8 Hotels digital programme | Chichester Festival Theatre | Festival 2019

8 HOTELS

By Nicholas Wright

DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON

WELCOME

Welcome to our first world premiere of Festival 2019, Nicholas Wright’s 8 Hotels.

Nick’s play Rattigan’s Nijinsky premiered in Festival 2011 as part of the Rattigan centenary celebrations. His many other award-winning plays have graced the National Theatre, the Almeida, Hampstead and the West End, and we are thrilled that he has chosen to return to Chichester to open his latest play.

We are also delighted that Richard Eyre – who has worked with Nicholas Wright over many years, including on the Olivier Award-winning Vincent in Brixton and their jointly authored book on 20th century British theatre, Changing Stages – also returns to Chichester to direct. His last production here was the acclaimed revival of The Stepmother in 2017.

Richard has assembled an outstanding cast, all making their Chichester debuts. US actor Tory Kittles appears in the UK for the first time; his screen work includes the American

TV series Colony and True Detective and the feature films Dragged Across Concrete and Harriet, while on stage he recently played Bolingbroke in Richard II at The Old Globe, San Diego.

Pandora Colin’s credits include Our Town at Regent’s Park, After the Dance at the National and Delicious on TV. Ben Cura’s screen work includes The Royals and Marcella, while Emma Paetz’s television credits include Gentleman Jack, Press and Pennyworth. We warmly welcome them all.

The theatre industry is renowned for throwing up intriguing connections.

As Nick Wright charts in his fascinating programme note, 8 Hotels was inspired by his own encounter with Uta Hagen.

It seems fitting, therefore, to recall that the real life José Ferrer worked at Chichester several times: in 1975 he directed a production of Cyrano de Bergerac, the role for which he himself won both a Tony and an Oscar.

We hope you enjoy this performance; and we hope to see you again for our next Minerva premiere, Cordelia Lynn’s Hedda Tesman after Henrik Ibsen.

Executive Director Kathy Bourne

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Artistic Director Daniel Evans

WORLD PREMIERE

Haydn Gwynne Anthony Calf Jonathan Hyde

HEDDA TESMAN

By Cordelia Lynn After Henrik Ibsen Cordelia Lynn breathes new life into Henrik Ibsen’s Hedda Gabler, asking what we inherit, what we endure and how we carry our history. Holly Race Roughan directs this co-production with Headlong and The Lowry, with Haydn Gwynne in the title role.

30 August – 28 September #HeddaTesman

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A U T U M N 2 019

John Simm Dervla Kirwan

MACBETH

By William Shakespeare Paul Miller directs John Simm and Dervla Kirwan in this contemporary production of Shakespeare’s great tragedy.

21 September – 26 October #Macbeth

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8 HOTELS

By Nicholas Wright

A NOTE ON

‘I am so happy! I am so happy!’ Uta Hagen clasped her arms around herself, delightedly curled up in her chair, almost knocking her head on the tablecloth.

It was 1996, the start of the tour of my play Mrs Klein, in which she was playing the title role. She, the director William Carden and I were having dinner after the show in an old, oncegrand, now slightly dusty hotel in San Francisco.

Was she happy, I wondered, because the show had gone well that night? Yes, very likely. And she liked long runs, as everyone knew and, besides, she loved touring. But it felt as though something deeper was in the air. It was she who had chosen this hotel: she had made rather a point of it. Was this, I wondered, where she had stayed over 50 years before on that wartime coast-to-coast tour of Othello in which she played Desdemona, her husband José Ferrer JOSÉ FERRER AND PAUL ROBESON, OTHELLO, 1943 IMAGE COURTESY OF BRIDGMAN IMAGES

played Iago and Paul Robeson was the Moor?

And what did it mean to her to be there again?

That night is where my memory leads me, when I ask myself the origin of this play.

I had never been so flattered in my life as when, a year or so before that, William Carden – whom I didn’t know – called me from New York to say that Uta Hagen wanted to do my play. Would I agree to that, he asked? I replied that I had idolised Hagen ever since I’d seen her playing Martha in Who’s Afraid of Virginia Woolf? at the Piccadilly Theatre in 1963 and that, as far as I was concerned, she could do whatever she wanted. She had created the part on Broadway – it was her ‘signature role’, as people say – and she was unforgettable in it: furious, funny, heartfelt, wounded, unforgiving.

We all look different as we get older,

N THE PLAY but I think Uta changed more than most of us.

Photographs of her in that wartime Othello show a blonde with the all-American cute good looks of June Allyson or Rosemary Clooney.

(Whom, oddly, José Ferrer would later marry, not once but twice.) My memory of her in Virginia Woolf was of a rangy intellectual broad, almost mannish. When I finally met her in New York, in her little studio theatre where my play was being tried out, she was 77: gaunt and aquiline – ‘eagle-like’ – with burning energy and a warm voice that decades of smoking had touched with gravel. From time to time one caught a hint of a German accent: ‘ex-OWSsted’ for ‘exhausted’. Or was that the character taking over? She was still a magnificent actress and she was feisty. ‘Oh, Uta’, said one of the other actresses, rather nervously, ‘I’m leaving a little pause there. I hope it’s okay with you?’

Uta replied with spirit. ‘Sure, sweetie, you leave that pause and I’ll walk right off the stage because there won’t be a damn thing to keep me on it.’

Robeson had first played Othello in 1930, in London during his and his wife’s long, long stay in Britain. It was a fertile time for him: he starred onstage in Show Boat, he made some great recordings and some mediocre films, he became celebrated for his charm and looks, he was taken up by high society and he earned a fabulous amount of money. Britain was important to him for another reason: it was where his political awakening took place.

He made an alliance with the struggling Welsh miners, whose love of song struck a chord in his heart. And through meeting African exiles like the future Ghanaian leader Kwame Nkrumah, the future Kenyan President Jomo

The show’s political aim came into focus. Wherever it travelled, there would be theatres that had never before hosted a racially integrated audience.

Kenyatta, and the great Trinidadian writer and thinker C.L.R. James, he discovered the anticolonial cause that he would support for the rest of his life. By the time he returned to the USA, at the outbreak of World War II, he thought of himself as an activist first and an artist second. From now on, his acting and his singing, however highly he valued them, would be adjuncts to his political life: ‘They give me a platform’, he would say.

For him to play Othello in the USA was a political message in itself. In 1940s America, actors of colour seldom appeared onstage except as servants, slaves and nannies. This was Robeson’s chance to show a black man as a hero: brave, articulate and admired by all. He chose his director with care: Margaret Webster, an Englishwoman who was making a name for herself in the USA as a Shakespeare specialist.

She found that casting would be tricky. For the part of Iago, she turned to her friend Maurice Evans, a suavely decorous English actor who was collaring the market in Shakespeare roles on Broadway, but he turned her down. ‘America isn’t ready for a black Othello’, he told her.

Other offers produced the same reply. It wasn’t just fear of precedent: there was real alarm at the prospect of a man of colour appearing in a romantic situation with a white woman.

(The African American Ira Aldridge, a celebrated Othello of the 19th century, played the role throughout the length and breadth of Europe but never once in his home country.)

Just when it looked as though Iago would never be found, Webster’s partner – the actress Eva le Gallienne – suggested a young actor who had scored a hit in the vintage farce, Charley’s Aunt: his feat of diving horizontally into a Victorian woman’s gown and emerging from the other end fully-dressed was a nightly showstopper. Once José Ferrer was cast, it was only natural for Desdemona to be offered to his young wife, Uta Hagen. Webster had seen her, aged 17, as a sensational Ophelia to le Gallienne’s Hamlet and they’d recently played together in The Seagull – Webster as Masha, Hagen as Nina – in a revival starring America’s theatrical royal couple, the Lunts.

The show enjoyed a long Broadway run and then set out on a nationwide tour. Now its political aim came into focus. It couldn’t tour to the American South: that would be crazy and unsafe. But wherever it travelled, there would be theatres that had never before hosted a racially integrated audience and didn’t want to start now. Robeson, Webster and the management insisted that performances should be open to all, irrespective of colour or race, and the show held fast to this, despite the occasional date where they found that white ticket holders and those of colour had been deliberately seated on opposite sides of the stalls with a kind of firebreak running down the middle. There were other problems too.

It wasn’t unusual, when Hagen, Ferrer and Robeson ate together in a restaurant, for waiters to come rushing up to place discreet screens around them. Some hotels operated a colour bar, and there were times when Robeson was asked politely if he would mind travelling in the goods elevator, in order not

UTA HAGEN (DESDEMONA) AND PAUL ROBESON (OTHELLO), OTHELLO, SHUBERT THEATRE, BROADWAY, 1943 IMAGE COURTESY OF BRIDGEMAN IMAGES

to upset the other guests, never mind that he was one of the most famous Americans in the world.

He would play Othello once again, in 1959 for the Shakespeare Memorial Theatre, as the RSC was then called. His passport had been taken away years before by the US State Department and there was no guarantee that he would get it back, so a standby actor was engaged; but he arrived in Stratford-upon-Avon in time to rehearse and perform. I was a drama student then, watching the show from the back of the stalls. It was thrilling to see this mighty character in the flesh. Some of his earlier magic was apparent, but not very much of it: one had to make allowances for his age. It was not long after that he suffered a rapid deterioration in his health, the cause of which remains mysterious.

Margaret Webster’s career in America never recovered from the setback that appears in the play. She returned to Britain, where she was thought reliable but old-fashioned and where she failed to find the prestigious work that she was used to. As a young actor, I auditioned for her in the Hampstead living room of her partner, the novelist Pamela Frankau. Frankau had

HATTIE MCDANIEL, PAUL ROBESON, SHOW BOAT, 1936 IMAGE COURTESY OF BRIDGEMAN IMAGES

written the play, which was modestly scheduled for a single week in Windsor. When one is an out-of-work actor, one places a lot of importance on the courtesy one is shown at auditions and, in this department, Webster received top marks from me: she was respectful of my terrible acting and turned me down with charm. I liked her a lot.

José Ferrer went on to enjoy a flourishing set of careers as actor, producer, director of plays and movies. It was a matter of pride to him that in 1950 he became the first Latino to win an Academy Award for Best Actor: it was for Cyrano de Bergerac, which was also an iconic role of his on stage.

Uta continued acting for as long as the years allowed and became an important teacher. Her book Respect for Acting remains an essential guide for actors of today and of the future.

NICHOLAS WRIGHT

Nicholas Wright’s other original plays include Rattigan’s Nijinsky (Festival 2011) and, for the National Theatre Mrs Klein, Vincent in Brixton (Olivier Award for Best New Play) and The Reporter.

AMERICA AT THE TIME OF 8 HOTELS In the aftermath of the Civil War (1861-65), states in the South gradually adopted a variety of methods to disenfranchise black voters and instituted ‘Jim Crow’ (segregation) laws, authorising the separation of races in practically every aspect of life.

By 1944, when 8 Hotels opens, there are designated areas of accommodation and transport for blacks and whites; and separate schools, churches, graveyards, parks, playgrounds, restaurants and restrooms. Signs dictate where people of colour can legally walk, talk, drink, rest and eat.

Over the following decade, the US economy boomed and popular culture flourished.

But it was also an era of great conflict. By 1956, when 8 Hotels ends, the civil rights movement and the crusade against communism, at home and abroad, had exposed the divisions in American society.

1944 President Franklin D. Roosevelt wins re-election for a record fourth term.

US Marines capture the island of Iwo Jima from the Imperial Japanese Army, after one of the fiercest and bloodiest battles of the Pacific War. Willie James Howard, a 15-year-old African American, is forcibly drowned in Florida, allegedly for sending a Christmas card and letter to a female white co-worker. His killers are never charged.

Casablanca wins the Oscar for Best Picture.

1945 Franklin D. Roosevelt dies suddenly, aged 63.

Vice President Harry S. Truman becomes the 33rd US President.

After the US drops two atomic bombs on Hiroshima and Nagasaki, Japan surrenders, marking the official end of World War II. The term 'Cold War' is first used in an article

by George Orwell.

The post-war strike wave of 1945-46 sees more than five million American workers involved in industrial action.

1946 A mob of white men shoot two young African American couples, including a World War II veteran, near Moore's Ford Bridge in Georgia.

Paul Robeson urges President Truman to take action against lynching. Nobody is ever prosecuted for the crime.

Eugene O'Neill's The Iceman Cometh premieres in New York.

Laurence Olivier’s film of Henry V earns him an honorary Oscar for outstanding achievement as actor, producer and director.

Rodgers and Hammerstein follow Oklahoma!

(1943) with a second Broadway hit, Carousel.

1947

1948

The Truman administration advocates civil rights reforms including making lynching a federal crime; legislation is obstructed by Southern Democratic senators and congressmen.

President Truman issues an Executive Order to end segregation in the Armed Services. Amid increasing tensions with the Soviet Union, he also issues the second peacetime military draft.

Willie Earle, a black man charged with killing a taxi driver, is dragged from jail in South Carolina and murdered; 31 white suspects are tried but acquitted.

President Truman defines post-war US policy by pledging support for any nation defending itself against communism.

Norman Mailer’s first novel, The Naked and the Dead, is based on his military service in the Pacific.

The House Un-American Activities Committee begins investigations into alleged communism in Hollywood.

At the first Tony Awards, winners include José Ferrer for Cyrano de Bergerac, while Arthur Miller (playwright) and Elia Kazan (director) win for All My Sons.

Jackie Robinson joins the Dodgers, becoming the first African American to play Major League Baseball since the 1880s.

1949

1950

Arthur Miller's Death of a Salesman opens on Broadway, as does Rodgers and Hammerstein's South Pacific, featuring an interracial romance.

The US joins the Korean War, spending around $67 billion and providing 90% of the troops sent to aid South Korea.

William Faulkner receives the 1949 Nobel Prize in Literature for novels including The Sound and the Fury (1929).

Senator Joseph McCarthy claims to know the names of 205 communists in the US State Department, sparking a witch-hunt.

Paul Robeson, whose passport had been revoked because of his alleged communist affiliations, meets with US officials in an unsuccessful effort to get it reinstated.

1951 Robeson and the Civil Rights Congress make a presentation to the UN, arguing the US government is guilty of genocide due to its failure to outlaw lynchings.

Judy Garland begins her legendary concerts in New York's Palace Theatre.

JosĂŠ Ferrer wins an Oscar for the film of Cyrano de Bergerac.

The Catcher in the Rye by J.D. Salinger is published.

1952 Oscars go to Humphrey Bogart for The African Queen, Vivien Leigh for A Streetcar Named Desire, and An American in Paris for Best Picture.

John Steinbeck publishes East of Eden (the 1955 film adaptation stars James Dean).

Ernest Hemingway's last major work of fiction, The Old Man and the Sea, is awarded the Pulitzer Prize.

1953 Dwight D. Eisenhower becomes the first Republican President for 20 years.

Julius and Ethel Rosenberg are convicted of spying for the USSR and executed in Sing Sing prison, New York.

Arthur Miller’s The Crucible, using the 17th century Salem witch trials as an allegory of McCarthyism, wins the Tony Award for Best Play.

1955 Rosa Parks is arrested for refusing to give up her seat to a white man on a bus in Montgomery, Alabama, prompting a year-long bus boycott in the city.

A young black boy, Emmett Till, is brutally murdered for allegedly whistling at a white woman in Mississippi. After two white men are acquitted by an all-white jury, public outrage further galvanises the civil rights movement.

Marian Anderson becomes the first African American singer to perform at the Metropolitan Opera, New York.

The Disneyland theme park opens in Anaheim, California.

1954 Isadore Banks, a 59-year-old African American landowner, is murdered in Arkansas in an apparent lynching which remains unsolved.

White Christmas, with Bing Crosby and Danny Kaye, is the box office hit of the year; From Here to Eternity wins the Oscar for Best Picture.

Bill Haley & His Comets record ‘Rock Around the Clock’.

1956 The Alabama Bus segregation laws declared illegal by the US Supreme Court.

Lerner and Loewe's musical, My Fair Lady, opens on Broadway.

Allen Ginsberg publishes Howl, a defining work of the Beat Generation.

Elvis Presley's 'Heartbreak Hotel' tops all three US charts, earning him his first Gold Record.

8 HOTELS

By Nicholas Wright CAST (in order of speaking) Uta Hagen, 25 JosĂŠ Ferrer (Joe), 32 Margaret Webster (Peggy), 39 Paul Robeson, 46

Emma Paetz Ben Cura Pandora Colin Tory Kittles

The play takes place in the United States in 1944 and later.

There is no interval.

A note from the author: The play is based on real events. It makes no claim to be an accurate record of them and much of the action is invented for dramatic purposes. Certain events are inspired by two interviews with Uta Hagen, conducted in 1982 and 1984 by the author of the official biography of Paul Robeson, Martin Duberman. My thanks are due to Professor Duberman and to the Moorland-Spingarn Research Center at Howard University, Washington for making them available to me.

The world premiere performance of 8 Hotels at the Minerva Theatre, Chichester, 1 August 2019.

Richard Eyre Rob Howell Peter Mumford John Leonard Andrzej Goulding Charlotte Sutton CDG Jim Carnahan CSA

Director Designer Lighting Designer Sound Designer Video Designer Casting Director US Casting

Penny Dyer Lucy Gaiger Sharon Foley Campbell Young Associates Eva Sampson

Company Dialect Work Costume Supervisor Props Supervisor Hair, Wigs & Make-up Assistant Director

Kate West Suzanne Bourke Lorna Earl Harriet Saffin

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Production credits: Set Built and Painted by All Scene All Props; Production Carpenter JJ Smith; Production Video Dan Trenchard; Transport by Paul Mathew Transport; Video Equipment supplied by Stage Sound Services; Costumes by Academy Costumes; Props by Taylor & Foley; Furniture painting by CFT Prop Workshop; Rehearsal room Jerwood Space.

Rehearsal and production photographs Manuel Harlan Programme design by Davina Chung Programme Associate Fiona Richards With special thanks to supporters of The Playwrights Fund for their support of the creative development of 8 Hotels: 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 8 Hotels Commissioning and Patrons Circles: His Honour Michael and Mrs Edna Baker, Ian and Judy Barlow, Philip Berry, Rosalind Bowen, Mrs Veronica J Dukes, Steve Evans, Jennie Halsall, Themy Hamilton, Catherine Hindson, Rosie and Richard Hoare, Colin and Gay Kay, Simon and Belinda Leathes, Vaughan and Sally Lowe, Jeremy and Caroline Marriage, Sarah and Charles Martin, David and Elizabeth Miles, Peter and Nita Mitchell-Heggs, Vicky Mudford, John and Caroline Nelson, Greg and Katherine Slay, Chris Williams, Ernest Yelf and all those who wish to remain anonymous.

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BIOGRAPHIES

PANDORA COLIN Margaret Webster (Peggy) Theatre: A Midsummer Night’s Dream, Julius Caesar, The Country Wife (Sheffield Crucible); Beginners (Unicorn Theatre); The Vote (Donmar Warehouse); Cornelius (59E59 Theatre New York); The Dark Earth and the Light Sky, The House of Bernarda Alba (Almeida); After the Dance, Every Good Boy Deserves Favour, Some Trace of Her, Women of Troy (National Theatre); Stephen and the Sexy Partridge (Trafalgar Studios); If There Is I Haven’t Found It Yet, 66 Books (Bush Theatre); Serious Money (Birmingham Rep); Kindertransport (Hampstead); You Might As Well Live (New End & Pleasance Courtyard Edinburgh); Mariana Pineda (Arcola); Much Ado About Nothing (Salisbury Playhouse); Design for Living (Theatre Royal Bath); The Man of Mode (Northcott Theatre Exeter).

Television: Chernobyl, Delicious, Line of Duty, Count Arthur Strong, Penny Dreadful, Toast of London, Mr Selfridge, Titanic, Hotel Babylon, Life Begins, Coupling, NY-LON, Black Books, PANDORA COLIN

BEN CURA

Comedy Lab: The Pooters, The Dark Room, Extremely Dangerous, Close Relations, The Peter Principle, Wycliffe, In Your Dreams, Tears Before Bedtime.

Films: Film Stars Don’t Die in Liverpool, The Lady in the Van, I Give It a Year, A Bunch of Amateurs, Run Fat Boy Run. BEN CURA José Ferrer Theatre includes Brandon in Next Fall (Southwark Playhouse); Angel in Viva Forever (West End); Dan in A Gloriously Mucky Business (Lyric Hammersmith); Cliff in Cabaret (Wilton’s Music Hall).

Television includes The Rook, Ransom, Silent Witness, Marcella, The Royals, Threesome.

Films include Gatecrash, L’Intervention, Postcards from London, Film Stars Don’t Die in Liverpool, Gun Shy, White Island, Creditors (also director/writer), The Devil’s Violinist, Trance, Comes a Bright Day. Trained at LAMDA.

TORY KITTLES Paul Robeson Theatre includes Bolingbroke in Richard II (The Old Globe, San Diego); Dr John Prentice in Guess Who’s Coming to Dinner (True Colors Theatre Company); Stephen in Bones (Kirk Douglas Theatre).

Television includes Colony, The Intruders, True Detective, Sons of Anarchy, CSI: Miami, House MD, CSI: NY, Grosse Pointe.

Films include Those Who Wish Me Dead, Wander Darkly, Harriet, Dragged Across Concrete, Man Down, Bessie, American Heist, Olympus Has Fallen, Steel Magnolias (NAACP Image Award nomination), The Sapphires, The Kill Hole, The Chameleon, A Perfect Getaway, Miracle at St Anna, Stop-Loss, Next, Dirty, Get Rich Or Die Tryin’, Little Athens, Against the Ropes, Paparazzi, Malibu’s Most Wanted, Phone Booth, Big Shot, Invincible, Tigerland.

TORY KITTLES

EMMA PAETZ

EMMA PAETZ Uta Hagen Theatre includes Isabella in No Place for a Woman (Theatre503) and You’re Human Just Like the Rest of Them (Finborough Theatre).

Television includes Pennyworth, Gentleman Jack, Press, The Looming Tower.

Films include Boys From County Hell, Juliet Naked, Final Girl.

Trained at Guildhall School of Music and Drama.

C R E AT I V E T E A M

JIM CARNAHAN CSA US Casting Previously for Chichester US Casting for Sweet Bird of Youth and Mack & Mabel (Festival Theatre).

Director of Artistic Development for Roundabout Theatre Company in New York where he has cast over 100 shows including All My Sons, Kiss Me Kate, True West, Travesties, Time and the Conways, The Price, Long Day’s Journey into Night, Love Love Love, She Loves Me, Noises Off, On the Twentieth Century, The Real Thing, Cabaret, Harvey, Waiting for Godot, Sunday in the Park with George, Pajama Game, Twelve Angry Men, Nine, Assassins, Side Man. Additional Broadway credits include Moulin Rouge, Tootsie, Burn This, The Ferryman, Head Over Heels, Harry Potter and the Cursed Child, 1984, Groundhog Day, Fun Home, Constellations, You Can’t Take It With You, The River, The Glass Menagerie, Matilda, Once, Peter and the Starcatcher, Mountaintop, Jerusalem, Arcadia, Scottsboro Boys, American Idiot, Spring Awakening, Pillowman, Thoroughly Modern Millie.

London credits include Cat On A Hot Tin Roof (Apollo), Angels in America, The Red Barn, The Motherf**ker with the Hat (National Theatre), The Glass Menagerie (Duke of York’s), Nice Fish (Harold Pinter Theatre), A Streetcar RICHARD EYRE

Named Desire (Young Vic).

Television Glee (Emmy nomination).

Film The Seagull, A Home at the End of the World, Flicka.

He is a member of the Casting Society of America and a twenty one-time recipient of the Artios Award for excellence in casting.

PENNY DYER Company Dialect Work Most recently at Chichester Shadowlands, This House, Strife, Gypsy, Frankie and Johnny in the Clair de Lune, Taken at Midnight, Kiss Me, Kate and The Resistible Rise of Arturo Ui. Theatre includes Follies, The Red Barn, Husbands and Sons, This House (National Theatre); Present Laughter, American Clock, Groundhog Day, The Caretaker, Other Desert Cities, Sweet Bird of Youth, Kiss Me, Kate (Old Vic); Tree (Young Vic); Heisenberg, Long Day’s Journey into Night, Who’s Afraid of Virginia Woolf, Gypsy, The Ruling Class, Good People, The Commitments, The Book of Mormon (West End); Orpheus Descending, The Truth, Assassins (Chocolate Factory); also, numerous productions at the Royal Court, Donmar and Almeida.

Television includes Jerusalem, Catherine The Great, Hanna, Pure, The Long Song, The Woman in White, Kiri, Patrick Melrose, Britannia, Urban Myths, The Last Kingdom, The Rack Pack,

Marvellous, Cilla, Tommy Cooper, The Girl, The Slap, Mrs Biggs, Downton Abbey, The Deal, Blackpool, North and South.

Film includes Enola, After Love, Burnt Orange Heresy, Ironbark, Hope Gap, Farming, TombRaider, On Chesil Beach, My Cousin Rachel, The Danish Girl, Florence Foster Jenkins, Testament of Youth, Pride, Philomena, Nowhere Boy, The Queen, The Damned United, Dirty Pretty Things, The War Zone, Elizabeth.

RICHARD EYRE Director Previously at Chichester The Last Cigarette, The Pajama Game, The Stepmother.

Theatre includes Hamlet (Royal Court); Comedians, Guys and Dolls, The Beggar’s Opera, The Government Inspector, The Futurists, The Voysey Inheritance, Racing Demon, Richard III, Night of the Iguana, Skylight, Sweet Bird of Youth, The Absence of War, John Gabriel Borkman, Amy’s View, King Lear, The Invention of Love, Vincent in Brixton, The Reporter, The Observer, Welcome to Thebes, Liolà (National Theatre); The Crucible (Broadway); Mary Poppins (West End/Broadway); The Dark Earth and the Light Sky and his own adaptations of Hedda Gabler, Ghosts, Little Eyolf (Almeida); Private Lives, Betty Blue Eyes, Quartermaine’s Terms, Stephen Ward, Mr Foote’s Other Leg (West End); Long Day’s Journey Into Night (Bristol Old Vic/West End); My Name is Lucy Barton (Bridge Theatre); The Bay at Nice (Menier Chocolate Factory); Blithe Spirit (Theatre Royal Bath).

Opera includes La traviata (ROH); Le nozze di Figaro, Carmen, Werther, Manon Lescaut (Metropolitan Opera).

Television includes The Insurance Man, Country, v., Tumbledown, Henry IV Parts I and II, The Dresser.

Films include The Ploughman’s Lunch, Iris, Stage Beauty, Notes on a Scandal, King Lear, The Children Act. He is the author of Utopia and Other Places, National Service, Talking Theatre, What Do I Know and Place To Place.

Richard Eyre was Director of Nottingham Playhouse from 1973 – 1978, Producer of Play for Today for BBC TV 1978 – 1981, and Director of the National Theatre from 1988 – 1997.

He has received numerous theatre and film awards and is a Fellow of the Royal Society of Literature. He was knighted in 1997 and made a Companion of Honour in 2017.

ANDRZEJ GOULDING Video Designer Andrzej works as a Set and Video Designer across all forms of live performance.

Previously at Chichester Me and My Girl, Sweet Bird of Youth, The Boy in the Striped Pyjamas (Festival Theatre), Pitcairn, Pressure (Minerva Theatre).

Video designs include Life of Pi, Frost/Nixon (Sheffield Crucible); People, Places and Things (National Theatre, West End, St Ann’s Warehouse, UK tour); Groundhog Day (Broadway, Old Vic); The Remains of the Day (UK tour); The Unreturning – also set design (Frantic Assembly UK tour); Status (UK tour, Edinburgh Festival); Pressure (West End, UK tour, Park Theatre); Rent (Other Palace, UK tour); The Girl on the Train (UK tour); Coriolanus (Donmar Warehouse, NT Live); 1984 (Northern Ballet, Sadler’s Wells, BBC Four); The Suicide, From Morning to Midnight, The Tell-Tale Heart (National Theatre); Room (Theatre Royal Stratford East, Abbey Theatre); Carousel (Barbican); The Machine (MIF, Armory NYC); Silent Night (original US tour); Peter Grimes (Grange Park Opera).

He was nominated for a Drama Desk Award for Outstanding Projection Design and a Knights Of Illumination USA Award for Projection Design in 2018 (both for People, Places and Things); won the inaugural 2017 Theatre and Technology Award for Creative Innovation in Video Design (for Room); and was nominated for a WhatsOnStage Award 2017 for Video Design (for Groundhog Day). He has also recently been nominated for an Off West End Award and a BroadwayWorld Award (2019) for Set Design (for The Unreturning). agoulding.com ROB HOWELL Designer Previously at Chichester Relative Values (Festival Theatre, West End and UK tour) and The Last Cigarette (Minerva Theatre and West End).

Theatre includes A Christmas Carol, Dr Seuss’s The Lorax, The Caretaker, The Master Builder, Future Conditional, A Flea in Her Ear, Inherit the Wind, Speed-the-Plow, Complicit (Old Vic); The Norman Conquests, Groundhog Day (Olivier Award for Best New Musical, Old Vic/Broadway).

Rob has also worked at the National Theatre, RSC, Royal Court, Almeida, Donmar, Young Vic, Bristol Old Vic, Leeds Playhouse, Royal Exchange Manchester, Royal Opera House, Metropolitan Opera and on Broadway.

He has won three Olivier Awards for Set Design, including Matilda the Musical for which he also won a Tony Award; and the 2019 Tony Awards for Set and Costume Design for The Ferryman.

JOHN LEONARD Sound Designer Previously at Chichester The Stepmother, Stevie, Collaboration, Taking Sides, The Master Builder, Yes, Prime Minister, Calendar Girls, The Visit, Divorce Me, Darling, Racing Demon, Our Betters, Suzanna Andler, Blithe Spirit, The Deep Blue Sea and Rattigan’s Nijinsky.

Other recent work includes Blithe Spirit, Uncle Vanya, In Praise Of Love and A Song at Twilight (Theatre Royal Bath and Ustinov Studio); Eden, The Firm, Jude and Prism (Hampstead Theatre); Other People’s Money NICHOLAS WRIGHT

(Southwark Playhouse); Sleeping Beauty (Theatre Royal Stratford East); Corrido: a Ballad for the Brave (Victoria & Albert Museum); Mood Music (Old Vic); Long Day’s Journey Into Night (Bristol Old Vic, West End, New York and Los Angeles); My Name Is Lucy Barton (Bridge Theatre); The Real Thing (Bath Theatre on tour); The Retreat, Beirut and The Other Place (Park Theatre); All Our Children (Jermyn Street Theatre); Duet for One (UK tour); Consent, Waste, Detroit, Grief, Untold Stories – Cocktail Sticks, 2000 Years, England People Very Nice, Much Ado About Nothing and London Assurance (National Theatre); Macbeth (Shakespeare’s Globe); The Dark Earth and the Light Sky, The Master Builder, Little Eyolf and Ghosts (also West End and New York) (Almeida); Into the Woods (Royal Exchange Manchester); The BFG (Birmingham Rep); Birthday and Tribes (Royal Court); Consent, Lady Windermere’s Fan, The Libertine, Dead Funny, Hand to God, The Duck House, Just Jim Dale, Firebird and McQueen (West End).

PETER MUMFORD Lighting Designer Previous designs at Chichester include Heartbreak House, The Last Confession, The Master and Margarita, A Midsummer Night’s Dream, Out of This World (Festival Theatre);

The Stepmother, King Lear (and BAM), The Waltz of the Toreadors (Minerva Theatre). Peter is a former CFT Lighting Design Associate.

Recent theatre designs The Ferryman (Royal Court, West End, Broadway); 42nd Street (West End); Jude (Hampstead); My Name is Lucy Barton (Bridge Theatre); The Way of the World (Donmar); John (National Theatre); King Kong (Global Creatures/Australia, Broadway); The Children, Escaped Alone (Royal Court, New York); Ghosts (Almeida, West End, BAM); Long Day’s Journey into Night (West End, BAM).

Recent ballet designs Within the Golden Hour, Corybantic Games (Royal Ballet); Carmen (Royal Ballet, Texas Ballet Theater, Queensland Ballet); The King Dances, Faster, E=mc2, Take Five (Birmingham Royal Ballet); Carmen (also set design, Miami City Ballet); Ein Reigen (Vienna State Ballet).

Recent opera designs Beauty and Sadness (Hong Kong); Manon Lescaut, Carmen, Werther, Madama Butterfly (New York Met); The Damnation of Faust (ENO, Palermo, Vlaamse Opera, Berlin Staatsoper); Katya Kabanova (Opera North); La traviata (Glyndebourne); Falstaff, Le nozze di Figaro, Carmen (Grange Festival Opera); The Queen of Spades (Vilnius City Opera).

Peter created the staging concept, directed and designed Wagner’s Ring Cycle and The Flying Dutchman for Opera North. His film of the entire Ring Cycle is available on BBC Arts Online, and he directed (and created the video for) a concert staging of Fidelio for Orchestre de Chambre de Paris.

Awards include South Bank Sky Arts Awards for Opera (Ring Cycle); Olivier Award for Best Lighting Design (The Bacchai); Olivier Award for Outstanding Achievement in Dance; Knight of Illumination Award (Sucker Punch); Helpmann Award and Green Room Award for Best Lighting (King Kong). petermumford.info EVA SAMPSON Assistant Director Eva Sampson is Resident Assistant Director for Festival 2019 and was Assistant Director on This Is My Family (Minerva Theatre).

Theatre credits include as Director The Last Nine Months (Vaults Festival), Sticky (Southwark

Playhouse), The Tide (Young Vic), The Little Gardener (National Theatre and UK tour), The Scarecrows’ Wedding (Leicester Square Theatre), A Peter Rabbit Tale (Singapore Repertory Theatre), Rudolf (West Yorkshire Playhouse), Decades (Oval House); as Staff Director Downstate (National Theatre); as Associate Director Raymond Briggs’ Father Christmas (Lyric Hammersmith, MAC and The Hong Kong Academy for Performing Arts); as Assistant Director Noye’s Fludde (Theatre Royal Stratford East and ENO) and Twelfth Night (Young Vic), part of the Young Vic’s Jerwood Assistant Director Programme 2018, supported by the Jerwood Charitable Foundation.

Eva is the Co-Artistic Director of How It Ended and an Associate Artist of the National Youth Theatre.

Trained on The National Theatre Studio Directors’ Course and The University of Birmingham.

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Oklahoma!, Plenty, Shadowlands, 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); The Deep Blue Sea, This Is My Family, The Watsons, Cock, Copenhagen, The Meeting, random/ generations, Quiz, The Stepmother, The House They Grew Up In, Caroline, Or Change (also Hampstead and West End; CDG Casting Award nomination), Strife (Minerva Theatre).

Theatre credits Company (Gielgud); Death of a Salesman, The Convert, Wild East, 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, The Elephantom, 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); 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); Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

NICHOLAS WRIGHT Writer Nicholas Wright’s Rattigan’s Nijinsky premiered at Chichester Festival Theatre in 2011; his version of Emile Zola’s Thérèse Raquin premiered at the Minerva in 1990 and was seen at the National Theatre in 2006.

For the National Theatre, he has written Travelling Light, The Reporter, Vincent In Brixton (winner of the Olivier Award for Best New Play) and Mrs Klein (also West End), and adaptations of Philip Pullman’s His Dark Materials, Chekhov’s Three Sisters and Ibsen’s John Gabriel Borkman.

His other plays and adaptations include TORY KITTLES

PANDORA COLIN

The Last of the Duchess and The Slaves of Solitude (Hampstead Theatre); Regeneration (Royal & Derngate, Northampton); A Human Being Died That Night (Hampstead Theatre, Fugard Theatre, Cape Town and Market Theatre, Johannesburg); Lulu and Naked (Almeida Theatre); Cressida (Almeida at the Albery); The Desert Air and The Custom of the Country (Royal Shakespeare Company).

Nicholas Wright’s opera librettos include Marnie (ENO and Metropolitan Opera, New York), The Little Prince (Houston Grand Opera) and Man on the Moon (Channel 4). For the Royal Ballet, he wrote the scenario for Christopher Wheeldon’s Alice’s Adventures in Wonderland.

His writing about the theatre includes Changing Stages: A View of British Theatre in the Twentieth Century, co-written with Richard Eyre, and 99 Plays.

EVENTS

8 HOTELS PRE-SHOW TALK

Tuesday 6 August, 6pm Director Richard Eyre in conversation with Kate Mosse.

FREE but booking is essential.

POST-SHOW TALK

Friday 16 August Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

TOUCH TOUR

Friday 23 & Saturday 24 August Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in 8 Hotels. The tour takes place 90 minutes before the audio-described performances.

FREE but booking is essential.

BEN CURA

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S TA F F

TRUSTEES Sir William Castell Mr Nicholas Backhouse 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 Charlotte Sutton CDG

Chairman

Literary Associate Casting Associate

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer DEVELOPMENT Rachel Billsberry-Grass Interim Development Director

Eleanor Blackham Memberships Officer Joseph Fellows-Cameron Development Administrator Julie Field Friends Administrator Rosie Hiles Corporate Development Manager Laura Jackson William Mendelowitz Karen Taylor DIRECTORS Kathy Bourne Daniel Evans Patricia Key Georgina Rae Julia Smith

Head of Individual Giving Head of Major Gifts Memberships Officer

Executive Director Artistic Director PA to the Directors Head of Planning & Projects Board Support

FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Will Jupp IT Support 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 Coordinator HR & Recruitment Officer HR Administrator

LEAP Isilda Almeida Heritage Manager Elspeth Barron LEAP Officer Mia Cunningham-Stockdale Youth Theatre Apprentice

Lauren Grant Deputy Director of LEAP Hannah Hogg Youth & Outreach Officer Richard Knowles Education Projects Manager Poppy Marples Senior Youth &

Outreach 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 Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Harry Boulter Box Office Assistant Fran Boxall Box Office Administrator (Maternity Cover)

Helen Campbell Deputy Box Office Manager Lydia Cassidy Director of Marketing & Communications Clare Funnell Marketing Officer Madeleine Harker Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Communications Assistant James Morgan Lucinda Morrison Kirsty Peterson Alice Stride Joshua Vine Claire Walters Joanna Wiege

Jane Wolf

Box Office Manager Head of Press Box Office Assistant Box Office Assistant Box Office Supervisor Box Office Assistant Box Office Administrator (Maternity Leave)

No 1 Sound Technician Head of Lighting Stage Crew Stage Crew

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Karen Hamilton Front of House Duty 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 Jessica Griffiths Natasha Hancock Lottie Higlett Gabby Selwyn-Smith Emily Souch Sam Sullivan Loz Tait Colette Tulley Hannah Ward Maisie Wilkins

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

WIGS Grace Healy Hayley Kharsa Sonja Mohren Natascha Schnieden Eve Westcott

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

Box Office Assistant

PRODUCTION Amelia Ferrand-Rook Producer Claire Rundle Production Administrator Eva Sampson Resident Assistant Director Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Dan Armstrong Transport & Logistics Steph Bartle Deputy Head of Lighting Hope Brennan Sound Technician Jon Carter Stage Crew Amy Clayton Stage Apprentice Leoni Commosioung Stage Crew Sarah Crispin Prop Maker Lewis Ellingford Stage Technician Ross Gardner Stage Crew Sam Garner-Gibbons Technical Director Abbie Gingell Stage & Automation Technician

Fuzz Sound Technician Katie Hennessy Props Store Co-ordinator Laura Howells Senior Lighting Technician Alex Hunt Stage Technician Ian Jarvis Deputy Head of Stage Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Lighting/Sound Apprentice Lewis Ramsay Assistant Lighting Technician Alex Rees Neil Rose Ernesto Ruiz Joe Samuels James Sharples Adam Thomas Steer

Mary Stone Graham Taylor Sarah Ware Flynn White

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

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Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, Ella Bassett, Bob Bentley, Gloria Boakes, Janet Bounds, Judith Bruce-Hay, Lauren Bunn, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Sophia Cobby, Gaye Douglas, Stella Dubock, Alisha Dyer-Spence, Clair Edgell, George Edwards, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Luc Gibbons, Anna Grindel, Karen Hamilton, Caroline Hanton, Madeline Harker, Joseph Harrington (Trainee), Gillian Hawkins, Joanne Heather, Lottie Higlett, Keiko Iwamoto, Joan Jenkins, Lucy Jenkinson, Pippa Johnson, Ryan Jones, Jan Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Jamie Loake, Emily McAlpine, Janette McAlpine, Chris Monkton, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Lydia Piper, Barbara Pope, Justine Richardson, Nicholas Southcott, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Rosemary Wheeler, Jonathan Wilson (Trainee), James Wisker, Donna Wood, Fleur Wood, Kim Wylam, Jane Yeates We acknowledge the work of those who give so generously of their time as our Volunteer Audio Description Team: Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Sue Hyland, David Phizackerley, Christopher Todd

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

GET INVOLVED As a registered charity, Chichester Festival Theatre needs support from people like you. The generosity and commitment of our members and donors means we can: • Keep creating world-class theatre in the heart of West Sussex • Run our award-winning Youth Theatre and other community projects that inspire and empower • Invest in emerging talent in UK theatre by offering unique career development opportunities There are many ways to support us.

Whether you are an individual, a charitable trust or a company, you can get closer to the work we do both on and off the stage.

To find out more about opportunities to support CFT, please visit cft.org.uk/supportus, email development.team@cft.org.uk or call 01243 812881.

WAYS OF GIVING If you donate to our Ageless campaign, you will help us bring theatre and live art to the wider community, particularly those at risk of isolation. All donations welcome.

As a Friend you will receive priority booking, ticket discounts, Friends events and e-newsletters. Membership £35.

Festival Players receive advance priority booking and exclusive events in thanks for your generous support. Membership from £250 (£25 + £225 donation).

Benefactors enjoy unique access to CFT, with a bespoke relationship based around the projects you choose to support.

Gifts from £3,000.

By becoming a Corporate or Principal Partner, businesses can access a host of benefits including advertising, tickets, client entertaining and invitations to exclusive events.

cft.org.uk/supportus

S U P P O R T E R S 2019

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 CS and M Chadha David and Sonia Churchill John and Pat Clayton 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 Basil Hyman Liz Juniper The family of Patricia Kemp Roger Keyworth 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 Artswork The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Boltini Trust Elizabeth, Lady Cowdray's Charity Trust The Noël Coward Foundation The Roddick Foundation

FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Charles and Clare Alexander Tom Reid and Lindy Ambrose Paul Arman The Earl and Countess of Balfour Matthew Bannister Mr Laurence Barker Mr James and Lady Emma Barnard (The Barness Charity Trust) Franciska and Geoffrey Bayliss 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 Bridget Brooks Peter and Pamela Bulfield Jean Campbell Julie Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Mike Caspan and Viv Wing Warren and Yvonne Chester Sally Chittleburgh David and Claire Chitty Mr and Mrs Jeremy Chubb Denise Clatworthy Annie Colbourne John and Susan Coldstream David and Julie Coldwell 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 Glyn Edmunds Betty and Ian Elliot Anthony and Penny Elphick Caroline Elvy Sheila Evans Gary Fairhall Brian and Sonia Fieldhouse Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Robert and Pip Foster Jenifer and John Fox Roz Frampton Debbie and Neil Franks Alan and Valerie Frost Terry Frost

Mr Nigel Fullbrook George Galazka Alan and Pat Galer Elizabeth Ganney Robert and Pirjo Gardiner Wendy and John Gehr Jacqueline and Jonathan Gestetner Marion Gibbs CBE Stephen J Gill 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 David and Linda Harding David Harrison 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 Dame Denise and Mr David Holt Pauline and Ian Howat Barbara Howden Richards Mike Imms Mrs Raymonde Jay Robert and Sarah Jeans Robert Kaltenborn Nigel Kennedy OBE Anna Christine Kennett Roger Keyworth Jane Kilby Geoffrey King 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 Jim and Marilyn Lush Dr and Mrs Nick Lutte Robert Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Sue Marsh Charles and Elisabeth Martin Gerard and Elena McCloskey Tim McDonald 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 James Morgan Sue and Peter Morgan Roger and Jackie Morris

Sara Morton Terence F Moss Mrs Mary Newby Patricia Newton Lady Nixon Pamela and Bruce Noble Margaret and Martin Overington Mr and Mrs Gordon Owen Mrs Glenys Palmer Richard Parkinson and Hamilton McBrien Mr and Mrs S Parvin Alex and Sheila Paterson Simon and Margaret Payton Jean Plowright John Rank The Rees Family Malcolm and Angela Reid Christopher Marek Rencki Adam Rice Sandi Richmond-Swift John and Betsy Rimmer Robin Roads Philip Robinson John and Valerie Robinson Nigel and Viv Robson Ken and Ros Rokison Graham and Maureen Russell Clare Scherer and Jamie O'Meara Mr Christopher Sedgwick John and Tita Shakeshaft Mrs Dale Sheppard-Floyd Jackie and Alan Sherling The Sidlesham Theatre Group Nick Smedley and Kate Jennings Monique and David Smith Simon Smith Christine and Dave Smithers Mr and Mrs Brian Smouha Mrs Barbara Snowden Brian Spiby David and Unni Spiller Elizabeth Stern Barbara Stewart Judy and David Stewart Peter Stoakley Anne Subba-Row Ms Maura Sullivan The Tansy Trust Professor and Mrs Warwick Targett Brian Tesler CBE Harry and Shane Thuillier Mr Robert Timms Alan Tingle Miss Melanie Tipples Peter and Sioned Vos David Wagstaff and Mark Dune 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 Lulu Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald

‘We are lucky to have a world-class theatre in Chichester with its diverse and imaginative programming. We are proud to support the Theatre and the opportunity to meet the casts and crews is an added bonus.’

Jo and Nick Pasricha, Benefactors & Festival Players

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S U P P O R T E R S 2019

PRINCIPAL PARTNERS

Diamond Level Prof E.F Juniper and Mrs Jilly Styles

Oldham Seals Group

Gold Level private wealth

HOLIDAY LETS

Silver Level

CORPORATE PARTNERS LEVEL 1 Bishops Printers Chichester College Criterion Ices Jones Avens

Purchases Bar & Restaurant RL Austen Westminster Abbey

LEVEL 2 Addison Law Behrens Sharp FBG Investment Hennings Wine

Richard & Stella Read The Bell Inn The J Leon Group

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

LEVEL 3 European Office Products Russell & Bromley Mrs Joanna Williams

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.

Supported by Irwin Mitchell

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

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.