The Meeting digital programme| Chichester Festival Theatre | Festival 2018

THE MEETING A new play by Charlotte Jones

WELCOME

Welcome to the first world premiere play of Festival 2018.

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

The Meeting, written by the acclaimed writer Charlotte Jones, is inspired by, and made for, our region. We are delighted to be working with Charlotte, who is making her debut at Chichester. The play was informed by her own experience of a Quaker community in Sussex, and the result is a fascinating exploration of a rarely explored milieu. At its heart, the play requires sign language and we are indebted to the support we have had from the many professionals who have helped us along the way.

The director, Natalie Abrahami, also makes her debut at Chichester, and we welcome her most warmly. Her recent productions include Machinal at the Almeida Theatre and Queen Anne for the Royal Shakespeare Company.

Natalie has assembled a terrific cast including Lydia Leonard, who was most recently seen in Oslo at the National Theatre and the West End, and was nominated for a Tony Award for her role as Anne Boleyn in the RSC’s Wolf Hall and Bring Up The Bodies. Gerald Kyd’s many National Theatre credits include Three Winters, Children of the Sun and The Cherry Orchard. Jean St Clair recently won Best Actress for the second time at Clin d’Oeil, the major French Deaf Film festival, for Signs of an Affair which she also wrote.

Thank you for your all your support so far during Festival 2018. We have two contemporary dramas, Copenhagen and Cock, and the world premiere of The Watsons yet to come in the Minerva this season. We hope to see you back again soon.

Artistic Director Daniel Evans

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Executive Director Rachel Tackley

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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COMING SOON

K ETS C I T LY FAMI AIL ABLE AV

THE MIDNIGHT GANG

By David Walliams Adapted by Bryony Lavery Music & Lyrics by Joe Stilgoe WORLD PREMIERE 13 October – 3 November #TheMidnightGang

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TH E CAFÉ & THE FOYLE TERRACE The Café in the Festival Theatre is open daily from 10am serving freshly made sandwiches, soup, cakes and pastries. Enjoy our barista coffee or choose from a range of hot and cold drinks including wines and beers. The Café is light and airy and offers al fresco seating and free Wi-Fi. The Bar and The Foyle Terrace in the Festival Theatre are open 90 minutes before the show and both serve a selection of locally produced spirits, beers, lagers and wine by the glass or the bottle. The Foyle Terrace also serves pizzas, quiches, jacket potatoes and salads before the show.

The Brasserie in the Minerva Theatre is open for pre-show dining in new stylish and elegant surroundings. The restaurant serves a contemporary British menu using local and seasonal ingredients as well as an excellent choice of wines.

Open 12.30pm - 2.30pm on matinee days and from 5.30pm for evening performances.

Enjoy either a main meal or one of our lighter food options before or after the show in the Minerva Bar & Grill upstairs, which offers a more relaxed atmosphere. Open 90 minutes before matinee performances, from 5pm for evening performances, during the interval and post-show.

RESERVATIONS

To reserve a table in the Brasserie or Minerva Bar & Grill visit cft.org.uk/dining for online reservations. Alternatively please call 01243 782219 or email dining@cft.org.uk

THE MEETING A new play by Charlotte Jones

A VIEW ACROSS THE SOUTH DOWNS IMAGE COURTESY OF CAROLINE ASTON

A SUSSEX MEETING ‘The Meeting is very much my Sussex play,’ says playwright Charlotte Jones.

‘I started writing it not long after I’d moved here. Landscape is always very important to me; one of the things I found most beautiful were the flint walls and the chalky ground.

I could almost picture the Quaker meeting on a beach, sitting among the stones.’

Given that Charlotte has lived in Brighton for 14 years, a Sussex play is perhaps overdue.

But The Meeting has had a long gestation.

Landscape aside, its chief inspiration lay in the Quaker meetings that Charlotte attended for five years in the historic Friends Meeting House in Lewes, the county town of East Sussex.

‘My children were quite young and I was just craving a bit of silence,’ she admits about her original visits, but she was soon struck

by the ‘inherent theatricality’ of Quaker meetings, with their unstructured form and the power of the unexpected. ‘We’re sitting in a circle, looking at each other and we don’t know what’s going to happen next. Is someone going to stand and speak or not?

‘Quakers talk about “that of God in everyone” – it’s a very tolerant and accepting faith. You sit in silence until you are really moved to speak. And even when you’re moved, you have to really question what you’re about to say and whether it is worthwhile and of benefit to the group. I loved the rigour of that. It made me think a lot about silence and what comes out of it.’

Charlotte recalls the very first meeting she attended, at which the sole ministry came from a man she happened to be sitting next to and

whom, she found out subsequently, was dying of cancer. ‘He expressed his gratitude for the whole meeting; he had no family so they were his family, and he felt their love and support.

When he sat down, the silence completely changed in the room, in the same way that when there’s an amazing moment in theatre, the audience becomes one.’

At pains to emphasise that she wasn’t simply attending Quaker meetings as research, she notes: ‘I was brought up a really strict Roman Catholic. I went to a convent school from the ages of 4 to 18, so my upbringing was in the opposite tradition – all bells and smells, priests and nuns, rules and regulations.

Quakerism is the opposite of that. But where I grew up in Worcester, opposite the church I went to, there was a Quaker meeting house and I remember walking past it and thinking that’s such a beautiful garden and feeling a pull towards it, but never being quite brave enough to go in. Quakers don’t have a huge mission to recruit people; it’s a very small movement.

Most people have just been led to it in some unconscious way.’

Beginning to research Quaker history, Charlotte found herself particularly drawn to their attitude to women. ‘Even in the CHARLOTTE JONES

17th century at the beginning of Quakerism, women have always been considered completely equal and were allowed to minister. They were incredibly radical in that. And alongside worship goes social and political action.

‘I met extraordinary older women, a lot of whom had been through a wilderness and then reinvented themselves “Where’s Patricia?”

“Oh, this week Patricia’s in Burma, and Sarah is at the Wailing Wall...” There was an awful lot to admire and respect.’

Previously, Charlotte has completed her plays in a year or two, including the multi award-winning Humble Boy. The Meeting was different.

‘I’ve been writing this play, on and off, for about 10 years and I’ve never done that before.

I kept putting it away and coming back to it, as though it was in a distillery, so that I cut back to the essence of what I wanted the characters to say.’

Writing a role for a deaf actress was something new, too. ‘It came from me sitting so long in silence at those Quaker meetings and it gave me a glimpse into what it might be like for a deaf person. If you cannot hear, a worship which is all about silence is meaningless, really – it’s no different to your everyday functioning.’

The experience of the actor Richard Griffiths, whose parents were deaf, also fed into the play. ‘I heard him talking about how important listening to the radio became to him, going from the silent to the spoken world, and how he had to bridge the gap for his parents.

I began to read more about children of deaf adults, and the responsibility that can place on them from a very young age, having to interpret the world for their parents. Right from the beginning I wanted the play to be about a deaf woman and her daughter and what happened to them in the community.’

Plot-wise, Charlotte was also keen to explore Quakerism’s testimony of non-violence.

‘The testimony is beautiful but inevitably, because we are humans, we rub up against each other and there are tensions,’ she reflects.

‘I wanted to write about a peaceful community that was trying its very hardest to live in harmony but tripping itself up all along.’

The play’s Napoleonic Wars setting was chosen to add external, as well as internal, pressure to the challenge of living peacefully.

‘The South Coast was a particularly difficult place to be a pacifist in the early 19th century, since there was a very real fear of invasion.

Napoleon’s army was massed just across THE FRIENDS MEETING HOUSE IN LEWES, EAST SUSSEX IMAGE COURTESY OF ALAMY

the Channel, and fortifications like the Martello towers were being built.’ In the circumstances – and to overcome resistance to conscription – the military were glamorised.

‘True silence... is to the spirit what sleep is to the body, nourishment and refreshment’, wrote William Penn, the Quaker founder of the US state of Pennsylvania.

‘Our nervous systems are so stimulated by all the different types of media and information, that it’s much harder to find peaceful moments now; someone is always tweeting or emailing us’, Charlotte says. ‘I can remember when we didn’t even have mobile phones and I still find it quite difficult that I can be reached at any time. But bad things happen in the silence too!

Rachel has a drive to go out in the world and be an activist but she also has a need for silence and reflection. It’s balancing those two things.’

While Charlotte no longer attends Friends’ meetings, her regard for them is undimmed.

‘Quakers have managed to forge a powerful spiritual practice in which insightful contemplation leads to a passionate engagement with the world.’

Peace Equality Simplicity Truth and inte Sustainability ONE QUAKER’S VIEW Quaker values (Testimonies - PESTS) are simply headlines under which we each write our own article. First identify what my testimony to peace is and what that means. Then try to live by it. Each testimony is interdependent on each of the others. Perhaps we have but one testimony with several facets.

Our roots are in Christianity – in the 1650s it was the only “game in town” – however we have always been open to new light from wherever it comes. Today you may find followers of all faiths and none among Quakers.

Ours is an experience based faith. We have no need of doctrine, creed or required beliefs.

Your experience can never be mine but if I listen carefully I can learn from your experience.

Quakers believe that each one of us are able to have our own personal relationship with the divine, the light, the spirit, whatever you call it, without the intercession of priests.

The term “Quakers” was first used as a derogatory nickname by a magistrate to describe members of the Religious Society of Friends who “trembled at the word of God”.

They had arisen in the mid-17th century, a time

egrity y of the planet of tremendous political, social and religious turmoil and they remain active today.

Meetings for worship are held seeking stillness. Silence contributes to the stillness as do words when they are spoken from the spirit – anyone may speak. We gather in a circle that we might see one another. Meetings are held anywhere but most often in a meeting house. For Quakers no day is more sacred than another. Sunday is convenient in that most are not working.

Quakers are particularly concerned with human rights, social justice, non-violence, freedom of conscience, environmental issues and community life. Quakers have campaigned, among other things, for independent juries; the abolition of slavery; prison reform, the UN Landmine Ban Treaty and same sex marriage.

They also helped found Oxfam and Amnesty, and during WWII helped evacuate Jewish children on the Kindertransport.

There are approximately 25,000 people who worship in Quaker meetings in Britain today. Anyone is welcome to attend.

In the 1680s, an early Quaker settler in America called William Clayton established a township a few miles to the west of Philadelphia and called it, nostalgically, after his home city – Chichester.

DAVID AMOS

David Amos is a core team member of Quaker Quest Euston.

The company of The Meeting wish to acknowledge the generosity of Quaker Quest in helping them to learn about the Quaker faith.

RIGHT-HANDED FINGERSPELLING

BSL

FROM THEN TO NOW

To learn British Sign Language, visit British-Sign.co.uk

The latter half of the eighteenth century was, in many respects a golden age in British deaf history, most notably due to the birth of deaf education. While sign language has always arisen where there are deaf communities, Britain’s first school for the deaf was founded in 1760, when wealthy Edinburgh merchant, Alexander Shirreff, approached mathematics teacher, Thomas Braidwood, and asked him to teach his ten-year-old deaf son to write.

Thus Braidwood’s Academy for the Deaf and Dumb was founded. While Braidwood’s teaching methods were never published, it is well-documented that his students, many of whom made remarkable achievements after leaving the academy, had no understandable speech and communicated solely through sign language and writing. However, his school mainly catered to the children of wealthy parents and it was not until 1792 when the first public school for the deaf, The Asylum for the Deaf and Dumb opened in London, with Thomas Braidwood’s nephew as principal.

But these remarkable developments in deaf education hit a wall in 1880 when the Second International Congress on the Education of the Deaf, held in Milan, declared that sign language was inferior to oralism (the use of speech and lip-reading), and should be banned. This led to the widespread suppression of sign language in schools throughout the world, along with the dismissal of many deaf teachers. As a result, there was a huge setback in deaf education that lasted for over a hundred years. It was not until 2003 that British Sign Language (known as BSL) was officially recognised by the British government after years of campaigning by Deaf activists. In 2010 there was celebration in the Deaf community when the 21st International Congress on the Education of the Deaf, held in Vancouver, passed a resounding resolution to reject the motions passed in Milan 130 years earlier.

THE MEETING A new play by Charlotte Jones CAST Tabitha Rickman Biddy Rickman Nathaniel Burns Elder James Rickman Adam Young Rachel Young Alice Thirley Ann Harding Samuel Grover Thomas Marten Joseph Ridge Rebecca Grover

Leona Allen Olivia Darnley Laurie Davidson Jim Findley Gerald Kyd Lydia Leonard Jean St Clair Rio Barrett Barry Jarvis Daniel Kelly Peter Waters Suzie Wilde

The play is set in a rural Quaker community in Sussex in 1805.

There will be one interval of twenty minutes.

World premiere performance of The Meeting at the Minerva Theatre, Chichester, 13 July 2018.

Production credits: Set built and painted by Set Up Scenery. Production Carpenter Tom Humphrey. Design assistants: Molly Einchcomb and Matt Hellyer. ALD Lumiere Trainee Assistant Lighting Designer Jason Addison. Military costumes by Hero, Costumes by Cosprop, printing and dyeing by Nicola Killeen. Hair, wigs and make-up Helen Keane for Campbell Young Associates.

Props assistants Amy Hawthorne, Danni Haylett. Props by Ros Coombes, Ryan James O’Conner. Quilt maker and advisor Jacquie Gale. Pewter from Richard at Wentworth Pewter.

With thanks to David Amos from Quaker Quest Euston, Professor Bencie Woll at the Deafness Cognition and Language Research Centre at University College London and John Holt at the London School of Dry Stone Walling. The writer would also like to thank Anna Mackmin, John Caird, David Hitchin and the Lewes Quaker Meeting.

Rehearsal and production photographs Helen Maybanks Programme design Davina Chung Programme compiled and edited by Lydia Cassidy and Lucinda Morrison

Natalie Abrahami Vicki Mortimer Paule Constable and Marc Williams Ben and Max Ringham Mark Smith Gary Sefton Charlotte Sutton

Director Designer Lighting Designers Music and Sound Choreographer Movement Director Casting Director Voice and Dialect Coach BSL Consultant Costume Supervisor Props Supervisor Hair, Wigs and Make-up Assistant Director Fight Director BSL Interpreters BSL Tutor

Emma Woodvine Deepa Shastri Helen Johnson Lizzie Frankl Campbell Young Associates Emily Ling Williams Bret Yount Becky Barry, Sarah Granger, Catrin Thomas Tara Asher Kate West Naomi Hill Fran Redvers-Jones Hayley Craven

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

With thanks to supporters of The Playwrights Fund for their support of the creative development of The Meeting: Deborah Alun-Jones, Robin and Joan Alvarez, George W. Cameron OBE and Madeleine Cameron, Clive and Frances Coward, Mrs Veronica J Dukes, Melanie Edge, Sir Vernon and Lady Ellis, Val and Richard Evans, Simon and Luci Eyers, Jonathan and Clare Lubran, Selina and David Marks, Denise Patterson and Jans Ondaatje Rolls.

Supported by The Meeting Commissioning and Patrons Circle: Edna Baker, Julian and Mary Biggs, Julia Brodie, Mrs Veronica J Dukes, Sheila and Steve Evans, Val and Richard Evans, Richard and Rosie Hoare, David and Ginny Kidd, Vaughan and Sally Lowe, Vicky Mudford, Lindy Riesco, Strange/Sayers Family, Howard M Thompson, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

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BIOGRAPHIES

LYDIA LEONARD GERALD KYD

LEONA ALLEN Tabitha Rickman Recent theatre includes My Brother, My Sister and Me (Polka Theatre); The Crucible (Sell A Door UK and Luxembourg tour); Pride and Prejudice (Sheffield Crucible); The Walworth Farce (Olympia Theatre Dublin); Girls Like That (Unicorn Theatre); Enduring Song (Southwark Playhouse); Sixteen (Theatre503); The Site (Roundhouse Theatre); Orpheus and Eurydice (Old Vic Tunnels); Crossing the Line (Hampstead Theatre).

Trained at East 15 Acting School.

OLIVIA DARNLEY Biddy Rickman Previously at Chichester Lauren in A Marvellous Year for Plums (Festival Theatre).

Theatre includes Kacey in Ugly Lies the Bone (National Theatre); Olivia in Twelfth Night (Filter Theatre); Rowena in Masterpieces, Sister in Pig Girl, Phyllis in Accolade and Ruby Raymond in The Rat Trap (Finborough Theatre); Mary Boleyn/Lizzie Cromwell/Mary Shelton in Wolf Hall/Bring Up the Bodies (RSC and Aldwych); Charlotte Lucas in Pride and Prejudice, Hermia in A Midsummer Night’s Dream and Witch in Macbeth (Regent’s Park Open Air Theatre); Pam in A Day in the Death of Joe Egg (Citizens Theatre Glasgow); Lydia Lubey in All My Sons (Apollo Theatre); Sophie in Artist Descending a Staircase (Old Red Lion); Anna in Green Grass (Union Theatre); Phoebe in As You Like It and Little Girl/Fir Tree in The Little Fir Tree (Sheffield Crucible); Jackie in Hay Fever (Theatre Royal Haymarket); Raina in Arms and the Man (Salisbury Playhouse); Hero in Much Ado About Nothing and Sybil in Private Lives (Theatre Royal Bath); Anna in Vincent in Brixton (Library Theatre Manchester); Isabella in Northanger Abbey (Theatre Royal York); Cecily in The Importance of Being Earnest and Bianca in The Taming of the Shrew (UK tours); Cecile in Les Liaisons Dangereuses (Bristol Old Vic).

Television includes Call the Midwife, Grantchester, Titanic, Inspector Lynley Mysteries, Hear the Silence, Agatha Christie: A Life in Pictures, Hughie Green: Most Sincerely, Doctors, Marple.

Radio includes Wild Honey, The Reserve Rope, Two Girls.

Films include Death Defying Acts.

LAURIE DAVIDSON Nathaniel Burns Theatre includes Shane Corcoran in The Ferryman (Gielgud Theatre).

Television includes Will, Diana and I. Films include The Good Liar.

Trained at LAMDA. JIM FINDLEY James Rickman Recent theatre includes The Lady from the Sea (Donmar Warehouse), Richard II (Rose Theatre Kingston). Other theatre: Watership Down (Lyric Hammersmith); Mr Puntila and His Man Matti, Moon On A Rainbow Shawl (Almeida); A River Sutra (Indosa/3 Mills Island Studios); Gulliver’s Travels (Dragon Breath/Curve Theatre Leicester); Inside Out Of Mind (Meeting Ground Theatre company/Lakeside Arts); Playboy of the West Indies (Oxford Playhouse/Tricycle Theatre/ LEONA ALLEN JEAN ST CLAIR OLIVIA DARNLEY

BBC’s Theatre Night); Lonely Cowboy, Beef, No Chicken (Tricycle Theatre); Of Mice and Men, Tom’s Midnight Garden, The Silver Sword, The Duchess of Malfi, Mother Courage, Moon On A Rainbow Shawl, The Cherry Orchard, A Flea In Her Ear and Macbeth (all for Nottingham Playhouse).

He co-adapted and performed V.S Naipaul’s novel Miguel Street as a one-man show for Edinburgh’s Theatre Workshop and Latchmere Theatre.

Television includes Silent Witness, Doctors, Livin’ It, EastEnders, Casualty, Dr Who Resurrection of the Daleks, The Bill, Johnny Jarvis.

Film includes Cry Freedom, Socrates, Inside Out Of Mind, Playing Away.

Radio includes Poetry Please, Silver Street, The Year In San Fernando, The Painterboy of Demerara.

GERALD KYD Adam Young Theatre includes Winter Solstice (UK tour); North

by Northwest (Theatre Royal Bath and Toronto); Breaking the Rules, Feed the Beast and Ramayana (Birmingham Rep); Hapgood, 55 Days and Revelation (Hampstead Theatre); Three Winters, Children of the Sun, The Cherry Orchard and Blood and Gifts (National Theatre); Richard III (Trafalgar Studios); Little Black Book (Park Theatre); The Real Thing (West Yorkshire Playhouse); The Years Between (Royal Theatre Northampton); This Much is True (Theatre503); The Seagull and Cyrano de Bergerac (RSC); The Three Musketeers (Bristol Old Vic); Conversations in Havana (Òran Mór); Edward II and Richard II (Shakespeare’s Globe); Deathtrap (UK tour); Prophet in Exile (Chelsea Centre); The Local Stigmatic (Lyric Studio).

Television includes Cuckoo, Unforgotten,

Cold Feet, Humans, Silent Witness, Benidorm, Doctors, Sherlock, The Coroner, The Bible, The Midnight Beast, Persons Unknown, Casualty, All in the Game, Brief Encounters, The New Professional, Underworld.

Films include Legacy, The Defender, Tomb Raider II, Principles of Lust.

LYDIA LEONARD Rachel Young Theatre includes Mona in Oslo (National Theatre and Harold Pinter Theatre); Rita in Little Eyolf (Almeida); Anne Boleyn in Wolf Hall (RSC and Broadway: Tony, Drama Desk and Outer Critics Circle Awards nominations); Jackie Kennedy in Onassis (Novello Theatre); Hazel in Time and the Conways (National Theatre); Caroline Cushing in Frost/Nixon (Gielgud Theatre and Donmar Warehouse); Polyxena in Hecuba (RSC); Moth in A Midsummer Night’s Dream (Bristol Old Vic);

LYDIA LEONARD GERALD KYD LAURIE DAVIDSON JIM FINDLEY JEAN ST CLAIR

GERALD KYD LEONA ALLEN LEONA ALLEN JEAN ST CLAIR LAURIE DAVIDSON LEONA ALLEN OLIVIA DARNLEY

Rosaline in Love’s Labour’s Lost (Redgrave Theatre and tour).

Television includes Quacks, Absentia, Apple Tree Yard, Life in Squares, River, Lucan, Ambassadors, Da Vinci’s Demons, Whitechapel, Law & Order, Spooks, Casualty 1909, The 39 Steps, Ashes to Ashes, Margaret Thatcher, The Line of Beauty, Jericho, Rome, Foyle’s War, Midsomer Murders.

Films include The Fifth Estate, The Big Picture, Born of War, Legendary, Archipelago, True True Lie. Trained at Bristol Old Vic Theatre School.

THE COMPANY

JEAN ST CLAIR Alice Thirley Theatre includes Let Me Play the Lion Too (Told By An Idiot/Barbican); Lyapkin-Tyapkin in The Government Inspector and Gail in Hearing (Birmingham Rep); Nancy in Frozen (fingersmiths Ltd/Birmingham Rep and tour); Annie in Mine (Deafinitely Theatre); River in Ponderful People and She in Counting the Ways (Face Front Inclusive Theatre); In Praise of Fallen Women, Ugly Sister in Cinder’s Sisters and The Snow Queen (The Drill Hall); The Wife/ Mrs Hardwicke-Moore in Sgnarelle/Lady of the Larkspur Lotion, Don Quixote and Estragon in Waiting for Godot (Australian Theatre of the

Deaf); Sarah Norman in Children of a Lesser God (Sadler’s Wells, No 1 national tour, Ireland, South Africa and Albery Theatre); Thetis in The Iliad: Play by Play (National Theatre of the Deaf USA); Medieval Tales, Maggie in Streets of London and Mermaid in The Fisherman and His Soul (Interim Theatre); Wife (Rashomon) in Insight, Tamarisk in Hassan, Images and Noah’s Ark at Westminster Cathedral (British Theatre of the Deaf).

Television includes Deaf Funny, Dot, Don’t Leave Me This Way, The Chronicles of Narnia, The Iron Man, Hands Up, Poetry in Motion, Words and Pictures, Sign On, Acting is Life Itself, Under the Lamps, Cartoon Connection,

The Midday Show, Simon Townsend’s Wonderful World, Insight, Crown Court, The Silken Tent, I See What You Mean, Second House.

Films include Signs of an Affair (which she also wrote) and If I Don’t Lose I’ll Lose (wrote and directed); 9/11, Still Here, Five Needles, Grandad’s Dead, Hands Solo, Who’s Wrong?.

Extensive credits as BSL Consultant for fingersmiths Ltd, Unicorn Theatre, Taking Flight, Forest Forge, National Theatre of Wales, Graeae Theatre; television (Summer of Rockets, Deaf Funny, Small World, Magic Hands, Doctor Who, Soundproof) and film (Reverberations, Four Deaf Yorkshiremen Go to Blackpool).

C R E AT I V E T E A M

NATALIE ABRAHAMI Director Natalie Abrahami was Artistic Director of the Gate Theatre, Notting Hill for five years before joining the Young Vic as Associate Director (2013-2016) and Genesis Fellow (2013-2015).

She has also been Associate Artist at the Nuffield Theatre, Southampton and at Hull Truck and is a recipient of the James Menzies-Kitchin Award for Young Directors.

Theatre includes Machinal (Almeida); Wings, Happy Days, After Miss Julie and Ah, Wilderness! (Young Vic); Queen Anne (RSC and Theatre Royal Haymarket); The Eleventh Capital (Royal Court Theatre); A Midsummer Night’s Dream (Headlong); Pericles (Regent’s Park Open Air Theatre); Hitchcock Blonde, Yerma (Hull Truck); Play and Not I (BAC); The Internationalist, Unbroken, Vanya, The Kreutzer Sonata (and La MaMa New York) and How To Be Another Woman (Gate Theatre).

Opera includes How the Whale Became NATALIE ABRAHAMI

and Other Tales (Linbury Studio ROH).

Films include Mayday, The Roof, Life’s a Pitch.

PAULE CONSTABLE Lighting Designer Previously at Chichester Half A Sixpence, Three Sisters (Festival Theatre); Barnum (Theatre in the Park); This House, Someone Who’ll Watch Over Me (Minerva Theatre).

Her many National Theatre credits include Nine Night, Pinocchio, Follies, Angels in America (and Broadway), Mosquitoes, The Red Barn, The Threepenny Opera, Behind the Beautiful Forevers, The Light Princess, This House, The Curious Incident of the Dog in the Night-Time (Olivier and Tony Awards for Best Lighting), War Horse (Tony Award for Best Lighting), Waves and His Dark Materials (Olivier Award for Best Lighting).

For the RSC credits include Wolf Hall (and West End and Broadway).

Other credits include The Moderate Soprano (West End); The Cripple of Inishmaan (and Broadway); Peter and Alice and Privates on Parade (Michael Grandage Company); How to Hold your Breath, Clybourne Park, Posh (and West End), Krapp’s Last Tape and The Weir (Royal Court Theatre); Elegy, Teddy Ferrara, Luise Miller, Ivanov, The Chalk Garden (Olivier Award for Best Lighting) and Little Foxes (Donmar Warehouse); Happy Days, Feast, The Good Soul of Szechuan, Generations, Vernon God Little (Young Vic); Don Carlos (Sheffield, Olivier Award for Best Lighting); Les Misérables (25th Anniversary production, Broadway/international).

Opera productions include The Return of Ulysses, Carmen, Faust, Rigoletto, The Marriage of Figaro, The Magic Flute and Macbeth (ROH); Nothing, Die Entführung aus dem Serail, Die Meistersinger von Nürnberg, Billy Budd and Giulio Cesare (Glyndebourne); Satyagraha (ENO) and productions for the Metropolitan Opera, Salzburg Festival, La Monnaie, Opéra national du Rhin, New National Opera Tokyo and throughout Europe, North America, Australia and New Zealand.

Dance includes The Red Shoes, Sleeping Beauty, Dorian Gray, Play Without Words (Matthew Bourne).

CHARLOTTE JONES Writer Theatre includes Diva in Me (Brighton Festival and tour, Winner of Brighton Argus Award); The Lightning Play (Almeida, nominated for WhatsOnStage Best New Comedy); The Dark (Donmar Warehouse); Woman in White (book for the Musical by Andrew Lloyd Webber, West End and Broadway); Humble Boy (National Theatre, Gielgud Theatre, Manhattan Theatre Club; Susan Smith Blackburn Award, Critics’ Circle Best New Play, People’s Choice Best New Play, WhatsOnStage Best New Play and nominated for Olivier and Drama Desk Awards); Martha, Josie and the Chinese Elvis (Octagon Theatre Bolton, Liverpool Everyman, Palace Theatre Watford; Manchester Evening News Best New Play Award and Pearson TV Best New Play Award); In Flame (Bush Theatre, New Ambassador’s Theatre; Critics’ Circle Most Promising Playwright Award); Airswimming

(Battersea Arts Centre).

Television includes The Halcyon (series creator), Without You (three-part series), The Palace, A and E, Bessie and the Bell (New York Film and TV Gold Award, Worldfest Houston Platinum Award and Columbus Film Festival Bronze Plaque).

Radio includes over 20 plays and adaptations for Radio 4 including Wild Things, Britt-Marie Was Here, The Henry Experiment, Pride and Prejudice, What would Elizabeth Bennet do?, Matilda, Talking to Strangers, Dolly’s Mexican Wave, Mia and Maia (Sony Award nomination), The Sound of Solitary Waves, Magpie Tales, Blue Air Love and Flowers, In the Absence of Geoff, Ruby on a Tuesday, Sea Symphony for Piano and Child (Peter Tinniswood Award nomination), A Seer of Sorts, Future Perfect, Mary Something Takes the Veil.

Films include American Rose, Butterfly on a Wheel, Marina (in pre-production).

Charlotte is an Honorary Fellow of Balliol College Oxford and her plays are published

by Faber and Faber.

EMILY LING WILLIAMS Assistant Director Also for Festival 2018 The Chalk Garden (Festival Theatre).

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.

VICKI MORTIMER Designer Theatre includes many National Theatre productions including Follies (Critics’ Circle Award for Design and Olivier Award for Best Costume Design 2018), The Plough and the Stars, The Threepenny Opera, Here We Go, The Silver Tassie, Othello, Hamlet, Waves, Cat in the Hat, Three Sisters, The Seagull, Closer, Paul and The Last of the Haussmans.

Recently Oil (Almeida Theatre); The Little

Match Girl (Shakespeare’s Globe and UK tour); and designs for the Young Vic, RSC, Donmar, Almeida, Royal Court, Kneehigh Theatre Company, as well as work in Japan, Sweden and on Broadway.

Opera includes Lessons in Love and Violence (ROH and international tour); Ariodante (Vienna); Lucia di Lammermoor (ROH); Written on Skin (Aix Festival and tour); Al Gran Sole (Salzburg Festival and Staatsoper Berlin); Neither/Footfalls (Staatsoper Berlin); Die Entführung aus dem Serail, Die Meistersinger von Nürnberg, St Matthew Passion and Così fan tutte (Glyndebourne); The Winter’s Tale and After Dido (ENO); The Way Back Home (ENO at the Young Vic); Wozzeck (Lyric Opera Chicago).

Dance includes Afterite (American Ballet Theatre); Raven Girl (ROH); Yantra (Stuttgart Ballet); Genus (Paris Opera Garnier); Skindex (Nederlands Dans Theater); Millenarium, Sulphur 16 and Aeon (Random Dance Company) – all choreographed by Wayne McGregor.

Awards include the International Opera Award for Design 2016.

BEN and MAX RINGHAM Music and Sound Also for Festival 2018 Present Laughter (Minerva Theatre).

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

CHARLOTTE JONES NATALIE ABRAHAMI

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

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

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

GARY SEFTON Movement Director Theatre includes A Midsummer Night’s Dream (Theatre Royal Bath); Beauty and the Beast, Hecuba and Open Stages/Dream 16 (RSC); Members Only (Trafalgar Studios).

Credits as Director include A Christmas Carol, Hansel and Gretel (Corby Cube); The Snow Queen, The Wind in the Willows, A Midsummer Night’s Dream, A Christmas Carol, Travels With My Aunt, Diary of a Nobody

(Theatre Royal Northampton); Deadkidsongs (Ustinov Theatre Royal Bath); Blue Orange (Mayakovsky Theatre Moscow); The Diva in Me (Brighton Pavilion/Festival and tour); A Christmas Carol (The Spire Brighton); Body Count, Mzicar, Pinocchio, Metamorphosis, Poor Ted, Antigone, A Respectable Wedding, Uncle Montague’s Stories from the Shadows (OnO Theatre Company); The Lesson, Christmas Carol (St James Studio); Humble Boy (Dukes Theatre Lancaster); A Day in the Death of Joe Egg (Oxford Playhouse and West End, Assistant Director).

Gary has worked extensively in theatre, film and television and directed at many leading drama schools. He is Artistic Director for TRUESTORY and currently Head of Acting at Brighton Institute for Contemporary Theatre Training.

MARK SMITH Choreographer Previously at Chichester, the Chichester Festival Youth Theatre productions of The Hundred and One Dalmatians, Noah and The Lion, the Witch and the Wardrobe, and the world premiere of Festival 2012’s A Marvellous Year for Plums.

Choreography and directing credits include Tommy (New Wolsey Theatre, West Yorkshire Playhouse, Nottingham Playhouse, Birmingham Rep, Sheffield Crucible, Stratford East); Orfeo ed Euridice (Longborough Festival); My Silent World (BalletBoyz/Channel 4-Random Acts); 2012 Paralympics Opening Ceremony (London Olympic Stadium); Starting Here, Starting Now, Just So, Peter Pan, Marry Me a Little (University of Chichester); Cabaret (Mountview Academy of Theatre Arts); Money Makes the World Go Round and Echoes in the Night (Carnival UK/3 Pins Productions); The Who’s Tommy – 30th Anniversary (Greenwich Theatre); As You Like It (Oxford Shakespeare Company); The Threepenny Opera, Reasons To Be Cheerful, Sequins and Snowballs, Blood Wedding and Wheels on Broadway (Graeae Theatre); The Boys from Syracuse, Call Me Madam and Ace of Clubs (Union Theatre); The 25th Annual Putnam County Spelling Bee (Arts Educational Schools); Die Fledermaus (Oslo Opera House); Aladdin (Lyric Hammersmith); Carousel (Royal Academy of Music); West Side Story and Shoes (Sadler’s

Wells); The Witches of Eastwick (Institute Arts of Barcelona); Sasha Regan’s Iolanthe (UK tour).

For Deaf Men Dancing Let Us Tell You a Story, Corazón a Corazón, Hear! Hear!, Rosa (Sadler’s Wells); The Soundmen, Alive!, Ten and Embrace (Mayor of London’s Liberty Festival, Greenwich and Dockland International Festival).

Off-West End and Broadwayworld UK Awards Best Choreographer nominations for Iolanthe and Ace of Clubs.

Mark Smith is the Artistic Director of Deaf Men Dancing and DMD+.

Trained at the Royal Ballet School and London Studio Centre.

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

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).

MARC WILLIAMS Lighting Designer Marc is currently the Lighting Operations Manager for the National Theatre.

Design credits for the National Theatre include LOVE, Beyond Caring; Associate Designer for Network, Mother Courage and Her Children, Hamlet and Fela!.

Other theatre credits include Home (Unity Theatre); Beyond Caring (The Yard); Black Battles with Dogs (Southwark Playhouse); Blackberry Trout Face (20 Stories High tour); The Dreadful Hours (tour); Endz and Cruel Sea (Liverpool Everyman and Playhouse); Wild Animus (Void Projects international tour).

Trained at the Liverpool Institute for Performing Arts.

EMMA WOODVINE Voice and Dialect Coach Theatre includes Imperium Parts I and II (RSC); Fun Home, Wings and Life of Galileo (Young Vic); Beautiful: The Carole King Musical (European tour); Twelfth Night (Royal Exchange Manchester); Pigs and Dogs, Hang and Routes (Royal Court Theatre); Oklahoma! (Grange Park Opera); My Beautiful Friend (Rose Theatre Kingston); Pygmalion (West Yorkshire Playhouse); The Glass Menagerie (Nuffield); Richard II, Henry IV Parts I and II, Henry V, The Two Gentlemen of Verona, The Witch of Edmonton, Love’s Sacrifice, The Jew of Malta and The Famous Victories of Henry the Fifth (RSC); Wings, Blue Orange, The Mountain, Macbeth, A Streetcar Named Desire, Happy Days, The Scotsboro’ Boys, A Season in the Congo, A Doll’s House, The Changeling, Beloved, After Miss Julie and I Am Yussef and This Is My Brother (Young Vic); Happy Days (Duke of York’s); The Winter’s Tale, ‘Tis Pity She’s a Whore and Macbeth (Cheek by Jowl); Noises Off (The Old Vic); Othello (Sheffield Crucible); Hitchcock Blonde (Hull Truck); Kiss Me, Kate and Carousel (Opera North/WNO/Barbican); The Lion, the Witch and the Wardrobe (Kensington Gardens); Pitchfork Disney (Arcola); Ghost: The Musical (Piccadilly Theatre); The School for Scandal (Barbican Theatre); Breakfast at Tiffany’s (Theatre Royal Haymarket); 11 and 12 (Peter Brook at the Barbican); The Fastest Clock in the Universe (Hampstead Theatre); As You

Like It (Palace Watford).

Television and film includes Darkest Hour, Christopher and His Kind.

She is currently teaching at RADA. Trained at Guildhall School of Music and Drama.

BRET YOUNT Fight Director Previously at Chichester Strife, The House of Special Purpose (Minerva Theatre).

Recent theatre includes Blueberry Toast, First Love is the Revolution (Soho Theatre); Nine Night, Ma Rainey’s Black Bottom (National Theatre); Cyprus Avenue (Abbey Dublin); Br’er Cotton (Theatre503); Caroline, Or Change, Gloria (Hampstead Theatre); King Lear (RSC, London, BAM); The Twilight Zone, The Treatment, They Drink It In the Congo (Almeida); Hedda Gabler (National Theatre tour); Fanny and Alexander, A Christmas Carol, The Caretaker, The Master Builder, The Hairy Ape (Old Vic); The Exorcist (Phoenix); Hamlet (RADA/KBTC); Girl from the North Country (Old Vic, Noël Coward); The Resistible Rise of Arturo Ui, One Night in Miami (Donmar); The Cardinal (Southwark Playhouse); Who’s Afraid of Virginia Woolf (Harold Pinter); An American in Paris (Dominion); The Miser (Theatre Royal Bath, Garrick Theatre); A Midsummer Night’s Dream, The Mountaintop (Young Vic); Bubbly Black Girl Sheds Her Chameleon Skin (Theatre Royal Stratford East); Experience (Hampstead Theatre Studio); Raising Martha, LUV (Park Theatre); Goats, The Children, X, Linda (Royal Court Downstairs); Lazarus (Kings Cross Theatre); La bohème (Opera Holland Park); Don Carlos (Grange Park Opera); Romeo and Juliet, The Painkiller, Red Velvet, The Winter’s Tale/ Harlequinade (Garrick/KBTC); Observe the Sons of Ulster Marching Towards the Somme (Headlong); Only the Brave (Millennium Centre Cardiff); Bad Jews (Theatre Royal Bath, Haymarket); Cyprus Avenue (Abbey Dublin, Royal Court Upstairs); Primetime, Human Animals, I See You, Violence and Son (Royal Court Upstairs); Private Lives (UK tour); Waiting for Godot, Romeo and Juliet, The Effect (Sheffield Crucible); The Winter’s Tale (Cheek by Jowl); The Wasp (Trafalgar Studios); Hamlet (Barbican); Richard II (Shakespeare’s Globe); Tipping the Velvet (Lyric Hammersmith); Medea (Gate Theatre).

EVENTS

THE MEETING PRE-SHOW TALK

Wednesday 18 July, 6pm Director Natalie Abrahami and Playwright Charlotte Jones in conversation with Kate Mosse.

Tickets FREE but booking is essential.

POST-SHOW TALK

Thursday 2 August Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

cft.org.uk/events

LEAP

LEARNING, EDUCATION AND PARTICIPATION The Learning, Education and Participation Department creates a year-round programme of practical workshops, talks, tours, performances and much more. With opportunities for all ages and abilities we aim to excite and inspire every person that engages with us.

COMMUNITY

CHILDREN & YOUNG PEOPLE

Develop artistic, personal and social skills through our workshops, projects, productions and award-winning Youth Theatre for young people of all abilities.

Chichester Festival Youth Theatre | Holiday Activities | Arts Award

EDUCATION

Working with local schools to enrich students’ learning, our training and apprenticeships programme enables us to grow the next generation of arts professionals.

Playboxes | Technical Tasters | Creative Careers Day | Work Experience

Learn more about theatre, develop performance skills, discover how productions are made and share experiences with others through our workshops and community projects.

Talks and Discussions | Community Theatre Days | Adult Classes

FAMILIES

Take part in Family Friendly talks, tours and workshops designed to complement our Festival programme.

Storytelling | Theatre Tours | Toddler Classes

cft.org.uk/leap

S TA F F

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

Chairman

Literary Associate Design Associate Casting Associate

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty 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 Head of Individual Giving 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

Louise Rigglesford Community Partnerships Manager

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)

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

Harry Boulter Fran Boxall Helen Campbell Lydia Cassidy

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

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

Clare Funnell Marketing Officer 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 Claire Rundle Production Administrator Jacob Thomas Production Trainee Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Jason Addison ALD Lumière Trainee Steph Bartle Deputy Head of Lighting Jesse Caie Lighting & Sound Apprentice Alex Castro Sound Technician Dan Clark Stage Crew Rhuari Coe Stage Technician Leonie Commosioung Stage Crew Sarah Crispin Props Maker Emma Jane Douglas Props Maker Lewis Ellingford Stage Crew Maddison English Sound Technician Fuzz Sound Technician Sam Garner-Gibbons Technical Director Luc Gibbons Stage Crew Abbie Gingell Stage Technician Dominic Godfree Stage Crew 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 Erin Ridley Assistant Lighting Technician Neil Rose Deputy Head of Sound Ernesto Ruiz-Mateo Stage Crew James Sharples Stage Crew Charlie Smith Sound Technician Graham Taylor Head of Lighting Emma Thomson Sound Technician Mollie Tuttle Lighting Technician Candice Weaver Sound Technician

Dale Rooks Director of LEAP Emilie Trodd Community Partnerships Apprentice

cft.org.uk/aboutus

WIGS Beau Bambi Brett Sonja Mohren Katie Oropallo Sophie Peters Isabella Trevisiol-Duff

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

Deputy Head of Wigs Head of Wigs Wigs Assistant Deputy Head of Wigs Deputy Head of Wigs

Stage Door: Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Mia Kelly, Chris Monkton, Susan Welling (Supervisor) Ushers: Miranda Allemand, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Bob Bentley, 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, Keiko Iwamoto, Pippa Johnson, Ryan Jones, Jan Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Janette McAlpine, Margaret Minty, Chris Monkton, Chloe Mulkern, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen, Kirsty Peterson, Helen Pinn, Barbara Pope, Justine Richardson, Nicholas Southcott, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Chantelle Walker, Rosemary Wheeler, Donna Wood, Kim Wylam, Jane Yeates Volunteer Audio Describers: Robert Dunn, Geraldine Firmston, Suzanne France, Sue Hyland (Co-ordinator), David Phizackerley, Christopher Todd We acknowledge the financial assistance received from Chichester City Council in respect of signed performances and the work of those who give so generously of their time as our Volunteer Audio Description Team.

ACCESS AND CAR PARKING

Wheelchair users 16 wheelchair spaces are available on two levels in the Festival Theatre, with accessible lifts either side of the auditorium. Two wheelchair spaces are available in the Minerva Theatre.

Hearing impaired Free Sennheiser listening units are available for all performances or switch your hearing aid to ‘T’ to use the induction loop in both theatres.

Signed performances are British Sign Language interpreted for people who are D/deaf or hard of hearing.

Stagetext Captioned performances display text on a screen for D/deaf or hearing impaired patrons.

Audio-described performances offer live narration over discreet headphones for people who are blind or visually impaired.

Touch Tours enable blind or visually impaired people to explore the set before audio described performances. Free but booking is essential.

Dementia-Friendly Theatre All Box Office and Front of House staff have attended a Dementia Friends Information Session, and can be identified by the blue pin on their uniform.

Assistance dogs are welcome; please let us know when booking as space is limited.

Parking for disabled patrons Blue Badge holders can park anywhere in Northgate Car Park free of charge.

There are 9 non-reservable spaces close to the Theatre entrance.

Car Parking Northgate Car Park is an 836-space pay and display car park (free after 8pm). On matinee days it can be very busy; please consider alternative car parks in Chichester. chichester.gov.uk/mipermit If you have access requirements or want to book tickets with an access discount, please join the Access List.

For more information and to register, visit cft.org.uk/access, call the Box Office on 01243 781312 or email access@cft.org.uk

Large-print version of this programme available on request from the House Manager or access@cft.org.uk Large-print and audio CD versions of the Festival Season brochure are available on request from access@cft.org.uk For more access information, call 01243 781312 or visit cft.org.uk/access

cft.org.uk/visitus

SUPPORT US

COME CLOSER Did you know that Chichester Festival Theatre is a registered charity?

And that you can play an essential role and get more involved in what we do?

The generosity and commitment of our supporters, whether their donation is large or small, has helped us achieve our reputation as ‘the jewel in the crown of regional theatres’ (Daily Telegraph).

Here are some of the ways you can support the Theatre to maintain our world-class standards, extend our dedicated community and education work, and inspire the future generation of performers, theatre-makers and audiences. In return, we’ll give you a range of benefits to bring you closer to our work.

As a Friend of Chichester Festival Theatre, for just £35 a year you’ll receive priority booking, ticket discounts and special events. Visit cft.org.uk/friends for further details.

Our Festival Players are a community of theatre-loving individuals who receive advance priority booking, the opportunity to meet Artistic and Creative teams and invitations to exclusive events throughout the season. You can become a member from £250 a year.

Benefactors enjoy an especially close relationship with the Theatre, gaining unique insight into the creative process.

Gifts support all areas of our work, from our award-winning Youth Theatre to the Playwrights’ Fund and Trainee programmes. Bespoke communications throughout the year from a personal contact at Chichester Festival Theatre keep you in touch with the impact of your gift.

We’d love to tell you more about the ways you can support us. Please contact the Development Team on development.team@cft.org.uk or call 01243 812908.

cft.org.uk/supportus

S U P P O R T E R S 2018

INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry Sarah and Tony Bolton George W. Cameron OBE and Madeleine Cameron Wilfred and Jeannette Cass Sir William and Lady Castell John and Pat Clayton CMC Professional Services Clive and Frances Coward Jim Douglas Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Steve and Sheila Evans Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Sir Michael and Lady Heller Mr and Mrs Christopher Hogbin Basil Hyman Liz Juniper Roger Keyworth Alan and Virginia Lovell Jonathan and Clare Lubran Selina and David Marks Mrs Sheila Meadows Jerome and Elizabeth O'Hea Philip and Gail Owen Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE Lady Sainsbury of Turville David and Sophie Shalit Jon and Ann Shapiro Simon and Melanie Shaw Greg and Katherine Slay David and Alexandra Soskin David and Unni Spiller Alan and Jackie Stannah Howard M Thompson Nicholas and Francesca Tingley Peter and Wendy Usborne Bryan Warnett of St. James's Place Ernest Yelf Lord and Lady Young TRUSTS AND FOUNDATIONS The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Boltini Trust Elizabeth, Lady Cowdray's Charity Trust The Eranda Rothschild Foundation The Noël Coward Foundation The Roddick Foundation

FESTIVAL PLAYERS Dr Cheryl Adams CBE Charles and Clare Alexander Tom Reid and Lindy Ambrose Paul Arman Mr Brian Baker 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 Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Charles and Elisabeth Martin Gerard and Elena McCloskey Tim McDonald Mick and Betty McGovern Jill and Douglas McGregor James and Anne McMeehan Roberts Mrs Michael Melluish Celia Merrick Diana Midmer David and Elizabeth Miles David and Di Mitchell Jenifer and John Mitchell Gerald Monaghan Sue and Peter Morgan Roger and Jackie Morris 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 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

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

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

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

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

PLAY A PART IN OUR FUTURE Celebrate your love of Chichester Festival Theatre and help ensure that future generations can share your passion.

If you are considering leaving us a gift in your Will, please talk to your solicitor or contact our Development Team on 01243 812911. You can also email development.team@cft.org.uk or write to us at Development Team, Chichester Festival Theatre, Oaklands Park, Chichester, West Sussex, PO19 6AP.