The Deep Blue Sea digital programme | Chichester Festival Theatre | Festival 2019

THE DEEP BLUE SEA

By Terence Rattigan

DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON

WELCOME

Welcome to our second production – and first play – of the Minerva Theatre’s 2019 season, The Deep Blue Sea. Terence Rattigan’s plays have figured strongly in Chichester’s repertoire in recent years, mirroring the revival of interest in his work that Dan Rebellato charts in this programme. His centenary in 2011 was marked here not only by productions of The Deep Blue Sea and The Browning Version, but also David Hare’s response to the latter – South Downs – and Nicholas Wright’s Rattigan’s Nijinsky. Earlier revivals included Separate Tables and In Praise of Love.

So why produce The Deep Blue Sea this season? In 2011 it was done in the 1,300-seat Festival Theatre (and the more recent National Theatre production was in the 900-seat Lyttelton); but it is set in a small flat in Ladbroke Grove,

so we thought it would be interesting for audiences to see how the play lives in the much more intimate setting of the Minerva.

Equally, Hester is played by Nancy Carroll, who won the Olivier and Evening Standard Awards for Rattigan’s After the Dance at the National. She has waited to play this role until she’s the right age and to do it with her chosen director, Paul Foster. We’re thrilled they’re doing so at Chichester.

We’re also delighted to welcome back Hadley Fraser, who last appeared here in The Pajama Game (2013); Gerald Kyd, who’s back in the Minerva following last year’s The Meeting; and the rest of the outstanding company.

In what is bound to be a fascinating talk, Dan Rebellato will explore the history of The Deep Blue Sea in conversation with Alan Brodie on 27 July. Do join us for that, and we hope you enjoy this performance.

Executive Director Kathy Bourne

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Artistic Director Daniel Evans

WORLD PREMIERE

Haydn Gwynne

HEDDA TESMAN

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

30 August – 28 September #HeddaTesman

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A U T U M N 2 019

John Simm Dervla Kirwan

MACBETH

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

21 September – 26 October #Macbeth

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THE DEEP BLUE SEA

By Terence Rattigan

LOCKED ROOM MYSTERIES: RATTIGAN ON THE EDGE Terence Rattigan’s rise and fall and rise again is a remarkable example of the fragility of theatrical reputations.

By the early 1950s, when The Deep Blue Sea had its premiere, no playwright in Britain was so deeply admired by the critics and audiences alike. Rattigan had burst into the public consciousness, seemingly out of nowhere, with French Without Tears in 1936, an exquisite joyful comedy about British expatriates trying and failing to learn a foreign language. Although he continued to write expertly light comedies over the next two decades, a richer, deeper emotional tone became increasingly evident in plays like After the Dance (1939), The Winslow Boy (1946), The Browning Version (1948), The Deep Blue Sea (1952) and Separate Tables (1954).

There is an exquisite theatrical choreography at work in all his plays.

He moves his characters through space with the skill of a chess grandmaster.

The emotional power of these plays was not, for Rattigan, contradicted by their tight formal construction. He had always paid precise attention to the mechanics of stagecraft; while this is perhaps more obviously needed in the comedies, there is an exquisite theatrical choreography at work in all his plays. Whether it is a farce like While the Sun Shines (1943) or a drama like The Deep Blue Sea, Rattigan moves his characters through space with the skill of a chess grandmaster and it is through this that he creates his most powerful effects.

This is resolutely theatrical craft; Rattigan makes no pretensions to be a literary writer.

He is interested in how a story unfolds in three-dimensional space before a live audience and there are few writers who can do that with his confidence. In While the Sun Shines, one of the funniest lines, that can bring an audience TERENCE RATTIGAN, VOGUE, 1947 IMAGE COURTESY OF GETTY IMAGES

to tears of laughter, is ‘Oh, it’s you, Mabs’.

It’s nothing on the page but in performance it absolutely sings. In the last scene of Separate Tables, we watch dinner being served to the various residents at a seaside guest house.

There is not a line of dialogue in the scene that is not the ordinary business of a meal service or idle small talk between the characters about the weather, the racing, the cricket. And yet the scene, as everyone sitting on the edge of their seats realises, is about the downfall of a tyrant and the triumph of justice. And what’s the turning point, the moment that shows that compassion has prevailed? It is the line: ‘No, Mummy. I’m going to stay in the dining-room, and finish my dinner’. It looks like nothing, but I have seen audiences respond to it with tearful applause.

But soon his virtue would become his vice.

A new generation of writers, directors, critics – inspired by new writers like John Osborne and Shelagh Delaney – and new theatres – like the English Stage Company at the Royal Court and Theatre Workshop at Stratford East – started to scorn Rattigan’s stagecraft as artificial, mechanical, laboured. Strangely, the very processes that produce his most powerful effects were now held to be a sign of stiff-upper lip repression, icily unemotional. In fact, it is not that plays had abandoned formal construction, NANCY CARROLL IN AFTER THE DANCE (NATIONAL THEATRE) IMAGE COURTESY OF JOHAN PERSSON

they had just changed how they do it. Osborne himself described Look Back in Anger as a ‘formal, old-fashioned play’ and it is in some ways, with its three-act structure with strong curtain lines and plot reversals; but, as Osborne also knew, his central character, Jimmy Porter, clashed with the structure, his articulacy overwhelming the narrative drive, giving a sense of a powerful generational voice breaking through the formality. It was a new way of making a play, but it was a dramatic trick all the same.

The effect was to bring about a sharp decline in Rattigan’s reputation. His plays started to be reviewed badly. Was his stagecraft just a little too neat? The construction a little too well-carpentered in a way that suggested insincerity or, worse, cynicism? Was there not something a little 19th-century in his adherence to the principles of the ‘well-made play’? It took until the 1990s to prove that wrong, when a new wave of directors, less concerned to fight the battles of the 1950s, started to rediscover the plays, stripping them of some of the period clutter and laying bare, beneath the superficialities of cigarette holders and French windows, stories of thwarted desire and profound human pain. The Almeida’s rediscovery of The Deep Blue Sea in 1993 led the way, and in the years since then anyone

who wanted to sample Rattigan’s work has had the choice of – by my count – almost 60 productions of 20 different plays. Rattigan’s centenary in 2011 was a remarkable celebration with a dozen major revivals, new editions of the plays, television documentaries and a film season at the BFI. Such a thing would have been unthinkable 40 years earlier.

There is, happily, no such thing as a definitive production of a play. The better a play is, the more it will reveal of itself in multiple productions. Something that has become more and more apparent as the plays have multiplied through numerous revivals is the subtlety of Rattigan’s sense of space. Most of his plays are set indoors in somewhat bourgeois locations: chi-chi Mayfair apartments, genteel hotels, public schools, the Albany, the homes of ambassadors, industrialists, and government ministers. (Though let’s not forget the more down-at-heel locations of Flare Path, Separate Tables and, indeed, The Deep Blue Sea.) It was his attraction to these kinds of places that has unfairly had Rattigan pegged as a rather conservative writer. In fact, his gaze at these spaces and the kinds of behaviour they afford is not a friendly one. As a young man, Rattigan’s politics were radical and, even though he drifted to the political centre, he never voted Tory (unlike, may I say, his nemesis John Osborne).

More important, though, it would be easy to think that his fondness for domestic interiors bespeaks a narrowness to his horizons, a restricted canvas, a turning away from the broader social landscape to an entirely personal, individualistic one. But this is to misread the subtlety of his use of space. While it is true that many of Rattigan’s plays are set indoors, let’s not forget that he once said that the stage direction he most enjoyed writing was ‘Scene 4: A Pavilion in the Hanging Gardens of Babylon’. There is a wonderful, preposterous freedom to Rattigan’s writing, something so utterly unconfined that should alert us to the thought that his interiors always imply an exterior. Look at the way Hester, in The Deep Blue Sea, observes the street outside her west London rooming-house. Think how Separate Tables gradually paints in the world outside the hotel (the cinema, the esplanade). Cause Célèbre moves slowly from private passion

to public exposure and finally to a natural landscape where Alma (and maybe Rattigan) makes peace with the world before she dies.

Even more than that, what I find particularly interesting is how Rattigan is drawn not so much to interior spaces or implied exterior spaces, but ambiguous zones between the private and the public. Spaces like Separate Tables’s hotel dining room are neither fully private, nor fully public. What is so powerful about these intermediate zones is that the rules of behaviour are ambiguous; they can be contested, challenged. All kinds of paradoxical inversions of the usual social rules can appear.

The unspoken decision of the residents to offer their tacit support for Major Pollock is a privately public decision to keep his newly public desires private.

These spaces are not always liberating; they can sometimes be moments of intense personal suffering. There’s a great scene in Love in Idleness (1944), where a woman has to break the news to her lover that, in deference to the feelings of her son, they must part. The scene is short and made more abrupt by the arrival of guests to a long-planned party.

Although both are reeling with grief at the unwanted end of their relationship, this intrusion of the public into the private and its transformation into an ambiguous in-between state forces them to perform, for a last time, their relationship. In this liminal – semi-private, semi-public – space, true feeling is transformed into a mask that masks true feeling.

Doors are a gateway between the private and public, a place of anxiety in a world of public manners and private pain.

Another party is the centrepiece of After the Dance, set in the glamorous apartment of David and Joan Scott-Fowler. This time it is the female partner who has just learned that her relationship is over. She wanders through the

party, unable to express her broken feelings, until she walks into another space that hovers ambiguously between the private and public: a balcony. It is from there that she jumps, killing herself. Earlier in the play, when David’s lover, Helen, comes gauchely to explain their affair, Joan puts on a display of insouciance that wears increasingly thin as the scene goes on.

One senses that her grief is building in pressure as she politely ushers Helen out. But Rattigan engineers one final trick, by having the door stick slightly, thus fractionally delaying Helen’s exit. Doors are, of course, a gateway between the private and public and therefore a place TERENCE RATTIGAN, 1973

of anxiety in a world of public manners and private pain.

We see this again in The Deep Blue Sea, the way that a closed door can be a sign of domestic contentment, but a locked door may be hiding something much darker. And look at how Rattigan builds a clear sense of the doors and hallways and stairwells outside the apartment. ‘Voices carry on the stairs of this house,’ says Mr Miller, a man who is all too aware of how reputations can be won and lost by loose tongues. And the most shattering moment of the play is where all the proprieties of the private and public collapse into each

other with a moment of painful emotional abandonment shouted down the stairs of the tenement block.

Rattigan was all too aware of the risks and possibilities afforded by these ambiguous realms. Allowing himself the public profile of a carefree bachelor man-about-town that disguised his semi-secret homosexuality, he knew the risks of exposure – of the private being made public – but also the erotic possibilities of the hint, the double meaning, the seductive deployment of a code – of the public being made private. This no doubt gave him a particularly forceful perspective on the intensities of this blurred and contested zone.

Rattigan is peerless among 20th-century male playwrights in his empathetic observation of men and women in and out of love.

Some critics have tried to erase that ambiguity by insistently ‘outing’ Rattigan’s plays, demanding that they declare their secrets immediately and confess their hidden sexuality.

In the late 1950s, the backlash against Rattigan’s status took precisely this form: the Sunday Times review of Variation on a Theme (1958), for example, had the headline ‘Are Things What They Seem?’. The unspoken implication was that these plays, with their apparent heterosexual characters, were ‘really’ about gay men and Rattigan was trying to pull the dramaturgical wool over our eyes. (A similar attack was mounted in the US against playwrights like Tennessee Williams, William Inge and Edward Albee.) More recently, gay critics like Nicholas de Jongh have criticised Rattigan for the same thing, but now accusing him of a kind of closeted cowardice for failing to write the plays as he ‘really’ meant.

The myth has arisen that The Deep Blue Sea was originally written with an all-male

cast about gay relationships. It is true that the original inspiration for the play was the death by suicide of one of Rattigan’s former lovers but no ‘gay’ draft of the play exists in the Rattigan archive and, in any case, it is impossible to imagine Terence Rattigan, at the height of his success, writing an entire play that could not be put on in a commercial theatre; the Lord Chamberlain would simply not have allowed it. More importantly, as we now surely realise, Rattigan is peerless among 20th-century male playwrights in his empathetic observation of men and women in and out of love.

Harold Pinter was once asked how he wrote his early plays and he replied: ‘I went into a room and saw one person standing up and one person sitting down, and a few weeks later I wrote The Room. I went into another room and saw two people sitting down, and a few years later I wrote The Birthday Party.

I looked through a door into a third room and saw two people standing up and I wrote The Caretaker’. Pinter was notoriously impatient with people asking him to explain his plays, so it is quite possible that his answer was deliberately facetious, but it also seems to me that his plays are intensely alert to the brutal complexities of these minute domestic arrangements. Rattigan was a great admirer of Pinter and his work shows a complementary attention to the numerous zones of intensity and risk in the interfaces between the public and the private.

By setting his plays so often on the borders of the private and public, Rattigan explores the intertwining of the individual and society, the way that the pressures of social conformity and intrusive moral scrutiny bear down on and shape ordinary lives. These apparently private, domestic plays in fact open up, reaching out to offer a vision of society, from the perspective of lives lived at the boundaries between love and judgment.

DAN REBELLATO

Dan Rebellato is a playwright and Professor of Contemporary Theatre at Royal Holloway, University of London. He is also the editor of Terence Rattigan’s plays for Nick Hern Books.

Alongside Alan Brodie, Dan explores the early inspiration and reception of The Deep Blue Sea at a special event, A Slow Evolution, on Saturday 27 July at 10.30am in the Minerva Theatre.

LOVE IN A COLD CLIMATE Terence Rattigan’s play The Deep Blue Sea is a work of extraordinary emotional intensity.

When it opened in the West End in March 1952, many critics were transfixed by its portrayal of an unhappy, conflicted but sexually passionate woman. What few realised at the time, of course, was that its claustrophobic atmosphere also reflected Rattigan’s own experiences as a gay writer in a society where homosexuality was still a criminal offence. In this, as in so much else, The Deep Blue Sea is a kind of time capsule, preserving in miniature the political, cultural and moral universe of the late 1940s and early 50s.

Rattigan had the idea for The Deep Blue Sea when he heard the terrible news that his ex-boyfriend, Kenneth Morgan, had committed suicide in the spring of 1949. Culturally this now seems a remarkably rich period: only a few months later readers were treated to Nancy Mitford’s Love in a Cold Climate and George Orwell’s Nineteen Eighty Four, while cinema audiences enjoyed their first glimpses of The Third Man, Kind Hearts and Coronets and Passport to Pimlico. Yet for all the pleasures of the Ealing comedies, this was not a happy point in Britain’s modern history.

The Second World War was over. Yet four years after the end of the struggle against Nazi Germany and imperial Japan, there remained a palpable sense of weariness and disillusionment. Hundreds of thousands of families still mourned their dead, most of Britain’s great cities were still scarred by bomb damage and everyday life was still hidebound by rationing and regulations. Crippled by colossal wartime debts, Clement Attlee’s Labour government seemed to be staggering from crisis to crisis, while everywhere there seemed a pervasive sense of drizzle, dreariness and damp. With their ‘drab clothes... ration books

and murder stories’, wrote the critic Cyril Connolly, the British had become a ‘care-worn people’, weighed down by their ‘envious, strict, old-world apathies’.

Nowhere captured that mood better than London. For one young visitor, it was ‘scarred and dingy’, a vision of ‘rubble, greyness, smog, poverty, garish whores on the streets in Soho, trams still running along Kingsway, tramps sleeping on the Embankment and under the Arches’. This was not the swinging city of the 1960s. It was the foggy, smoke-wreathed London of books like Graham Greene’s The End of the Affair (1951), with its dilapidated pubs and tired teashops. For Greene’s old friend Connolly, London was ‘now the largest, saddest and dirtiest of great cities, with its miles of unpainted, half-inhabited houses, its chopless chop-houses, its beerless pubs, its once vivid quarters losing all personality, its squares bereft of elegance... its crowds mooning around the stained green wicker of the cafeterias in their shabby raincoats, under a sky permanently dull and lowering like a metal dish-cover.’

There was sometimes a darkly sinister side to the heroes’ homecoming.

Meanwhile, through almost every edition of every newspaper there ran a thick vein of unease about the exhausted state of the nation’s finances, the embattled future of the nuclear family and the moral condition of the nation’s fighting men, supposedly brutalised by years of slaughter. For the men who had worn their nation’s uniform, such as

GERMAN RAIDERS LEFT THEIR MARK ON THE WEST END OF LONDON CAUSING EXTENSIVE DAMAGE, 1940 IMAGE COURTESY OF AP IMAGES

The Deep Blue Sea’s Freddie Page, the transition to peace was fraught with difficulty.

As late as January 1946, four out of five British servicemen were still waiting to come home to parents, wives and children they hadn’t seen for years. Even before Germany’s surrender, the writer J. L. Hodson had predicted that ‘many a homecoming will be unhappy and ugly and fearful,’ and thought that ‘many folk must dread the end of the war and the trials it will bring’.

He was right. The Daily Mirror had so many letters from worried servicemen that it even ran a special feature assuaging their fears.

Memorably, the headline read: ‘Scared of your wife, soldier?’.

For many couples, peace did indeed bring insuperable trials. After the high drama of wartime, many women chafed at the pressure to return to their daily existence as idealised wives and mothers. ‘Be childlike and feminine at all times,’ ran the advice in a housewife’s manual of the day. ‘Don’t talk “cleverly” to him... Men are terrified of brainy women.’

Having married in a hurry under the pressure of the war, many couples buckled under the unanticipated new anxieties of peacetime.

The divorce rate went through the roof, rising fourfold in just two years. And there was sometimes a darkly sinister side to the heroes’ homecoming. Almost every Sunday in the SHOPPERS WITH GOVERNMENT FOOD RATION BOOKS, 1946 IMAGE COURTESY OF ALAMY

late 1940s the News of the World carried lurid stories of former servicemen murdering their wives. In the most notorious case, Private Cyril Patmore stabbed and killed his heavily pregnant wife, who had had an affair with an Italian POW, in their home in Harlesden. Yet when the case came to court in September 1945 the jury acquitted him of murder. In the end he served just five years for manslaughter.

Thanks to the grim financial situation, rationing actually became stricter after the war ended.

Even for couples who managed to rebuild their lives, these were often drab and difficult years. Indeed, for many people the deprivation and austerity of the late 1940s and early 50s were even worse than they had been during the war itself. ‘The mood of the British,’ wrote the novelist Susan Cooper, recalling the atmosphere on the first anniversary of VE Day, ‘was one not

of festivity but of bleak resignation, with a faint rebelliousness at the restrictions and looming crises that hung over them like a fog’.

Thanks to the grim financial situation, rationing actually became stricter after the war ended. The average adult in 1948 was entitled to a weekly allowance of 13 ounces of meat, one and a half ounces of cheese, six ounces of butter, one ounce of cooking fat, eight ounces of sugar, two pints of milk and one egg. Many children had never tasted oranges or chocolate, bathed in a few inches of water and wore cheap, threadbare clothes with ‘Utility’ labels.

Even dried egg, a staple of meals in wartime, disappeared from the shops. Perhaps it was just as well that people prided themselves on their ability to form an orderly queue; they had plenty of opportunities to prove it. ‘We won the war’, one housewife remarked. ‘Why is it so much worse?’

Although little of this is explicit in The Deep Blue Sea, it is always there, hovering in the background: a pervasive sense of drizzle and disappointment, of smoggy mornings and

THE GREAT SMOG OF LONDON, 1952 IMAGE COURTESY OF ALAMY

shadowed horizons. The irony is that as one of the richest and most successful playwrights in the land, Rattigan was insulated from most of the everyday privations that affected millions of his fellow Britons. But when his new play opened on 6 March 1952, his audience recognised that he had produced a masterpiece.

From first to last, reported the Manchester Guardian, they listened with ‘that unmistakeable hush with which a first night audience, though calloused by current trash, still knows how to honour a finely written and superbly acted piece of emotional drama’. Only when the curtain fell was the silence broken, as the applause rolled up from the stalls. At the time, the play seemed thrillingly contemporary; today, it feels like a slice of history. Yet there is no greater testament to the power of Rattigan’s pen that audiences are still watching in rapt silence today. And when the end comes, the applause still rolls up from the stalls.

DOMINIC SANDBROOK

Dominic Sandbrook is a historian, author, columnist and TV presenter.

THE DEEP BLUE SEA

By Terence Rattigan CAST (in order of speaking) Philip Welch Mrs Elton Ann Welch Hester Collyer Mr Miller Sir William Collyer Freddie Page Jackie Jackson

Ralph Davis Denise Black Helena Wilson Nancy Carroll Matthew Cottle Gerald Kyd Hadley Fraser Laurence Ubong Williams

The action takes place over one day in September in the sitting-room of a NW London flat.

There will be one interval of 20 minutes.

The Deep Blue Sea Š The Sir Terence Rattigan Charitable Trust, 1952, was first produced at the Duchess Theatre, London, on 6 March 1952. First performance of this new production at the Minerva Theatre, Chichester, 21 June 2019.

Paul Foster Peter McKintosh Natasha Chivers Debbie Wiseman George Dennis Charlotte Sutton CDG

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

Majella Hurley Kate Waters Angie Burns Robin Morgan Carole Hancock Nyasha Gudo

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Ben Arkell Janet Gautrey Rebecca Maltby Amber Chapell

Production credits: Set and Scenery constructed by Bower Woods Production Services; Set painted by Richard Nutbourne; Production Carpenters Steve Bush and Tom Humphrey; Costumes by Cosprop; Hester's paintings by Sharn Whitehead; Transport by Paul Mathew Transport; Rehearsal room The American International Church.

Special thanks to Dr Joanna Frank and Dr Bevin McCartan.

Music played by Jack Liebeck (Violin), Philip Dukes (Viola), Justin Pearson (Cello), Chris Laurence (Double Bass), Skaila Kanga (Harp) and Debbie Wiseman (Piano).

Rehearsal and production photographs Manuel Harlan Programme design by Davina Chung Programme Associate Fiona Richards

Supported by The Deep Blue Sea Commissioning Circle: Sheila Evans, Roger and Maggi Marshall, David and Sophie Shalit, Howard M Thompson, Ian Warren and all those who wish to remain anonymous Sponsored by

#TheDeepBlueSea

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B I O G R A P H I EBSI O G R A P H I E S

DENISE BLACK Mrs Elton Previously at Chichester Dimitra in Aristo (Minerva Theatre).

Theatre includes Ma Dimmock/Lady Cooper in The Shadow Factory (Nuffield Southampton); Lil in Kindertransport (Nottingham Playhouse); Mother in Machinal (Almeida); Rainey in The Cherry Orchard (UK Theatre Awards 2018 Best Performance in a Play) and title role in The Mistress (Sherman Theatre Cardiff); Dolly in Winter Hill (Octagon Theatre Bolton); Pack (Finborough Theatre); Mother Superior in Sister Act (UK tour); Linda in Calendar Girls (David Pugh); Sisters (Sheffield Crucible); Delia in Bedroom Farce (West Yorkshire Playhouse); Mary in The Long Road (Soho Theatre); Mrs Bryant in Roots (MEN Awards 2008 NANCY CARROLL

HADLEY FRASER

GERALD KYD

Best Supporting Actress), title roles in Yerma and Mrs Warren’s Profession (Manchester Royal Exchange); Polina in The Seagull (Royal Court); Grumpy Old Women Live (Avalon); Martha in Who’s Afraid of Virginia Woolf?

(Liverpool Playhouse).

Television includes Informer, Coronation Street, Emmerdale, Benidorm, Cucumber, Queer as Folk, Midsomer Murders, Exile, Small Island, Robin Hood, Dalziel & Pascoe, Sensitive Skin, Doc Martin, Casualty, New Tricks, The Bill, No Angels, Born and Bred, To the Ends of the Earth, Hear the Silence, Serious and Organised, The Brief, Viva Las Blackpool, Waking the Dead, Daddy’s Girl, Second Coming, Where the Heart Is, A Good Thief, Clocking Off, Inspector Lynley, Mersey Beat, How to Love in the 21st Century, Peak Practice, Sins, The Vice, Bad Girls,

The Scarlet Pimpernel, Things You Do for Love, Dangerfield, Macbeth.

Radio includes Counter-Measures: Rise and Shine, Damaged Goods, Doctor Who. Films include The Last Tree (to be released later this year), Joy Rider, Last Orders.

NANCY CARROLL Hester Collyer Previously at Chichester Jennet Jourdemayne in The Lady’s Not for Burning and Coward Cocktails & Cabaret (Minerva Theatre).

Theatre includes The Moderate Soprano (Duke of York’s and Hampstead Theatre); Young Marx (Bridge Theatre); Woyzeck (Old Vic); Closer and The Recruiting Officer (Donmar Warehouse); The Magistrate, After the Dance (Olivier and Evening Standard Awards for Best Actress),

The Man of Mode, The Enchantment, The False Servant, The Talking Cure and The Voysey Inheritance (National Theatre); King Lear (Ian Charleson Award commendation), House of Games and Waste (Almeida Theatre); A Midsummer Night’s Dream (Sheffield Crucible, Ian Charleson Award commendation); Arcadia (Duke of York’s); As You Like It, Henry IV Parts I&2 (Ian Charleson Award commendation), The Lion, the Witch and the Wardrobe, The Winter’s Tale and Twelfth Night (RSC); Hamlet (Bristol Old Vic); Mammals (Bush Theatre); See How They Run (Duchess Theatre); Still Life/The Astonished Heart (Liverpool Playhouse); You Never Can Tell (Garrick Theatre).

Television includes The Crown, Queens of Mystery, Agatha Raisin, Father Brown series 1-8, Prime Suspect 1973, Will, The Suspicions

DENISE BLACK MATTHEW COTTLE RALPH DAVIS LAURENCE UBONG WILLIAMS

of Mr Whicher 3 & 4, Call the Midwife, Holby City, Words of the Titanic, Silent Witness, Lewis, Midsomer Murders, Doctors, Dalziel & Pascoe, Cambridge Spies, Doctors, The Bill.

Radio includes On Grand Central Station I Sat Down and Wept, Look Back in Anger, Publish and Be Damned, Fatal Loins, Five Days in May, Curtain Call, The Plantagenets, The Family Project, The Christchurch Murder.

Films include The Gathering Storm, Iris, An Ideal Husband.

Trained at LAMDA. MATTHEW COTTLE Mr Miller Previously at Chichester The Chalk Garden and The Schoolmistress (Festival Theatre).

Theatre includes Wonderland (Nottingham Playhouse); How the Other Half Loves (Theatre Royal Haymarket and Duke of York’s); Communicating Doors (Menier Chocolate Factory); Our Country’s Good, A Small Family Business and The Habit of Art (National Theatre); Quartermaine’s Terms (Wyndham’s Theatre); A Chorus of Disapproval (Harold Pinter Theatre); Neighbourhood Watch (Stephen Joseph Theatre, New York, tour, Tricycle); Dear Uncle and Way Upstream (Stephen Joseph Theatre); Racing Demon (Sheffield Crucible); Taking Steps (Orange Tree); Absurd Person Singular and Season’s Greetings (Theatre Royal Windsor and tours); Man of the Moment, Private Fears in Public Places and Just Between Ourselves (Northampton Theatres); Round and Round the Garden (Theatre Royal Windsor); Noises Off (Liverpool Playhouse); Rough Crossing, The Ghost Train, An Evening with Gary Lineker, Party Piece, The Sunshine Boys and Rattle of a Simple Man (UK tours); The Dice House and Relatively Speaking (Belgrade Theatre Coventry); Comic Potential (Lyric Theatre); Peter Pan (West Yorkshire Playhouse); Macbeth (Liverpool Everyman); A Christmas Carol and Billy Liar (Octagon Theatre Bolton); Turkey Time and The Comedy of Errors (New Vic Stoke).

Television includes Defending the Guilty, Endeavour, Pure, Jerusalem, The Windsors, Murder on the Blackpool Express, Citizen Khan, Plebs, Unforgotten, The Dresser, Man Down, Hoff the Record, Fried, Doctors, The Job Lot,

Pramface, Holby City, Sex, the City and Me, Spooks, EastEnders, Life Begins, The Commander, Down to Earth, The Infinite World of HG Wells, Comin’ Atcha, Get Well Soon, A Perfect State, Karaoke, An Independent Man, Game On, Drop the Dead Donkey, Men of the World, Harry Enfield & Chums, Miss Marple: They Do It With Mirrors, Taking the Floor.

Films include A Personal History of David Copperfield, Blessed, Chaplin, A Christmas Carol.

RALPH DAVIS Philip Welch Theatre includes Tamburlaine and Timon of Athens (RSC); The Open House (Ustinov Theatre Bath/The Print Room); King Lear (Shakespeare’s Globe); The Winter’s Tale, A Little Night Music, Macbeth (RADA).

Radio includes For the Temple, The Good Terrorist, Ambridge Extra.

Trained at RADA. HADLEY FRASER Freddie Page Previously at Chichester The Pajama Game (Minerva Theatre).

Theatre includes Young Frankenstein (Garrick Theatre); Saint Joan, City of Angels, Coriolanus, The Vote (Donmar Warehouse); Long Day‘s Journey Into Night (Bristol Old Vic); The Winter’s Tale, Harlequinade (Kenneth Branagh Theatre Company/Garrick Theatre); The Machine (Manchester International Festival and Park Avenue Armoury NYC); Les Misérables (Queens and Palace Theatres); The Pirate Queen (Broadway); The Fantasticks (Duchess Theatre); A Christmas Carol (Birmingham Rep); The Shaughraun (Abbey Theatre Dublin); Assassins (Sheffield Crucible); Pacific Overtures (Leicester Haymarket); Longitude (Greenwich); The Pirates of Penzance, Peter Pan (Savoy Theatre); The Far Pavilions (Shaftesbury Theatre); The Last 5 Years (Theater Aspen Colorado); The Phantom of the Opera 25th Anniversary (Royal Albert Hall); Les Misérables 25th Anniversary (O2 Arena).

Television and film includes All Is True, Murder On the Orient Express, The Legend of Tarzan, Les Misérables, Decline and Fall, The Wrong Mans, Endeavour, Holby City,

in Havana (Òran Mór); Edward II and Richard II (Shakespeare’s Globe); Love’s Labour’s Lost (English Touring Theatre); Prophet in Exile (Chelsea Centre); The Local Stigmatic (Lyric Studio).

Television includes Harlots, Jesus: His Life, Deep Water, Cuckoo, Unforgotten, Cold Feet, Humans, Silent Witness, Benidorm, Doctors, Sherlock, The Coroner, The Bible, The Midnight Beast, Persons Unknown, Casualty, All in the Game, Brief Encounters, The New Professional, Underworld.

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

Doctor Who, Pompidou, Him, Sons of Liberty.

Hadley wrote the book and lyrics for the musical Committee... for the Donmar Warehouse, and is a Fellow of the Royal Academy of Music.

GERALD KYD Sir William Collyer Previously at Chichester Adam in The Meeting (Minerva Theatre).

Theatre includes Winter Solstice (UK tour); North by Northwest (Theatre Royal Bath and Toronto); Breaking the Rules (one man show, UK tour); Feed the Beast (Birmingham Rep); Hapgood, 55 Days and Revelation (Hampstead Theatre); Three Winters, Children of the Sun, The Cherry Orchard and Blood and Gifts (National Theatre); Richard III (Trafalgar Studios); Little Black Book (Park Theatre); The Real Thing (West Yorkshire Playhouse); The Years Between (Royal Theatre Northampton); This Much is True (Theatre503); The Seagull and Cyrano de Bergerac (RSC); The Three Musketeers (Bristol Old Vic); Conversations HELENA WILSON

LAURENCE UBONG WILLIAMS Jackie Jackson Previously at Chichester Tom Musgrave in The Watsons (Minerva Theatre).

Theatre includes Lucien in The Glass Piano (Coronet Print Room); The Vlogger in Stop and Search, Top Trumps (Theatre503); Cam in Jumpy (Theatr Clwyd); Leontes in The Winter’s Tale (Orange Tree Theatre); title role in Othello (The North Wall); Williams in After the Dance, Leonardo in Blood Wedding, Bottom in A Midsummer Night’s Dream and Vershinin in Three Sisters (The Studios); Giles Burton in Swordy Well (Soho Theatre); Man in Monologue (King’s Theatre Manchester).

Television includes The Capture, Humans, Doctors, Back.

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

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

Trained at Oxford School of Drama.

HELENA WILSON Ann Welch Theatre includes Mariana in Measure for Measure (Ian Charleson Award Commendation), Jenny in The Prime of Miss Jean Brodie and Bolette in The Lady from the Sea (Donmar Warehouse); Love Me Now (Tristan Bates Theatre); Ophelia in Rosencrantz and Guildenstern Are Dead (Old Vic).

Helena read English at Oxford University.

NANCY CARROLL

C R E AT I V E T E A M

NATASHA CHIVERS Lighting Designer Previously at Chichester The Chalk Garden (Festival Theatre) and The House They Grew Up In (Minerva Theatre).

Theatre includes We Are Here (La Mama New York); Allelujah! (Bridge Theatre); Sylvia (Old Vic); Oedipus (Toneelgroep Amsterdam); The Duchess of Malfi (RSC); Hamlet and Oresteia (Almeida/West End); Belleville (Donmar Warehouse); Bad Roads (Royal Court); 1984 (West End and Broadway); Strapless (Royal Ballet); Sunset at the Villa Thalia and Statement HADLEY FRASER

NANCY CARROLL

GERALD KYD

of Regret (National Theatre); Happy Days (Sheffield Crucible); Green Snake (National Theatre of China);Â The Radicalisation of Bradley Manning (National Theatre of Wales); Macbeth (and Broadway), 27, The Wolves in the Walls and Home (National Theatre of Scotland); Sunday in the Park with George (West End).

Awards include Olivier Award nomination 2016 for Oresteia (White Light Award for Best Lighting Design); UK Theatre Award 2011 for Happy Days (Best Design); Olivier Award 2007 for Sunday in the Park with George (Best Lighting Design).

GEORGE DENNIS Sound Designer Previously at Chichester 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).

PAUL FOSTER Director Previously at Chichester (as an actor) The Last Confession (Festival Theatre).

Theatre includes Curtains (UK tour); Kiss Me, Kate and Annie Get Your Gun (Sheffield Crucible); The Light Princess and Sweet Charity (Cadogan Hall); A Little Night Music and Laurel and Hardy (Watermill Theatre); Tell Me On A Sunday (Watermill and UK tour); A State Affair (Musical Theatre Academy); Bette Midler and Me (Edinburgh Festival and national tour); Crazy For You (Mountview); Catch Me If You Can, The Music Man, Singin’ in the Rain and Grand Hotel PAUL FOSTER

(ArtsEd); The Confession Room (St James Theatre Studio); Darling of the Day, Bells Are Ringing (WhatsOnStage nominations for Best Musical Revival and Best Off West End production) and Crimes of the Heart (Union Theatre); Cowardy Custard (Yvonne Arnaud Theatre and national tour); Raw Bacon and Fists of Righteous Happiness (RADA); Little One (Royal Court Young Writers Festival); Katherine Jakeways (Soho Theatre); Love in a Wood, Funeral Games and Landscape (LAMDA); The Vagina Monologues (national tour); Flora the Red Menace (Edinburgh Festival).

Other work includes L’Amante Anglaise (NT Studio), Lorca the Playwright and Lorca the Poet (NT Platforms).

Trained at LAMDA and University of Leeds.

NYASHA GUDO Assistant Director Previously at Chichester Assistant Director on The Norman Conquests (Festival Theatre).

Theatre as Director includes Poetic Theatre

Makers (Birmingham Rep), 20B (MAC), Doris Day, A View from the Moon, A Winter Less Ordinary, The Impossible Beauty and Cucumber Writing Group (Birmingham Rep); as Assistant Director Love (National Theatre), Furnace and After The End (Birmingham Rep), Day Of The Living (Royal Shakespeare Company), The Mountaintop (Nuffield Theatre Southampton), Bounce (Women and Theatre), A Moment Of Madness (The Other Way Works/Birmingham Rep); as Actor The Meeting (Birmingham Rep), Shakespeare and His Black Mates (Nottingham Playhouse).

Training: Foundry Programme (Birmingham Rep), Process with Peter Brook (National Theatre Studio), Directing Shakespeare with Peter Brook (Birmingham Opera Company), Directing Opera Masterclasses with Graham Vick.

MAJELLA HURLEY Dialect Coach Theatre includes, for the National Top Girls, Saint George and the Dragon, Light Shining in Buckinghamshire, The Kitchen, Anything Goes, The Seafarer, Exiles, The Night Season, Pillars of the Community, Translations, Aristocrats, Scenes from the Big Picture; for the RSC Love’s Labour’s Lost, A Midsummer Night’s Dream. In the West End The Ferryman (also UK cast, New York), Handbagged, Jerusalem, Abigail’s Party, Our Boys, Journey’s End, Wicked, Chicago, Some Girls, The Ladykillers, Perfect Nonsense, Jeeves and Wooster. On Broadway Journey’s End, Pygmalion.

Other theatre includes The American Plan, Faith Healer, Les Liaisons Dangereuses, City of Angels, Fathers and Sons, Coriolanus, Days of Wine and Roses, On the Town, Running Wild, Ragtime, Hello Dolly, To Kill a Mockingbird, Speechless, War and Peace, A Passage to India, After Mrs Rochester, Brontë, The Force of Change, Disconnect, Loyal Women, The Weir, The Beauty Queen of Leenane, Bingo, Ruined, Before the Party, My City, The Great Game, The Bloody Sunday Inquiry, Guantanamo, Punk Rock, Twisted Tales, Sweeney Todd, Translations.

Television includes Ordeal by Innocence, Poldark, The Night Manager, And Then There Were None, Love Nina, White Girl, Cranford,

Little Dorrit, Wuthering Heights, Game of Thrones, Case Histories, Stella, Vera, State of Play, The ABC Murders, Restless.

Films include The Crooked House, The Limehouse Golem, A Monster Calls, Toast, Intermission, Endgame, Skydance, What We Did On Our Holiday, Effie, Suffragettes.

PETER McKINTOSH Designer Previously at Chichester Shadowlands, Guys and Dolls, Antony and Cleopatra, Just So (Festival Theatre); Another Country, Uncle Vanya, Love Story, The Scarlet Letter, Pal Joey (Minerva Theatre).

Theatre credits include King Hedley II (Theatre Royal Stratford East); Guys and Dolls (Théâtre Marigny); 42nd Street (Théâtre du Châtelet Paris); The Winslow Boy (Old Vic and New York); Kirikou et Karaba (Paris); Macbeth (Globe); The Wind in the Willows, The Importance of Being Earnest, Guys and Dolls, Dirty Rotten Scoundrels, My Night With Reg, Hay Fever, Fiddler on the Roof, Another Country, Prick Up Your Ears, Entertaining Mr Sloane, The Dumb Waiter, Viva Forever!, Noises Off, Love Story, Donkeys’ Years, Educating Rita/Shirley Valentine, The Birthday Party, Butley, Relatively Speaking (West End); The 39 Steps (London, New York and worldwide; Tony nominations for Best Scenic and Best Costume Design); Our Country’s Good, The Doctor’s Dilemma, Widowers’ Houses, Honk! (National Theatre); Alice in Wonderland, Pericles, King John, The Merry Wives of Windsor, Brand (RSC); Saint Nicholas, Measure for Measure, The York Realist, The Resistible Rise of Arturo Ui, Splendour, My Night With Reg, Luise Miller, Serenading Louie, Be Near Me, The Chalk Garden, John Gabriel Borkman, The Cryptogram, Boston Marriage (Donmar); Waste, Cloud Nine, Knot of the Heart, The Turn of the Screw, Romance, House of Games (Almeida); Crazy for You (Olivier Award for Best Costume Design), On the Town, Seven Brides for Seven Brothers, The Sound of Music, Hello, Dolly! (Regent’s Park Open Air Theatre).

Opera credits include The Handmaid’s Tale (Royal Danish Opera and Canadian Opera); The Marriage of Figaro (English National Opera); Love Counts, The Silent Twins (Almeida Theatre).

TERENCE RATTIGAN Writer Born in London on 10 June 1911, Terence Rattigan was educated at Harrow from 1925 to 1930 and Trinity College, Oxford, to 1933.

He served as a Flight Lieutenant in the Coastal Command, RAF from 1940 to 1945. In 1934 he had become a full-time playwright.

His many successful plays include French Without Tears, After the Dance, Flare Path, Love in Idleness, While the Sun Shines, The Winslow Boy, The Browning Version, Harlequinade, Adventure Story, Who is Sylvia?, The Deep Blue Sea, The Sleeping Prince, Separate Tables, Variation on a Theme, Ross, Man and Boy, A Bequest to the Nation, In Praise of Love, Cause Célèbre.

Terence Rattigan still holds the record of being the only playwright to have notched more than 1000 performances for two separate plays, namely, French Without Tears and While the THE COMPANY

Sun Shines. During the war years, he had three plays running on Shaftesbury Avenue: Flare Path at the Apollo, While the Sun Shines at the Globe and Love in Idleness at the Lyric.

He wrote screenplays of French Without Tears, The Way to the Stars, Journey Together, While the Sun Shines, The Winslow Boy, The Browning Version, The Prince and the Showgirl, Separate Tables, The Sound Barrier, The Man Who Loved Redheads, The Deep Blue Sea, The Final Test, The VIPs, The Yellow Rolls Royce, Goodbye Mr Chips, Conduct Unbecoming, A Bequest to the Nation - and collaborated on The Quiet Wedding, The Day Will Dawn, English Without Tears, Uncensored, Brighton Rock, Bond Street.

His television plays include Heart to Heart, Adventure Story, High Summer. After the Dance was shown in the performance series on BBC 2 in 1993 and The Deep Blue Sea was recorded for the same series.

In 1958 he was awarded a CBE, and in 1971 he became Knight Bachelor. Sir Terence Rattigan died in 1977. www.terencerattigan.com facebook terencerattigan twitter @terencerattigan The Terence Rattigan Society was founded in 2011. The Society exists to promote, study, explore, but above all, enjoy Rattigan’s work.

Membership offers a regular magazine with articles by leading playwrights, biographers and critics, theatre listings, news and views; theatre visits and trips to places associated with Rattigan; and a range of other events.

To join the Terence Rattigan Society, visit theterencerattigansociety.co.uk

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

KATE WATERS Fight Director Kate Waters is one of only two women on the Equity Register of Fight Directors.

Previously at Chichester Fight Director for The Norman Conquests (Festival Theatre) and King Lear (Minerva Theatre and Duke of York’s), Fight and Movement Director for Miss Julie/ Black Comedy (Minerva Theatre).

For the National Theatre Small Island, Othello, As You Like It, Our Country’s Good, Rules for Living, Hotel, The Curious Incident of the Dog in the Night-Time (also West End), The Comedy of Errors, One Man Two Guvnors (also West End, Broadway, world tour), Frankenstein, Season’s Greetings, Hamlet, Women Beware Women, War Horse (and West End).

Recent work includes Young Marx, Julius Caesar (The Bridge Theatre); Tina – The Tina Turner Musical (West End/Germany); The Lieutenant of Inishmore, Hand to God, From Here to Eternity (West End); Kiss Me, Kate (Sheffield Crucible); The Convert (Young Vic); The Last Goodbye (The Old Globe San Diego California); The Maids, Macbeth, Richard III, East is East, The Ruling Class, The Hothouse, The Pride (Jamie Lloyd Company); Liberian Girl (Royal Court); Urinetown The Musical (St James Theatre and West End); Don

Giovanni (ROH); Sweat, Julius Caesar, Henry IV (Donmar Warehouse and St Ann’s Warehouse NYC); Romeo and Juliet, Macbeth, Two Noble Kinsmen, Hamlet, Titus Andronicus, King Lear, Love’s Sacrifice, Doctor Faustus (RSC); Noises Off (Old Vic and West End); The Duchess of Malfi, Sweet Bird of Youth (Old Vic); Jesus Christ Superstar, Peter Pan, Seven Brides for Seven Brothers, A Midsummer Night’s Dream, Porgy and Bess, Lord of the Flies (Regent’s Park); Disgraced (Bush); Bugsy Malone, Saved, Blasted, Herons (Lyric Hammersmith), and numerous productions for major regional theatres.

Kate is a regular Fight Director for Coronation Street, Emmerdale, Hollyoaks, and choreographed the fights for Coronation Street Live 2015.

Film includes Making Noise Quietly, Pond Life.

DEBBIE WISEMAN Music Previously at Chichester composer for Sweet Bird of Youth (Festival Theatre).

Theatre includes Feather Boy The Musical (NT Connections).

Television includes Judge John Deed, Othello, Warriors, Land Girls, The Inspector Lynley Mysteries, My Uncle Silas, Stephen Fry in America, Joanna Lumley’s Nile, The Whale, WPC 56, The Promise, A Poet in New York, The Andrew Marr Show, Father Brown, The Coroner, Shakespeare & Hathaway, Dickensian, Wolf Hall.

Radio includes as presenter No Ordinary Joe, Scoring Father Brown, Same Tune, Different Song, Saturday Classics, Sounds and Sweet Airs; as a guest Desert Island Discs.

Films include Tom & Viv, Wilde, Haunted, Tom’s Midnight Garden, The Guilty, Before You Go, Arsène Lupin, Middletown, Flood, Lost Christmas, Edie.

Debbie was awarded the OBE for Services to Music in the 2018 Queen’s Birthday Honours List. She is a Fellow of the Guildhall School of Music and Drama, Fellow of Trinity College of Music London, Honorary Doctor of Music University of Sussex, Visiting Professor Royal College of Music, Composer in Residence Classic FM and President of Making Music. debbiewiseman.co.uk

EVENTS

THE DEEP BLUE SEA PRE-SHOW TALK

Tuesday 25 June, 6pm Director Paul Foster in conversation with Kate Mosse.

FREE but booking is essential.

TOUCH TOUR

Friday 19 & Saturday 20 July Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in The Deep Blue Sea. The tour takes place 90 minutes before the audio-described performances.

FREE but booking is essential.

POST-SHOW TALK

Tuesday 23 July Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

A SLOW EVOLUTION

Saturday 27 July, 10.30am Minerva Theatre Dan Rebellato explores the early inspiration and reception of Rattigan’s The Deep Blue Sea, discussing its subsequent developments in conversation with Alan Brodie.

Tickets £5

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 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 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 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

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.

AGELESS THEATRE FOR LIFE

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

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

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

Supported by Irwin Mitchell