This Is My Family digital programme | Chichester Festival Theatre | Festival 2019

THIS IS MY FAMILY A musical by Tim Firth

DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON

WELCOME

A very warm welcome to the opening production of Festival 2019.

We are delighted to start the season with Tim Firth’s This Is My Family. Tim has been associated with Chichester for over 30 years: from the very start of his career as a playwright with Heartlands in 1988 to a revival of his hugely successful play Neville’s Island in 2014.

We couldn’t be happier to be working with him again on this piece which was first staged in Sheffield Theatres’ Studio in 2013. We hope you agree that nurturing award-winning new British musicals and bringing them to a wider audience is thoroughly worthwhile.

Especially, perhaps, when the book, music and lyrics have all been written by the same person – a rarity in musical theatre.

The cast of six includes James Nesbitt, Clare Burt, Sheila Hancock and Rachel Lumberg. James has won millions of fans and admirers for screen work ranging

from Cold Feet to The Missing, and we’re thrilled that he is making his return to the stage at the Minerva. Clare Burt won Chichester audiences’ hearts last year as the unforgettable Ada Harris in Flowers for Mrs Harris, while Sheila Hancock also makes a hugely welcome return; her remarkable career includes, most recently, the film Edie and TV series Delicious. Rachel Lumberg recently led the UK tour of The Band, also penned

by Tim Firth. The outstanding sextet is completed by relative newcomers Kirsty MacLaren and Scott Folan.

Festival 2019 encompasses a huge breadth of work. Our summer musical in the Festival Theatre will be the exuberant classic, Oklahoma!; it will be preceded

by William Nicholson’s award-winning play Shadowlands, with Hugh Bonneville and Liz White, and David Hare’s explosive drama Plenty, with Rachael Stirling and Rory Keenan. Also, don’t miss Tim Firth in conversation with Kate Mosse on 23 May. Enjoy this performance, and we hope to see you again soon.

Executive Director Kathy Bourne

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Artistic Director Daniel Evans

COMING SOON

Hugh Bonneville Liz White

SHADOWLANDS

By William Nicholson Hugh Bonneville plays writer C.S. Lewis in this multi award-winning play about his life-changing relationship with Joy Gresham, played by Liz White, and directed by Rachel Kavanaugh.

26 April – 25 May #Shadowlands

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S U M M E R 2 019

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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LEAP

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

COMMUNITY

CHILDREN & YOUNG PEOPLE

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

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EDUCATION

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

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

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

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

FAMILIES

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

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

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THIS IS MY FAMILY A musical by Tim Firth

HAPPINESS AND HOPE Tim Firth has come full circle. As an undergraduate, he wrote his first play for a theatre company he’d formed with a fellow student, one Sam Mendes. A year or so later, Mendes found himself in charge of a temporary theatre in Chichester, The Tent, and commissioned Tim to write another play, Heartlands.

That 1988 Tent season was the blueprint for the Minerva Theatre which opened the following year. Thirty years on, with This Is My Family, Tim Firth has finally arrived back where he started.

Not that this is his first work at Chichester, of course: Calendar Girls, which he adapted from his hit film, premiered in the Festival Theatre in 2008, and Neville’s Island was staged (again under canvas in the ‘Theatre in the Park’, while the Festival Theatre was undergoing renovation) in 2014.

If all that indicates that the theatrical process can be a long and winding road, the same is true of This Is My Family, Tim’s first solo musical.

‘The mundane can actually be extraordinarily beautiful’ ‘I was trying to write a musical which had a very complicated plot,’ Tim recalls wryly.

‘I sat down with my agent Alan Brodie and some potential producers and told them the story. Sometimes as you talk, you feel it slightly dying in your mouth. Afterwards, I was sitting in the coffee shop with Alan and said, “You know what? If I write this show, I’m going to spend my life telling people why they shouldn’t not come to see it: it’s so complicated and about such a weird thing. What I should do instead is write LEFT: TIM FIRTH RIGHT: THE TENT THEATRE IN THE PARK

something really simple about a family going on holiday.”

It was a fortunate choice, since on its debut at Sheffield in 2013, This Is My Family – the touching story of a 13-year-old girl called Nicky who wins a competition to take her fractious family on a dream holiday and chooses a camping trip to try to reunite them again – won the UK Theatre Award for Best Musical. What had appealed to Tim about this apparently simple subject?

‘It’s such an unexpected thing to glorify with a musical – an ordinary family going on holiday’, he acknowledges. ‘The reasons why it worked for me, potentially, was that on the one hand you’ve got this simple, funny idea of a family going on a disastrous holiday, but you’ve also got the idea of there being no such thing as an ordinary family. The mundane can

actually be extraordinarily beautiful, and tiny acts of kindness or generosity can be fabulous things.

‘So I just started to work and that simple sentence, a family going on holiday, became a gateway; it was like walking into a tent with no idea where it would lead me. And where it led me was to a story that I’d never have reached if I’d approached it from another angle, because it was a story about this young girl who felt her family was falling apart.’

The play opens with Nicky herself writing a story for a competition to describe her family, with the implicit temptation to paint a far rosier picture than the messy reality.

‘It takes your kids to remind you that you were once like us; and the person you once were could still be there’ ‘There’s a sense out there, as the competition Nicky enters suggests, that there’s the perfect family; and that’s very dangerous CALENDAR GIRLS, FESTIVAL 2008 PHOTO BY JOHN SWANNELL

because it stops us thinking that maybe we’re better than we think we are,’ Tim says.

‘We’re living in a YouTube age of sound bites and a desire to be more aspirational; if things aren’t working, you get out of your job and you move on and do something else. All of which is beneficial and good on one level, but the danger, in terms of family or relationships, is that if things aren’t working, you might jump ship that one mile before you actually reach port.

‘And I think that’s what Nicky feels; that her parents aren’t the kind of parents who are in such a combative situation that they should part company, but she can see that it might happen because everybody’s dreams are going off in different directions and could pull them apart.

And she decides to do something about it.’

The musical is unusually honest about the way that the daily grind of everyday life, dealing with bills and household repairs, can come to dominate family relationships. It’s similarly perspicacious about the jolt to many marriages caused by empty nest syndrome.

In a scenario where parents realise that their children are growing up and away, Tim observes, ‘You’re not sure what world you’re coming out into because you can’t really remember the person you were when you went into that tunnel. You feel that person

has changed and usually not for the better; and it takes your kids to remind you that you were once like us; and the person you once were, that spirit that brought you together, could still be there. It’s changed, silted over slightly in the intervening years, in becoming a parent – which, by the way, is also wonderful.

‘The thing that I could never have written, had I sat down to think about it, was about the need to dig down and unearth within a family, what made you fall in love, what made you you when you were your kids’ age and realise how wonderful that was, and not misinterpret routine for the death of affection.’

Solo written musicals are still quite rare entities. Tim has collaborated with many composers, most notably Gary Barlow, so why did he choose to write This Is My Family on his own?

‘The singing is how the speaking feels in their hearts’

NEVILLE’S ISLAND, FESTIVAL 2014 PHOTO BY JOHAN PERSSON

‘That’s a very good question! In a way, I started writing the opening few lines and thought right, I’m just going to write what’s under my fingers. I know roughly where my Oz is, I’m just going to follow my yellow brick road, and I’ll stop and call for help when I get stuck. Because I didn’t ever think I was writing a big scale musical, it sort of took the pressure off.

‘Every time I tried to make all the characters that I was envisioning on stage sing things that they should just have said, it was as though they would stop dead and look at me as if to say, “What the hell are you doing? Why on earth would I sing that? I wouldn’t sing this, I would say this”. They only sing things they cannot speak. There are then times when they sing dialogue but the joy or pain of the moment lifts them to song, naturally invites in music.

The singing is how the speaking feels in their hearts.

‘I hoped, as then proved to be the case, when they reached those points, there was a tune in the air. Sometimes it was a tune I’d already written, sometimes I’d sit down at the piano and think what are these lyrics suggesting? And just went with that.

‘So I hope the movement in and out of what is sung and what is spoken feels natural. The music is like a magic carpet that undetectably picks you up and puts you down. You should only realise you’re airborne on music if you look down at any point, but actually you should never feel the jolt of getting on it.’

The piece has, says Tim, changed somewhat since its first outing at Sheffield.

‘There’s been detail and gardening work and we’ve changed the shape of the band and orchestration, but it’s unusual because there is no choral singing at all. Often there is what might feel like a musical snowstorm of different lines but it’s all personal lines, not harmonies.

The story absolutely didn’t want that to happen.

It’s a musical play and choral singing took it into the realms of being something else. Again, I just trusted that. The piece is deciding what KIRSTY MacLAREN JAMES NESBITT

it wants, and every time I tried to force something I thought should be done because it’s a musical, it shook it off very vigorously.’

Alongside Neville’s Island, this is the second of Tim’s works to be set in the great outdoors, so is he also a camping devotee?

‘To be honest, one gave birth to the other in a strange sort of way’, he chuckles. ‘When I was a kid, my parents had a tent and then a ramshackle caravan. When I had kids of my own, we thought right, we’re not just going to Yorkshire every year like my mum and dad, we’re going to see a bit more of the world. So we took our kids to Disneyland when they were little and they can’t remember much about it.

But when – under petition because they wanted to go in the tent – we took them to the Lake District, they were two of the worst days I’ve ever had in my life – absolutely horrendous,

bitten, soaked, sleeping with my head on packets of cold sausages because the pillows were soggy – but the kids remember every beat of that holiday. So who was right?

‘Actually I look back at the holidays in Yorkshire with my parents and I remember everything about them; and they were far more rudimentary and windblown and uncomfortable than sleeping in a hotel in Disneyland or Japan or the Algarve or wherever. They prosper in the memory so profoundly and the memories are in for the long term. So that one disastrous holiday taking my kids back to the banks of Derwentwater where I set Neville’s Island, in this pestilential storm – it must have been very high in my mind when I was writing the storm scenes in This Is My Family.’

Writing about family life also came easily since ‘the year that I wrote it, my daughter was

13 and my sons were the same age as Matt, so I was right in the middle of it!’, Tim grins, admitting that his children gave him notes when they came to see it in Sheffield, where he fondly remembers the reaction from audiences of all ages.

‘Everybody from 13 to their 70s and 80s has a tour guide, a representative in this show,’ he explains. ‘For me, happiness and hope are more moving than tragedy and despair in any drama. Giving a family the dignity and scale of a musical, just that small event, is the most important thing, because I firmly believe that family and the cohesion of family is a miraculous thing.’

LUCINDA MORRISON

IN EVERY CONCEIVABLE MANNER, THE FAMILY IS LEO TOLSTOY, ANNA KARENINA

All happy families resemble one another; each unhappy family is unhappy in its own way

ALEX HALEY

Few of us get the chance to learn about the different ways we might parent. As soon as your first baby arrives, you’re simply expected to know what to do. The only experience most of us have to draw on is the way we ourselves were parented and what we learned from the other people in our family when we were growing up.

LINDA BLAIR, PSYCHOLOGIST, SIBLINGS

A PERFEC

THESE DAYS IS

S AHuman LINK TO OUR PAST, BRIDGE TO OUR FUTURE. psychology, as we know it, begins in that primary family relationship between Human psychology, as we know it, begins in that primary family relationship between parent and child… The concept of self (who we are and what we feel), living in the world with other people who also have a thinking, feeling self, begins here. DR TERRI APTER, PSYCHOLOGIST, THE GUARDIAN

HAPPINESS IS HAVING A LARGE, LOVING, CARING, CLOSE-KNIT FAMILY IN ANOTHER CITY. GEORGE BURNS

I can’t help detesting my relations. I suppose it comes from the fact that none of us can stand other people having the same faults as ourselves.

OSCAR WILDE, THE PICTURE OF DORIAN GRAY

Only when you are grown up, perhaps only when you have children yourself, do you fully understand that your own parents had a full and intricate existence before you were born.

IAN MCEWAN, THE CHILD IN TIME

CT FAMILY

S HARD TO FIND

People talk about the happy quiet that can exist between two loves, but this, too, was great; sitting between his sister and his brother, saying nothing, eating... He did not consider if or how or why he loved them. They were just love: they were the first evidence he ever had of love, and they would be the last confirmation of love when everything else fell away. ZADIE SMITH, ON BEAUTY

WHAT ENDS UP IN YOUR SCRAPBOOK? THE PICTU A GOOD FAMILY MAN, AND THE CHILDREN LOOK A NEXT MINUTE. I'VE NEVER SEEN A FAMILY ALBUM

OUR OWN FRONT DOOR CAN BE A WONDERFUL THING, OR A SIGHT WE DREAD; RARELY IS IT ONLY A DOOR. JEANETTE WINTERSON, WHY BE HAPPY WHEN YOU COULD BE NORMAL?

FAMILIES WILL NOT B AND EXPEL THEM, SE WANDERING, DROWN FIRES, AND OLD WOM OF ALL THESE SORRO PORCH AND SING TH

A PERFEC

THESE DAYS IS

URES WHERE YOU LOOK LIKE A GOOD GUY AND ADORABLE - AND THEY'RE SCREAMING THE M OF SCREAMING PEOPLE. RICHARD AVEDON, PHOTOGRAPHER

‘WE’LL BE ALL Parents: forgive yourself RIGHT’, SAID HIS immediately. We all make MOTHER. ‘WE’RE mistakes every day. If we NOT CHILDREN know, we can do something ANY MORE, about them. If we take a wrong turn in the car, we don’t WE’RE PARENTS.’ ‘WE’RE BOTH’, say, I’ve ruined this journey.

SAID HIS FATHER. We turn round. We try again.

‘THAT’S THE When we arrive late we have TROUBLE.’ still arrived. Never too late.

PHILIP LARKIN, THIS BE THE VERSE

BE BROKEN. CURSE END THEIR CHILDREN N THEM IN FLOODS AND MEN WILL MAKE SONGS OWS AND SIT ON THE HEM ON MILD EVENINGS.

They fuck you up, your mum and dad.

They may not mean to, but they do.

They fill you with the faults they had And add some extra, just for you.

EDWARD ST AUBYN, MOTHER’S MILK

MARILYNNE ROBINSON, HOUSEKEEPING

PHILIPPA PERRY, PSYCHOTHERAPIST

CT FAMILY

S HARD TO FIND

THIS IS MY FAMILY A musical by Tim Firth CAST (in order of appearance) Nicky Steve Yvonne Matt May Sian MUSICIANS Musical Director / Keyboard Violin and Viola Cello Double Bass Percussion Flute / Clarinet / Bass Clarinet Harp

Kirsty MacLaren James Nesbitt Clare Burt Scott Folan Sheila Hancock Rachel Lumberg Caroline Humphris Kathryn James Jess Cox Nicki Davenport Gerry Berkley Mike Davis Fiona Clifton-Welker

There will be one interval of 20 minutes.

This Is My Family Š Tim Firth, 2013 First performed at The Studio, Crucible Theatre, Sheffield on 19 June 2013. First performance at the Minerva Theatre, Chichester on 20 April 2019.

Supported by the This Is My Family Commissioning and Patrons Circles: Margaret and Terry Bamford, Caroline and Malcolm Butler, Michael and Frances Coates, Karen Coburn, Mrs Veronica J Dukes, Val and Richard Evans, Sir Malcolm Green, Jennie Halsall, Themy Hamilton, Joan and Christopher Hampson, Richard and Rosie Hoare, Jacintha Hutton, Sara Kelly, Penny Linnett, Peter and Nita Mitchell-Heggs, Sayers/Strange Family, David and Sophie Shalit, Patricia Sloane, Howard M Thompson, Bryan Warnett of St James’s Place, Ernest Yelf and all those who wish to remain anonymous.

Tim Firth Daniel Evans Richard Kent Caroline Humphris David Plater Paul Arditti Carrie-Anne Ingrouille Charlotte Sutton CDG

Words & Music Director Designer Musical Supervisor & Orchestrations Lighting Designer Sound Designer Movement Director Casting Director

Charmian Hoare Sabrina Cuniberto Lisa Buckley Sonja Mohren Eva Sampson Jo Cichonska

Voice and Dialect Coach Costume Supervisor Props Supervisor Hair, Wig & Make-up Supervisor Assistant Director Associate Musical Director

Paul Hennessy Suzanne Bourke Andrew Reed Harriet Saffin

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Andy Barnwell for Musical Coordination Services Ltd Tom Curran

Orchestral Management

Copyist & Keyboard Programmer

Production credits: Set built and painted by Theatre Royal Plymouth (TR2); Scenic carving by ICA Creation; Scenic printing and drapery by Promptside Theatrical Drapery; Rain effects by Water Sculptures; Trees and forest dressing from The Goodwood Estate; Transport & Haulage by Paul Mathew Transport; Production carpenter Jon Barnes; Production Electrician Andy Taylor; Wig for Sheila Hancock made by Darren Ware of The Wig Room Ltd; Props Buyer Ryan O’Conner; Costume made

by Ashleigh Cherry; Alterations by Janie Stephenson; Rehearsal room St Mary Abbots Centre, London.

With thanks to Sheffield Theatres.

Rehearsal and production photographs Johan Persson Programme design by Davina Chung

Sponsored by

#ThisIsMyFamily

ChichesterFestivalTheatre

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BIOGRAPHIES

CLARE BURT Yvonne Previous work at Chichester includes Ada Harris in Flowers for Mrs Harris (Festival Theatre).

Theatre includes Rose in The American Clock (Old Vic); Joan Littlewood in Miss Littlewood (RSC); The Divide (Old Vic); Big Fish (The Other Palace); A Streetcar Named Desire and Vernon God Little (Young Vic); London Road, The Miracle/DNA/Baby Girl and Coram Boy (National Theatre); Game (Almeida Theatre); Sunspots (Hampstead Theatre); Nine, Company and Into the Woods (Donmar Warehouse); Cat on a Hot Tin Roof (Dundee Rep); Broken Glass (West Yorkshire Playhouse).

Recent television includes Tina and Bobby, Cuffs and Top Boy.

Clare’s film work includes Broken, Failure to Thrive, X+Y, London Road, The Dance of Shiva and The Levelling.

SCOTT FOLAN Matt Theatre includes Sunday In The Park With George (National Youth Music Theatre at CLARE BURT SCOTT FOLAN

The Other Palace); Dre, The Lost Ones, Spring Awakening (Curve Theatre Leicester/NYMT); Shepherd Boy in Damned by Despair (National Theatre).

Television includes Dixi 4, Brotherhood, Breathless, Afrik.

Films include Nativity 2, Blinded By the Light, and the short Outside Bet.

Social media @scott_folan SHEILA HANCOCK May Previously at Chichester Mrs Squeezum in Lock Up Your Daughters (Festival Theatre).

Theatre includes Maude in Harold and Maude (Charing Cross Theatre); Edith in Grey Gardens (Southwark Playhouse); Mother Superior in Sister Act (London Palladium); Fraulein Schneider in Cabaret (The Lyric); The Anniversary (Garrick); Under the Blue Sky (Royal Court); The Cherry Orchard, The Duchess of Malfi (National Theatre); The Winter’s Tale, Titus Andronicus, Peter Pan (RSC); Vassa (Albery Theatre); Entertaining Mr Sloane (New York); Sweeney Todd (Drury Lane); Annie (Victoria Palace).

Credits as Director include A Midsummer Night’s Dream (RSC); The Critic (Olivier Theatre/ National Theatre); The Constant Wife, Dandy Dick, The Soldier’s Fortune (Cambridge Theatre Company).

Television includes The Dali and the Cooper, Delicious, Endeavour, Nellie and Melba, The Last Word, Hustle, New Tricks, Catherine Tate, After Thomas, Bleak House, Featherboy, Grumpy Old Women, Bedtime, Russian Bride and in features: Sheila Hancock Brushes Up: The Art of Watercolours, National Treasures: Female Spies, Words of the Blitz, Suffragette City, My Life in Verse.

Films include Edie, The More You Ignore Me, The Dark Mile, This Beautiful Fantastic, The Boy in the Striped Pyjamas, Hold Back the Night, Love and Death on Long Island, Three Men and a Little Lady, The Anniversary.

Sheila wrote The Two of Us (British Book Industry Author of the Year Award); Just Me, Ramblings of an Actress, Miss Carter’s War (Political Fiction nomination). She is an active Patron of the Digismart Charity; Vice President of St Christopher’s Hospice; Trustee of the SHEILA HANCOCK RACHEL LUMBERG

John Thaw Foundation and was Chancellor of the University of Portsmouth (2007-12).

sheilahancock.net RACHEL LUMBERG Sian Previously at Chichester Mary Hall in Katherine Howard (Festival Theatre).

Theatre includes Rachel in The Band (Manchester Opera House, tour, West End); Nurse in Romeo and Juliet (Broadway World and West End Theatre Award for Best Featured Actress in a New Production of a Play), Foible in The Way of the World (Sheffield Crucible); Jean in The Full Monty (Sheffield Theatres, national tour, West End, Broadway World and West End Theatre Award for Best Featured Actress in a Comedy); Sian in This Is My Family (Sheffield Theatres, tour); Hannah in Dandy Dick (national tour); Putana in ‘Tis Pity She’s a Whore (West Yorkshire Playhouse); Ruth in Calendar Girls (national tour); Mrs Evans in The Devil Inside Him (National Theatre Wales); Sadie in The Rise and Fall of Little Voice (West End); Blodwen in Cariad, Mistress

KIRSTY MacLAREN JAMES NESBITT JAMES NESBITT KIRSTY MacLAREN CLARE BURT

Overdone in Measure for Measure (Theatr Clwyd); Tina in MOG (Soho Theatre); Poppy in The Girlfriend Experience (Royal Court Theatre); Francesca in Le Nozze di Figaro, Carmella in Il Turco in Italia (Royal Opera House); Margaret in Woyzeck (Gate Theatre London, St Ann’s Warehouse New York); Ida in See How They Run (Salisbury Playhouse, Windsor Theatre); Mrs Pearce in Between Mouthfuls, Maureen in Talent (Mercury Theatre Colchester); Phyllis Mere in Peace in Our Time (Theatre Royal Bath); Fif in Chatsky (Almeida).

Television includes Casualty, Stella, New Tricks, Becoming Human, Doctors, A Dance to the Music of Time, A Lump in My Throat, A Touch of Frost, Accused, Get Me to the Crematorium on Time, Hetty Wainthrop Investigates, Holby City, Sunburn, Tears Before Bedtime, The Moonstone, Undercover Heart.

Radio includes Daf’s Cabs, Lady Mortimer in Henry IV.

Films include Summertime, South Kensington, Emma.

KIRSTY MacLAREN Nicky Kirsty originated the role of Manda in Our Ladies of Perpetual Succour (National Theatre of Scotland/international tour/National Theatre/ West End; collective Olivier Award nomination for Best Actress in a Supporting Role).

Other theatre credits include Chava in Fiddler on the Roof (Menier Chocolate Factory); Susanna Walcott in The Crucible (Royal Lyceum Theatre); title role in Rapunzel (Platform Theatre); Susan Walker in Miracle on 34th Street, Lady Agatha in The Admirable Crichton, Morag in Mr Bolfry and Bella in Yellow on the Broom (Pitlochry Festival Theatre); Little Miss Thimble in Freak Show (Noisemaker Productions).

Television and film includes The Crown, and the shorts Skin Deep and End of Season.

Radio includes A Lulu of a Kid, Lulu’s Back in Town.

Trained at the Dance School of Scotland and the Royal Conservatoire of Scotland.

JAMES NESBITT Steve Theatre includes Shoot the Crow (West End); Paddywack (Long Wharf Theatre, USA); Darwin’s Flood (Bush Theatre); Translations (Birmingham Rep); Up On the Roof (Theatre Royal Plymouth); Hamlet (Old Vic, world tour, Leicester Haymarket); Una Pooka (Tricycle).

Television includes Cold Feet (British Comedy Award for Best Actor), The Secret, Lucky Man, The Missing (BAFTA nomination for Best Leading Actor, Critics’ Choice Award nomination for Best Actor in a Movie/Limited, Winner Gold Panda Award for Best Actor in a Miniseries), Babylon, Monroe, The Deep, Occupation, Midnight Man, The Passion, Cinderella, Jekyll (Golden Globe nomination for Best Performance by an Actor in a Miniseries), Murphy’s Law, Big Dippers, Quite Ugly One, Morning, Miller’s Tale, Passerby, Wall of Silence, Touching Evil, Playing the Field, Ballykissangel, Soldier Soldier, Young Indiana Chronicles, James Nesbitt’s Ireland, James Nesbitt’s New Zealand, River Deep Mountain High; and as host of the British Independent Film Awards, Irish Film and Television Awards, Empire Awards and GQ Awards.

Films include The Hobbit Trilogy, Coriolanus, The Way, Matching Jack, Outcast, Cherrybomb, Five Minutes of Heaven, The Lighthouse Keeper, Match Point, Millions, Bloody Sunday (British Independent Film Award for Best Actor, Stockholm Film Festival Award for Best Actor, BAFTA nomination), Lucky Break, The Most Fertile Man in Ireland, Wild About Harry, Women Talking Dirty, Waking Ned, The James Gang, Welcome to Sarajevo, Jude, This is the Sea, Hear My Song, Go Now, Resurrection Man.

C R E AT I V E T E A M

PAUL ARDITTI Sound Designer Previously at Chichester Caroline, Or Change (also Hampstead Theatre and West End).

Recent sound designs include Local Hero (Lyceum Edinburgh); The Inheritance (Young Vic and West End); The Jungle (Young Vic, West End, St Ann’s Warehouse Brooklyn and The Curran San Francisco); The Prime of Miss Jean Brodie (Donmar Warehouse); Absolute Hell, Pericles, Macbeth, Mosquitoes, Amadeus, The Threepenny Opera, Ma Rainey’s Black Bottom, Behind the Beautiful Forevers, Everyman, Edward II, London Road (National Theatre); Beginning (National Theatre and West End); wonder.land (National Theatre, Manchester International Festival and Théâtre du Châtelet Paris); Shipwreck, Bacchae, Little Revolution, American Psycho (Almeida); King Charles III (Almeida, West End, UK tour and Broadway); Mary Stuart (Almeida and West End); Hamlet (RADA); Labour of Love (West End); Julius Caesar (Bridge Theatre); The Emperor (Young Vic, HOME Manchester and New York); A Midsummer Night’s Dream, If You Kiss Me Kiss Me, Measure for Measure DANIEL EVANS

(Young Vic); Charlie and the Chocolate Factory (West End); Billy Elliot The Musical (West End, Broadway, UK tour and worldwide).

Paul’s awards include a Tony Award, a Drama Desk Award and an Olivier Award for Billy Elliot the Musical, Tony nominations for Mary Stuart and One Man Two Guvnors on Broadway, Olivier Award for Saint Joan at the National Theatre, Olivier nomination for Amadeus at the National Theatre, Evening Standard Award for Festen in the West End, Drama Desk Award for The Pillowman on Broadway. Paul is jointly nominated for a 2019 Olivier Award with Christopher Reid for their sound design on The Inheritance.

Paul is a founder member of the Association of Sound Designers and an Associate Director of the National Theatre. paularditti.com ANDY BARNWELL Orchestral Manager Previously at Chichester Babes in Arms, Funny Girl, The Music Man, Oklahoma!, Love Story, 42nd Street, She Loves Me, Singin’ In The Rain, Sweeney Todd, Kiss Me, Kate, The Pajama

Game, Barnum, Guys and Dolls, Gypsy, A Damsel in Distress, Mack and Mabel, Travels With My Aunt, Half A Sixpence, Caroline, Or Change, Fiddler on the Roof, Me and My Girl, Flowers for Mrs Harris.

Current/past London productions include Sweet Charity, Hamilton, Aladdin, Tina - The Tina Turner Musical, Caroline, Or Change, Little Shop of Horrors, Strictly Ballroom, Jesus Christ Superstar, Lady Day, Wind in the Willows, An American in Paris, On The Town, Half A Sixpence, Love’s Labour’s Lost/ Much Ado About Nothing, In the Heights, Charlie and the Chocolate Factory, Bugsy Malone, Show Boat, Guys and Dolls (and tour), Gypsy, Memphis, Women on the Verge of a Nervous Breakdown, City of Angels, Porgy and Bess, Monty Python Live (mostly) (O2 Arena), A Chorus Line, Kiss Me, Kate, Sweeney Todd, Love Story, Into the Woods, Sister Act (and tour).

Current/past regional/UK tours include The King and I, Motown The Musical, The Rocky Horror Show, Shrek, Hairspray The Musical, Funny Girl, The Commitments, Billy Elliot, Dirty Rotten Scoundrels, Dirty Dancing, Singin’ In The Rain, Spamalot, West Side Story (all also KIRSTY MacLAREN RACHEL LUMBERG

in London); Dusty, Sunshine on Leith, Addams Family, One Love The Bob Marley Musical, Anything Goes, Oliver!, Legally Blonde, South Pacific.

JO CICHONSKA Associate Musical Director Credits as Musical Director include The Producers (Manchester Royal Exchange), A Little Princess (National Youth Music Theatre of Great Britain: The Other Palace), Spring Awakening (LAMDA), Side Show and Victor/Victoria (Southwark Playhouse), Titanic (Charing Cross Theatre), The Grand Tour (Finborough Theatre), Oklahoma! (Mountview), The World Goes Round and Closer Than Ever (Urdang Academy).

As Assistant Musical Director, Fun Home (Young Vic), Oliver! (Curve Theatre Leicester).

Keyboard credits: An American In Paris (Dominion Theatre).

DANIEL EVANS Director Daniel Evans is Artistic Director of Chichester Festival Theatre, where he has directed Flowers for Mrs Harris, Me and My Girl, Quiz, Fiddler

on the Roof and Forty Years On.

Previously, he was Artistic Director at Sheffield Theatres (2009-16) where he directed An Enemy of the People, Racing Demon, Othello, My Fair Lady, Macbeth, The Full Monty, This Is My Family, Anything Goes, The Sheffield Mysteries, Oliver!, The Effect, Show Boat and Flowers for Mrs Harris. As an actor, he appeared in Company, The Pride, Cloud Nine and The Tempest.

In the West End, he has directed Quiz, Show Boat, The Full Monty and American Buffalo.

As an actor, Daniel’s theatre credits include Henry V, Coriolanus, A Midsummer Night’s Dream, Measure for Measure and Cymbeline (RSC); Cardiff East, Peter Pan, Troilus and Cressida, Candide and The Merchant of Venice (National Theatre); Merrily We Roll Along (Olivier Award) and Grand Hotel (Donmar Warehouse); Ghosts (ETT); Sunday in the Park with George (Olivier Award) and Total Eclipse (Menier Chocolate Factory); Other People, Cleansed, Where Do We Live and 4:48 Psychosis (Royal Court).

EVA SAMPSON DANIEL EVANS

CARRIE-ANNE INGROUILLE

Television includes The Passion, Doctor Who, The Virgin Queen, Spooks, Love in a Cold Climate, Great Expectations, Daniel Deronda and To the Ends of the Earth.

Films include Les Misérables.

TIM FIRTH Words and Music Tim was born and has lived his entire life in the North West of the UK, educated at Appleton Hall School in Warrington and then at King’s College Cambridge. Here he set up a theatre company with Sam Mendes who directed Tim’s first professional commission – Heartlands – in The Tent at Chichester Festival Theatre.

His original musicals include the book, music and lyrics for This Is My Family (Sheffield Crucible; UK Theatre Award Best New Musical) and the book for Our House (West End; Olivier Award Best Musical). He co-wrote book, lyrics and music for Calendar Girls The Musical (West End and national tour; Whatsonstage Award, Olivier nomination) and the book for The Band (West End and national tour). He also wrote book, music and lyrics for the Christmas

musical comedy The Flint Street Nativity (Liverpool Playhouse).

His plays include Neville’s Island (Nottingham Playhouse, West End, revived at Chichester Festival Theatre 2014; Evening Standard and Olivier nominations), The Safari Party (Stephen Joseph Theatre Scarborough and Hampstead), Sign of the Times (UK tour and West End) and Calendar Girls (Chichester Festival Theatre 2008, West End, five national tours; Olivier nomination, WhatsOnStage Best Comedy Award).

Tim’s film credits include Blackball, Calendar Girls (British Comedy Award), Kinky Boots (Best International Film, Florida Film Festival) and The Wedding Video.

For television his credits include Money for Nothing (Writer’s Guild Award), The Rottentrolls (BAFTA Award and recently voted one of the top 50 children’s shows of all time), Cruise of the Gods, The Flint Street Nativity and Preston Front (Writer’s Guild Award, British Comedy Award, RTS Award, BAFTA nomination).

Tim produced a season of single comedy plays entitled Trapped, and wrote the Sky Arts single drama Timeless.

Tim has toured the UK in a show of words and music with Willy Russell and is currently working on a new musical.

Copyright agent: Alan Brodie.

Representation alanbrodie.com 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 and Singin’ in the Rain (Festival Theatre); 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 (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 and Frost/Nixon (Crucible Sheffield); Playhouse Creatures (New Vic Theatre, Stoke on Trent); Jekyll and Hyde (national tour); Luna Gale and Rabbit Hole (Hampstead Theatre); The Treatment and Against (Almeida Theatre); Sweat, Welcome Home Captain Fox! and One Night in Miami (Donmar Warehouse); Abigail’s Party, While The Sun Shines, The Things We Do for Love, Talking Heads and 4000 Miles (Theatre Royal Bath); Perfect Nonsense, Rails, Single Spies, Bold Girls (Theatre by the Lake, Keswick).

CAROLINE HUMPHRIS Musical Supervisor / Musical Director / Orchestrations Previously at Chichester Musical Director for The Gondoliers and The Water Babies (Festival Theatre).

Recent supervising credits include The Producers (Royal Exchange Manchester) and Don’t Tell Me Not To Fly (Edinburgh Festival).

Caroline was musical supervisor for the Menier Chocolate Factory’s productions of Sunday in the Park with George (West End and New York); Little Shop of Horrors (West End, UK Tour); They’re Playing Our Song; and Trevor Nunn’s Aspects of Love and A Little Night Music (West End, Broadway and Centrál Színház, Budapest).

Musical direction credits include Sweet Charity (Nottingham Playhouse); The Last Five Years (New Wolsey, Ipswich); This Is My Family (Sheffield Theatres); Daddy Long Legs (St James Theatre); Take Flight and tick, tick...

BOOM! (Menier); Twelfth Night and Uncle Vanya (Donmar and Brooklyn Academy of Music); Hair (Spektrum Arena, Oslo); Take Flight and Closer Than Ever (Adelaide Cabaret Festival); Honk!

(UK tour); Oliver! (Sheffield).

West End conducting credits include A Little Night Music (Garrick); Sunday in the Park with George (Wyndham’s); Passion (Queens); Whistle Down the Wind (Aldwych); Maddie (Lyric); Tell Me on a Sunday and Romance, Romance (Gielgud).

Orchestrations include This Is My Family (Sheffield Theatres); The Wind in the Willows (Royal & Derngate, Northampton); They’re Playing Our Song (Menier); The Wizard of Oz (Theatre Clwyd); Maddie (Salisbury Playhouse and West End); and featured arrangements for Maria Friedman – By Special Arrangement.

Recordings include A Little Night Music (2010 Broadway); Take Flight (2007); Sunday in the Park with George (2006 London); Twelfth Night/Uncle Vanya (2003); Maddie (1998); Passion (1997 London); Starting Here, Starting Now (1992).

CARRIE-ANNE INGROUILLE Movement Director West End credits include Six – The Musical (Arts Theatre, Edinburgh Festival, UK tour and Chicago Shakespeare Theatre; Olivier nomination for Best Theatre Choreographer, OFFIE and WhatsOnStage nominations for Best Choreography); Choreographer Jeeves and Wooster (Duke of York’s Theatre and UK tour); Resident Choreographer Hamilton (Victoria Palace); Associate Choreographer/Resident CAROLINE HUMPHRIS JO CICHONSKA

Choreographer I Can’t Sing – The X-Factor Musical (The Palladium).

Other theatre credits include Choreographer Sounds and Sorcery (The Vaults), The Suicide (National Theatre) and The Catherine Tate Show (UK tour); Director/ Choreographer Zoo Nation: The Next Generation (Royal Festival Hall); Associate Director/ Choreographer Sylvia (The Old Vic); Assistant Director/Choreographer ZooNation’s Groove On Down the Road (Queen Elizabeth Hall); Assistant Director/Choreographer/Performer ZooNation’s The Mad Hatter’s Tea Party (The Roundhouse and Linbury Theatre ROH); Into the Hoods (Peacock Theatre and UK tour); Movement Director R&D (Hampstead Theatre) and Polatrix (Hackney Down Studio Theatre); Assistant Director/Performer ZooNation: Unplugged (Sadler’s Wells); Resident Director/ Choreographer/Performer/Dance Captain ZooNation’s Some Like It Hip Hop (Sadler’s Wells, Peacock Theatre and UK tour); Choreographer Whydentity (Royal Festival Hall) and Olympic Torch Relay Handover (Islington Town Hall); Resident Director/Dance Captain/

Performer Blaze: The Street Dance Sensation (original company, Peacock Theatre and European tour).

Films include Assistant Choreographer/ Performer Street Dance 3D. RICHARD KENT Designer Previously at Chichester, The Country Girls (Minerva).

Designs include The Merchant of Venice and Julius Caesar (Singapore Rep); Handbagged (Round House Theatre US, UK tour, Vaudeville and Tricycle Theatre); Disco Pigs (Trafalgar Studios 2 and Irish Rep Theatre, NYC); Man to Man (WMC, Wilton’s and BAM, NYC); Dead Funny (Vaudeville); The Mentalists (Wyndham’s); Bad Jews (Ustinov, Arts, Haymarket Theatres and UK tour); Richard II (Donmar Warehouse); The Winter’s Tale and Cymbeline (Shakespeare’s Globe); Anything Goes (Sheffield Crucible and UK tour); Oliver! (Grange Park Opera); The Colby Sisters of Pittsburgh, Pennsylvania, A Boy and His Soul, Paper Dolls, Multitudes (Tricycle); Macbeth, Sheffield Mysteries (Sheffield Crucible); Outside Mullingar (Ustinov Bath); The Dance of Death (Donmar Trafalgar); Murder Ballad (Arts); Watership Down (The Watermill); The Cocktail Party (Print Room); Communicating Doors (Menier Chocolate Factory); Mrs Lowry and Son (Trafalgar Studios 2); Neighbors, Clockwork and Heroine (Hightide Festival); The El. Train (Hoxton Hall).

DAVID PLATER Lighting Designer Theatre includes The Divide (King’s Theatre Edinburgh and Old Vic); The Outsider, Out of Blixen, A Lovely Sunday for Creve Coeur, Death Watch, The Cocktail Party (Print Room); Approaching Empty (Kiln Theatre); Misalliance (Orange Tree Theatre); Room, Sinbad the Sailor, Robin Hood, Beauty and the Beast, Dick Whittington (Theatre Royal Stratford East); Murder Ballad (Arts Theatre); Brass (Hackney Empire); The Mentalists (Wyndham’s Theatre); The Effect, Macbeth, This Is My Family (Sheffield Theatres); Outside Mullingar (Theatre Royal Bath); Bring Up The Bodies (Royal Shakespeare Company/Stratford, London and New York); Billy Liar (Royal

Exchange Manchester); The Dishwashers (Birmingham Rep); Mrs Lowry and Son (Trafalgar Studios); Beautiful Thing (Arts Theatre and UK tour); Quiz Show (Traverse); The Silence of the Sea (Donmar Warehouse at Trafalgar Studios); Richard III, Twelfth Night (Shakespeare’s Globe at the Apollo Theatre); The Chair Plays (Lyric Hammersmith); Richard II (Donmar Warehouse).

Opera and dance includes Un Ballo in Maschera, Romeo et Juliette, Porgy and Bess, Tosca, Die Walkure, La fanciulla del West, Oliver! (Grange Park Opera); over 50 dance commissions for Ballet Black (Linbury ROH2, Barbican); Terra (Print Room); The Mother with Natalia Osipova (Queen Elizabeth Hall).

David’s awards and nominations include Olivier, Tony and Drama Desk nominations for Bring Up The Bodies in New York and London; Knight of Illumination Award winner for best dance lighting The Suit (Barbican 2018), nomination for Richard II (Donmar 2012) and for This Is My Family (Sheffield Lyceum 2013); Off West End winner Deathwatch (Coronet Notting Hill 2017).

He was Head of Lighting at the Donmar Warehouse for seventeen years. Trained at RADA. EVA SAMPSON Assistant Director Eva Sampson is Resident Assistant Director for Festival 2019, and will also be Assistant Director on 8 Hotels.

Eva trained on The National Theatre Studio Directors’ Course and The University of Birmingham. Her work as Director includes The Last Nine Months (Vaults Festival), Sticky (Southwark Playhouse), The Tide (Young Vic), The Little Gardener (National Theatre and UK tour), The Scarecrows’ Wedding (Leicester Square Theatre), A Peter Rabbit Tale (Singapore Repertory Theatre), Rudolf (West Yorkshire Playhouse) and Decades (Oval House). Eva is Staff Director on Downstate (National Theatre).

As Associate Director, her work includes Raymond Briggs’ Father Christmas (Lyric Hammersmith, MAC and The Hong Kong Academy for Performing Arts); as Assistant Director Twelfth Night (Young Vic), part of the Young Vic’s Jerwood Assistant Director

Programme 2018, supported by the Jerwood Charitable Foundation.

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

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Flowers for Mrs Harris, Me and My Girl, The Chalk Garden, Present Laughter, The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre), 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 SCOTT FOLAN

Disney and Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot and Queen Coal (Sheffield Crucible); Henry V and Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler and Little Shop of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing and Jumpy (Theatr Clwyd); Goodnight Mister Tom (Duke of York’s and tour); A Pacifist’s Guide to the War on Cancer, wonder.land, The Elephantom, Emil and the Detectives and The Light Princess (National Theatre); The Rise and Shine of Comrade Fiasco, I’d Rather Goya Robbed Me... and Gruesome Playground Injuries (Gate Theatre); Albion (Bush); Our Big Land (New Wolsey Theatre, Ipswich and tour); Forever House (Drum Theatre, Plymouth); One Man, Two Guvnors (Theatre Royal Haymarket and international tour); Desire Under the Elms (Lyric Hammersmith); Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

EVENTS

THIS IS MY FAMILY PRE-SHOW TALK

Tuesday 23 April, 6pm Director Daniel Evans in conversation with Kate Mosse.

FREE but booking is essential.

POST-SHOW TALK

Tuesday 14 May Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

TOUCH TOUR

Friday 17 & Saturday 18 May Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in This Is My Family. The tour takes place 90 minutes before the audio-described performances.

FREE but booking is essential.

KATE MEETS TIM FIRTH

Thursday 23 May, 5pm Minerva Theatre Kate Mosse interviews Tim Firth about his journey as a dramatist, screenwriter and songwriter reflecting on his work at Chichester which also includes Calendar Girls and Neville’s Island.

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 Head of Individual Giving William Mendelowitz Head of Major Gifts Tabitha Moore Development Administrator Karen Taylor Memberships Officer DIRECTORS Kathy Bourne Daniel Evans Patricia Key Georgina Rae Julia Smith

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

FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Katie Palmer Assistant Management Accountant Simon Parsonage

Mark Pollard Paul Sturgeon Amanda Trodd Nicole Yu HR Eugenie Konig Emily Oliver Jenefer Pullinger Gillian Watkins

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

Head of HR Accommodation Administrator 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 Claire Rundle Jacob Thomas Nicky Wingfield Jeremy Woodhouse

Producer Production Administrator Production Trainee Production Administrator Producer

TECHNICAL Dan Armstrong Transport & Logistics Steph Bartle Deputy Head of Lighting Jon Carter Stage Crew Amy Clayton Stage Apprentice Leoni Commosioung Stage Crew Sarah Crispin Prop Maker Ethan Duffy Stage Crew Lewis Ellingford Stage Technician Ross Gardner Stage Crew Sam Garner-Gibbons Technical Director Abbie Gingell Stage Automation Technician

Fuzz Sound Technician Emma Harry Stage Crew Katie Hennessy Props Store Co-ordinator Laura Howells Senior Lighting Technician Andrew Leighton Lighting Technician Mike Keniger Head of Sound 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 Charlie Smith Tom Smith Adam Thomas Steer Graham Taylor Sarah Ware Flynn White

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

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THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Gabriele Hergert Deputy House Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager WARDROBE Brooke Bowden Michaela Duffy Ellie Edwards Jessica Griffiths Natasha Hancock Lottie Higlett Gabby Salwyn-Smith Sam Sullivan Loz Tait Collette Tulley Hannah Ward Maisie Wilkins

Dresser Dresser Assistant Wardrobe Deputy Wardrobe Deputy Head of Wardrobe Dresser Dresser Assistant Wardrobe 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 Assistant Wigs

Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, 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, Chantelle Walker, 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.

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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 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, 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