The Chalk Garden digital programme | Chichester Festival Theatre | Festival 2018

THE CHALK GARDEN

By Enid Bagnold

WELCOME

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to The Chalk Garden. We are delighted to present this remarkable drama by Enid Bagnold, a writer best known for her 1935 novel, National Velvet.

Enid was born in Kent and brought up mostly in Jamaica but as an adult she lived at North End House in Rottingdean, East Sussex, with her husband Sir Roderick Jones and their children. That house and its surrounding coastal landscape inspired the setting for The Chalk Garden; so it’s a play perfectly made for the Festival Theatre, set as we are between the South Downs and the sea.

We are thrilled to welcome Dame Penelope Keith back to Chichester to play Mrs St Maugham. Her roles here encompass The Apple Cart, The Merry Wives of Windsor, The Way of the World, Entertaining Angels and Mrs Pat. Amanda Root returns

too, following The Deep Blue Sea (2011), to play Miss Madrigal; Oliver Ford Davies, who appeared in Goodnight Mister Tom (2011), makes his Festival debut. Alan Strachan also returns to direct. His previous work for us includes Entertaining Angels (2006) and Mrs Pat (2015), both with Penelope Keith; his many West End productions range from plays by Coward and Ayckbourn to Tennessee Williams and Shakespeare.

If you have your own problems with chalky soil, or any other aspect of gardening in the South Downs area, we are here to help.

Our panel discussion, A Chalk Gardener’s Question Time, is on 2 June and brings together award-winning garden designer Annie Guilfoyle and an expert panel from West Dean College to answer your gardening queries.

We hope you enjoy today’s performance.

Artistic Director Daniel Evans

cft.org.uk

Executive Director Rachel Tackley

COMING SOON

Matt Lucas Caroline Quentin Clive Rowe 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

cft.org.uk

COMING SOON

Clare Burt Joanna Riding Gary Wilmot

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

8 – 29 September #FlowersForMrsHarris

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FESTIVE-ALL Every spring, Chichester Festival Theatre is plunged into a welter of activity as booking opens for the much-anticipated Festival season.

But alongside the glossy brochures, star names and brand new productions, work of a different kind – but just as important – is in progress.

‘We are constantly thinking about how we can involve and reach people who may not find it easy to watch – still less take part in – a performance in the traditional way,’ says Louise Rigglesford, the Theatre’s Community Partnerships Manager.

‘Perhaps you know someone who used to come to the Theatre but, due to advancing years or disability, they don’t feel up to coming on their own anymore. Maybe they don’t have a partner or theatre-going friend and don’t fancy having nobody to talk to in the interval.

On the other hand, someone may never

have been before and feel a bit nervous about what to expect.’

That’s where the CFT Buddies scheme comes in. Launched last year, this free companion service is for anyone who doesn’t feel physically able or comfortable attending a performance alone. It may benefit elderly or socially isolated people, those with learning difficulties or who are on the autistic spectrum, and anyone with physical disabilities or eyesight and hearing difficulties.

The Buddy is not a replacement for a carer but is there to offer assistance and companionship for semi-independent people.

Members of CFT’s Access List receive a 40% discount on tickets, and the Buddy’s ticket is free.

Among other new initiatives, in March FestivAll celebrated the performing arts

activities of local young people with additional needs.

Two performances of their own original material were given by Theatre Inc, who are based at Chichester College; Stopgap Dance Company from Farnham Maltings; Delta 7, a band from Eastbourne; and CFT’s own CFYT Friday Late group, who showed off their gift for physical comedy with a piece inspired by a silent movie set in a train station. They also presented a piece exploring what they’d like to change about the world and what inspires and encourages them.

‘FestivAll was a chance for people with disabilities or additional needs to perform in front of a welcoming audience in a professional venue. We hope it will prove to be a transformative experience for the performers,’ Louise says.

Alongside the performances, a host of free workshops and creative activities were on offer.

‘These were primarily aimed at people with additional needs – whether a learning or physical disability; someone on the autistic spectrum or with access requirements such as a wheelchair or a walker,’ Louise explains.

‘But we didn’t want it to be exclusive; anyone was welcome to come along.’

Louise hopes that FestivAll will have inspired audiences to get involved with creative activities of their own or simply to have appreciated the skill and talent on show.

‘It was an opportunity for us to emphasise the fact that the Theatre’s doors are open to everyone; it was a real celebration of people you may see less frequently on stage. We are now planning similar initiatives for the future.’

CFT BUDDIES SCHEME To find out more about CFT Buddies, visit cft.org.uk. If you would like to request a Buddy, call the Box Office on 01243 781312 or email access@cft.org.uk for more details.

The scheme is sponsored by Rathbone Investment Management.

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

THE CHALK GARDEN

By Enid Bagnold

ENID BAGNOLD IMAGE COURTESY OF THE NATIONAL PORTRAIT GALLERY

ENID BAGNOLD: A SUSSEX LADY In the summer of 1952 Enid Bagnold, the Sussex-based author of the novel National Velvet, believed at last she might have stumbled upon a brilliant plot for a play. Aged 63, she was desperate to be recognised as a great playwright.

Earlier that year she had travelled to New York for the opening of her play Gertie, starring Glynis Johns in the eponymous role. Gertie, like so much of Enid’s writing, was an autobiographical work about a young girl’s hunger for fame. But the Broadway play that resulted had not been judged a success.

Bagnold had shot to youthful fame in 1917 on publication of her controversial memoir of World War One, Diary without Dates. Almost twenty years later, by then Lady Jones, she had another huge success with National Velvet, the story of a horse-mad girl from Sussex winning the Grand National by disguising herself as a boy. In 1944 this was turned into a hugely successful Hollywood film launching the career of then unknown 12-year-old Elizabeth Taylor.

But in 1952 Bagnold was deeply disappointed about the flop she had been unable to save, yet more determined than ever to write a play that was a critical and commercial success.

Enid Algerine Bagnold grew up in a military family, first in Jamaica and later Blackheath, but considered herself a rebellious New Woman.

She was proud that her first lover was Frank Harris, the notorious editor, with whom she ‘went through the gateway to life.’ She always mined her own life to find inspiration for her work and, now, as much of her time was taken up finding adequate domestic help, not always easy in post-war Britain, this was no different.

Before she left for New York she was consumed with worry about leaving her retired husband, Sir Roderick Jones, the former head of Reuters ELIZABETH TAYLOR IN NATIONAL VELVET, 1944 IMAGE COURTESY OF ALAMY

News Agency, on his own to cope. On her return from America, the three servants she had left in charge immediately handed in their notice, so her first task was engaging replacements.

However, the Jones’s newly enlarged household now included not only Sir Roderick but also their war-wounded son, Timothy, who had lost a leg at Anzio, his beautiful wife Pandora and their three-year-old granddaughter, Annabel.

Pandora had been just seventeen at the time of the wedding in January 1948 and became a mother seven months later. Although her parents, Sir Bede and Lady Clifford, were rigidly opposed to the match, Enid decided that such young love was wonderfully romantic. She adored Pandora, loved all the paraphernalia associated with babies and giving birth -

she had had four children herself - and so took charge of the young couple, offering them a home until Timothy was established as a barrister.

But she knew that without peace of mind on the domestic front no writing would be possible. So she advertised in the local Sussex papers, not precisely seeking a nanny for the child but asking simply for a “lady”, without qualifications. She was deluged and the shoal of extraordinary applicants immediately provided inspiration. It seemed as if all the originals and castaways of Hove and Brighton came out of their single rooms to present themselves at her door, she noted. But one applicant, a woman “with a high roman nose and white hair,” particularly intrigued Bagnold, who gave her the job. She watched this woman living in a sort of inner silence into which she tried to enfold Pandora’s child, never entering family conversation if she could help it. But there were other stimulants. One day a judge friend, Sir James Cassels, came to lunch and told a story of a woman he had encountered.

Bagnold noticed that, as he told the disquieting tale, the new nanny, sitting at a separate table with the child, “showed a strange, almost ENID MUCKING OUT THE COWSHED SIR RODERICK AND LADY JONES IMAGE COURTESY OF THE BAGNOLD COLLECTION AND ALAMY

trembling interest. She not only turned around, she came right around as a ship turns and you see its bowsprit.”

From this strange action Enid, with her novelist’s imagination, invented a past for this woman. Had she been someone whom Cassels himself had previously known? Enid was fascinated, and despite the potentially disturbing implications, retained the woman as a governess working in the Jones household.

History does not relate for how long nor the possible effect she had on her young charge.

‘When one has been alone so long with the white page, criticism is a burning shock’ Thus she set about writing a new play in which the lady of the house, Mrs St Maugham, was, like Bagnold herself, a character reflecting on life and death problems. Within a year she considered the play ready to show her agent,

Harold Freedman, who was immediately excited by it and sent it to Binkie Beaumont, the most influential producer in the London theatre.

Binkie prevaricated. He asked if the play had a deliberate state of madness.

Harold, deeply disappointed by this reaction, decided he had to bypass Binkie by opening in the United States, which he believed was more receptive to fresh work, and then bring it to England later as a successful production with American management. With this plan in mind, he sent the manuscript to Irene Selznick, daughter of the legendary Louis B. Mayer and a woman who could pull in “stars.”

Enid had met Irene once, briefly, in New York at a reception given for Gertie. She was entranced by her exotic beauty, her wealth and power. She called her “a thinking machine, making intermittent contact, brim-full of

TOP LEFT: A WOMAN OF THE WORLD TOP RIGHT: IRENE SELZNICK ENID BAGNOLD MARRIES SIR RODERICK JONES, 8 JULY 1920 IMAGE COURTESY OF THE BAGNOLD COLLECTION AND ALAMY

resolves, rather silent.” Irene had been brought up a Princess of Hollywood, was once married to David Selznick, but now, in her mid-40s, divorced and determined to make a reputation as a successful producer. She was as greedy for success in her own right as Bagnold, in her mid-60s, was for fame as a playwright.

From the outset, Selznick insisted she loved the play and was haunted by its “gossamer flashes of poetry and beauty.” But she wanted a tighter focus and much rearrangement of

material. She offered to come to London “to pull the threads straight.” No writer herself, she knew what was needed and was prepared to push and prod Bagnold into doing it.

‘It was a balloon of a play. It rose in the warm air to the ceiling’ For months they worked together mostly at North End House, the faded and rambling family house on Rottingdean village green where the

NORTH END HOUSE, THE GREEN, ROTTINGDEAN, EAST SUSSEX THE GARDEN ROOM AT NORTH END HOUSE IMAGE COURTESY OF THE BAGNOLD COLLECTION AND ALAMY

Jones’s had lived since 1924. The house, which had once belonged to Sir Edward Burne-Jones and later to the painter William Nicolson, had a strange and powerful character that Bagnold wanted to recreate on stage in The Chalk Garden. Over a six-week period in 1954 a routine emerged where Irene would catch the Brighton Belle out of London every Friday, spend the weekend working at Rottingdean and then return after lunch on Monday to polish alone what they had worked on together. Enid was offended that Irene never brought smart clothes to Sussex but Irene complained about the cold in the Tower Room where they worked only to be told that she was a ‘thin blooded

American’. She discovered later that Enid worked with a heated pad around her legs.

The two women constantly argued but grew to love and respect each other. As Bagnold commented, “when one has been alone so long with the white page, criticism is a burning shock.” Selznick did not have time for tact.

She marked in red pencil instead. Bagnold had collected hundreds of bon mots in baskets, which she called her ‘plums’. She took to stringing these up on a washing line across the room. Selznick saw it as her job to lighten the diet of ‘plums’ which made many of the speeches indigestible. She had to discipline Bagnold out of her self-indulgence with words, refusing to allow anything to remain merely because it sounded wonderful. She taught her that every single line had to work if the play was to be successful.

Enid had a clear view of herself living in a Matriarchy in which men played secondary roles, hence men in the play have only small roles and Pinkbell, the ancient butler, is heard but never makes an appearance. She believed that motherhood gave her a moral authority denied to men and that the most important decisions in life were taken by women. She saw the multi-generational Jones family as a sort of Private Club and told Cecil Beaton how she felt more Queen Bee-ish than ever when Timothy, Pandora and Annabel were living with her.

But Irene Selznick was interested simply in making a successful play and so the two women fought over lines, sets and finally over casting with Bagnold pinning her hopes on Edith Evans playing Mrs St Maugham and Selznick rooting for her friend, Kate Hepburn, as Miss Madrigal. In the event it was Gladys Cooper who was the first to play Mrs St Maugham, and Siobhan McKenna was Miss Madrigal. The battles raged on throughout rehearsals but, by the time The Chalk Garden opened at the Barrymore Theatre in New York on 26 October 1955, the day before Enid’s 66th birthday, everyone was pulling together to reveal the clever, courageous and thoughtful mind behind the words. Enid found it “a balloon of a play. It rose in the warm air to the ceiling.”

She wept when she read the next day how the critics praised it. Within hours of the New York reviews Binkie cabled: he wanted to put it ENID BAGNOLD, 1980 IMAGE COURTESY OF THE BAGNOLD COLLECTION

on in London as soon as possible.

On 11 April 1956, The Chalk Garden opened at the Theatre Royal, Haymarket with the longed for (by Bagnold) Dame Edith Evans as Mrs St Maugham and Peggy Ashcroft as Miss Madrigal in a production directed by Sir John Gielgud.

Bagnold was described recently in The Sunday Times as “the link between Wilde and Coward and Frayn and Ayckbourn.” As Mrs St Maugham declares: “Love can be had any day!

Success is far harder.” With The Chalk Garden, Enid had not only won the fame she so desperately craved, she had recreated on stage a part of herself as well as the unusual atmosphere of her family home. This fusion of myth and reality was the zenith of Enid’s adolescent dream come true. The Chalk Garden was what she felt had ‘glued her to History’s Wall.’

ANNE SEBBA

Anne Sebba is the author of Enid Bagnold, a Biography (1986). Terence de Vere White, reviewing the book in The Irish Times, wrote: “I know of no other book with a theatrical background which gives such an absorbing picture of what it is like to be involved in the production of plays.”

XXX IMAGE COURTESY OF ALAMY

Poem by Vita Sackville-West, dedicated to Enid Bagnold An eagle, happy in a cage, (If such a thing might be,) that had forgotten The crags and storms and ocean’s splendid rage, A free and lonely spirit once begotten; Now tamed to peck the groundsel through the bars And to esteem a kindly self protection Above the danger of the windy stars.

Vita Sackville-West Collected Poems, Vol 1, Hogarth Press 1933

THE CHALK GARDEN

By Enid Bagnold CAST (in order of appearance) Miss Madrigal Maitland Little Lady Third Lady Laurel Mrs St Maugham Nurse Olivia Judge

Amanda Root Matthew Cottle Victoria Willing Sarah Crowden Emma Curtis Penelope Keith Donna Berlin Caroline Harker Oliver Ford Davies

The play takes place in the garden-room of Mrs St Maugham’s house in a village by the sea in Sussex, in the summer of 1955.

There will be one interval of twenty minutes.

First performance of this production of The Chalk Garden at the Festival Theatre, Chichester, 25 May 2018.

Alan Strachan Simon Higlett Natasha Chivers Catherine Jayes Emma Laxton Charlotte Sutton CDG

Director Designer Lighting Designer Music Sound Designer Casting Director

Karen Large Lizzie Frankl Matt George Emily Ling Williams

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

Ben Arkell Janet Gautrey Chris Lambert Lucy Bradford Sean Edwards

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

Supported by The Chalk Garden Commissioning Circle: Rosalind Bowen, Steve and Sheila Evans, Lady Green, Pippa Nott, Jon and Ann Shapiro, Howard M Thompson and Ernest Yelf.

Production credits: Set built by TR2 - Theatre Royal Plymouth; Cyclorama printed by Prompt Side; Transport by Paul Mathew Transport; Production Carpenter Jimmy Quinn; Costume hire Angels Costumes; Costume makers Caroline Harker by Hilary Wili, Amanda Root and Penelope Keith by Carole Coates, Matthew Cottle by Sallyann Dicksee; Hats by Jane Smith; Wigs made

by The Big Wig Company; Props Assistants Amy Hawthorne and Dannie Haylett; Prop Makers Lizzie Props Workshop, Robert Connick, Ros Coombes, Data Reprographics, TR2.

Thanks to Dee Lahiri and Nick Southgate, the RSC Rehearsal Rooms and Petra Markham.

Rehearsal and production photographs Catherine Ashmore Programme design Davina Chung

Sponsored by

#TheChalkGarden

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BIOGRAPHIES

DONNA BERLIN Nurse Theatre includes Charlotte Busner/Ludmilla Rauhschultz in Great Apes (Arcola Theatre); Arabelle in Of Kith and Kin (Sheffield Crucible and Bush Theatre); Countess Bezzubova/Agatha Mikhailovna in Anna Karenina and Mama Kyeyune in The Rolling Stone (Manchester Royal Exchange and West Yorkshire Playhouse); Tituba in The Bacchae and Mother-in-Law in Blood Wedding (Theatre Royal Northampton); Jacinta Gordon in Keeping Mum (Brockley Jack New Writers Season); Counted (Look Left Look Right/ County Hall London); Miss Sergeant in Puffins (Southwark Playhouse); Coochi Snorcher in The Vagina Monologues (Pleasance Theatre London); Elmina’s Kitchen (Garrick Theatre); Shirley Strode in Sammy (Theatre Royal Stratford East); Groovey Peters in Consecrated Ground (Steam Industry); Stephanie Randall in Ellipse.

Television includes Requiem, Game Face, EastEnders, The Increasingly Poor Decisions of Todd Margaret, Drifters, Doctors, Hollyoaks, Coronation Street, New Tricks, Nuzzle and Scratch, Lead Balloon, Beautiful People, Director’s Debut: The Lightning Kid, Extras, Casualty, Judge John Deed, Repatriation, The Art of War, Manchild, My Hero.

Audio includes Survivors, Vienna 2.2: Underworld, Vienna 2.3: The Vienna Experience, Prof Bernice Summerfield: The Tempting Fate and Secret Origins, Doctor Who: Valhalla.

Films include Monochrome, Dinner with My Sisters, In Darkness and the shorts Press Your Lips, Blinda.

MATTHEW COTTLE Maitland Previously at Chichester The Schoolmistress (Festival Theatre).

Theatre includes Wonderland (Nottingham Playhouse); How the Other Half Loves (Theatre Royal Haymarket and Duke of York’s); Communicating Doors (Menier Chocolate Factory); Our Country’s Good, A Small Family Business and The Habit of Art (National Theatre); Quartermaine’s Terms (Wyndham’s Theatre); A Chorus of Disapproval (Harold Pinter Theatre); Neighbourhood Watch (Stephen Joseph Theatre, New York, tour, Tricycle); PENELOPE KEITH

Dear Uncle and Way Upstream (Stephen Joseph Theatre); Racing Demon (Sheffield Crucible); Taking Steps (Orange Tree); Absurd Person Singular and Season’s Greetings (Theatre Royal Windsor and tours); Man of the Moment, Private Fears in Public Places and Just Between Ourselves (Northampton Theatres); Round and Round the Garden (Theatre Royal Windsor); Noises Off (Liverpool Playhouse); The Ghost Train, An Evening with Gary Lineker, Party Piece, The Sunshine Boys and Rattle of a Simple Man (UK tours); The Dice House and Relatively Speaking (Belgrade Theatre Coventry); Comic Potential (Lyric Theatre); Peter Pan (West Yorkshire Playhouse); Macbeth (Liverpool Everyman); A Christmas Carol and Billy Liar (Octagon Theatre Bolton); Turkey Time and The Comedy of Errors (New Vic Stoke).

Television includes Pure, Jerusalem, The Windsors, Murder on the Blackpool Express, Citizen Khan, Plebs, Unforgotten, The Dresser, Man Down, Hoff the Record, Fried, Doctors, The Job Lot, Pramface, Holby City, Sex, the City and Me, Spooks, EastEnders, Life Begins, The Commander, Down to Earth, The Infinite World of HG Wells, Comin’ Atcha, Get Well Soon, A Perfect State, Karaoke, An Independent Man, Game On, Drop the Dead Donkey, Men of the World, Harry Enfield & Chums, Miss Marple: They Do It With Mirrors, Taking the Floor.

Films include Blessed, Chaplin, A Christmas Carol.

SARAH CROWDEN Third Lady Previously at Chichester Miss Preen in The Man Who Came to Dinner (Festival Theatre).

Theatre includes Hilda of Whitby and Virginia Woolf in Hilda & Virginia (Jermyn Street); The Countess in Bang Bang (Mercury Theatre); Mrs Barrow in The Trial (Young Vic); Mrs Oakes in Flare Path (Theatre Royal Haymarket); Dame Hilda Marsh-Gibbon in If So, Then Yes (Jermyn Street); Nora in A Resounding Tinkle (Royal Court Theatre); Aunt March in Little Women (Duchess); Lady Snipe Worthington in 20,000 Leagues Under the Sea (Stratford East); Helena in A Midsummer Night’s Dream (RSC); Miss Gossage in The Happiest Days of Your Life (Salisbury); Gwendolen in The Importance of Being Earnest (Edinburgh Lyceum).

DONNA BERLIN MATTHEW COTTLE SARAH CROWDEN EMMA CURTIS

Television includes Doc Martin, New Tricks, Wolf Hall, The Last Dragonslayer, Endeavour, Downton Abbey, Cockroaches, Upstairs Downstairs, The Sarah-Jane Adventures, Longford, Affinity, Tipping the Velvet, He Knew He Was Right, My Hero, Vanity Fair, A Dance to the Music of Time, The Detectives, Rab C Nesbitt, Poirot, Lovejoy, Smokescreen, Campion, Great Expectations, The Rainbow, David Copperfield, Swallows and Amazons Forever.

Films include The Little Stranger, Peterloo, Quartet, Mr Holmes, Jupiter Ascending, The Riot Club, The Oxford Murders, Brideshead Revisited, Miss Potter, The Man Who Knew Too Little, Wind in the Willows, Erik the Viking, Orlando.

Radio includes Mr Betjeman Regrets.

As a writer, contributes to the literary quarterly Slightly Foxed and has reviewed both fiction and non-fiction for The Lady, TLS, Literary Review and Geographical.

She performs as Dame Theresa Thompson’sGazelle on the London standup comedy circuit.

EMMA CURTIS Laurel Theatre includes Elaine in The Graduate (West Yorkshire Playhouse); The Lady in Comus (Shakespeare’s Globe, 2017 Ian Charleson Award nomination); Helena in A Midsummer Night’s Dream (Liverpool Everyman).

Television includes The Crown, Cider with Rosie.

Films include The Vespa Diaries, Eve, Postcards from London, Mum’s List, The Hippopotamus.

Trained at Royal Conservatoire of Scotland.

OLIVER FORD DAVIES Judge Oliver Ford Davies became an actor at Birmingham Rep in 1967 and after eight years in regional theatre and the West End joined the RSC in 1975, where he has since appeared in over thirty productions including Henry IV, Henry V, Henry VI, Henry VIII, Coriolanus, As You Like It, The Greeks, Measure for Measure, Waste, Dr Jekyll and Mr Hyde, Richard II, Love’s Labour’s Lost, Written on the Heart and Hamlet.

Other theatre includes Hamlet, The David Hare Trilogy (Olivier Award for Best Actor 1990),

Playing with Fire, Galileo, Saint Joan, Much Ado About Nothing and All’s Well that Ends Well (National Theatre); Ivanov (Almeida and Maly Theatre Moscow); Naked, Richard II, Coriolanus and title role in King Lear (Almeida); Hadrian VII, Heartbreak House, Absolutely! (perhaps?), Goodnight Mr Tom (Chichester and West End); and at Hampstead and the Orange Tree he has played Oliver Cromwell, Charles Darwin, John Ogdon and Philip Larkin.

Television includes David Copperfield, A Very British Coup, The Way We Live Now, Kavanagh QC (five series), The Murder of Roger Ackroyd, Cause Célèbre, Sparkling Cyanide, guest leads in Inspector Morse, Foyle’s War, Spooks, Midsomer Murders, Marple and recently Game of Thrones and Catastrophe.

Films include Sense and Sensibility, Mrs Brown, Titanic Town, Star Wars 1, 2 & 3, Johnny English, Heidi, The Mother, Atonement, A Deep Blue Sea. As a writer, books include Playing Lear, Performing Shakespeare, Shakespeare’s Fathers and Daughters and a play King Cromwell.

He studied at Oxford (D.Phil) and was a history lecturer at Edinburgh University (1964-66).

CAROLINE HARKER Olivia Previously at Chichester Sarah in Entertaining Angels (Festival Theatre).

Theatre includes Sean Hughes’s Blank Book (Soho Theatre); Lady Marchmain in Brideshead Revisited (York Theatre Royal and UK tour); Mother in The Railway Children (King’s Cross Theatre and Waterloo Station site specific for York Theatre Royal); Ruth Condomine in Blithe Spirit (York Theatre Royal); Mrs Gardiner in Pride and Prejudice (Regent’s Park Open Air Theatre); Mel in All Mouth (Menier Chocolate Factory); Mariette in Battle Royal (National Theatre); Katie in Tusk Tusk, Susie in The Strip and Eleanor in The Editing Process (Royal Court); Jane in Falling (Hampstead); Liz Essendine in Present Laughter (Theatre Royal Bath UK tour); Nikki in Things We Do for Love (Duchess Theatre); Life Goes On (Basingstoke Theatre); Nat in Hidden Laughter (Vaudeville Theatre);

OLIVER FORD DAVIES CAROLINE HARKER AMANDA ROOT VICTORIA WILLING

Daisy Pulls It Off, Don Juan and Sweet Charity (Harrogate Rep).

Television includes Doctors, Coronation Street, Holby City, New Tricks, The Commander, The Man Who Lost His Head, Margaret, Auf Wiedersehen Pet, Foyle’s War, Midsomer Murders, Hans Christian Andersen, I Saw You, Armadillo, Kavanagh QC, Keeping Mum, A Dance to the Music of Time, Casualty, Harry Enfield and Chums, Holding On, Moll Flanders, Honey for Tea, A Touch of Frost (seven series), Middlemarch, Riders, Growing Rich, Covington Cross, Chancer.

Radio includes Barcelona Bird, If I Should Go Away, Mrs Henderson’s Christmas Party, Still Life, The Golden Pavements, The Swish of the Curtain, Westwood.

Films include A Woman of the North, The Madness of King George, Lady Godiva: Back in the Saddle, Tom’s Christmas Tree.

Trained at Central School of Speech and Drama.

PENELOPE KEITH Mrs St Maugham Previously at Chichester: Lady Wishfort in The Way of the World, Grace in Entertaining Angels, Mistress Ford in The Merry Wives of Windsor, title role in Miranda and Orinthia in The Apple Cart (Festival Theatre), Mrs Patrick Campbell in Mrs Pat, Eleanor in Monsieur Amilcar and Barbara Pym: An Excellent Woman (Minerva Theatre).

Penelope Keith was High Sheriff of Surrey in 2002 – 2003. She is President of the Actors’ Benevolent Fund.

She was appointed Dame Commander of the British Empire in the New Year’s Honours 2014.

AMANDA ROOT Miss Madrigal Previously at Chichester Hester Collyer in The Deep Blue Sea (Festival Theatre).

Theatre includes Heather in Racing Demon (Theatre Royal Bath); Zhenya in Donkey Heart (Trafalgar Studios); Carol in The Herd (Bush Theatre); Bea in Jumpy (West End); Corinne in The Country (Arcola Theatre); Sarah in The Norman Conquests (The Old Vic and Broadway, Tony Award nomination for Best Performance by a Featured Actress in a Play); Polina in

Enemies, Edith in Conversations After a Burial and King Lear (Almeida); Nora in The Plough and the Stars (West Yorkshire Playhouse); Cleopatra in Caesar and Cleopatra (Greenwich Theatre). Roles with the RSC include Cressida in Troilus and Cressida, Rosaline in Love’s Labour’s Lost, Nina in The Seagull, Betty in Some Americans Abroad, Harriet in The Man of Mode, Lady Macbeth in Macbeth, Hermia in A Midsummer Night’s Dream, Juliet in Romeo and Juliet.

Television includes Patrick Melrose, Unforgotten, Poirot: Mrs McGinty’s Dead, The Impressionists, The Robinsons, Rose and Maloney, Love Again, Little Britain, Love on a Branch Line, Mortimer’s Law, Foyle’s War, Daniel Deronda, The Forsyte Saga, Anna Karenina, Breaking the Code, Big Cat, The Buddha of Suburbia, The House of Bernarda Alba, Mary Rose.

Film includes The Black Prince, The Iron Lady, Persuasion, Whatever Happened to Harold Smith, In the West, Jane Eyre.

Directorial credits include Blue Bird (Tabbard Theatre), Glorious (Frinton Summer Theatre).

Amanda is the Founder of the charity Talitha Arts (talitha.org.uk), building hope for the vulnerable and voiceless through creative arts.

VICTORIA WILLING Little Lady Theatre includes Mrs Shears in The Curious Incident of the Dog in the Night-Time (Gielgud Theatre); Tramp in Theatre of Blood (National Theatre); Spring Offensive (Omnibus Theatre, which she also wrote, nominated best writer Stage Debut Awards 2017); Mother in Here Lie the Remains of Mercy (Theatre Delicatessen).

Television includes Him & Her, The Inbetweeners, Doctors, Southcliffe, Casualty, Holby City, The Paradise, Lucky Man, Phone Shop, EastEnders.

Films include Daphne, The Inbetweeners Movie, Born Romantic, This Year’s Love, A Muppet Christmas Carol.

Comedy Improviser with The Comedy Store Players, Sprout, Improper.

Trained at The Drama Studio, London.

C R E AT I V E T E A M

NATASHA CHIVERS Lighting Designer Previously at Chichester The House They Grew Up In (Minerva Theatre).

Theatre includes Oedipus (Toneelgroep Amsterdam); The Duchess of Malfi (RSC); Hamlet and Oresteia (Almeida/West End); Belleville (Donmar Warehouse); Bad Roads (Royal Court); 1984 (West End and Broadway); Strapless (Royal Ballet); Sunset at the Villa Thalia and Statement of Regret (National Theatre); Happy Days (Sheffield Crucible); Green Snake (National Theatre of China); The Radicalisation of Bradley Manning (National Theatre of Wales); Macbeth (and Broadway), 27, The Wolves in the Walls and Home (National Theatre of Scotland); Sunday in the Park with George (West End).

Awards include Olivier Award nomination 2016 for Oresteia (White Light Award for Best Lighting Design); UK Theatre Award 2011 for Happy Days (Best Design); Olivier Award 2007 for Sunday in the Park with George (Best Lighting Design).

PENELOPE KEITH CAROLINE HARKER

SIMON HIGLETT Designer Also for Festival 2018 The Midnight Gang.

Previously at Chichester The Norman Conquests, Much Ado About Nothing/Love’s Labour’s Lost (and RSC Stratford and West End); Mrs Pat, Amadeus, Stevie (and Hampstead); The Resistible Rise of Arturo Ui, Singin’ in the Rain (and world tour); Rosencrantz and Guildenstern Are Dead, Yes Prime Minister, Collaboration/ Taking Sides, Nicholas Nickleby (all West End transfers); A Marvellous Year for Plums, The Grapes of Wrath, The Circle, The Ragged Trousered Philanthropists.

Current, recent and forthcoming designs Twelfth Night (RSC Stratford); An Ideal Husband (Vaudeville); Some Mothers Do ‘Ave ‘Em and Dr Jekyll and Mr Hyde (UK tours); Schoenberg in Hollywood (Boston Lyric Opera); Racing Demon (Bath); All Our Children (Jermyn Street); Chitty Chitty Bang Bang (West Yorkshire Playhouse and UK tour); Blithe Spirit with Angela Lansbury (West End and USA); Hobson’s Choice, Derren Brown’s Miracle (West End); Big The Musical.

Other highlights The Marriage of Figaro (Scottish Opera); The Rivals, Man and Boy, Hay Fever, Of Mice and Men, Amy’s View (West End);

Enemies, Whistling Psyche, The Earthly Paradise (Almeida); The Accidental Death of an Anarchist (Donmar); The Force of Change (Royal Court); The Merry Wives of Windsor (Stockholm); Haunted (NYC/Brits Off Broadway); Pygmalion (Old Vic); Singer, A Russian in the Woods, Thomas More (RSC); The Brothers Karamazov (Manchester Royal Exchange); To Kill a Mockingbird (West Yorkshire Playhouse); Mrs Warren’s Profession (Washington DC).

Simon designs for opera worldwide and is the recipient of the Manchester Theatre Award for Best Design (Wonderful Town); two TMA Best Design Awards (Elizabeth Rex, Three Sisters); Helen Hayes Best Design Award (Lady Windermere’s Fan) USA. CATHERINE JAYES Music Previously at Chichester Composer An Ideal Husband and Musical Director Oklahoma!

(Festival Theatre).

As Composer credits include A Christmas Carol and Great Expectations (RSC 2017/18); Jefferson’s Garden (Palace Theatre Watford), Far From The Madding Crowd (Watermill Newbury); Sleeping Beauty, Notes to Future Self, The Cherry Orchard, His Dark Materials, Hapgood and Uncle Vanya (Birmingham Rep); The Mandate (National Theatre); The Changeling, Macbeth, Cymbeline and The Duchess of Malfi (Cheek by Jowl); The Letter (Wyndham’s Theatre); Arcadia (Bristol Old Vic); Great Expectations (RSC); A Midsummer Night’s Dream, The Comedy of Errors, Troilus and Cressida, The Merry Wives of Windsor and many more productions at Regent’s Park Open Air Theatre.

As Musical Director, credits include The Color Purple (Bernard Jacobs, Broadway and US tour 2017/18); Merrily We Roll Along (Menier Chocolate Factory and Harold Pinter Theatre); She Loves Me, The Color Purple, Road Show and Torch Song Trilogy (Menier Chocolate Factory); Gypsy, High Society and Fiddler on the Roof (West Yorkshire Playhouse); Guys and Dolls and Sweet Charity (Sheffield Crucible); and many productions at Regent’s Park Open Air Theatre including The Pirates of Penzance, Kiss Me, Kate, High Society, The Boys From Syracuse (Olivier Award for Best Musical

Production) and The Boy Friend.

As Music Supervisor/Arranger for actor/ musicians Crazy for You (Watermill and tour 2017/18); The History Boys (tour 2014/15); Calamity Jane (Watermill and UK tour); Animal Farm (WYP); Merrily We Roll Along, Irma la Douce and Carmen (Watermill Newbury); Amadeus (Wilton’s Music Hall); Candide (Liverpool Everyman).

Recordings include The Card, The Color Purple.

Films include Stoker, Charlie and the Chocolate Factory and De-Lovely.

Catherine is an associate director of Cheek

by Jowl.

EMMA LAXTON Sound Designer Also for Festival 2018 random / generations, The Country Wife. Previously at Chichester Forty Years On (Festival Theatre), The House They Grew Up In (Minerva Theatre), Pitcairn (Minerva and UK tour).

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.

EMILY LING WILLIAMS Assistant Director Theatre as Director includes Lungs (extract) (Young Vic); as Assistant Director Out of Love, Black Mountain and How To Be A Kid (Paines Plough/Orange Tree Theatre/Theatr Clwyd); The Island Nation (Arcola Theatre).

Trained at RADA, studied Philosophy at UCL (BA) and is currently studying for an MSc in Comparative Political Thought at the School of Oriental and African Studies.

ALAN STRACHAN Director Previously at Chichester Entertaining Angels (Festival Theatre) and Mrs Pat (Minerva Theatre).

Recent credits include Glorious! (Duchess); Larkin with Women and The Promise (Orange AMANDA ROOT

Tree Theatre); The Letter (Wyndham’s); Absurd Person Singular (Garrick); Year of the Rat (West Yorkshire Playhouse); Three Days in May (Trafalgar Studios); How The Other Half Loves (Haymarket and tour).

He has worked extensively in London with a period as Associate Director at the Mermaid Theatre and over a decade as Artistic Director of the Greenwich Theatre. In the West End he has directed over thirty productions ranging from new plays to revivals and musical revue in work by writers including Shaw, Coward, Rattigan, Maugham, Tennessee Williams and Shakespeare.

In regional theatre he has worked at Birmingham Rep, Bristol Old Vic, West Yorkshire Playhouse and, most regularly, at the Stephen Joseph Theatre Scarborough. Overseas he has directed in Amsterdam, Copenhagen, Dublin and New York.

He has written Secret Dreams, a biography of Michael Redgrave and, with Sir Michael Codron, Putting It On, a survey of the producer’s career. His new book, Dark Star, a biography of Vivien Leigh, will be published this autumn.

He was born and educated in Scotland, first working in the theatre as an ASM at the original Byre Theatre, St Andrews. He and his wife now spend most of their time in remote rural Perthshire.

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

Theatre credits Winter, trade and Dutchman (Young Vic); Long Day’s Journey into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey and German Skerries (Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork Disney and Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot and Queen Coal (Sheffield Crucible); Henry V and Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler and Little Shop of Horrors (Salisbury Playhouse); Insignificance,

Much Ado About Nothing and Jumpy (Theatr Clwyd); Goodnight Mister Tom (Duke of York’s and tour); A Pacifist’s Guide to the War on Cancer, wonder.land, Emil and the Detectives and The Light Princess (National Theatre); The Rise and Shine of Comrade Fiasco, I’d Rather Goya Robbed Me... and Gruesome Playground Injuries (Gate Theatre); Albion (Bush); The Elephantom (New London Theatre and National Theatre); Our Big Land (New Wolsey Theatre, Ipswich and tour); Forever House (Drum Theatre, Plymouth); One Man, Two Guvnors (Theatre Royal Haymarket and international tour); Desire Under the Elms (Lyric Hammersmith); Run! A Sports Day Musical (Polka Theatre); Shivered (Southwark Playhouse); Island (National Theatre and tour) and Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

EVENTS

THE CHALK GARDEN PRE-SHOW TALK

Wednesday 9 May, 6pm Director Alan Strachan in conversation with Kate Mosse.

Tickets FREE but booking is essential.

A CHALK GARDENER’S QUESTION TIME

Saturday 2 June, 11am Festival Theatre Inspired by the setting of Enid Bagnold’s play and the geology of the South Downs, this talk with Annie Guilfoyle and an

expert panel from West Dean College offers an insight into getting the most out of a chalky soil.

POST-SHOW TALK

Thursday 7 June Stay after the performance to ask questions, meet company members and discover more about the play.

Tickets FREE

cft.org.uk/events

S TA F F

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

Chairman

Literary Associate Design Associate Casting Associate

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer 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 Anna Mould

LEAP Apprentice 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 Maddison English Sound Technician 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 Andrew Mills Stage Crew Charlotte Neville Head of Props Workshop Chris Perryman Deputy Head of Stage Megan Pickthorne Stage Apprentice Lewis Ramsay Lighting & Sound Apprentice Nathaniel Rhodes Transport &

Logistics Assistant Neil Rose Ernesto Ruiz-Mateo James Sharples Graham Taylor Emma Thomson Candice Weaver

Deputy Head of Sound Stage Crew Stage Crew Head of Lighting Sound Technician 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 Owen Collick Michaela Duffy Ellie Edwards Jen Elfverson Lottie Higlett Charlotte Innes Fiona McIntosh Naomi Overton Sophie Pring Gabby Salwyn-Smith Suzanne Skelton Sam Sullivan Loz Tait Gina Warnes Maisie Wilkins Melody Tatania Wood

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

WIGS Beau Bambi Brett Sonja Mohren Katie Oropallo Isabella Trevisol-Duff

Deputy Head of Wigs Head of Wigs Wigs Show Person Deputy Head of Wigs

Stage Door: Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Mia Kelly, Chris Monkton, Susan Welling (Supervisor) Ushers: Miranda Allemand, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, 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 Roger Keyworth 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 Murphy John Rank Malcolm and Angela Reid Christopher Marek Rencki Sandi Richmond-Swift John and Betsy Rimmer Robin Roads Philip Robinson John and Valerie Robinson Nigel and Viv Robson 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 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

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