Present Laughter digital programme | Chichester Festival Theatre | Festival 2018

PRESENT LAUGHTER

By Noël Coward

To explore Coward’s world, and to see some of his rare archive material, visit the NoÍl Coward Room.

Book an appointment at noelcoward.com/cowardroom

WELCOME

Katherine Kingsley, last seen here in The Rehearsal and as Lina Lamont in Singin’ in the Rain, plays Liz Essendine; and Tracy-Ann Oberman plays Monica, returning after her Golde in in Fiddler On The Roof (Festival 2017).

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

We are delighted to open Festival 2018 with Present Laughter, a comic masterpiece widely regarded as Noël Coward’s most autobiographical play. At Chichester, we have a proud tradition of producing Coward, beginning with Look After Lulu (1978) through Cavalcade (1985), Point Valaine (1991), Relative Values (1993), Blithe Spirit (1997), Easy Virtue (1999), Tonight at 8.30 (2006) and, most recently, Private Lives (2012).

We are also thrilled to welcome Sean Foley back to Chichester to direct. Sean’s hit West End productions include The Painkiller, Jeeves & Wooster in Perfect Nonsense (Olivier Award for Best Comedy), The Ladykillers, The Dresser (seen at Chichester in 2016) and the multi award-winning The Play What I Wrote.

Sean has assembled a terrific cast including actor and comedian Rufus Hound, who plays Garry, returning to Chichester following Neville’s Island (2013).

Though best known for his popular comedies there is also a serious side to Coward. Alongside this production we have scheduled a number of one-off events under the banner, Celebrating Noël Coward. On 28 April, we present a reading of Peace in our Time, a rarely performed piece, which imagines life in post-Second World War London if Nazi Germany had succeeded in occupying England. Post Mortem, on 19 May, examines the fate and legacy of the soldiers who suffered the horror of the First World War trenches. On 12 May members of the company present Noël’s War, which explores Coward’s war experiences in his own words with songs, letters and diary entries. We hope you can join us for some of these thought-provoking events and that you enjoy today’s performance.

Artistic Director Daniel Evans

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Executive Director Rachel Tackley

COMING SOON

Penelope Keith Amanda Root Oliver Ford Davies

THE CHALK GARDEN

By Enid Bagnold

25 May – 16 June #TheChalkGarden

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COMING SOON

Matt Lucas Caroline Quentin Alex Young

ME AND MY GIRL Book & Lyrics by L Arthur Rose and Douglas Furber Book revised by Stephen Fry with contributions by Mike Ockrent Music by Noel Gay

2 July – 25 August #MeAndMyGirl

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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

PRESENT LAUGHTER

By Noël Coward

MAD ABOUT THE MAN We have been so seduced by the image of cocktails, the rustle of silk dressing-gowns and insouciant effortless quips that the sheer scale of Noël Coward’s achievements is not always fully appreciated. His excellence as actor, writer, producer and stage director plus revue artist, songwriter, cabaret performer and film director is quite astonishing. Perhaps the musicals haven’t been performed as frequently but there is no sign of the comedies such as Present Laughter, Private Lives, Hay Fever or Blithe Spirit falling out of favour and they remain as secure in the repertoire as they appeared in the 1920s, 1930s and 1940s. Coward was a precocious stage-struck boy actor and that, to an extent, is what he remained, with the occasional outburst of brattish temperament.

Given his success in so many different fields of entertainment, it’s as if he’s a composite of Andrew Lloyd Webber and Steven Spielberg, Stephen Sondheim and Laurence Olivier, Cecil B de Mille and Rodgers and Hart.

Yet he was also a man of notable contradictions. Coward gave the impression of being the modish contemporary man about town, the epitome of the debonair playboy and yet he worked ferociously hard, often ending up in a spectacular nervous breakdown. He cured himself by disappearing into deserts and jungles where Nature was at her most primitive.

For all his poise and charm when cultivating the chatelaines of ‘The Stately Homes of England’, he was born into genteel poverty in the humdrum riverside suburb of Teddington, the son of a piano salesman who seems to have played only a supporting role in the life of his brilliant son. It is Coward and his devoted mother who were the dominant characters in this family group. His education seems to have been patchy but he had an innate talent for the University of Life rather than collecting NOËL COWARD AT HIS WRITING DESK, 1935

academic qualifications. Only Wilde and Shaw could challenge him for the perpetual brilliance of his wit that has kept him in the spotlight for more than a hundred years.

What makes Coward such a contemporary figure is his flirtation with the media which helped him construct a personality for himself at odds with the real man. He was assiduous in cultivating the Press and was only too happy to provide a regular supply of good copy for the starving journos of the day. Inevitably there came a time when the hacks grew less co-operative and delighted in cutting Coward down to size, much to his chagrin. However, Coward could hardly complain about the treatment meted out to him because of the image which he had worked so hard to foster.

They are bound by the ties of friendship which swing into evasive action when the autonomy of the group is threatened It says much for the sometime insularity of the theatrical profession that Present Laughter and This Happy Breed were due to have their dress rehearsals on consecutive days at the end of August 1939, only a few days before Mr Chamberlain made his fateful broadcast of the Declaration of War. Coward did not have to go on one of his jungle adventures for the subject of this new play which he pithily described as “a light comedy in three acts”: he merely had to explore his own personality in this story of matinee idol Garry Essendine and the

close-knit community of theatricals. In reality, Coward seems to have preferred to work surrounded by a coterie of strong women. For Liz and Monica and even Miss Erikson in the play, read Gladys Calthrop, Coward’s designer; Lorn Loraine, his personal secretary; and Jack Wilson, his sometime producer and lover. Fred, Garry’s valet, had his counterpart in Bert Lister and there are a number of telling moments in the play where Garry envies Fred the simple joys of his relationship with the seductive Doris.

These people have ended up working for Garry through a number of different routes.

They are bound by the ties of friendship which swing into evasive action when the autonomy of the group is threatened. Garry is to an extent the butt of his colleagues’ affectionate wit. He is fretting over his advancing years and retreating hair-line but he has lost none of his appeal to the various characters who talk themselves into Garry’s private sanctum by professing that they have fallen in love with him. This may be a pleasing fantasy on Coward’s part or a reflection of the excesses of the theatrical groupie. In the play, it is unclear if Garry, like his creator, is a complete man of the theatre, a writer and director as well as an actor and producer. The presence of the characters Henry and Morris suggests that this is also a production company working within the

NOËL COWARD AT 'LOOK OUT', JAMAICA, 1950s IMAGE COURTESY OF NOËL COWARD ESTATE

commercial West End theatre. With its roll-call of fictional stage stars and arguments over the merits of different theatres, we are given a glimpse into the workings of the commercial theatre at its apogee between 1918 and 1939. In Garry’s tirade against the eccentric Roland Maule, we hear Coward’s voice in defence of industrial theatre making.

To judge by the way Garry fends off an admirer by quoting from one of his previous plays, the play suggests that actors as a breed sometimes find it hard to distinguish stage life from real life. There is the sense in Present Laughter of the debate which Coward conducted with himself throughout his productive life. He worries about his eventual place in the theatrical firmament. Was he simply “A Talent To Amuse” - the phrase he uses in If Love Were All, arguably his most revealing song? Was it all merely a glittering surface, a collection of trifles of no lasting merit or substance? Was he one of those creative artists who are condemned by posterity for the sin of being too commercially successful?

The coming of peace in 1945 does not seem to have reassured Coward. It may have been the unseating of Churchill in the General Election by an ungrateful nation but there is the sense that his beloved England had turned her back on Coward. Although he had distinctly conservative views, he was not the jingoist that Cavalcade might have suggested. Coward had once seemed up-to-the-minute but nothing dates faster than what was once the height of fashion. There were new names in neon along Shaftesbury Avenue, notably Terence Rattigan’s, and a kind of revolution was brewing at the Royal Court. Coward’s image was redolent of the past. He didn’t retire from play-writing and 1951’s Relative Values was a considerable success. He found his way back into public favour when he decided to celebrate the songs he had written decades before in cabaret in London and then, most famously, in the deserts of Las Vegas. In 1964, Coward’s one-time protégé Laurence Olivier invited him to direct Hay Fever at the National Theatre with a dream cast headed by Edith Evans, Maggie Smith and Derek Jacobi. Coward was hip once more.

In 1966, his Suite in Three Keys was running in the West End and a few years later, in 1969,

he was starring opposite Michael Caine in the cult heist movie, The Italian Job. We don’t know if Garry Essendine had to endure the same trajectory that Coward experienced, falling out of fashion and then restored to public taste in a classic happy ending that Coward would have scorned. Since his sudden death in Jamaica in March 1973, his more than three hundred songs continue

to be sung and his plays performed and enjoyed by audiences who relish the master wordsmith and wit that is Noel Coward.

AL SENTER

Freelance theatre journalist and interviewer

TOP: KIERON MOORE, GRAHAM PAYN, NOËL COWARD, MAGGIE LEIGHTON, MOYA NUGENT AT ACTORS’ ORPHANAGE GARDEN PARTY, 1939 BOTTOM: LAURENCE OLIVIER AND NOËL COWARD, c. 1940

JUST WEARING DRESSING GOWNS AND MAKING WITTY REMARKS Garry Essendine’s day is not going to plan in Present Laughter. Noël Coward’s comic protagonist has long cultivated an urbane manner, establishing himself as a swish West End matinee idol and world-famous ‘romantic comedian’ – one with droves of adoring fans and a close-knit circle of friends who form a kind of alternative family and who double, professionally, as his devoted management team. He is also, in private, a habitual playboy, a casual libertine. However, Garry’s feathers are about to be sorely ruffled as his bohemian Chelsea flat turns into a near-farce – a flurry of slamming doors, misdialled phone numbers and alarmingly dogged admirers.

When Present Laughter premiered in 1942, Coward himself played the fortysomething Garry and, indeed, a teasing question raised by this depiction of theatrical folk offstage is to what extent Garry is a self-portrait of the ‘real-life’ playwright – Essendine being a magnetically charming but egocentric, discontented and sometimes drama-queeny creature (not to mention an anagram of ‘neediness’).

Coward readily acknowledged Garry to be a partially autobiographical caricature. Thanks to the many iconic publicity shots that Coward posed for in similar regalia, the fictional celeb’s appetite for silk dressing-gowns flags up how Garry mirrors Coward’s own debonair (not openly gay in 1942), artfully fashioned image.

One might say the audience is invited to flirt with the notion that they are being treated to an intimate glimpse of Coward (or as good as) at home, like some theatrical equivalent of Hello! magazine.

As such, the play may be regarded as a merrily brazen piece of self-promotion. For sure, Garry loses his cool and has foibles but, by implicitly sending himself up, Coward actually FRANK SINATRA AND NOËL COWARD IN LAS VEGAS, 1955

makes himself seem all the more loveable – all the more humorous and not blindly conceited. As regards Garry’s inveterate ‘playing around’, comedy traditionally embraces a bit of permissive frolicking in a festive spirit: it offers a window for its protagonists – and for its audience members, psychologically – to merrily shrug off strict moral codes, for a little while at least. Behaving badly goes hand in hand with hilarious comic timing as Garry can’t resist temptation and performs seemingly shameless volte-face, and, at the close of play, the tone of Present Laughter is more mellowly amused than censorious.

That said, far from being just blithely condoned by Coward, his protagonists have moments in this play when they condemn each other’s libertinage with a ferocity that feels startlingly close to a self-rebuking, confessional exposé by the dramatist. Although it is often said that Coward was rock-solid in his self-belief, he leaves some consciencenagging moral question marks hanging over the behaviour of the theatrical bohos he portrays here.

Garry also sounds painfully close to the iconically posturing Coward as he describes the trap of perpetually being in self-conscious performance mode - something like forever checking one’s half-estranged image in the mirror, or always appraising oneself as if from some far corner of the room. Hesitantly confiding in his one-night-stand Daphne, he observes: “I’m always acting – watching myself go by – that’s what’s so horrible – I see myself all the time eating, drinking, loving, suffering – sometimes I think I’m going mad.”

As Sean Foley, the Olivier Award-winning director of Chichester Festival’s new production, observes, Present Laughter is a light comedy with some notable substance to it. It takes

its title from Feste’s song in Twelfth Night where the pleasure principle – a carpe diem proposition – mingles with the melancholic line, “Youth’s a stuff will not endure.” And Coward’s play is, as Foley notes, “about a mid-life crisis: about somebody having to come to terms with ageing; needing to sober up in terms of their fame, their promiscuity, the way they lead their life; somebody realising that the personality they’ve constructed has become an albatross round their neck. We get to see Garry at a low and dark ebb while the piece remains a brilliant light comedy.”

All too often, comedies are dismissed as shallow frivolity and, particularly during World War II, some critics wrote Coward off as an irresponsible flibbertigibbet, though he in fact contributed to the war effort, working in the fields of propaganda and intelligence, as well as offering entertainments that relieved the grimness of those years.

Foley particularly relishes how Coward executes “a kind of jiu-jutsu move on his critics” in Present Laughter. Included in Garry’s string of irksome visitors is a maniacal rookie playwright with highbrow pretensions. Named Roland Maule, he obsessively attends yet scorns Garry’s commercial hits as lacking any ’depth’ whatsoever, as vacuous trash reducing the star’s talent to modelling dressing gowns and making witty remarks. In retaliation, with choice quips en route, the incensed Garry trounces Roland’s avant-garde script as hopelessly unstructured, plotless poppycock.

And all this is within Coward’s own skilfully structured, escalating sequence of maddening encounters. It’s schematically taut whilst appearing to teeter on the verge of meltdown.

The Times review of the original production (which came into London in 1943), declared: “Mr Coward in this piece makes his points with the... precise snap of a well-sprung snuffbox.” Although the play was written amazingly speedily, in only six days, Coward underlined – in his actual autobiography, Future Indefinite – that structuring is of “paramount importance” and that he had been planning Present Laughter in his mind “for nearly three years before I finally wrote it”.

Foley adds that: “What you get in Present Laughter is both Coward’s amazing line-by-line

comic language and the craft of farce. In farce, the comedy comes from the situation - so a character can get a big laugh from opening a door. In Coward’s world, the character opens the door and says a fantastically amusing line.”

He points up that performing comedies isn’t merely fooling around either. “It demands a ferocious attention to detail. Everybody has to know, at every moment, exactly where the focus is – don’t move on the gag – and, far from just twittering on and wafting around with cigarettes, we’re finding that really playing the stressful situations which the characters find themselves in is very emotional, and engagingly recognisable.”

Remarkable, too, is this play’s capacity for switching from droll to serious confrontations and back again, thereby challenging simplistic genre categories. Like Twelfth Night albeit in a different vein, Present Laughter risks pushing its characters towards the verge where fooling around is felt to have gone too far, to the point where it isn’t funny anymore and at which the mischief-maker’s ‘licence’ expires. It certainly never veers as close to grievously troubled relationships as Coward’s early drama The Vortex (which features a cocaine-addicted protagonist and twisted mother-son relationship), but the aforementioned Times review even suggested that, “when things go wrong and they are always going wrong, life [for Garry and his satellites] comes perilously near to the confines of tragedy.” Coward noticeably laced Present Laughter’s dialogue, as well, with words not typically associated with merriment, with intimations of suppressed depression, mournfulness and loneliness, thereby hinting at potential depths and complex, ambivalent feelings in several characters, besides Garry.

Simultaneously, the set-up is playing almost Pirandellian games with the audience, in having actors playing dramatis personae who hail from the world of theatre-making and theatre fandom, many of whom, if not all, seem habitually prone to slip into play-acting or histrionics in their everyday lives, such that sometimes their interlocutors and the audience – and quite possibly the characters speaking – cannot tell if they are sincere or faking it. While constituting another amusing

teaser, this is also intriguing and – more than is the case with the diva Judith Bliss in Coward’s 1920s Hay Fever – it’s unsettling.

Given that Garry is sometimes driven to explosive frankness – daring to voice hard truths very directly and repulse delusions – he may be regarded as having heartfelt feelings, a moral core and courage. However, the repeated blurring of veracity and acting disconcertingly leads back to the possibility that Maule’s accusation of hollow superficiality stands, and maybe no-one whom we are watching fully means what they say.

Present Laughter has a sensitive side.

How close some of the characters are to seriously ‘going mad’ is probably open to interpretation given that Coward was, privately, prone to nervous breakdowns himself. This play, nonetheless, casts a sharply satirical eye over sentimental phoneys and superannuated brats with First World problems, or types whom some might now call “snowflakes”. They recurrently inflate their relatively inconsequential experiences with the vocabulary of romantic melodrama or tragedy: “It’s agony”, “unbearable”, “utterly miserable”.

Comedy is often about timing, but issues of scale and emotional distance are also integral.

Provided the consequences of the characters’ actions aren’t ultimately cataclysmic, audiences are prone to be amused both by wild exaggerators and, in turn, by those who pop TRACY-ANN OBERMAN LIZZY CONNOLLY KATHERINE KINGSLEY

their balloons of histrionic hot air. Wry voices cut in forming a recurrent pattern of deflation through Present Laughter, getting irrationally magnified things in perspective so that what is seriously important can finally be understood.

Garry’s no-nonsense secretary, Monica, curtails his epic tirade about having to work with an “epoch-making, monumental, world-shattering, God-awful bore” with the terse précis, “What he’s trying to say is that he doesn’t care for Beryl Willard.” And Garry’s down-to-earth valet, Fred, having heard all the showy “weeping and wailing” exits whistling.

In terms of emotional distance and audiences watching comedies, the so-called “superiority theory of comedy” applies in that we are laughing at other’s ludicrous follies and wild outbursts, having a more rational viewpoint as we spectate from the stalls. But we aren’t simply ‘superior’. We are identifying, not unsympathetically, with them too. It is as if we are watching through a one-way mirror, yet intimately seeing our own reflection at the same time.

KATE BASSETT

Kate Bassett is Literary Associate at Chichester Festival Theatre, a script consultant and dramaturg. Her book In Two Minds: A Biography of Jonathan Miller is published

by Oberon. As an arts journalist specialising in theatre, she has written for the Times, Telegraph and Independent on Sunday as well as hosting platform talks at the Barbican, National Theatre and British Library.

NOËL COWARD Highlights of a life and career 1899 16 December, born in Teddington, Middlesex, son of a piano salesman.

1911 First professional appearance in The Goldfish.

1917 The Saving Grace with Charles Hawtrey, “who... taught me many points

of comedy acting”.

1920 First West End play I’ll Leave It To You opens at the New Theatre, London.

1924 Wrote, directed and starred in The Vortex, London.

1925 Established as a social and theatrical celebrity. Hay Fever and Easy Virtue

produced, New York.

1926 Toured USA in The Vortex. This Was a Man produced in New York, Berlin and Paris. Easy Virtue and The Rat Trap produced, London. Wrote Semi-Monde

and The Marquise. Bought Goldenhurst Farm, Kent. Sailed for Hong Kong

but trip broken in Honolulu by nervous breakdown.

1928 Film of Easy Virtue (directed by Alfred Hitchcock) released.

1929 Wrote and directed Bitter-Sweet, London and New York. Wrote Private Lives

in the Far East.

1930 Directed and played Elyot Chase in Private Lives, London, alongside Gertrude

Lawrence and Laurence Olivier.

1931 New York production of Private Lives with Gertie. Wrote and directed Cavalcade.

1933 Directed Design for Living, New York. Film of Cavalcade wins ‘Best Picture Oscar’.

1934 Conversation Piece in London and New York. Formed own management in

partnership with John C. Wilson and the Lunts. Film of Design for Living released.

1936 Wrote, directed and played in Tonight at 8.30, London and New York.

1937 Second breakdown in health. Autobiography Present Indicative published.

1939 Rehearsals for Present Laughter and This Happy Breed stopped by declaration

of war. Appointed to head Bureau of Propaganda in Paris, prompting attacks

in the press caused by wartime secrecy about his work.

1940 Visited USA to report on American isolationism. Return to Paris prevented

by German invasion. Propaganda tour of Australia and New Zealand.

1941 Wrote and directed Blithe Spirit in London and New York, and the song

‘London Pride’.

1942 Wrote, acted in, produced and co-directed (with David Lean) In Which We Serve.

Blithe Spirit and Present Laughter tour the United Kingdom

1943 Played Garry Essendine in Present Laughter, London. Produced film of

This Happy Breed. Four-month tour of Middle East to entertain troops.

1944 Toured South Africa, Burma, India and Ceylon. Troop concerts in France.

1945 Film of Brief Encounter released.

1947 Garry Essendine in London revival of Present Laughter. Supervised production of Peace in Our Time.

1948 Built house at Blue Harbour, Jamaica.

1951 Concert at Theatre Royal, Brighton and season at Café de Paris, London launched

new career as cabaret entertainer. Wrote and directed Relative Values, restoring

his reputation as a playwright.

1952 Death of Gertrude Lawrence: “no one I have ever known... has contributed quite

what she contributed to my work”.

1953 Completed second volume of autobiography Future Indefinite.

1955 Cabaret season in Las Vegas: “one of the most sensational successes of my career”

followed by a live television spectacular Together With Music with Mary Martin for CBS. 1956 Co-directed Nude With Violin with John Gielgud.

1958 Played Garry Essendine in Present Laughter alternating with Nude With Violin

on US tour.

1959 Film roles including Our Man in Havana. Took up Swiss residency in Les Avants.

1963 Revival of Private Lives at Hampstead signals renewal of interest in his work

in the UK. 1964 Introduced Granada TV’s ‘A Choice of Coward’ series. Directed Hay Fever

for National Theatre – the first living playwright to direct his own work there.

1965 Attack of amoebic dysentery contracted in Seychelles.

1967 Lorn Loraine, Coward’s secretary-manager and friend, died. Worked on new

volume of autobiography Past Conditional.

1969 Played Mr. Bridger in The Italian Job. 1970 Knighted in New Year’s Honours List.

1971 Tony Award for ‘Distinguished Achievement in the Theatre’.

1973 16 March, died peacefully at his home in Jamaica. Buried on Firefly Hill.

More information on noelcoward.com

PRESENT LAUGHTER

By Noël Coward CAST Garry Essendine Liz Essendine Monica Reed Daphne Stillington Miss Erikson Fred Roland Maule Morris Dixon Joanna Lyppiatt Henry Lyppiatt Lady Saltburn

Rufus Hound Katherine Kingsley Tracy-Ann Oberman Lizzy Connolly Tamzin Griffin Delroy Atkinson Ben Allen Richard Mylan Lucy Briggs-Owen Emilio Doorgasingh Carol Macready

There will be one interval of twenty minutes.

First performance of Present Laughter at Chichester Festival Theatre 20 April 2018 Present Laughter © NC Aventales AG, 1942 First produced at the Haymarket Theatre, London, April 1942

Noël Coward Sean Foley Alice Power Mark Henderson Ben and Max Ringham Lizzi Gee Phil Bateman Charlotte Sutton CDG

Writer Director Designer Lighting Designer Music and Sound Movement Director (Finale) Musical Director/Arranger (Finale) Casting Director

Charmian Hoare Natasha Ward Lily Mollgaard Matt George Balisha Karra

Voice and Dialect Coach Costume Supervisor Props Supervisor Hair, Wigs and Make-up Supervisor Assistant Director

Paul Hennessy Paul Thomson Klare Roger Alice Wilson

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Supported by the Present Laughter Commissioning Circle: Ben-Levi Family, Steve and Sheila Evans, Christopher and Joan Hampson, Freda James, Penny Linnett, Roger and Maggi Marshall, Jerry Saunders, Delphine Star, Bryan Warnett of St. James's Place, Ian Warren and all those who wish to remain anonymous.

Production credits: Set built & painted by Bowerwood Production Services; Production Transport Paul Mathew; Transport Chichester Car & Van; Production Carpenter Jonathan (JJ) Smith; Production support Pirate Crew; Costume hires Cosprop; Costumes made by Nicole Small, Aislinn Luton, Jane Colquhoun and Chris Kerr; Wigs made and supplied by The Big Wig Company; Props maker Properly Made; Rehearsal room St Mary Abbots Centre, London.

Musician Charlie Brown (Violin).

Photos of Noël Coward: Photographer Unknown or © Noël Coward Estate (NC Aventales AG) administered by Alan Brodie Representation. With thanks to the Noël Coward Archive Trust noelcowardarchive.com @NoelCowardSir Rehearsal and production photographs by Johan Persson.

Programme design by Davina Chung.

Sponsored by

#PresentLaughter

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BIOGRAPHIES

BEN ALLEN Roland Maule Theatre includes Octavius Caesar in Antony and Cleopatra, Cinna in Julius Caesar, Edward Teller in Oppenheimer and Askew in The Shoemaker’s Holiday (RSC); Konstantin in The Seagull (Library Theatre Manchester); Olivia in Twelfth Night, Biondello in The Taming of the Shrew, Antonio in The Merchant of Venice, Perdita/ Mamillius/Time in The Winter’s Tale and Williams in Henry V (Propeller); Performer in... And Darkness Descended (Punchdrunk); Mickey in Canary (Liverpool Playhouse, Hampstead Theatre and ETT tour); Tim Allgood in Noises Off (ATG); All’s Well That Ends Well and The History Boys (National Theatre).

Television includes Barbarians Rising, Coronation Street, Bonekickers.

Radio includes Private Peaceful.

Films include the short Better Than Joe. Trained at East 15 Acting School.

DELROY ATKINSON Fred Theatre includes: Trent in The Firm (Hampstead Theatre); The General in The Book of Mormon (Prince of Wales Theatre); Kyle in Albion (Bush Theatre); I Can’t Sing! (London Palladium); Dame in Dick Whittington, Preacher in The Harder They Come, Hamilton in Come Dancing (Theatre Royal Stratford East); Frank Lubey in All My Sons (Manchester Royal Exchange); Brother Washington in The Amen Corner, Dikhembe Olayjohan Muthumbo in Jerry Springer – The Opera (National Theatre); Cal in Wah! Wah! Girls (Sadler’s Wells); Bilal in Jihad The Musical (Jermyn St Theatre); Gary Coleman in Avenue Q (Noël Coward Theatre); White Rabbit in Shrek (Theatre Royal Drury Lane); Paul in Rent (Prince Of Wales Theatre); Longa in The Harder They Come (Toronto/Miami tour); Johannes Parfuri in Lost in The Stars (Royal Festival Hall); Antipholus in The Bomb-itty of Errors (New Ambassadors Theatre); Chocolat in Lautrec (Shaftesbury Theatre); King of the West in The Enchanted Pig (Young Vic); Jay in Poison (Tricycle Theatre); Grumpskin in The Lion, The Witch and the Wardrobe (West Yorkshire Playhouse); Little Moe in Five Guys Named Moe (national tour); Sebastian in Twelfth Night, Captain Smollet in Treasure Island and RUFUS HOUND

Captain Tench in Our Country’s Good (Nuffield Theatre Southampton); Marcus Garvey in Heroes (Blue Elephant Theatre) Television includes: Luther, Sherlock, Small Island, The Bill, Moonmonkeys, House Party, Morgana Robinson’s The Agency, After You’ve Gone, My Family, No Heroics, From Bard to Verse.

Film includes: Pirates of the Caribbean: Dead Men Tell No Tales, Fighter, Still Crazy, Did You Get The Bag? LUCY BRIGGS-OWEN Joanna Lyppiatt Theatre includes Hork in The Divide, Hettie in Future Conditional and Olga in Fortune’s Fool (The Old Vic); Lydia Languish in The Rivals (Bristol Old Vic and tour, UK Theatre Award Best Supporting Performance nomination); Julia/Mrs Leonard in The Night Watch (Manchester Royal Exchange); Jessica in Communicating Doors (Menier Chocolate Factory); Viola in Shakespeare in Love (Noël Coward Theatre); Helena in A Midsummer Night’s Dream, Maryna in Boris Godunov, Princess in The Orphan of Zhao, Luscinda in Cardenio and Anne in The City Madam (RSC); Brooke in Noises Off (West End); Mrs Fainall in The Way of the World (Sheffield Crucible); Vivie Warren in Mrs Warren’s Profession (tour and West End); Cecily in The Importance of Being Earnest (Regent’s Park Open Air Theatre); Blanche in Widowers’ Houses (Royal Exchange); Sybil in Private Lives (Hampstead Theatre); Cressida in Troilus and Cressida (Barbican and international tour); Lucy in The Pains of Our Youth and Don Juan Comes Home from the War (Belgrade Theatre Coventry).

Television includes A Very English Scandal, Doc Martin, Siblings, Midsomer Murders.

LIZZY CONNOLLY Daphne Stillington Theatre includes Ethel/Maja/Mrs Reiss/ Bandaged Lady in The Twilight Zone (Almeida); Ado Annie in Oklahoma! (BBC Proms/Royal Albert Hall); Hildy in On the Town (Regent’s Park Open Air Theatre); Mae in The Wild Party (The Other Palace); Susan Walker in Once in a Lifetime (Young Vic); Joanne in Vanities (Trafalgar Studios); Doris in Mrs Henderson

Presents (Noël Coward Theatre and Theatre Royal Bath); Calliope in Xanadu (Southwark Playhouse); Jolene in Dirty Rotten Scoundrels (Savoy Theatre).

Television includes Plebs, The Windsors.

Films include Festival.

EMILIO DOORGASINGH Henry Lyppiatt Theatre includes Much Ado About Nothing (Shakespeare’s Globe); The Kite Runner (Playhouse and Wyndham’s Theatre; Eastern Eye Arts, Culture & Theatre Award for Best Actor); The American Wife (Park Theatre); Boy (Almeida Theatre); Merchant of Vembley (Cockpit Theatre; OFFIES nomination for Best Actor); Romeo and Juliet, The Merry Wives of Windsor and The Wind in the Willows (Chester); Dara and The Ramayana (National Theatre); The Kite Runner (Nottingham Playhouse/ Liverpool Playhouse/UK tours); Venice Preserv’d, Spectator’s Guild, Wanted! Robin Hood and Arabian Nights (Manchester Library Theatre); Festa (Young Vic); Baghdad Wedding (Soho Theatre); Salt Meets Wound (Theatre 503); KATHERINE KINGSLEY

How Many Miles To Basra? (West Yorkshire Playhouse); Angels Among the Trees (Nottingham Playhouse); A Midsummer Night’s Dream (Harold Pinter Theatre); Rose Rage (Theatre Royal Haymarket); Twelfth Night, The Comedy of Errors and Henry V (Propeller UK and international tours); Change of Heart (New End Theatre); Dial ‘M’ for Murder (English Theatre Frankfurt).

Television includes Midsomer Murders, Unforgotten, The Royals, Game of Thrones, Case Histories 2, Come Follow Me, Doctors, Jo, 90210, EastEnders, Spooks, Silent Witness, 10 Days to War, Path to 9/11, Hannibal, Rebus, The Bill, Agatha Christie’s Marple, Agony, David: The Bible, Uncle Jack and Cleopatra’s Mummy.

Radio includes Book at Bedtime: The Ministry of Utmost Happiness, Midnight’s Children, Tommies (series 7), Siege, Baghad Wedding.

Films include RED2, Gangsters Gamblers Geezers, Awakened, Apostle Peter and the Last Supper, Camilla Through the Looking Glass, Pimp, Extraordinary Rendition, Kingdom of Heaven.

TAMZIN GRIFFIN Miss Erikson Previously at Chichester Tonight at 8:30 (Minerva Theatre).

Theatre includes St George and the Dragon, Draw Me Close (and Tribeca Film Festival), Emil and the Detectives, Greenland and Our Class (National Theatre); The War Has Not Yet Started (Theatre Royal Plymouth); Cyrano de Bergerac (Southwark Playhouse); The Hudsucker Proxy (Nuffield Theatre Southampton and Liverpool Everyman); Far Away and Red Demon (Young Vic); Jedermann (Salzburger Festspiele); The Empress and Othello (RSC); The Master and Margarita (Complicite/Barbican & international tour); A Dog’s Heart (Complicite/Opera House Amsterdam); Brief Encounter (Kneehigh/ Birmingham Rep & Haymarket West End); A Matter of Life and Death (Kneehigh/National Theatre); Rough Magyck (Forkbeard Fantasy/ RSC); Measure for Measure (Complicite/ National Theatre & international tour); Red Demon (Tokyu Bunkamura); Strange Poetry (Complicite/LA Philharmonic); San Diego (Tron and Edinburgh Festival); Witness TRACY-ANN OBERMAN

(Gate Theatre and BAC); Shockheaded Peter (Lyric Hammersmith, West Yorkshire Playhouse, national and international tour: Olivier Award for Best Entertainment); Nothing Lasts Forever (BAC); The Fear Show (ICA); The Lights Are On But Nobody’s Home (Royal Court Theatre); Obituary (ICA and Maubeuge International Festival France); Demon Lovers (Meeting Ground Theatre Company); House (Paines Plough/Salisbury Playhouse); Ron Koop’s Last Roadshow (BBC/Industrial & Domestic); Civic Monument (Serpentine Gallery and tour).

Television and film includes Some Candid Observations on the Eve of the End of the World, A Fantastic Fear of Everything, Alice, Chernobyl: Surviving Disaster, Casualty, Casanova, The Calcium Kid, Smack the Pony, Doctors, Kabhi Khushi Kabhie Gham, Roadrunner, Rolf’s Animal Hairdressers, Bob and Margaret, Teletubbies, Suburban Psycho, The Pay Off, Great Britain, Medus.

Radio includes Pericles, The Gestapo Minutes, The Fireraisers.

BEN ALLEN DELROY ATKINSON LUCY BRIGGS-OWEN LIZZY CONNOLLY

RUFUS HOUND Garry Essendine Previously at Chichester Roy in Neville’s Island (Theatre in the Park).

Theatre includes Mr Toad in The Wind in the Willows (London Palladium, Manchester Theatre Award for Best Actor); Dr Prentice in What the Butler Saw (Theatre Royal Bath and Curve Theatre Leicester); Sancho Panza in Don Quixote (RSC); Bedford/Jack Cade/Rivers in The Wars of the Roses (Rose Theatre); Freddy Benson in Dirty Rotten Scoundrels (Savoy Theatre); Francis Henshall in One Man, Two Guvnors (National Theatre/West End); Utopia (Soho Theatre).

Television includes Zapped, Drunk History, Ronja The Robber’s Daughter, Trollied, Doctor Who, Cucumber, A Touch of Cloth, Hounded, Sadie Sparks, Waffle the Wonder Dog. Films include Kat and the Band, Beautiful Devils, Scottish Mussel, The Wedding Video, My Big Fat Gypsy Gangster.

KATHERINE KINGSLEY Liz Essendine Previously at Chichester Lina Lamont in Singin’ in the Rain (and Palace Theatre London, Olivier Award nomination for Best Supporting Actress in a Musical and WhatsOnStage Award nomination) and Alice Hobson in Hobson’s Choice (Festival Theatre), Hortensia in The Rehearsal (Minerva Theatre).

Theatre includes Ilona Ritter in She Loves Me and Rose in Aspects of Love (Menier Chocolate Factory); Marcee Dupont-Dufort in Welcome Home Captain Fox and Rona Lisa Peretti in The 25th Annual Putnam County Spelling Bee (Donmar Warehouse); Christine Colgate in Dirty Rotten Scoundrels (Savoy Theatre); Helena in A Midsummer Night’s Dream (Noël Coward Theatre, Olivier Award nomination for Best Supporting Actress); Miranda Frayle in Relative Values (Theatre Royal Bath); The 24 Hour Plays (The Old Vic); Molly in Dusk Rings a Bell (HighTide Festival); April in Company (Sondheim’s 80th Celebration/Donmar Warehouse and Queen’s Theatre); Annabella Schmidt/Pamela/Margaret in The 39 Steps (Liverpool Playhouse and tour); Marlene Dietrich/Madeleine in Piaf! (Donmar Warehouse and Vaudeville Theatre, Olivier Award

nomination for Best Supporting Actress in a Musical); Tracy Lord in High Society (Shaftesbury Theatre); Mary in The Memory of Water (Bristol Old Vic).

Television includes No Offence, Eric, Ernie and Me, The Alienist, Endeavour, Decline and Fall, Black Mirror, The Secret, Uncle, Bad Education, The Bill, Casualty, Jane Hall’s Big Bad Bus Ride, Operation Good Guys.

Radio includes Way Out East, Portrait of a Gentleman, Moonraker.

Films include Genius.

CAROL MACREADY Lady Saltburn Theatre includes Marina in Uncle Vanya (Home Theatre Manchester); Aoife Muldoon in Outside Mullingar (Ustinov Studio Theatre Royal Plymouth); Sylvia Sails in Sunburst (Langham Hotel); Dorcas in Ladies in Lavender (Royal & Derngate Northampton and tour); Mrs Clegg in Enjoy (Gielgud Theatre/Theatre Royal Bath/ Palace Theatre Watford/tour); Lead of Chorus in Lysistrata (Open University); Fra Flugelhammerlein in In the Club (Hampstead Theatre); Mrs Candor in The School for Scandal (Salisbury Playhouse); Emilia/Luce in The Comedy of Errors (Crucible Theatre); Mrs Grose in The Turn of the Screw (Bristol Old Vic); Tamara in The Mandate, Fortune Teller/ Manageress/Woman in Edmond and 1st Aunt in Tales from the Vienna Woods (National Theatre); Mrs Malaprop in The Rivals (Compass); Nurse in Romeo and Juliet (New Shakespeare Company); Mrs Ross in Jubilee, Mrs Joiner in Love in a Wood and Ursula in Bartholomew Fair (RSC); Mrs Watts in A Busy Day (Bristol Old Vic and Lyric Theatre).

Television includes Marley’s Ghost, Casualty, Doctors, Doc Martin, Holby City, Heartbeat, My Family, Poirot: Cat Amongst the Pigeons, Midsomer Murders, Coronation Street, Trial & Retribution, Dangerfield, The Vicar of Dibley.

Radio includes Ladder of Years, The Cazalet Chronicles, The Purple Land, Armadale, Felix Holt: The Radical, My Cousin Rachel, Number Ten, Dixon of Dock Green, The Lady Bower Reservoir, With Great Pleasure at Christmas.

Films include Walk Like a Panther, Dead in a Week, Where Hands Touch, 102 Dalmatians, Quills, Season’s Greetings, Wondrous Oblivion.

EMILIO DOORGASINGH TAMZIN GRIFFIN CAROL MACREADY RICHARD MYLAN

RICHARD MYLAN Morris Dixon Theatre includes Ceri in The Cherry Orchard (Sherman Theatre); Paul in Killology (Sherman Theatre and Royal Court Theatre); Ben in Things I Know To Be True, Ollie in The Believers and Peep Show (Frantic Assembly); Crazy Gary’s Mobile Disco (Paines Plough/Lyric Hammersmith), Flat-Top/Electra in Starlight Express (Apollo Victoria), Television includes Agatha Raisin, Waterloo Road, Grown Ups, Where the Heart Is, Bad Girls, Coupling, Belonging, Casualty, Doctors, Wild West, Border Café, Score.

Films include Don’t Knock Twice, The Upside of Anger.

TRACY-ANN OBERMAN Monica Reed Previously at Chichester Golde in Fiddler on the Roof, Saturday, Sunday... & Monday (Festival Theatre), Fay in Loot, Court in the Act and Two (Minerva Theatre).

Theatre includes Maxine in Stepping Out (Vaudeville and national tour); The Mighty Walzer (Royal Exchange Manchester); McQueen (Haymarket Theatre and St James Theatre); Godchild, Old Money and On the Rocks (Hampstead Theatre); Earthquakes in London (National Theatre/tour); Absurd Person Singular (Curve Theatre Leicester); Boeing-Boeing (Harold Pinter Theatre); The Oak Tree and School Play (Soho); Edmond and Waiting for Leftie (National Theatre); Hello Goodbye (Southwark); Loot (Vaudeville, West End); Love for Love (New End); A Call in the Night (West Yorkshire Playhouse); A Christmas Carol, The Changeling, Tamburlaine, The Beggar’s Opera, A Jovial Crew and Macbeth (RSC).

Television includes Friday Night Dinner, The Keith & Paddy Picture Show, New Tricks, Toast of London, Crims, Siblings, Father Brown, Doctor Who, Give Out Girls, Best of Men, Monroe, Waterloo Road, Comedy Playhouse, Sadie Jones, Tracey Beaker Returns, MI High, Filth, Mistresses, Robin Hood, Summerhill, Sorted, EastEnders (NTV nominated Best Actress), The Last Detective, Murder in Suburbia, Where The Heart Is, Harringham Harker (BBC Two Greenlight Award winner), Big Train, Lenny Henry: In Pieces, 15 Stories

High, The Cow, Marion and Geoff, Bob Martin, Happiness, Starhunter, The Way It Is, Strangerers, Success, Kiss Me Kate.

Films include Call Me Alvy, The Funeral, The Casanova Variations, Hector and the Search for Happiness, Filth, Wall, Girl Number 9, The Infidel, The Early Days, Supertex, Killing Time, Hope Machine.

Radio includes over 600 radio dramas and comedies and as scriptwriter, recently Mrs Robinson I Presume and Norman Conquests.

C R E AT I V E T E A M

PHIL BATEMAN Musical Director / Arranger (Finale) Previously at Chichester, Music Director on She Loves Me (Minerva Theatre).

Theatre includes, as Musical Supervisor/ Vocal Arranger: One Love (Birmingham Rep); Our House: the Madness Musical (Cambridge Theatre); Made in Dagenham (Adelphi Theatre); I Can’t Sing! (London Palladium); Imagine This (New London Theatre). As Musical Director/Orchestrator: Bugsy Malone (Lyric Hammersmith). As Musical Director/ Arranger: Dr. Seuss’s The Lorax (The Old Vic; also Music Supervisor on the US production in Minneapolis and San Diego).

As Musical Director: the original production of Billy Elliot the Musical (West End); The Miser (Theatre Royal Bath/Richmond Theatre/Garrick Theatre); Hello, Dolly! and Gigi (Regent’s Park Open Air Theatre); Human Comedy, My Dad’s a Birdman, Vernon God Little, After Miss Julie and Three Sisters (Young Vic); Piaf (Sheffield Crucible).

Film includes, as Singing Coach/Vocal Arranger, Kinky Boots and Cemetery Junction.

Television, as co-composer, Gareth Malone’s Big Performance and SEAN FOLEY

Extreme School, both for CBBC. Trained at Birmingham University. philipbateman.net NOËL COWARD Writer Noël Coward was born in 1899. After a successful career as a child actor he broke through as a playwright with The Vortex (1924).

Over the following two decades Coward wrote a string of successful plays, musical and revues including Fallen Angels (1925), Hay Fever (1925), Easy Virtue (1926), Bitter Sweet (1929), Private Lives (1930), Design for Living (1932), Words and Music (1932), Blithe Spirit (1941) and This Happy Breed (1943).

During this time he also wrote, produced and co-directed with David Lean the Academy Award-winning film In Which We Serve (1942), as well as providing the screenplay for the British classic Brief Encounter (1945) which was based on his short play, Still Life.

The post-war years were more difficult.

Austerity Britain was out of tune with the celebrated witticisms of Coward’s comedies of manner. However, he reinvented himself as a cabaret and TV star, particularly in America.

He played a sell-out season in Las Vegas in 1955, a show which featured many of his most famous songs including ‘Mad About the Boy’, ‘I’ll See You Again’ and ‘Mad Dogs and Englishmen’.

Later in his career Coward would be lauded.

In the early 1960s he became the first living playwright to direct his own work, Hay Fever at the newly formed National Theatre. He also made memorable appearances in films such as Our Man in Havana (1959) and as the iconic Mr Bridger in The Italian Job (1968).

Writer, actor, director, producer, painter, songwriter, cabaret artist as well as an author of a novel, verse, essays and two autobiographies, Coward was referred to by close friends as ‘The Master’. He was knighted in 1970 and died in 1973.

For further information on Noël Coward’s life and work, visit noelcoward.com; to join the Noël Coward Friends, visit noelcoward.net Copyright agent: Alan Brodie Representation Ltd alanbrodie.com SEAN FOLEY Director Previously at Chichester: The Real Inspector Hound/The Critic (as actor and co-director); I Am Shakespeare.

Theatre includes, as co-adaptor and director: The Miser, adapted with Phil Porter - Olivier Award Best Comedy nomination (Garrick); The Painkiller (KBTC/Garrick); A Mad World My Masters (RSC Swan and Barbican).

As writer-director: Arturo Brachetti: Change Olivier Award Best Entertainment nomination (Garrick). As director and script associate: The Ladykillers - Olivier Award Best Director nomination and Olivier Award Best Play nomination (Gielgud). As director: The Dresser; Jeeves and Wooster in Perfect Nonsense Olivier Award Best Comedy (Duke of York’s); I Can’t Sing! (London Palladium); The Catherine Tate Show Live; Armstrong and Miller Live; The Walworth Farce (Olympia, Dublin); What The Butler Saw (Vaudeville); Pinter’s People (Haymarket); Joan Rivers - A Work In Progress (Leicester Square). As co-artistic director of The Right Size (co-writer and actor), he created ten original comedies including: Ducktastic - Olivier Award Best Entertainment nomination (Albery);

Do You Come Here Often? - Olivier Award Best Entertainment (Vaudeville); The Play What I Wrote - Olivier Award Best Comedy, also Olivier Award Best Actor nomination and Tony Award nomination for Special Theatrical Event (Wyndhams/Lyceum, Broadway). As actor only: Mr Puntila and His Man Matti (Almeida/ Albery); Hamlet (KBTC/RADA).

Television: (as director) It’s Me Sugar, One Normal Night; That’s The Spirit; (as actor) Wild West, People Like Us, The Fitz; (as writer/actor) Foley and McColl - This Way Up. Film: (as director) Mindhorn (Loco Discovery Award - Best First Feature); (as actor) Gabriel and Me, Act Without Words.

LIZZI GEE Movement Director (Finale) Previously at Chichester Beauty and the Beast, A Christmas Carol (Festival Theatre); Running Wild (CFYT/Cass Sculpture Foundation); The Boy in the Striped Pyjamas (Festival Theatre/UK tour); Goodnight Mister Tom (Festival Theatre, Duke of York’s, Phoenix Theatre and UK tour).

Theatre credits include An Ideal Husband (Vaudeville Theatre/Theatre Royal Bath); Frost/ Nixon (Sheffield Theatres); Iolanthe (ENO); A Christmas Carol, Rosencrantz and Guildenstern are Dead and Future Conditional (The Old Vic); The Jungle Book (Royal & Derngate, Northampton); The Miser (Garrick Theatre); National Theatre 2017 Gala and Rocket to the Moon (National Theatre); A Pacifist’s Guide to the War on Cancer (National Theatre/UK tour); The Girls (Phoenix Theatre); Million Dollar Quartet (West End/UK tour); Oliver! (Grange Park Opera); Around the World in 80 Days (St James Theatre); Cinderella and Peter Pan (New Wimbledon Theatre); But First This (Watermill Theatre); Annie Get Your Gun and Buddy (UK tour); The Winter’s Tale (RSC/UK tour); All Male HMS Pinafore (Union Theatre/UK tour); Love Story (Duchess Theatre); Onassis (Novello Theatre); Vernon God Little (Young Vic); All Male Pirates of Penzance (Union Theatre, Wilton’s Music Hall, Rose Kingston, Australia); Daddy Cool (Shaftesbury Theatre); Sunshine On Leith (Dundee Rep/UK tour); Snoopy the Musical (New Players); Oliver!, The Sound of Music and The Wizard of Oz (Cyprus); Hair (Frankfurt English Speaking Theatre).

Television includes BAFTA Children’s Awards, Fit Farm, Feelgood Factor, The Legend of Dick and Dom, Diddy Movies, The Big Performance with Gareth Malone.

MARK HENDERSON Lighting Designer Also for Festival 2018 Copenhagen (Minerva Theatre), Flowers for Mrs Harris (Festival Theatre).

Previously at Chichester Sweet Bird of Youth, Forty Years On, An Enemy of the People, Young Chekhov (and National Theatre), 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, 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. RUFUS HOUND

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 and Girl From the North Country.

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 and One Man, Two Guvnors.

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

Mark designed the lighting for Kate Bush’s Before the Dawn shows at Hammersmith Apollo.

CHARMIAN HOARE Voice and Dialect Coach Previously at Chichester Fiddler on the Roof, Forty Years On, Mack & Mabel, A Marvellous Year for Plums, Arsenic and Old Lace, How to Succeed in Business Without Really Trying, Carousel, Babes in Arms, Twelfth Night, The Music Man, Separate Tables, Goodnight Mister Tom and Singin’ in the Rain (Festival Theatre); Quiz, Travels with My Aunt, Educating Rita, Taking Sides, Six Pictures of Lee Miller, In Praise of Love, Love Story and Top Girls (Minerva Theatre).

Recent theatre credits include The Curious Incident of the Dog in the Night-Time (national tour); The Suicide, The Deep Blue Sea, The Plough and the Stars, Peter Pan, Ugly lies the Bone, Barber Shop Chronicles, Consent, Mosquitoes, St George and the Dragon, Network, Pinocchio, John and The Great Wave (National Theatre); Road (Royal Court Theatre); Frost Nixon (Crucible Sheffield); Playhouse Creatures (New Vic Theatre, Stoke on Trent); Jekyll and Hyde (national tour); Luna Gale and Rabbit Hole (Hampstead Theatre); The Treatment and Against (Almeida Theatre); Welcome Home Captain Fox! and One Night in Miami (Donmar Warehouse); Abigail’s Party, While The Sun Shines, The Things We Do for Love, Talking Heads and 4000 Miles (Theatre Royal Bath); Wordsworth and Handbagged (Theatre by the Lake, Keswick).

BALISHA KARRA Assistant Director Credits include Resident Director for Besharam Project (Derby Theatre); Resident Facilitator for Standing Ovation, working alongside primary schools to incorporate drama workshops within the KS1 and KS2 curriculum; Resident Assistant Director on Freeman (Strictly Arts/Belgrade Theatre UK tour); Resident Director on Tamasha Writers Group Scratch Night (RichMix London); Trainee Assistant Director of A Midsummer Night’s Dream (Young Vic); Director on Birmingham Rep Foundry scheme for shows including Mr Muscle, West and The Other Side of the River; Assistant Director, community cast for Anita and Me (Birmingham Rep); Co-Director, workshop of Great Celestial Cow for the BBC documentary Secret Life of Sue Townsend

(Leicester Haymarket).

Balisha is Producer for BE Next (Birmingham European Festival). She was Resident Facilitator for Maslaha Charity, providing drama and workshops to Muslim girls aged 10-14; and co-ordinator for Corio Di Morti (Birmingham Opera Company).

Studied at University of Birmingham (BA Hons in Drama and Theatre Arts).

ALICE POWER Designer Recent theatre work includes The Miser (Garrick Theatre); The Painkiller (Kenneth Branagh Theatre Company, Garrick Theatre); The Walworth Farce with Brendan, Domhnall and Brian Gleeson (Olympia Theatre, Dublin); the Olivier Award-winning Jeeves & Wooster in Perfect Nonsense (Duke of York’s and UK tour); A Mad World My Masters (RSC Swan Theatre, Barbican and UK tour); What the Butler Saw and Betty (Vaudeville Theatre); Armstrong and Miller Live (UK tour); Joan Rivers: A Work in Progress (Edinburgh Festival and Leicester Square Theatre); Spaces Between (Candoco Dance Company, Southbank Centre); Beauty and the Beast (Belgrade Theatre, Coventry); Paper Walls (also co-director, Edinburgh Festival and Budapest).

As a member of The Right Size between 1991 and 2006, she designed their Olivier Award-winning and Tony-nominated productions of The Play What I Wrote and Ducktastic!, Do You Come Here Often? (Olivier Award for Best Entertainment), Moose, Hold Me Down, Penny Dreadful, Baldy Hopkins and Bewilderness.

For film and television she has designed props and costumes for Why Not Films, Julian Clary, Ken Russell and Tom Waits.

BEN and MAX RINGHAM Music and Sound Also for Festival 2018 The Meeting (Minerva Theatre).

Previously at Chichester King Lear and Quiz (Minerva Theatre).

Theatre includes Strangers on a Train (UK Tour); Parliament Square (Manchester Royal Exchange); Our Town (Manchester Royal Exchange); Apologia (Trafalgar Studios);

Twilight Song (Park Theatre); Gloria (Hampstead Theatre); The Importance of Being Earnest (Theatr Clwyd); Gaslight (ATG); Pygmalion (Headlong/West Yorkshire Playhouse/Nuffield); The Miser, The Little Dog Laughed (Garrick); The Pitchfork Disney (Shoreditch Town Hall); Lunch, The Bow of Ulysses, Doctor Faustus, The Maids, The Hothouse (Trafalgar Studios); The Dresser, Jeeves and Wooster (Duke of Yorks); After Miss Julie, The School for Scandal (Theatre Royal Bath); The Mighty Walzer (Manchester Royal Exchange); Deathtrap (Salisbury Playhouse); The Government Inspector (Birmingham Rep); Raz (Assembly Theatre Edinburgh/Riverside Studios); Queen Anne, A Mad World My Masters, Little Eagles (RSC); Ben Hur, A Wolf in Snakeskin Shoes, Multitudes, Paper Dolls (Tricycle Theatre); La Musica, Ah, Wilderness! (Young Vic); The Mentalists (Wyndham’s Theatre); We Want You to Watch (NT Temporary Theatre); The Ruling Class, Richard III (Trafalgar Transformed); The Walworth Farce (Olympia Theatre Dublin); 2071, Adler and Gibb, NSFW (Royal Court Theatre); Minetti (EIF); Dawn French, Fiction (UK tours); Blithe Spirit (Gielgud/US tour); Boeing-Boeing, The History Boys, A Taste of Honey, Racing Demon, Hamlet, An Enemy of the People KATHERINE KINGSLEY RUFUS HOUND

(Sheffield Crucible); I Can’t Sing (London Palladium); The Full Monty (Sheffield/Noël Coward); Ben Hur (Watermill); A Midsummer Night’s Dream (Michael Grandage Company); The Pride (Royal Court, Trafalgar Studios, UK tour; as part of the creative team, Olivier Award for Best Overall Achievement in an Affiliate Theatre); Lungs (Berlin Schaubuhne); The World of Extreme Happiness, Scenes from an Execution, She Stoops to Conquer, Henry IV Parts I&II (National Theatre); Ring (BAC, OffWest End Award for Best Sound Designer); The Architects, Amato Saltone, What If...?, Tropicana, Dance Bear Dance, The Ballad of Bobby Francois (Shunt); The Motor Show (LIFT); What The Butler Saw (Vaudeville); The Duchess of Malfi, All About My Mother (The Old Vic); Democracy (Sheffield Crucible, The Old Vic); The Ladykillers (Gielgud, Vaudeville, UK tour, Olivier Award Best Sound Design nomination); Painkiller (Lyric Belfast); My City (Almeida); The Electric Hotel (Fuel Theatre); Glorious (Rajni Shah Productions); Les Parents Terribles (Donmar at Trafalgar Studios); Polar Bears, Phaedra (Donmar Warehouse); Three Days of Rain (Apollo); Piaf (Donmar Warehouse, Vaudeville, Buenos Aires, Olivier Award Best Sound Design nomination); Contains Violence

(Lyric Hammersmith); The Lover/The Collection (Comedy); The Caretaker (Sheffield Crucible, Tricycle, UK tour).

Ben and Max are associate artists with the Shunt collective and two-thirds of the band Superthriller. In 2013 they designed Papa Sangre II (IMGA Excellence in Sound Design Award winner), a sound-based IOS game for digital arts company Somethin’ Else. They are also co-creators of the immersive theatre company Wiretapper.

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre), 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, RUFUS HOUND TRACY-ANN OBERMAN

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

PRESENT LAUGHTER PRE-SHOW TALK

Wednesday 25 April, 5.45pm Director Sean Foley in conversation with Kate Mosse.

Tickets FREE but booking is essential.

CELEBRATING NOËL COWARD Enjoy two play readings of rarely performed works by Noël Coward.

Peace in Our Time Saturday 28 April, 10am Post Mortem Saturday 19 May, 10am Tickets £5

POST-SHOW TALK

Thursday 3 May Stay after the performance to ask questions, meet company members and discover more about the play.

Hosted by Kate Bassett.

Tickets FREE

PLAY POWER: PRESENT LAUGHTER

Saturday 5 May, 12 noon In partnership with the University of Chichester, a panel discussion led by Professor Simon Barker exploring key themes in Noël Coward’s works including class, relationships and self-deprecation.

Tickets FREE but booking is essential.

NOËL’S WAR

Saturday 12 May, 10am Noël Coward’s war experiences are told in his own words with songs, letters and diary entries written by “The Master”, presented by members of the company.

Devised by Barry Day. Tickets £5

cft.org.uk/events

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

Chairman

Dale Rooks Director of LEAP Emilie Trodd Community Partnerships Apprentice MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Caroline Aston Audience Insight Manager George Bailey Digital Trainee Becky Batten Senior Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate)

Literary Associate Design Associate Casting Associate

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Daren Rowland Facilities Manager Jordan Scurr Assistant Duty Engineer DEVELOPMENT Katie Cotton Director of Development Julie Field Friends Administrator Victoria Gregory Corporate Development Manager

Shannon Hay Development Administrator Laura Jackson Individual Giving Manager William Mendelowitz Development Manager DIRECTORS Daniel Evans Rachel Tackley Patricia Key Georgina Rae

Julia Smith

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

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

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

HR Eugenie Konig Emily Oliver

Head of HR Accommodation Administrator (Maternity Leave)

Jenefer Pullinger Liz Thomson

HR Assistant Administrator Accommodation Administrator (Maternity Cover)

LEAP Elspeth Barron Charlie Essex Lauren Grant Hannah Hogg Ella Jarman

Education Projects Manager Senior Youth Theatre Officer

Katie Morgan LEAP Apprentice Anna Mould Community and Heritage Officer Louise Rigglesford Community Partnerships Manager

Mrs Denise Patterson Ms Stephanie Street Mrs Patricia Tull Ms Tina Webster Mrs Susan Wells ASSOCIATES Kate Bassett Lez Brotherston Charlotte Sutton CDG

Richard Knowles Poppy Marples

LEAP Officer Education Apprentice Deputy Director of LEAP Youth Theatre Officer Youth Theatre Apprentice

Harry Boulter Francesca Boxall Helen Campbell Lydia Cassidy

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

Clare Funnell Bridie Heathcote Lorna Holmes Helena Jacques-Morton

Arti Joshi Jon Mileman

James Morgan Lucinda Morrison Catherine Rankin Alice Stride Joshua Vine Claire Walters Joanna Wiege Jane Wolf

Marketing Officer Box Office Assistant Box Office Assistant Communications Assistant Box Office Assistant Marketing Officer (Maternity Cover) Box Office Manager Head of Press Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Administrator Box Office Assistant

PRODUCTION Amelia Ferrand-Rook Producer Max Lindsay Resident Assistant Director Jacob Thomas Production Trainee Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Steph Bartle Deputy Head of Lighting Jesse Caie Lighting & Sound Apprentice Alex Castro Sound Technician Dan Clark Stage Crew Leonie Commosioung Stage Crew Lewis Ellingford Stage Crew Sam Garner-Gibbons Technical Director Abbie Gingell Stage Technician Katie Hennessy Props Store Co-ordinator Alex Hunt Stage Technician Mike Keniger Head of Sound Andrew Leighton Lighting Technician Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Chris Perryman Deputy Head of Stage Megan Pickthorne Stage Apprentice Lewis Ramsay Lighting & Sound Apprentice Nathaniel Rhodes Transport &

Logistics Assistant Giselle Rodriguez Neil Rose Ernesto Ruiz-Mateo

Lighting Technician Deputy Head of Sound Stage Crew

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James Sharples Graham Taylor Emma Thomson

Stage Crew Head of Lighting Sound Technician

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

Front of House Duty Manager

WARDROBE Ellie Edwards Charlotte Higlett Suzanne Skelton Fiona McIntosh Sophie Pring Melody Tatania Wood WIGS Beau Bambi Brett Sonja Mohren Katie Oropallo

Dresser Dresser Deputy Head of Wardrobe Deputy Head of Wardrobe Dresser Head of Wardrobe

Deputy Head of Wigs Head of Wigs Wigs Show Person

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, Rachel Benjamin, 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, Charlotte Higlett, Stephanie Horn, Charlotte Horner, Keiko Iwamoto, Pippa Johnson, Ryan Jones, Jan Jordan, Peter Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Janette McAlpine, Margaret Minty, Chris Monkton, Chloe Mulkern, Susan Mulkern, Georgie Mullen, Katie Olorenshaw, Isabel Owen, Martyn Pedersen, Kirsty Peterson, Helen Pinn, Barbara Pope, Justine Richardson, Gemma Sangster, 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 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 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 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

FESTIVAL PLAYERS Dr Cheryl Adams CBE Charles and Clare Alexander Tom Reid and Lindy Ambrose Paul Arman Lyndsay Ashley Mr Brian Baker Heather 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 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 John and Jane Kilby The Aldama Foundation 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 Jeremy and Caroline Marriage Mr and Mrs 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 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 Murphey 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 Ken and Ros Rokison 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 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 Dr Adrian Webb 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 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 The Vestris Trust 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

etc

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

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

LEVEL 3 Bailiffscourt Hotel and Spa Dinamiks European Office Products Millstream Hotel and Restaurant 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 Vicky Gregory, Corporate Development Manager, vicky.gregory@cft.org.uk