The Watsons digital programme | Chichester Festival Theatre | Festival 2018

THE WATSONS A new play by Laura Wade Adapted from the unfinished novel by Jane Austen

WELCOME

We’re also glad to welcome back Samuel West, this time in his role as director. His most recent work here was as an actor in Young Chekhov, but this is his third time directing in the Minerva (and, he reminds us, Chichester has been part of his life since his mother, Prunella Scales, worked here when he was a toddler!).

It is a truth universally acknowledged that an unfinished novel must be in want of an ending.

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to the final production of Festival 2018. It’s particularly thrilling for us to end this year’s Festival with a beginning: Laura Wade’s new adaptation of Jane Austen’s incomplete novel, The Watsons.

Laura’s play is itself concerned with finding an ending for the characters left hanging when Austen abandoned her story after only completing five chapters.

Perhaps best known for her hit play Posh (which reached the big screen as The Riot Club), Laura enjoyed another major success earlier this year with her new play Home, I’m Darling at Theatr Clwyd and the National Theatre. We couldn’t be more delighted to premiere The Watsons at Chichester.

Sam has assembled a wonderful cast: among them is Grace Molony, returning to play Emma Watson after her performance in The Country Girls (2017), which earned her The Stage Debut Award for Best Actress in a Play.

Later in 1805, the year Jane Austen cast aside The Watsons, she spent time staying in Worthing. She moved to Southampton the following year and then spent the last eight years of her life in the village of Chawton, not far from us in Hampshire.

We can therefore safely claim her as a local author – another appropriate way to bring Festival 2018 to a close. Our sincere thanks to you, our audience, for your support.

Artistic Director Daniel Evans

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Executive Director Rachel Tackley

LEAP

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COMING SOON

SLEEPING BEAUTY

By Rufus Norris From The Sleeping Beauty in the Woods by Charles Perrault Chichester Festival Youth Theatre return to present Rufus Norris’s splendidly entertaining and mischievous version of the original fairy tale which ventures beyond the usual ‘happy ever after’ ending! Ages 7+

15 – 30 December #SleepingBeauty

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TS T ICK E Y L I FAM AIL ABLE AV

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.

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 WATSONS A new play by Laura Wade Adapted from the unfinished novel by Jane Austen

AUSTEN UNLIMITED We cannot help wanting to complete what she left us. In the course of just seven years, in the second decade of the nineteenth century, Jane Austen wrote her six finished novels. Then, shortly after embarking on what was to be her seventh, Sanditon, she died in July 1817 at the age of only forty-one. What might she have written if she had lived just a few years more? No lover of her work can fail to ask this question. We have so much of her brilliance – and yet not nearly enough.

So, Laura Wade is not the first to return to one of Austen’s fragments – her intriguing, bleakly comical story of a clever young woman without prospects, The Watsons - and to wonder creatively where it might have gone.

Attempts to finish Austen’s unfinished work began within her own family. In the last year of her life, Austen dispensed some cautionary advice about writing fiction to her niece Anna, who was working on a not-very-promising novel. After Aunt Jane’s death, Anna laid aside her own work and tried instead to complete Sanditon – but never finished her completion.

Another niece, Catherine Hubback (born after the novelist’s death), did finish her completion of The Watsons, which Austen had begun in her late twenties but then abandoned, for unknown reasons. It was published as The Younger Sister in 1850, and, if stylistically plodding, could at least claim to be based on the hints about how the novel was to end that Austen had given her sister Cassandra.

In 1928, Hubback’s grand-daughter Edith, Austen’s great-great niece, had another go at finishing this tantalising fragment, in which Austen left us with a promising heroine, the clever Emma Watson, observing the courtship follies of others without a suitable suitor of her own in sight. There have been many other completions of The Watsons since the nineteenth century, but none, until now, LEFT: JANE AUSTEN RIGHT: THE WATSONS NOVEL IMAGES COURTESY OF ALAMY

for the stage. Comparably, Sanditon, which stops short after eleven chapters, has been ‘completed’ over and over again by would-be novelists, and soon will be dramatized on ITV with an Andrew Davies screenplay that will supply the plot developments that Austen prepared but never unfolded.

No British writer can rival Jane Austen for spin-offs. If you go online you can find long, long lists of Austen-derived or Austen-adoring novels. If you feel that the original novels cry out for sequels, you could try What Kitty Did Next or The Pursuit of Mary Bennet or Mrs Darcy’s Dilemma (in the last of these, Elizabeth Darcy finds that, despite her own good sense,

her children have grown into rather troublesome adults). You will also be able to see that a large number of these spin-off novels are dedicated to the previously hidden exploits and turbulent inner lives of her heroes, especially Mr. Darcy.

He is the subject of blackmail in Mr. Darcy’s Secret by Jane Odiwe and the centre of the Pride and Prejudice story in The Perfect Bride for Mr. Darcy by Mary Lydon Simonsen. It appears that Jane Austen failed to give us the lowdown on her brooding leading man.

Some of these Austen-inspired novels are the fictional version of the Regency costumery that allures some Austen devotees, a kind of narrative dressing up. Indeed, attend one of the gatherings of the Jane Austen Society of North America that take place in cities across the USA and you will find stalls of neo-Regency fiction alongside displays of muslin and bonnets. So of course there are also Jane Austen needlework guides and Jane Austen recipe books and Jane Austen gardening books and guides. For those who need advice, there is more than one compilation of Jane Austen ‘life skills’; for the would-be novelist, there is The Jane Austen Writing Club by Rebecca Smith (Austen’s greatgreat-great-great-great niece), which teaches creative writing from Austen’s example. For children there are all sorts of Jane Austen gems, of which one of the wittiest is A Guinea Pig Pride and Prejudice.

characters – of Charlotte Lucas or Jane Fairfax or the dastardly John Willoughby, as if Austen has been slightly unfair to them by not telling us more. Of course, you can see how tempting it is.

Every minor character in an Austen novel seems to have a voice and a life of his or her own, even if these have only been hinted at by the great novelist. A few spin-offs have been successful novels in their own right. The best is probably Jo Baker’s Longbourn, which tells the story of Pride and Prejudice from the perspective of the Bennets’ servants. Their stories unfold alongside those of the Bennet sisters, unseen by them. ‘“If Elizabeth Bennet had the washing of her own petticoats,” Sarah thought, “she would be more careful not to tramp through muddy fields.’’ No fun being a housemaid at Longbourn.

‘Jane Austen would surely have hooted.

Imitation is a kind of homage, after all.’

Some of the spin-offs are tongue in cheek, but some take themselves at least a little seriously. Quite a few prequels and sequels unjokingly tell the full stories of secondary A GUINEA PIG PRIDE AND PREJUDICE (GUINEA PIG CLASSICS, 2015)

There is no denying that Baker’s bestseller is scrupulously researched, as was perhaps the most commercially successful of Austenderived novels, P.D. James’s Death Comes to Pemberley. In this whodunnit by the doyenne of the genre, Wickham’s friend Captain Denny is murdered in the opening chapter. Wickham, rake and rogue as he is, looks bang to rights.

Can anything save him from the gallows? P.D. James was an Austen devotee, deeply versed in her fiction and in the period. (You will find out plenty about Regency judicial procedure from the novel.) She also dared attempt a serviceable pastiche of Austen’s style. A three-part BBC mini-series – complete with an episode in which Elizabeth Darcy makes passionate love to her husband in the hallway of Pemberley – duly, if somewhat solemnly, followed.

Jane Austen would surely have hooted. She respected the commercial motive for writing (she delighted in the profits she made from her novels), so cannot be turning in her grave.

Imitation is a kind of homage, after all. Her plots

are clever enough to have been templates for books and films, quite apart from the many actual adaptations. The 1995 film Clueless was Emma transposed to Beverly Hills, with Alicia Silverstone as the ‘handsome, clever and rich’, but also self-deluding, protagonist. The Austenlover had the extra delight of noticing how the original story had been updated (the latter day Frank Churchill may be charming, but not interested in our heroine because he is gay), even if many teenage cinema-goers will not have known where writer and director Amy Heckerling got her plot. In Bridget Jones’s Diary, in contrast, the naming of the heroine’s love interest as Mark Darcy will have made the writer’s debt to Jane Austen rather clearer.

CLUELESS (1995) IMAGE COURTESY OF ALAMY

It also reassures both reader and viewer that the heroine’s irreverence will eventually win rather than lose her the man she fancies.

There are updatings amongst the books too.

A whole series, The Austen Project, has been commissioned by publishers HarperCollins, dedicated to retellings of the six novels in contemporary settings, written by big name novelists. These have included another Austen aficionado, Joanna Trollope, who transposes Sense and Sensibility to the twenty-first century with scene-by-scene fidelity. (But how can you have a contemporary plot in which a man cannot escape an engagement if he changes his mind?) Curtis Sittenfeld, in contrast, takes Pride and Prejudice to contemporary Cincinatti

and retitles it Eligible, with a San Francisco neurosurgeon called Mr. Darcy who thinks (wrongly) that he is better than these Ohio hicks. Knowing how his comeuppance will arrive is one of the pleasures offered to the reader.

There have, of course, been less faithful modernisations, from Fitzwilliam Darcy, Rock Star to Boots and Backpacks: Pride & Prejudice on the Appalachian Trail. You would go mad reading just a fraction of them. Put these to one side in favour of The Lizzie Bennet Diaries, an online video monologue (with the help of a few friends) by an at-present-single and impecunious twenty-something American in grad school called Lizzie Bennet. Her mother just wants her to find a man and marry him.

What mother wouldn’t? It can only have been written and acted by lovers of Austen, rightly convinced that her characters and plotlines are not so very unlikely in the present day. It became the first web series to win an Emmy and produced a flurry of its own spin-offs (this is the Austen commercial magic at work again).

LEFT: BRIDGET JONES'S DIARY (2001) RIGHT: THE LIZZIE BENNET DIARIES (2012) LEFT IMAGE COURTESY OF ALAMY

‘Mr. Darcy’s aloofness has clearly inspired more than one writer with the thought that he must be hiding a very dark secret indeed.’

Irreverence and admiration can go together, as in one of the most commercially successful Austen spin-offs ever, the notorious Pride and Prejudice and Zombies (2009). Written (well, some of it) by Seth Grahame-Smith, it interleaves passages from Austen’s original novel with episodes from a tale of Regency England stalked by legions of the undead after a mysterious plague. Balls and tea parties segue into desperate combat with zombies.

Mr. Darcy, luckily, is an accomplished zombie

killer. Did Grahame-Smith recognise his own exploitation-book as a homage to the writer who had once, in Northanger Abbey, so brilliantly mocked the hunger of audiences for gruesome gothic tales? Maybe. He was certainly clever enough to make a bestseller in which Austen’s out-of-copyright original provides a large part of the text. It duly generated its own prequels and sequels, graphic fiction and video games, and in 2016 became a film with a starry cast.

Soon after this now classic mash-up came Ben H. Winters’s rather less sprightly Sense and Sensibility and Sea Monsters (Jane Austen again generously credited as ‘co-author’) to be followed by works such as Mr. Darcy, Vampyre, Vampire Darcy’s Desire and Mr. Darcy’s Bite (‘fresh, original paranormal Jane Austen’, as the blurb has it). Mr. Darcy’s aloofness as Austen originally imagined it has clearly inspired more than one writer with the thought that he must be hiding a very dark secret indeed.

Meanwhile Andrew Davies does not have a monopoly on sexing up Austen. Pride and PRIDE AND PREJUDICE AND ZOMBIES (2016) IMAGE COURTESY OF ALAMY

Promiscuity (yes, it exists) will give you ‘the lost sex scenes of Jane Austen’. The Italian translation is even more beguilingly entitled Orgasmo e pregiudizio. Its author, sometime literary agent Arielle Eckstut, proclaims herself a devoted fan of Austen’s fiction.

Her un-repeatable cameo of marital relations between Mr. Collins and Charlotte certainly displays some insight into this unlikely marriage. Even in this case, to spin off you do need to know your Austen.

JOHN MULLAN

John Mullan is Professor of English at University College London. A specialist in eighteenth-century literature, he is the author of What Matters in Janet Austen?, published by Bloomsbury, and has recently edited Sense and Sensibility for Oxford World's Classics. He is a regular TV and radio broadcaster and a literary journalist; he writes on contemporary fiction for The Guardian.

THE LURE OF THE UNFINISHED An unfinished work by a great writer tempts the imagination. The Watsons shows a young Jane Austen experimenting with the painful restrictions hemming in an unlucky young woman. How would she have made a comedy out of this? Her other unfinished novel, Sanditon, was stopped short by her final illness and death. It takes Austen in new directions: it is set in a coastal resort that is a speculative development; it includes a mixed race heiress from the West Indies. Where would it have led?

Unfinished works tease us into speculation.

One of the greatest unfinished novels is Dickens’s The Mystery of Edwin Drood: Dickens had completed exactly half of it when he died suddenly in June 1870. A ‘mystery’ is what he left, with the reader uncertain whether Edwin Drood has or has not been murdered.

Dramatisations of the novel over the years have had to infer, from the clues in the narrative, the full plot that the novelist had undoubtedly worked out.

‘Some Romantic poets composed fragments, believing that incompletion better invited the imaginative involvement of the reader.’

Dickens knew how he was going to end his novel, but there are some great works that were unfinished because they were unfinishable.

Byron’s Don Juan kept pace with its author’s dashing life (a couple more Cantos every year) until he died of a fever in Greece, with Canto XVII just underway. ‘I leave the thing a problem, like all things,’ he wrote. Chaucer’s Canterbury

Tales had a completion plan so demanding (the twenty-seven pilgrims were supposed to tell four tales each) that it could never be fulfilled. Both these works are so copious that their incompleteness hardly seems to matter.

It might even be a kind of choice not to finish. Some Romantic poets composed fragments – like the aristocrats of the period who had ruins built in their grounds – believing that incompletion better invited the imaginative involvement of the reader. John Keats published Hyperion. A Fragment. Coleridge gave us the magical Kubla Khan, subtitled ‘A Vision in a Dream: A Fragment’. Its composition was supposedly interrupted when ‘a person from Porlock’ called, and the poet afterwards found that he could not regain his inspiration. Almost as striking is his ‘Christabel’, which he felt he could not finish because he could not rediscover the poetic power of its first two parts.

Franz Kafka’s two greatest novels, The Trial and The Castle, were both unfinished. For the former he at least wrote an ending. The latter brings its protagonist, K, to a village at the foot of a castle to which he has been summoned.

It stops with him still trying to gain access.

Its unfinished-ness feels entirely appropriate, for it is the story of a man doggedly pursuing an unattainable end.

One of Austen’s favourite novels was Laurence Sterne’s A Sentimental Journey through France and Italy (it is quoted by Maria Bertram in Mansfield Park). This never reaches Italy, as Sterne died soon after the publication of the first two volumes. He left his protagonist, Parson Yorick, in a pitch-dark room in a French inn, reaching out his hand and by mistake catching hold of the maid’s—— The novel ends in mid-sentence with a great long dash, leaving that hand reaching out to us forever, as every unfinished work does in its own way.

JOHN MULLAN

The World of Jane 1793

Execution of Louis XVI and Marie Antoinette

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1799

France declares war on England

1775-83

Napoleon becomes First Consul of France

1793-4

American War of Independence

1789

French Revolution France adopts Declaration of the Rights of Man

1776

American Declaration of Independence

France: ‘Reign of Terror’

1798

Battle of the Nile Nelson victory over French fleet

1775

1800

1775

1796

1783

Jane Austen born

Jane Austen begins First Impressions, later renamed Pride and Prejudice

William Pitt (the younger) becomes Prime Minister at 24

1800

Food riots

1780

Gordon Riots A large anti-Catholic protest in London

1787

First convicts sent to Australia

1788-9

Regency Crisis George III has bout of madness

JANE AUSTEN’S HOUSE, CHAWTON, HAMPSHIRE IMAGE COURTESY OF ALAMY

1795

George III attacked by hungry mob

Austen 1775 - 1817 1815

Napoleon returns from Elba

1805

Battle of Trafalgar Nelson’s fleet defeats combined French and Spanish fleets

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1812

Battle of Waterloo Napoleon defeated

Napoleon’s invasion of Russia defeated

�

�

Treaty of Paris ends Napoleonic wars

United States of America declares war on United Kingdom

1814

Napoleon exiled to Elba

�

1804

Napoleon becomes Emperor of France

Treaty of Ghent ends war between United Kingdom and United States

1817 1811

1804

Jane Austen begins work on The Watsons – abandoned the following year

Sense and Sensibility published

1810

1813

Pride and Prejudice published

1817

Jane Austen dies.

Northanger Abbey and Persuasion published posthumously

George III recognised as insane

1801

1811

Act of Union: Great Britain and Ireland become United Kingdom of Great Britain and Ireland

George, Prince of Wales becomes Prince Regent

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Luddites protest against industrialisation

1807

Britain abolishes the slave trade

1815

Corn Laws passed tariffs on imports of food and grain

THE WATSONS A new play by Laura Wade Adapted from the unfinished novel by Jane Austen CAST The Watsons Emma Watson - the youngest Watson sister Elizabeth Watson - the eldest Watson sister Margaret Watson - the middle Watson sister Robert Watson - Emma’s older brother Mrs Robert - Robert’s wife, Mary Mr Watson - father of Robert, Elizabeth, Emma and Margaret Nanny - the Watsons’ servant The Osbornes Tom Musgrave - a gentleman Lord Osborne - a young lord Lady Osborne - mother of Lord Osborne and Miss Osborne Miss Osborne - younger sister of Lord Osborne Mr Howard - a clergyman Charles Howard - Mr Howard’s nephew and ward; ten years old

Others Mrs Edwards - Emma’s chaperone Bertie - officer of the Militia Laura - a writer Mr Edwards Officers of the Militia

Grace Molony Paksie Vernon Katherine Rose Morley Sam Alexander Sophie Duval John Wilson Goddard Sally Bankes Laurence Ubong Williams Joe Bannister Jane Booker Cat White Tim Delap Leonardo Dickens / Archie Elliot

Elaine Claxton Elander Moore Louise Ford Anthony Hampton Alex Ashman Nicholas Southcott

Other parts played by members of the Company The play begins in October 1803.

There will be one interval of twenty minutes.

World premiere performance of The Watsons at the Minerva Theatre, Chichester, 3 November 2018.

Samuel West Ben Stones Johanna Town Isobel Waller-Bridge Gregory Clarke Mike Ashcroft Charlotte Sutton CDG

Director Designer Lighting Designer Music Sound Designer Movement Director Casting Director

Angie Burns Claire Turner Cynthia De La Rosa Ali Pidsley

Costume Supervisor Props Supervisor Hair, Wigs and Make-Up Designer Assistant Director

Paul Hennessy Maggie Mackay Jen Davey Kezia Beament Becky Stuckey

Production Manager Stage and Company Manager Deputy Stage Manager Assistant Stage Manager Head Chaperone

Production credits: Set built and painted by Bowerwood Production Services; Production transport by Paul Mathew Transport; Production Carpenter Jon Barnes; Ladies costumes by Wendy Knowles, Sarah Ninot, Lorraine Richards and Angels Costumiers.

Wigs made by Fay Lumsdale, Becky Jenkins, Jean Carlos De Blas; Wig Making Assistant Gemma Dillon; Props supplied and produced by Charlotte Neville, Sarah Crispin, Claire Sanderson, Paradigm Effects and Properly Made Ltd. Thanks to Andrew Severs.

Special thanks to National Theatre Music Department, Professor Kathryn Sutherland, Jane Austen’s House Museum and Chawton House.

Rehearsal and production photographs Manuel Harlan Programme design by Davina Chung Supported by The Watsons Commissioning and Patrons Circle: Ian and Judy Barlow, Philip Berry, Tricia and Michael Blakstad, Rosie and Charlie Drayson, Mrs Veronica J Dukes, Sheila and Steve Evans, Val and Richard Evans, Jennie Halsall, Eddie and Anne Hazel, Richard and Rosie Hoare, Simon and Belinda Leathes, Mrs Jo Lewis, Vaughan and Sally Lowe, Jeremy and Caroline Marriage, Peter and Nita Mitchell-Heggs, Sir Geoffrey and Lady Pattie, Dr Jeremy Shaw and Dr Linda Shaw OBE, Howard M Thompson, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#TheWatsons

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

BIOGRAPHIES

SAM ALEXANDER Robert Watson Previously at Chichester Don John in Much Ado About Nothing/King of Navarre in Love’s Labour’s Lost (also RSC and West End) and Simon Bliss in Hay Fever (Festival Theatre).

Theatre includes The Outsider/L’Etranger (The Print Room); Racing Demon and The Lady in the Van (Theatre Royal Bath); Lawrence After Arabia and No Naughty Bits (Hampstead Theatre); The Ghost Train and The Bacchae (Manchester Royal Exchange); One Man, Two Guvnors (NT/Theatre Royal Haymarket); Wild Oats and Does My Society Look Big In This (Bristol Old Vic); Twelfth Night, Hamlet, A Midsummer Night’s Dream and Love’s Labour’s Lost (RSC); A Midsummer Night’s Dream and Macbeth (Open Air Theatre Regent’s Park); The Comedy of Errors, Titus Andronicus, The Winter’s Tale and Troilus and Cressida (Shakespeare’s Globe); Milles Et Une Mères Veillent, Via Negativa and Le Trainfernal (La Compagnie La Carotte, France).

Television and film includes Hard Sun, Emmerdale, Doc Martin, Call the Midwife, SAM ALEXANDER SALLY BANKES

Wolf Hall, 45 Years, Quick Cuts, Criminal Justice, EastEnders, Lewis, Skins, Shane, The Marchioness Disaster, Doctors, Heartbeat, A Perfect Life, An American Haunting, Hamlet.

Radio includes Holbein’s Skull, Homefront, The Forsyte Saga, Tommies, Contact, New Grub Street, The Little Ottleys, Martin Beck Killings, An Inspector Calls, Pilgrim, Cry Babies, A Chaos of Wealth and Want, A Midsummer Night’s Dream, Zola, 1984, Dissolution, Frankenstein, A Charles Paris Mystery and many more.

Trained at LAMDA. SALLY BANKES Nanny Theatre includes Mum in Rita, Sue and Bob Too (Out of Joint/Octagon Theatre Bolton and Royal Court); School Mistress in The Two Noble Kinsmen, Callis in The Rover, Sandra in Seven Acts of Mercy and Dorcas in The Winter’s Tale (RSC); Auntie Annie in East is East (ATG/ Trafalgar Studios); Dorothy/Pauline in That Day We Sang and Maureen in Everyone Loves a Winner (Manchester Royal Exchange); Sadie in The Rise and Fall of Little Voice (Octagon

Theatre); Waiting for Gateaux (Theatre Royal Lincoln and tour); Zombie Prom (Landor Theatre); Acorn Antiques (UK tour); Spending Frank (Slyboots Theatre); Shakers (Gambolling Arena); Copperfield The Musical (ABD Productions); Amanda Wingfield in The Glass Menagerie, Bella in Lost in Yonkers (SDC Productions); Green Forms and Come Back to the Five and Dime Jimmy Dean, Jimmy Dean (Bar Productions); Mrs Johnstone in Blood Brothers (Merry Go Round Productions).

Television includes Coronation Street, Our Zoo, Pompidou, Mount Pleasant, Prisoners’ Wives, The Signing Detective, It Takes a Village, Doctors, World Without End, In with the Flynns, Titanic, Hollyoaks, White Van Man, SemiDetached, Nuzzle and Scratch Hoof and Safety, Jinx, Scallywagga, Guantanamo Phil, Tess of the D’Urbervilles, Heartbeat, 2 Pints of Lager and a Packet of Crisps, MI High, Tittybangbang!, Housewife 49, Where the Heart Is, Little Britain, Absolute Power, Twisted Tales, 15 Storeys High, Margot Leadbetter: Life Beyond the Box, Fat Friends.

Films include Stabat Mater, Chicken Tikka JOE BANNISTER

Masala, Redemption Road, When It all Comes Down and the shorts Jermaine & Elsie, Habit, Line of Fire, Trained.

Radio includes Sunday with Phil and Sal (BBC Radio Lancashire).

JOE BANNISTER Lord Osborne Theatre includes Jim in Ramona Tells Jim (Bush Theatre); Sergey Voynitzev in Wild Honey (Hampstead Theatre); Albert Prosser in Hobson’s Choice (Vaudeville Theatre); Lewis the Dauphin in King John (Rose Theatre Kingston); Orlando in As You Like It (National Theatre); Dick Follywit in A Mad World, My Masters (English Touring Theatre); Somerton in The Witch of Edmonton, Lord Cheyne in Arden of Faversham, Sebastian Wengrave in The Roaring Girl and Quintus in Titus Andronicus (RSC); Colin in Chariots of Fire (Gielgud Theatre and Hampstead Theatre); Percy Bysshe Shelley in Bloody Poetry (Primavera Productions).

Television includes Curfew, Howard’s End, Endeavour.

Films include The Isle.

JANE BOOKER ELAINE CLAXTON TIM DELAP ELANDER MOORE

JANE BOOKER Lady Osborne Theatre includes Edith in Rules for Living (English Touring Theatre); Lady Bountiful in The Beaux’ Stratagem (National Theatre); Fanny in Sense and Sensibility (Watermill Theatre Newbury); Teresa in The Memory of Water (Hampstead Theatre); Marion in The Secret Rapture (Bristol Old Vic); The Comedy of Errors, The Time of Your Life, A New Way To Pay Old Debts (Royal Shakespeare Company).

Television includes Midsomer Murders, Casualty, My Family, North and South, The Only Boy for Me, Foyle’s War, Holby City, Jonathan Creek, A Bit of Fry & Laurie, Murder Most Horrid, Titmuss Regained, Inspector Morse, Don’t Wait Up, Holby City, First Among Equals, A Perfect Spy, Miss Marple, Doctors.

Radio includes The Bell, The House, Sketches by Boz. Films include Finding Neverland, The Priest of Love.

ELAINE CLAXTON Mrs Edwards Theatre includes Jaques in As You Like It (Lamb Players); Costard in Love’s Labour’s Lost (Guildford Shakespeare Company); Maggie and Vic in Tomorrow at Noon (Jermyn Street Theatre); Karin Francis in Carthage (Finborough Theatre); Mrs Dawson in Tin (Miracle Theatre/ English Touring Opera); Beasts and Beauties (Hampstead Theatre and Bristol Old Vic); Gentlewoman of the Last Resort in Nation, Mrs Calicoe in the Relapse, The Winter’s Tale, Richard II and Mary Cobbett in The Machine Wreckers (National Theatre); Esther in The Price (Liverpool Playhouse/Nottingham Playhouse); Gertrude in Hamlet (Cube Theatre tour); Amy in Forget-Me-Not Lane, Margaret in Touch Wood, Rachel in Purvis and Maggie in Storm in a Tea Chest (Stephen Joseph Theatre); Pope Joan/ Louise in Top Girls (Palace Theatre Watford and Greenwich Theatre); Mrs Darling in Peter Pan (Hall for Cornwall Truro); Christina in The Journey of Mary Kelly (Theatr Clwyd).

Television includes Emmerdale, Delicious, The Coroner, Andy’s Prehistoric Adventures, Doc Martin, Silk, Wire in the Blood, Bad Girls, A Dinner of Herbs, Hearts and Bones, Holby City, Mrs Bradley.

Radio includes Home Front. She has been a member of BBC Radio Drama Company four times.

Films include The Death of Stalin, Tin. Trained at Webber Douglas Academy of Dramatic Art. TIM DELAP Mr Howard Theatre includes Mr Rochester in Jane Eyre (National Theatre and UK tour); The Duke in Losing Venice (Orange Tree Theatre); Commander Rogers in French Without Tears (ETT/Orange Tree Theatre); Richard in Richard II (Arcola Theatre); Crane in Jane Wenham: The Witch of Walkern (Out of Joint UK tour); Siegfried Sassoon in Regeneration (Royal & Derngate national tour); Tom in Moon Tiger (Theatre Royal Bath and tour); Young Kipps in The Woman in Black (West End); Edward in You Can Still Make a Killing (Southwark Playhouse); Captain Wentworth in Persuasion (Salisbury Playhouse); Yolland in Translations (Abbey Theatre Dublin); Laertes in Hamlet (Sheffield Crucible); All’s Well That Ends Well (RSC and West End); As You Desire Me (Playhouse Theatre); Irwin in The History Boys (Wyndham’s Theatre and UK tour); Eric in The Old Country (Trafalgar Studios and tour); Sam Plowman in Vincent in Brixton (Salisbury Playhouse and tour); Hal in Lost (York Theatre Royal).

Television includes Patriot, EastEnders, Humans, Casanova, Poldark, Peaky Blinders, Black Mirror, Titanic: Blood and Steel, Four Seasons, Midsomer Murders, Foyle’s War, To the Ends of the Earth, Kerrching, Silent Witness.

Films include Love and Hate Crime, The Purple Plain, The Huntsman.

LEONARDO DICKENS Charles Howard Previously at Chichester Ben in The House They Grew Up In (Minerva Theatre).

Theatre includes Carousel (Yvonne Arnaud Theatre).

Television includes Will, Dickensian, Mr Selfridge, Doctors.

Films include The Hurricane Heist.

Trained at Italia Conti Guildford and Young Star Factory West End.

LAURENCE UBONG WILLIAMS ELANDER MOORE LEONARDO DICKENS ARCHIE ELLIOT ELANDER MOORE

SOPHIE DUVAL Mrs Robert Theatre includes The Invisible Man (Queen’s Theatre, Hornchurch); The Curious Incident of the Dog in the Night-Time (original cast, National Theatre/Apollo Theatre West End); Anne Boleyn, All’s Well That Ends Well, Bedlam, As You Like It and A New World (Shakespeare’s Globe); Anne and Zef, House and Garden, The Rivals, One Glass Wall and The Secret Garden (Salisbury Playhouse); A Chorus of Disapproval (Mill at Sonning); Great Expectations (Royal Shakespeare Company); Unless and Soap (Stephen Joseph Theatre); Americans (Arcola Theatre); Great Expectations (Bristol Old Vic); Robin Hood (National Theatre); Humble Boy (Gielgud Theatre); Pal Joey (Nottingham Playhouse); More Grimm Tales (Northern Stage Company); Peaches (Finborough Theatre); The Gay Divorcee (King’s Head); A Christmas Carol and All Souls Night (Lyric Hammersmith).

Television includes Doctor Who, Emmerdale, Father Brown, Doctors, Chewing Gum, The Collection, EastEnders, The Coroner, Don’t Take My Baby, Holby City, Ashes to Ashes, Elizabeth SOPHIE DUVAL LOUISE FORD

David, Harry Hill’s Extreme Soap, Single, Dickens, The Final, Silent Witness.

Radio includes Undone, Knocker, Branches.

Films include Official Secrets, Leave to Remain, Topsy-Turvy and the short Adam’s Paradise.

Trained at Central School of Speech and Drama.

ARCHIE ELLIOT Charles Howard Previously at Chichester Roger in Beauty and the Beast and Nibs in Peter Pan (Festival Theatre).

Trained with Chichester Festival Youth Theatre and attends The Portsmouth Grammar School.

LOUISE FORD Laura Theatre includes Knight of the Burning Pestle (Sam Wanamaker Playhouse); Quartermaine’s Terms (Wyndham’s); A Midsummer Night’s Dream (Shakespeare’s Globe); Jenny Fawcett and Ford and Akram’s Bamp (Pleasance

JOHN WILSON GODDARD GRACE MOLONY ELANDER MOORE KATHERINE ROSE MORLEY

Edinburgh); Cariad and Louise’s Character Hour (The Ballroom/The Counting House Edinburgh); Orson’s Shadow (Southwark Playhouse); Amphibians (Bridwell Theatre); The Bible (Shakespeare’s Globe); Calais (Paines Plough); All the Little Things We Crushed (Almeida Theatre); Timing (Kings Head Theatre); A Christmas Carol (Rose Theatre Kingston); War and Peace (Shared Experience/ Hampstead Theatre).

Television includes The Windsors, Crashing, Horrible Histories, We Hate Paul Revere, In the Flesh, Chickens, Teaboys, The Ministry of Curious Stuff, Doc Martin.

Radio includes Plum House.

Louise trained at RADA. JOHN WILSON GODDARD Mr Watson Theatre includes The Question (Extant/BAC/ Open University immersive installation collaboration); The Old Man in The Chairs and Jacques Lusseyran as an older man in Resistance (Extant); Jacob Freud/Old Oedipus in Oedipus Needs Help (Vital Experience); Joe Public in Waiting for Ages (Mockbeggar Theatre); Homer in Storyteller (No Kidding); Lockit in The Beggar’s Opera and The Strange Passenger in Peer Gynt (PATH Productions); multiple roles in Tales to Canterbury (Rainbow Theatre); Edward Rushton as an older man in Unsung (DADAFEST and Everyman Theatre, Liverpool); Aswas in Working Hearts (Graeae Theatre Company).

Television and film includes Creatures Fantastic, The Day of the Triffids, The Bill, Changing Step, Doctors.

Performers Licentiate in Speech and Drama from the Royal Academy of Music (LRAM).

GRACE MOLONY Emma Watson Previously at Chichester Kate in The Country Girls (Minerva Theatre, Stage Debut Award for Best Actress in a Play).

Theatre includes Lady Windermere in Lady Windermere’s Fan (Vaudeville).

Television includes Doctors.

Films include Artemis Fowl, Mary Queen of Scots, and the shorts Bone China, Layla and The Law of Moments.

ELANDER MOORE Bertie Theatre includes The Rink (Southwark Playhouse); The Goat, or Who is Sylvia?

(Theatre Royal Haymarket).

Films include Mamma Mia! Here We Go Again.

Trained at the Urdang Academy.

KATHERINE ROSE MORLEY Margaret Watson Theatre includes Hilde Wangel in The Master Builder (West Yorkshire Playhouse); Mary Gallagher in Once a Catholic (Tricycle Theatre and Royal Court Liverpool); Liza in Khadija is 18 (Finborough Theatre).

Television includes Last Tango in Halifax, Thirteen, Call the Midwife, Moving On, Cuffs, Fishbowl, The Mill, Thirty and Counting, The Week Before Christmas (Sharon Horgan’s Little Cracker).

Radio includes Singles Going Steady, Pride and Prejudice.

Films include Caravan.

Trained at Guildhall School of Music and Drama (Gold Award winner).

PAKSIE VERNON Elizabeth Watson Theatre includes Sheila in Network and understudy Harper in Angels in America (National Theatre); Hera in Pandora (Etch/ Pleasance Theatre); Osono in Kiki’s Delivery Service (Southwark Playhouse); Sylvia Craven in The Philanderer (Orange Tree Theatre); Lucy in Threads (Stellar Quines); Susan in Little Sure Shot, James and the Giant Peach and The Jungle Book (West Yorkshire Playhouse); Paksie in Emancipation Acts (Glasgow Life); Beatrice in The Changeling (A Play A Pie and A Pint/Òran Mór).

Television includes Shetland, MI High.

Trained at Royal Conservatoire of Scotland.

CAT WHITE Miss Osborne Theatre includes Stage Manager in Our Town (North Wall Arts Centre); Shudder (Soho Theatre); Contractions and Girls Will Be Girls (Oxford Playhouse); Made in Dagenham (Simpkins Lee Theatre); The Homecoming (Michael Pilch Studio).

Radio includes Othello.

Films include the shorts Me Too, Say It And It Exists, Intelligence Quotient.

Trained at Oxford School of Drama.

PAKSIE VERNON

LAURENCE UBONG WILLIAMS Tom Musgrave Theatre includes Top Trumps (Theatre503); Cam in Jumpy (Theatr Clwyd); Leontes in The Winter’s Tale (Orange Tree Theatre); title role in Othello (The North Wall); Williams in After the Dance, Leonardo in Blood Wedding, Bottom in A Midsummer Night’s Dream and Vershinin in Three Sisters (The Studios); Giles Burton in Swordy Well (Soho Theatre); Man in Monologue (King’s Theatre Manchester).

Television includes Humans, Doctors, Back.

Radio includes Temptation, The Woman with the Little Dog, Precious.

Films include Us, My Dinner with Hervé and the shorts Do It, Light, Nobblycarrot7.

Trained at Oxford School of Drama.

CAT WHITE LAURENCE UBONG WILLIAMS CAT WHITE ELAINE CLAXTON KATHERINE ROSE MORLEY GRACE MOLONY

C R E AT I V E T E A M

MIKE ASHCROFT Movement Director Previously at Chichester A Midsummer Night’s Dream and A Christmas Carol (Festival Theatre); Three Women and a Piano Tuner, One Snowy Night, Shang-a-Lang, The Blue Room (Minerva Theatre).

Mike is an Associate Artist of the RSC, where his extensive work includes Wendy and Peter, Henry V, Vice Versa, Seven Acts of Mercy, King Lear, Henry IV Parts 1&2, The Christmas Truce, The Witch of Edmonton, Speaking Like Magpies and Believe What You Will.

Theatre includes The Lovely Bones (UK tour); The Cunning Little Vixen (Glyndebourne); Les Misérables (25th Anniversary tour, Cameron Mackintosh); Dirty Dancing (UK tour); Henry V LAURA WADE SAMUEL WEST ALI PIDSLEY

(Michael Grandage Company); The Power of Yes (National Theatre); Resurrection Blues (The Old Vic); Così fan tutte (English National Opera); Life is a Dream (Donmar Warehouse); Rosa’s Bar (Wired Aerial Theatre); Punk Rock (Lyric Hammersmith); Nakamitsu (Gate Theatre); Orestes and The Comedy of Errors (Shared Experience); Sergeant Musgrave’s Dance, The Contractor and The Singer (Oxford Stage Company); The Romans in Britain (Sheffield Crucible); The Lost Child Project (David Glass Ensemble/Cambodia); Close the Coalhouse Door (Newcastle Playhouse); A Tale of Two Cities (Salisbury Playhouse); Alice Through the Looking Glass and Lord of the Flies (Sherman Theatre Cardiff).

Films include Hamlet.

GREGORY CLARKE Sound Designer Previously at Chichester The Midnight Gang, Beauty and the Beast, Peter Pan, A Christmas Carol, Mrs Pat, The Boy in the Striped Pyjamas.

Theatre includes The Color Purple (Broadway); Medea, The Doctor’s Dilemma, Misterman, Tristan and Yseult (National Theatre); The Goat, Or Who Is Silvia? (Theatre Royal Haymarket); The Truth (Wyndham’s); The Two Noble Kinsmen, The Alchemist, All’s Well That Ends Well, Coriolanus, The Merry Wives of Windsor, Tantalus, Cymbeline, A Midsummer Night’s Dream (RSC); Journey’s End (Duke of York’s/New York, Drama Desk Award for Outstanding Sound Design); Equus (Gielgud/ New York, Tony Award for Best Sound Design);

Welcome Home Captain Fox!, My Night With Reg, Versailles, The Night Alive, A Voyage Round My Father, The Philanthropist (Donmar); Clarence Darrow, A Flea In Her Ear, National Anthems, Six Degrees of Separation (Old Vic); Albion, Against, The Merchant of Venice, Cloud Nine (Almeida); Barnum, The Lie, The Secret Diary of Adrian Mole aged 13¾ The Musical, Love In Idleness, She Loves Me, The Truth, Assassins, The Lyons, Travels With My Aunt, Proof (Menier Chocolate Factory); Sive, Waiting for Godot, King of the Castle, DruidShakespeare, Brigit (Druid Theatre); A Steady Rain, Stepping Out, Jeffrey Bernard Is Unwell, Blithe Spirit, The Rivals, Hedda Gabler, The Winslow Boy (Theatre Royal Bath); The Twits, The Ritual Slaughter of Gorge Mastromas (Royal Court); Annie Get Your

Gun (UK tour); The Birthday Party (Manchester Royal Exchange); The Seagull (Headlong); Donkeys’ Years (Rose Theatre Kingston); Arcadia (ETT); The Night Alive, The Philanthropist, Pygmalion (New York); My Night With Reg, Goodnight Mister Tom, The Vortex, A Voyage Round My Father, And Then There Were None, Some Girls, What the Butler Saw (West End).

CYNTHIA DE LA ROSA Hair, Wigs and Make-Up Designer Credits include Running Wild (UK tour); Twelfth Night, Yellowman, A Midsummer Night’s Dream, Once in a Lifetime (Young Vic); Sylvia (The Old Vic); Allelujah! (The Bridge Theatre); Beginning (National Theatre); Boy, Against, The Twilight Zone (Almeida Theatre); Promises, Promises (Southwark Playhouse); Frost/Nixon (Sheffield Crucible); Red Riding Hood (Pleasance Theatre); Carousel, The Threepenny Opera (Royal Academy of Music); Boys Will Be Boys (Bush Theatre).

THE COMPANY

ALI PIDSLEY Assistant Director Credits as Director include A Girl in School Uniform (Walks Into a Bar) (West Yorkshire Playhouse & New Diorama Theatre), Pops (Young Vic as part of the Jerwood Assistant Director Programme), Blasted (Styx Tottenham), Some People Talk About Violence and NOTHING (both for Barrel Organ at Summerhall, Camden People’s Theatre & on tour), Left Luggage (The Space), Danielle (Slingshot Manchester); as Staff Director Absolute Hell (National Theatre); as Assistant Director Hedda Gabler (National Theatre on tour), Barnbow Canaries (West Yorkshire Playhouse), The Skriker (Royal Exchange & Manchester International Festival), The Chronicles of Kalki (The Gate), and That Night Follows Day (Forced Entertainment).

Ali is a Director and Theatre-Maker based between Leeds and London. He is a co-founder of Barrel Organ Theatre Collective, a Leverhulme Arts Scholar and was the 2014 recipient of the Buzz Goodbody Award for Directing. Ali works as a selector for the National Student Drama Festival.

BEN STONES Designer Previously at Chichester Way Upstream (Festival Theatre).

Designs include Sylvia (The Old Vic); Frost/ Nixon, An Enemy of the People, Kes (Sheffield Crucible); Frankenstein, Edward II, Doctor Faustus (Royal Exchange); HIR, The Kitchen Sink (Bush Theatre); The Bear/The Proposal, No Idea (Young Vic); The Suicide (National Theatre); Breaking the Code (Manchester Royal Exchange); Bug (Emily Dobbs Productions/ Found 111); The Dazzle (Emily Dobbs Productions/Michael Grandage Company); Into the Hoods: Remixed, Groove On Down the Road, Some Like It Hip Hop (ZooNation); A Breakfast of Eels, Thom Pain (Based on Nothing) (Print Room); The Mad Hatter’s Tea Party (Linbury Theatre/ROH); Still Game (Phil McIntyre Entertainment); Twelfth Night and Hobson’s Choice (Regent’s Park Open Air Theatre); Sue: The Second Coming (Bristol Old Vic Paintshop/ Soho Theatre); My Generation (West Yorkshire Playhouse); The Epic Adventure of Nhamo The Manyika Warrior and His Sexy Wife Chipo

(Tricycle Theatre); Good With People (59E59 Theater NYC, Traverse Theatre); The Silence of the Sea (Donmar Trafalgar Season); Wild Oats (Bristol Old Vic); Paradise Lost (Theatre Royal Northampton); Paradise Lost (Oxford Stage Company tour); The Lady in the Van (Hull Truck national tour); Belong (Royal Court Theatre); Paul Merton: Out of My Head (Just for Laughs Live); Da (Gate Theatre Dublin); Encourage the Others (Almeida Theatre); The Painter (Arcola Theatre); Faith and Cold Reading, Inheritance (Live Theatre Newcastle); Lower Ninth (Donmar Warehouse); Crocodile (Sky Arts Live); Creditors (BAM New York).

Awards including the Brian Glover Memorial Award and the Linbury Biennial prize for Stage Design.

Studied at Electric Theatre Studios and trained in Stage Design at Central Saint Martin’s College of Art and Design.

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

Theatre credits Winter, trade and Dutchman (Young Vic); Long Day’s Journey into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey and German Skerries (Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork Disney and Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot and Queen Coal (Sheffield Crucible); Henry V and Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler and Little Shop of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing and Jumpy (Theatr Clwyd); Goodnight Mister Tom (Duke of York’s and tour); A Pacifist’s Guide to the War on Cancer, wonder.land, Emil and the Detectives and The Light Princess (National Theatre); The Rise and Shine of Comrade Fiasco, I’d Rather Goya Robbed Me... and Gruesome Playground Injuries (Gate Theatre); Albion (Bush); The Elephantom (New London Theatre and National Theatre); Our Big Land (New Wolsey Theatre, Ipswich and tour); Forever House (Drum

Theatre, Plymouth); One Man, Two Guvnors (Theatre Royal Haymarket and international tour); Desire Under the Elms (Lyric Hammersmith); Run! A Sports Day Musical (Polka Theatre); Shivered (Southwark Playhouse); Island (National Theatre and tour) and Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

JOHANNA TOWN Lighting Designer Previously at Chichester The Norman Conquests, The Deep Blue Sea/Rattigan’s Nijinsky (Festival Theatre); FRACKED! (and tour), Educating Rita, Pitcairn, In Praise of Love (Minerva Theatre).

West End and international credits include Dear Lupin, Fences, What the Butler Saw, Some Like It Hip Hop, Betrayal, Speaking in Tongues, Beautiful Thing (West End); Rose (National Theatre/Broadway); My Name is Rachel Corrie (Royal Court Theatre/West End/NY); Guantanamo (NY/Tricycle/West End); Arabian Nights, Our Lady of Sligo (NY); Haunted (Royal Exchange/NY/Sydney Opera House); The Steward of Christendom (Out of Joint/ Broadway/Sydney); Macbeth (Out of Joint world tour); The Permanent Way (Out of Joint/National Theatre/Sydney); Our Country’s Good (Out of Joint/Toronto/USA).

Other theatre includes The Habit of Art (York and tour); Her Naked Skin (Salisbury Playhouse); Sense and Sensibility, Jeeves and Wooster in Perfect Nonsense, Remarkable

GRACE MOLONY CAT WHITE ELAINE CLAXTON KATHERINE ROSE MORLEY

Invisible, Miss Julie (Theatre by the Lake); Queen Margaret, Frankenstein, Guys and Dolls, The House of Bernarda Alba, The Crucible, Miss Julie, A View From the Bridge, Beautiful Thing, Private Lives, The Glass Menagerie, A Raisin in the Sun (Royal Exchange); Describe the Night, Experience, Pine, Deposit (Hampstead); Love and Information, One Flew Over the Cuckoo’s Nest, Julius Caesar, The Nap (Sheffield); A King’s Ransom (Into Opera); Oranges and Elephants (Hoxton Hall); Here I Belong (Pentabus); The Big Corner, The Tenant of Wildfell Hall (Bolton); Trestle, Orca (Southwark Playhouse); Much Ado About Nothing (Theatr Clwyd); My Mother Said I Never Should (St James Theatre); King Lear, All My Sons (Royal Exchange/Talawa); Brainstorm (National/Park Theatre); Five Finger Exercise (Print Room); Don Quixote, The Tragedy of Thomas Hobbes (RSC); A Mad World My Masters (ETT and RSC); Arcadia, Tonight at 8.30, Hello Goodbye (ETT); Moon on a Rainbow Shawl (National/Talawa); To Sir With Love (Royal & Derngate); Smack Family Robinson (Kingston); Medea, Romeo and Juliet (Headlong/UK tour).

Johanna is an Associate Artist for Theatre503, a Fellow of Guildhall School of Music and Drama, and Chair of the Association of Lighting Designers for whom she regularly writes in their magazine Focus.

LAURA WADE Writer Work for theatre includes Home, I’m Darling which premiered at Theatr Clwyd and the National Theatre earlier this year; an adaptation of Sarah Waters’s Tipping the Velvet for the Lyric Hammersmith and Royal Lyceum, Edinburgh; Posh, which premiered at the Royal Court Theatre before transferring to the Duke of York’s, West End; Kreutzer vs Kreutzer, a play for voices performed by the Australian Chamber Orchestra at Sydney Opera House and on an Australian tour; Alice, an adaptation of ‘Alice in Wonderland’ for Sheffield Theatres; Other Hands and Colder Than Here at Soho Theatre; Breathing Corpses at the Royal Court; an adaptation of WH Davies’s Young Emma at the Finborough Theatre; and several plays for young people including The Wild Swans, Twelvemachine and The Last Child.

Laura received the Pearson Playwrights Best Play Award and was joint winner of the George Devine Award for Breathing Corpses.

She received the Critics’ Circle Award for Most Promising Playwright and was nominated for an Olivier Award for Outstanding Achievement in an Affiliate Theatre for Colder Than Here and Breathing Corpses.

Her screenplay The Riot Club, an adaptation of her 2010 stage play Posh, premiered at the Toronto International Festival before opening in cinemas internationally in 2014.

Radio plays include Hum, Otherkin, Coughs and Sneezes and Good Times Roll.

ISOBEL WALLER-BRIDGE Music Previously at Chichester Composer for Neville’s Island (Theatre in the Park and West End); If Only, King Lear (and BAM) and The Country Girls (Minerva Theatre).

Theatre includes as Composer/Sound Designer Experience (Hampstead Theatre); Woyzeck (Old Vic); Three Sisters (Lyric Theatre Belfast); The Philanderer (Orange Tree); Dutchman (Young Vic); The End of Longing (Playhouse Theatre West End); The Girl on the Train, The Damned United (West Yorkshire Playhouse); Kite (London International Mime Festival); By the Bog of Cats (Abbey Theatre); The One That Got Away, Exit the King (Ustinov); Billy Liar, Orlando So Here We Are (Manchester Royal Exchange); Posh (Nottingham Playhouse/ Salisbury); Uncle Vanya (St James Theatre); Incognito (Bush Theatre; Off West End Award for Best Sound Design); Not the Worst Place (Sherman Cymru); Yellow Face (National Theatre); Lampedusa, Fleabag, The Girl With the Iron Claws, Blink (Soho Theatre); the Ideal World season (Palace Theatre Watford); Forever House (Theatre Royal Plymouth); Sleuth (The Watermill); Mydidae (Traverse Theatre West End); Gruesome Playground Injuries (Gate Theatre); as Composer The Seven Acts of Mercy, Hecuba (RSC); The Hook (Royal & Derngate); Hope Place (Liverpool Everyman).

Television as Composer Vanity Fair, The Split, The ABC Murders, Fleabag, War and Peace (additional music); The Frozen Planet: Making Of, Secret Symphony; Orchestrator/Arranger Life, Fungus the Bogeyman, Man.

Radio as Composer Gilead.

Films as Composer Vita and Virginia, James (Winner Best Composer Underwire Film Festival); Tracks, Physics (Winner BFI Best Film Best of Boroughs).

Other projects include 12-minute commission for orchestra, choir and electronics for Durham Lumiere (Artichoke); and an opera based on Angela Carter’s short stories, The Bloody Chamber.

SAMUEL WEST Director Previously at Chichester, The Lady’s Not for Burning (Minerva); Three Women and a Piano Tuner (Minerva and Hampstead). As an actor: ENRON, Doctor Faustus, The Master and Margarita, Ivanov and The Seagull (Young Chekhov season).

As director, theatre includes After Electra (Plymouth and Tricycle); Close the Coalhouse Door (Northern Stage); Waste (Almeida); Dealer’s Choice (Menier Chocolate Factory and Trafalgar Studios); As You Like It (Sheffield Crucible and RSC); The Romans in Britain (Sheffield Crucible); Les Liaisons Dangereuses (Bristol Old Vic). Opera: Così fan tutte (English National Opera); The Magic Flute (Palestine ISOBEL WALLER-BRIDGE

ELANDER MOORE CAT WHITE

Mozart Festival).

As an actor, theatre includes title roles in Hamlet and Richard II (RSC); Antony and Cleopatra, Arcadia and The Sea (National Theatre); The Writer (Almeida); The Family Reunion and Betrayal (Donmar); A Number (Sheffield, Menier Chocolate Factory and Cape Town); and Drunk Enough to Say I Love You (Public Theater New York).

Television includes four series of Mr Selfridge, The Hollow Crown II, W1A, Jonathan Strange and Mr Norrell, Any Human Heart and Cambridge Spies.

Films include Darkest Hour, On Chesil Beach, Suffragette, Van Helsing, Iris, Howards End, Zeffirelli’s Jane Eyre, Archipel (in French), Carrington, Reunion and three for director Roger Michell: Notting Hill, Hyde Park on Hudson and Persuasion.

As a reciter, Sam has appeared with all the major British orchestras, and was soloist in Walton’s Henry V at the 2002 Last Night of the Proms.

Sam was Artistic Director of Sheffield Theatres from 2005–07. He is an Associate Artist of the RSC and Chair of the National Campaign for the Arts.

EVENTS

THE WATSONS PRE-SHOW TALK

Wednesday 7 November, 6pm Writer Laura Wade and Director Samuel West in conversation with Kate Bassett.

FREE but booking is essential

POST-SHOW TALK

Wednesday 21 November Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

UNFINISHED MANUSCRIPTS

Saturday 17 November, 11am Minerva Theatre “It is a truth universally acknowledged that an unfinished novel must be in want of an ending”. Kate Bassett and broadcaster Mark Lawson discuss.

Tickets £5

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 Lez Gardiner Duty Engineer Daren Rowland Facilities Manager DEVELOPMENT Eleanor Blackham Memberships Officer Katie Cotton Director of Development Julie Field Friends Administrator Rosie Hiles Corporate Development Manager

Laura Jackson Head of Individual Giving William Mendelowitz Head of Major Gifts Tabitha Moore Development Administrator Karen Taylor Memberships Officer 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 HR Eugenie Konig Emily Oliver

Jenefer Pullinger Gillian Watkins

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

Head of HR Accommodation Administrator (Maternity Leave) HR & Recruitment Officer HR Administrator

LEAP Isilda Almeida Events & Heritage Manager Elspeth Barron LEAP Officer Mia Cunningham-Stockdale Youth Theatre Apprentice Lauren Grant Hannah Hogg Richard Knowles Poppy Marples

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

Louise Rigglesford Community Partnerships Manager Dale Rooks Director of LEAP Fin Ross-Russell Education Trainee Beth Sedgwick Community Partnerships Trainee MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager George Bailey Digital Marketing Officer Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Harry Boulter Fran Boxall Helen Campbell Lydia Cassidy

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

Gemma Clark Box Office Assistant Clare Funnell Marketing Officer Madeline Harker Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Communications Assistant

James Morgan Box Office Manager Lucinda Morrison Head of Press Kirsty Peterson 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 Dan Armstrong Transport & Logistics Assistant Steph Bartle Deputy Head of Lighting Amy Clayton Stage Apprentice Rhuari Coe Stage Technician Sarah Crispin Props Maker Lewis Ellingford Stage Crew Fuzz Sound Technician Sam Garner-Gibbons Technical Director 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 Ryan Pantling Lighting & Sound Apprentice Chris Perryman Deputy Head of Stage Megan Pickthorne Stage Apprentice Lewis Ramsay Lighting & Sound Apprentice Erin Ridley Assistant Lighting Technician Neil Rose Deputy Head of Sound Ernesto Ruiz-Mateo Stage Crew James Sharples Stage Crew Graham Taylor Head of Lighting Mollie Tuttle Lighting Technician

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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 WARDROBE Michaela Duffy Ellie Edwards Fiona McIntosh Naomi Overton Gabby Selwyn-Smith Suzanne Skelton Sam Sullivan Loz Tait Colette Tulley Gina Warnes Maisie Wilkins WIGS Beau Bambi Brett Sonja Mohren Isabella Trevisiol-Duff

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

Deputy Head of Wigs Head of Wigs Deputy Head of Wigs

Stage Door: Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Bob 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, 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, Fleur 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 The family of Patricia Kemp 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 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 The Colles Trust 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 The de Laszlo Foundation Diana Dent 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 Roz Frampton 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 R and R Green 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 James and Clare Kirkman 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 Sara 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 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 The Tansy Trust Brian Tesler CBE Harry and Shane Thuillier 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 Nick and Tarnia 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

AGELESS THEATRE FOR LIFE

Our Ageless campaign aims to ensure that theatre and live art remain at the heart of people’s lives, particularly for older people who are at risk of isolation.

Donating to Ageless will help us break down barriers, providing life-changing experiences that benefit mind and body. Help us raise ÂŁ100,000 in order to continue and expand this work.

Donate today at cft.org.uk/ageless or call us on 01243 781312

Supported by Irwin Mitchell and Sheen Stickland