Plenty digital programme | Chichester Festival Theatre | Festival 2019

PLENTY

By David Hare

DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON

WELCOME

Welcome to our second play in the Festival Theatre this season, David Hare’s Plenty.

When it opened at the National Theatre in 1978, the play caused a great stir, and has since become known as one of the great modern classics. David’s South Downs and his Young Chekhov Trilogy both premiered here before transferring to London, and Chichester has also seen notable revivals of Racing Demon, Pravda, The Secret Rapture and The Blue Room.

We are very happy that Plenty is now joining that roster, in a new production by director Kate Hewitt. Kate’s riveting production of Cock by Mike Bartlett was one of the highlights of Festival 2018.

Since then, she has directed Jesus Hopped The ‘A’ Train at the Young Vic to universal acclaim.

We are also delighted that Rachael Stirling is making her Chichester debut in the role of Susan Traherne. One

of the most striking actors of her generation, Rachael has a multitude of stage and TV credits ranging from Medea and The Winter’s Tale to The Bletchley Circle and Wild Bill.

Rory Keenan makes a welcome return as Raymond Brock; last seen here in 2015 in Someone Who’ll Watch Over Me, he has since appeared in Long Day’s Journey Into Night in the West End and New York. Also returning are Anthony Calf and Yolanda Kettle, both of whom were last here in 2015’s For Services Rendered.

On 19 June there’s an unmissable opportunity to hear Tania Szabo telling the story of her mother Violette, the legendary SOE agent. Later in this programme, David Stafford’s article emphasises how much of a debt we owe these extraordinary women, while David Coxon unveils the vital role that the local Tangmere airfield played in SOE operations.

We hope you enjoy this performance.

Executive Director Kathy Bourne

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Artistic Director Daniel Evans

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Josie Lawrence Hyoie O’Grady Amara Okereke

OKLAHOMA! Music by Richard Rodgers Book & Lyrics by Oscar Hammerstein II Based on the play Green Grow the Lilacs by Lynn Riggs Original choreography by Agnes de Mille Directed by Jeremy Sams, a love-struck crew of spirited ranchers lead us through the glorious score of this exuberant musical, from Oh, What A Beautiful Mornin’ to the show-stopper Oklahoma.

15 July – 7 September #OklahomaMusical

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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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PLENTY

By David Hare

PLENTY ON STAGE AND SCREEN David Hare was 29 when, in March 1977, he carried the first draft of his latest play up to the fourth-floor of the National Theatre to see its Director, Peter Hall. The visit is recalled by Hall in his autobiography: ‘Plenty was introduced to me when David appeared in my office sporting what I’m sure was a deliberately torn sweater.

He told me that if I would commit to doing the play, he might be prepared to let me read it, and placed it on my desk.’

Susan Traherne has had a good war and then can find no role in the peace.

By this point, three years into Hall’s NT tenure, Hare had already directed a touring production of Trevor Griffiths’s The Party (1973) and, in July 1976, the first world premiere in the National’s new, three-theatre home on the South Bank, Howard Brenton’s Weapons of Happiness. It had seen Brenton and Hare profiled in the Sunday Times, under the headline ‘Meet the wild bunch’, as ‘well-educated, hard-headed and inquisitive, and full of that blistering discontent characteristic of the single-minded revolutionary in a placid society.’

Hall had been disappointed to miss out on Hare’s raucous, semi-autobiographical account of a rock band performing at a Cambridge May Ball, Teeth’n’Smiles featuring Helen Mirren (Royal Court, 1975), and was delighted to be offered Plenty. It follows the independent, fiercely intelligent and volatile Susan Traherne, from the early 1940s to the 60s, from her exhilarating service as a courier with the Special Operations Executive in Nazi-occupied France, to post-war disillusionments in London, DAVID HARE,1979 IMAGE COURTESY OF GETTY IMAGES

chiefly dead-end jobs and a stultifying, childless marriage to Raymond Brock, an underachieving diplomat, who is caught up in the Suez Crisis of 1956. In Hare’s words, Traherne has ‘had a good war and then can find no role in the peace’.

Through her, he wanted to explore ‘the cost of spending your whole life in dissent.’

Hare wrote to Hall on 5 June, asking to be allowed to direct Plenty himself – they had talked of handing it to John Dexter or William Gaskill or John Schlesinger – with the 26-yearold Canadian, Kate Nelligan as Traherne: ‘Kate’s problem would be with the age, although the rewrite will bring the span down from 19 to 37, which I don’t think is outside her range...

A script which isn’t yet written. A writer who believes he can direct his own work. An actress five years too young and who sells no tickets.

If you say you are no longer interested, then I would quite understand.’ Hall acceded to both requests: Hare’s production of Plenty would open in the 900-seat Lyttelton in April 1978.

Comparison between the published Plenty text and the first draft (which I read in Hare’s papers at the Harry Ransom Center in Austin, Texas), shows that his revisions between June 1977 and April 1978 not only made Traherne younger to accommodate Nelligan, but also introduced new characters and new scenes, including a finale far more affecting than the original ending.

The Lyttelton cast included Stephen Moore as Brock, Julie Covington as Susan’s best friend, Alice, and Basil Henson as Sir Leonard Darwin, Brock’s boss at the Foreign Office in 1956, when both become embroiled in the Suez Crisis. Shortly before the opening, Nelligan scribbled this note to Hare: ‘I am honoured to play Susan Traherne in the play Plenty. Life will never be so good again. And I thank you.

I do sincerely thank you, David. Kate.’

The press night was watched by Howard

Brenton, who wrote to Hall the next morning: ‘It was great. I learnt a lot too – like how the [Foreign Office] bastards think about themselves. More parochially I thought too – Christ, if that doesn’t make its way to a fair sized success and recognition with a big public, we’re all in deep trouble.’

Plenty was passionate and controversial; while some reviewers recognised and saluted its power, the majority did not. As Hare himself now recalls: ‘Plenty was correctly seen as a feminist play, and attacked as such, but what was unusual was that it was unapologetic. It was Susan Traherne’s refusal to allow anyone or anything else to carry responsibility for her own dissatisfactions, and her equal refusal to ask at any point for any kind of sympathy, which made her provocative then, and, I suspect, no less provocative now.’

Hall recognised that Plenty would need to be delicately nurtured within a Lyttelton repertoire that also contained more obviously populist fare, including two hit comedies: Ben Travers’ Plunder and Alan Ayckbourn’s Bedroom Farce. He gave instructions for Plenty to be carefully rationed in the NT’s monthly booking leaflets, with half its remaining performances falling on Fridays and Saturdays, with very few on the slowest box-office days, Monday and Tuesday.

When I first interviewed David Hare, in 2006, he remembered Peter Hall’s handling of Plenty as ‘almost embarrassingly’ loyal: ‘Peter’s argument was “Yes, of course, if we do bad work we take it off. But what is the point of the NT if we can’t run what we believe in? We know Plenty is good and if we look after it [in the schedule] we can prove it’s good.” I knew Plenty was the best I could do, having been writing for ten years. Peter proved the audience liked it. My relationship with him [was] totally based on that experience; it bonds you for life.’

David Hare revealed that when he was nine, Suez proved ‘briefly disastrous’ for his family.

Nelligan’s performance brought her the Evening Standard and SWET (now Olivier) Best Actress awards. She enjoyed renewed acclaim in New York in 1982-83, when Hare redirected Plenty with an American cast, first at the Public Theatre, then at Broadway’s Plymouth.

Hare has called the three-month Broadway

CHARLES DANCE AND MERYL STREEP IN THE FILM OF PLENTY, 1985 IMAGE COURTESY OF ALAMY

run ‘the biggest success of my life.’ When Nelligan declined to extend her contract beyond March 1983, Plenty closed, because, Hare said: ‘I stupidly refused to re-rehearse a new actress, out of the misguided idea only Kate could play it.’

Plenty’s popularity in New York led the RKO studio to produce a feature film adaptation, released in 1985. It was directed by Fred Schepisi from Hare’s screenplay, with Charles Dance, John Gielgud and Meryl Streep, who had recently won her second Best Actress Oscar, for Sophie’s Choice. ‘The only way a film of Plenty would ever be made [in the 1980s],’ Hare explained, ‘was with the one pre-eminent screen actress of her generation. It was Meryl or no film. And she was wonderful in it.’

Plenty’s first major revival in London came about because its Lyttelton audience had included a 30-year-old actor, Jonathan Kent, for whom it was ‘one of those plays that does change your view of life. It moved me hugely.’

In 1999, as joint artistic director of the Almeida Theatre, Kent directed Cate Blanchett as Traherne at the Albery (now the Noël Coward), and later admitted (to Richard Boon in his book, About Hare) to having felt ‘slightly inhibited’ in rehearsal: ‘[David’s production] had made such an impression on me I think I was hamstrung by the memory.’ For Kent, ‘the strength of the play [is that] it deals with people left on the highwater mark of post-war English society, with no place for honesty and decency and courage and good faith.’

There was a further revival at Sheffield Theatres in 2011, with Hattie Morahan as Traherne, directed by Thea Sharrock.

In 2016, Plenty returned to New York’s Public Theatre, starring Rachel Weisz (the third Oscar-winner, after Streep and Blanchett, to have played Traherne). Directed by David Leveaux, this revival came a year after the publication of Hare’s memoir, The Blue Touch Paper, had shed new light on the magnificent final scene of Plenty’s first Act: a dinner party at Raymond and Susan’s Knightsbridge home on the night that British paratroopers drop into Egypt, precipitating the disastrous armed phase of the 1956 Suez Crisis – a war, Darwin tells Brock, that ‘is a fraud cooked up by the British.’

In his memoir, Hare revealed that when he

was nine, Suez proved ‘briefly disastrous’ for his family. His father, Clifford, was purser on the P&O liner Mooltan as it ferried British troops towards Aden. A ‘terrible failure of hygiene’ in the ship’s kitchen caused mass food poisoning and led the Daily Sketch to carry a front-page picture of Clifford Hare beneath the headline: ‘The Man Who Served Our Troops Soapy Potatoes’.

Plenty is the work of mine to which I still go back in my mind more and more.

When Hare spent two days with Leveaux’s Plenty cast in their first week of rehearsal, the director was struck by how ‘David was able, in his passionate way, to describe what it was like [in 1956], to give a sense of the enormity of division in the country. He didn’t directly mention it to us, but [what happened to his family during Suez] it was perfectly apparent in his palpably emotional and personal response to those events.’

Plenty’s enduring importance to its author is also evident in a BBC Radio 3 interview with John Tusa from 2005. In it, Hare speaks of Plenty as ‘the work of mine to which I still go back in my mind more and more.’

In The Blue Touch Paper he suggests: ‘There is something in [Plenty’s] technique of skipping through an 18-year period in a woman’s life, without too laboriously explaining what has happened between each scene, which presents an actress with almost unique opportunities and challenges... I aimed for a half-filled-in quality which would be deliberately suggestive and which would give the actress particular freedom to take the role in any direction she chose.’

Forty-one years after Nelligan first mapped Traherne’s path through Plenty, it’s now Rachael Stirling’s turn.

DANIEL ROSENTHAL

Daniel Rosenthal is author of The National Theatre Story, and editor of Dramatic Exchanges: The Lives and Letters of the National Theatre, which features correspondence about Plenty and other Hare plays and will be the subject of a Literary Lunch in The Brasserie on Friday 11 October.

SOE’s BAND HOW TYPICAL IS THE FICTIONAL SUSAN TRAHERNE OF THE REAL-LIFE WOMEN SENT TO FRANCE BY THE SOE’S FRENCH SECTION? ‘I told such glittering lies,’ enthuses Plenty’s protagonist Susan Traherne, as she recalls her exploits in occupied France as a secret agent for Britain’s Special Operations Executive (SOE).

But who were the real-life 39 women sent to France by the SOE’s French Section?

Deploying women on perilous missions went against the grain of military tradition, but SOE was nothing if not unconventional.

As its networks expanded across France in preparation for D-Day, agents needed couriers to keep in touch with each other – ‘invisible’

people who wouldn’t readily draw the attention of the Germans and who could pass through routine checks appearing innocent and harmless: women. The issue was hotly debated, but finally approved by Winston Churchill. ‘Good luck to you,’ he said. Not all went as couriers.

Some served as wireless operators, others specialised in sabotage and explosives.

They all had three things in common. First was fluency in French, either because they’d lived in France or had Anglo-French families.

Second, unlike many of their male counterparts

LEFT: VIRGINIA HALL RECEIVING THE DISTINGUISHED SERVICE CROSS FROM GENERAL DONOVAN, 1945 RIGHT: NANCY WAKE, KNOWN BY THE GESTAPO AS THE WHITE MOUSE

OF SISTERS with a military background, most came from civilian life. Lastly, they were all smart, resilient and courageous. Like the men, they went through gruelling physical training and learned the arts of close combat and silent killing.

But it was mental toughness, not muscle, that counted in the field. Living daily behind enemy lines required exemplary fortitude. The medals they received for their service fully recognised this.

They learned the arts of close combat and silent killing.

Otherwise, they were a diverse group.

Ranging in age between 20 and 45, some were single, some married, and some had young children. Sisters served, although never together. Not all were British. One of the first recruits was an American, Virginia Hall. One of the most celebrated, Nancy Wake, was a New Zealander raised in Australia. Noor Inyat Khan, a wireless operator and daughter of an Indian Sufi mystic and American mother, was born in the Kremlin. Lise de Baissac was a Mauritian.

Some had aristocratic backgrounds, others were working-class. A few, like the fictional Susan, enjoyed passionate affairs with fellow agents.

LEFT: NOOR INAYAT KHAN, WIRELESS OPERATOR WITH THE SOE RIGHT: LISE DE BAISSAC, A BRITISH SUBJECT BORN TO A FRENCH FAMILY IN MAURITIUS

The death rate was high.

Thirteen of the 39 didn’t return home.

Their methods of getting into France also differed widely. Some landed ashore from small boats, while others arrived as passengers in Lysanders – small aircraft that could land and take-off on short strips of land lit by crude flares prepared by the local resistance. The last sight of England many enjoyed was the West Sussex countryside in moonlight, as the planes took-off from Tangmere airfield. But the largest single group arrived by parachute, dropped from a Halifax or other modified bomber after sometimes terrifying training sessions at Manchester’s Ringway airport.

Some survived, others perished. The death rate was high. Thirteen of the 39 didn’t return home. Eleven were captured, tortured and executed in the notorious Nazi concentration camps of Natzweiler, Dachau or Ravensbrück (among them was Violette Szabo, whose life was dramatised on film in Carve Her Name With Pride).

Two died through maltreatment or ill health.

Those who survive war often suffer from crippling post-traumatic stress. How far was this true of SOE agents? To what extent is Susan Traherne typical of the women who returned to peacetime life? The record is mixed.

While a few courted or garnered publicity immediately after the war and had books written about them, the majority melted back into private life and stayed silent, so we know little about them. One case can stand for many.

In 2010 the body of an 89 year-old woman was found in her flat in Torquay, where it had lain undiscovered for several days. Only later did her neighbours learn that the eccentric and reclusive, cat-loving Miss Eileen Nearne had been parachuted into France in 1944 as a wireless operator. After being captured and severely tortured in the infamous Ravensbrück women’s concentration camp, she finally escaped from a labour camp in Germany just as the Americans arrived. Her refusal to talk about her exploits sprang from the traumas she’d suffered.

The most tragic case of a real life female SOE agent’s failure to adjust to post-war life is that of Krystyna Skarbeck, a Polish countess of Jewish background otherwise known as Christine Granville. After an astonishingly courageous and resourceful four years braving dangers across occupied Europe, but unwilling to return to communist Poland, she struggled to find personal equilibrium in post-war London. Flitting restlessly from job to job, she encountered insidious antisemitism and eventually attracted the attentions of an obsessive stalker who, when she rejected his advances, stabbed her to death in a Kensington hotel in 1952. The first published biography about her appeared just three years before David Hare’s play.

One thing seems certain about the SOE band of sisters. However well or poorly they adjusted to the peace, their wartime experience was one of unforgettable intensity and, along with their male counterparts, they played a heroic part in the liberation of France.

DAVID STAFFORD

David Stafford is the author of Secret Agent: The True Story of the Special Operations Executive and Ten Days to D-Day. His latest book, Oblivion or Glory: The Making of Winston Churchill 1921, will be published in the autumn.

VIOLETTE SZABO, SOE AGENT MEMORIAL IN FRONT OF LAMBETH PALACE

THE SUEZ CRISIS The Suez Canal connects the Mediterranean to the Red Sea. Constructed in the mid-19th century by the Suez Canal Company through 100 miles of Egyptian desert, it was controlled by French and British interests; by the 20th century, it provided a vital sea trading route to the oilfields of the Persian Gulf in particular.

The Suez Crisis of 1956 was provoked

by Britain and America withdrawing their pledge to finance the construction of the Aswan High Dam, in response to Egypt’s purchase of Soviet-made armaments. The Egyptian president, Gamal Abdel Nasser, retaliated by nationalising the canal on 26 July, intending to use its revenue to finance the new Dam. Fearing that Nasser might cut off shipments of oil, Britain and France secretly agreed with their ally Israel that the latter should attack Egypt, providing a pretext for an Anglo-French invasion of Suez – thereby regaining Western control of the canal and deposing Nasser.

On 29 October, Israeli brigades invaded Egypt and advanced toward the canal.

Britain and France demanded a ceasefire, which Israel, as planned, ignored. On 5 and 6 November, British and French paratroopers began occupying the canal zone. However, fierce domestic and international condemnation and US-backed resolutions in the UN (along with Soviet threats of intervention), swiftly brought the military action to a halt. On 22 December the UN evacuated British and French troops, and Israeli forces withdrew in March 1957.

The victorious Nasser emerged from the Suez Crisis as a hero for Arab nationalism, while British prime minister Anthony Eden was forced to resign.

A humiliated Britain and France lost most of their influence in the Middle East.

The episode is now widely viewed as exemplifying the UK’s declining status as a major world power in the wake of the Second World War.

THREE OF THE FIVE BRITISH AIRCRAFT CARRIERS INVOLVED IN THE SUEZ OPERATION: HMS EAGLE LEADS HMS BULWARK AND HMS ALBION

RAF TANGMERE AND THE SOE The Special Operations Executive (SOE) was formed in July 1940 following the fall of France and the Dunkirk evacuation, at a time when there seemed the real likelihood of an invasion of Britain. It was given the mission to encourage and facilitate espionage and sabotage behind enemy lines. The SOE was directly charged by Winston Churchill to ‘Set Europe ablaze!’.

Operations called for an exceptional degree of pilot skill and courage.

While agents could be ‘inserted’ by parachute, they could not be ‘extracted’ or brought back in the same way. Westland Lysanders, single-engined aircraft with the ability to take-off and land in a short distance, were usually used for this purpose. RAF Tangmere became vitally important to the SOE operations because of its position on the south coast of England and No 161 (Special Duties) Squadron Lysanders would fly down to Tangmere from their base at Tempsford, near Bedford, to carry out these dangerous missions when there was a full moon. The squadron’s Lysanders had been modified for these clandestine operations with the installation of an additional fuel tank and a fixed ladder to ease access to the passenger cabin that could accommodate up to three agents. The Lysander pilots called their passengers ‘Joes’.

The operations centre for No 161 Squadron at RAF Tangmere was Tangmere Cottage.

It was ideally situated outside the camp across the road from the station’s entrance and screened by a tall hedge. Arriving agents were brought to the cottage’s back door out of sight of the road and then, having met their pilot, would be driven round to their aircraft in the dead of night.

Pilots navigated by moonlight and dead reckoning, holding a map in one hand and flying the aircraft with the other.

NO 161 SQUADRON PICK-UP PILOTS: JIMMY 'MAC’ McCAIRNS, HUGH VERITY, PERCY ‘PICK’ PICKARD, PETER VAUGHAN-FOWLER AND FRANK ‘BUNNY’ RYMILLS WITH VERITY’S LYSANDER AT TANGMERE, 1943.

IMAGE COURTESY OF THE TANGMERE MILITARY AVIATION MUSEUM/THE McCAIRNS COLLECTION

The operations called for an exceptional degree of pilot skill and courage. In France they often had to fly three or four hundred miles over enemy territory, navigating by moonlight and dead reckoning, holding a map in one hand and flying the aircraft with the other. The pick-up pilot then had to find the landing (usually a farmer’s field), transfer his passengers and fly back to Tangmere – a difficult enough task in daylight, let alone at night in enemy territory.

Near the landing field, the pilot would look for the identification Morse code signal flashed by torchlight by the ground party. If the identification code was incorrect the landing would not be attempted. After landing, the aircraft would be U-turned and taxied back to the reception party where another U-turn would be made to line up the aircraft ready for

take-off following the exchange of ‘Joes’.

Time on the ground would be kept to a minimum, usually less than five minutes, before the return flight to Tangmere.

Many famous SOE agents were flown

by No 161 (SD) Squadron via RAF Tangmere, including Tommy Yeo-Thomas, Violette Szabo and Noor Inayat Khan. By the end of the war 279 Lysander sorties had been made into French occupied territory. The most acclaimed pick-up pilot was Jimmy ‘Mac’ McCairns, who flew 25 successful missions.

DAVID COXON

David Coxon is Deputy Director of the Tangmere Military Aviation Museum.

PLENTY

By David Hare

CAST (in order of appearance) Susan Traherne Raymond Brock Alice Park Codename Lazar A Frenchman Sir Leonard Darwin Mick Louise M. Aung Mme. Aung Dorcas Frey John Begley Sir Andrew Charleson Another Frenchman

Rachael Stirling Rory Keenan Yolanda Kettle Rupert Young Raphael Desprez Anthony Calf Micah Balfour Gemma Dobson Ozzie Yue Louise Mai Newberry Macy Nyman Philippe Edwards Nick Sampson Alan Booty

The play is set in a variety of locations in England and France between 1943 and 1962.

There will be one interval of 20 minutes.

Plenty was first performed at the Lyttelton Theatre, National Theatre, London, on 7 April 1978.

First performance of this new production at Chichester Festival Theatre, 7 June 2019

Kate Hewitt Georgia Lowe Lee Curran Giles Thomas Nina Dunn Charlotte Sutton CDG

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

Charmian Hoare Natasha Prynne Claire Turner Susanna Peretz Gethin Evans

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

Paul Hennessy Robin Longley Klare Roger Kezia Beament Emily Humphrys

Production credits: Set built by Bower Wood Production Services; Cloths by Gerriets and Promptside Theatrical Drapery; Glass by Demon Designs; Engineering by Weld-Fab Stage Engineering; Special Effects by Set-Up Scenery and ForceFX; Transport by Paul Mathew Transport and Chichester Car & Van; Lighting hires by SLX; Video hires by Stage Sound Services; Weaponry hire and gun consultancy by Rc-Annie; Production Carpenter Jon Barnes; Production Video Technician / Programmer Harrison Cooke; Hair, Wigs and Make-up Associate Roz Kearin; Assistant Costume Supervisor Olivia Ward; Costume Maker Sallyanne Dicksee; Costume Maker Pauline Cheyney; Rehearsal Room RSC Clapham.

Thanks to Olive and Alexander Longley.

Musicians Trevor Burley (Cello), Vernon Dean (Violin), Allen Walley (Double Bass); Tim Warburton (Violin).

Singers Rosie Middleton, Sarah Parkin, Ellie Quinn.

Rehearsal and production photographs The Other Richard Programme design by Davina Chung Programme Associate Fiona Richards Supported by Plenty Commissioning Circle: His Honour Michael Baker, Patrick and Maggie Burgess, Anthony Clark, Steve Evans, George Galazka, Themy Hamilton, Adrianne Hunter-Cook, John and Chrissie Lieurance, David and Elizabeth Miles, Joan and Christopher Hampson, Peter and Nita Mitchell-Heggs, Lindy Riesco, Dr Jeremy Shaw and Dr Linda Shaw OBE, Peter and Lucy Snell, Delphine Star, Howard M Thompson, Humphrey van der Klugt, Bryan Warnett of St. James’s Place, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#Plenty

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BIOGRAPHIES

MICAH BALFOUR Mick Theatre includes Still Alice (Leeds Playhouse and UK tour); Mr Foote’s Other Leg (Hampstead Theatre and Theatre Royal Haymarket); The Royal Hunt of the Sun and Market Boy (National Theatre); Absolute Beginners (Lyric Hammersmith).

Television includes The Trial of Christine Keeler, The Feed, The Bill, Silent Witness, Doctor Who, The Musketeers, Holby City, Doctors, Young Dracula, The Time of Your Life, Emmerdale, Trust.

Films include The Car: Road to Revenge, Holy Flying Circus, Diana, Powder Room, World War Z. Trained at The Poor School.

ALAN BOOTY Another Frenchman Theatre credits include title role in King Lear and Pool (Brockley Jack Studio Theatre); People (National Theatre tour); As You Like It, Falstaff in The Merry Wives of Windsor, Capulet in Romeo and Juliet and The Comedy of Errors RACHAEL STIRLING

(Cambridge Shakespeare Festival); The Robbers (New Diorama and Bath Theatre Royal Studio); Orphans and Quartet (English Theatre Hamburg); Van Helsing in Dracula (Leicester Square Theatre); Pozzo in Waiting for Godot (York Theatre Royal Studio); Dr Winkel in The Third Man (Secret Cinema); Jaggers in Great Expectations (national tour); The Thought on the Stairs (Southwark Playhouse); The Dinner (Vaults Festival); It Never Ends (Theatre 503); Treasure (Finborough Theatre); The Unnatural Tragedy (The White Bear); Alan Bennett’s A Chip in the Sugar at venues in London, York and Scarborough; and his own solo plays A Fool Such As I (Stables Theatre Hastings) and Tales from Ampelmann (Stephen Joseph Theatre).

Television includes Ghosted, Crimewatch, Days That Shook the World, Dancing on the Edge.

Films include Special Couple, Stones, The Man Who Knew Infinity, Fragments of May, Blind Luck, The Siren (Bournemouth Film Festival for Young Directors Best Actor Award).

ANTHONY CALF Sir Leonard Darwin Previously at Chichester Wilfred in For Services Rendered, Victor Prynne in Private Lives (and West End), Count Octavio Piccolomini in Wallenstein (Minerva Theatre), Sir William Collyer in The Deep Blue Sea (Festival 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 Buyers Market (Bush Theatre); Cracked (Hampstead Theatre); RORY KEENAN

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,

ANTHONY CALF YOLANDA KETTLE

The Man Who Knew Infinity, Straightheads, The Madness of King George, Anna Karenina, Fairytale, Oxford Blues.

RAPHAEL DESPREZ A Frenchman Raphael Desprez is an international actor based in London and Paris. UK theatre includes La Connerie Humaine and Macbeth (Cockpit Theatre).

Television includes Casualty, World on Fire.

Film includes Mission Impossible 6, Hurricane: Squadron 303, King Lear, Postcards from London, Allied, The Children Act, The Last Goodbye.

GEMMA DOBSON Louise Theatre includes Jo in A Taste of Honey (Oldham Coliseum Theatre); Sue in Rita, Sue and Bob Too (Out of Joint, Octagon Theatre Bolton and Royal Court Theatre production, UK tour: winner of The Stage Debut Award for Best Actress in a Play and UK Theatre Award for Best Supporting Performance).

Television includes Care, Brief Encounters, In the Club.

PHILIPPE EDWARDS John Begley Theatre includes Shepherd/Sidmouth in Trial by Laughter (Watermill Theatre Newbury and UK tour); Tom in Skin Tight (Hope Theatre); Dr Gibbons in Bracken Moor, John Wilkes Booth in Assassins, Flt Lt Teddy Graham in Flare Path and Bassanio in The Merchant of Venice (LAMDA).

Radio includes The Gnats, The Ballalloes, Mr Betjeman’s Class, War of the Worlds.

Trained at LAMDA. RORY KEENAN Raymond Brock Previously at Chichester Edward in Someone Who’ll Watch Over Me (Minerva Theatre).

Theatre includes James Tyrone Jr in Long Day’s Journey Into Night (West End and New York); The Inquisitor in Saint Joan, Gene in Welcome Home Captain Fox!, Private Gar in Philadelphia, Here I Come! (Donmar Warehouse); Trigorin in The Seagull

(Corn Exchange); Liola in Liola, Kevin in The Kitchen, Pedrisco in Damned by Despair (National Theatre); Mark in Dublin Carol (Donmar at Trafalgar Studios); Lakeboat, Prairie de Chien (Arcola Theatre); The Big Fellah (Lyric Hammersmith); Macbeth in Macbeth (Once Off Productions); Saved (Peacock Theatre Dublin); Jack in The Importance of Being Earnest, Don Carlos, The Taming of the Shrew (Rough Magic Theatre Company); Charles Surface in The School for Scandal, Stepson in Six Characters in Search of an Author, Moses in She Stoops to Folly (Abbey Theatre); Festen, A Christmas Carol (Gate Theatre); Levellend (Edinburgh Festival); Hysteria (Project Theatre); The Shaughraun (Albery Theatre); Monged (Fishamble Theatre Company); Hamlet in Hamlet (Second Age Theatre Company); The Drunkard in The Drunkard (B*spoke Theatre Company); The Last Days of the Celtic Tiger (Landmark Productions).

Television includes Come Home, Versailles, Striking Out, Lucky Man, War and Peace, Peaky Blinders, Birdsong, Primeval, Aristocrats, On Home Ground, Showbands, The Clinic.

Films include Boski Plan, Refriending, Human Remains, The Young Messiah, The Brothers Grimsby, Take Down, Second Coming, The Guard, Ella Enchanted, Intermission, One Hundred Mornings, Pride and Joy, Reign of Fire, Zonad.

YOLANDA KETTLE Alice Park Previously at Chichester Lois Ardsley in For Services Rendered (Minerva Theatre).

Theatre includes Eden and Hello/Goodbye (Hampstead Theatre); Oil (Almeida); The Deep Blue Sea (National Theatre); Little Light (Orange Tree Theatre); Coolatully (Finborough Theatre); Anhedonia (Royal Court at Wilderness Festival); Birdland (Royal Court Theatre); A Tale of Two Cities (Royal & Derngate Northampton); A Doll’s House (Duke of York’s Theatre and Young Vic); Pride and Prejudice (Regent’s Park Open Air Theatre); The Seagull (Arcola); Saved (Royal Court Gala); The Merchant of Venice (NYT).

Television includes Marcella series 2, The Crown series 2, Howards End, Doc Martin, The Collection, Love Nina, Father Brown, Holby City.

Films include Made in Italy.

LOUISE MAI NEWBERRY Mme. Aung Theatre includes Mariana in All’s Well That Ends Well (Sam Wanamaker Playhouse); Lampedusa (Citizen’s Theatre Glasgow); Evelyn’s Roots, Adventures in Wonderland, Twelfth Night (Teatro Vivo); The Sugar-Coated Bullets of the Bourgeoisie (HighTide Festival/Arcola); Any Means Necessary (Nottingham Playhouse); Lampedusa (HighTide/Soho Theatre); Battersea Odyssey (Lightbox Theatre); The Snow Dragon (St James’s Theatre); Pick-Ups (Bush Theatre); Pericles, Two Gentlemen of Verona (The Factory); The Long Life and Great Good Fortune of John Clare (Eastern Angles); Dim Sum Nights, Wave, Boom (Yellow Earth); The Sacred Nymphs of Natterjack (Theatre Delicatessen/Bush Theatre); The Gruffalo (UK tour); Not the End of the World (Bristol Old Vic); Transmissions (Birmingham Rep); The Good Woman of Setzuan (Leicester Haymarket); Noah’s Ark (Walk the Plank); King Lear (Orange Tree Theatre); The Lion, the Witch and the Wardrobe (RSC); Hecuba (Theatro Technis).

Television includes Doctors, Blacklist, The Bill, Goal!, Dream Machines, Future Makers, Clifford’s Puppy Days.

Radio includes Inspector, The Good Listener, MICAH BALFOUR

GEMMA DOBSON

Doctor Who. Films include Fluid, Christie, Foreplay, The God Game and the shorts Fracking Regent’s Park, Put It On The Map, Tsuppari, La Jalousie.

Trained at Cambridge University and East 15 Acting School.

MACY NYMAN Dorcas Frey Previously at Chichester Betty in The Stepmother (Minerva Theatre).

Theatre includes Julie in Pack of Lies (Menier Chocolate Factory); Wendy in Peter Pan (Northcott Theatre Exeter); Sophie in The BFG (Octagon Theatre Bolton); Love’s Labour’s Lost, The Laramie Project, The Winter’s Tale and Uncle Vanya (LAMDA).

Television includes Alex Rider, The Coroner, Poirot: Hallowe’en Party.

Films include Run Fatboy Run and the short Foster.

Trained at LAMDA. NICK SAMPSON Sir Andrew Charleson Previously at Chichester Franks/Group Captain Wood in Ross (Festival Theatre).

For the National Theatre Antony and

Cleopatra, Great Britain, Othello, The Captain of Kopenick, Timon of Athens, Collaborators, Hamlet, London Assurance, His Dark Materials, Cyrano de Bergerac, Stuff Happens, Henry V, Tartuffe, The Coast of Utopia, The Relapse, The Winter’s Tale and The Madness of George III. Other theatre includes Julius Caesar (The Bridge Theatre); North by North West (Theatre Royal Bath); The Gathered Leaves (Park Theatre); King Charles III and Romance (Almeida Theatre); The Shawshank Redemption, As You Like It (Palace Theatre Watford); Bloody Sunday: Scenes from the Saville Inquiry (Tricycle Theatre); Waves (NT Studio).

Television includes Belgravia, Catastrophe, Doc Martin, Genius, Witness for the Prosecution, Apple Tree Yard, Endeavour, Homefires, The Capital, Downton Abbey, We’ll Take Manhattan, Silk, Henry: the Mind of a Tyrant, EastEnders, Monday Monday, Honest, The Commander, Whistleblowers, Afterlife, Bradford Riots, Britz, Diamond Geezer II, Hustle, Inspector Lynley Mysteries, Party Animals, This Life: 10 Years On, Trial & Retribution, Tales of the South Seas, Brittas Empire, Cold Lazarus, Marlene Marlowe.

Films include Lost City of Z, An Education, Sunset, The Madness of King George.

NICK SAMPSON

RUPERT YOUNG

RACHAEL STIRLING Susan Traherne Theatre includes Elizabeth in Labour of Love (Noël Coward Theatre); Hermione in The Winter’s Tale (Sam Wanamaker Playhouse); A in An Intervention (Paines Plough); Rose in Variation on a Theme (Finborough Theatre); Medea in Medea (Headlong); Melinda in The Recruiting Officer and Frankie in Helpless (Donmar Warehouse); Lady Chiltern in An Ideal Husband (Vaudeville West End, Olivier Award nominee – Best Supporting Actress); Helena in A Midsummer Night’s Dream (Rose Theatre); Rebecca in The Priory (Royal Court, Olivier Award nominee – Best Supporting Actress); Eliza in Pygmalion (international tour); Katherine in The Taming of the Shrew and Yelena in Uncle Vanya (Wilton’s Music Hall); Helena in Look Back in Anger (Theatre Royal Bath); Zenocrate in Tamburlaine (Bristol Old Vic); Theatre of Blood (National Theatre); Hester in A Woman of No Importance (Haymarket).

Television includes Wild Bill, The Bletchley Circle: San Francisco, Detectorists, Churchill’s Secret, Capital, Letters from Baghdad, The Bletchley Circle, The Game, Doctor Who, Women in Love, Minder, Boy Meets Girl, Lewis, Beyond, The Haunted Airman, Riot at the Rite, Marple:

MACY NYMAN LOUISE MAY NEWBERRY OZZIE YUE ALAN BOOTY

Murder at the Vicarage, The Final Quest, Poirot, Tipping the Velvet, Bait, Othello.

Films include Their Finest, Sixteen, Snow White and the Huntsman, Salmon Fishing in the Yemen, Centurion, The Young Victoria, Dangerous Parking, Triumph of Love, Another Life, Complicity, Maybe Baby, Still Crazy.

RUPERT YOUNG Codename Lazar Theatre includes Orsino in Twelfth Night (Young Vic); Jack Manningham in Gaslight (UK tour); Mulvaney in While the Sun Shines (Theatre Royal Bath); Leonard Charteris in The Philanderer (Orange Tree Theatre); C.K. Dexter Haven in High Society (Old Vic); Tonight at 8.30 (Nuffield Southampton); Bobby in Company (Southwark Playhouse); Never So Good and Afterlife (National Theatre); French Without Tears (ETT); Cymbeline, Twelfth Night, HMS Pinafore (Regent’s Park Open Air Theatre).

Television includes Merlin, Good Karma Hospital, Will, Shameless, The Bisexual, People Just Do Nothing, Doc Martin, Foyle’s War, Hotel Babylon, The White Queen, Primeval, Heartbeat.

Films include The Secret Garden, Dirty Filthy Love.

RAPHAEL DESPREZ

PHILIPPE EDWARDS

OZZIE YUE M. Aung Theatre includes From Shore to Shore and Kensuke in Kensuke’s Kingdom (UK tours); Mersey Moggies The Musical (Unity Theatre); A Midsummer Night’s Dream (Liverpool Everyman); Takeaway (Theatre Royal Stratford East); Moonwalking in China Town (Soho Theatre); 3000 Troubled Threads (Edinburgh International Festival).

Television includes Father Ted, Doctor Who, Come Fly with Me, Rab C Nesbitt, Marco Polo, Preston Front, Silent Witness, Casualty, Lovejoy, Counterpart, Empires of Silver.

Films include Lara Croft Tomb Raider, Syriana, Out for a Kill, From Hell, Croupier, Nuns on the Run, Jim Button and Luke the Engine Driver, Walk Like a Panther.

As a guitarist and singer he performs with his own band Yue Who, and in the 60s and 70s was a member of The Hideaways and Supercharge, appearing at the Cavern Club, Reading Festival, Hyde Park and touring throughout the UK and Europe.

C R E AT I V E T E A M

LEE CURRAN Lighting Designer Theatre includes Summer and Smoke (Almeida/ Duke of York’s); Jesus Christ Superstar (Regent’s Park Open Air Theatre/Lyric Opera Chicago); Constellations (Royal Court/Duke of York’s/Broadway/Trafalgar Studios/UK tour); Gundog, Road, Nuclear War, a profoundly affectionate, passionate devotion to someone (-noun), X, Linda (Royal Court); Berberian Sound Studio, The Lady from the Sea, Splendour (Donmar Warehouse); West Side Story, Jubilee (Manchester Royal Exchange); The Son (Kiln); Dance Nation (Almeida); Nora (Citizens Theatre Glasgow); The Wider Earth (Natural History Museum); As You Like It (Regent’s Park Open Air Theatre); Woyzeck (Birmingham Rep); Black Men Walking (UK tour); A Streetcar Named Desire, The Weir (English Touring Theatre); Burgerz (Hackney Showroom); Cover My Tracks (Old Vic); Doctor Faustus, Love’s Sacrifice (RSC); Fantastic Mr Fox (Nuffield Theatre Southampton/Lyric Hammersmith); The Winter’s Tale (Lyceum Edinburgh); Imogen (Globe); The Spoils (Trafalgar Studios); Depart (LIFT); NICK SAMPSON

LOUISE MAY NEWBERRY

MICAH BALFOUR

Kissing the Shotgun Goodnight (Christopher Brett Bailey); Boys Will Be Boys (Bush Theatre/ Headlong); The Oresteia (Home Manchester); A Number (Young Vic/Nuffield Theatre); Mametz (National Theatre Wales); Protest Song (National Theatre).

Dance includes Blak Whyte Gray (Boy Blue Entertainment); Grey Matter, E2 7SD (Rambert2); Tomorrow, Frames, Curious Conscience (Rambert); Sun, Political Mother, In Your Rooms, The Art of Not Looking Back, Uprising (Hofesh Shechter); Untouchable (Royal Ballet); Clowns (Nederlands Dans Theater/ Shechter II); Rosalind, Within Her Eyes (James Cousins Company).

Opera includes Orphee et Eurydice (ROH/ Teatro Alla Scala); Phaedra (ROH); Tosca (Opera North); Nabucco (Opera National De Lorraine/ Opera Berlioz).

NINA DUNN Video Designer Previously at Chichester Fiddler on the Roof, Forty Years On (Festival Theatre), Copenhagen (Minerva Theatre).

PHILIPPE EDWARDS

Nina has designed Video and Projections for a wide range of shows, working internationally and spanning Theatre, Opera, Dance, Musical Theatre, Immersive, Fashion, Opening Ceremonies and Live Events and Public Art. She is also an educator within her industry, helping to devise and deliver undergraduate courses and mentoring programmes in leading UK institutions.

Theatre includes 9 to 5 The Musical (West End); Venice Preserved, Miss Littlewood, The Seven Acts of Mercy, Volpone (RSC); Going Through (Bush Theatre); In the Night Garden Live, The House on Cold Hill (UK tours); Spring Gala (Royal Opera House); Der Freischütz, Macbeth (Wiener Staatsoper); The Assassination of Katie Hopkins (Theatr Clwyd); The Box of Delights (Wilton’s Music Hall); Cookies (Theatre Royal Haymarket); The Rocky Horror Show (European tour); The Mountaintop (Young Vic); No Man’s Land (Tour/West End); The Life, The Diary of a Teenage Girl, Usagi Yojimbo (Southwark Playhouse); The Damned United (West Yorkshire Playhouse/tour); The Flying Dutchman (ENO); La Traviata, Hippolyte et

Aricie (Glyndebourne); The Hook (Royal & Derngate); Emperor and Galilean (National Theatre); Phantom of the Opera (Cameron Mackintosh, UK/US tours).

Immersive and Live Events include Alice’s Adventures Underground (Les Enfants Terribles/ Emma Brunjes Productions, Knight of Illumination Award for Video); Back to the Future and Grand Budapest Hotel launch for Secret Cinema; Miller’s Crossing and Who Framed Roger Rabbit for Future Cinema.

Public Art includes Cosmic Architecture (Lumiere Durham 2017); Dynamic Shift (Barbican, City of London / Culture Mile).

GETHIN EVANS Assistant Director Theatre credits as Director include Woof, Little Red Riding Hood/Yr Fagan Fach Goch (Sherman Theatre), MAGS and Ti.Me (Cwmni Pluen Company), The Last Ambulance (Sherman Theatre and Royal Welsh College of Music and Drama), Us Proclaimed/Clywch Ni (Mess Up the Mess Theatre Company), Mr & Mr Laughton and Happy Hour (Sherman Theatre and Òran Mór);

as Associate Director we’re here because we’re here (National Theatre); as Assistant Director Pericles (National Theatre), Mametz (National Theatre Wales), Arabian Nights and Romeo and Juliet (Sherman Theatre). Future work includes Mold Riots (Theatr Clwyd).

Gethin is Artistic Director of Cwmni Pluen Company and was Project Associate/Assistant Director for Public Acts/National Theatre (201718) and Associate Director at the Sherman Theatre (2015-17).

DAVID HARE Writer David Hare has written over thirty stage plays and over twenty-five screenplays for film and television. The plays include Pravda (with Howard Brenton), The Secret Rapture, Racing Demon, Skylight, Amy’s View, The Blue Room, Via Dolorosa, Stuff Happens, South Downs, The Absence of War, The Judas Kiss, The Red Barn, The Moderate Soprano and I’m Not Running.

For cinema, he wrote The Hours, The Reader, Damage, Denial and The White Crow among many others. His television films include Licking Hitler, Dreams of Leaving, Saigon: Year of the Cat and the Worricker Trilogy: Page Eight, Turks & Caicos and Salting the Battlefield.

KATE HEWITT

His 2018 series Collateral is available on Netflix.

He has written English adaptations of plays

by Brecht, Gorky, Pirandello, Ibsen and Lorca.

He adapted Chekhov’s Platonov, Ivanov and The Seagull for the Chichester Festival Theatre/ National Theatre Young Chekhov season in 2015. In a millennial poll of the best plays of the 20th century, five of the top hundred were his.

KATE HEWITT Director Previously at Chichester Cock (Minerva Theatre).

Theatre includes Jesus Hopped The ‘A Train and Far Away (Young Vic); Midsummer (National Theatre of Scotland/Edinburgh International Festival 2018); Frost/Nixon and Tribes (Sheffield Theatres); Ice Road (Raucous Theatre); Kiki’s Delivery Service and Tomcat (Southwark Playhouse); Romeo and Juliet (Ambassador’s Theatre); Portrait (Edinburgh Festival and UK tour).

As Associate Director Yerma (Young Vic and The Armory Theater New York); One Love: The Bob Marley Musical (Birmingham Rep); Charlie and the Chocolate Factory (Theatre Royal Drury Lane); Medea (Headlong UK tour); Electra (Gate and Latitude Festival).

Kate is a winner of the JMK Young Director Award and the inaugural RTST Director Award 2016.

Kate has two years’ Lecoq physical theatre training from LISPA, and a BA (Hons) in Drama and Theatre Arts from Goldsmiths University London.

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

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

GEORGIA LOWE Designer Previously at Chichester Cock (Minerva Theatre).

Designs include Mr Gum and the Dancing

Bear (National Theatre); Equus (English Touring Theatre); Othello (ETT/Dubai Opera House); Queens of the Coal Age and The Night Watch (Royal Exchange); An Octoroon (National Theatre and Orange Tree Theatre); A Streetcar Named Desire (Nuffield Theatre); Kiss Me (Trafalgar Studios and Hampstead Theatre); Death of a Salesman (Royal & Derngate and tour); Othello (Tobacco Factory and tour); The Twits (Curve Theatre Leicester); The Man with the Hammer (Theatre Royal Plymouth); In the Night Time (Before the Sun Rises) (Gate Theatre); Re: Home (Yard Theatre); Yen (Royal Court Theatre and Royal Exchange); Pomona (National Theatre, Royal Exchange and Orange Tree Theatre); Four Fridas (Greenwich+Docklands Festival); Defect (Arts Educational Schools); These Trees are Made of Blood (Southwark Playhouse/Arcola); Need a Little Help (Tangled Feet/Half Moon Theatre); Far Away (Young Vic); Bluebeard’s Castle (Opera de Oviedo); Last Words You’ll Hear (Almeida Theatre/Latitude Festival); Alarms and Excursions (Chipping Norton Theatre); The Mystae (Hampstead Theatre Downstairs); Cuckoo (Unicorn Theatre); Unscorched (Finborough Theatre); Fog (Finborough Theatre, Park Theatre and tour).

Georgia was a Linbury Prize for Stage Design Finalist and was Trainee Designer for the RSC (2011-12).

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester 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), 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); 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).

GILES THOMAS Music and Sound Previously at Chichester Cock (Minerva Theatre).

Current and forthcoming projects include KATE HEWITT

GEORGIA LOWE

Equus (English Touring Theatre); Tao of Glass (Manchester International Festival).

Recent credits include Macbeth (Unifaun Theatre Malta); Grimm Tales (Unicorn); Henry V and Othello (Tobacco Factory Bristol); Othello (English Touring Theatre); Buggy Baby (Yard Theatre); The Importance of Being Earnest and Wait Until Dark (UK tours); Handbagged (Theatre by the Lake); Death of a Salesman (Royal & Derngate); The Almighty Sometimes and How My Light Is Spent (Royal Exchange); Wish List, Yen (Royal Exchange and Royal Court); Contractions (Sheffield Theatres); Correspondence and Sparks (Old Red Lion); Disco Pigs (Trafalgar Studios); I See You, Wolf from the Door, Primetime, Mint, Pigeons, Death Tax and The President Has Come to See You (Royal Court); Pomona (National Theatre, Royal Exchange Theatre and Orange Tree Theatre); The Titanic Orchestra, This Will End Badly and Allie (Edinburgh); Little Malcolm and His Struggle Against the Eunuchs (Southwark Playhouse); Outside Mullingar (Theatre Royal Bath); Back Down (Birmingham Rep); Lie With Me (Talawa); The Sound of Yellow (Young Vic); Take a Deep Breath and Breathe and The Street (Oval House Theatre); Stop Kiss (Leicester Square Theatre).

EVENTS

PLENTY PRE-SHOW TALK

Tuesday 11 June, 5.45pm Director Kate Hewitt in conversation with Kate Mosse.

FREE but booking is essential.

YOUNG, BRAVE AND BEAUTIFUL

Wednesday 19 June, 10.30am Festival Theatre Tania Szabo’s mother was Violette, the legendary WWII agent of the Special Operations Executive, whose life was dramatised on film in Carve Her Name with Pride (Virginia McKenna played Violette). In this special event, Tania describes Violette’s journey from childhood to SOE training, and from her two missions to France behind German Lines to her illegal execution in Ravensbrück concentration camp in early 1945.

TICKETS £5

POST-SHOW TALK

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

FREE

TOUCH TOUR

Friday 28 & Saturday 29 June Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in Plenty. The tour takes place 90 minutes before the audio-described performances.

FREE but booking is essential.

RUPERT YOUNG

cft.org.uk/events

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 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 Administrator 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 George Bailey Digital Marketing Officer Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Harry Boulter Box Office Assistant Fran Boxall Box Office Supervisor 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 Joshua Vine Claire Walters Joanna Wiege Jane Wolf

Box Office Manager Head of Press Box Office Assistant Box Office Assistant Box Office Assistant Box Office Administrator 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 Mike Keniger Head of Sound Andrew Leighton 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 James Sharples Tom Smith Adam Thomas Steer Graham Taylor Sarah Ware Flynn White

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

cft.org.uk/aboutus

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Gabriele Hergert Deputy House Manager 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 Sam Sullivan Loz Tait Colette Tulley Hannah Ward Maisie Wilkins

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

WIGS Beau Bambi Brett Hayley Kharsa Sonja Mohren Natascha Schnieden

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

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, Stephanie Horn, 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, Chloe Mulkern, 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 David and Sonia Churchill John and Pat Clayton CMC Professional Services Clive and Frances Coward Jim Douglas Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Steve and Sheila Evans Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Sir Michael and Lady Heller Mr and Mrs Christopher Hogbin Basil Hyman Liz Juniper The family of Patricia Kemp Roger Keyworth 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 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