Hedda Tesman digital programme | Chichester Festival Theatre | Festival 2019

HEDDA TESMAN

By Cordelia Lynn After Henrik Ibsen

DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON

WELCOME

Welcome to our second world premiere of Festival 2019, Cordelia Lynn’s Hedda Tesman, after Henrik Ibsen.

Following Plenty and The Deep Blue Sea, Hedda Tesman offers the third in a triptych of complex and fascinating leading female characters to feature in our season. As Cordelia and the director Holly Race Roughan vividly testify in this programme, Hedda Gabler is an endlessly intriguing figure; and we are delighted that their new incarnation of Ibsen’s great play is receiving its premiere at the Minerva. It’s a pleasure to welcome them and their creative team to Chichester.

It’s also an enormous pleasure to be forging a new partnership with The Lowry (where Hedda Tesman will play immediately following its Chichester run) and to be collaborating once again with Headlong. Chichester’s fruitful relationship with this exceptional theatre company stretches back to Rupert Goold’s production of Six Characters

in Search of an Author in 2008, since when our association has included the premiere of Lucy Prebble’s ENRON in 2009; the revival of James Graham’s This House in 2016; and the premiere of Deborah Bruce’s The House They Grew Up In, directed by Headlong’s Artistic Director Jeremy Herrin in 2017.

Long may our partnership continue.

Haydn Gwynne plays Hedda. With West End and Broadway roles ranging from Mrs Wilkinson in Billy Elliot to Margaret Thatcher in The Audience and Lady Wishfort in The Way of the World, this is a long overdue Chichester debut, especially since she hails from Sussex.

We are glad to welcome back Anthony Calf, making a swift return after Plenty earlier this season, and Jonathan Hyde who last appeared here in 2011’s Rattigan’s Nijinsky.

We wish them and the rest of the company bon voyage in Chichester and Salford; and we hope you, our audience, enjoy this performance.

Executive Director Kathy Bourne

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Artistic Director Daniel Evans

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 an electrifying production of Shakespeare’s great tragedy.

21 September – 26 October #Macbeth

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10 TICKETS FROM

£

A U T U M N 2 019

THE BUTTERFLY LION

By Michael Morpurgo In a new adaptation by Anna Ledwich Director Dale Rooks combines music, design and puppetry to bring Michael Morpurgo’s magical adventure to life: celebrating friendship and the triumph of love. Ages 7+

5 October – 15 November #TheButterflyLion

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BUDDYING UP PHOTOGRAPHY BY CARL PENDLE

BUDDYING UP A WELCOME TO ALL

From its earliest conception, Chichester Festival Theatre was designed to be welcoming. The public foyer spaces for both the Festival Theatre and the Minerva are democratic; during the interval, you’ll mingle with your fellow audience members in the same space, no matter where you are sitting in the auditorium.

Our aim is to ensure that all patrons are treated equally, feel valued and experience high levels of satisfaction. Over the last two years, CFT has been awarded Gold and Silver Awards for Access & Inclusivity and Tourism Experience at the Beautiful South Tourism Awards, in addition to a Silver Customer Experience Superstar Award for our House Management team.

But we’re constantly looking for ways to improve and innovate. Online booking for Access members, and audio-description in disabled toilets are just two recent introductions. The CFT website now features a 360° ‘Take a Tour’ of the entire Festival Theatre site, particularly useful for first time visitors, as well as videos introducing our range of signed, captioned, audio described and relaxed performances and Access facilities.

The ongoing Ageless Campaign helps to keep theatre and live art at the heart of people’s lives, helping them face the challenges of ageing, illness and isolation. One scheme which has proved particularly valuable is CFT Buddies, which provides a friendly volunteer companion for those who’d prefer not to come to the theatre on their own.

As Louise Rigglesford, Community Partnerships Manager, explains: ‘The Buddies scheme is for anyone who would like to use it, but is specifically targeted at people who are elderly or at risk of isolation, people with additional needs or on the autism spectrum; or anyone who is experiencing anxieties about coming to the theatre by themselves. The Buddy will be here to greet you when you arrive,

help you collect your tickets, maybe buy a programme or drink before the show, and sit next to you to watch the production. They’ll be with you during the interval to have a chat about what’s happening, and then make sure you safely get on your way home at the end of the performance as well.’

Members of CFT’s Access List receive a 40% discount on tickets, and thanks to sponsorship from investment managers Rathbones, the Buddy’s ticket is free.

An additional pilot offer for 2019 is a partnership with the Community Companion Service ‘Driving Miss Daisy’ to benefit users of the Buddy scheme who require assistance in getting to the Theatre. When they use this service, we are able to cover the full cost of transport for those travelling from within the Chichester District; 50% from within West Sussex; and 25% outside the county.

As Glyn Bentley-Angell, one of the volunteer Buddies, says: ‘We have these two world-class theatres and everybody should have a chance to enjoy that.’ He points out that while the scheme may be most associated with elderly patrons, ‘Not everybody in their 20s and 30s, for example, has the opportunity to go independently to the theatre.’

‘It’s an amazingly brilliant scheme,’ says Lois Tibbetts, a regular user of the scheme.

‘I hope that other people get the benefit that I have done on the occasions on which I’ve used the scheme: having somebody there to share the experience and to make sure that I’m safe.’

To find out more, call the CFT Box Office on 01243 781312, email access@cft.org.uk or visit cft.org.uk/buddies CFT Buddies is supported by Rathbones

LEAP

LEARNING, EDUCATION AND PARTICIPATION Our Learning, Education and Participation department works with people of all ages and abilities, offering opportunities to get involved with CFT beyond the work you see on our stages. A wide range of practical workshops, talks, tours and performances aims to excite and inspire everyone who takes part.

COMMUNITY

CHILDREN & YOUNG PEOPLE

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

Chichester Festival Youth Theatre | Holiday Activities | Arts Award

EDUCATION

Our work with local schools, colleges and universities is designed to inspire and enrich students’ learning, while the next generation of arts professionals is nurtured through our training and apprenticeships programme.

In-school workshops and projects | Work Experience | School Theatre Days

Learn about life behind the scenes, discover more about productions, develop creative skills, socialise and share experiences with others through workshops and community projects for anyone aged 18 +.

Get Into It! workshops | Talks and Discussions | Heritage projects | Dementia Friendly activities

FAMILIES

We’re always delighted to welcome our youngest visitors and their grown-ups to the Theatre. Families can explore and have fun with workshops, productions, events and activities.

Family Foyle sessions | Little Notes | Fun Palaces | Family workshops

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HEDDA TESMAN

By Cordelia Lynn After Henrik Ibsen

A HEDDA FOR OUR TIMES Two days into rehearsals for Hedda Tesman, Bridget Minamore sat down with writer Cordelia Lynn and director Holly Race Roughan to find out how they approached adapting Henrik Ibsen’s 1891 play, Hedda Gabler.

HOLLY RACE ROUGHAN CORDELIA LYNN

Bridget Minamore You've worked on Hedda Tesman for two and a half years. When did you decide ‘We’re going to do this’, and ‘This is what our version will look like’?

Cordelia Lynn Hedda Gabler is a play we both love. It’s got one of the great characters of playwriting history and the politics of it are fascinating. But Ibsen was concerned with a play’s relevance to its own society, writing: ‘I have not yet come to an understanding with ancient art. I cannot make out its connection with our own time.’ We were talking one night and found ourselves asking, ‘How do we make a play like Hedda Gabler – that’s so

dependent on 19th century socio-cultural conditions – work and feel visible now?’.

Holly Race Roughan Then I got an email from Cordelia – sent around four o’clock in the morning – saying, ‘I think it all hangs on these characters being at the end of their careers, being middle-aged’.

CL One of the problems of putting Hedda Gabler in modern dress, or thinking about it in modern terms, is that Hedda is a privileged young woman who’s unhappy with her life and the marriage she's made. She's bored and frustrated. You could look at this 29-year-old

and say, ‘Well divorce the guy and get a job’.

I thought it might be interesting to have an older woman looking back, realising she's made the wrong choices, and not feeling she has a future in which to make changes.

BM Once you decided you were making that change, did everything fall into place?

CL Yes, after that email.

BM By nine o'clock it was done?

HRR About five o'clock! The other crucial change was to make Hedda a mother, which came from one of Cordelia's thoughts about the original play.

CL Hedda is pretty much only valued as a future mother, and it's the one thing she really doesn't want. There's a lot of pressure on her to have kids and it's completely terrifying for her, she tries not to believe that she’s expecting a child. When she commits suicide at the end of Ibsen’s play, she's also having an abortion.

I feel that very, very strongly. So I thought it would be interesting to see what happens if you give her a child, and I made the character Thea Elvsted her daughter.

HOLLY RACE ROUGHAN JOSÉ FERRER AND PAULCORDELIA ROBESON,LYNN OTHELLO, 1943 IMAGE COURTESY OF BRIDGMAN IMAGES

BM How old is Thea in your play?

CL Late 20s, the same age that she and Hedda are in the Ibsen.

BM Your Thea is the daughter of a woman who has reached an age when she’s traditionally – misogynistically – dismissed as no longer being sexual or even beautiful.

How’s that reflected in the play?

CL There's quite a lot about Hedda not feeling visible as a middle-aged woman in many different ways, and how that impacts on her behaviour and the choices she makes to try and take power, to be relevant and matter.

BM So the play also becomes a family story?

HRR Definitely. That's crucial. We’re really interested in mother-daughter relationships, and that our Hedda is part of a generation who lived through the 70s and 80s, where lots of women – for the first time – weren't getting married, were having children outside of marriage, were having careers as well as families. It was kind of radical, but then became normalised. Hedda is a more conservative character, and she chose a more traditional route.

We’re interested in the pain and complexity of being part of the first generation who could ‘have it all’, when you haven’t achieved in those areas, made those life choices.

CL It all relates to another big question in the play for me. Reading Hedda Gabler when I was younger, I was struck by the symbol Ibsen provides of Hedda's father, General Gabler. His portrait hangs over the entire play and there's this sense that she's trapped in the world he made for her. Ibsen makes this very clear. By calling the play Hedda Gabler, he’s saying that she’s her father's daughter, not her husband, Tesman’s, wife. While I’ve deliberately turned that round by calling the play Hedda Tesman, I’m intrigued by what Hedda inherited from the General, how it impacted on her relationship with her daughter, how patriarchy and parenting are carried through the generations.

BM It’s interesting how unaccustomed we are to seeing unsympathetically cruel women on stage.

CL People don't remember Thea Elvsted as clearly as they remember Hedda Gabler.

Hedda's such a caustic, witty, brilliant character.

But she’s basically a coward, which she admits herself. Conventional, conservative, she can't act. Ibsen’s Thea is very naïve, a bit wet. But when you stop and look at it, she's done an extraordinary thing. In the 1890s she's run away from her husband, she's taken up with a man who's fundamentally scandalous, but

HOLLY RACE ROUGHAN HAYDN GWYNNE ANTHONY CALF

it's not to have an affair with him. It's to create work. It's to write a book. It’s an extraordinarily brave gesture. Hedda takes one look at this and feels ashamed and envious. In our play it's a mother looking at her daughter and seeing her doing things that she might have wanted to do herself, if only she'd been able or felt free to act.

HRR There's a third layer of feminism in the character of Bertha who, in the original, is a maid with a handful of expositional lines.

The obvious thing to do with that character is to cut her.

BM Why didn’t you?

CL Although Ibsen is a proto-feminist and asks really interesting questions about women's roles in society, Hedda Gabler’s class politics are to do with distinctions between the aristocracy and the bourgeoisie. This didn’t feel as vital now as looking at middle and workingclass politics through a feminist lens.

HRR It felt as though the feminism in both plays belongs to a particular class of women.

The question of Hedda having to give up her career is not a question that Bertha gets asked.

For a lot of women it isn't about your career

and what you regret not having done. It's more like, ‘Actually I've got to get some food on the table, because I've got a family’. In our version Bertha’s in her early 30s, living with a partner, two kids, works for a cleaning agency. What I love about this version is that Bertha is there as a constant reminder that what we're watching on stage is a particular fight of a particular class of a particular woman. Hedda is not an Everywoman, and that distinction feels really important.

BM It really interests me when you say Hedda is not an Everywoman. I feel like if you split plays really crudely by gender, then a lot of the plays I see about men’s lives – particularly middle-aged men – often position them as the sympathetic Everyman.

And when women take centre stage, it’s like we’re supposed to relate to them in a similar way. So for you to say, ‘No, she's not a standard, she's not necessarily someone we're supposed to see ourselves in’ feels quite subversive.

HRR She’s a subversive character anyway!

She's just deliciously anti-hero. What I love about Hedda is that we're not asked to love her. We don't need to love her for that journey to be one worth taking.

CL Yes. If Ibsen were a lesser playwright, he would have created a perfect victim, but he hasn't done that. He's created someone who’s contradictory, complex, cruel, but at the same time one of the most charismatic women in the history of drama.

BM How have you incorporated music in the production?

HRR One of the things we're doing musically is that the production is haunted by a pianist.

There’s a great piano symbol going on in the original, and in this version. We decided to radically adapt music by neglected 19th century female composers, and our composer, Ruth Chan, has settled on a beautiful piece by Clara Schumann. While Clara has had a revival, there's a huge sense of ‘work we've lost’ where female artists are concerned. Ibsen

wrote about the individual’s development and self-discovery within society, and we have to ask, ‘Who could Hedda have been if she’d been able to flourish?’ But also, for me, what would the dramatic landscape look like, what plays would we be adapting now, had women been encouraged to write, and their work had been accepted into the canon.

BM Has adapting the play been difficult?

CL Adapting is always challenging. The particular challenge with this was writing something modern while keeping the play in Ibsen's house. Most of the time it follows the story, beat by beat. It has the same characters, who fundamentally do the same things. It has the same structure. I was trying to keep it in Ibsen’s house and yet write something new within it.

BM Why did you want to stay so close to the original text?

CL I guess because I wanted to engage with it quite purely. I had a lot of questions from when I first read it and wanted to ask Ibsen those questions. The closest relationship you can have with another writer is adapting their work. A lot of the stuff in the play is about inheritance, and generations, and the house Hedda and her husband have moved into, which is another big symbol. In a weird sort of way, meta-textually, it became a play about adaptation and engaging with the past.

BM Why did you want to direct it, Holly?

HRR The really short answer is because I did it at A-Level and she haunts you, Hedda. You get your teeth in at 17, and you're like, ‘Who is this woman, and why are you still knocking about in my imagination?’ There's just this pull: her darkness, her cruelty, her humour. She's the darkness inside all of us that women aren't allowed to be.

BRIDGET MINAMORE

Bridget Minamore is a poet, critic and journalist who writes about theatre and pop culture.

HAYDN GWYNNE ANTHONY CALF JONATHAN HYDE

HEDDA TESMAN

By Cordelia Lynn After Henrik Ibsen CAST (in order of appearance) Rebecca Oldfield Anthony Calf Jacqueline Clarke Haydn Gwynne Natalie Simpson Jonathan Hyde Irfan Shamji

Bertha George Tesman Julie Tesman Hedda Tesman Thea Tesman Brack Elijah Pianists Catriona Beveridge and Jennifer Whyte

The play is set in the present day in an isolated house, outside a university town.

There will be one interval of 20 minutes.

The world premiere performance of Hedda Tesman at the Minerva Theatre, Chichester, 30 August 2019.

A co-production with

and

Holly Race Roughan Anna Fleischle Zoe Spurr Ruth Chan George Dennis Charlotte Sutton CDG

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

Rachel Bown-Williams and Ruth Cooper-Brown Edda Sharpe Liam Bunster Natasha Prynne Lizzie Frankl Susanna Peretz Sophie Moniram Simon Evans Ciara Fanning Olivia Roberts Christie Wilkes

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager Production credits: Production Carpenter Dario Fusco; Set built and painted by Cardiff Theatrical Services; Additional Scenic Art by Gemstage; Lighting hires by White Light; Sound hires by Stage Sound Services; Production Transport by Les Jones Transport; Props Assistant Rachel Rieley.

Rehearsal and production photographs Johan Persson Programme design by Davina Chung Programme Associate Fiona Richards

Supported by Hedda Tesman Commissioning and Patrons Circles: Margaret and Terry Bamford, Julian and Mary Biggs, Tricia and Michael Blakstad, Rosie and Charlie Drayson, Sheila Evans, Catherine and Charles Hindson, Simon and Belinda Leathes, Roger and Maggi Marshall, Peter and Nita Mitchell-Heggs, Lyana Peniston, John and Valerie Robinson, Howard M Thompson, Ian Warren and all those who wish to remain anonymous.

Sponsored by

#HeddaTesman

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BIOGRAPHIES

HAYDN GWYNNE

ANTHONY CALF George Tesman Previously at Chichester Sir Leonard Darwin in Plenty, Sir William Collyer in The Deep Blue Sea (Festival Theatre), Wilfred in For Services Rendered, Victor Prynne in Private Lives (and West End), Count Octavio Piccolomini in Wallenstein (Minerva Theatre).

Other Theatre includes The Moderate Soprano (West End); Racing Demon (Theatre Royal Bath); Twelfth Night (Manchester Royal Exchange); King Charles III (Broadway NY); The Hard Problem, The White Guard, The Power of Yes, Gethsemane, Never So Good, The False Servant, Betrayal, The Madness of George III (National Theatre); Fathers and Sons, Les Parents Terribles, The Hotel in Amsterdam (Donmar); Stephen Ward, Death and the Maiden (West End); My Fair Lady (Sheffield Theatres); Rock ‘n’ Roll (Royal Court Theatre and West End); Uncle Vanya (Gate Theatre Dublin, Irish Times nomination for Best Actor); Cressida (Almeida at The Albery); Dolly West’s Kitchen (Abbey Theatre Dublin); Neverland (Royal Court at the Ambassadors); A Buyer’s Market (Bush Theatre); Cracked (Hampstead Theatre); My Night with Reg (Royal Court Theatre and West End); Another Country (West End).

Television includes Poldark, Anne, Power Monkeys, Riviera, Call the Midwife, Doctor Who, Dracula, Midsomer Murders, Home Fires, Restless, Upstairs Downstairs, New Tricks (10 series), Lewis, Identity, Doc Martin, Material Girl, Trinity, Mistresses, Dalziel and Pascoe, The Good Samaritan, Beau Brummell, The Impressionists, Holby City, The Strange Case of Sherlock Holmes, The Robinsons, The Murder Room, The Hotel in Amsterdam, Amnesia, The Village, Judge John Deed, Foyle’s War, The Falklands Play, The Cry, Doc Martin, The Brides in the Bath, Trust, Sirens, Bye Bye Baby, Lucky Jim, The Inspector Lynley Mysteries, Lorna Doone, Midsomer Murders, Our Mutual Friend, A Touch of Frost, Kavanagh QC, My Night with Reg, Beck, Bramwell, Jilly Cooper’s Riders, Poirot, Pride and Prejudice, Absolute Hell, Great Expectations, Tanamera, Bergerac, Fortunes of War, The Monocled Mutineer, Drummonds, My Family and Other Animals, Beau Geste.

Films include King Lear, The Children Act, The Man Who Knew Infinity, Straightheads,

The Madness of King George, Anna Karenina, Fairytale, Oxford Blues.

JACQUELINE CLARKE Julie Tesman Theatre includes Allelujah! (Bridge Theatre); The Curious Incident of the Dog in the NightTime (National Theatre at the Gielgud); Sister Act (London Palladium and UK tour); Don’t Dress for Dinner (Duchess); Singin’ in the Rain, Dinnerladies, Marrying the Mistress, The Full Monty, The Shell Seekers, Harvey, Oliver! and It Runs in the Family (UK tours); Pool’s Paradise (Mill at Sonning); Out of Order and Run for Your Wife (Theatre of Comedy in the West End); Woman in Mind (Vaudeville).

Television includes Most Mysterious Murders, The Croydon Poisonings, Last of the Summer Wine, Murder in Mind, Heartbeat, The Dreamstone, Chish and Fips, The Young Ones, A Sharp Intake of Breath, Dave Allen at Large, Second Time Around and, most recently, Doc Martin.

HAYDN GWYNNE Hedda Tesman Theatre includes Lady Wishfort in The Way of the World (Donmar Warehouse); for the RSC, Volumnia in Coriolanus, Mrs Page in The Merry Wives of Windsor, Helena in A Midsummer Night’s Dream, Olivia in Twelfth Night, Solvieg/ Aase in Peer Gynt; Mrs Peachum in The Threepenny Opera (National Theatre, Olivier Award nomination); Desirée in A Little Night Music (Huntington Theatre Boston). In the West End, Lucia in Women on the Verge of a Nervous Breakdown (Olivier Award nomination), Margaret Thatcher in The Audience (WhatsOnStage Award for Best Supporting Actress), Oolie/Donna in City of Angels (Olivier Award nomination); Elizabeth in Richard III (Old Vic and BAM New York); Mrs Wilkinson in Billy Elliot The Musical (West End and Broadway; Outer Critics Circle, Drama Desk & Theatreworld Awards, as well as Olivier and Tony Award nominations); Billie Burke in Zeigfeld (London Palladium); Becky Shaw (Almeida Theatre); Stephanie in Duet for One (UK tour); The Memory of Water (Hampstead Theatre); The Recruiting Officer, The Cabinet Minister, Bluebird of Unhappiness (Royal Exchange Manchester);

Lady Macbeth in Macbeth (Ludlow Festival); Millamant in The Way of the World (Theatre Royal Northampton); Hedda Gabler in Hedda Gabler (Octagon Theatre Bolton); His Monkey Wife (Stephen Joseph Theatre).

Television includes The Windsors, The Midnight Gang, Urban Myths: The Trial of Joan Collins, Ripper Street, The C- Word, Sherlock, Rome, The Secret, Uncle, Silent Witness, Lewis, Midsomer Murders, Poirot, Father Brown, Death in Paradise, New Tricks, Drop the Dead Donkey ANTHONY CALF

(BAFTA and British Comedy Awards nominations), Consenting Adults, Absolute Power, Dalziel & Pascoe (RTS Award), Mersey Beat (RTS Award), Peak Practice (RTS Award nomination), Hospital!, The Merchant of Venice, Time Riders, Nice Work, After the War, Call Me Mister, Lovejoy, What Mad Pursuit?

Films include Beauty and the Beast, Hunky Dory, These Foolish Things, Remember Me?

JONATHAN HYDE Brack Previously at Chichester, Diaghilev/Cedric Messina in Rattigan’s Nijinsky (Festival Theatre).

Theatre includes Gently Down the Stream (Park Theatre, Olivier Award nomination); Frost/ Nixon, Julius Caesar (Crucible Theatre Sheffield); Travels with My Aunt (Menier Chocolate Factory); The King’s Speech (West End, UK tour); Peter Pan (London, San Francisco, LA); King Lear, The Seagull (RSC Stratford, JONATHAN HYDE

world tour, London); Antony and Cleopatra, Macbeth, The Merchant of Venice, Romeo and Juliet, Richard II, Richard III, As You Like It, The Roaring Girl, The Swan Down Gloves (RSC); Sleep With Me, Jumpers, The Duchess of Malfi, The Real Inspector Hound/The Critic, The Cherry Orchard (National Theatre); Macbeth (Lyceum Edinburgh); Antigone (Old Vic); The Importance of Being Earnest, Mirandolina (Olivier Award nomination), Chinchilla (Edinburgh Festival); The Good-Humoured Ladies, The Country Wife,

Figaro, What the Butler Saw, Masquerade, The Seven Deadly Sins, Woyzeck, The Duchess of Malfi, The deSade Show, The Government Inspector, Sailor Beware, Hamlet, Romeo and Juliet, Coriolanus, Indians, St. Joan of the Stockyards, Camino Real (Glasgow Citizens Theatre); The Strange Case of Charles Dexter Ward (SF Theatre of Liverpool).

Films include Titantic, Jumanji, Richie Rich, The Mummy, Caravaggio, Anaconda, The Contract, Breathe, Firstborn, Deadly Advice, Crimson Peak.

Television includes A Very English Scandal, The Strain, Tokyo Trial, Trollhunters, Isaac Newton: The Last Magician, Shadow of the Noose, Spooks, Joan of Arc, Endeavour, Sherlock Holmes.

He has directed In and Out of Love with Isobel Buchanan (Almeida) and In Flanders Fields (Bath International Music Festival/ St Magnus Festival).

JACQUELINE CLARKE REBECCA OLDFIELD

REBECCA OLDFIELD Bertha Theatre includes Julie in Phoenix Rising (The Big House); George in Poppy and George (Palace Theatre Watford); The Love Girl and The Innocent and Elisabeth in Faith, Hope and Charity (Southwark Playhouse); Alison in Worst Wedding Ever (Salisbury Playhouse); Helena in A Midsummer Night’s Dream (Regent’s Park Open Air Theatre); Taken and That Almost Unnameable Lust (Soho Theatre); Labour Pains (Bush Theatre); When Cheryl was Brassic and Is Everyone OK? (Nabokov Ltd).

Television includes Witless, Knifeman, Doctors, The Silence, Doctor Who, Afterlife, Holby City, Silent Witness.

Films include Edge of Tomorrow, Gecko, Powder Room, Beautality.

IRFAN SHAMJI Elijah Theatre includes Luke in Dance Nation (Almeida Theatre); John in One For Sorrow (Royal Court Theatre); Harry in Mayfly (Orange Tree Theatre); Laertes in Hamlet (RADA).

Television includes The Dark Crystal, Informer, Urban Myths: Marilyn Monroe and Billy Wilder.

Films include Red Joan, Murder on the Orient Express.

NATALIE SIMPSON Thea Tesman Theatre includes Sophie in Honour (Park Theatre); Duchess Rosaura in The Cardinal (Southwark Playhouse, 2017 Ian Charleson Award winner); Blodwynn in Boudica (Shakespeare’s Globe); Ophelia in Hamlet (2016 Ian Charleson Award nomination), Cordelia in King Lear and Guiderius in Cymbeline (RSC); Juliet in Measure for Measure (Young Vic); IRFAN SHAMJI NATALIE SIMPSON

Diabetes/Phidipides in God (Edinburgh Fringe); Coochie Snorcher in The Vagina Monologues (Bloomsbury Theatre); and the forthcoming Three Sisters at the National Theatre.

Television includes Mallorca Files, Outlander, Les Misérables.

Radio includes BBC Radio 3 Words and Music, World on Three, In Tune.

Films include Tula: The Revolt and 23 Walks.

Trained at LAMDA.

C R E AT I V E T E A M

RACHEL BOWN-WILLIAMS AND RUTH COOPER-BROWN Fight Directors Previously at Chichester Plenty and Way Upstream (Festival Theatre), The House They Grew Up In (Minerva Theatre).

Theatre credits include Noises Off (Lyric Hammersmith); The Night of the Iguana (Noël Coward Theatre); Wife (Kiln Theatre); Hobson’s Choice (Manchester Royal Exchange); King Hedley II (Theatre Royal Stratford East); Measure for Measure, As You Like It, The Taming of the Shrew, Tartuffe, The Duchess of Malfi, Salome and Snow in Midsummer (RSC); Anna, When We Have Sufficiently Tortured Each Other, Common, Ugly Lies the Bone, Peter Pan, The Threepenny Opera, The James Plays (co-production with National Theatre of Scotland and Edinburgh International Festival) and Cleansed (National Theatre); HIR (Bush Theatre); All My Sons and A Monster Calls, Woyzeck (The Old Vic); Macbeth, Emilia, Othello, The Secret Theatre, Boudica, Lions and Tigers, HOLLY RACE ROUGHAN

Much Ado About Nothing, Twelfth Night, The White Devil, Comus and Imogen (Shakespeare’s Globe); East is East (Northern Stage); My Brilliant Friend (Rose Theatre Kingston); The Boys in the Band and Dead Funny (Vaudeville); The Boys in the Band (Park Theatre and UK tour); Insignificance, Jumpy, My People, All My Sons, Aristocrats and Salt Root and Roe (Theatr Clwyd); The Invisible Hand, A Wolf in Snakeskin Shoes, Paper Dolls and Red Velvet (Tricycle Theatre); The Mentalists (The Old Vic at Wyndham’s); King John (Royal & Derngate and Shakespeare’s Globe); The Merchant of Venice and King Charles III (Almeida).

Film includes Heretiks, Genesis, Arthur and Merlin, Howl, The Seasoning House, City Slacker, Cheerful Weather for the Wedding, Deviation, iLL Manors.

LIAM BUNSTER Associate Designer Design credits Twist (Staatstheater Mainz); Flare Path (RCSSD); Lady Macwata (Applecart Arts);

Donal the Numb (Vaults Festival); Der Freischutz (Blackheath Opera); L’elisir d’amore (Westminster Opera Company); After Miss Julie, The Beggar’s Opera (RADA).

Associate Designer credits Death of a Salesman (Young Vic/Piccadilly Theatre); Two Ladies, A German Life, A Very Very Very Dark Matter (Bridge Theatre); West Side Story (Royal Exchange); Don Juan in Soho (Wyndham’s Theatre); Troilus and Cressida, Romeo and Juliet, A Christmas Carol, Fantastic Follies of Mrs Rich (RSC).

RUTH CHAN Music Theatre includes Aesop’s Fables – Frankie & the Crow (Unicorn Theatre); The Taming of the Shrew, Snow in Midsummer (RSC); Mountains: The Dreams of Lily Kwok (Royal Exchange/ Yellow Earth Theatre); Shangri-La (Finborough Theatre); Ikea the Whale (North Devon Fringe Festival); The Last Days of Limehouse (Yellow Earth Theatre); Much Ado about Nothing (Shanghai Repertory Theater); Magical Chairs/ There’s Only One Wayne Lee (Southwark Playhouse/Beijing International Fringe Festival); Pilgrimage of the Heart (Camden Etc/Corax Productions); and commissions from the Hong Kong Arts Festival, Grimeborn Festival, Tête-àTête Opera Festival, British Film Institute, Chinese Arts Space, Thailand International Composition Festival, Shakespeare Festival Stratford Canada and Pittsburgh Opera Festival.

Documentaries include A Very British Airline, The Balvenie Craftsmen’s Dinner, Changing Fortunes, ECO Crime Investigators, The Trouble with Pirates, With the Banned, El Loco de la Catedral, Attack of the Pentagon, How Far do Leaves Fall?

Feature films include Faces, The Twisted Tale of Bloody Mary, The Winter Sun is a Lie. Ruth has composed and performed soundtracks to silent films including Around China with a Movie Camera and Piccadilly Revisited. Short films include Nimmerlandverräter (A Clown’s Tale), Tarrience, Mum, Catch, Authority: A Glimpse, Notes, ...May Wong, L’arc-en-ciel, Out There, The String Puppet, Variable, Undertow, Lai See, Rajkumari.

Ruth was nominated as best composer at The Stage Debut Awards for her work with the

Royal Shakespeare Company, and has recently completed the Music Theatre Group scheme at the National Theatre. She is working on a new arrangement of Madame Butterfly (Opera Up Close) due to premiere in 2020.

GEORGE DENNIS Sound Designer Previously at Chichester The Deep Blue Sea (Minerva Theatre), The Norman Conquests (Festival Theatre).

Theatre includes Sweat (Donmar Warehouse/Gielgud Theatre); Venice Preserved (Royal Shakespeare Company); Three Sisters (Almeida Theatre); A Slight Ache/The Dumb Waiter, The Lover/The Collection, One for the Road/A New World Order/Mountain Language/ Ashes to Ashes (Harold Pinter Theatre); Nine Night (National Theatre/Trafalgar Studios); A Very Very Very Dark Matter (Bridge Theatre); The Importance of Being Earnest (Vaudeville Theatre); An Octoroon (Orange Tree Theatre/ National Theatre); The Homecoming (Trafalgar Studios, Olivier Award nomination for Best Sound Design); Frost/Nixon, Tribes (Sheffield Crucible); Much Ado About Nothing, Imogen, The Taming of the Shrew (Shakespeare’s Globe); Harrogate, Fireworks, Liberian Girl (Royal Court); Richard III, Spring Awakening (Headlong); The Mountaintop, The Island (Young Vic); Baskerville (Liverpool Playhouse); The Secret Garden (Theatre By The Lake/York Theatre Royal); Poison, German Skerries (Orange Tree); Guards at the Taj, Visitors (Bush Theatre); Killer (Off-West End Award for Best Sound Design), The Pitchfork Disney (Shoreditch Town Hall, co-designed with Ben and Max Ringham); The Convert, In the Night Time, Eclipsed (Gate Theatre); Noises Off (Nottingham Playhouse/UK tour); Mametz (National Theatre of Wales); Moth (HighTide/Bush Theatre).

ANNA FLEISCHLE Designer Theatre includes Death of a Salesman (Young Vic); A German Life, A Very Very Very Dark Matter (Bridge Theatre); Home I’m Darling (Theatr Clwyd/National Theatre and West End; Olivier Award nominations for Best Set Design and Best Costume Design); The Writer, Before the Party (Almeida Theatre); The Way of the

World (Donmar); Everybody’s Talking About Jamie (Sheffield Crucible and West End); Hangmen (Royal Court, West End and Atlantic Theatre NYC); Olivier, Critics’ Circle and Evening Standard Awards for Best Set Design); Much Ado About Nothing, Troilus and Cressida (Shakespeare’s Globe); The Kid Stays in the Picture (Complicité/Royal Court); Rosencrantz and Guildenstern Are Dead (Old Vic); Beware of Pity (Schaubühne Berlin/Complicité); Tiger Bay (Wales Millennium Centre/Cape Town Opera); Terror (Lyric Hammersmith); Don Juan in Soho (Wyndham’s); Rent: 20th Anniversary Production (St James Theatre/Theatr Clwyd UK tour); The Exorcist (Birmingham Rep and West End); The Two Noble Kinsmen, Cymbeline, Love’s Sacrifice (RSC); Henry V (Regent’s Park); Before I Leave (National Theatre of Wales); The End of Longing (West End); Liberian Girl (Royal Court); John (National Theatre/DV8 Physical Theatre); West Side Story, Blindsided, Saturday Night and Sunday Morning, Rat’s Tales (Royal Exchange Manchester); Can We Talk About This (National Theatre/DV8 international tour and Sydney Opera House); Love the Sinner (National Theatre); As You Like It (Curve Theatre Leicester); You Can See the Hills, Love and Money (Royal Exchange Manchester/Young Vic; Olivier Award nomination for Outstanding Achievement in Affiliate Theatre).

ANNA FLEISCHLE CORDELIA LYNN

Opera includes Don Giovanni, Iphigenie en Tauride, Paul Bunyan and King Priam (English Touring Opera; Olivier Awards for Outstanding Achievement in Opera); Candide (Opéra National de Lorraine); Zaide (Sadler’s Wells/Classical Opera Company UK tour).

Dance includes Second Coming (Scottish Dance Theatre).

CORDELIA LYNN Writer Work for theatre includes her adaptation of Chekhov’s Three Sisters (Almeida Theatre); One For Sorrow and Lela & Co (Royal Court); Best Served Cold (Vaults Festival).

Opera and Vocal Work includes Miranda (Opéra Comique and tour); Heave (Royaumont Festival); The White Princess (Festival d’Aixen-Provence); you’ll drown, dear (Manifest).

Cordelia was the recipient of the Harold Pinter Commission 2017 and is a Macdowell Colony Fellow, 2018.

SOPHIE MONIRAM Assistant Director Theatre includes as Director POT (national tour/ RUA Arts, Ovalhouse), ‘Tis Pity She’s a Whore (LAMDA), Wild East (Drama Centre), dirty butterfly (Guildhall), her own piece Midsummer Roman Feast (RSC Avonbank), The Diary of

a Hounslow Girl (Southbank Centre, national tours and Ovalhouse), The Five Stages of Waiting (Tristan Bates Theatre), F**king Outside the Box (Vault Festival), Indian Summer (White Bear Theatre), The Lark and Creditors (The Cockpit), Halloween Cabaret (Worlds End Studios), The Star-Spangled Girl and Purgatorio (Karamel Club); and rehearsed readings Rhubarb (The Bush/Graeae), Homo Sacer (Old Vic), 13 Short Plays (Synergy), Skint (NT Studio), Brahman/i (Co-Director, RADA Festival), Water Under the Bridge and Bells (Soho Theatre), Noah (Young Vic), Kingfisher (Park Theatre), A Long Way Home (Theatre503).

As Associate Director The Greatest Wealth (Old Vic); as Assistant Director The Winter’s Tale (National Theatre & schools tour), B (Royal Court), Yerma (Young Vic and NT Live), Myth (RSC), Creditors (Young Vic), The Rise and Shine of Comrade Fiasco (The Gate), Our Town and A Doll’s House (Mountview), As You Like It (Cockpit and TIE tour).

HOLLY RACE ROUGHAN Director Holly Race Roughan is Associate Artistic Director at Headlong, and Associate Director for theatre in prison charity Kestrel. She was the Director of the Lyric Ensemble at the Lyric Hammersmith from 2018-19, where she directed The Mob Reformers.

Other recent directing credits include Vernon God Little (Rose Bruford); The Laramie Project (Arts Ed); Music Hall Monster (Wilton’s Music Hall); Prurience (Guggenheim, New York and Southbank Centre, London); People, Places and Things (directed with Jeremy Herrin, UK tour); Best Served Cold (Vaults Festival); Clickbait and A First World Problem (Theatre503); The Low Road (Central School of Speech and Drama); Animal (Gate Theatre and Royal Welsh College of Speech and Drama); Eye of a Needle (Southwark Playhouse); Pages From My Songbook (Royal Exchange, Manchester); Believers Anonymous (The Rosemary Branch); Waiting for Alice (Pleasance Courtyard, Edinburgh Fringe Festival).

As Associate and Assistant Director People, Places and Things (National Theatre and West End); The Shoemaker’s Holiday (RSC); Hotel (National Theatre); The Pass (Royal Court);

The Birthday Party, A Doll’s House, Rats Tales, The Country Wife (Royal Exchange, Manchester); Three Birds (Bush Theatre/Royal Exchange, Manchester); Adult Supervision (Park Theatre).

EDDA SHARPE Dialect Coach Theatre includes The Rover, Volpone, Wendy and Peter Pan, What Country Friends Is This?, The Homecoming, I’ll Be The Devil (RSC); A Doll’s House (Lyric Hammersmith); Hobson’s Choice (Manchester Royal Exchange); Does My Bomb Look Big In This, Approaching Empty (Kiln Theatre & Tamasha Theatre); Witness For The Prosecution (Eleanor Lloyd Productions); Switzerland, King Lear (Bath Theatre Royal); Lions and Tigers (Shakespeare’s Globe); The Graduate (West Yorkshire Playhouse); Anita and Me (Birmingham Rep); African Gothic, My Children! My Africa! (Two Sheds Theatre); Around the World In 80 Days (St James’s Theatre); East is East (Trafalgar Studios); The 39 Steps (Criterion Theatre); Dangerous Lady (Theatre Royal Stratford East); Rough Crossing (Headlong); The Price (Bolton Octagon); and 20 seasons as Head of Voice and Dialect at The Shaw Festival Theatre, Ontario.

Television includes X Company, Ant and Dec’s Saturday Take Away, Gordon Ramsay’s Cookalong Live.

Films include Far From The Madding Crowd, The Door, The Anomaly, Kajaki.

Publications: How To Do Accents and How To Do Standard English Accents.

Digital: The ACCENT Kit app, available for iPhone and Android.

ZOE SPURR Lighting Designer Current and recent work includes How Not to Drown (Traverse); Georgiana, Eugene Onegin, Lucio Papirio Dittatore (Buxton International Festival); Nigel Slater’s Toast (The Other Palace); The Phlebotomist (Hampstead); Emilia (Vaudeville).

Other credits include Cat in the Hat (Curve Leicester); Meek (Headlong/Traverse); Abigail’s Party (Queen’s Hornchurch, UK tour, Les Théâtres de la Ville de Luxembourg); Abi (Derby Theatre, Queen’s Hornchurch); The Unreturning

(Frantic Assembly); Silence (Mercury Colchester); The Maids (Manchester HOME); Sticky & Infinite Joy, Collective Rage: A Play in Five Betties, Natives, School Play (Southwark Playhouse); Loose Lips (Stoke Newington Town Hall); Confidence (Boundless/Southwark Playhouse, 2018 Theatre and Technology Award nominee); Not Talking (Arcola); Grumpy Old Women, Hidden, The North! The North!, The Drive (UK tours); Grotty, Muted (Bunker Theatre Tower Bridge); Elephant (Birmingham Rep); Beginners (Unicorn); Tiny Dynamite (Old Red Lion, 2019 Offie Award Best Lighting Design); Festival Voices (Ugly Duck London Bridge); Phoenix Rising (Smithfield Market, 2018 Offie finalist); Elton John’s Glasses (Palace Watford); The Unmarried (Underbelly Festival London); Elsa, This Evil Thing, Counting Stars (Edinburgh Fringe); The Scar Test (Soho Theatre); Skate Hard, Turn Left (BAC); Good Dog (Palace Watford, UK tour); Erwartung/Twice Through the Heart (Hackney Showroom/Shadwell Opera); The Knife of Dawn (Sackler Studio/ Roundhouse); Bitches (Finborough); Torch (Latitude/New Diorama London, Edinburgh); Starting Here, Starting Now (University of Chichester); About Miss Julie (King’s Head).

Winner of the 2018/2019 Lightmongers’ ALD Award New Talent in Entertainment Lighting. zoespurrlighting.co.uk 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); 8 Hotels, 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).

EVENTS

HEDDA TESMAN PRE-SHOW TALK

Wednesday 4 September, 6pm Director Holly Race Roughan in conversation with Kate Mosse.

FREE but booking is essential.

POST-SHOW TALK

Tuesday 24 September Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

TOUCH TOUR

Friday 27 & Saturday 28 September Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in Hedda Tesman. The tour takes place 90 minutes before the audio-described performances.

FREE but booking is essential.

SOPHIE MONIRAM

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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 David Beal

Head of Individual Giving (Maternity Cover)

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

Dale Rooks Director of LEAP Fin Ross Russell Education Trainee Beth Sedgwick Community Partnerships Trainee

Ernesto Ruiz Joe Samuels James Sharples Adam Thomas Steer Mary Stone Graham Taylor Sarah Ware Flynn White

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)

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

Louise Rigglesford Community Partnerships Manager

Harry Boulter Box Office Assistant Fran Boxall Box Office Administrator (Maternity Cover)

Helen Campbell Deputy Box Office Manager Lydia Cassidy Director of Marketing & Communications Hannah Dobson Communications Assistant Clare Funnell Marketing Officer Madeleine Harker Box Office Assistant Rebecca Harte Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Marketing Officer James Morgan Box Office Manager Lucinda Morrison Head of Press Kirsty Peterson Box Office Assistant Alice Stride Box Office Assistant Anne-Marie Varberg Box Office Assistant Joshua Vine Box Office Supervisor Claire Walters Box Office Assistant Joanna Wiege Box Office Administrator (Maternity Leave)

Jane Wolf

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

Lighting Technician Deputy Head of Sound

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Stage Crew Lighting Technician Stage Crew Sound Technician No 1 Sound Technician Head of Lighting Stage Crew Stage Crew

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 Sonja Mohren Natascha Schnieden Eve Westcott

Wigs Assistant Head of Wigs Wigs Assistant Deputy Head of Wigs

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, 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, 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, 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

cft.org.uk/supportus

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

Headlong is one of the most ambitious and exciting theatre companies in the UK, creating exhilarating contemporary theatre: a provocative mix of innovative new writing, reimagined classics and influential twentieth century plays that illuminate our world.

We make bold, groundbreaking productions with some of the UK’s finest artists. We take these industry-leading, award-winning shows around the country and beyond, in theatres and online, attracting new audiences of all ages and backgrounds. We engage as deeply as we can with these communities and this helps us become better at what we do.

Our productions have included All My Sons (Old Vic); Richard III (Bristol Old Vic/UK Tour); Mother Courage and Her Children (Manchester Royal Exchange); Meek (Traverse/ UK Tour); This House (Chichester Festival Theatre/West End/UK Tour); People, Places & Things (NT/West End/UK Tour/New York); Labour of Love (Noel Coward); The House They Grew Up In (Chichester Festival Theatre); Junkyard (Bristol Old Vic/Theatr Clwyd/Rose Theatre, Kingston); Pygmalion (UK Tour); Boys Will Be Boys (Bush); Observe the Sons of Ulster Marching Towards the Somme (International Tour); 1984 (UK and International Tour/West End); The Nether (Royal Court/West End); The Glass Menagerie (UK Tour); American Psycho (Almeida/Broadway); Chimerica (Almeida/West End) and Enron (UK Tour/West End/ Broadway).

Many thanks to our Hedonists: Nick Archdale, Ginny & Humphrey Battcock, Neil and Sarah Brener, Scott Delman, Cas and Philip Donald, Annabel Duncan-Smith, Nick Hern, Nicky Jones, Jack Keenan, Victoria Leggett, Kate Mallinckrodt, Stephen Marquardt & Deborah Shaw, Caroline Maude, Beth and Ian Mill QC, Neil & Shelly Mitchell, Donna Munday, Georgia Oetker, Rob O’Rahilly, Robin Paxton, Prasanna Puwaranajah, Jon & NoraLee Sedmak, Jack Thorne and Lesley Wan. Headlong would also like to thank Arts Council England, The Backstage Trust, The Buffini Chao Foundation, The Cockayne Foundation (a donoradvised fund managed by the London Community Foundation), The Esmée Fairbairn Foundation and The Garfield Weston Foundation for their generous support.

Headlong.co.uk | @HeadlongTheatre

The Lowry is an arts organisation based in Salford, Greater Manchester. Home to two galleries, three theatres and Pier Eight bar and restaurant, the venue welcomes more than 830,000 people per year. Working with more than 350 artists and companies it stages more than 1,000 performances a year.

As a registered charity, The Lowry is committed to using visual and performing arts to enrich people’s lives through a diverse programme of performance, events and activities and work with local communities and young people.

Named after the artist LS Lowry, the building is home to the world’s largest public collection of his works and has a permanent exhibition on display year-round. The gallery also presents an exciting programme of work by contemporary artists throughout the year.

Alongside a programme of work by acclaimed international artists and companies, The Lowry is committed to commissioning exciting, relevant and contemporary productions as part of its biennial Week 53 Festival. In addition, as part of The Lowry’s Artist Development Programme, the organisation provides bespoke pathways that aims to nurture artists and companies at different stages in their practice allowing them to present bold, dynamic and innovative work.

Find out more at thelowry.com

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.