (Duchess Theatre) and Carrie’s War (Apollo Theatre).

Musicals include: Little Women, A Man Of No Importance, Assassin’s, A Little Night Music, Company, Grand Hotel (Royal Academy of Music); Alfie (Watford Palace Theatre); Murderous Instincts (The Savoy); The Wizard Of Oz, Singing In The Rain, Scrooge, Miracle On 34th Street and It’s A Wonderful Life (Pitlochry Festival Theatre).

Opera: I Lombardi, La Traviata, L Elisir di Amore (ETO); La Finta Semplice, Jacko’s Hour, L’Heure Espagnol and Gianni Schicchi (GSMD).

Tony Gayle Sound Designer Sound Design includes credits: Legally Blonde (Regent’s Park Theatre); The 47th (Old Vic); Running With Lions (Talawa/Lyric Hammersmith); A Place For We (Talawa/ Park Theatre); Spring Awakening, And Breathe... (Almeida Theatre); Get Up, Stand Up! The Bob Marley Musical (Lyric Theatre); The Wiz (Hope Mill Theatre); Blue/Orange (Theatre Royal Bath); Gin Craze! (Royal & Derngate); The Living Newspaper, Shoe Lady (Royal Court ); Poet In da Corner ( Royal Court/UK Tour); Beautiful – The Carole King Musical (UK Tour); Salad Days (UK Tour); American Idiot (UK Tour); Songs For Nobodies (Wilton’s Music Hall/ Ambassadors Theatre); Floyd Collins (Wilton’s Music Hall); The Wild Party (The Other Palace) and Lazarus (King’s Cross).

Associate Sound Design credits include: Jersey Boys (Trafalgar Theatre/UK Tour ); Dear Evan Hansen (Noel Coward Theatre); Tina - The Tina Turner Musical (Aldwych Theatre/Lunt-Fontanne Theatre, New York/Stage Operettenhaus, Hamburg/Beatrix Theatre, Utrecht); Beautiful - The Carole King Musical (Aldwych Theatre); Here Lies Love (National Theatre/Seattle Rep); The Book of Mormon (Prince of Wales Theatre/European Tour); Disney’s Aladdin (Prince Edward/Germany); The Girl from the North Country (Old Vic/Noel Coward Theatre); Groundhog Day (Old Vic); Matilda The Musical (International Tour) and Spring Awakening (Hammersmith Lyric/Novello Theatre).

Awards include: 2021 Black British Theatre Awards (BBTA) and Light & Sound Recognition Award – 2019 & 2021.

Ian Oakley Musical Director Ian Oakley is a London based, award-winning musical director, composer and arranger commended for his versatility having worked across the spectrum of the music industry - from the creative genesis of a project, to working with legendary Grammy Award-winning artists (Dionne Warwick, Take 6), to conducting orchestras (London Symphony Orchestra). His work on stage and in theatre has gained national industry recognition with consecutive Musical Director Recognition Awards from the Black British Theatre Awards in 2020 and 2021.

His recent credits as a musical director include Forever Plaid (Upstairs at the Gatehouse); new British musical From Here (Chiswick Playhouse); a London workshop for new musical Mandela and the stage adaptation of Baroness Floella Benjamin’s bestselling book Coming To England which had its world premiere at Birmingham Rep in April 2022.

Throughout the course of his career, Ian has travelled and performed in more than sixty countries on five continents as a pianist, composer, orchestrator, conductor and musical director. Through such experiences, he has acquired a unique multi-cultural perspective which is reflected in his credits across the musical genres including classical, gospel, jazz and hip-hop, and highlighted by his string arrangement for Stormzy’s 2017 performance of ‘Blinded by Your Grace Pt. 2’ on the UK X-Factor.

Debbie O’Brien Casting Director West End productions include: The Choir of Man; Dirty Dancing; Thriller Live; The Snowman; American Idiot; Knights of the Rose; The Knowledge; The Rat Pack Live from Las Vegas; Close to You; Sinatra; Dusty; In the Bar of a Tokyo Hotel; Priscilla Queen of the Desert; Grease; Flashdance; Piaf; Respect La Diva; The King and I; The Harder They Come; Showboat; Dancing in the Streets; Chitty Chitty Bang Bang; Saturday Night Fever; Fame; Peter Pan; The Pirates of Penzance; Mum’s the Word; Daisy Pulls It Off; Napoleon; Madame Melville; Hedwig and the Angry Inch; La Cava; Smokey Joe’s Café; The Rocky Horror Show; Soul Train; Rent; Always; Steaming; Ain’t Misbehavin’; Disgracefully Yours.

UK tours include: My Best Friend’s Wedding; Friends! The Musical Parody; Footloose; Thriller Live; 20th Century Boy; Our House; Grease; Laila; a new Musical; Jackie the Musical; Let It Be; Mum’s the Word; So This Is Christmas; American Idiot; Priscilla Queen of the Desert; Crush the Musical; The Bodyguard and Annie (children’s casting); Dancing in the Streets; The Threepenny Opera; Soul Sister; I Was a Rat; Carnaby Street; Dreamboats and Petticoats; Flamenco Flamen’ka; Burn the Floor; 51 Shades of Maggie; Doctor In the House; Hormonal Housewives; Tell Me On a Sunday; Cacophony; Menopause the Musical 1 & 2; Flashdance; Defending the Caveman; The Rat Pack Live From Las Vegas; Mahabharata; Sweet Soul Music; Starlight Express; Anything Goes; What a Feeling; Dirty Dusting; Mack and Mabel; The Misanthrope; A Chorus Line; A Tribute to the Blues Brothers; Smokey Joe’s Cafe; The Rocky Horror Show; Soul Train; Wild Animus.

Other London, regional and international productions include: Tony! The Tony Blair Rock Opera; The Birds and The Bees; Ruff Tuff Cream Puff Estate Agency; Never Lost at Home; Cruel Intentions; Hugh Jackman Arena Tour; Peter Pan; Grandma Saves the Day; Once the Musical; Starlight Express (Bochum and international tour); Million Dollar Quartet, Kinky Boots, Jersey Boys, After Midnight, Rock of Ages, The Choir of Man, Priscilla Queen of the Desert, Syd Norman’s Pour House; We Live and Die In These Towns; Oxy and the Morons; Room; Godiva Rocks; Snow White; The Last Five Years; Ostrich Boys; The Burnt Part Boys; Red Snapper; The Sisterhood; Only a Day; Cougar; Medea; Much Ado About Nothing; As You Like It; A Midsummer Night’s Dream; Romeo and Juliet; The Comedy of Errors; Merry Wives of Windsor and Twelfth Night; Noises Off; And Then The Dark; The Bubbly Black Girl Sheds Her Chameleon Skin; Treasure Island; Five Guys Named Moe; Kiss Me Kate; Top Hat; West Side Story; Thoroughly Modern Millie; Singing in the Rain; Legally Blonde; Cats (RCCL); Midsummer Songs; The BFG; Evolution; South Pacific; Sister Act; Jackie the Musical; Hairspray; Fame; Alice In Wonderland; The Sound of Music; Chicago; Hair; The Opera Show; Soul Sister; Little Shop of Horrors; The Corstorphine Road Nativity; White Christmas; Mods and Rox; Robin Hood; It’s a Wonderful Life; Laurel and Hardy; Blues in the Night; My Fair Lady; Anything Goes; The Sound of Music; Me and My Girl; Little Shop of Horrors; Guys and Dolls; Crazy For You; Oklahoma!; The Opera Show and The Pirates of Penzance; The Wizard of Oz; Motherhood the Musical; Amadeus; The Snowman; Side by Side by Sondheim; Only You Can Save Mankind and 100% Sex Therapy Children’s casting includes: Mimi’s World; Waitress; Once; The King and I; Kinky Boots; Thriller Live; The Snowman; Room; Caroline or Change; Annie; Kinky Boots; The Bodyguard; Show Boat; The Sound of Music; Chitty Chitty Bang Bang; Grandpa In My Pocket; Waybuloo; What’s Your News?; Buddy Patrol; Tic Toc; Quick Quack Duck; Peter Pan. Recorded media: Mimi’s World; Waybuloo; Grandpa In My Pocket; What’s Your News?; Buddy Patrol; Tic Toc; Quick Quack Duck; Grease is the Word; How Do You Solve a Problem Like Maria ; Amahl and the Night Visitors; Planet Cook; Energy.

Yarit Dor Fight Director Theatre includes: The Glass Menagerie (Duke of York’s Theatre); The Shark Is Broken (Ambassadors Theatre); Death Of A Salesman (Piccadilly Theatre/Young Vic); Rockets And Blue Lights (National Theatre); “Daddy” A Melodrama (Almeida Theatre); Love & Other Acts Of Violence (Donmar Warehouse); The Merchant of Venice, Richard II, Hamlet, As You Like It, Much Ado About Nothing (Shakespeare’s Globe); Purple Snowflakes and Titty Wanks (Royal Court); NW Trilogy (Kiln Theatre); Changing Destiny, Wild East (Young Vic); Scandaltown (Lyric Hammersmith); Macbeth (Royal Exchange Theatre); The Crucible, An Unfinished Man, Dirty Crusty (The Yard); Statements After An Arrest Under The Immorality Act, Last Easter (Orange Tree Theatre); Miss Julie (Storyhouse); Assata Taught Me, Iphigenia Quartet (Gate Theatre); The Effect (Boulevard Theatre); Romeo And Juliet, As You Like It, A Midsummer Night’s Dream and Tempest (Shakespeare in the Squares).

Dance includes: Rooms (Rambert Dance Company) and The Burnt City (Punchdrunk).

Film includes: Knives Out 2 (T-Street) and The Colour Room (Caspian Films).

Television includes: The Wheel Of Time (Sony); Shadow & Bone (21 Laps Entertainment); Adult Material (Fifty Fathoms Productions); Atlanta 3 (RBA); Cheaters, Starstruck and Mood (BBC). (she/her).

Simone Sauphanor Voice and Dialect Coach Simone Sauphanor was born in Trinidad of Trinidadian and French parentage. She studied at the Guildhall School of Music and Drama in the Barbican, London, where she was awarded a number of prizes and scholarships. Simone was a winner at the Royal Overseas League for Singers and as part of her prize, sang in concert at St. James Palace for Her Majesty Queen Elizabeth II and all the Heads of State of the Commonwealth.

In 2000, Simone made her debut with Opera North as the Countess in Mozart’s The Marriage Of Figaro and has sung elsewhere, over 30 operatic roles including the role of Mrs Fiorentino in Weill’s Street Scene for the Opera Group at The Young Vic which was awarded the Evening Standard Award for Best Musical in 2008, revived again in 2011 with performances at the Theatre an der Wein, Vienna, and in 2013 with performances at the Châtelet in Paris and The Liceu in Barcelona.

Simone made her West End debut as Cindy-Lou in the award winning production of Carmen Jones at the Old Vic Theatre directed by Simon Callow CBE and has sung in the ensembles for Bernstein’s Wonderful Town in Berlin, with the Berlin Philharmonic conducted by Sir Simon Rattle, Opera North’s acclaimed production of Carousel at the Barbican in London and the UK and Asian Tour of David Ian/ Andrew Lloyd Webber/ The Really Useful Group Production of The Sound Of Music. Simone has also sung on various film soundtracks including the prequel trilogy of Star Wars, The Lord Of The Rings, Enemy At The Gates, The Passion Of

The Christ, Dogma and the Harry Potter series.

Simone has been working as a singing tutor and voice coach in London and has received the Guildhall Certificate in Coaching and Mentoring accredited by the European Mentoring and Coaching Council. (she/her).

Nick Of Time Productions Nick Of Time Productions LTD’s first production was The Nightmares of Carlos Fuentes at the Arcola Theatre in 2012.

Since then, it has produced a number of plays including Mark Thomas Check up - our NHS at 70 which won a Fringe First at the Traverse Theatre during the 2016 Edinburgh Festival, played the Arcola and the Other Palace Theatre as a command performance for England’s Chief Medical Officer and the Department of Health & Social Care.

Last year it produced Grenfell Value Engineering - scenes from the Inquiry in London and at the Birmingham Rep. The production is being screened by Channel 4 on June 12 & 13th of this year.

In 2016 we started developing Playboy Of The West Indies as a Musical with Mustapha Matura and in 2018. The National Theatre kindly workshopped the musical with the four of us, Mustapha Matura, Clement Ishmael, Nicolas Kent & Dominique Le Gendre. We are proud to be coproducing the play with the Birmingham Rep ensuring that Mustapha Matura’s work can be enjoyed by new audiences after his untimely death.

He commissioned Mustapha Matura‘s version of J.M. Synge’s Irish classic for the Oxford Playhouse company in1984. Since then he has directed it six times including productions for BBC 2 television (1985), the Chicago International Theatre Festival, the Galway Festival in Ireland (1994) and a number of productions at the Tricycle Theatre in London. In 2015 he and Mustapha Matura decided that it would be great fun to turn what had become a classic West Indian play seen all over the world – including the Lincoln Centre in New York and the Arena Stage in Washington – into a musical.

He hopes that this version will help keep alive Mustapha’s extraordinary talent and creativity for generations to come.

FOR BIRMINGHAM REP The Board Atif Ali BEM Andrew Chiduku Councillor Jayne Francis Liz James Michael Hibbs John Hornby Ayub Khan MBE Adrian Lester CBE Lucy Marcus Victoria Marsom David Meecham Sir Howard Panter (chair) Brandon Relph Professor David Roberts Rachel Roussel-Tyson Jan Teo Executive Director Rachael Thomas Artistic Director Sean Foley Associate Directors Madeleine Kludje Iqbal Khan Executive Producer Chloe Naldrett Producer Jonathan Brindley Assistant Producer Lucy Thompson Commercial Director Suzanna Reid Barreiro da Silva Director of People & Operations Julia Layland Theatre Administration Manager Tracey Wainwright Senior Administration Officer Molly Taylor Theatre Administration Assistant Phoebe Cooke Kickstart HR & Recruitment Assistant Jay Sharpe Finance Director Anne Russell Finance Manager David Johnson

Finance Officers Jeanette Davey Claire Monk Athina Tzani Payroll Assistant Claire Monk Kickstart Finance Assistant Remel Ferguson Director of Creative Learning Alexander Summers Head of Education Bhavik Parmar Young Rep Director (Interim) Rebecca Deeks

Head of Sound & AV Jonathan Pearce Deputy Head of Sound James Woodcock Senior Sound Technician Steven Choma Sound Technician Dee Smith Head of Lighting Alex Bosworth Senior Lighting Technician Joanne Marshall

Creative Learning Administrator Hilan Gully

Lighting Technician Simon Bond (Freelance), Oliver Colley (Freelance), Evie Frosdick (Freelance), Joe Ralph (Freelance)

Senior Drama Practitioner Becky Reidy

Head Of Stage Rosie Williams

Drama Practitioners Robert Beck Natalie Hart

Senior Stage Technician Oliver Hodge

Technical Manager Adrian Bradley Head of Production Suzy Somerville Company Manager Elizah Jackson Head of Scenic Workshops Margaret Rees Lead Scenic Constructor Janine Forster

Stage Technicians Chris Moss Technician Jeanette Maggs Building Maintenance Technician Andrew Leon Gatenby Head of Costume Kay Wilton Senior Wardrobe Technician Wendy Anne Hart

Lead Scenic Artist Laura O’Connell

Wardrobe Assistant Beth Edgar Leanne Taylor Richards

Scenic Painter Judy Martin (freelance)

Head of Technical Design Simon Fox

Scenic Constructor Amy Carroll (Freelance), Graeme Clifford Mell (Freelance), Mark Jeffrey (Freelance), Christopher Maggs

Production Coordinator Emily Hewlett

Props Makers John Bailey (Freelance) Liuisa Fernandes (For Prop Works) Lizzie Frankl (For Props Works) Lynsey Reilly (Freelance)

Production Assistant Emily Taylor Theatre Operations Manager Nigel Cairns

Stage Door Receptionists Brandon Hinds Anastasija Koneva Michael Peters Theatre Housekeeper Jane Browning Theatre Cleaning Assistants Fay Gayle Tracy O’Dell Beverley Shale Directors of Audiences and Media Erin McDonald Sarah Jervis-Hill Head of Marketing Richard Leigh Head of Strategic Comms Ben Wooldridge Senior Marketing Officer Becky Oldham Marketing Officer Faith Dias Neto Marketing and Communications Assistant Aarushi Rana Marketing Assistant Susannah Shepherd Agent For Change Bethany Steventon-Crinks Head of Fundraising Rachel Cranny Trust and Foundations Manager Ruth Harvey

Fundraising Officer Katy McKeever

Bar and Café Manager David Eden-Sangwell

Fundraising Assistant Naomi Bennett

Café Bar Supervisors Callan Johnson Mervi Raja Samantha Richardson Emile Thompson

Head of Theatre & Sales Gerard Swift Theatre & Sales Manager Hannah Kelly Assistant Theatre Managers Reme McAlister-Willie Imaani Phillips Jade Senior Theatre & Sales Assistants Alexander Brown Joe Kennard Ilana Gelbart Somayya Sheikh Rosalie Smith Fiona Yamamoto Theatre Assistants Alice Cheer Taykara Clarke-Harris Jenny Coombs Guy Devine William Hammond Elizabeth Hayward George Holmes Gary Hopkins Jodie Ind Gurpreet Kaur Bethany Millns Eric Mok Huhibb Nazir Hamza Rehman Urska Rozman Kanas Wong Lok Yi Wong

Café Bar Team Arrahnne Allen Florian Bichler Iulia Bularca Stephanie Carter Femi Cooper Clarke Martin Collins Emily Colwill Samuel Fisher Bethany Henshaw Graham MacDonnell Gyuner Mazrek Charlotte Osborne Kishan Patel Ana Patrycja Sarzyniak Chef Dario Pinho With thanks to all our Casual Staff and Volunteers.

COMING SOON WED 27 JUL – SUN 14 AUG

A masterclass of musical comedy. Alan Parker’s world-famous tale of mobsters, showgirls and dreamers is a must-see summer holiday treat.

FRI 19 AUG – SAT 27 AUG

Follow the journey of one Sri Lankan Australian family over four generations, from 1956 to 2004 in this epic, multi-award winning play.

BOOK NOW: 0121 236 4455 birmingham-rep.co.uk

THANK YOU FOR COMING WE HOPE YOU ENJOYED THE SHOW

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A HUGE STANDING OVATION FOR OUR SUPPORTERS