Flowers For Mrs Harris digital programme| Chichester Festival Theatre | Festival 2018

FLOWERS FOR MRS HARRIS

WELCOME

other members of the original cast including Louis Maskell (who was last here as Perchik in 2017’s Fiddler on the Roof), Laura Pitt-Pulford, Nicola Sloane and Mark Meadows (who appeared in Quiz last season). Joining them are Joanna Riding and Claire Machin, who both appeared in CFT’s The Pajama Game (2014) and, making a welcome Chichester debut, Gary Wilmot.

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to our second musical of Festival 2018 as we move from the uproarious and high-tapping choreography of Me and My Girl to the emotional delicacy of Flowers for Mrs Harris. We hope that you will find an equal amount of joy in Paul Gallico’s much-loved story.

Flowers for Mrs Harris was first staged

by Daniel at Sheffield Theatres for a short run of performances in 2016. As its composer and lyricist Richard Taylor and writer Rachel Wagstaff acknowledge in their conversation in this programme, a new musical goes through many stages of development and, since that initial production, they have revisited their work in order to refine the things learned from those original performances.

We’re enormously grateful to them, and to everyone who worked on the Sheffield production.

We’re thrilled that Clare Burt is once again taking the title role, alongside several

If, as Stephen Sondheim famously quipped, “musicals aren’t written, they’re rewritten”, they certainly have to start somewhere; so don’t miss the chance to join Richard Taylor’s workshop ‘Songwriting for Everyone’ on 15 September.

Coming up next is our last production of Festival 2018 in the Festival Theatre: the world premiere of Bryony Lavery’s adaptation of David Walliams’s enchanting book The Midnight Gang, with music by Joe Stilgoe. It will be a treat for all ages from 7 upwards, so do join us again for that.

We hope you enjoy today’s performance.

Artistic Director Daniel Evans

cft.org.uk

Executive Director Rachel Tackley

COMING SOON

TS ICK E T Y L FAMI AIL ABLE AV

THE MIDNIGHT GANG

By David Walliams Adapted by Bryony Lavery Music & Lyrics by Joe Stilgoe This inventive tale of fun, friendship and kindness is directed by Dale Rooks (Running Wild). Jennie Dale returns to play Matron following her acclaimed performance as Parchester in Me and My Girl.

WORLD PREMIERE 13 October – 3 November #TheMidnightGang

cft.org.uk

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

FLOWERS FOR MRS HARRIS Based on the novel by Paul Gallico Book by Rachel Wagstaff Music & Lyrics by Richard Taylor

CREATING MRS HARRIS Richard Taylor and Rachel Wagstaff discuss the birth of this new British musical

What excited you about Paul Gallico’s novel?

Rachel Wagstaff The heart of the book seemed to be so simple but so profound; it touched me deeply when I read it for the first time. I loved the warmth and strength and extraordinary generosity of the central character, Mrs Harris.

I loved the friendship she shared with her neighbour, Violet Butterfield, and the bizarre but brilliantly delineated world of their clients. I was also drawn to the journey Mrs Harris went on, which, without wishing to give too much away, took her to the most surprising of places (both literal and emotional).

DANIEL EVANS RACHEL WAGSTAFF RICHARD TAYLOR TOM BRADY

Equally appealing, the book is set during a really interesting period of history, shortly after the Second World War, in an age of austerity, where rationing (including clothing) was still in place and many Britons were in mourning.

We’ve been more specific than Gallico about the setting but even so, from the book you get a very strong sense of colour emerging from the greyness. Richard and I talked about this a great deal during our first meeting; we were also both very drawn to the dramatic possibilities created by absence and loss.

And, finally, there’s also something inherently exciting about writing a musical for and about

women in their fifties, territory not frequently explored in musicals.

Richard Taylor You only read something for the very first time once, so I took careful note of my reactions to every twist and turn of the story as I read it. After all, an audience are coming to it fresh, and when you get deeply involved in working on something it’s so easy to lose sight of those moments that made it so special on first reading. It’s a classic Cinderella tale in many ways (the under-dog triumphs in the end) but it’s also so much more: Ada is a wonderful, heartfelt creation, and someone

we can all relate to. So we root for her from the off, for having such an outlandish but incredibly powerful dream. Also, it’s a story that works on so many levels, which is something I think we bring out perhaps more than the original novel.

And of course it’s about an appreciation of art, and the number of people it takes to make that art. Much like theatre.

Why make Flowers for Mrs Harris a musical rather than a play?

Richard Taylor Theatre is a shared experience, unlike a novel which is a personal one: how can the themes and moods of the story be best conveyed to a large audience all at once?

The theme of the song There Is More to Life permeates the entire score, from the moment Ada sees Lady Dant’s dress. It underpins many moments from then on, sometimes explicitly, sometimes hidden. Her drive and determination is based on it. That’s something only music can do. The way singing can work in a multi-layered way – lots of voices all interacting and chipping in at once – is again something only really achievable through music and here it dramatically allows us to tell the story in a fluid and interesting way. So, for us, Ada’s story needed to be a musical.

Rachel Wagstaff Flowers for Mrs Harris is a celebration of the eponymous character, her strength and her appreciation of beauty. The novel is set in a rose-tinted world, which seemed to cry out for music and the playfulness and emotional layering that music and lyrics can provide. During our initial conversations, we kept coming back to the power of Mrs Harris’s imagination and we both felt that song could take us into her inner world, while also permitting us to move between time and/or place simultaneously.

DANIEL EVANS TOM BRADY CLAIRE MACHIN JOHN LAIRD RICHARD TAYLOR TOM BRADY RACHEL WAGSTAFF

Flowers for Mrs Harris has had a long journey since its first workshop in 2012. Is this an inevitable or, indeed, desirable process in order to “birth” a successful musical?

Richard Taylor To let a piece develop over time? It’s the only way I know. Musical theatre is so collaborative, there are so many ways to tell a story, so many options, and so many people involved in making the final production happen. Rehearsing and presenting little workshop versions of the show during the writing allows both writers and, eventually, all the creative team to input their ideas.

We’re all trying to tell the story in the most effective (and affecting) way, through our own disciplines, and the fewer surprises there are when it comes to putting on the full production the better.

Rachel Wagstaff And, practically speaking, it does take time to organise workshops (we’ve had maybe six I think during the creation of this show), so the months and years do sail by.

But in that time it’s also amazing how ideas mature and shift.

Richard Taylor Yes, the piece as we now have it is very different from the one we would have produced if we’d rushed straight into it five years ago, and that’s because it’s developed and grown through all the ideas we’ve absorbed along the way.

Rachel Wagstaff When you’re going through the process, it can be agonising – waiting for workshops, waiting to hear what people think, waiting for that moment when someone finally tells you that they’re going to put on the show.

But the show is always so much stronger for the scrutiny. The time away from it, while it can feel frustrating, is also incredibly beneficial because each time you can go back with fresh eyes yourself.

It’s just extraordinary how much time does slip by. Since the birth of the project, I’ve had two children, one of whom is about to start school! But Richard and I have both had various other productions, projects, commissions and work, so it’s not as if we’ve been sitting

CLARE BURT

around twiddling our thumbs. And we were both absolutely certain that we wanted Daniel to direct Flowers for Mrs Harris again and so would probably have waited years for him. We’re thrilled he’s directing it here at Chichester.

Is there anything that marks out a British musical (other than geographical origin) in terms of style or substance?

Richard Taylor Hmm. Interesting thought.

I’m not conscious of it. Flowers for Mrs Harris is a lovely affectionate character study of endearing British eccentricity. And yet it was written by an American, Paul Gallico. I tend to think that just as there isn’t a typically British play, or opera, neither is there a typically British musical. Within all those genres there are many, many styles and approaches, and I’m not sure they’re defined by place. Others may disagree.

Can you encapsulate the changes you’ve made to Flowers for Mrs Harris since its 2016 production and what you wanted to achieve?

Rachel Wagstaff We were really proud of what we made for Sheffield but relished the opportunity to keep tightening and refining, as we’ve always done. We’ve re-ordered some

LAURA PITT-PULFORD

events in the first act, and trimmed away some of the excess material that we found we simply didn’t need.

Richard Taylor Since we developed the piece through workshops, we’re very used to coming together afterwards as a team and discussing what can be done more effectively. Everything seems vital and important when we’re writing, but there’s nothing like watching with an audience to find out if there is anything excess to requirements.

Rachel Wagstaff We’ve worked mostly on tightening up the first act, which is now around ten minutes shorter than it was, and I don’t think there’s anything we really miss. Well, one actor did request I put a couple of lines back in, and she was right, but once they were reinstated, everyone seemed happy!

Ada Harris falls in love with a Dior gown.

What would be your dream possession?

Rachel Wagstaff A little cottage by the sea so I could write, walk our dog on the beach and build sandcastles with my family.

Richard Taylor A grand piano. A Steinway would be nice, but frankly I’m not fussy!

‘Happiness is the meaning and the purpose of life, the whole aim and end of human existence’ Aristotle

Christian Dior was ‘identified with good taste, the art of living and refined culture that epitomizes Paris to the outside world’ French newspaper Le Monde

‘Happiness is neither virtue nor pleasure nor this thing nor that but simply growth. We are happy when we are growing’

‘The day came when the risk to remain tight in a bud was more painful than the risk it took to blossom’

William Butler Yeats

Anais Nin

‘youth, hope, and the future’ Dior’s description of the New Look

‘Ever since I was a child I have had this instinctive urge for expansion and growth. To me, the function and duty of a quality human being is the sincere and honest development of one’s potential’

‘I have designed flower women’

‘Any idiot can face a crisis – it’s day to day living that wears you out’

Christian Dior

Anton Chekhov

Bruce Lee

‘It’s a helluva start, being able to recognise what makes you happy’ Lucille Ball

CHRISTIAN DIOR AT A FITTING IMAGE COURTESY OF ALAMY

THE NEW LOOK REVOLUTION In February 1947, Europe was hungry for change. It was only 18 months since the Second World War had come to an end, and out of the heartbreak, devastation and depravation of that six-year conflict emerged a desire for something better.

Having nursed their wounds and resigned themselves to post-war rationing, people were ready to look to the future, to dream of happier, more plentiful and glamorous times. They craved sensuality, luxury and style.

Step forward Christian Dior. At the age of 42, he was a designer with no small ambition.

He wanted, he said, ‘the return to an ideal of civilised happiness’ - a revival, in other words, of a time before wartime ruin. This was fashion as an expression of liberation.

The shock of the collection he launched in Paris that spring was not just in the radical shapes he had imagined, although radical they certainly were. It was also in his extravagant use of material. In an era when women had learnt to scrimp and save, he offered something daringly flamboyant. A dress that flowed past the knees, past the calves and below the ankles was ostentatious, provocative and - requiring anything up to 25m of fabric - the height of luxury.

For Marcel Boussac, whose business empire extended to several textile mills, an investment in Dior had promised to increase the demand for material after the wartime slump. He had offered the designer the job of artistic director of the house of Philippe et Gaston, but Dior had given him a different proposal. This had been to set up an entirely new couture house run in the way Dior wanted it. Boussac had bankrolled him to the tune of 50 million francs.

No wonder Dior electrified the world on

CHRISTIAN DIOR'S NEW LOOK, 1947 IMAGE COURTESY OF BRIDGEMAN IMAGES

that morning of 12 February in the salons of 30 Avenue Montaigne. His conceit had been to take the classic female figure and emphasise its distinguishing features. He wanted hips to be bigger, waists to be narrower and busts to be fuller. It mattered relatively little who was wearing his creations because they came with a striking silhouette of their own.

As women returned to the home after wartime work, Dior could get away with clothes that were pleasing rather than practical. At the same time, his was a mature look, more elegant than frivolous. It was full of joy yet also sophisticated.

What he presented to the press in his two lines - Corolle and Huit - was a collection for ‘soft shoulders, blossoming bosoms, waists as slender as creepers and skirts as wide as corollas’. He lined his fabrics with percale or taffeta to give them more hold. His shapes didn’t simply follow the contours of the body, they defined them. His skirts would flare out with each swing of the hips, their pleats catching the eye. His shoes would be delicate and genteel. A pillar-box hat would be set at an amusing angle.

It was Carmel Snow, editor in chief of Harper’s Bazaar, who coined the words that would be forever associated with Dior. ‘It’s quite a revolution, dear Christian,’ she said. ‘Your dresses have such a new look!’ Overheard by a Reuters reporter, ‘New Look’ became the phrase that summed up this remarkable moment in design history. The clocks were reset for a fashion year zero.

Pretty soon, stars such as Rita Hayworth and Margot Fonteyn were seen wearing

the New Look. The only reason you didn’t see Britain’s princesses Elizabeth and Margaret sporting Dior’s creations was their father King George VI thought it would be inappropriate in those times of rationing.

For Dior, it was the start of an intense but brief spell in the limelight. After studying political science at the École Libre des Sciences Politiques, he had opened an art gallery in Paris. Underwritten by his father who owned a profitable fertiliser company, Galerie Jacques Bonjean had showcased cutting-edge contemporary artists of the day including Georges Braque, Pablo Picasso and Jean Cocteau. It had lasted until 1931 when his father’s business collapsed.

Needing to support himself, Dior had become an illustrator specialising in fashion drawings for haute couture houses. Eventually, he had found work at Figaro Illustré magazine.

That had led to a job as a design assistant to the dressmaker Robert Piguet, who had taught him what he would call ‘the virtues of simplicity through which true elegance must come’.

When war broke out, he had served as an officer in the French army and when Germany invaded France in 1940, he had joined the fashion house of Lucien Lelong. All of which meant he was 42 by the time he was ready to unleash his New Look on the world. He died only a decade later from a suspected heart attack. Short though his career was, he left an indelible mark on the fashion industry.

Mark Fisher © John Good

LEFT: CHRISTIAN DIOR AT A FITTING, 1950s RIGHT: CHRISTIAN DIOR MAGAZINE ADVERT, 1940s IMAGES COURTESY OF GETTY IMAGES AND ALAMY

FLOWERS FOR MRS HARRIS Based on the novel by Paul Gallico Book by Rachel Wagstaff Music & Lyrics by Richard Taylor CAST Clare Burt

Mrs Ada Harris London Mr Harris Violet Butterfield Lady Dant Bob Pamela Major Countess Wyszcinska Flower Seller Wireless Commentator/Terry

Mark Meadows Claire Machin Joanna Riding Louis Maskell Laura Pitt-Pulford Gary Wilmot Nicola Sloane Rhona McGregor Luke Latchman

Paris French Charlady/Dior Dressmaker Madame Colbert AndrĂŠ Fauvel Natasha Monsieur Armande/Head Waiter/Customs Officer Sybil Sullivan/Madame Raimbault Marquis de Chassagne French Flower Seller/Dior Dressmaker Dior Dressmaker/Terence

Claire Machin Joanna Riding Louis Maskell Laura Pitt-Pulford Gary Wilmot Nicola Sloane Mark Meadows Rhona McGregor Luke Latchman

Models

Ella Bassett-Jull, Skye Broughton, Lydia Hague, Ella Jarman, Emily McAlpine, Charlotte Schofield, Freya Shepherd-Bland, Evie Shiner

The action takes place in London and Paris between 1947 and 1950.

There will be one interval of twenty minutes.

Flowers for Mrs Harris was first produced at Sheffield Theatres on 19 May 2016. First performance of this new production at Chichester Festival Theatre, 8 September 2018.

Daniel Evans Lez Brotherston Tom Brady Richard Taylor Mark Henderson Mike Walker Naomi Said Charlotte Sutton CDG

Director Designer Musical Supervisor & Musical Director Orchestrator Lighting Designer Sound Designer Movement Director Casting Director

Colin Falconer Irene Bohan Lizzie Frankl Darren Ware Tess Dignan Charlie Kenber Jon Laird

Associate Set Designer Associate Costume Designer & Costume Supervisor Props Supervisor Hair, Wigs & Make-up Supervisor Dialect Coach Assistant Director Assistant Musical Director

Jacqui Leigh Emma Banwell Maddie Cupples Amy Hawthorne Katie Sherratt Charlie Smith

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager No 1 Sound Technician

Supported by the Flowers for Mrs Harris Commissioning and Patrons Circle: Margaret and Terry Bamford, Dr Maggie Burgess, George and Madeleine Cameron, Michael and Frances Coates, Karen Coburn, Annie Cosh, Mrs Veronica J Dukes, Steve and Sheila Evans, Jennie Halsall, Jac Hepworth, Jammy Hoare, David and Fiona Jenkins, Simon and Belinda Leathes, Jeremy and Caroline Marriage , Lyana Peniston, Lindy Riesco, Tamsin Saunders, Greg and Katherine Slay, Howard M Thompson, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#FlowersForMrsHaris

Oldham Seals Group

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

ORCHESTRA Tom Brady Jon Laird Kathryn James Nicki Davenport Vicky Lester Abigail Burrows Rhys Taylor Laura Llewellyn-Jones Owain Harries Jane Salmon James Turner

Conductor Piano Violin Double Bass Harp Flute Clarinet/Tenor Saxophone French Horn Cornet Trombone Percussion Orchestral Management Copyists

Andy Barnwell for Musical Coordination Services Ltd Simon Nathan, Peter Wilson

A special thank you to Sheffield Theatres for all their assistance and support.

Presented in association with Vicky Graham, Joseph Smith and Bob Bartner.

Production credits: Set built by Rocket Scenery. Automation by Absolute Motion Control. Stage Engineering by Weld-Fab Stage Engineering. Revolve Built by All Scene All Props. Lighting hires White Light. Sound system supplied by Loh Humm Audio.

Additional sound by EM Acoustics. Costumes made by the Costume Department at Sheffield Theatres, Coleman James, David Plunkett and Academy Costumes. Additional Millinery by Sean Barrett. Printing and Dyeing by Nicola Killeen Textiles.

With thanks to Cosprop and Debbie Gamble at Sheffield Theatres. Wigs by The Wig Room. Props made by Heather Cryan, Danni Haylett, Ryan O’Conner and Sean Teng for Lizzie Props. Additional Props makers Lizzie Props Workshop, Connie Chu, Rob Connick, Ros Coombes, Data Reprographics and Marise Rose. Piano provided by Marksons Pianos.

Thanks to Christian Dior Couture, Paul Gallico Estate, Andrew Sulley at Oldham Coliseum Theatre, Becky Barber, Isaac Madge for rehearsal revolve operation, Mark Meylan for vocal coaching, rehearsal pianist Dan Jackson and Student ASM Rhiannon Grace, and to our Trustee Mrs Denise Patterson for her assistance in casting our runway models. Our thanks also goes to every actor who participated in our development workshops.

Rehearsal photographs Helen Maybanks Production photographs Johan Persson Programme content by Sheffield Theatres, Lucinda Morrison and John Good Holbrook Programme design Davina Chung

BIOGRAPHIES

CLARE BURT

CLARE BURT Mrs Ada Harris Previously at Chichester Melba Snyder in Pal Joey (Minerva Theatre).

Theatre includes Joan Littlewood in Miss Littlewood (RSC); Sandra Bloom in Big Fish (The Other Palace); Hork in The Divide (The Old Vic and Edinburgh Festival); Ada Harris in Flowers for Mrs Harris (UK Theatre Award for Best Performance in a Musical) and Yvonne in This is My Family (Sheffield Crucible); Claire in Sunspots (Hampstead Theatre); Florence/ Margaret in Game (Almeida Theatre); Eunice in A Streetcar Named Desire and Mom in Vernon God Little (Young Vic); Jan in London Road, The Miracle/DNA/Baby Girl, Mrs Milcote in Coram Boy and Celeste II in Sunday in the Park with George (National Theatre); Woman in Closer Than Ever (Landor Theatre); Susan in Company, Carla in Nine and The Witch in Into the Woods (Donmar Warehouse); Jean in Separate Tables and Muriel in Harlequinade (King’s Head Theatre); May in The Hired Man (Astoria Theatre).

Television includes Tina and Bobby, The Children Next Door, Cuffs, Top Boy, Fair Cop, Criminal Justice, Doctors, MIT, The Bill, Holby City, A Woman of Substance, Company, The Audition, Wednesday at Eight.

Films include Failure to Thrive, The Levelling, London Road, X+Y, Broken, The Christmas Miracle of Jonathan Toomey, Intimacy, Scream for Help, The Dance of Shiva.

LUKE LATCHMAN Wireless Commentator / Terry / Dior Dressmaker / Terence Theatre includes Spring Awakening (Hope Mill Theatre); Twelfth Night and A Christmas Carol (RSC); Working (Southwark Playhouse).

Trained at Arts Educational Schools London (graduated 2017).

CLAIRE MACHIN Violet Butterfield / French Charlady / Dior Dressmaker Previously at Chichester Mabel in The Pajama Game (Festival Theatre and Shaftesbury Theatre).

Theatre includes Alice Beane in Titanic (UK tour and Charing Cross Theatre,

Wilma Award for Best Actress in an Off-West End show); Rosie in Mamma Mia! (Cyprus); Cora in Calendar Girls the Musical (Phoenix Theatre, Olivier Award nomination for Best Actress in a Musical); Barbara Castle in Made in Dagenham (Queen’s Theatre); Mamma Gladys in the original cast of Memphis (Shaftesbury Theatre, WhatsOnStage Award nomination for Best Supporting Actress in a Musical); Mrs Metcalf in Betty Blue Eyes (Novello Theatre); Widow Corney in Oliver! (Theatre Royal Drury Lane and UK tour); Tim’s Mother/Asphynxia in Salad Days (Riverside Studios); Mamie Eisenhower in First Lady Suite (Union Theatre); Ms Darbus in High School Musical (Churchill Theatre and UK tour); Miss Lark/Mrs Brill/Mrs Corry in the original cast of Mary Poppins (Bristol Hippodrome and Prince Edward Theatre); Clara Eynsford-Hill in My Fair Lady (Theatre Royal Drury Lane); Queen Esmerelda in Sleeping Beauty (Theatre Royal Bury St Edmunds); Les Misérables (Palace Theatre); Charlotte in Oliver! (London Palladium); and her one-woman show An Old Fashioned Love Story (New London Theatre).

Television includes Vanity Fair, Miss Marple, The Ritz.

Films include Les Misérables.

LOUIS MASKELL Bob / André Fauvel Previously at Chichester Perchik in Fiddler on the Roof and Leon Bakst/Léonid Massine in Rattigan’s Nijinsky (Festival Theatre).

Theatre includes Grinpayne in The Grinning Man (Trafalgar Studios and Bristol Old Vic, 2017 UK Theatre Awards nomination for Best Performance in a Musical); Bob Smith/André Fauvel in Flowers for Mrs Harris and Freddy Eynsford-Hill in My Fair Lady (Sheffield Crucible); Tony in West Side Story (UK tour); Cal Chandler in The Fix (Union Theatre); Strephon in Iolanthe (Wilton’s Music Hall).

Television includes Rellik, Endeavour, Atlantis.

Trained at Guildford School of Acting.

Twitter @Louis_Maskell

RHONA McGREGOR Flower Seller / French Flower Seller / Dior Dressmaker Theatre includes Aunt Jane in Moonfleet (Salisbury Playhouse); The Addams Family (UK tour and Singapore); Mrs Sowerberry in Oliver!

(Watermill Theatre); Flo Manero in Saturday Night Fever (UK tour and English Theatre Frankfurt); Miss Lynch in Grease (Ljubljana Festival Slovenia); Courtney/Whitney/Mom in Legally Blonde (UK tour); Lesley in Billy Elliot (Victoria Palace Theatre); Gertie Grubb in Jack and the Beanstalk (Liverpool Playhouse); Edith in The Pirates of Penzance (Kilworth House); Chess (Scandinavian tour); Fairy Fortunate in Beauty and the Beast (New Wolsey Theatre Ipswich); Lorraine in 42nd Street (Nuffield Theatre); soprano soloist in Britten’s Hymn to St Cecilia, Haydn’s Nelson Mass and Charpentier’s Te Deum (Wells Cathedral); soprano soloist in Ravel’s Shéhérezade (Turner Sims Concert Hall); soloist in An Evening of Noël Coward (Loseley House Guildford).

Television includes Harbour Lights, Tonight at the Palladium.

Trained at Guildford School of Acting and JOANNA RIDING

University of Southampton (MA Music Performance).

MARK MEADOWS Mr Harris / Marquis de Chassagne Previously at Chichester Thomas Winter in 5/11 (Festival Theatre); Tecwen Whittock/Major General Sebastian Roberts/David Briggs/ American Journalist in Quiz (and Noël Coward Theatre), Jean Cocteau/Dave Scherman in Six Pictures of Lee Miller and Burgundy in King Lear (Minerva Theatre).

Theatre includes Tartuffe in Tartuffe (Tobacco Factory); Albert Harris/Marquis de Chassagne in Flowers for Mrs Harris and George Kittredge in High Society (Sheffield Crucible); Sprocket/Roger in The Magna Carta Plays, Jocelin in The Spire, Alfie Byrne in A Man of No Importance, Mr Tillotson in Epsom Downs and Dr John Hall in The Herbal Bed (Salisbury Playhouse); Senator Fipp in Urinetown (Apollo Theatre and St James Theatre); Hubert in King John (Shakespeare’s Globe); Clarence in Richard III (Trafalgar Studios); Inspector Gale in The Thrill of Love (New Vic Theatre Stoke); Ariel in The Tempest (Theatre Royal Bath); Jack

in Goodbye Barcelona (Arcola Theatre); Frank Lockwood in Betty Blue Eyes (Novello Theatre); Rochefort in The Three Musketeers (Rose Theatre Kingston); Spini in The Giant (Hampstead Theatre); Banquo in Macbeth and Oberon/Theseus in A Midsummer Night’s Dream (Regent’s Park Open Air Theatre); Von Hussler/ George Banks in Mary Poppins (Prince Edward Theatre); Lord Morton in Longitude (Greenwich Theatre); The Wreck in Wonderful Town (Grange Park Opera); Cliff in Look Back in Anger, Cabbage Water in Up the Feeder, Scott in Aeroplane Bones and Pablo Gonzales in A Streetcar Named Desire (Bristol Old Vic).

Television includes Kiri, Doctors, EastEnders, Casualty.

Radio includes If Not Now, When?, The Good Companions, Company, Pal Joey.

Films include Letters from Baghdad, Nicholas Nickleby, High Heels and Low Lifes.

Trained at Bristol Old Vic Theatre School.

LAURA PITT-PULFORD Pamela / Natasha Theatre includes Melanie in The Grönholm Method and Charity in Barnum (Menier GARY WILMOT

Chocolate Factory); Nell in Nell Gwynn (ETT/ Shakespeare’s Globe and UK tour); Anna in Platinum (Hampstead Theatre); Violet in Side Show, Lucille in Parade and Mabel in Mack and Mabel (Southwark Playhouse); Pamela/Natasha in Flowers for Mrs Harris (Sheffield Crucible); Irene Molloy in Hello, Dolly!, Nancy in Oliver! and Maria in The Sound of Music (Curve Theatre Leicester); Jean in The Smallest Show on Earth (UK tour); Milly Brandon in Seven Brides for Seven Brothers (Regent’s Park Open Air Theatre, Olivier Award nomination for Best Actress in a Musical); Young Phyllis in Follies in Concert (Royal Albert Hall); Petra in A Little Night Music in Concert (Palace Theatre); Margret in The Return of the Soldier (Jermyn Street Theatre); Woman in Marry Me a Little (St James Theatre); Falconer in The Light Princess (National Theatre); Adele in A Man of No Importance (Salisbury Playhouse); Charity in Sweet Charity (Metropolitan Arts Centre Belfast); Snake in The Little Prince (Lyric Theatre Belfast); Sarah Brown in Guys and Dolls (Theatr Clwyd, Wolsey Theatre Ipswich and Salisbury); Lola in Copacabana (Watermill Theatre); Kathy in Little Fish (Finborough Theatre); Betty Schaefer in

CLAIRE MACHIN LOUIS MASKELL

Sunset Boulevard (Comedy Theatre, West End and Watermill Theatre); Susan in The Lion, the Witch and the Wardrobe (West Yorkshire Playhouse); Young Heidi/Young Dee Dee in Follies (Royal & Derngate Northampton); Queen Isabella in Edward II (Edinburgh Festival).

Television includes Doctors, Father Brown, Free Rein.

Trained at Mountview Academy of Theatre Arts.

JOANNA RIDING Lady Dant / Madame Colbert Previously at Chichester Dorothy in The Wizard of Oz and Anne Page in The Merry Wives of Windsor (Festival Theatre 1990) and My Mother Said I Never Should (Minerva Theatre 1990); Babe Williams in The Pajama Game (Minerva Theatre 2013 and Shaftesbury Theatre).

Theatre includes, most recently, Romantics Anonymous (Sam Wanamaker Theatre, Shakespeare’s Globe); Annie in Calendar Girls – The Musical (Phoenix Theatre, Leeds Grand and Manchester Lowry); Valerie Hobson in Stephen Ward (Aldwych Theatre); Maria Merelli in Lend Me a Tenor and Madame Emery in The Umbrellas of Cherbourg (Gielgud Theatre); Dick in Dick Whittington and Stepmother in Cinderella (Hackney Empire); Countess in A Little Night Music (The Palace – special concert performance); Mrs Wilkinson in Billy Elliot (Apollo Victoria); A Spoonful of Stiles & Drewe (Her Majesty’s Theatre); Fear and Misery (Royal Court Theatre); Mrs Cheveley in An Ideal Husband, Gossage in The Happiest Days of Your Life and Maggie in Hobson’s Choice (Manchester Royal Exchange); Eliza Doolittle in My Fair Lady (Olivier Award for Best Actress in a Musical) and Jane in The Witches of Eastwick (Olivier Award nomination for Best Actress in a Musical, Drury Lane Theatre); Playing for Time (Salisbury Playhouse); Ruth in Blithe Spirit (Theatre Royal Bath); Bertrande de Rols in Martin Guerre (West Yorkshire Playhouse); No Way to Treat a Lady (Arts Theatre); Oh! What a Lovely War, Sarah Brown in Guys and Dolls (Olivier Award nomination for Best Actress in a Musical) and Anne in A Little Night Music (National Theatre); Portrait of Dorian Gray (Lyric Theatre and tour); Julie in Carousel (National Theatre and West

End, Olivier Award for Best Actress in a Musical); Susie in Lady Be Good (Regent’s Park Open Air Theatre); Sally in Me and My Girl (Adelphi); Around the World in Eighty Days (Liverpool); Happy as a Sandbag (Swan Worcester).

Television includes Stella, Holby City, Doctors, Heartbeat, Where the Heart Is, Midsomer Murders, The Royal, Rosy Futures, Strike Command, Casualty, West Two, Jeeves and Wooster, Sean’s Show.

Films include Disney’s Into the Woods.

Trained at Bristol Old Vic Theatre School.

NICOLA SLOANE Countess Wyszcinska / Sybil Sullivan / Madame Raimbault Previously at Chichester Mrs Hatfield in Way Upstream, Inez in The Gondoliers and Mrs Grimes in The Waterbabies (Festival Theatre), Frost/Mrs Rous in Strife (Minerva Theatre).

Theatre includes Mother/Professor Waldeman in Frankenstein and Miss Maudie Atkinson in To Kill a Mockingbird (Manchester Royal Exchange); Polton/Miss Wentworth in Love in Idleness (Menier Chocolate Factory and Apollo Theatre); Countess/Seamstress in Flowers for Mrs Harris, Mrs Pearce in My Fair Lady and Lady Battersby in Me and My Girl (Sheffield Crucible); Monsieur Popular (Ustinov Studio Bath); 50th Anniversary Gala, Rosemary in London Road, Love’s Labour’s Lost (National Theatre); Anything Goes (NT and Theatre Royal Drury Lane); Mrs Segstrom in A Little Night Music (Menier Chocolate Factory and Garrick Theatre); Frau Schmidt in The Sound of Music (London Palladium); Two Cities (Salisbury Playhouse); Acorn Antiques (Theatre Royal Haymarket); A Chorus of Disapproval and T he Beggar’s Opera (Theatre Royal Bristol); Whenever and The Boy Who Fell Into the Book (Stephen Joseph Theatre Scarborough); Spend Spend Spend (Piccadilly Theatre); Sweeney Todd (Theatr Clwyd); Wardrobe Mistress in Enter the Guardsman (Donmar Warehouse); Celestine in Martin Guerre (Prince Edward Theatre); Les Misérables (Palace Theatre); title role in The Woman in Black (Fortune Theatre); It’s a Girl (Duke’s Playhouse Lancaster).

Television includes Maigret, Black Mirror,

MARK MEADOWS LAURA PITT-PULFORD

Holby City, Home Fires, Call the Midwife, Dancing on the Edge.

Films include Red Joan, The Danish Girl, Victor Frankenstein, The Tale of Tales, London Road, Mr Turner, The Theory of Everything, Les Misérables, Broken, Season of the Witch.

GARY WILMOT Major / Monsieur Armande / Head Waiter / Customs Officer Theatre includes Sarah The Cook in Dick Whittington and Badger in The Wind in the Willows (London Palladium); George McMillan in Big (Plymouth/Ireland); Andre Thibault in Dirty Rotten Scoundrels (Savoy Theatre and UK tour); Anthony in End of the Rainbow, Ali Hakim in Oklahoma!, Confusions and Fagin in Oliver!

(UK tours); Vernon Hines in The Pajama Game (Shaftesbury Theatre); Sammy Shaw in Radio Times (Watermill and national tour); Thomas Marvel in The Invisible Man (Menier Chocolate Factory); Septimus Podgers in Lord Arthur Saville’s Crime, Billy Flynn in Chicago, Arthur Kipps in Half A Sixpence, Dick Deadeye in HMS Pinafore and Bottom in A Midsummer Night’s NICOLA SLOANE

Dream (Regent’s Park Open Air Theatre); Caractacus Potts in Chitty Chitty Bang Bang (London Palladium); Henry in Travels With My Aunt, Pirate King in The Pirates of Penzance (Regent’s Park Open Air Theatre and national tour); Dennis Cain in One for the Road (Bristol Old Vic); Elliot Garfield in The Goodbye Girl (Albery Theatre); Tony in Copacabana (Prince of Wales Theatre); Joe in Carmen Jones (The Old Vic); Bill Snibson in Me And My Girl (Adelphi Theatre and national tour, TMA Best Actor nomination).

Other credits include Host/Soloist of From Hackney to Hollywood: The Songs of Don Black (UK tour) and host of the Laurence Olivier Awards.

Television includes Don Black: Diamonds Are Forever, Cue Gary, Showstoppers, The Saturday Gang, Copycats, Never Mind the Buzzcocks.

Earlier this year, Gary received an MBE in the Queen’s Birthday Honours List for his services to drama and charity. www.garywilmot.co.uk

LUKE LATCHMAN RHONA McGREGOR CLARE BURT MARK MEADOWS CLARE BURT NICOLA SLOANE JOANNA RIDING

CLAIRE MACHIN LUKE LATCHMAN NICOLA SLOANE LOUIS MASKELL RHONA McGREGOR LAURA PITT-PULFORD GARY WILMOT

C R E AT I V E T E A M

ANDY BARNWELL Orchestral Manager Previously at Chichester Babes in Arms, Funny Girl, The Music Man, Oklahoma!, Love Story, 42nd Street, She Loves Me, Singin’ In The Rain, Sweeney Todd, Kiss Me, Kate, The Pajama Game, Barnum, Guys and Dolls, Gypsy, A Damsel in Distress, Mack and Mabel, Travels With My Aunt, Half A Sixpence, Caroline, Or Change, Fiddler on the Roof, Me and My Girl.

Current London productions: Little Shop of Horrors, The King and I, Tina - The Tina Turner Musical, Strictly Ballroom, Hamilton, Aladdin, Motown The Musical and, recently, The Grinning Man, Caroline, Or Change, Jesus Christ Superstar, Lady Day, Wind in the Willows, An American in Paris, Half A Sixpence, Love’s RACHEL WAGSTAFF RICHARD TAYLOR

Labour’s Lost / Much Ado About Nothing, In the Heights, Charlie and the Chocolate Factory, The Last Tango (and tour), Bugsy Malone, Show Boat, Guys and Dolls (and tour), Gypsy, Memphis, Women on the Verge of a Nervous Breakdown, City of Angels, Porgy and Bess, Monty Python Live (mostly) (O2 Arena), A Chorus Line, Kiss Me, Kate, Sweeney Todd, Love Story, Into The Woods, Sister Act (and tour).

Recent regional / UK tours include Dusty, Sunshine on Leith, Shrek (and London), Tango Moderno, Hairspray The Musical (and London), Addams Family, On The Town, One Love – The Bob Marley Musical, Funny Girl (and London), The Commitments (and London), Billy Elliot (and London), The Rocky Horror Show (and London), Dirty Rotten Scoundrels (and London), Dance

‘til Dawn (and London), Anything Goes, Spamalot, Dirty Dancing (and London), Singin’ In The Rain (and London), West Side Story, Oliver!, Legally Blonde, South Pacific.

IRENE BOHAN Associate Costume Designer & Costume Supervisor Previously at Chichester, Costume Supervisor on Kiss Me, Kate (Festival Theatre).

Theatre includes Follies, Common, The Threepenny Opera, 50 Years On Stage, The Madness of George III, Arcadia, The Pillowman, Collaborators and Three Days in the Country (National Theatre); The Norman Conquests, Future Conditional, The Lorax, The Caretaker and A Christmas Carol (The Old Vic); The Graduate, Skylight, The Audience and Long Day’s Journey into Night (West End).

Musicals include The Phantom of the Opera, Sunset Boulevard, Priscilla Queen of the Desert, Bombay Dreams and The Lord of the Rings.

Opera includes Carmen, Die Fledermaus, The Marriage of Figaro and Manon Lescaut (Metropolitan Opera New York).

Dance includes The Red Shoes, Les Liaisons Dangereuses, Matthew Bourne’s Early Adventures and Dorian Gray.

Films include The Madness of King George.

TOM BRADY Musical Supervisor & Musical Director Previously at Chichester Fiddler on the Roof and Forty Years On (Festival Theatre). Also in 2018, Tom is creating original music for Sleeping Beauty.

Credits as Musical Director include Pinocchio (National Theatre); Show Boat (West End); Anything Goes (Sheffield Crucible and UK tour); Flowers for Mrs Harris, Everybody’s Talking About Jamie, The History Boys (Sheffield Crucible); The Empress (RSC and Kneehigh); Floyd Collins (Wilton’s Music Hall); The Fall of the House of Usher (Lyric Theatre, Belfast Ensemble); A Tale of Two Cities (Royal & Derngate Northampton); December Songs (St James Theatre); Evita (Festival Ljubljana, Slovenia); Have a Nice Life (Edinburgh and NYC Fringe); Hello Again (Mountview); Nina (LAMDA).

As Associate/Assistant MD The Light Princess, She Stoops to Conquer (National

Theatre); 13 (Apollo, West End); My Fair Lady (Sheffield Crucible); Wah! Wah! Girls (Sadler’s Wells and Kneehigh).

Tom read Music at Oxford University before training at the Royal Academy of Music, from which he recently received the ARAM award.

He now teaches on the Royal Academy of Music Musical Theatre course.

LEZ BROTHERSTON Designer Also for Festival 2018, Me and My Girl.

Previously at Chichester Fiddler on the Roof, Forty Years On, My One and Only, The Schoolmistress (Festival Theatre).

Theatre/Musicals/Opera includes Flowers for Mrs Harris, Show Boat, Pride and Prejudice (Sheffield Crucible); Romantics Anonymous, Twelfth Night, 946 (Kneehigh/Shakespeare’s Globe); Oh! What a Lovely War (Stratford East/ West End); Seminar, Hysteria (Hampstead Theatre); The Rover, The Empress, Much Ado About Nothing (RSC); Long Day’s Journey Into Night, Umbrellas of Cherbourg, The Rise and Fall of Little Voice, Under the Blue Sky (West End); Sister Act (West End, worldwide); Women Beware Women, Really Old Like 45, Playing With Fire (National Theatre); Hedda Gabler, Design for Living, Dancing at Lughnasa (The Old Vic); Duet for One (Almeida and West End); My City, Measure for Measure (Almeida); L’Elisir d’Amore (Glyndebourne).

Dance credits include a long collaboration with Matthew Bourne resulting in The Red Shoes, Sleeping Beauty, Swan Lake, Edward Scissorhands, Dorian Gray, Highland Fling, Cinderella, The Car Man and Play Without Words; Seven Deadly Sins (Royal Ballet); The Soldier’s Tale, Into the Woods (ROH2); The Nutcracker (Scottish Ballet). He designed, co-wrote and co-directed Les Liaisons Dangereuses with Adam Cooper (Japan and Sadler’s Wells); Romeo and Juliet, Swan Lake, A Christmas Carol, Carmen, Hunchback of Notre Dame, The Brontës, Dracula (Northern Ballet).

Awards include Tony Award 1999 for Swan Lake (AMP); 12 Olivier nominations, winning in 1998 for Cinderella (AMP); UK Theatre Best Design Awards 2016 for Show Boat and Flowers for Mrs Harris (Sheffield Crucible); Critics’ Circle 2018 Ninette de Valois Award for Outstanding

Contribution to Dance; 2018 Outer Critics’ Circle Award for The Red Shoes.

Lez is an Associate Artist of Matthew Bourne’s company, New Adventures.

DANIEL EVANS Director Daniel Evans is Artistic Director of Chichester Festival Theatre, where he has directed Me and My Girl, Quiz, Fiddler on the Roof and Forty Years On. Previously, he was Artistic Director at Sheffield Theatres (2009-16) where he directed An Enemy of the People, Racing Demon, Othello, My Fair Lady, Macbeth, The Full Monty, This Is My Family, Anything Goes, The Sheffield Mysteries, Oliver!, The Effect, Show Boat and Flowers for Mrs Harris.

DANIEL EVANS

As an actor, he appeared in Company, The Pride, Cloud Nine and The Tempest.

In the West End, he has directed Quiz, Show Boat, The Full Monty and American Buffalo.

As an actor, Daniel’s theatre credits include Henry V, Coriolanus, A Midsummer Night’s Dream, Measure for Measure and Cymbeline (RSC); Cardiff East, Peter Pan, Troilus and Cressida, Candide and The Merchant of Venice (National Theatre); Merrily We Roll Along (Olivier Award) and Grand Hotel (Donmar Warehouse); Ghosts (ETT); Sunday in the Park with George (Olivier Award winner) and Total Eclipse (Menier Chocolate Factory); Other People, Cleansed, Where Do We Live and 4:48 Psychosis (Royal Court).

Television includes The Passion, Doctor

Who, The Virgin Queen, Spooks, Love in a Cold Climate, Great Expectations, Daniel Deronda and To the Ends of the Earth.

Films include Les Misérables.

COLIN FALCONER Associate Set Designer Previously at Chichester, Designer for Travels With My Aunt, The Misanthrope, The Secret Rapture, The Blue Room (also Theatre Royal Haymarket), Hysteria (Minerva Theatre), Romeo and Juliet, Three Sisters (Festival Theatre); Set Design Associate for Forty Years On (Festival Theatre).

Theatre designs include Perfect Nonsense, After The Dance (Theatre by the Lake); The Three Lions (St James); Blue/Orange (Theatre Royal Brighton/tour); Travels With My Aunt (Menier Chocolate Factory); Mustafa (Kali Theatre Company/Birmingham Rep/Soho Theatre); The Importance of Being Earnest/ Travesties (Birmingham Rep); The Graft (Theatre Royal Stratford East); The Constant Wife, The Picture, Private Lives, Restoration, The Winslow Boy, Northanger Abbey (Salisbury Playhouse); The Rime of the Ancient Mariner (Southbank Centre); The Jew of Malta (Hall for Cornwall); Blithe Spirit (Watford Palace); Plunder (Watermill Theatre); Rumpelstiltskin, Outlying Islands (Theatre Royal Bath); The Merchant of Venice (RSC); Twelfth Night (Liverpool Playhouse).

Opera includes Cosi fan tutte, La traviata (West Green House Opera); Hansel und Gretel, Dido and Aeneas/Acis and Galatea (RSAMD).

Dance includes Aladdin (Scottish Ballet); There We Have Been/Everything and Nothing (Sadlers Wells).

Colin studied Interior and Environmental Design at the University of Dundee and Theatre Design at Nottingham Trent University.

MARK HENDERSON Lighting Designer Also for Festival 2018 Copenhagen, 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.

CHARLIE KENBER Assistant Director Charlie is a former Resident Assistant Director at Sheffield Theatres and graduate of Birkbeck’s MFA in Theatre Directing. He is also the Co-Artistic Director of Pivot Theatre, one half of Kenber&Son and recipient of the John Fernald Award 2017.

Directing credits include On Behalf of the People (2018 tour, Buxton Fringe ‘Best Theatre Production’); Love Song (The Holt Sheffield); On Behalf of the People (NCMME/tour); 4x15 and FUSE (Sheffield Theatres); Inside and Outside of You (Theatre Delicatessen); Couchsurfing (Hen & Chickens Theatre);

Gulf (Camden People’s Theatre); DNA (Zoo Southside, Edinburgh); Broken Glass (Bloomsbury Theatre); The American Dream (Dogstar, Brixton); The Resistible Rise of Arturo Ui (Greenwood Theatre & Questor’s Theatre/RSC Open Stages).

As Associate Director Silk: The Eternal Road (UKCI, Beijing); we’re here because we’re here (National Theatre/14-18 NOW).

As Assistant Director, credits include The Habit of Art (UK tour); Birdsong (UK tour 2018); Flowers for Mrs Harris, The Nap, Waiting for Godot and Romeo and Juliet (all at Sheffield Theatres).

JON LAIRD Assistant Musical Director Credits as Musical Director include Monsieur Popular (Ustinov Studio, Bath); London Road (Mountview Academy of Theatre Arts); Titanic (Arts Educational Schools).

As Assistant Musical Director: Floyd Collins (Wilton’s Music Hall).

As Rehearsal Pianist: The Assassination TOM BRADY

of Katie Hopkins (Theatr Clwyd); Fiddler on the Roof (Chichester Festival Theatre); Show Boat (Sheffield Theatres/West End).

He is the Chorus Master of Birmingham Opera Company where credits include Wake, Dido and Aeneas, The Ice Break, Khovanschina, Life is a Dream, Othello, Idomeneo and La traviata.

From 1999 - 2009 he was a member of the Chorus Music Staff at the City of Birmingham Symphony Orchestra, and from 2004 - 2015 he ran the music department at the Oxford School of Drama. He has worked as a vocal leader on community projects for companies including English National Opera, Birmingham Contemporary Music Group, the Northcott Theatre, Spitalfields Festival, Opera North, and Buxton International Festival.

NAOMI SAID Movement Director Previously at Chichester Forty Years On (Festival Theatre) and Quiz (Minerva Theatre and West End).

Movement Direction and Choreography includes Beginning (National Theatre and Ambassadors Theatre); Disco Pigs (Trafalgar Studios & Irish Rep, New York); Wonderland (Nottingham Playhouse); Myth (RSC); Limehouse and Committee (Donmar Warehouse); To Kill A Mockingbird (Regent’s Park); Kevin Spacey Gala (Old Vic); Watership Down (Watermill); Robin Hood (The Egg Bath); Wasted (West Yorkshire Playhouse); Scouse (Grand Central Liverpool).

As Associate Director Little Dogs (National Theatre Wales/Frantic Assembly). As Movement Associate or Assistant The Taming of the Shrew (RSC/tour); War Correspondents (Helen Chadwick/Birmingham Rep/GDIF); The Marriage of Figaro (Opera Holland Park); Lord of the Flies (Regent’s Park).

Naomi was Resident Company Movement Practitioner at the RSC (2011-12) where projects included The Heart of Robin Hood, T he Comedy of Errors and workshop for Much Ado About Nothing. She has been practitioner for Frantic Assembly since 2010, facilitating workshops and devised projects across the UK and internationally, including Co-Director, 60 Hugs (Ignition, Corby Cube) and Movement Consultant, Tanika’s Journey (Deafinitely Theatre/Southwark Playhouse).

Acting work includes The Curious Incident of the Dog in the Night-Time (NT, West End); Dr Dee (ENO/MIF); 24 Hour Plays (Old Vic New Voices); The Gruffalo (West End/tour) and various R&D workshops for the NT Studio.

Her first work as writer-performer, The Wedge, was supported by Arts Council England and co-produced by Theatre Absolute at the Shop Front Theatre, Coventry.

Naomi is visiting tutor in dance and movement for Royal Central School of Speech and Drama, Oxford School of Drama, Royal Academy of Music, Mountview Academy of Theatre Arts, and on the NT Studio Director’s Course.

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Me and My Girl, The Chalk Garden, random/generations, Present Laughter, The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre),

Copenhagen, 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 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).

RICHARD TAYLOR Music & Lyrics / Orchestrator Previously at Chichester music and lyrics for Beauty and the Beast (Festival Theatre).

Richard is the composer and lyricist of The Go-Between (West Yorkshire Playhouse, Northampton Theatres, Derby Theatre and Apollo Theatre West End), which won the Best Musical Production Award at the UK Theatre Awards 2012. The first production of Flowers for Mrs Harris at Sheffield Theatres won Best Musical Production at the UK Theatre Awards 2016.

Other recent work includes Calderland, a large-scale community opera performed

by over 200 voices (Halifax Piece Hall, 2018 Royal Philharmonic Society Award winner); two commissions for the BBC Philharmonic Orchestra: Services No Longer Required (Imperial War Museum North) and The Man Who Planted Trees (Bridgewater Hall Manchester); and music for The York Realist (Donmar Warehouse).

Other music-theatre and opera commissions include Ludd and Isis (Royal Opera); Genesis (ENO); the 2012 Royal Philharmonic Society Award-winner Confucius Says (HMDT at Hackney Empire); Whistle Down The Wind (Sadlers Wells/Riverside Studios); The Jonah Boy (Stephen Joseph Theatre).

Richard has been associate artist at Opera North, resident composer at the West Yorkshire Playhouse, and has composed the scores for over 70 plays including Macbeth, Afterplay, Julius Caesar (Sheffield Theatres), King Lear, Twelfth Night, Ying Tong (and West End), Yerma, Electricity, Single Spies, Pinocchio, A Doll’s House (WYPlayhouse), Tom’s Midnight Garden, Humble Boy, Arcadia (Library Theatre, Manchester).

Television scores include the ITV thriller The Brides in the Bath, the animated feature Father Christmas and the Missing Reindeer (Cosgrove Hall), and CBeebies Buzz and Tell.

RACHEL WAGSTAFF Writer Rachel’s stage adaptation of Sebastian Faulks’s novel, Birdsong, was staged at the Comedy Theatre, West End in 2009-2010. The production has toured the UK since 2013 in a new production by The Original Theatre Company and Birdsong Productions.

Moonshadow, the musical she co-wrote with Yusuf Islam (Cat Stevens), opened at the Royal Albert Hall in 2010, and then was produced at the Princess Theatre in Melbourne in June 2012. That Girl was produced at the Soho Theatre in June 2012 by DryWrite. Rachel also wrote the book for the original musical, Only the Brave, which opened at the Wales Millennium Centre in March 2016, with music composed by Matthew Brind.

With Duncan Abel, Rachel co-adapted Paula Hawkins’s The Girl on the Train for West Yorkshire Playhouse in May 2018, which

will tour the UK from January 2019. Her adaptation of Agatha Christie’s The Mirror Crack’d will also tour the UK early next year.

For radio, Rachel adapted Sebastian Faulks’s novel The Girl at the Lion d’Or for a five-part series for Radio 4’s Woman’s Hour, transmitted in 2009. Her Afternoon Play, When I Lost You, also co-written with Duncan Abel, was transmitted on Radio 4 in July 2013.

The Sheffield Theatres production of Flowers for Mrs Harris won Best Musical Production at the 2016 UK Theatre Awards.

MIKE WALKER Sound Designer Previously at Chichester An Enemy of the People, For Services Rendered, Taken at Midnight (and Haymarket London) and The Resistible Rise of Arturo Ui (and Duchess Theatre London).

For the National Theatre Three Winters, Chewing Gum Dreams, Home, Hymn, St Matthew Passion, Major Barbara, Caroline, Or Change and Jerry Springer – The Opera for which he won the first Olivier Award for Best Sound Design.

Other recent productions Allelujah! (The Bridge); Flowers for Mrs Harris, The Wizard of Oz (Sheffield Crucible); Man to Man (Wales Millennium Centre and tour); The Lady in the Van, Relatively Speaking and Hobson’s Choice (Theatre Royal Bath); Forbidden City (Esplanade Singapore); The Great Wall (Drama Centre Singapore); Our Ladies of Perpetual Succour (National Theatre of Scotland, National Theatre and Duke of York’s); Rent (Theatr Clwyd, St James Theatre and tour); Wild Honey, Hapgood and Drawing the Line (Hampstead); The Last Mermaid (Weston Studio); The Tempest (Fort Canning Singapore); Temple (Donmar); Oh! What a Lovely War (Stratford East and tour); Crazy for You (also Novello), Into the Woods, Hello, Dolly! and Gigi (Regent’s Park); The Herd and Disgraced (The Bush); Hay Fever (Noël Coward).

With his company, Loh Humm Audio, Mike provides audio engineering services for theatres.

Trained at Guildhall School of Music and Drama London.

EVENTS

FLOWERS FOR MRS HARRIS PRE-SHOW TALK

Wednesday 12 September, 5.45pm Director Daniel Evans in conversation with Kate Mosse.

Tickets FREE but booking is essential.

POST-SHOW TALK

Thursday 20 September Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

SONGWRITING FOR EVERYONE Saturday 15 September, 11am – 1pm Steven Pimlott Building Ever tried your hand at songwriting?

Join composer and lyricist Richard Taylor for some tips on composition.

All are welcome, no experience necessary.

Ages 7+ Tickets £5

cft.org.uk/events

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 Eleanor Blackham Memberships Officer 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 Moore 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

Jenefer Pullinger Gillian Watkins

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

Head of HR Accommodation Administrator (Maternity Leave) HR & Recruitment Officer HR Administrator

LEAP Elspeth Barron LEAP Officer Mia Cunningham-Stockdale Youth Theatre Apprentice Lauren Grant Hannah Hogg Richard Knowles Poppy Marples

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

Louise Rigglesford Community Partnerships Manager Dale Rooks

Fin Russell Education & Schools Apprentice Beth Sedgwick Community Partnerships Apprentice MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Caroline Aston Audience Insight Manager George Bailey Digital Marketing Officer Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Harry Boulter Fran Boxall Helen Campbell Lydia Cassidy

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 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 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 Marise Rose Props Maker 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

Director of LEAP

cft.org.uk/aboutus

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 WARDROBE Michaela Duffy Ellie Edwards Colette Tulley Charlotte Innes Fiona McIntosh Naomi Overton Gabby Salwyn-Smith Suzanne Skelton Sam Sullivan Loz Tait Gina Warnes Maisie Wilkins WIGS Jess Ayliffe Sonja Mohren Katie Oropallo Sophie Peters Isabella Trevisiol-Duff

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

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, 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, 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, Fleur 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 Sara 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 Harry and Shane Thuillier 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 Nick and Tarnia 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

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