random / generations digital programme | Chichester Festival Theatre | Festival 2018

random / generations A double bill of plays by debbie tucker green

WELCOME

We are also pleased to welcome Tinuke Craig, making her Chichester debut, to direct both plays. A graduate of Sussex University, Tinuke won the 2014 Genesis Future Director Award and was Associate Director at the Gate Theatre 2015-2016.

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to random and generations, two fierce and haunting dramas by debbie tucker green. Seen together for the first time, these two plays explore the timeless and universal theme of grief and how we face the loss of those we love, through the lives of two families on two continents.

We are delighted to be bringing debbie tucker green’s work to Chichester for the first time. Undoubtedly one of contemporary theatre’s most powerful and acclaimed voices, she won the Olivier Award for Most Promising Newcomer in 2004 for born bad and the 2012 BAFTA Award for Best Single Drama for the television version of random; and today her work is regularly performed around the world. debbie’s latest play premieres at the Royal Court later this year.

We would love it if you could join us in the Festival Theatre Foyer on Saturday 26 May at 11am, to appreciate a series of visual poems inspired by some of the themes from random and generations.

This work is the culmination of a film project devised, written, directed, produced and performed by local young people around the theme of trouble. The Art of Trouble stares our modern world hard in the face with bright, fresh eyes.

There are five hugely contrasting plays to come in the Minerva this season – two remarkable world premieres as well as classic and contemporary revivals – and we hope you can join us for those too.

Artistic Director Daniel Evans

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Executive Director Rachel Tackley

COMING SOON

Gerald Kyd Lydia Leonard Jean St Clair

THE MEETING A new play by Charlotte Jones

This powerful new play from Charlotte Jones is a spellbinding exploration of the timeless challenges of bringing the truth to light.

The cast led by Gerald Kyd, Lydia Leonard and Jean St Clair is directed by Natalie Abrahami.

WORLD PREMIERE 13 July – 11 August #TheMeeting

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COMING SOON

COCK

By Mike Bartlett Kate Hewitt directs this funny and eye-openingly fresh and frank play. Written by Mike Bartlett (King Charles III, Doctor Foster), Cock is a provocative peep into relationships in these days of oscillating identities.

28 September – 27 October #CockThePlay

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

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

random / generations A double bill of plays by debbie tucker green

GOING SOLO Dr Misri Dey looks at the past, present and future of solo performances

Imagine finding a performance flyer:

‘A Lecture upon Heads’, including: ‘Humorous Oration in Praise of the Law, Nobody’s, Somebody’s, Anybody’s and Everybody’s... Family of Nobody’s’.

You might think this is a contemporary satirical piece of stand-up, or an experimental performance lecture, or a spoken-word performance. It is, in fact, from a solo theatre piece by George Alexander Stevens called ‘The celebrated LECTURE on HEADS’, dating back to the 18th century. It was both transgressive and hugely popular, being PETRA LETANG

a biting satirical critique of Western colonialism dressed up as pioneering bravery through the lauded figure of Alexander the Great. Stevens went on to perform this piece 1000 times across England and Europe, and yet at that time, solo work was not officially sanctioned as lawful performance. Only two theatre companies were licensed to perform, working in theatres chartered by the King under royal patent: The Theatre Royal (later Drury Lane) and its rival, Lincoln’s Inn Fields.

So, Stevens and his colleagues such as Samuel Foote worked around this by performing at unusual times in the day, or turning it into a social event: ‘come and drink a dish of

chocolate’ while the performance went on.

Solo performance has long continued this tradition of both entrepreneurial and challenging practice, providing a platform for devisers or playwrights to act as ciphers, engaging with the pressing, current issues of their times. random is one such play.

Solo performance has a long history of maverick practice, involving challenging the status quo. Examples abound, as in the aforementioned work of Stevens and Foote in 18th century England, through to the long lasting ‘freak’ shows of Fayres and circuses, questioning the borders between what it is to be a man or woman, animal or human. Victorian music hall performance attracted ‘acts’ like Harry Relph’s Little Tich in 1867 – a very small man in very large boots. In Europe, Josephine Baker and her parody of the native women dancing in a banana skirt challenged audiences at the Folies Bergère in the early 1920s; numerous performance artists like Marina Abramovic, Chris Burden and Bobby Baker carried out durational and endurance

feats in the early 60s and 70s in the USA and UK. One infamous example is circus performer Philippe Petit, who stretched a trapeze wire across the Twin Towers and walked out between them, inviting the awe of the viewers watching below even as he was arrested and then later released.

The list goes on.

The monologue has a long shape-shifting history In a theatre context, the term ‘solo’ usually conjures up an image of a lone figure, in a spotlight, communicating to an audience through monologue: perhaps stand-up comedy, monodrama, or spoken word poetry. In our era of inter-connectedness, ably facilitated by the internet and popular media, we know however that ‘solo’, as a state of being, is a seductive illusion, an ‘as if’ alone, as we contain the echoes and influences of our teachers,

friends and heroines all. Of course, this is how all theatre operates, inviting us to believe the actors are the characters they portray, even while we know this not to be the case in reality.

I have come to describe solo performance as work where one performer holds the main focus and weight of the performance, although others are usually involved in both its making and manifestation.

Solo theatre crosses both popular and classical art forms. Just one list could include Greek oratory, old time music hall, cabaret, fayres and circus performance, vaudeville, magic, performance and live art, one act shows, monodramas, monologues, spoken word/slam poetry, performance lectures and stand-up comedy. In introducing the solo play random, we are working in the further specific theatre context of solo performance that prioritises words. The monologue is a core speech device in this kind of work and has a long, shapeshifting history – from medieval storytelling to specific moments in Renaissance plays where a character offers the audience a window into their private thoughts. It has more recently been used to describe entire performances. random is a ‘monopolylogue’ – where one actor, in this case Petra Letang, switches between multiple parts. Recent well-known solo works like this include Simon Callow’s Shakespeare’s Heroes (2011) or The Mystery of Charles Dickens (2012). Older key monopolylogues include the work of Lily Tomlin, Danny Hoch or Anna Deavere Smith. Deavere Smith’s verbatim theatre works are powerful examples; in Twilight: Los Angeles, or Fires in the Mirror (both 1992) she ‘walks in other people’s words’, conveying multiple voices and experiences based on real life interviews. An acoustic conjuring up of other people takes place in the theatre, but the actor is also very present. This is not an act of ventriloquism, where the performer is merely a conduit – rather, their humanity, engaged in this act of telling, is also necessary and relevant. random also offers a clear example of solo work which seems to owe more of its influences to popular performance traditions of rap, hip hop, spoken word poetry and music than a theatre focused on literature.

Think Benjamin Zephaniah, Jonzi D’s hip hop ‘Feater’, spoken word poets Sarah Kay,

Inua Ellams, Kate Tempest, Aleshya Wise, as opposed to the plays of a Sarah Kane or a Steven Berkoff. Not that their words are not ‘literary’, if by that we mean finely placed, tough and precise. But they gather their meanings as much from rhythm and pace, melody and motion as they do from allusion and metaphor, and historical references. These wordsmiths speak about pressing topics of the day, and use music, rhythm and sound to bring world issues to diverse audiences.

And this is another particular feature of solo performance – as a highly useful platform for issue based, often autobiographical work. Explorations of gender identity, race or class abound, fictioning lives into being which have previously been overlooked, ignored, or erased in the mainstream canons calling themselves literature or art. Group pieces can and do engage in issue based work, but in solo work, one could argue that the stakes are higher. The audience is the receiver of the work – there are no ‘others’ on stage to dialogue with, to mediate the message, and so frequently direct address occurs. This intensifies the relationship between performer and audience and heightens their involvement.

YouTube, Vimeo, and Instagram all provide fast access to multiple kinds of solo performed work for a young generation Writers of solo performance face particular challenges. How to have multiple voices in the work, with only one performer available? How to change the dynamics and energies of the work? How to create conflict? For the solo performer, the situation offers both high risk and reward. She is charged with filling the performance space, switching between multiple personas, energies and dynamics. Virtuosity is written into the contract.

Solo performance is steadily growing in popularity, in the UK and internationally.

The past fifteen years have seen the growth of organisations specifically focusing on solo practitioners and their work, as opposed to being an add-on to a fringe venue or event.

Examples include the Centre of Solo Performance in London, the digital Solo Contemporary Performance Forum, numerous festivals like ‘Flying Solo’ in Manchester, ‘the One Festival’ or ‘United Solo Festival’ (New York). Economics has a part to play: it is relatively straightforward to both rehearse and produce solo work and we are operating in a climate of shrinking cultural resources. Solo working also exists in multiple genres, so is flexible and adaptable to change. Further to this, YouTube, Vimeo, and Instagram all provide fast access to multiple kinds of solo performed work for a young generation, and incorporate theatrical devices like direct address, monologue and autobiographical performance into blogs. The virtual performance space is well suited to the solo form. The general public now has access to the technology of social media, the means with which to write up their

own lives, and perhaps more crucially, a ready audience to notice what they do. Putting aside well justified arguments around the questionable quality of some of these outpourings, solo performance can and should ride this wave of enthusiasm. Solo professional work is moving from marginal to more mainstream venues, occupying virtual performance platforms, and becoming more popular with young people increasingly aware of their ability to create. If harnessed well, perhaps this appetite can be relocated into live theatre spaces, creating a demand for other vital works to be commissioned and produced.

DR MISRI DEY

Misri Dey is an actor and makes solo performances, focusing on mixed ethnicity; credits include Bed (2005), Outlaws (2006), Taj A Chino Blues (2010). She is currently working on a new solo performance, Leave to Remain, about families, borders, lies and truths. She directs the Solo Contemporary Performance Forum and is a Senior Lecturer in Theatre and Acting at Falmouth University. She is shortly to publish Making Solo Performance: six practitioner interviews with Palgrave Macmillan, London.

PIETERMARITZBURG SOUTH AFRICA, JUNE 2003 IMAGE COURTESY OF ALAMY

GIVE SORROW WORDS For centuries, playwrights have explored personal and cultural themes of tragedy, loss and grief – an obvious example is William Shakespeare. In 1596 Shakespeare’s son Hamnet died at the age of eleven. He was a twin to his sister, Judith, and younger sibling to Susanna. Hamlet (1600) and Twelfth Night (1601) can both be interpreted as plays that explore grief, where Shakespeare’s autobiographical experience of loss is woven into the fabric of these famous works. Anton Chekhov, Tennessee Williams, Arthur Miller, Edward Albee and many other playwrights have explored grief and its effects on human relationships in their plays. Contemporary ‘urban-themed’ plays by British playwrights such as Roy Williams and Kwame Kwei-Armah tend to build towards tragic denouements in cause and effect narratives that are not so much about grief and loss itself but rather about the chain of events that might lead to a teenage stabbing or shooting, for example.

Williams’ Fallout (Royal Court, 2003) opens with the brutal murder of a black teenager by a group of his teenage peers; the investigation of the case depicts the lives of the troubled young people who committed the crime.

The social politics of writing about grief has developed over time as psychological understanding of the processes of mourning increases. Playwrights may explore the personal experience of loss and/or the cultural relationship to tragedy through their work. debbie tucker green is one such writer. random and generations are two plays that, although significantly different in style, form, language and structure, present familial relationships to the experience of loss and the expression of grief.

Writing about death and loss is complex.

The dynamic between the play’s exploration and intention and the relationship with audience, as interpreters of the work, is a delicate one. What is interesting about random and generations is what is left unsaid, the gaps, spaces and traces that are left open for interpretation. She is gifting you, the audience, the role of meaning makers, to consider your place in society and also to reflect on the importance of others’ lives.

When someone dies they leave a trace. An outline. A space that is often profoundly difficult to comprehend [Beat] to rationalise [Pause] to accept. debbie tucker green positions you, the audience, as ethical witnesses to the traces left behind.

Every society’s relationship to death will inform how the grieving are expected to behave Death is finite; we shall all experience loss and we shall all die. Physiologically we understand the biological facts of death: the heart stops pumping blood around the body, the brain dies and breathing ceases. Yet there are so many factors that complicate the process of dying, death, and the experience of mourning and expression of grief. Cultures can be death accepting, death denying, or even deathdefying. Death may be considered as either the end of existence or as a transition to another state of being or consciousness. Death can be deemed as sacred or profane, and how the worlds of the living and dead are perceived to impact one another defines how societies function. Significantly, every society’s relationship to death will inform how the grieving are expected to behave.

Culturally, western societies could be seen to value stoicism and control; mourning is often regarded as a private experience of family, friends, and loved ones. Other cultures are more permissive of overt expressions of grief, where crying and wailing are encouraged, expected and occasionally paid for. Consider the South

African context of generations, where a choir sing a lament and roll call names in a funeral dirge; the grief is public, shared, communal rather than private. Fundamentally, one will experience grief through the social codes of one’s culture, which are established and expressed through religious beliefs, funerary ritual, social values and economically driven demands. Consider compassionate leave from work – permitted for immediate family relations and often limited to two weeks. Likewise, how a person died might impact how the corpse is handled, where it is buried and how the bereaved are treated.

Historically, suicide victims were refused burial in consecrated ground. In the 1980s/90s, funeral homes refused to bury people who died of AIDS whilst their partners, friends and families experienced stigma and shaming to such an extent that they would lie about the cause of death.

Theatre in America in the 1980s and 1990s offered a forum where concerns and issues relating to the treatment of people with AIDS could be heard, most famously in Larry Kramer’s The Normal Heart (1985) and Tony Kushner’s Angels in America: Millennium Approaches and Perestroika (1991-92). The experience of the AIDS pandemic from white gay male perspectives was unique at the time. However, few plays then, or now, have tackled the issue of AIDS as it continues to impact other communities and countries deeply affected by the disease. How and why young people are dying in generations is never acknowledged or stated. We know they are in South Africa and we know that the younger generations are disappearing, but why is never made explicit. There is silence around the cause of the deaths – why? debbie tucker green’s signature style uses repetitious poetic prose and eschews the formalities of social realism to foreground the linguistic imperatives and affective force of dramatic writing. While her poetic depictions of difficult emotions are similar to the visceral and experiential trends of contemporary British new writing, she departs from some of the trends by refraining from showing actual instances of violence and focusing instead on the impact and effect of trauma and suffering. The characters’ emotions are conveyed through inner thoughts and speech and unspoken voices. tucker green’s

use of the unspoken, the unsaid, is considered.

The silence speaks its own stories and reflects on society at a deeply fundamental level.

Philosopher Michel Foucault (1926-1984) introduced the concept of biopolitics (1976), reflecting on how life and death are exploited as socially constructed instruments of control with capitalism being the new sovereign power.

One’s ‘worth’ and value relates to how much and how well you contribute to the ideological systems of control. Not only the living, but also the dying and dead are susceptible to biopolitics – who is perceived to have value or ‘worth’ at the point of death and who is worth grieving will impact on the stories that are told. From opponents in war to colonised lands, from black people and ethnic minorities to immigrants, from religion to religion, societies have constructed the concept of ‘other’ and with that the value afforded the lives and deaths of ‘others’. What ‘others’, we might ask ourselves, has the UK constructed?

Are some lives valued more than others and whose lives count as grievable? random was originally written in response to a sudden and unprecedented surge in the number of teenagers murdered on London’s streets in 2007 and 2008; about three-quarters of these fatalities were black boys and men.

And yet, if we think back to that time, the names that might well be more familiar are those of the young white boys who were stabbed – Ben Kinsella, Robert Knox and MOUNTAIN RISE CEMETERY, JANUARY 2008 IMAGE COURTESY OF ALAMY

Jimmy Mizen. These are the names that are remembered because their deaths received most coverage on the news. By 10 April this year there had already been 51 deaths in London through stabbing or shooting. In one week in March there were eight deaths alone. random is a voice for all of those voiceless black teenage boys and particularly for the people who are left behind.

It could be argued that the loss of life has often become a mediated phenomenon where we are saturated by national and international news and images of tragedy, and therefore it is possible to become immune to the personal impact. Theatre can afford audiences the opportunity to reflect on tragic events from unique perspectives.

LYNETTE GODDARD & LOUIE JENKINS Lynette Goddard is Reader in Black Theatre and Performance at Royal Holloway, University of London.

Publications include Staging Black Feminisms: Identity, Politics, Performance (Palgrave, 2007), Contemporary Black British Playwrights: Margins to Mainstream (Palgrave, 2015) and writing Errol John’s Moon on a Rainbow Shawl (Routledge, 2017). Her current research centres on plays about race relations. #BlackLivesMatter #BlackPlaysMatter Louie Jenkins is a Senior Lecturer in the Theatre Department at the University of Chichester. Her solo autobiographical performances, Moth, Five Fragments and Time Piece have been performed in the UK, and in San Francisco and Minneapolis, USA. She is now working on the Trace Project, which aims to develop performative memorialisation practices, and has written for Staging Loss: Performance as Commemoration (Palgrave, 2018).

random / generations A double bill of plays by debbie tucker green CAST random

Petra Letang

generations

Mama Dad Grandad Girlfriend (Older Sister) Boyfriend Junior Sister Nana The Choir

Laurietta Essien Derek Ezenagu Okon Jones Luyanda Unati Lewis-Nyawo Wela Mbusi Kudzai Sitima Cleo Sylvestre South African Cultural Choir Manelli Hawley Prudence Dineo Jezile Luyanda Lennox Jezile Sibusiso Mhlanga Thandolwenkosi Ngwenya Nickson Nkomo Nokulunga N. Zikhali Jabulile Zulu

There will be one interval of twenty minutes.

First performance of random / generations at the Minerva Theatre, Chichester, 4 May 2018. random was first performed at the Royal Court Jerwood Theatre Downstairs, Sloane Square, London on 7 March 2008. generations was first performed as a Platform Performance at the National Theatre, London on 30 June 2005 and subsequently at the Young Vic, London, 22 February to 10 March 2007.

Tinuke Craig Alex Lowde Joshua Drualus Pharo Emma Laxton Morgann Runacre Temple Luyanda Lennox Jezile Charlotte Sutton

Director Designer Lighting Designer Sound Designer Movement Director Choir Leader Casting Director Voice and Dialect Coach Costume Supervisor Props Supervisor Assistant Director

Hazel Holder Jemima Penny Lisa Buckley Max Lindsay

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

John Page Felix Dunning Naomi Hill Anna Sheard

Supported by the random / generations Commissioning Circle: Judy Addison Smith, Margaret and Terry Bamford, Patrick Burgess, Anthony Clark, Charmian Connell, Themy Hamilton, John and Chris Lieurance, Peter and Nita Mitchell-Heggs, Bryan Warnett of St. James's Place.

Production credits: Set by Illusion Design and Construct; Projection hire by Stage Sound Services; Lighting hire by White Light; Flooring by Kenilworth Carpets; Katie Palmer at Rutters UK; Transport by Southern Van Lines and Paul Mathew Transport; Additional props by Daisy Bradley; Large clock by Jack Clark of All Scene All Props; Costume Maker Elizabeth Farrer.

With thanks to Noluthando Boqwana.

Rehearsal and production photographs Manuel Harlan Programme associate Helen Cross Programme design Davina Chung

Sponsored by

#random #generations

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BIOGRAPHIES

random

PETRA LETANG Theatre includes Jeanne Gaye in Soul (Derngate Theatre Northampton); Bev in Pandora’s Box (Arcola Theatre); Zimbabwean Wife in Truth and Reconciliation, Ronnie in Fallout, Armani/ Chocolate in Escobar Estate, Jupieter in Breath Boom and Jade in Rough Road to Survival (Royal Court Theatre); Shevonta in Every Coin (Synergy Theatre Company/Soho Theatre); Molly Cunningham in Joe Turner’s Come and Gone and Lean in Generations of the Dead (Young Vic); Lavern Barnstairs in My Wonderful Day (off Broadway, NY); Sam/Miss Lowery in Baby Girl/ The Miracle and Elena in The President of an Empty Room (National Theatre); Funny Black Women on the Edge (Hackney Empire); The Weave and Patsy in Badnuff (Soho Theatre); Chantelle in How Love is Spelt (Bush Theatre); Leah in Beautiful Thing (Nottingham Playhouse); Lou in Mules (Clean Break Theatre); Maxine in Local Boy (Hampstead Theatre); Television includes Little Boy Blue, People Just Do Nothing, Holby City, Secret Dude Society, EastEnders, The Bill, The Last Detective, Jonathan Creek, Babyfather, Family Affairs.

Films include Betsy and Leonard, Wondrous Oblivion, A Heart Divided.

PETRA LETANG

LAURIETTA ESSIEN DEREK EZENAGU OKON JONES LUYANDA UNATI LEWIS-NYAWO

generations

LAURIETTA ESSIEN Mama Theatre includes Sahra in Come Closer: Speak What You Feel, Antony and Cleopatra and Harriot in Harriot and I (Royal Exchange Manchester); Oleta in Sixteen (Spid/National Theatre/The Gate); Negro Woman/Matron in A Streetcar Named Desire (Nuffield Theatre Southampton); Tituba in The Crucible (Abbey Theatre Dublin); Ex-Child Soldier/Nadira/Marjory/Ingrid in Talking to Terrorists (tour); Laurie in The GERI Project (Oldham Coliseum); Life Rites (Chalkfoot Theatre); Al-Zuhara/Zebahi in Sisters of the Moon (Channel Theatre Company); Onome in The African Maiden (Women of Nigeria International); Laura in Transitions (Impact); Frances in A State of Affairs (Aquilo); Mrs Corroboy in An Acceptable Loss (Lighthouse); Attempts On Her Life (Davenham); Doris in O and Kirsten in Days of Wine and Roses (Actors’ Studio).

Television includes Trust Me, In the Dark, Coronation Street, Doctors, The Trials of Jimmy Rose, Banana, Hollyoaks, Holby City, EastEnders, Silent Witness, The Commander, The Bill, Wire in the Blood, Dalziel & Pascoe, The Chase, Magnificent 7, Patrick’s Planet, Heatwave, Linda Green, Two Pints of Lager and a Packet of Crisps.

Radio includes Five Women, Heads Together, Black Five Foot Nothing.

Films include the shorts The House and Everything, The Family Legacy.

Laurietta performed backing vocals on the record Good Friend for JP Cooper and featured in the music video You’re Beautiful for Henry Maybury.

DEREK EZENAGU Dad Theatre includes Nathan Gillard in Perseverance Drive (Bush Theatre); Sgt Amusa in Death and the King’s Horseman (National Theatre); Othello in Othello (Keble Reilly Theatre, Oxford); Lamin in A Village Without Lights (Crescent Theatre); Ayo in Ayo and Ade’s Big London Safari (Theatre Fadozi); Wrestler in Lion and the Jewel (Collective Artistes); Mother Courage and Her Children (Nottingham Playhouse/UK tour);

Lucas in The Challenge (Garnett Foundation); Freddie/Tony in Musical Youth (Birmingham Rep); Halif in Women on the Verge of HRT Getaway! (UK tour); Player in Hamlet and Francis Leathercoat/The Friar in Much Ado About Nothing (RSC); Ralph in Bouncers (Salisbury Playhouse); The Beatification of Area Boy (West Yorkshire Playhouse/world tour); Aime/Poet in Billie Blue (Arthrob Productions); Edmond (APT); Spider in Punch Junkies (Counterpoint Theatre).

Television includes The Royals, The Strike, Victoria, EastEnders, Merlin, The IT Crowd, The Bill, Casualty, Messiah, Doctors, Worst Week of My Life, The Artificial Light, Taps, Waking the Dead, Second Generation.

Radio/Audio includes Doctor Who, The Avengers, Old Mutual, When Kings Talk, Creamie, The Darker Face of the Earth.

Films include Dying of the Light, Omer Fast Film, The Fifth Element, Streetwise, Three Steps to Heaven.

OKON JONES Grandfather Theatre includes Dr Lionel Thompson in The Verdict (Middle Ground Theatre Company); Noah in Not the End of the World (Bristol Old Vic); Theseus/Oberon in A Midsummer Night’s Dream (Dundee Rep); Mister Walker in Carnival (Told By An Idiot); Rev Sykes in To Kill a Mockingbird, Sam in Master Harold and the Boys, Journalist in Someone to Watch Over Me and Hoke in Driving Miss Daisy (Salisbury Rep); Joachim in LA Plays (Almeida Theatre); Lancelot in Merlin Trilogy (King’s Theatre Edinburgh); Hub in Light in the Village (Edinburgh Festival); Prof in Long Way from Home (Tricycle Theatre); Muso in Sugar Hill Blues (Hampstead Theatre); Minister in Emperor (Royal Court Theatre); Ollie in Trinidad Sisters and Ross in Spell N7 Women Collect (Donmar Warehouse); Frederico in Blood Wedding, Collectif in 7/84 Company (Half Moon Theatre); Jo in American Clock and Hakim in Jean Seberg (National Theatre); Tin Man in The Wiz (Lyric Hammersmith); Alcester in Marathon (Albany Empire); Brownman in Old Story Time (Theatre Royal Stratford East); Disciple in Godspell (Theatre Royal Norwich/national tour);

Anansi (Unicorn Theatre); Morocco in The Merchant of Venice and Benvolio in Romeo and Juliet (Young Vic); Arthur in Balcony (New Internationalist Theatre); Young Dick in Treasure Island (Royal Exchange); Akim in One Fine Day and Tunde in Scrape Off the Black (Riverside Studios); Chorus/Dancer/Police Sergeant in Chicago (Cambridge Theatre); Gimme the Ball in A Chorus Line (Drury Lane).

Television includes Fallen Fighter, Under the Hammer, The Bill, Boon, Perfect Scoundrels, Deficle Bandung File, Emperor, Casualty, Crown Court, Smiley’s People, The Goodies.

Films include Slumber, Stone Cole, AMA, Link, The Wizard of Harlem, The Dark Crystal.

Trained at Guildhall School of Music and Drama.

LUYANDA UNATI LEWIS-NYAWO Girlfriend Trained under South African theatre stalwart Dorothy Ann Gould at Triple Take Studios.

In 2015 Luyanda relocated to London to further her training at The Royal Central School of Speech and Drama on the BA (Hons) WELA MBUSI KUDZAI SITIMA

Collaborative and Devised Theatre Making course developed by Complicite Associate Director Catherine Alexander. This will be Luyanda Unati Lewis-Nyawo’s UK theatrical debut.

WELA MBUSI Boyfriend Theatre includes Angelo/Claudio/Pompey in Measure for Measure (AFTLS); Oona in Running Wild (UK tour); Iachimo in Cymbeline (South Carolina Shakespeare Company); Herb Forrester in By the Way Meet Vera Stark, Edward in A Christmas Carol and Alfred/Kevin in Clyborne Park (Trustus Theatre USA); Father/Son in Sick (Theatre503); Son in Father and Son (Soho Theatre); Cassio in Gospel of Othello (British Council); St George in Down by the Greenwood Side (ROH); Jimmy in A Taste of Honey (Salisbury Playhouse); Boy in Henry V, Prince Edward in Henry VI Part 3, Peto in Henry IV Parts 1&2 and Keeper in Henry VI Parts 1&2 (RSC); Alfred in Effie May (Oval Theatre); Bobby in Who Killed Mr Drum (Riverside Studios); Doctor in Whose Life Is It Anyway? (Comedy Theatre).

Television includes Guerrilla, Call the Midwife,

Redefining Juliet, Holby City.

Radio includes Four Four Straight Town.

Films include The Baker’s Abjection.

Trained at Guildhall School of Music and Drama.

KUDZAI SITIMA Junior Sister Kudzai recently graduated from Rose Bruford College. This is her theatrical debut.

CLEO SYLVESTRE Nana Theatre includes her one woman show The Marvellous Adventures of Mary Seacole (numerous venues including National Portrait Gallery, House of Lords, Mill Studio/Yvonne Arnaud Theatre, Edinburgh Fringe); Lynne/ Heather/Nancy in Love, Loss and What I Wore (The Mill at Sonning); Elsa in Fosterling (Oval House); Myrtle in The Last Bloom (Òran Mór/ Traverse Theatre); Rosa Parks/Josephine Baker/ Wangari Maathai in A Century of Great Women (Leicester Square Theatre); Nurse in Medea (Northern Broadsides); Mary Ann/Mrs Hurst in CLEO SYLVESTRE

Far From the Madding Crowd (English Touring Company); Phaedre in Phaedre (Offstage); Alina in African Gothic (The White Bear); Emilia in Black and White Sextet (Othello) (Seven Stars); Helen Daniels in ID (Almeida Theatre); Les Fourbieres de Scapin (Young Vic, Broadway & Mexico); The National Health (National Theatre); Wise Child (Wyndham’s Theatre: Most Promising Actress nomination); as well as extensive work in regional repertory theatres, community, fringe and children’s theatre, and tours with ETT, Northern Broadsides and Oxford Playhouse.

Television includes Five by Five, Doctors, Uncle, The Guilty, Play School, The Bill, Grange Hill, Crossroads, Coronation Street, Cathy Come Home, Up the Junction.

Films include Paddington, Tube Tales, Kidulthood and the short Vagabondia.

Cleo was Joint Artistic Director of The Rosemary Branch Theatre (1986-2016). Having made a record with the (then unknown) Rolling Stones while at school, she recently returned to her love of Blues and performs regularly with her Blues band Honey B Mama and Friends Forthcoming gigs with the band include the Queen Elizabeth Hall foyer and The Ealing Blues Festival.

SOUTH AFRICAN CULTURAL CHOIR South African Cultural Talent UK is a unique organisation formed of talented and professional African artists or musicians based in the United Kingdom. Their main aim is to promote and showcase African heritage and cultural interest for all ages, including classes and workshops in schools and an annual festival of South African music.

The South African Cultural Choir has 20 members and has toured all over the UK and abroad, singing in different African languages.

They perform classical and traditional gospel songs a capella or with a seven-piece band, sometimes interspersed with energetic Zulu dance.

They perform in different cultural venues; at wedding celebrations, birthdays, funerals and graduation ceremonies; in concert halls, television recordings, studio sessions and all areas of the music industry. S.A.C.T.U.K. collaborates with different charity organisations for children in need in the UK, South Africa and around the world.

C R E AT I V E T E A M

TINUKE CRAIG Director As a Director credits include I Call My Brothers

by Hasen Khemiri (Gate Theatre); dirty butterfly by debbie tucker green (Young Vic). She also regularly directs at Mountview, RADA and LAMDA. As an Assistant/Associate Director credits include wonder.land (National Theatre); Hamlet and All’s Well That Ends Well (RSC); The Changeling (Young Vic).

Tinuke was the Gate Theatre’s Associate Director from 2015-2016. In 2014 she was the winner of the Genesis Future Director Award.

She is a Reader for the Royal Court and is an Associate Artist of HighTide, a selector for the National Student Drama Festival, an Associate of the National Youth Theatre, and an Education Associate Practitioner at the RSC. She trained as a director at LAMDA. debbie tucker green Writer debbie tucker green is a writer-director who works across theatre, television and film.

Her stage plays include: a profoundly affectionate passionate, devotion to TINUKE CRAIG

someone (-noun), hang, truth and reconciliation, random and stoning mary (Royal Court); nut (National Theatre); generations (Young Vic); trade (RSC/RSC at Soho); born bad (Hampstead Theatre: Olivier Award for Most Promising Newcomer 2004; New York Soho Rep: OBIE award 2011); and dirty butterfly (Soho Theatre).

The film version of random which she adapted from her stage play and directed for Channel 4, won the BAFTA Award for Best Single Drama in 2012 and the MVSA Award for Best UK Film. Her first feature film, second coming, won the International Film Festival Rotterdam 2015 Big Screen Award and was BAFTA nominated.

She has written and directed several radio plays including an adaptation of Assata Shakur’s autobiography Assata Shakur – The FBI’s Most Wanted Woman, as well as original work including lament (winner of a gold ARIAS award), gone, handprint and freefall.

HAZEL HOLDER Dialect Coach (generations) Also at Chichester, dialect coach on Caroline, Or Change (Minerva Theatre & Hampstead Theatre).

Theatre as a performer includes Here We Go, As You Like It, Medea, Death and the King’s Horseman (National Theatre); The Tempest (RSC); Ain’t Misbehavin’, Carmen Jones (West End); The Bacchae (Royal Exchange Manchester); The Sleeping Beauty (Broadway); The Bakkhai (Almeida); Dart’s Love (Tete-a-Tete Opera Festival); Dalston Songs (ROH2); Six Characters in Search of an Author (Headlong Theatre); Mercy Fine (Clean Break Theatre).

Voice and dialect coach work includes: Nine Night, Barber Shop Chronicles, Angels in America, Les Blancs, Ma Rainey’s Black Bottom (National Theatre); Tina: The Tina Turner Musical, Guys and Dolls (Talawa Theatre Company & Royal Exchange Manchester); The Goat or Who Is Sylvia?, The Mountaintop, The Emperor, Cuttin’ It, Girls, Grimly Handsome, Father Comes Home from the Wars, Soul, The Rolling Stone, F*ck the Polar Bears, Twilight: Los Angeles, Eclipsed, The Rise & Shine of Comrade Fiasco, The Initiate, The Epic Adventure of Nhamo.

Dialect work for television: In The Long Run, Poldark, No Offence, Broken, Dr Pepper.

Hazel was Resident Director for the premiere London production of Dreamgirls 2016-2017.

LUYANDA LENNOX JEZILE Choir Leader Luyanda founded South African Cultural Talent UK in 2012, since when he has directed and performed with the choir and produced concerts around the United Kingdom and internationally.

The choir took part in celebrations of the life of Nelson Mandela on BBC One and at the Houses of Parliament, and performed at the South African team match at the Rugby World Cup in London. He was also Musical Director for the London African Gospel Choir, which performed at the Queen’s Diamond Jubilee concert in Hyde Park in 2012 and at the Templeton Prize ceremony for Desmond Tutu in 2013.

He was an original cast member of The Lion King in the West End, performing with them from 1999 – 2008. Other stage credits include Another America: Fire (PUSH/Almeida); The Good Women of Sharkville and Jozi Jozi Guide (Market Theatre Johannesburg); Julius Caesar (Civic Theatre Johannesburg).

As a singer and musician, television and film includes The Lesley Garrett Christmas Show, Ghost and the Darkness, Sarafina.

Recordings include The Lion King; the soundtracks to Long Walk To Freedom, Africa United, Ipi N’tombi and The Wild Thornberrys Movie; the Haiti charity single Everybody Hurts; the South African World Cup song; and recordings/videos with Hugh Masekela, Florence and the Machine, Ringo Madlingozi, Ben Onono, Rebecca Malope, Stimela and Simply Red. EMMA LAXTON Sound Designer Previously at Chichester Forty Years On (Festival Theatre), The House They Grew Up In (Minerva Theatre), Pitcairn (Minerva and UK tour). Also for Festival 2018 The Chalk Garden, The Country Wife.

Theatre includes The Writer (Almeida Theatre); Titus Andronicus (RSC); Julius Caesar (Sheffield Crucible); The York Realist, The Lady From The Sea, Limehouse, Coriolanus, Berenice, The Physicists (Donmar); See Me Now (Young Vic); Ghosts, The Oresteia (HOME Manchester); Made In Dagenham (Queen’s Theatre Hornchurch, New Wolsey Theatre Ipswich); Breaking the Code, All My Sons, A Doll’s House, Three Birds, The Accrington Pals, Lady Windermere’s Fan (Royal Exchange); Boys Will Be Boys (Headlong and Bush Theatre); Observe the Sons of Ulster Marching Towards the Somme (Headlong UK tour); Great Expectations (West Yorkshire Playhouse); Elizabeth (ROH); 101 Dalmatians, The Lion, the Witch and the Wardrobe (Birmingham Rep); The Effect, Sisters (Sheffield Theatres); Henry V (Unicorn Theatre/Imaginate Festival); All My Sons (Talawa Theatre UK tour); Hello/Goodbye, The Blackest Black (Hampstead Theatre); Each His Own Wilderness, Widowers’ Houses (Orange Tree); Accolade (St James Theatre); Cat on a Hot Tin Roof (Royal Exchange, Royal & Derngate and Northern Stage); The Colby Sisters of Pittsburgh, Pennsylvania (Tricycle); Pests (Clean Break/Royal Exchange and Royal Court); Much Ado About Nothing (Old Vic); nut, Men Should Weep (National Theatre); There are Mountains (Clean Break/HMP Askham Grange); The Promise (Donmar Warehouse at Trafalgar

Studios); Black T-Shirt Collection (Fuel UK tour and National Theatre); Much Ado About Nothing (Wyndham’s Theatre); Charged (Clean Break/Soho Theatre); My Romantic History (Sheffield Theatres and Bush Theatre); Pornography (Birmingham Rep, Traverse and Tricycle Theatres).

Emma designed twenty productions during her time as Deputy Head of Sound at the Royal Court Theatre.

MAX LINDSAY Assistant Director Max Lindsay is Resident Assistant Director for Festival 2018, and will also be Assistant Director on Me and My Girl and The Midnight Gang.

Theatre as Director includes Angry (Southwark Playhouse); Foreign Goods 2 and Broken Gargoyles (Theatre503); Consensual, The Odyssey, Girls Like That, Henry IV, His Dark Materials, The Laramie Project, The Wardrobe, Feathers in the Snow, Great Expectations, The Three Musketeers and Cymbeline (Nuffield Theatre); Someone to Blame (Kings Head Theatre/Nuffield Theatre); Jimmy Jimmy (Omnibus Clapham); The Best Christmas Present In The World (The Playing Field); The Voyage of Lost Dreams (SS Shieldhall).

As Associate Director Cargo (regional tour); We Are Here (National Theatre); as Assistant Director Snow White and the Seven Dwarves (Theatre Royal Plymouth); Cargo (Arcola Theatre); The Nutcracker (Nuffield Theatre).

Trained at East 15.

ALEX LOWDE Designer Designs include: The Fall of The Master Builder (West Yorkshire Playhouse); Persuasion (Royal Exchange Manchester); Pygmalion (Headlong/ West Yorkshire Playhouse); Dutchmen, One for the Road/Victoria Station, Tobias and the Angel (Young Vic); Three Sisters (Lyric Belfast); Stinkfoot, Lines (The Yard); Greek - costume (Scottish Opera); Fröken Julie (Aarhus Theatre); August Osage County, She Town, A Doll’s House, The Elephant Man (Dundee Rep); Krapp’s Last Tape (Sheffield Theatres); Edward II - costume (National Theatre); Rigoletto (Wexford Opera); Enjoy (West Yorkshire Playhouse); ’Tis Pity

She’s A Whore (Sam Wanamaker Playhouse); Excursions of Mr Broucek (Opera North/Scottish Opera); Linda - costume (Royal Court); The Lion’s Face, The Nose (ROH2); The Marriage of Figaro (Lyceum); Blake Diptych (Laban Dance/ Southbank Centre); The Gentle Giant (ROH Education); While You Lie (Traverse); Game costume (Almeida); Takin’ Over the Asylum (Lyceum/Citizens); Body of An American (The Gate).

Alex read Drama at Hull University before training in design at Motley.

JOSHUA DRUALUS PHARO Lighting Designer Current and forthcoming projects include Trust (Gate Theatre); The Shape of Pain (BAC).

Recent credits include Hearty (Yard Theatre); The ClaIM (UK tour); La Tragédie de Carmen (ROH and Wilton’s Music Hall); Frau Welt (Hackney Showroom); Cosminc Scallies (Royal Exchange and Graeae); How I Hacked My Way Into Space (UnLimited Theatre tour); Bullish (Milk Presents); The Shape of Pain and We’re Stuck! (China Plate Theatre); Burning Doors (Belarus Free Theatre); Bodies (Royal Court Theatre); Nest (Brighton and Take Off Festivals); How My Light is Spent (Royal Exchange); The Bear & The Proposal, The Trial Parallel, A Streetcar Named Desire Parallel (Young Vic); Scarlett (Hampstead and Theatr Clywd); Years of Sunlight (Theatre503); The Twits (Curve Theatre Leicester); Removal Men (The Yard Theatre, Knight of Illumination Award nomination); Broken Biscuits (Paines Plough); The Future (Company Three); Contractions (Sheffield Crucible); Julie (Northern Stage); Giving (Hampstead); Iphigenia Quartet, In the Night Time (Before The Sun Rises) and Medea (Gate Theatre); The Rolling Stone (Orange Tree Theatre); The Glass Menagerie (Video Designer, Nuffield Theatre); The Merchant of Venice, Wuthering Heights and Consensual (Ambassadors Theatre); The Crocodile (Manchester International Festival); One Arm (Southwark Playhouse); Tamadis De Gaulle (Bloomsbury Theatre); Beckett Season (Old Red Lion); The Deluge (Lila Dance UK tour); Usagi Yojimbo (Southwark Playhouse); Pioneer (Curious Directive UK tour); I’d Rather Goya Robbed Me of My Sleep and No Place Like

Home (The Gate), Thumbelina (Dancing Brick UK tour). joshuapharo.com MORGANN RUNACRE TEMPLE Movement Director Theatre credits as movement director/ choreographer include Persuasion (Royal Exchange); as assistant choreographer, Lazarus (King’s Cross Theatre); for opera, The Barber of Seville (Grande Théâtre de Genève).

Choreographic credits include Give My Love to The Sunrise and Sticks and Bones (English National Ballet); Poppy Hotel (Wilton's Music Hall); Jealousy (The Print Room); and the full length ballets Cinderella, Romeo and Juliet, Carmen and Coppélia (National Ballet of Ireland).

Morgann has made work for Northern Ballet, Ballet Central, Images of Dance, Royal Ballet Participation and BBC Young Dancer of the Year. In partnership with Jessica Wright, she directs and choreographs dance films including Curing Albrecht (English National Ballet & Manchester International Festival/BBC iPlayer), The Last Resort (ENB & Tate Liverpool) and The Try Out (C4 Random Acts). morgannrunacre-temple.com CHARLOTTE SUTTON CDG CASTING DIRECTOR Previously at Chichester Present Laughter, 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, 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 SOUTH AFRICAN CULTURAL CHOIR

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

random / generations THE ART OF TROUBLE

PRE-SHOW TALK

Wednesday 9 May, 6pm Director Tinuke Craig in conversation with Kate Mosse.

Tickets FREE but booking is essential.

POST-SHOW TALK

Wednesday 23 May Stay after the performance to ask questions, meet company members and discover more about the play.

Tickets FREE

Saturday 26 May, 11am Festival Theatre Foyer A screening of work inspired by themes from random/generations. These visual poems are the culmination of a film project devised, written, directed, produced and performed by local young people with trouble on their mind.

Tickets FREE

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 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 Daren Rowland Facilities Manager Jordan Scurr 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

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

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 Richard Knowles Poppy Marples

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

Katie Morgan LEAP Apprentice Anna Mould Community and Heritage Officer Louise Rigglesford Community Partnerships Manager 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) Harry Boulter Francesca Boxall Helen Campbell Lydia Cassidy

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

Clare Funnell Marketing Officer Bridie Heathcote 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 Catherine Rankin Box Office Assistant 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 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 Dan Clark Stage Crew 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 Maura Fuzz Guthrie Sound Technician Katie Hennessy Props Store Co-ordinator 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 Neil Rose Ernesto Ruiz-Mateo James Sharples Graham Taylor Emma Thomson

Deputy Head of Sound Stage Crew Stage Crew Head of Lighting Sound Technician

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 Sharon Meier PA to Theatre Manager Will McGovern Assistant House Manager Joshua Vine Front of House Duty Manager WARDROBE Ellie Edwards Lottie Higlett Charlotte Innes Fiona McIntosh Naomi Overton Sophie Pring Gabby Salwyn-Smith Suzanne Skelton Sam Sullivan Gina Warnes Maisie Wilkins Melody Tatania Wood WIGS Beau Bambi Brett Sonja Mohren Katie Oropallo

Dresser Dresser Dresser Deputy Head of Wardrobe Dresser Dresser Dresser Deputy Head of Wardrobe Assistant Wardrobe Assistant Wardrobe Wardrobe Maintenance 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, Lottie Higlett, Stephanie Horn, Charlotte Horner, 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, 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 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 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 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 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 Robert Macnaughton Nigel and Julia Maile 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 David and Di Mitchell Jenifer and John Mitchell Gerald Monaghan Sue and Peter Morgan Roger and Jackie Morris Lady Morton Terence F Moss Mrs Mary Newby Patricia Newton Lady Nixon

Margaret and Martin Overington Mr and Mrs Gordon Owen Mrs Glenys Palmer Richard Parkinson and Hamilton McBrien Alex and Sheila Paterson Simon and Margaret Payton Jean Plowright Maggie Pollock Tim Randall and John 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 Rodney and Sara Stone Anne Subba-Row Ms Maura Sullivan Brian Tesler CBE Mr Robert Timms Alan Tingle Peter and Sioned Vos Steve and Margaret Wadman David Wagstaff and Mark Dune Phil and Claire Wake Paul and Caroline Ward Ian and Alison Warren Chris and Dorothy Weller Bowen and Rennie Wells Graham and Sue White Barnaby and Casandra Wiener Judith Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald And all those who wish to remain anonymous

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

John Shakeshaft, CFT Supporter

cft.org.uk/supportus

S U P P O R T E R S 2018

PRINCIPAL PARTNERS

Diamond Level Prof E.F Juniper and Mrs Jilly Styles

Oldham Seals Group

Gold Level

HOLIDAY LETS

Silver Level

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