Copenhagen digital programme | Chichester Festival Theatre | Festival 2018

COPENHAGEN

By Michael Frayn

WELCOME

and Democracy among others. He has also directed Copenhagen in the West End, Broadway, Australia and Paris.

We’re thrilled to welcome three celebrated actors to play the protagonists in this important play. Charles Edwards returns to play Werner Heisenberg and Paul Jesson makes his Chichester debut as Niels Bohr. Following her acclaimed appearance in Travels with My Aunt (Festival 2016), Patricia Hodge returns to play Margrethe Bohr.

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to this new production of Michael Frayn’s Copenhagen.

Michael is one of our most distinguished playwrights, and it’s hard to believe that this will be his first original play to be staged at Chichester (his version of Uncle Vanya was produced in the Minerva in 2012). It is therefore a double cause for celebration that, 20 years after Copenhagen’s premiere at the National Theatre, its original director Michael Blakemore is revisiting this remarkable and multi award-winning play. Though the play depicts events from over 75 years ago, its themes remain as significant and resonant today.

We are pleased to be supporting this run with both Pre and Post-Show Talks, and a special event with Kate Mosse in conversation with Michael Frayn.

Do visit our website for more details.

We hope you enjoy today’s performance.

Artistic Director Daniel Evans

Michael Blakemore is also making a very welcome debut in Chichester. He has a long-standing association with Michael Frayn’s plays, having staged the original productions of Noises Off, Benefactors

cft.org.uk

Executive Director Rachel Tackley

TH E CAFÉ & THE FOYLE TERRACE The Café in the Festival Theatre is open daily from 10am serving freshly made sandwiches, soup, cakes and pastries. Enjoy our barista coffee or choose from a range of hot and cold drinks including wines and beers. The Café is light and airy and offers al fresco seating and free Wi-Fi. The Bar and The Foyle Terrace in the Festival Theatre are open 90 minutes before the show and both serve a selection of locally produced spirits, beers, lagers and wine by the glass or the bottle. The Foyle Terrace also serves pizzas, quiches, jacket potatoes and salads before the show.

The Brasserie in the Minerva Theatre is open for pre-show dining in new stylish and elegant surroundings. The restaurant serves a contemporary British menu using local and seasonal ingredients as well as an excellent choice of wines.

Open 12.30pm - 2.30pm on matinee days and from 5.30pm for evening performances.

Enjoy either a main meal or one of our lighter food options before or after the show in the Minerva Bar & Grill upstairs, which offers a more relaxed atmosphere. Open 90 minutes before matinee performances, from 5pm for evening performances, during the interval and post-show.

RESERVATIONS

To reserve a table in the Brasserie or Minerva Bar & Grill visit cft.org.uk/dining for online reservations. Alternatively please call 01243 782219 or email dining@cft.org.uk

COPENHAGEN

By Michael Frayn

COPENHAGEN REVISITED One of the implications of quantum mechanics, at any rate as Niels Bohr and Werner Heisenberg first formulated it in the 1920s, is that the act of observation changes what’s being observed. My efforts in this play to examine Heisenberg’s famous visit to Niels Bohr in 1941 seem to have had a somewhat similar effect.

Exactly what happened, and what Heisenberg’s intentions were, have been endlessly disputed. The attempts of my two characters, together with Bohr’s wife Margrethe, to reconstruct and understand the event from beyond the grave are of course fictitious, but I based everything that I possibly could – about the characters, the physics, and the meeting itself – on the historical record. I’m not the first person, though, to discover that history can shift disconcertingly beneath your feet – and in this case the shift was precipitated by the fiction that I had built upon it.

It happened because the play occasioned complaints, when it was first produced in London in 1998, but more particularly when it was done in New York two years later, that I had been too ready to allow Heisenberg to make a case for himself. At a symposium on the play in the City University of New York, Gerald Holton, a distinguished American historian of science, was moved to reveal the existence of an unpublished letter by Bohr, which, he said, would entirely change everyone’s view of the meeting.

Bohr had never offered any direct account of it, but in 1957, said Holton, when Heisenberg first offered his own version, Bohr was so angry that he had written to Heisenberg to protest.

He had never sent the letter, though, and when it was found among his papers after his death in 1962 it was apparently thought to be so contentious that, on Holton’s advice, it had been hidden away in the Bohr Archive, not to be MICHAEL FRAYN IMAGE BY CONRAD BLAKEMORE

released for another fifty years. (An odd reaction from a historian to exciting new material.)

This would not have been until 2012, but the tantalising glimpse that Holton had offered aroused so much interest and speculation that the Bohr family decided to release it early. When it appeared, in 2002, Bohr’s indignation caught the fancy of the world’s press, and the letter was seen as an indictment of Heisenberg’s equivocal attitude to both the truth and the Nazi regime.

‘The conversation swiftly turned to the human questions and misfortunes of our time’ The sharpness of Bohr’s tone is certainly a surprise - particularly coming from a man so celebrated for his conciliatoriness. He is greatly amazed, he says, to see how much Heisenberg’s memory has deceived him.

He claims to remember every word of the conversations he had with Heisenberg and Weizsäcker, in particular their ‘definite conviction that Germany would win and that it was therefore quite foolish for us to maintain the hope of a different outcome of the war and to be reticent as regards all German offers of cooperation.’

He plainly had second thoughts about what he had written, though, because there was not one but many drafts of the letter in the archive.

His endless redrafting of his scientific papers was celebrated, and he had evidently done much the same here in his struggle to reconcile his uncharacteristic anger with his characteristic courtesy. In the end he gave up,

and the letter remained unsent. But he had plainly remained much angrier than my character, and I wish the letter had been available when I wrote the play.

The real kernel of a factual disagreement emerges only in the later drafts, where he says that there had been no hint on Heisenberg’s part that efforts were being made by German physicists to hinder work on a nuclear weapon.

This appears to be rebutting a claim made by Heisenberg, and that he made such a claim seems to be widely believed. Nowhere, though, have I been able to find any trace of it.

Some of the press reports suggested that the letter also refutes a further claim by Heisenberg to have offered Bohr a ‘deal’, whereby the German physicists would discourage their government from proceeding with nuclear weapons if Allied physicists would do likewise. Bohr’s letter makes no reference to any such claim. Heisenberg himself said he asked Bohr ‘if, because of the obvious moral concerns, it would be possible for all physicists to agree among themselves that one should not even attempt work on atomic bombs,’ and

suggested that the enormous technical effort needed would give them the possibility of advising their governments whether to go ahead or not. There’s no evidence I can discover that he made any more specific proposal.

The most remarkable point of agreement, it seems to me now that I’ve had time to reflect upon it, was missed by everyone who wrote about the letter at the time of its publication, myself included: Bohr’s confirmation of Heisenberg’s claim to have overridden all normal wartime obligations of secrecy.

Heisenberg did indicate to him, he agrees, that there was a German atomic programme; that he himself was involved in it; and that he now believed that it was in principle possible to build atomic weapons.

Heisenberg undoubtedly made many compromises both to continue working in Germany and to get permission for the visit to Copenhagen. Whatever he was officially licensed or ordered to do there, however, I cannot believe that it included revealing the existence of one of the most secret research programmes in Germany - least of all to

NIELS BOHR WERNER HEISENBERG MARGRETHE BOHR BOHR IMAGES COPYRIGHT LOTTE MEITNER-GRAF ESTATE HEISENBERG IMAGE COURTESY OF ALAMY

a half-Jewish enemy alien who was known to be in contact with Allied scientists (Bohr was at this point still contributing to the US journal The Physical Review), and also to be under observation because of his hostile attitude to Nazism and his extensive help for its victims.

Heisenberg must have done this of his own initiative, and he must have been aware that Bohr would pass the information on (as he in fact did), to his Allied contacts. This, it seems to me, goes a considerable way to supporting the account that Heisenberg subsequently gave of his intentions.

*** Nine months later came another revelation.

No doubt stimulated by the Bohr family’s decision, the Heisenberg family published a letter by Heisenberg that no one had known about. It was written to his wife, Elisabeth – and not sixteen years after the event, like Bohr’s, and subject to all the uncertainties of human memory, but in 1941, while he was actually still in Copenhagen.

It doesn’t mention the disputed conversation – probably because he knew he was under surveillance by the Gestapo, and thought the letter might be opened – but it’s a long and detailed account of the events of that week which both supplements and modifies the version that had been so laboriously constructed from people’s later recollections.

The sheer number and variety of meetings that the two men had during the week supports the claim that Heisenberg’s chief reason for making the trip was to see Bohr – and the conflation of the different occasions in the participants’ memories also probably explains some of the later discrepancies. Some apparently reliable witnesses had claimed that the Bohrs were so upset by Heisenberg’s trip that they wouldn’t receive him at home. In fact he went there on the Monday evening, as soon as he had arrived in Copenhagen. He was very moved to be back in the familiar city, he tells Elisabeth, where a part of his heart had remained for the last fifteen years. Everything was as it had always been, as if nothing in the world outside had ever happened. It was like

suddenly coming face to face with his own youth, his own self. He walked through the blacked-out streets to the Bohrs’ house under a cloudless, starry sky. At the Bohrs’, however, he found rather darker weather.

‘The conversation swiftly turned to the human questions and misfortunes of our time; about the human ones there was spontaneous agreement; on the political questions I found it difficult to cope with the fact that even in a man like Bohr thoughts, feelings, and hatred cannot be completely separated.’

The first complete surprise of the letter is that on the Wednesday he spent a second evening at the Bohrs’, and the internal evidence suggests strongly that this is when the ill-fated conversation occurred. It was probably while Bohr was accompanying Heisenberg alone part of the way back to his hotel, because Weizsäcker, who had arrived that same day, recalled later that he had seen Heisenberg only ten minutes after the meeting with Bohr was over. He had parted company with Bohr, he told Weizsäcker, ‘in a friendly way,’ but the conversation had ‘gone completely wrong.’

Even more surprising, though, is that Heisenberg was invited back to the Bohrs’ home for a third time, on the Saturday evening, three days after this (and the conversation can’t have occurred during this visit, because this time Weizsäcker was accompanying him.)

‘It was in many ways particularly nice,’

wrote Heisenberg to his wife later that same night. ‘The conversation turned for a great part of the evening around purely human problems.

Bohr read something aloud, I played a Mozart sonata (A major).’

The immediate rupture of the two men’s friendship as a result of their conversation is almost the only aspect of the story which had up to now seemed reasonably unambiguous.

Now even this turns out to be as clouded as everything else.

Dr Helmut Rechenberg, the Director of the Werner Heisenberg Archive in Göttingen, suggests that it may have been at this farewell meeting that Heisenberg and Weizsäcker urged Bohr to maintain contact with the German Embassy. If so it could have been Bohr’s anger at this that coloured his recollection of the earlier conversation. It is in any case clear that the quarrel took the form it did only later, in the recollection of the participants, as they reflected upon it - probably also as the circumstances of the war got worse, as the deepest horrors of the Nazi period were uncovered, and as the actual development of nuclear weapons called into question the two men’s participation.

History, in other words, is not what happens when it happens, but what seems to people to have happened when they look back upon it.

The effect of observation, once again.

RUDOLF PEIERLS LISE MEITNER ERWIN SCHRODINGER MAX BORN IMAGES COPYRIGHT LOTTE MEITNER-GRAF ESTATE

***

In 2016 the record was modified again, when the Heisenberg family published the rest of the pre-war and wartime correspondence between Werner and his wife, which casts further light on the cautious ambiguities of Heisenberg’s feelings about Nazi Germany, and also suggests that the relationship with Elisabeth was closer and warmer than had been thought.

If all this material had been published before I wrote the play I should of course have shaped it rather differently. I wondered whether to rewrite it with the benefit of hindsight. My characters, though, are trying to reconstruct the past from their own fallible recollections, with no more help from the written evidence that has emerged since than the real Bohr and Heisenberg had when they attempted to do the same. So in the end I decided to correct only a few small points of detail, and otherwise to leave it pretty much as it was. To compress the three evenings at the Bohrs’ into a single one, particularly when we still don’t know for sure when the crucial conversation occurred, is a dramatic licence I should have had to take in any case.

MICHAEL FRAYN

Playwright and novelist Michael Frayn is one of the UK’s most distinguished and versatile writers, whose work ranges from Noises Off to travel writing, philosophy and memoir. Join him in conversation with Kate Mosse on Wednesday 5 September at 5.30pm (tickets £5) or listen on catch-up via Soundcloud, Apple podcasts and on our YouTube channel.

We are grateful to the Lotte Meitner-Graf Estate for many of the photographs featured in this article.

An acclaimed portrait photographer, Lotte Meitner-Graf was born in Vienna in 1899 and opened her first studio in Vienna in 1926. Following the Anschluss, in 1938, she and her husband escaped to England with the help of Thomas Kendrick, a member of MI6 in Vienna. Shortly after arriving, Lotte became the manager and principal photographer of the Fayer studio in Grosvenor Street. She opened her own studio at 23 Old Bond Street in 1953. During the 50 years that she was a professional photographer, she photographed prominent musicians, authors, actors, statesmen and scientists of her time including the distinguished physicist Lise Meitner, who was Lotte’s sister-in-law. It was through this family connection that Lotte knew, and took the portraits of the scientists who feature in Copenhagen.

The art historian Sir Roy Strong has written that “She was an important photographer in her time and her archive is of great significance.”

For further information visit LotteMeitnerGraf.com or email info@LotteMeitnerGraf

BIOGRAPHIES

PAUL JESSON PATRICIA HODGE CHARLES EDWARDS

CHARLES EDWARDS Werner Heisenberg Previously at Chichester Pascal in Beethoven’s Tenth, Fleming Harvey in Our Betters (Festival Theatre).

At the National Theatre: Hugh Marriner in Absolute Hell, Henry Trebell in Waste, Jack Weatherill in This House (Evening Standard Award nomination), Charles Marsden in Strange Interlude (Clarence Derwent Award), Sir Andrew Aguecheek in Twelfth Night, Antonio in The Duchess of Malfi and George Deever in All My Sons.

In the West End: Charles Condomine in Blithe Spirit (Gielgud Theatre, also Los Angeles, San Francisco, Toronto and Washington DC); Bertie in The King’s Speech (Wyndham’s Theatre, Evening Standard Award nomination); Richard Hannay in The 39 Steps (Criterion Theatre, also Cort Theatre, Broadway); Sandy Tyrrell in Hay Fever (Theatre Royal Haymarket).

At Shakespeare’s Globe: Richard in Richard II and Benedick in Much Ado About Nothing (Evening Standard Award nomination).

Other theatre includes: Henry Higgins in My Fair Lady (Capitol Theatre Sydney and Regent Theatre Melbourne for Opera Australia, winner Green Room Award and Helpmann Award nomination); Stephen in Wanderlust (Royal Court); King Magnus in The Apple Cart, Frank Hunter in The Browning Version, Victor Prynne in Private Lives and Don Pedro in Much Ado About Nothing (Theatre Royal Bath); Orsino in Twelfth Night (Bristol Old Vic); Tom Broadbent in John Bull’s Other Island (Tricycle); Bassanio in The Merchant of Venice (Birmingham Rep); Algernon Moncrieff in The Importance of Being Earnest and Orlando in As You Like It (ETT).

Television includes The Crown, The Terror, The Halcyon, Henry IX, Sherlock, Downton Abbey, Arthur and George, Ripper Street, Trying Again, Holy Flying Circus, A Young Doctor’s Notebook, Stage Door Johnnies, Mistresses, Waking the Dead, The Shell Seekers, Colditz, Bertie and Elizabeth, Murder Rooms and Longitude.

Films include Florence Foster Jenkins, Philomena, Batman Begins, Mansfield Park, Relative Values and An Ideal Husband.

Charles trained at the Guildhall School.

PATRICIA HODGE Margrethe Bohr Previously at Chichester Aunt Augusta in Travels with My Aunt (Minerva Theatre), Annie in Calendar Girls (also Noël Coward Theatre), Rosalind in As You Like It and Nancy/Muv in The Mitford Girls (also Globe Theatre, Olivier Award nomination for Best Actress in a Musical), all Festival Theatre.

Theatre includes Felicity in Relative Values (Theatre Royal Bath and Harold Pinter Theatre); Georgiana in Dandy Dick (UK tour); Lady Fidget in The Country Wife (Theatre Royal Haymarket); Bertha in Boeing-Boeing (Comedy Theatre); Mrs Coulter in His Dark Materials, Dotty Otley/Mrs Clackett in Noises Off, Maria Lvovna in Summerfolk, Lady Franklin in Money (Olivier Award for Best Supporting Actress), The Countess in A Little Night Music (National Theatre); Lady Utterword in Heartbreak House (Almeida Theatre); Jean Brodie in The Prime of Miss Jean Brodie (Strand Theatre); Separate Tables and Shades (Albery Theatre); Gertrude Lawrence in Noël and Gertie (Donmar Warehouse and Comedy Theatre, Olivier Award nomination for Best Actress in a Musical); Jane in Benefactors (Vaudeville Theatre); Catherine in Pippin (Her Majesty’s Theatre).

PATRICIA HODGE CHARLES EDWARDS PAUL JESSON

Television includes A Very English Scandal, Downton Abbey, Miranda, Maxwell, Sweet Medicine, Margaret Thatcher in The Falklands Play, The Cloning of Joanna May, Rich Tea and Sympathy, The Shell Seekers, The Heat of the Day, The Life and Loves of a She Devil, Hotel du Lac (BAFTA Awards nomination and ACE Awards nomination in the US), The Death of the Heart, Hay Fever, Jemima Shore Investigates, Holding the Fort, Nanny, Edward and Mrs Simpson, Rumpole of the Bailey, The Naked Civil Servant, The Girls of Slender Means.

Films include Betrayal, Before You Go, Prague Duet, The Leading Man, Sunset, Just Ask for Diamond, The Elephant Man, The Disappearance and, to be released this year, Surviving Christmas.

Trained at LAMDA (Eveline Evans Award for Best Actress on graduating).

Patricia Hodge was awarded the OBE in the Queen’s Birthday Honours 2017.

PAUL JESSON Niels Bohr Paul Jesson is an Associate Artist of the Royal Shakespeare Company and a visiting tutor at the Guildhall School of Music and Drama where he also trained.

Theatre includes Fritz Busch in The Moderate Soprano (Hampstead and Duke of York’s); Menenius in Coriolanus (RSC); Cardinal Wolsey in Wolf Hall and Bring Up the Bodies (RSC and Broadway, Outer Critics Circle Award nomination); Gloucester in King Lear, Sir Toby Belch in Twelfth Night (Donmar and Brooklyn Academy); Maurice in Travelling Light, Lord Burleigh in Mary Stuart, Anderson in The Devil’s Disciple, Horatio in Hamlet, Kruk in Ghetto, Lovborg in Hedda Gabler, Gooper in Cat On a Hot Tin Roof, Alsemero in The Changeling (National Theatre); Love and Information, Cock (Olivier Award), Shamrayev in The Seagull, Mike in A Lie of the Mind, Felix in The Normal Heart (Olivier Award), Marie and Bruce (Royal Court); Gayev in The Cherry Orchard, Camillo in The Winter’s Tale (Brooklyn Academy and Old Vic); King Henry in Henry VIII, Gravedigger in Hamlet, Prospero in The Tempest, Shakespeare in Bingo, Enobarbus in Antony and Cleopatra, Polixenes in The Winter’s Tale, Oldrents in A Jovial Crew, Peachum in The Beggar’s Opera, Northumberland in Richard II, John Ryder in Two Shakespearean Actors, Ulysses in Troilus and Cressida (RSC); Myron Berger in Awake and Sing!, Kent in King Lear, Tesman in Hedda Gabler (Almeida); Pandarus in Troilus and

Cressida, Sorin in The Seagull (Edinburgh Festival); Willy Loman in Death of a Salesman (Edinburgh Royal Lyceum, Scottish Critics Award nomination); Shrewsbury in Mary Stuart (Apollo); Mr Braddock in The Graduate (Gielgud); Poppy in Slavs! (Hampstead); Irving in GoosePimples (Hampstead and Garrick).

Recent television: Vera: Blood and Bone, Chewing Gum, The Trials of Jimmy Rose, Midsomer Murders, Margaret: Her Downfall, The Devil’s Whore, Spooks, Rome.

Recent film: The Children Act, Marrowbone, Mr Turner, Closer to the Moon, Wall, Coriolanus, Vera Drake, All Or Nothing.

C R E AT I V E T E A M

MICHAEL BLAKEMORE Director Michael Blakemore was Associate Director at the National Theatre where his productions included The National Health, Long Day’s Journey into Night, The Front Page, Macbeth, The Cherry Orchard, Plunder, After the Fall.

Elsewhere Privates on Parade (RSC); Don’s Party, Widower’s Houses (Royal Court); Make and Break (Lyric Hammersmith, where he was Resident Director, and Haymarket). Other West End successes include A Day in the Death of Joe Egg, The Resistible Rise of Arturo Ui, ForgetMe-Not Lane, Design for Living, Knuckle, Separate Tables, All My Sons, Lettice and Lovage, Uncle Vanya, Three Sisters, Blithe Spirit (also Broadway).

MICHAEL FRAYN MICHAEL BLAKEMORE

His original productions of plays by Michael Frayn include Noises Off, Benefactors, Democracy (National Theatre and New York), Copenhagen (NT, West End, Broadway, Australia and Paris).

Broadway productions include three musicals: City of Angels, The Life and Kiss Me, Kate; and Death Defying Acts, three one-act plays by David Mamet, Elaine May and Woody Allen.

Most recently he revisited The Life at Southwark Playhouse (OFFIE Award for Best Musical Production).

He has written and directed two films, A Personal History of the Australian Surf (Standard Film Award 1982) and Country Life.

Books include a novel, Next Season (1968),

still in paperback, and two memoirs, Arguments with England (2004) and Stage Blood (2013).

Awards include two Tony Awards (Kiss Me, Kate and Copenhagen); Drama Desk and Outer Critics Circle Awards (Kiss Me, Kate); Drama Desk, Outer Critics Circle and Drama League Awards (The Life); and Molière and Helpmann Awards for the Paris and Sydney productions of Copenhagen respectively.

Michael is the recipient of both an OBE and an AO (Order of Australia), and was inducted into the American Theatre Hall of Fame in 2010.

del Destino (Washington Opera); La bohème (Royal Albert Hall); La Rondine (La Fenice); Cyrano de Bergerac (La Scala); Carmen, Les Contes d’Hoffmann (Beijing China); Heart of a Soldier, La Ciociara (San Francisco Opera, Sardinia); La traviata (Bolshoi).

Awards include Tony, Drama Desk and Olivier Award nominations for Medea; 1994 Martini/TMA Designer Award for Medea and Saint Joan; Olivier Award nomination for Le Cid and Saint Joan; Schikaneder Award for Der Besuch der Alten Dame.

PETER J DAVISON Designer Previously at Chichester Set Designer for Fortune’s Fool (Festival Theatre).

Theatre includes When We Dead Awaken, All For Love, The Rules of the Game, Medea, School For Wives, Hamlet, Mr Peter’s Connections (Almeida Theatre); Bed, The Beaux’ Stratagem, Le Cid, Copenhagen, Democracy, Afterlife (National Theatre); The Liar (Old Vic); Saint Joan (Theatr Clwyd); The White Devil, Don Carlos, The Duchess of Malfi (RSC); Embers (West End); Deuce, Blithe Spirit, Is He Dead (Broadway).

Musicals include The Boy from Oz (Sydney); Whistle Down the Wind (West End); Jesus Christ Superstar (UK /USA tour and Broadway); Aladdin (Disney’s California Adventure); Show Boat (Royal Albert Hall); Rebecca (Vienna); First Wives Club (San Diego Globe); Spiral (Hiatang Bay China); Show Boat (Chicago Lyric Opera); Der Besuch der Alten Dame (Vienna); Artus, Don Camillo and Peppone, Matterhorn (St Gallen); West Side Story (Houston, Glimmerglass).

Opera includes: Le Nozze di Figaro (Vienna); Die Gezeichneten, Falstaff, Die Schweigsame Frau (Zurich); Capriccio (Berlin, Torino); The Yeomen of the Guard (WNO/Glimmerglass Festival); Der Rosenkavalier, Carmen, Mary Stuart (English National Opera); Anna Bolena (Bayerische Staatsoper); Katya Kabanova (New Zealand); Mitridate Re Di Ponto, Carmen (Salzburg); Manon Lescaut (Australia); The Rake’s Progress, Le Nozze di Figaro, Cyrano de Bergerac (Metropolitan Opera); The Queen of Spades, Cyrano de Bergerac (Royal Opera House); Guillaume Tell (Opera Bastille); Fidelio, Die Walküre, Porgy and Bess, Salome, La Forza

CAROLYN DOWNING Sound Designer Also for Festival 2018, Me and My Girl.

Previously at Chichester Fiddler on the Roof (Festival Theatre).

Theatre includes Summer And Smoke, Carmen Disruption and Blood Wedding (Almeida); Fantastic Follies Of Mrs Rich, Coriolanus, Julius Caesar, Antony and Cleopatra, King John, The Winter’s Tale, Pericles (RSC); House of Bernada Alba, Much Ado About Nothing, To Kill a Mockingbird (Royal Exchange); Les Liaisons Dangereuses (Broadway and Donmar); Fathers and Sons, Dimetos and Absurdia (Donmar); As You Like It, Our Country’s Good, The Motherf***er with the Hat, Dara, Protest Song and Double Feature (National Theatre); Chimerica (Almeida and West End, Olivier Award, Best Sound Design); The Believers, Beautiful Burnout and Love Song (Frantic Assembly); Hope, The Pass, The Low Road and Choir Boy (Royal Court); The House That Will Not Stand and Handbagged (Tricycle and West End); Angels in America (Headlong); Blue/Orange, Blackta and After Miss Julie (Young Vic); Thérèse Raquin (Theatre Royal Bath); Twelfth Night (Sheffield Crucible); All My Sons (Broadway); Kasimir and Karoline and Fanny och Alexander (Malmö Stadsteater); Tre Kronor (Dramaten Stockholm).

Designs for opera include Benjamin Dernière Nuit (Opera Lyon), How the Whale Became (Royal Opera House), American Lulu (Opera Group), After Dido (ENO).

Exhibitions include Hut 11a: The Bombe Breakthrough (Bletchley Park); So You Say You Want A Revolution? Records & Rebels 1965-70 (V&A), Exhibitionism: The Rolling Stones

(Saatchi Gallery), Collider (Science Museum), Louis Vuitton: Series 3. Carolyn has also created sound design elements for Shawn Mendes Illuminate Tour 2017 and Louis Vuitton Ready To Wear Collection shows at The Louis Vuitton Foundation Paris. carolyndowning.co.uk NINA DUNN Video Designer Previously at Chichester Fiddler on the Roof, Forty Years On (Festival Theatre).

Nina has designed Video and Projections for a wide range of shows, working internationally and spanning Theatre, Opera, Dance, Musical Theatre, Immersive, Fashion, Opening Ceremonies and Live Events and Public Art. She is also an educator within her industry, PATRICIA HODGE CHARLES EDWARDS

helping to devise and deliver undergraduate courses and mentoring programmes in leading UK institutions.

Theatre includes Spring Gala (Royal Opera House); Miss Littlewood, The Seven Acts of Mercy, Volpone (RSC); Der Freischütz, Macbeth (Wiener Staatsoper); The Assassination of Katie Hopkins (Theatr Clwyd); The Box of Delights (Wilton’s Music Hall); Cookies (Theatre Royal Haymarket); The Rocky Horror Show (European tour); The Mountaintop (Young Vic); No Man’s Land (Tour/West End); The Life, The Diary of a Teenage Girl, Usagi Yojimbo (Southwark Playhouse); The Damned United (West Yorkshire Playhouse/tour); The Flying Dutchman (ENO); La traviata, Hippolyte et Aricie (Glyndebourne); The Hook (Royal & Derngate); Emperor and Galilean (National Theatre); Phantom of the

Opera (Cameron Mackintosh, UK/US tours).

Immersive and Live Events include Alice’s Adventures Underground (Les Enfants Terribles/ Emma Brunjes Productions, Knight of Illumination Award for Video); Back to the Future and Grand Budapest Hotel launch for Secret Cinema; Miller’s Crossing and Who Framed Roger Rabbit for Future Cinema.

Public Art includes Cosmic Architecture (Lumiere Durham 2017); Dynamic Shift (Barbican, City of London / Culture Mile).

JENNY EASTOP Associate Director Jenny is the Director and Producer for Mercurius where credits include The Biograph Girl and Mr Gillie (Finborough Theatre, Offie nomination for Best Director); The Alchemist, The Devil is an Ass, A Chaste Maid in Cheapside and A Trick to Catch the Old One (Rose Playhouse); The Waiting Room (Leicester Square Theatre and Above the Arts); The School for Wives (White Bear Theatre, Offie nomination for Best Director); Anton Chekhov’s Vaudevilles (Jack Studio Theatre and Jermyn Street Theatre).

Credits as Director include Warde Street (Park Theatre, Offie nomination for Best Director); Henna Night (Leicester Square Theatre); So Long Life (Tobacco Factory Bristol); Everlasting Rose (Riverside Studios and Apollo West End); Spirit of the Ogoni (Theatre Royal Haymarket); The Merchant (West Yorkshire Playhouse); Flying Bedrooms (Green Room, Manchester and North West tour); and productions for Shakespeare’s Globe, NT Studio and London New Play Festival.

She has worked as Associate Director to Michael Blakemore since 2003 on The Life (Southwark Playhouse), Blithe Spirit (Gielgud Theatre and US tour), Afterlife (National Theatre), Embers (Duke of York’s), Democracy (National Theatre, Wyndham’s, Broadway and Sydney Theatre Company), Three Sisters (Playhouse Theatre).

Other credits include Staff Director Blue/ Orange (National Theatre and Duchess Theatre), The Homecoming (National Theatre, Stadsschouwberg Theatre Amsterdam); as Resident Director The Devil is an Ass (RSC). www.mercuriustheatre.co.uk

MICHAEL FRAYN Writer Michael Frayn was born in London in 1933 and began his career as a journalist on the Guardian and the Observer. He has written sixteen plays, including Noises Off, Copenhagen, and Democracy. He has translated Chekhov’s last four plays and a number of the vaudevilles (produced as The Sneeze), and adapted the first (untitled) play as Wild Honey. His screenplays include Clockwise, and among his eleven novels are The Tin Men, Towards the End of the Morning, Headlong, Spies, and Skios. Nonfiction: The Human Touch and My Father’s Fortune. His most recent books were two collections of short entertainments, Matchbox Theatre and Pocket Playhouse.

MARK HENDERSON Lighting Designer Also for Festival 2018 Flowers for Mrs Harris, Present Laughter. Previously at Chichester Sweet Bird of Youth, Forty Years On, An Enemy of the People, Young Chekhov, Gypsy (and West End), Sweeney Todd (and West End), The Scarlet Pimpernel, A Patriot for Me, Valmouth, The Mitford Girls, Feasting with Panthers, The Cherry Orchard (Festival Theatre); For Services Rendered, Private Lives (and West End), ENRON (and Royal Court, West End and Broadway) (Minerva Theatre).

Mark Henderson was an Associate and Lighting Consultant to the National Theatre and Lighting Adviser to the Almeida. He was the recipient of the 1992, 1995, 2000, 2002, 2010 and 2016 Laurence Olivier Awards for Lighting Design, was awarded a Tony Award in 2006 and has also received a Welsh BAFTA. He has lit extensively for all the major theatre, opera and dance companies in the UK and over 50 West End productions, notably Chitty Bang Bang Chitty, The Iceman Cometh, Copenhagen, Democracy, Hamlet, The Real Thing (all also on Broadway), The Bodyguard, The Sound of Music, Grease, Spend Spend Spend, Neville’s Island, Follies, All My Sons, American Buffalo, Funny Girl, Girl from the North Country, Imperium.

Mark has lit over 80 productions for the National Theatre including Racing Demon, Les Parents Terribles, Cat on a Hot Tin Roof (all also

on Broadway), All My Sons, Mourning Becomes Electra, The History Boys, The Habit of Art, One Man Two Guvnors.

Opera and dance includes productions for ENO, the Royal Opera, WNO, Opera North and Glyndebourne Festival Opera, LCDT, Rambert Dance Company, the Royal Ballet, Scottish Ballet, Northern Ballet and Birmingham Royal Ballet.

Mark designed the lighting for the Kate Bush “Before the Dawn” shows at Hammersmith Apollo.

CHARLOTTE SUTTON CDG Casting Director Also for Festival 2018 Flowers for Mrs Harris, Me and My Girl, The Chalk Garden, random/ generations, Present Laughter. Previously at Chichester The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre), The Meeting, random/generations, Quiz, The Stepmother, The House They Grew Up In, Caroline, Or Change, Strife (Minerva Theatre).

Theatre credits Winter, trade and Dutchman (Young Vic); Long Day’s Journey into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey and German Skerries (Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork

PATRICIA HODGE PAUL JESSON CHARLES EDWARDS

Disney and Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot and Queen Coal (Sheffield Crucible); Henry V and Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler and Little Shop of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing and Jumpy (Theatr Clwyd); Goodnight Mister Tom (Duke of York’s and tour); A Pacifist’s Guide to the War on Cancer, wonder.land, Emil and the Detectives and The Light Princess (National Theatre); The Rise and Shine of Comrade Fiasco, I’d Rather Goya Robbed Me… and Gruesome Playground Injuries (Gate Theatre); Albion (Bush); The Elephantom (New London Theatre and National Theatre); Our Big Land (New Wolsey Theatre, Ipswich and tour); Forever House (Drum Theatre, Plymouth); One Man, Two Guvnors (Theatre Royal Haymarket and international tour); Desire Under the Elms (Lyric Hammersmith); Run! A Sports Day Musical (Polka Theatre); Shivered (Southwark Playhouse); Island (National Theatre and tour) and Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

EVENTS

COPENHAGEN PRE-SHOW TALK

Monday 20 August, 6pm Director Michael Blakemore in conversation with Kate Mosse.

Tickets FREE but booking is essential.

KATE MEETS MICHAEL FRAYN

Wednesday 5 September, 5.30pm Playwright and novelist Michael Frayn is one of the UK’s most distinguished and versatile writers, whose work ranges

from Noises Off to travel writing, philosophy and memoir. Hear him in conversation with Kate Mosse.

Tickets £5

POST-SHOW TALK

Wednesday 5 September Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

cft.org.uk/events

COPENHAGEN

By Michael Frayn CAST Werner Heisenberg Margrethe Bohr Niels Bohr

Charles Edwards Patricia Hodge Paul Jesson

There will be one interval of twenty minutes.

First performance of Copenhagen at the Cottesloe Theatre, National Theatre, London, 21 May 1998. The first performance of this production at the Minerva Theatre, Chichester, 17 August 2018.

Production credits: Scenic construction by Bowerwood Production Services. Scenic painting by Luca Crestani. Transport

by Paul Mathew Transport. Production carpenter Jonathan JJ Smith. Cloths supplied by Promptside Theatrical Drapery.

Video hires supplied by Blue-I. All suits made by Bespoke Brands Ltd. Miss Hodge’s blouse by Karen Crichton.

Shoes by Gamba. Chairs created and made by Paradigm Effect.

Rehearsal and production photographs Conrad Blakemore Programme design Davina Chung

Michael Blakemore Peter J Davison Mark Henderson Carolyn Downing Nina Dunn Charlotte Sutton

Director Designer Lighting Designer Sound Designer Video Designer Casting Director

Jane Hamilton Lily Mollgaard Matt George Jenny Eastop

Costume Supervisor Props Supervisor Hair, Wigs and Make-up Supervisor Associate Director

Paul Hennessy Maggie Mackay Maria Gibbons Kezia Beament

Production Manager Stage and Company Manager Deputy Stage Manager Assistant Stage Manager

Supported by the Copenhagen Commissioning Circle: Renata Baillieu, Rosalind Bowen, Bernard and Chrissy Brown, Caroline and Malcolm Butler, Sheila and Steve Evans, George Galazka, Themy Hamilton, Jacintha Hutton, Dinah Lamming, Simon and Belinda Leathes, John and Caroline Nelson, Annie Newell, John and Valerie Robinson, David and Sophie Shalit, Delphine Star, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#CopenhagenPlay

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

ELECTRONS 1895 Thomson discovers the electron, the extremely light, negatively charged particles orbiting inside the atom which give it its chemical properties.

QUANTUM THEORY 1900 Planck discovers that heat energy is not continuously variable, as classical physics assumes.

There is a smallest common coin in the currency, the quantum, and all the THE transactions are QUANTUM ATOM in multiples 1913 Bohr realises that of it. quantum theory applies to matter itself. The orbits of the electrons about the nucleus are limited to a number of separate whole number possibilities, so that the atom can exist only in a number of distinct and definite states. (The incomplete so-called ‘old quantum theory’).

THE NUCLEUS 1910 Rutherford shows that the electrons orbit around a tiny nucleus, in which almost the entire mass of the atom is concentrated.

MATTER AS WAVES 1924 De Broglie in Paris suggests that, just as radiation can be treated as particles, so the particles of matter can be treated as a wave formation.

QUANTUM MECHANICS 1925 Heisenberg abandons electron orbits as unobservable. Max Born finds instead a mathematical formulation in terms of matrices for what can be observed – the effect they produce upon the absorption and emission of light.

INTO THE HEART

“Bohr and Heisenberg wer uncompromising, a

Hendrik Kramers, Heisenberg’s p

PHOTONS 1905 Einstein realises that light, too, has to be understood not only as waves but as quantum particles, later known as photons.

UNCERTAINTY 1927 Heisenberg demonstrates that all statements about the movement of a particle are governed by the uncertainty relationship: the more accurately you know its position, the less accurately you know its velocity, and vice versa.

THE WAVE EQUATION 1926 Schrödinger finds the mathematical equation for the wave interpretation, and proves that wave and matrix mechanics are mathematically equivalent.

NEUTRONS 1932 Chadwick discovers the neutron – a particle which can be used to explore the nucleus because it carries no electrical charge, and can penetrate it undeflected.

THE COPENHAGEN INTERPRETATION 1928 Bohr relates Heisenberg’s particle theory and Schrödinger’s wave theory by the complementarity principle, according to which the behaviour of an electron can be understood completely only by descriptions in both wave and particle form. Uncertainty plus complementarity become established as the pillars of the Copenhagen (or “orthodox”) interpretation of quantum mechanics.

INTO THE NUCLEUS 1932 Heisenberg opens the new era of nuclear physics by using neutron theory to apply quantum mechanics to the structure of the nucleus.

THE MUSEUM OF SCIENCE AND INDUSTRY IN HIROSHIMA SHORTLY AFTER THE DROPPING OF THE BOMB IN 1945 IMAGE COURTESY OF SHUTTERSTOCK

THE B 1945 Th is successf in July an following m on Hiro

T OF DARKNESS

re both tough, hard-nosed, and indefatigable.”

predecessor as Bohr’s assistant

THE REACTOR 1942 Fermi in Chicago achieves the first self-sustaining chain reaction, in a prototype reactor.

THE MANHATTAN PROJECT 1942 The Allied atomic bomb programme begins.

THE CHAIN REACTION 1939 Joliot in Paris and Fermi in New York demonstrate the release of two or more free neutrons with each fission, which proves the possibility of a chain reaction in pure U-235.

BOMB he bomb fully tested nd in the month used oshima

TRANSMUTATION 1934 Fermi in Rome bombards uranium with neutrons and produces a radio-active substance which he cannot identify.

THE CRITICAL MASS 1940 Frisch and Peierls in Birmingham calculate, wrongly but encouragingly, the minimum amount of U-235 needed to sustain an effective chain reaction.

THE NEUTRONS MULTIPLY 1939 Bohr and Wheeler at Princeton realise that fission also produces free neutrons. These neutrons are moving too fast to fission other nuclei in U-238, the isotope which makes up 99% of natural uranium, and will fission only the nuclei of the U-235 isotope, which constitutes less than 1% of it.

IDENTIFICATION 1939 Hahn and Strassman in Berlin identify the substance produced by Fermi’s bombardment as barium, which has only about half the atomic weight of uranium.

FISSION 1939 Lise Meitner and Frisch in Sweden apply Bohr’s liquid drop model to the uranium nucleus, and realise that it has turned into barium (and krypton) under bombardment by splitting into two, with the release of huge quantities of energy.

WERNER HEISENBERG Born 1901 in Würzburg, and educated at Munich and Göttingen. Nobel Prize for Physics 1932. Died Munich 1976.

“Heisenberg at his best – simultaneously pursuing incompatible methods and employing inconsistent arguments intensely and brilliantly. He was... at once retiring and almost recklessly daring – in life and in science...”

David Cassidy, his biographer

NIELS BOHR Born 1885 in Copenhagen, and educated there. Nobel Prize for Physics 1922.

Died Copenhagen 1962.

“Bohr... craved togetherness, in life and in thought.”

Abraham Pais, his biographer

“... Probably Bohr’s most characteristic property was the slowness of his thinking and comprehension...”

George Gamow

“Heisenberg’s unbelievable quickness and precision of understanding...”

Max Born

“... The master of consistency, caution, and physical insight...”

Cassidy

Heisenberg: “In science you just have to be able to drill in very hard wood, and go on thinking beyond the point where thinking begins to hurt.”

Bohr: “We shall never understand anything until we have found some contradictions.”

“Success sanctifies the means.”

“Never express yourself more clearly than you think.”

THE WAR 1939 The Second World War begins, and Germany at once commences research into the military possibilities of fission.

MARGRETHE BOHR Born 1890 in Slagelse. Married Niels Bohr in 1912. Six sons: Christian, Hans, Erik, Aage (who won the Nobel Prize for Physics 1975), Ernest and Harald. Died 1984.

GERMANY DEFEATED 1945 The Allied advance into Germany halts the atomic programme there.

THE LIQUID DROP

1937 Bohr explains the properties of the nucleus by analogy with a drop of liquid.

“She was not a physicist, and always insisted that she didn’t attempt to follow the intricacies of the science, but in fact she had a very excellent understanding of the principles...

She knew the scientific language; she also knew all of the people with whom Bohr worked, and was his constant consultant.”

Abraham Pais

“My mother was the natural and indispensable stable centre. Father knew how much mother meant to him and never missed an opportunity to show his gratitude and love... Her opinions were his guidelines in daily affairs.”

Hans Bohr

Margrethe Bohr: “No matter what anyone says, that was a hostile visit.”

COMING SOON

HHHHH ‘One of the most heartwarming British musicals of recent years’ Guardian

HHHH

‘A joy from start to finish’ Times

Clare Burt Joanna Riding Gary Wilmot

FLOWERS FOR MRS HARRIS Based on the novel by Paul Gallico Book by Rachel Wagstaff Music & Lyrics by Richard Taylor Daniel Evans directs this new musical based on the novel by Paul Gallico.

From the cobbled streets of post-war London to the shimmering avenues of Paris, the story follows Ada Harris as she sets off on a journey that will change her life forever.

WINNER UK THEATRE

AWARDS 2017

8 – 29 September #FlowersForMrsHarris

cft.org.uk

10

£

TICKETS FROM

COMING SOON

COCK

By Mike Bartlett Kate Hewitt directs this funny and eye-openingly fresh and frank play.

Written by Mike Bartlett (King Charles III, Doctor Foster), Cock is a provocative peep into relationships in these days of oscillating identities. The cast includes three of the UK’s most exciting young actors – Luke Thallon, Matthew Needham and Isabella Laughland.

28 September – 27 October #CockThePlay

cft.org.uk

Contains very strong language and scenes of a sexual nature. Ages 16+

LEAP

LEARNING, EDUCATION AND PARTICIPATION The Learning, Education and Participation Department creates a year-round programme of practical workshops, talks, tours, performances and much more. With opportunities for all ages and abilities we aim to excite and inspire every person that engages with us.

COMMUNITY

CHILDREN & YOUNG PEOPLE

Develop artistic, personal and social skills through our workshops, projects, productions and award-winning Youth Theatre for young people of all abilities.

Chichester Festival Youth Theatre | Holiday Activities | Arts Award

EDUCATION

Working with local schools to enrich students’ learning, our training and apprenticeships programme enables us to grow the next generation of arts professionals.

Playboxes | Technical Tasters | Creative Careers Day | Work Experience

Learn more about theatre, develop performance skills, discover how productions are made and share experiences with others through our workshops and community projects.

Talks and Discussions | Community Theatre Days | Adult Classes

FAMILIES

Take part in Family Friendly talks, tours and workshops designed to complement our Festival programme.

Storytelling | Theatre Tours | Toddler Classes

cft.org.uk/leap

S TA F F

TRUSTEES Sir William Castell Mr Nicholas Backhouse Mr Nigel Bennett Mr Alan Brodie Ms Jill Green Ms Odile Griffith Mrs Shelagh Legrave OBE Rear Admiral John Lippiett CB CBE Mr Mike McCart Mr Harry Matovu QC Mrs Denise Patterson Ms Stephanie Street Mrs Patricia Tull Ms Tina Webster Mrs Susan Wells ASSOCIATES Kate Bassett Lez Brotherston Charlotte Sutton CDG

Chairman

Literary Associate Design Associate Casting Associate

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager DEVELOPMENT Katie Cotton Director of Development Julie Field Friends Administrator Laura Jackson Head of Individual Giving Rosie Hiles Corporate Development Manager

William Mendelowitz Head of Major Gifts Tabitha Moores Development Administrator DIRECTORS Daniel Evans Rachel Tackley Patricia Key Georgina Rae

Artistic Director Executive Director PA to the Directors Head of Planning & Projects

FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Katie Palmer Assistant Management Accountant Simon Parsonage

Mark Pollard Paul Sturgeon Amanda Trodd Nicole Yu HR Eugenie Konig Emily Oliver

Finance Director & Company Secretary IT Support IT Consultant Management Accountant Finance Assistant (Trainee)

Head of HR Accommodation Administrator (Maternity Leave)

Jenefer Pullinger Gillian Watkins

HR & Recruitment Officer HR Administrator

LEAP Elspeth Barron Charlie Essex Lauren Grant Hannah Hogg Ella Jarman Richard Knowles Poppy Marples

LEAP Officer Education Apprentice Deputy Director of LEAP Youth Theatre Officer Youth Theatre Apprentice Education Projects Manager Senior Youth Theatre Officer

MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Caroline Aston Audience Insight Manager George Bailey Digital Trainee Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate)

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Gabriele Hergert Deputy House Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager

Harry Boulter Fran Boxall Helen Campbell Lydia Cassidy

WARDROBE Owen Collick Michaela Duffy Ellie Edwards Jen Elfverson Lottie Higlett Charlotte Innes Fiona McIntosh Naomi Overton Gabby Salwyn-Smith Suzanne Skelton Sam Sullivan Loz Tait Gina Warnes Maisie Wilkins

Box Office Assistant Box Office Supervisor Deputy Box Office Manager Director of Marketing & Communications

Gemma Clark Box Office Assistant Clare Funnell Marketing Officer Madeline Harker Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Communications Assistant

Arti Joshi Box Office Assistant James Morgan Box Office Manager Lucinda Morrison Head of Press Alice Stride Box Office Assistant Joshua Vine Box Office Assistant Claire Walters Box Office Assistant Joanna Wiege Box Office Administrator Jane Wolf Box Office Assistant PRODUCTION Amelia Ferrand-Rook Producer Max Lindsay Resident Assistant Director Claire Rundle Production Administrator Jacob Thomas Production Trainee Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Jason Addison ALD Lumière Trainee Steph Bartle Deputy Head of Lighting Jesse Caie Lighting & Sound Apprentice Alex Castro Sound Technician Rhuari Coe Stage Technician Leonie Commosioung Stage Crew Sarah Crispin Props Maker Lewis Ellingford Stage Crew Fuzz Sound Technician Sam Garner-Gibbons Technical Director Luc Gibbons Stage Crew Abbie Gingell Stage Technician Dominic Godfree Stage Crew Katie Hennessy Props Store Co-ordinator Laura Howells Senior Lighting Technician Mike Keniger Head of Sound Andrew Leighton Lighting Technician Karl Meier Head of Stage Andrew Mills Stage Crew Seeta Mistry No 1 Sound Technician Charlotte Neville Head of Props Workshop Chris Perryman Deputy Head of Stage Megan Pickthorne Stage Apprentice Lewis Ramsay Lighting & Sound Apprentice Erin Ridley Assistant Lighting Technician Alys Robinson Stage Crew Neil Rose Deputy Head of Sound Ernesto Ruiz-Mateo Stage Crew James Sharples Stage Crew Graham Taylor Head of Lighting Mollie Tuttle Lighting Technician Linda Mary Wise Sound Technician

Louise Rigglesford Community Partnerships Manager Dale Rooks Director of LEAP Emilie Trodd Community Partnerships Apprentice

cft.org.uk/aboutus

WIGS Jess Ayliffe Sonja Mohren Katie Oropallo Sophie Peters Isabella Trevisiol-Duff

Dresser Dresser Dresser Wardrobe Maintenance Dresser Dresser Deputy Head of Wardrobe Dresser Dresser Deputy Head of Wardrobe Assistant Wardrobe Head of Wardrobe Assistant Wardrobe Wardrobe Maintenance

Wigs Assistant Head of Wigs Wigs Assistant Deputy Head of Wigs Deputy Head of Wigs

Stage Door: Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Mia Kelly, Chris Monkton, Susan Welling (Supervisor) Ushers: Miranda Allemand, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Bob Bentley, Charlie Bentley, Gloria Boakes, Janet Bounds, Judith Bruce-Hay, Lauren Bunn, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Sophia Cobby, Freya Cooper, Gaye Douglas, Stella Dubock, Alisha Dyer-Spence, Clair Edgell, Suzanne Ford, Jade Francis-Clark, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Luc Gibbons, Anna Grindel, Elisha Hamilton, Karen Hamilton, Caroline Hanton, Madeline Harker, Joseph Harrington (Trainee), Fred Harris, Gillian Hawkins, Joanne Heather, Gordon Hemming, Lottie Higlett, Stephanie Horn, Keiko Iwamoto, Pippa Johnson, Ryan Jones, Jan Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Janette McAlpine, Margaret Minty, Chris Monkton, Chloe Mulkern, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen, Kirsty Peterson, Helen Pinn, Barbara Pope, Justine Richardson, Nicholas Southcott, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Chantelle Walker, Rosemary Wheeler, Donna Wood, Kim Wylam, Jane Yeates Volunteer Audio Describers: Robert Dunn, Geraldine Firmston, Suzanne France, Sue Hyland (Co-ordinator), David Phizackerley, Christopher Todd We acknowledge the financial assistance received from Chichester City Council in respect of signed performances and the work of those who give so generously of their time as our Volunteer Audio Description Team.

ACCESS AND CAR PARKING

Wheelchair users 16 wheelchair spaces are available on two levels in the Festival Theatre, with accessible lifts either side of the auditorium. Two wheelchair spaces are available in the Minerva Theatre.

Hearing impaired Free Sennheiser listening units are available for all performances or switch your hearing aid to ‘T’ to use the induction loop in both theatres.

Signed performances are British Sign Language interpreted for people who are D/deaf or hard of hearing.

Stagetext Captioned performances display text on a screen for D/deaf or hearing impaired patrons.

Audio-described performances offer live narration over discreet headphones for people who are blind or visually impaired.

Touch Tours enable blind or visually impaired people to explore the set before audio described performances. Free but booking is essential.

Dementia-Friendly Theatre All Box Office and Front of House staff have attended a Dementia Friends Information Session, and can be identified by the blue pin on their uniform.

Assistance dogs are welcome; please let us know when booking as space is limited.

Parking for disabled patrons Blue Badge holders can park anywhere in Northgate Car Park free of charge.

There are 9 non-reservable spaces close to the Theatre entrance.

Car Parking Northgate Car Park is an 836-space pay and display car park (free after 8pm). On matinee days it can be very busy; please consider alternative car parks in Chichester. chichester.gov.uk/mipermit If you have access requirements or want to book tickets with an access discount, please join the Access List.

For more information and to register, visit cft.org.uk/access, call the Box Office on 01243 781312 or email access@cft.org.uk

Large-print version of this programme available on request from the House Manager or access@cft.org.uk Large-print and audio CD versions of the Festival Season brochure are available on request from access@cft.org.uk For more access information, call 01243 781312 or visit cft.org.uk/access

cft.org.uk/visitus

SUPPORT US

COME CLOSER Did you know that Chichester Festival Theatre is a registered charity?

And that you can play an essential role and get more involved in what we do?

The generosity and commitment of our supporters, whether their donation is large or small, has helped us achieve our reputation as ‘the jewel in the crown of regional theatres’ (Daily Telegraph).

Here are some of the ways you can support the Theatre to maintain our world-class standards, extend our dedicated community and education work, and inspire the future generation of performers, theatre-makers and audiences. In return, we’ll give you a range of benefits to bring you closer to our work.

As a Friend of Chichester Festival Theatre, for just £35 a year you’ll receive priority booking, ticket discounts and special events. Visit cft.org.uk/friends for further details.

Our Festival Players are a community of theatre-loving individuals who receive advance priority booking, the opportunity to meet Artistic and Creative teams and invitations to exclusive events throughout the season. You can become a member from £250 a year.

Benefactors enjoy an especially close relationship with the Theatre, gaining unique insight into the creative process.

Gifts support all areas of our work, from our award-winning Youth Theatre to the Playwrights’ Fund and Trainee programmes. Bespoke communications throughout the year from a personal contact at Chichester Festival Theatre keep you in touch with the impact of your gift.

We’d love to tell you more about the ways you can support us. Please contact the Development Team on development.team@cft.org.uk or call 01243 812908.

cft.org.uk/supportus

S U P P O R T E R S 2018

INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry Sarah and Tony Bolton George W. Cameron OBE and Madeleine Cameron Wilfred and Jeannette Cass Sir William and Lady Castell John and Pat Clayton CMC Professional Services Clive and Frances Coward Jim Douglas Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Steve and Sheila Evans Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Sir Michael and Lady Heller Mr and Mrs Christopher Hogbin Basil Hyman Liz Juniper The family of Patricia Kemp Roger Keyworth Alan and Virginia Lovell Jonathan and Clare Lubran Selina and David Marks Mrs Sheila Meadows Jerome and Elizabeth O'Hea Philip and Gail Owen Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE Lady Sainsbury of Turville David and Sophie Shalit Jon and Ann Shapiro Simon and Melanie Shaw Greg and Katherine Slay David and Alexandra Soskin David and Unni Spiller Alan and Jackie Stannah Howard M Thompson Nicholas and Francesca Tingley Peter and Wendy Usborne Bryan Warnett of St. James's Place Ernest Yelf Lord and Lady Young TRUSTS AND FOUNDATIONS The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Boltini Trust Elizabeth, Lady Cowdray's Charity Trust The Eranda Rothschild Foundation The Noël Coward Foundation The Roddick Foundation

FESTIVAL PLAYERS Dr Cheryl Adams CBE Charles and Clare Alexander Tom Reid and Lindy Ambrose Paul Arman Mr Brian Baker Matthew Bannister Mr Laurence Barker Mr James and Lady Emma Barnard Julian and Elizabeth Bishop Martin Blackburn Mike and Alison Blakely Sarah and Tony Bolton Tim Bouquet and Sarah Mansell Pat Bowman Lucy and Simon Brett Adam and Sarah Broke Mrs Susie Brookes Bridget Brooks Peter and Pamela Bulfield Jean Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Warren and Yvonne Chester Julien Chilcott-Monk Sally Chittleburgh David and Claire Chitty Denise Clatworthy Annie Colbourne John and Susan Coldstream David and Julie Coldwell Cecilia Cole Mr Charles Collingwood and Miss Judy Bennett Michael and Jill Cook Brian and Claire Cox Susan Cressey Deborah Crockford Rowena and Andrew Daniels Jennie Davies Yvonne and John Dean Clive and Kate Dilloway Christopher and Madeline Doman Peter and Ruth Doust Peter and Jill Drummond John and Joanna Dunstan Peter Edgeler and Angela Hirst Betty and Ian Elliot Anthony and Penny Elphick Caroline Elvy Sheila Evans Brian and Sonia Fieldhouse Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Robert and Pip Foster Debbie and Neil Franks Alan and Valerie Frost Mr Nigel Fullbrook George Galazka Elizabeth Ganney Robert and Pirjo Gardiner Wendy and John Gehr Jacqueline and Jonathan Gestetner

Marion Gibbs CBE Stephen J Gill John and Sue Godfrey Dr and Mrs P Golding Julian and Heather Goodhew Robin and Rosemary Gourlay Michael and Gillian Greene Reverend David Guest Ros and Alan Haigh Dr Stuart Hall Kathy and Roger Hammond Anthony Harding David and Linda Harding Dennis and Joan Harrison Roger and Tina Harrison Robert and Suzette Hayes Mrs Joanne Hillier Andrew Hine Christopher Hoare Malcolm and Mary Hogg Michael Holdsworth Pauline and Ian Howat Barbara Howden Richards Joyce Hytner Mrs Raymonde Jay Robert and Sarah Jeans Mrs Pamela Johnson Robert Kaltenborn Nigel Kennedy OBE Anna Christine Kennett Roger Keyworth John and Jane Kilby James and Clare Kirkman Mrs Rose Law Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Anthony and Fiona Littlejohn Mr Robert Longmore Colin and Jill Loveless Amanda Lunt Dr and Mrs Nick Lutte Robert Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Charles and Elisabeth Martin Gerard and Elena McCloskey Tim McDonald Mick and Betty McGovern Jill and Douglas McGregor James and Anne McMeehan Roberts Mrs Michael Melluish Celia Merrick Diana Midmer David and Elizabeth Miles David and Di Mitchell Jenifer and John Mitchell Gerald Monaghan Sue and Peter Morgan Roger and Jackie Morris Lady Morton Terence F Moss Mrs Mary Newby Patricia Newton Lady Nixon

Margaret and Martin Overington Mr and Mrs Gordon Owen Mrs Glenys Palmer Richard Parkinson and Hamilton McBrien Alex and Sheila Paterson Simon and Margaret Payton Jean Plowright Maggie Pollock Tim Randall and John Murphy John Rank Malcolm and Angela Reid Christopher Marek Rencki Sandi Richmond-Swift John and Betsy Rimmer Robin Roads Philip Robinson John and Valerie Robinson Nigel and Viv Robson Mr and Mrs Rooney Mark and Susan Ross Nigel and Jackie Scandrett Clare Scherer and Jamie O'Meara The Tansy Trust The Colles Trust Mr Christopher Sedgwick John and Tita Shakeshaft Mrs Dale Sheppard-Floyd Jackie and Alan Sherling Nick Smedley and Kate Jennings Monique and David Smith Christine and Dave Smithers Mr and Mrs Brian Smouha Mrs Barbara Snowden Paul and Marie Stacey Elizabeth Stern Barbara Stewart Judy and David Stewart Peter Stoakley Rodney and Sara Stone Anne Subba-Row Ms Maura Sullivan Brian Tesler CBE Mr Robert Timms Alan Tingle Peter and Sioned Vos Steve and Margaret Wadman David Wagstaff and Mark Dune Phil and Claire Wake Paul and Caroline Ward Ian and Alison Warren Chris and Dorothy Weller Bowen and Rennie Wells Graham and Sue White Barnaby and Casandra Wiener Judith Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald And all those who wish to remain anonymous

‘I am very proud to be associated with Chichester Festival Theatre. To be able to give extra support to such consistently fine work gives me a great sense of engagement with the life of the Theatre.’

John Shakeshaft, CFT Supporter

cft.org.uk/supportus

S U P P O R T E R S 2018

PRINCIPAL PARTNERS

Diamond Level Prof E.F Juniper and Mrs Jilly Styles

Oldham Seals Group

Gold Level

HOLIDAY LETS

Silver Level

CORPORATE PARTNERS LEVEL 1 Chichester College Criterion Ices Jones Avens Purchases Bar & Restaurant RL Austen Thesis Asset Management

LEVEL 2 Addison Law Behrens Sharp Hennings Wine Merchants Perry Property Advisors Richard & Stella Read The Bell Inn The J Leon Group

LEVEL 3 Dinamiks European Office Products Russell & Bromley Ten Chichester Bed & Breakfast Mrs Joanna Williams

Chichester Festival Theatre offers a variety of corporate partnerships to meet your business needs. For further information, please contact us at development.team@cft.org.uk