The Country Wife digital programme | Chichester Festival Theatre | Festival 2018

THE COUNTRY WIFE

By William Wycherley

WELCOME

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to The Country Wife. We are delighted to present this new production of one of the quintessential plays of the Restoration era. Written over 300 years ago, the play has provoked audiences since it was first staged, and for many years was banned from both performance and print.

Now we introduce it to a new generation, with very different notions about relationships between men and women.

It’s a huge pleasure to welcome Jonathan Munby back to Chichester to direct.

His previous work for us includes the highly acclaimed King Lear (Festival 2017) with Ian McKellen, which transfers to the Noël Coward Theatre in London from July and will be broadcast by NT Live in cinemas across the UK and internationally in September.

Jonathan’s distinguished cast includes Susannah Fielding, who makes her Chichester debut as Margery Pinchwife; her theatre work includes The Beaux’ Stratagem (National Theatre) and Portia in The Merchant of Venice (RSC). Lex Shrapnel plays Horner; his previous work includes Romeo at Chichester in 2002 and Hotspur in Henry IV for the RSC (Evening Standard Most Promising Newcomer Award nomination).

There are more hugely contrasting plays to come in the Minerva season including two world premieres, which also look at relationships between men and women in very different historic periods and circumstances; The Meeting by Charlotte Jones, and The Watsons by Laura Wade.

We hope you will join us for those too.

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

Lydia Leonard Gerald Kyd 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.

WORLD PREMIERE 13 July – 11 August #TheMeeting

cft.org.uk

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/CFTbuddies. 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 COUNTRY WIFE

By William Wycherley

WILLIAM WYCHERLEY IMAGE COURTESY OF ALAMY

A RESTORATION COMEDY COURT AND COMEDY

Written in 1675, fifteen years after King Charles II came to the throne, The Country Wife illustrates the years of wild recklessness that followed the ‘restoration’ of the monarchy. It features, and was written for, elite bad boys who spent their money ‘upon daily new purchases of pleasure’ and their time making sexual conquests.

The ‘Restoration’, a title given to the return of the king to the English throne in 1660, and to the years of license that followed it, was the backlash to what had happened over the past twenty years. From 1642 to 1651 there had been a vicious civil war in England during which the king, Charles I, had been beheaded. Then, from 1649, the country had entered what later came to be called the ‘interregnum’ – the period between kings – and become a commonwealth. It had been ruled over by the austere Oliver Cromwell, a Puritan who had banned plays, maypole dancing, even Christmas. When the commonwealth had fallen in 1659 and royalists finally ‘restored’ the son of the king, Charles II, to the throne in 1660, they brought about a ‘restoration’ of pleasure.

As many English aristocrats and much of the gentry had spent the interregnum on the continent (as had Charles II himself), they returned to their native land and inherited wealth with years’ worth of missed fun to make up for. Their notions of a good time, however, had been shaped by the ideas and habits they had acquired abroad: wearing gorgeous clothes; putting women on stage in plays (only men and boys had performed in England before the interregnum); and practising ‘libertinism’ – which technically meant ‘freethinking’, but swiftly morphed into doing what one pleased sexually.

PORTRAIT OF KING CHARLES II BY GODFREY KNELLER, 1685 IMAGE COURTESY OF ALAMY

Modelling the aristocracy’s general excess was Charles II himself. His favourite courtiers were outrageous dissolutes like John Wilmot, Earl of Rochester, who deflowered virgins in order, he said, to teach them bedroom tricks for their later royal encounters. Rochester’s famously lewd poems about sex thrilled – and then, when they became too personal, enraged – the monarch. Others amongst Charles II’s entourage were George Etheridge and William Congreve, minor rakes and major playwrights, and William Wycherley, also a rake and a playwright, and author of The Country Wife.

So The Country Wife, which the eighteenth century critic Thomas Davies declared ‘a more

genuine representation of the loose manner, obscene language and dissolute practices of Charles the Second’s reign, than... any other play whatsoever’, reflects not just its author’s time, but his values, his social set, and his king.

Its triumphant libertine, Horner, is partly based on Rochester, partly on Wycherley himself, while its sexually-explicit comedy is for an audience on the same moral plane as the monarch (who, as legend had it, once joined in the dance of the cuckolds at the play’s conclusion). With its subjects of libertinism, decadence and hypocrisy, The Country Wife is not a critical comment on Restoration society: it is a celebration of it.

EVENING PARTY - TIME OF CHARLES II IMAGE COURTESY OF GETTY IMAGES

SEX AND SUBJECTION

Though the ‘country wife’ is Margery Pinchwife, the title of the play shows its real subjects: it is about ‘wives’, or, rather, marriage, on the one hand; and male sexual interests – ‘country’ is a double entendre – on the other. Horner is so-called because he is primed for sexual encounters and because he cuckolds (puts horns on the head of) men by sleeping with their wives. Pinchwife’s name indicates his past history of pinching (taking) the wives of others; his present concern that someone will now pinch (take) his wife; and his readiness to pinch (hurt) his wife when he suspects her fidelity.

Harcourt’s name shows that he is ‘hard’

to court, another double entendre. The play’s story, encoded in title and names, is about women on the one hand, and male abuse of them – and also male abuse of other men because of them – on the other.

The women who feature in the play are often victims, though they are also often libertine and carnal. Margery, the country wife, is imprisoned by her violent husband, Pinchwife, who, in one of his regular bursts of rage, threatens to etch ‘whore’ on her forehead with his penknife. Lady Fidget, the city wife, is trapped in a loveless marriage to Sir Jaspar Fidget, who gleefully stokes her sexual frustration by making her keep company with, CUCKOLD

he thinks, a ‘eunuch’ (in this instance, ‘impotence’). Alithea, the town wife-to-be, is engaged to Sparkish, who only cares that she is seen in public to be his conquest.

It is Horner, a predatory, amoral libertine, who calls himself a ‘Machiavel in love’, who services most of the play’s neglected women.

His notion that ‘she that shows an aversion to me loves the sport’ ought to make uncomfortable listening. Yet Horner is not just the play’s hero, but the person with whom the audience is asked to identify. He speaks the first and last words of the play; reveals to us the secret that he keeps from all his friends; and repeatedly gets away with his outrageous stratagem.

ILLNESS AND CURE

Abandoned pleasure has consequences, of course, and Wycherley recognised that his society was sick. All his characters are obsessed by illness. To Lucy, ‘honour’ is a ‘disease in the head, like the megrim, or falling sickness’; to Pinchwife, wives and sisters are ‘plagues’. Even love itself is described as an infection. Margery laments having acquired ‘the London disease they call love’; and Horner terms love a ‘damned malady’ and a ‘distemper’. Of all the illnesses referred

to in the play, however, none appears so regularly as the one that Horner claims to have: the ‘French’ (because anything associated with sexual promiscuity was blamed on France) or ‘great’ pox, syphilis.

When Horner explains to Quack that he wants to be thought impotent – it is, perversely, so that he will have access to more women. He further wants it rumoured that he took a cure in France – hence the references to his return from there – that was botched. His ‘antidote for the future’, impotence, is supposedly the result of a treatment for syphilis that went wrong.

Most syphilis ‘cures’ at the time involved taking mercury. This was sometimes drunk in wine, sometimes rubbed into wounds in an ointment, and sometimes absorbed into the skin through a mercury-infused steam bath. Yet what mercury might do to the body was devastating. Monsieur de Blégny, whose book New and Curious Observations on the Art of Curing the Venereal Disease was translated into English a year after The Country Wife, writes of cures that might enhance or cause ‘the Rottenness of Bones’, ‘the Consumption of Flesh... by... profound Ulcers’, and ‘the Relaxation and weakness of the Spermatick Vessels’. Many books on the disease repeat the common saying ‘mercury cures the pox,

THE MARTYRDOM OF MERCURY. THE SCOURGE OF VENUS AND MERCURY, REPRESENTED IN A TREATISE OF THE VENEREAL DISEASE

but what cures mercury?’ The effects of bad cures were visible all around London. William Davenant, another playwright – and one who made a claim to be Shakespeare’s illegitimate son – had his nose fall away during a mercury cure: he, famously, wore a silver nose replacement. So when, in the play, Sir Jaspar Fidget learns of Horner’s impotence and responds ‘Ha, ha, ha! Mercury, mercury’ he is poking fun at what he believes to be the devastating source of Horner’s problem.

Perhaps The Country Wife, for which ‘a pox!’ is a casual exclamation – used by Dorilant, Harcourt, Pinchwife and Sparkish as well as Horner – is hinting at a deeper sterility in its characters. Most do not feel tenderness or love; Horner, though exuberant in his wit, does not clearly experience sexual pleasure – he complains that old mistresses are ‘insatiable’, and often describes servicing women as one of the burdensome duties of a lothario.

Alternatively, the play may be darkly hinting that Horner’s behaviour must result, one day, in the disease he pretends to have had (just as syphilis was to kill off Rochester at the age of 33).

ABOVE: THEATRE ROYAL, DRURY LANE, 1675 RIGHT: THE FIRST EDITION OF THE COUNTRY WIFE

THEATRE AND REALITY

The County Wife was written for the Theatre Royal, Drury Lane in 1675 and was designed to get the most out of the space. The theatre had just been rebuilt to a new design by Sir Christopher Wren and featured the latest in stage technology: a decorated proscenium arch behind which was a ‘scenic stage’ with three sets of grooves for painted ‘flats’. Together with decorated backdrops, flats enabled the change of scene from one place to another. Wycherley makes pointed use, in the play, of five such ‘scenes’: a room in Horner’s lodgings, a room in Pinchwife’s lodgings, a bedchamber in Pinchwife’s lodgings, and two outdoor venues, the New Exchange on The Strand and by the piazza of Covent Garden. So the play with ‘country’ in its title is situated firmly in the very city, London, in which it is being staged. All its interiors are male spaces, and Pinchwife’s and Horner’s spaces are repeatedly compared, pitting a married man against the man who wants to cuckold him.

Wycherley also made good, symbolic, use of the downstage left and right doors. Whenever Pinchwife locks Margery up as he leaves his house, he secures her behind a stage door – meaning that when Horner, in his house, also locks Margery up, he either places her behind exactly the same stage door or behind its ABOVE LEFT: NELL GWYN ABOVE RIGHT: BARBARA VILLIERS IMAGES COURTESY OF ALAMY

opposite mirror-image. Either way, staging will have underlined the point that whatever Margery does leads to her being ‘imprisoned’ by the men who desire her.

Knowledgeable about actors, Wycherley wrote with a keen eye to casting. The play, put on by the popular King’s Company, featured actors he had employed before. Charles Hart, who played Horner, and Edward Kynaston, who played Harcourt, had been respectively a libertine and a romantic in Wycherley’s earlier play, Love in a Wood, so their characters’ natures will have been clear to the audience from the start. Michael Mohun, known for his vicious Volpone and Iago, will have ensured Pinchwife was always understood to be a villain. Elizabeth Boutell, who played Margery, was famous for her general attractions and her ‘breeches’ roles: this explains why, in the play, Pinchwife gratuitously ‘disguises’ her as ‘little Sir James’. Elizabeth Knepp was, said her husband, all ‘rump and spirit’: she was a natural for the sexually keen and knowing Lady Fidget.

A further connection, though, between theatre and real life was, unsurprisingly, sex itself. Both Charles Hart (Horner) and Charles II had had Nell Gwyn, the actress, as a mistress; both Wycherley and Charles II made a mistress of Barbara Villiers, Duchess of Cleveland. In the fact and fiction of the Restoration, certain

available women, regardless of rank, were part of the social world of male exchanges. But, as The Country Wife also shows, the libertine men, mostly of one rank, who chose to ‘lie with’ such women, did not necessarily like them: Horner explains his intention to ‘converse with’ (meaning talk to, but also have sex with) women because he wants to ‘laugh at ’em and use ’em ill’.

THE COUNTRY WIFE TODAY

In 2018, we inevitably view Wycherley’s work through a very different lens to that of his late seventeenth-century audience. Modern audiences may see clear parallels to prevailing attitudes in our own society.

What surely holds true over the centuries is Wycherley’s provocative linguistic energy and fizzing wit. We laugh because his deeply flawed characters are equally obsessed with sex, fearful of being rejected, vain and greedy, landing them in outlandishly comical situations.

At what cost does Horner achieve his aims?

Seemingly triumphant, he has deceived even his closest friends and must continue to live a lie in a society that will shun him as a ‘eunuch’.

His rampant desire for sexual conquest, despite feeling no satisfaction when actually doing the deed, would suggest that in modern terms Horner is a sex addict. (A contemporary #METOO

parallel might be Michael Fassbender’s character in the film Shame who, as director Steve McQueen says, ‘imprisons himself through sexual activity’.) He ends the play completely alone.

On the other hand, the ‘Virtuous Gang’ Lady Fidget, Dainty and Squeamish - manage to keep their honour, marriages and reputation intact, while simultaneously satisfying their sexual desires by happily agreeing to share Horner between them. Do their actions proffer a more nuanced, progressive attitude towards sexual liberation?

Have human instincts and desires really changed? Is it hypocrisy to find the play’s attitudes reprehensible? Or, with the contemporary, passionate debate about societal morality and #MeToo, is the net truly closing in on the Weinsteins and Horners of the world?

In exploring and interrogating the play anew, we look forward to finding out.

TIFFANY STERN

Tiffany Stern is Professor of Shakespeare and Early Modern Drama at The Shakespeare Institute, University of Birmingham.

THE COUNTRY WIFE

By William Wycherley CAST (in order of appearance) Horner Quack Boy Sir Jaspar Fidget Lady Fidget Dainty Fidget Harcourt Dorilant Sparkish Pinchwife Margery Pinchwife Alithea Squeamish Lucy, Alithea’s Maid

Lex Shrapnel Tom Kanji Jack North Michael Elwyn Belinda Lang Robin Weaver Ashley Zhangazha Harry Lawtey Scott Karim John Hodgkinson Susannah Fielding Jo Herbert Natasha Magigi Charlotte Mills

Other parts played by members of the company.

The play is set in London.

There will be one interval of twenty minutes.

First performance of this production of The Country Wife at the Festival Theatre, Chichester, 8 June 2018.

Jonathan Munby Soutra Gilmour Richard Howell Grant Olding Emma Laxton Charlotte Broom Amy Ball

Director Designer Lighting Designer Music Sound Designer Movement Director Casting Director Voice and Dialect Coach Costume Supervisor Props Supervisor Hair, Wigs and Make-up Supervisor Assistant Director Fight Director

Charmian Hoare Binnie Bowerman Marcus Hall Props Matt George Martin Leonard Terry King

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

Cath Bates Lou Bann Francesca Finney Greg Sharman Megan Pickthorne

Additional Song Lyrics from the poem The Imperfect Enjoyment by John Wilmot, 2nd Earl of Rochester.

Production credits: Set built by Simon York at Miraculous Engineering; Scenic painting by Kerry Jarrett; Mural Artwork designed

by Vic Lee; Transport by Paul Mathew Transport; Production Carpenter Eddie Crowther; Made-to-measure suits by Academy Costumes; Wigs made and supplied by The Big Wig Company; Props made and supplied by Marcus Hall Props Workshop and CFT Props Workshop; Upholstery by Paul Harding; Coffee machine courtesy of Caper & Berry; Glasshill Studios for rehearsal rooms.

Thanks to Giles Block for text work, Tiffany Stern for historical context, Martin Hutson, Clemmie Sveaas and Christopher Akrill.

Rehearsal and production photographs Manuel Harlan Programme design Davina Chung Supported by The Country Wife Commissioning Circle: His Honour Michael Baker, Philip Berry, Mrs Veronica J Dukes, Themy Hamilton, Mr and Mrs C Hindson, Freda James, Delphine Star, Howard M Thompson, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#TheCountryWife

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

BIOGRAPHIES

MICHAEL ELWYN Sir Jaspar Fidget Theatre includes Ruddy in Network, Mr Dodd in The Red Barn and Cyril Horsham in Waste (National Theatre); Sir Anthony Eden in The Audience (Broadway and Gielgud Theatre); Llewelyn Wyn Griffith in Mametz (National Theatre Wales); Leonato in Much Ado About Nothing (The Old Vic); Chebutykin in Three Sisters, Sir Francis Chesney in Charley’s Aunt and Venables in What Every Woman Knows (Manchester Royal Exchange); Sir Johnstone Kentley in Rope (Almeida); John in The Long Road (Synergy / Soho Theatre); Hallam Matthews in A Penny for a Song, Dorn

in The Seagull and Wilmot in The Woman Hater (Orange Tree Theatre); Blessington in The Solid Gold Cadillac (Garrick Theatre); Edward in Revelations (Hampstead Theatre); Wilberforce in Darwin in Malibu (Birmingham Rep); Harry Hyman in Broken Glass (West Yorkshire Playhouse); Arthur Gerard in Strangers on a Train (UK tour); Ulysses in Troilus and Cressida, Theseus in A Midsummer Night’s Dream and Lafew in All’s Well That Ends Well (Regent’s Park Open Air Theatre), and the title role in Macbeth (Liverpool Playhouse).

Television includes Stella, Will, Da Vinci’s Demons, The Syndicate, EastEnders, The Tudors, Foyle’s War, Small Island, U Be Dead,

CHARLOTTE MILLS JACK NORTH ASHLEY ZHANGAZHA TOM KANJI JOHN HODGKINSON HARRY LAWTEY SCOTT KARIM MICHAEL ELWYN JO HERBERT BELINDA LANG

LEX SHRAPNEL ROBIN WEAVER

10 Days to War, Into the Storm, Robin Hood, The Bill, Suez, Sharpe’s Challenge, Midsomer Murders, Most Mysterious Murders, The Queen’s Sister, Dirty Filthy Love, The Brief, Byron, Daniel Deronda, Bertie and Elizabeth, Micawber, Border Café, North Square, This Life, No Bananas.

Films include My Dinner with Hervé, The Iron Lady, 7Lives, Surveillance, Shadowman, Crimestrike, Half Moon Street, The French Lieutenant’s Woman, A Touch of Class, Decline and Fall.

SUSANNAH FIELDING Margery Pinchwife Theatre includes Isobel in Bull (Young Vic); Mrs Sullen in The Beaux’ Stratagem, The Hour We Knew Nothing of Each Other, Hero in Much Ado About Nothing, Polya in Philistines and Rosa in The Rose Tattoo (National Theatre); Portia in The Merchant of Venice (RSC & Almeida Theatre, winner Ian Charleson Award); Evelyn in American Psycho (Almeida); Hermia in A Midsummer Night’s Dream (Noël Coward Theatre); Imogen Parrot in Trelawny of the ‘Wells’ (Donmar Warehouse); Lady Teazle in The School for Scandal (Theatre Royal Bath); Kim in All New People (West End); Petra in

SUSANNAH FIELDING JO HERBERT SCOTT KARIM MICHAEL ELWYN

An Enemy of the People (Sheffield Crucible, Ian Charleson Award nomination).

Television includes This Time with Alan Partridge, High and Dry, Silent Witness, The Great Indoors, Black Mirror, I Want My Wife Back, Catastrophe, Lovesick, Death in Paradise, The C Word, Boomers, The Great Fire, Drifters, Father Brown, The Job Lot, A Nice Arrangement, Uncle, Pramface, Jo, Pete versus Life, The Paul Andrew Williams Show, Midsomer Murders, Doctor Who, Filth, Wallander.

Films include The Knot, Kill Keith, 4-3-2-1, Cosi, She Stoops to Conquer and the shorts The Batsman and the Ballerina, Watching.

JO HERBERT Alithea Previously at Chichester Food Seller/Sister Claire in Cyrano de Bergerac (Festival Theatre), Ethel Bartlett in For Services Rendered (Minerva Theatre).

Theatre includes Marya in Wild Honey and Juliet in Hello/Goodbye (Hampstead Theatre); Rose in Three Winters (National Theatre); Sarah in East of Berlin (Southwark Playhouse); Heloise in Eternal Love (ETT/Shakespeare’s Globe); Miss Prosperine in Candida (Theatre Royal Bath); Lady Amaranth in Wild Oats (Bristol Old Vic); title role in Anne Boleyn (Shakespeare’s Globe and tour); Caroline in Room Service Included (The Mill at Sonning); Rosalind in As You Like It (Shakespeare’s Globe); Lisette in The Game of Love and Chance and Una in Blackbird (Salisbury Playhouse); Adriana in The Comedy of Errors and Gwendolyn in The Importance of Being Earnest (Regent’s Park Open Air Theatre); Helena in The Fairy Queen (international tour).

Television includes Unforgotten, Loaded, Josh, The Crown, Home Fires, Casualty 1909, Lewis.

Trained at RADA. JOHN HODGKINSON Pinchwife Previously at Chichester Don Pedro/Don Armado in Much Ado About Nothing/Love’s Labour’s Lost (and Theatre Royal Haymarket and Manchester Opera House), The Husbands in The Visit, William in London Assurance (Festival Theatre), Yanni in Aristo, Dull in Love’s Labour’s Lost (Minerva Theatre).

Theatre includes Sir Toby Belch in Twelfth Night and Mr Fezziwig in A Christmas Carol (RSC Stratford-upon-Avon); Tom Kettle in The Ferryman (Royal Court Theatre and Gielgud Theatre, Olivier Award nomination for Best Actor in a Supporting Role); Pierrepoint in Hangmen (Royal Court and Wyndhams); Orson Welles in Orson’s Shadow (Southwark Playhouse); Charles II in The Libertine (Glasgow Citizens); Sainsbury in Donkeys’ Years (Rose Theatre Kingston); Nidge in Unscorched (Finborough); The Performer in White Rabbit Red Rabbit (Live Theatre); Chris Mullin in A Walk On Part (Live Theatre, Soho Theatre and Arts Theatre, Journal Award for Performing Artist of the Year); Autolycus/Antigonus in The Winter’s Tale (Headlong); Asriel in His Dark Materials, Gordon in Neville’s Island, Kerner in Hapgood, Astrov in Uncle Vanya (Birmingham Rep); Man in Absurdia, Woodenshoes in The Front Page (Donmar Warehouse); Petruchio in The Taming of the Shrew, Bottom in A Midsummer Night’s Dream (Regent’s Park Open Air Theatre); Bernard Nightingale in Arcadia (Bristol Old Vic and Birmingham Rep).

Television includes Rillington Place, Victoria, Witless, The Increasingly Poor Decisions of Todd Margaret, The Escape Artist, Whitechapel, Big Bad World, Silk, Holby City, Criminal Justice, Heartbeat, Broken News, Brief Encounters, Doctors, My Family, Peep Show, EastEnders, Lee Evans – So What Now?, Chambers, Kiss Me, Kate, People Like Us, Pure Wickedness, Boyz Unlimited.

Radio includes The Physicists.

Films include Heart of Lightness, Leave to Remain, Skyfall, Thunderpants, Firelight.

TOM KANJI Quack Theatre includes The Taming of the Shrew (Actors from the London Stage US tour); Fiddler on the Roof, Romeo and Juliet, The Story Giant and The Sum (Liverpool Everyman); Romeo and Juliet, Antony and Cleopatra and Much Ado About Nothing (Hollywood Bowl and Barbican/ Shakespeare’s Globe/LA Philharmonic/BBC Symphony Orchestra); The Winter’s Tale, Pericles, Romeo and Juliet, Julius Caesar and Doctor Scoggy’s War (Shakespeare’s Globe, Sam Wanamaker Playhouse and tours);

JOHN HODGKINSON AND COMPANY ROBIN WEAVER BELINDA LANG

Eternal Love (Shakespeare’s Globe/ETT/tour); Cadfael in The Virgin in the Ice (Middle Ground Theatre tour); A Russian Play (Lion and Unicorn); Twelfth Night (Ludlow Festival); Hamlet (Northern Broadsides tour); Othello and The Importance of Being Earnest (RMS QM2/RADA); Wild Horses (Theatre503); Back of the Throat (Old Red Lion); The Girl, the Oil Pipe and the Murder in the Forum and The Tempest (Tara Arts and tours); Prints of Denmark (Edinburgh Fringe/Mixed Company); Les Liaisons Dangereuses (New Vic Stoke); Indian Ink (Salisbury Playhouse).

Television includes Tyrant, Silent Witness, Hustle, Midnight Man, Saddam’s Tribe.

Trained at RADA. SCOTT KARIM Sparkish Theatre includes Young Marx (The Bridge Theatre); Food (Finborough Theatre); Imogen and The Merchant of Venice (The Globe); King Lear (Royal & Derngate/ATG); Brave New World (Royal & Derngate Northampton/Touring Consortium); The Invisible (The Bush); Dara, Great Britain and Othello (National Theatre); Ladybird (Secret/Heart).

Television includes Crazy Diamond ‘Electric Dreams: The World of Philip K Dick’, Britannia, Holby City.

Films include White Girl.

Trained at RADA. BELINDA LANG Lady Fidget Previously at Chichester Ruth Condomine in Blithe Spirit (Festival Theatre).

Recent theatre credits include Humble Boy (Orange Tree Theatre); Duet For One (national tour); Oklahoma! (BBC Proms, Royal Albert Hall); Single Spies (national tour); The Constant Wife (Gate, Dublin); The Glass Menagerie (Nuffield Southampton). Other theatre credits include The Letter of Last Resort (Tricycle/Traverse Edinburgh); Liberty (Globe); The School For Scandal (Park Theatre); The Killing of Sister George (Arts Theatre); Hay Fever (Haymarket Theatre and Royal Exchange); Forgotten Voices (Riverside Studios); Ring Round The Moon (Playhouse Theatre); The Secret Rapture (Lyric Theatre); What The Butler Saw (Hampstead

Theatre/Criterion); Life x 3 and Dead Funny (Savoy Theatre); My Boy Jack (Hampstead Theatre); Things We Do For Love (Duchess Theatre); The Dark River, Three Sisters Two (Orange Tree); Lulu (Almeida); and Mrs Klein (Apollo).

For her company Haig Lang Productions she has done national tours of My Boy Jack and Private Lives. Other tours include Ladies in Lavender, A Song at Twilight, The Chalk Garden and Alarms and Excursions.

On television her leading roles include Bill in 2 Point 4 Children, Agatha Troy in The Inspector Alleyn Mysteries, Christine Hamilton in Justice in Wonderland, Martha Brett in The Bretts, Kate in Dear John and Beth in To Serve Them All My Days.

Her work as a director includes national tours of Present Laughter, The Reluctant Debutante and This Was a Man at the Finborough Theatre.

HARRY LAWTEY Dorilant Theatre includes Pete in Some Voices and Weisner in Naked Not Nude (Drama Centre London); Laertes in Hamlet and Billy Flynn in Chicago (Hurtwood House); Vershinin in Three Sisters (Cranleigh Arts Centre).

Television includes Marcella, Chuggington, Casualty, Wizards vs Aliens.

Radio includes Buddenbrooks, Oliver Twist.

Films include City of Tiny Lights, Molly Moon and the Incredible Book of Hypnotism, Harry Potter and the Deathly Hallows.

He appeared in music videos for Sam Smith ‘Too Good at Goodbyes’ and Loudmouth Machine ‘Shades of Blue’.

Trained at Sylvia Young Theatre School and Drama Centre London.

NATASHA MAGIGI Squeamish Theatre includes Lady Plymdale in Lady Windermere’s Fan (Classic Spring/Vaudeville Theatre); Vimbai Mutloase in Twistove (Teatro Vivi/Dash Arts); Gemma Kapito in Operation Black Antler (Blast Theory/Hydrocracker at HOME and Brighton Festival); Fairy Godmother/ Baroness in Cinderella (Lawrence Batley Theatre); Sabrina/Monstrous Rout in Comus

LEX SHRAPNEL CHARLOTTE MILLS JO HERBERT NATASHA MAGIGI

(Sam Wanamaker Playhouse); Maria in Twelfth Night, Hero in Much Ado About Nothing, Shakespeare Within the Abbey and Globe Sonnet Walks (Shakespeare’s Globe); Nurse/ Neighbour in A Streetcar Named Desire (Curve Theatre Leicester); Juliet in Redefining Juliet (Barbican); Calpurnia in To Kill a Mockingbird (Regent’s Park Open Air Theatre, tour and Barbican); Sandy/Robot 1 in Mr and Mrs Moon (Oily Cart tour); Rapunzel/Else/Cat in The Hunters Grimm and Queen of Hearts/Mock Turtle in Adventures in Wonderland (Teatro Vivo/ Watermill Theatre); Sandra in Cissie and Ada (Cutting the Strings tour); Beatrice in Much Ado About Nothing (Infinite Jest); Miranda/Phoebe in After the Tempest and Jo-ann Reed in Supermarket Shakespeare (Teatro Vivo); Briar Rose/The Queen/Nanna Janine in Sleeping Beauty (West Yorkshire Playhouse); Adelpha/ Scylla in The Odyssey (Teatro Vivo/Albany Deptford); Nonkosi in Elegies for Angels, Punks and Raging Queens (Shaw Theatre); Fatima/ Yasmin/Rachel in Headlines and Sancho Panza in Man of La Mancha (BAC); Myself in If I Walk Through This Door Will I Find Heaven... (Aorta Theatre Collective); Bella’s Gate Boy (Yvonne Brewster); Witness in Monument for a Witness (London Theatre of Imagination); Kirsten in Lie Back in Anger (Union Theatre); Juliet in Romeo and Juliet (Manor House Gardens); Cherry in Così (Bridewell Theatre).

Television includes Care Less, Redefining Juliet, Channel 4 Mash Ups, Doctors, Afterlife, Action Lady, Casualty.

Radio includes Mandida’s Shoes, The Today Show: Man Booker Prize Nominees.

Films include The System: Caught Up in the Mix and the short Treatment.

CHARLOTTE MILLS Lucy Theatre includes Angela in Abigail’s Party and Suzanne in Thérèse Raquin (Theatre Royal Bath); Dogberry in Much Ado About Nothing, Launce in The Two Gentlemen of Verona and Queen Mary in Gabriel (Shakespeare’s Globe); Princess Scintillata in Merlin (Royal & Derngate Northampton); Tink in Wendy and Peter Pan and Mopsa in The Winter’s Tale (RSC); Tanya in Jerusalem (West End, Music Box Theatre NY and Royal Court Theatre); Honoria Glossop

in By Jeeves (Landor Theatre); Barbara in Billy Liar (West Yorkshire Playhouse); Charlotte in 24 Hour Plays (The Old Vic); Suzy in Theatre EP (HighTide/Latitude Festival); Bertha Kantz in Paradise Lost (Southwark Playhouse).

Television includes The Moorside Project, Doctor Thorne, Agatha Raisin, The Bastard Executioner.

Trained at Oxford School of Drama.

JACK NORTH Boy Previously at Chichester Little Rock in Gypsy (Festival Theatre) and Tom Thumb in Barnum (Theatre on the Park).

Theatre includes Pinocchio (National Theatre); Heathers (The Other Palace); Dudley/ Karl in Harry Potter and the Cursed Child (original London cast, Palace Theatre); Tobias in Sweeney Todd (ENO); Kiss Me, Kate (Royal Albert Hall); Satyr in The Lion, the Witch and the Wardrobe (Kensington Gardens).

Television includes Casting Shadows, BBC Proms.

Films include Breathe.

LEX SHRAPNEL Horner Previously at Chichester Romeo in Romeo and Juliet (Festival Theatre).

Theatre includes V in The Intelligent Homosexual’s Guide to Capitalism and Socialism… (Hampstead Theatre); B1/B2/ Michael in A Number (Young Vic and Nuffield Theatre Southampton); Lovborg in Hedda Gabler (Royal & Derngate Theatre Northampton); Freddy Page in The Deep Blue Sea and Biff Loman in Death of a Salesman (West Yorkshire Playhouse); Billy Corman in Serious Money and Laertes in Romeo and Juliet (Birmingham Rep); Michael Williams in Henry V, Hotspur in Henry IV Part 1 (Evening Standard Award nomination for Outstanding Newcomer), Harry Percy in Richard II, Richmond in Richard III, Son/ Richmond in Henry VI Part 3, John Talbot’s Ghost in Henry VI Part 2 and John Talbot in Henry VI Part 1 (Ian Charleson Award commendation) (RSC); King of France in King Lear (Almeida).

Television includes Prime Suspect 1973, Medici: Masters of Florence, Houdini and Doyle, Crossing Lines, AD The Bible Continues, Sons

ROBIN WEAVER BELINDA LANG CHARLOTTE MILLS LEX SHRAPNEL NATASHA MAGIGI JO HERBERT ASHLEY ZHANGAZHA SCOTT KARIM

of Liberty, Transporter, The Assets, Midsomer Murders, By Any Means, Casualty, The Men Who Won the West, Endeavour, The Poison Tree, Hunted, Holby City, Minder (Cult TV Breakthough Performer Award), The Last Detective, Sharpe’s Challenge, Beneath the Skin.

Radio includes Dead Girls Tell No Tales, The Archers.

Films include Extinction, Grimsby, Strange Weather (short), Christmas Eve, Seal Team Eight, OXI, Captain America: The First Avenger, Emulsion, An Organisation of Dreams, Flyboys, Minotaur, Breakfast on Pluto, Thunderbirds, Nine Lives, K-19 The Widowmaker, Tonto Woman (short).

ROBIN WEAVER Dainty Fidget Theatre includes Beached and Excuses (Soho Theatre); The Captain of Kopenick (National Theatre); Enemies (Almeida Theatre); A Day in the Death of Joe Egg (New Ambassadors, Comedy Theatre); Sea Life, Time and the Conways, Twelfth Night, A Small Family Business, Where’s Willy and Rag Doll (Bristol Old Vic); King Lear, Goodnight Children Everywhere and The Two Gentlemen of Verona (RSC); Emma (Palace Theatre Watford); The Herbal Bed (Duchess Theatre); The Rivals, Crimes of the Heart and Road (Royal Exchange Manchester); With Every Beat (West Yorkshire Playhouse); In the Summerhouse (Lyric Hammersmith); Twelfth Night (national tour); The Little Matchgirl (Orange Tree); The Real Thing, Daisy Pulls It Off and Wait Until Dark (Wolsey Theatre); Sienna Red (Peter Hall Company).

Television includes The Turning, Wanderlust, Hard Sun, Endeavour, Maigret, Call the Midwife, Count Arthur Strong, Black Mirror, Trollied, Lewis, Him and Her, Casualty, Twenty Twelve, Rev, The Thick of It, The Inbetweeners, My Family, Midsomer Murders, Family Man, FM, Broken News, Golden Hour, Green Wing, The Catherine Tate Show, Barking, Lenny Henry Sketch Show, Wild West, Cruise of the Gods, Happiness, Where’s Willy, Faith, The Bill, Dead Romantic, Love Hurts, The Chief, Boon, Skulduggery, Somewhere to Run, The Woman in Black, Rag Doll.

Radio includes The Mermaid of Zennor,

The Man Who Fell to Earth, The Other Simeon, Snap, The Little White Bird, Starry Eyes, Psyche, Katherine’s Last Weekend, Introducing Fagin, The Art of Success, The Ashes, Cartwright’s Pictures.

Films include The Inbetweeners, Last Chance Harvey, Magicians, The Muppet Christmas Carol.

ASHLEY ZHANGAZHA Harcourt Theatre includes Sky Masterson in Guys and Dolls (Manchester Theatre Award nomination for Best Actor) and Laertes in Hamlet (Manchester Royal Exchange); Lars Koch in Terror (Lyric Hammersmith); Richard in The Lottery of Love (Orange Tree Theatre); Jamie in Human Animals, Kunle in Belong and Truth and Reconciliation (Royal Court Theatre); Walter Lee Younger in A Raisin in the Sun (Sheffield Crucible); Ali in Image of an Unknown Young Woman (Gate Theatre); Arthur in Ah Wilderness (Young Vic); Jaffier in Venice Preserv’d (Spectators Guild); Chorus/Boy in Henry V (Michael Grandage Company/Noël Coward Theatre); Cory in Fences (Duchess Theatre and Theatre Royal Bath); Ross in Macbeth (Sheffield Crucible, Ian Charleson Award); Aumerle in Richard II and King of France in King Lear (Donmar Warehouse, Ian Charleson Award commendation); Legendre in Danton’s Death (National Theatre).

Television includes Victoria, Doctors, Humans, Ordinary Lies.

Radio includes Rasselas: Prince of Abyssinia.

Trained at Guildhall School of Music and Drama.

C R E AT I V E T E A M

AMY BALL Casting Director Amy is Head of Casting at the Royal Court Theatre where she casts all productions for the Theatre Upstairs and Downstairs.

Previous Royal Court credits include The Ferryman (also Gielgud), The Children, Escaped Alone (also tour), X, Cyprus Ave, Hangmen (also Wyndham’s), Linda, Liberian Girl, The Twits, Violence and Son, How To Hold Your Breath, Constellations (also Duke of York’s/Broadway), Jumpy, Posh, The River, Love and Information, In Basildon, Love, Love, Love, Choir Boy, Chicken Soup with Barley, Jerusalem (also Apollo), Sucker Punch, The Vertical Hour, Road.

Freelance work includes The Birthday Party, Who’s Afraid of Virginia Woolf? (Harold Pinter); Consent, Our Ladies of Perpetual Succour (National Theatre of Scotland/National Theatre/ UK Tour/Duke of York’s); Boy, Albion (Almeida Theatre); The Moderate Soprano (Hampstead Theatre); Uncle Vanya (Vaudeville); The JONATHAN MUNBY

Changeling, The Beauty Queen of Leenane (Young Vic); Design For Living (The Old Vic); A View from the Bridge (Duke of York’s).

CHARLOTTE BROOM Movement Director Theatre includes The Secret Theatre, Much Ado About Nothing, Richard II, The Lightning Child and Macbeth (Shakespeare’s Globe); The Sum, Twelfth Night and The Misanthrope (Liverpool Everyman and Playhouse); Nell Gwynn (ETT tour, Apollo Theatre and Shakespeare’s Globe); The Seagull and A Midsummer Night’s Dream (Regent’s Park Open Air Theatre); Love’s Sacrifice (RSC); Juno and the Paycock (Liverpool Playhouse and Bristol Old Vic); The Saints (Nuffield Theatre Southampton); Tim Key: A Work in Progress (Pleasance Dome Edinburgh).

Television includes Humans, So You think You Can Dance.

Charlotte’s dance career spanned twenty

years; she was Principal Dancer at Northern Ballet Theatre and Cullberg Ballet Sweden and appeared in numerous productions at Sadler’s Wells, Royal Opera House and in the West End. She is the co-founder of HeadSpaceDance, which won the Critics’ Circle National Dance Award for Best Independent Dance Company 2018.

SOUTRA GILMOUR Designer Theatre includes Strictly Ballroom, The Guards at the Taj (Bush Theatre); Knives and Hens, Piaf (Donmar Warehouse); My Brilliant Friend (Rose, Kingston); Wild Party (St James’s Theatre): Romeo and Juliet (Shakespeare’s Globe); Pitchfork Disney, Killer (Shoreditch Town Hall); Guys and Dolls (Royal Exchange); I See You, The Pride (Royal Court); Les Blancs, Twelfth Night, Strange Interlude, Morning to Midnight, Antigone (Evening Standard Award for Best Set Design), Moon on a Rainbow Shawl, Double Feature (Paint Frame), Shadow of A Boy (National Theatre); Cyrano de Bergerac (Roundabout NY, Tony nomination); Into The Woods (Open Air Theatre, NY); Merrily We Roll Along (Menier/West End/Huntington Theatre Boston); Bull (Young Vic/NY); Urinetown (St James’s & Apollo Theatre); The Duchess of Malfi (Old Vic); Reasons to Be Pretty (Almeida); Inadmissible Evidence (Evening Standard Award), Who’s Afraid of Virginia Woolf?

(Sheffield Crucible/Northern Stage); In a Forest Dark and Deep (Vaudeville Theatre); The Little Dog Laughed (Garrick Theatre); Three Days of Rain (Apollo Theatre); Hecuba, Candide, The Tragedy of Thomas Hobbes (RSC/Wilton’s Music Hall);The Lover and The Collection (Comedy Theatre, Olivier Award nomination); Our Friends in the North, Ruby Moon, Son of Man (Northern Stage); Last Easter (Bimingham Rep); Angels in America (Headlong/Lyric Hammersmith); The Birthday Party (Sheffield Crucible); The Caretaker (Sheffield Crucible and Tricycle, Evening Standard Award nomination); Hair, Witness (The Gate).

Opera includes Opera Shorts 2011/12, Quartett, Down By the Greenwood Side/Into the Little Hill (ROH); Anna Bolena, Don Giovanni, Cosi Fan Tutte, Mary Stuart (ETO); The Shops (Bregenz Festival); The Birds, Trouble In Tahiti

(The Opera Group); El Cimmarron (Queen Elizabeth Hall); Carmen, Saul, Hansel and Gretel (Opera North).

CHARMIAN HOARE Voice and Dialect Coach Also for Festival 18 Present Laughter. Previously at Chichester Fiddler on the Roof, Forty Years On, Mack & Mabel, A Marvellous Year for Plums, Arsenic and Old Lace, How to Succeed in Business Without Really Trying, Carousel, Babes in Arms, Twelfth Night, The Music Man, Separate Tables, Goodnight Mister Tom and Singin’ in the Rain (Festival Theatre); Quiz, Travels with My Aunt, Educating Rita, Taking Sides, Six Pictures of Lee Miller, In Praise of Love, Love Story and Top Girls (Minerva Theatre).

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

RICHARD HOWELL Lighting Designer Previously at Chichester Fred’s Diner, Playhouse Creatures and Blue Remembered Hills (Theatre on the Fly).

Theatre includes Coriolanus (RSC and Barbican); The Writer (Almeida Theatre); Jekyll and Hyde (The Old Vic); Glengarry Glen Ross and Bad Jews (West End); The Homecoming and East is East (Trafalgar Studios/Jamie Lloyd Company); Privacy (Donmar Warehouse and Public Theater New York); Breaking the Code, A Doll’s House and Little Shop of Horrors

(Manchester Royal Exchange); Labyrinth (Hampstead Theatre); The Wild Party (The Other Palace); The Glass Menagerie (Headlong UK tour); I See You (Royal Court Jerwood Theatre Upstairs); The Wizard of Oz and Playing for Time (Sheffield Crucible); The Grinning Man, The Crucible, The Life and Times of Fanny Hill and Snow Queen (Bristol Old Vic); The Madness of George III (Nottingham Playhouse); Cat on a Hot Tin Roof (Northampton Royal, Northern Stage and Manchester Royal Exchange); Plastic and 4000 Miles (Ustinov Bath); Guards at the Taj and The Invisible (Bush Theatre).

Dance and Opera include Project Polunin (Sadler’s Wells); Il Trittico, Madame Butterfly and La Fanciulla (Opera Holland Park); JOHN HODGKINSON SUSANNAH FIELDING

Flight (Scottish Opera); Madame Butterfly (Danish National Opera).

TERRY KING Fight Director Terry King has worked extensively as a fight arranger at all the major theatre companies in Britain as well as many operas, musicals, west end shows and television.

Previously at Chichester Neville’s Island, Kiss Me, Kate, Goodnight Mister Tom, The Life and Adventures of Nicholas Nickleby Parts I&II, Pravda, Carousel (Festival Theatre), The Country Girls, For Services Rendered, Taken at Midnight, The Resistible Rise of Arturo Ui, Canvas, South Downs / The Browning Version, Wallenstein,

The Last Cigarette, Macbeth (Minerva Theatre).

For the RSC Coriolanus, Julius Caesar, Macbeth, Othello, Romeo and Juliet, As You Like It, Henry VI Parts 1,2&3, Henry IV Parts 1&2, Hamlet, Pericles, Dunsinane, Cymbeline, Richard II, Richard III. For the National Theatre His Dark Materials, The Murderers, Fool For Love, Edmond, The Duchess of Malfi, King Lear, Elmina’s Kitchen, Scenes From the Big Picture, The White Guard, Three Winters, Henry V. Other theatre includes Porgy and Bess (Glyndebourne), Othello (WNO), Carmen (ENO), Don Carlos (ROH), Billy Elliot The Musical, Oliver, Jerry Springer The Opera, Lord of the Rings The Musical, Spend Spend Spend, Martin Guerre, Chitty Chitty Bang Bang, Zorro The Musical, Dirty Dancing The Musical, Sunny Afternoon, Shakespeare in Love, Fifteen Streets, An Inspector Calls, Festen, On an Average Day, Of Mice and Men, Private Lives, A View from the Bridge.

Television includes The Bill, EastEnders, Casualty, Fell Tiger, A Kind of Innocence, Fatal Inversion, Broken Glass, Scolds Bridal, The Mayor of Casterbridge, Rock Face, Blue Dove, The Widowing of Mrs Holroyd.

EMMA LAXTON Sound Designer Also for Festival 2018 The Chalk Garden, random/generations. 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.

MARTIN LEONARD Assistant Director Credits as Director include Dis/Connect and Rat’s Nests (Vault Festival), Fitting Room (Southwark Playhouse), Feckless and Just Google It (Rich Mix), Imaginary Playtime (LIT Theatre), The Visit (Greenwood Theatre), It’ll Be All Right on the Night (Union Theatre); as Codirector Pizzeria dall’Opera (Bush Theatre), The Caucasian Chalk Circle (Old Anatomy Lecture Theatre), Macbeth (Space Theatre); as Associate Director Persuasion (Theatre 6 on tour), Transform: Wanted (West Yorkshire Playhouse); as Assistant Director Boudica and All the Angels (Shakespeare’s Globe), Gabriel (Theatre 6 on tour), Kes, Great Expectations and Chitty Chitty Bang Bang (West Yorkshire Playhouse), Vernon God Little and 13 (Arts Educational School).

Martin is a Stage Director for Shakespeare Schools Festival and an Associate Director for the Descent New Writing Initiative, based at Rich Mix in London. He is also the Co-Founder of Vault Festival, an annual arts festival in the tunnels underneath Waterloo Station.

Trained at Birkbeck (MFA Theatre Directing).

JONATHAN MUNBY Director Previously at Chichester King Lear (transferring to the West End in July) and First Light (Minerva Theatre).

Theatre includes Frozen (Theatre Royal Haymarket); King Kong: Legend of a Boxer (Fugard Theatre South Africa); All the Angels, The Merchant of Venice, Antony and Cleopatra and A Midsummer Night’s Dream (Shakespeare’s Globe, WhatsOnStage nomination for Best Shakespearean Production); Wendy and Peter Pan, The Canterbury Tales and Madness in Valencia (RSC); Othello and Julius Caesar (Chicago Shakespeare Company); The Crucible (Cocoon Theatre Tokyo); A Human Being Died That Night (Fugard Theatre South Africa, Hampstead Theatre and BAM NY); Twelfth Night (UK Theatre Award Best Production); Company, The Comedy of Errors and Bird Calls (Sheffield Theatres); Thérèse Raquin (Theatre Royal Bath); Measure for Measure and The Dog in the Manger (Shakespeare Theatre Company Washington, Helen Hayes Award nomination for Most Outstanding Director); The Recommendation ABOVE: CHARLOTTE MILLS BELINDA LANG ROBIN WEAVER RIGHT: HARRY LAWTEY TOM KANJI

(Old Globe San Diego); The Winter’s Tale (Guthrie Theatre Minneapolis); ‘Tis Pity She’s a Whore (West Yorkshire Playhouse); The Prince of Homburg and Life is a Dream (Donmar Warehouse); A Number (Menier Chocolate Factory, WhatsOnStage Theatregoers Choice nomination for Best Regional and Best Off-West End Production); Serious Money (Birmingham Rep); The White Devil (Menier Chocolate Factory, WhatsOnStage Theatregoers Choice nomination for Best OffWest End Production); Henry V (Manchester Royal Exchange); Nakamitsu (Gate Theatre Notting Hill).

Opera includes Carmen (Opera Holland Park); Don Giovanni (English Touring Opera); Sweetness and Badness (WNO).

GRANT OLDING Composer Previously at Chichester Composer for Canvas and Wallenstein (Minerva Theatre).

Theatre scores include Young Marx (Bridge Theatre); One Man, Two Guvnors (National Theatre/Adelphi/Haymarket/Music Box Broadway/UK and international tours, Tony

nomination and Drama Desk Award for Best Score); Great Britain (National Theatre/ Haymarket); Saint George and the Dragon, A Small Family Business, Timon of Athens, Travelling Light, England People Very Nice, The Alchemist, The Man of Mode and Southwark Fair (National Theatre); The Hypocrite (RSC/Hull Truck); The Fantastic Follies of Mrs Rich, The Rover, Don Quixote (RSC); Oppenheimer (RSC/ Vaudeville); Breakfast at Tiffany’s (Curve Theatre Leicester/Theatre Royal Haymarket); Twelfth Night (Sheffield Crucible/ETT tour); Broken Glass (Tricycle/Vaudeville); The Good Person of Sichuan (Mercury Theatre Colchester); The 101 Dalmatians (Royal & Derngate Northampton); Salonika, Bollywood Jane and Sherlock Holmes: The Best Kept Secret (West Yorkshire Playhouse); James and the Giant Peach (Birmingham Stage Company UK tour).

Musical theatre credits include Three Sides (Bridewell/Finborough/45th Street Theatre NYC, New York Musical Theatre Festival Award for Best Score); Simply Cinderella (Curve Theatre Leicester); Robin Hood (Castle Theatre Wellingborough); Tracy Beaker Gets Real (Nottingham Playhouse/UK tour); Spittin’ Distance (Stephen Joseph Theatre/NT Studio); The Beggars Musical (Changeling Theatre).

Dance credits include Drunk (McConie Company/Curve/Bridewell); Jekyll & Hyde (McConie Company/The Old Vic) Television and film includes Saving Santa, A Christmas Carol Goes Wrong, The Pact, Upstart Crow, I Want My Wife Back, Marley’s Ghosts, The Dark Room, Arena: The National Theatre, Monsters Behind the Iron Curtain, The Bleak Old Shop of Stuff.

EVENTS

PRE-SHOW TALK

POST-SHOW TALK

Tuesday 12 June, 6pm Director Jonathan Munby in conversation with Kate Mosse.

Tickets FREE but booking is essential.

Wednesday 27 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 Shannon Hay Development Administrator Laura Jackson Individual Giving Manager William Mendelowitz Head of Major Gifts 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

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 Laura Bern 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 Behrens Sharp Hennings Wine Merchants Perry Property Advisors Richard & Stella Read The Bell Inn The J Leon Group

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

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