Pinocchio digital programme | Chichester Festival Theatre | Autumn 2020

PINOCCHIO

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

WELCOME

A very warm welcome to our Christmas show, Pinocchio.

Many of us feel that Christmas wouldn’t be Christmas without Chichester Festival Youth Theatre’s annual production, and it’s with special pride that we’re welcoming this remarkable young company back to the stage this year. Despite the pandemic and lockdown, director Dale Rooks and her colleagues have unerringly steered their production through a uniquely challenging rehearsal period to a safe berth on the Festival stage, and we are thrilled to see them there.

This is the third adaptation that Anna Ledwich, our Writer in Residence, has given us in recent years, following Beauty and the Beast and The Butterfly Lion – not forgetting her original play Crossing Lines – and once again her enormous talent for enlivening a classic text for

today shines through. It’s enhanced

by Tom Brady’s delightful new score.

The challenges and restrictions imposed by COVID-19 have, characteristically, been met by the creative team with their customary invention and flair. It’s wonderful to have set designer Simon Higlett and costume designer Ryan Dawson Laight once again creating unforgettable stage images alongside a fantastic technical team.

One of their ambitions for this production was that it should be as eco-friendly as possible: making use of recycled and sustainable materials and sourcing locally, with everything being recycled afterwards. As part of CFT’s green consciousness, we intend to learn from this experience with an eye to future productions.

We hope you and your families have a wonderful Christmas and a happy new year.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

CFT BUDDIES RENEWED Despite the interruption to performances participants. These calls provided much and many other activities caused by needed company, kept spirits high and COVID-19, at Chichester Festival Theatre signposted individuals to further support the important work of reaching out to if required. Some users continue to our local communities has continued receive calls and to date, over 200 in new ways. individual phone calls have been made.

One example of how the Learning, “I have loved my weekly phone call Education and Participation (LEAP) team from my beloved CFT, which has have maintained their relationship with played a major part in my life for some of our most vulnerable patrons so long. What a wonderful idea has been through a new approach and how thoughtful.” to the CFT Buddies scheme.

CFT Buddies is a volunteer companion Now that CFT’s doors are opening to service for those who might benefit from audiences once again, the full CFT having someone accompany them during Buddies scheme – with additional COVIDtheir visit to the Theatre. Whether they safe measures in place – is once again up need support because of a learning or and running. If you would like to attend a physical difficulty, or find the idea of going performance with the support of a Buddy, to the Theatre on their own daunting, a or to arrange to meet one of our Buddies CFT Buddy can give the extra confidence for a social cup of tea in the Theatre’s they need and can enjoy the show Café; or if you know someone who might alongside them. benefit from this service, please email access@cft.org.uk, call the Box Office “I am very touched by the on 01243 781312 or visit thoughtfulness and kindness of the cft.org.uk/CFTbuddies for more team at CFT. How lucky are we to information and an online form. have such a very special and brilliant theatre in this area.”

The CFT Buddies scheme is made During lockdown, nine of CFT’s Buddies possible by the kind support of became Weekly Callers, volunteering to keep in touch with some of our more isolated audience members and

TASTE FOOD & DRINK EVENTS

Caper & Berry present a mini-season of delicious dinners, entertaining evenings and gin-tastic get-togethers in our COVID-safe restaurants.

THE FRIDAY NIGHT DINNER SERIES 18 December & 15 January £45pp Caper & Berry are so excited to be hosting this very popular series of evenings alongside Hennings Wine Merchants. Delight in a sumptuous five-course tasting menu – you can also add exquisite wine pairings for £20pp or soft drinks for £10pp.

GIN TASTING EVENING Saturday 16 January £25pp Savour three different gins, along with mixers from Fever-Tree. Charcuterie and mezze sharing boards are available for purchase during the evening along with alternative drinks from the bar.

CALL MY BLUFF WINE TASTING DINNER Friday 8 January £59pp Enjoy a delicious four-course meal with four carefully matched wines and see if you can beat trade experts as we play ‘Guess the Wine’. Also includes arrival drink and coffee.

To book, email dining@cft.org.uk or call 01243 782219 between 10am and 4pm Monday – Friday.

cft.org.uk/taste

THANK YOU We are incredibly grateful to our supporters, sponsors, audiences and everyone who has sent good wishes and donations, or attended a performance online or in person this year.

We wish you a very Merry Christmas and a Happy New Year from all at CFT

PINOCCHIO A new adaptation by Anna Ledwich Music by Tom Brady From the original novel The Adventures of Pinocchio by Carlo Collodi

PUPPET OFF If someone were to ask, ‘What’s the most translated book in the world after the Bible?’, how many of us might think to reply: ‘Pinocchio’ ? Yet until recently, this 19th century Italian children’s tale held that very record.

Created in 1881 by a Tuscan writer named Carlo Collodi, The Adventures of Pinocchio started life as a magazine serial – much like many of Dickens’s stories – and thanks to its huge popularity with readers, was published as a novel in 1883. Since then, it’s seen innumerable incarnations – most famously, of course, in Disney’s cartoon version – and the idea of a liar being identified by his long nose is firmly established. And while details of the characters and story have varied significantly between tellings over the years, some aspects remain constant: the poor carpenter Geppetto carves a figure from a wooden block which DIRECTOR, DALE ROOKS IMAGE COURTESY OF RICHARD GIBBONS

becomes the mischievous marionette Pinocchio, whose nose grows longer when he tells an untruth but who longs to become human.

Pinocchio is – according to that font of all wisdom, Wikipedia – ‘one of the most re-imagined characters in children’s literature.’

Alongside Lewis Carroll’s Alice, Sherlock Holmes and fairy tale heroines like Cinderella, the story has passed beyond literature to become an instantly recognisable trope in countless cultures and languages. And yet, in this country at least, the novel itself doesn’t seem to be a bookshelf staple.

‘I had never read the original until last year,’ says playwright Anna Ledwich, CFT’s Writer in Residence. ‘I had seen the Disney movie when I was very small, but couldn’t remember much about it, to be honest. But some of the iconic characters and moments definitely bled into

F A STRING my consciousness: the song ‘When You Wish Upon a Star’, the character of Jiminy Cricket, and the image of Pinocchio with donkey’s ears.’

Dale Rooks, who directs the production, also has no recollection of having a copy when she was growing up. It was seeing the National Theatre’s 2017 production which awakened her interest in it as a possible CFYT Christmas show – and, as she cheerfully admits, ‘We hadn’t done it before! It has a really great story and wonderful characters.’

So why has this tale of a wooden puppet caught the public imagination and remained so popular across many different languages and eras?

‘One factor might be that Pinocchio is a flawed character who keeps making mistakes and must learn through painful experience what it is to be alive,’ Anna reflects. ‘Which is ironic, WRITER, ANNA LEDWICH IMAGE COURTESY OF PETE JONES

considering he’s made of wood, but that very relatable struggle is universal and not particular to one country or culture. I think also, because the original story is quite slippery in structure, scores of adaptors, from a multitude of different cultures, have been able to come at it over the years and shape it to their needs.’

The latest of those adaptors is, of course, Anna herself. How had she approached it?

‘The original story offers a lot of opportunity to be very imaginative when adapting it. It is very episodic and picaresque in structure, with multiple, looping adventures, many odd and wonderful characters, some who shape-shift and reappear, and it exists in a recognisable, yet dream-like environment,’ Anna says. ‘So the biggest challenge was picking and choosing which adventures to adapt, and how those moments contribute to the bigger story arc.

‘My two-year-old son was a major influence in mapping the development of Pinocchio from a block of wood into a boy – in particular playing with his linguistic development – so I wanted to chart that very carefully. But on a macro level I was interested in how Pinocchio grapples with coming to terms with his identity, how others view him, and how he comes to terms with being comfortable in his own “skin”. Those themes felt very contemporary and important.’

Pinocchio is sometimes described as a ‘morality tale’. Is it therefore surprising that it appeals to so many children, or does it say something about our innate sense of right and wrong?

‘I think the slightly binary nature of classic children’s stories – right/wrong, good/bad, heroes/villains – is understood by children on a very fundamental level so therefore they receive those messages openly,’ says Anna.

‘It says more about the authors of those stories and the adult attitude in general towards children that morality is woven so tightly into the narratives. It tells us that there are essential codes of behaviour that are acceptable and not acceptable, and it is important to learn those as a child otherwise you run the risk of being perceived as “bad”. And “bad” children are the worst!

‘Pinocchio’s moral lessons aren’t particularly subtle and as the original story was serialised, they tend to pile on quite thickly. But when you have a vivid central character and wild and whacky adventures tumbling one after the other, the “lessons” are somehow more palatable, and the appeal of the story BEAUTY AND THE BEAST THE BUTTERFLY LION IMAGES COURTESY OF PETE JONES AND MANUEL HARLAN

overshadows any preaching.’

‘Sometimes you need to test things to find out if they’re true and that’s what kids do – they test their parents, they test the rules and sometimes they’re brave enough to go outside the rules – but there are consequences,’ Dale Rooks adds.

‘Anna brings an original slant to the more moralistic side of the story; so the Cricket isn’t just a conscience, he and the Fairy are like surrogate parents to Pinocchio – but they don’t agree on how he should be parented. The Cricket is very straight and strict whereas the Fairy is more Montessori education!’

In recent years, Anna has adapted Beauty and the Beast and The Butterfly Lion for CFT; is there anything she bears particularly in mind when writing for the Youth Theatre?

‘I always try to bring a fresh perspective when adapting the classic stories: what’s a new way to explore the themes and ideas without sacrificing the beauty of the original? What will the company of actors enjoy performing?

Because I always try to factor in what their experience will be of the whole process, not just the finished play.

‘So, lots of fun characters, scenarios that invite inventive staging (sometimes causing Dale multiple headaches!), hopefully playfulness and wit, but I also try to anchor that whimsy in bigger ideas about life and emotional truths.

That might sound a bit grand, but I am always struck by the maturity and sophistication of the young people’s response to the plays, and I learn a lot from their input, so I always endeavour to provide them with meaty ideas to explore along with the silliness.’

Adding to Dale’s ‘multiple headaches’ this year has obviously been the major issue of rehearsing and producing a show in the midst of the Coronavirus pandemic and lockdown.

One consequence has been the necessity for two entirely separate casts, unlike previous years when the principal roles have been shared but the ensemble remained constant.

‘It’s been really tough,’ Dale says frankly.

‘The prominent characters – Geppetto, Pinocchio, the Fairy, Cricket and sometimes the Fox and the Cat – have rehearsed together.

But we can’t have more than 15 people in the room so we have to repeat everything for the ensemble numbers, which takes twice as long – and that’s been the biggest challenge.

‘We’ve had a Covid officer to make sure we’re complying with regulations. There are certainly difficulties we wouldn’t normally face – it’s a very different process than anything we’ve done before, with all the temperature taking, hand sanitising and social distancing.’

However, Dale is quick to acknowledge that necessity has been the mother of invention.

‘How do you make Pinocchio and his father appear to hug when they’re not allowed to do so? How can you grab somebody by the scruff of the neck when you can’t touch them? It’s been really interesting finding that physical “language” in all of the scenes and setting up that convention from the beginning.

‘It’s been lovely to have our design team around to make these decisions. Can we share costumes? Can the actors handle props? We’ve decided to have a base costume for every cast member, which means that when they’re doing

ARCHIE ELLIOT MOLLY BERRY

LEWIS RENNINSON

IMAGES COURTESY OF RICHARD GIBBONS

a quick change they don’t need to be in a cubicle, they can just layer something else on top – but what they’re wearing next to the skin is very personalised.

‘With the props, we’re just making it as imaginative as we can. On one occasion, a prop needs to be passed from one character to another, so it’s being thrown in slow motion – but the prop the second character catches isn’t the one that’s been thrown. It can all be done – you just have to think outside the box. Simplicity is the key this year; we’re trying to make this production eco-friendly too.’

So it seems that the numerous challenges have, in a strange way, brought something positive too.

‘One joyous thing was that we read the draft script on Zoom but you really need to develop a new piece in the room; so we asked the gap year students in our Friday group, who are between school and university or drama school, to workshop it. They’ve come up with brilliant ideas – they’re all in the show as well and they’ve made a really significant contribution.’

A major advantage was that unlike the first lockdown, rehearsals were permitted to continue throughout the Autumn.

‘Thank heavens we’ve been allowed to continue’ says Dale fervently. ‘Had we not been allowed to rehearse in half term week, that would have been really problematic. I don’t know how we could have got the show together otherwise.’

And that’s no lie. Hats off to them all.

LUCINDA MORRISON

EE R G S E M U T S O C G MAKIN

N

urposed with recycled and rep rk wo to ort eff ge hu de a ’ve sourced from ‘This year we’ve ma ppliers and outlets we su the at g kin loo l impact as low as we materials, as well as ep the environmenta ke to , some es tic ac pr l stumes to repurpose and their ethica arity Glad Rags Co r use. ch the al fur loc th for wi m d the rke can. We wo will go back to ow sh s thi of d ch en su the dly dyes of their stock that at o who use eco-frien with Cotton Avocad d rke wo o als ’ve We as avocado.’ r t, Costume Designe Ryan Dawson Laigh

Pinocchio ‘We’ve looked at the textures of wood and encompassed th is into his clothing to accentuate that this is a little wooden boy come to life.’

Geppet to eated for ‘The palette cr really is e bl the ensem tto’s pe ep G exciting, were et apron and jack onion w llo dyed with ye o and skins, avocad ’ s. ut chestn

sel u o r a C se Hor

Tick et Sel l er ‘These we re s favourite c ome of my ha come up w racters to ith sideshows ; I love , Victorian a and the ea rly days o f circus. Th e id these costu ea is that mes also form part of the set. ’

Cat

Fox ‘Every performer is wearing a repurposed piece of costume.

These will all go back into the costume community after the show to have another life after this production.’

SPOT THE DIFFERENCE Set designer Simon Higlett tells us: ‘The Pinocchio script is incredibly detailed, with a lot of different worlds depicted. Just before starting work to design the set, I’d watched The Imaginarium of Dr Parnassus, one of my favourite Terry Gilliam films, which has a travelling theatrical troupe in it; and I thought that idea could work for Pinocchio.’

‘Our production manager came up with the idea of using a farm cart and he found one locally in Steyning. It works perfectly, but it wasn’t an easy process to get it to become what we wanted! The positive of using a working farm cart is that you can tow it, so we’ve built onto the cart and the plan is to reuse it for outdoor or travelling productions in the future. Repurposing existing objects is often a lot more work, but we were really keen for this production to be as sustainably sourced as possible.'

Can you spot the 8 differences between the two pictures of the set?

WORDSEARCH Find the 12 words hidden below. Words can be found forwards, up, down and diagonally! Answers available at cft.org.uk/pinocchiowordsearch

P A E A O C M A Q A D P L D Z A M

C U P T G H S L I W M V T C A Z C

V W U U N A P X F Y E K N O D A N

A X N F W X Q V J K A L O J X M H

N O C K L O B S T E R A U H Y F Y

R A H G V F N A L S M O A G A P A

MAZE Help Pinocchio escape from the whale!

F G A E D E A D G L U C F W Z I O

L A Z O P O Q W E K U K O E T N Y

C R I C K E T Z P R J W X P Y O L

F T J R N M A O P G L L J O S C Y

A U L W Y C H A E B F A P S Q C K

G Q P A V Q I K T P T L N J L H S

W E A J J M M V T S P Q A D Y I W

U Y U G C A T E O Z H X Y A G O O

L D Q A G W N K A G N S Q X L F S

Y A I Q A S U P O T C O A D G E K

J L S I O A G L I S U V S I E P G

PINOCCHIO GEPPETTO CRICKET FAIRY PUNCH JUDY WONDERLAND DONKEY OCTOPUS LOBSTER FOX CAT

THE C Funmi Ajayi

Tewogbola Ajayi

Evie Armitage

Alfie Ayling

Lily Barkes

Edward Bromell

Eva Buckler

Isobel Buckler

Jack Campbell

Richard Chapman

Joe Clines

Spencer Dixon

Olivia Edwards-Cox

Archie Elliot

Milly Frymann

Lyla Garner-Gibbons

Amy Glenister

Louis Matthews

Rudi Millard

Ella O'Keeffe

Luc Oratis

Matthew O’Shea

Kitty Peirson

Riley Stroud

Jack Taylor

Priya Uddin

Thomas Uren

Martha Waddington

CAST Callum Beaven

Molly Berry

Meg Bewley

Annalise Bradbury

Ellie Bradbury

Libby Connor

Georgia Cornell

Sydney Craddock

Honami Davies

Ellie Dickens

Olivia Dickens

Jessica Hodgson

Dominic Lacey

Erin Liu

Hollie Luff

Joseph Mackley

Ella Matchan

Noah Peirson

Lara Perri

Lewis Renninson

Megan Rimer

Daisy Rowe

Barnaby Scutts

Grace Watkins

Alex Webb

Noah Wharton

Rosie Wharton

Cayden Woodall-Jones

Chichester Festival Youth Theatre

PINOCCHIO A new adaptation by Anna Ledwich Music by Tom Brady From the original novel The Adventures of Pinocchio by Carlo Collodi

CAST (in order of appearance) Geppetto Townsfolk

Marjory Dan the Cockle Man Tom Pip Fairy Pinocchio Paper Boy Edith Pepe the Fruitier Fruitier’s Assistant Policeman Cricket Ticket Seller Judy Punch Puppet Theatre Crowd

Puppeteers

Alice Abel Beatrice Mr Sandpaper Fox Cat

Alfie Ayling / Jack Campbell Funmi Ajayi, Callum Beaven, Isobel Buckler, Erin Liu, Riley Stroud, Martha Waddington, Rosie Wharton / Ellie Dickens, Spencer Dixon, Lyla Garner-Gibbons, Dominic Lacey, Rudi Millard, Kitty Peirson, Grace Watkins Tewogbola Ajayi / Georgia Cornell Louis Matthews / Joseph Mackley Joe Clines / Richard Chapman Cayden Woodall-Jones / Edward Bromell Meg Bewley / Molly Berry Archie Elliot / Lewis Renninson Cayden Woodall-Jones / Edward Bromell Priya Uddin / Ella Matchan Callum Beaven / Spencer Dixon Barnaby Scutts / Megan Rimer Alex Webb / Noah Peirson Annalise Bradbury / Olivia Dickens Lily Barkes / Milly Frymann Ellie Bradbury / Libby Connor Jack Taylor / Luc Oratis Evie Armitage, Eva Buckler, Isobel Buckler, Erin Liu, Barnaby Scutts, Thomas Uren, Martha Waddington, Cayden Woodall-Jones / Edward Bromell, Honami Davies, Olivia Edwards-Cox, Lyla Garner-Gibbons, Dominic Lacey, Kitty Peirson, Lara Perri, Megan Rimer Amy Glenister, Hollie Luff / Sydney Craddock, Jessica Hodgson Martha Waddington / Lyla Garner-Gibbons Noah Wharton / Matthew O’Shea Tewogbola Ajayi / Georgia Cornell Riley Stroud / Rudi Millard Joe Clines / Richard Chapman Funmi Ajayi / Ellie Dickens

First performance of this production of Pinocchio at Chichester Festival Theatre, 16 December 2020.

Terry the Crab Sad Bird Sad Weasel Sad Rabbit Sad Frog Cliff Crowd

Harriet Edwina Fred / Faith Octopus Lobster Haddock Winkle Prawn Trout

English Fisherman Mercury the Dog French Fisherman Teacher Petra / Peter Penelope Jessica Daisy Johnny Candlewick Madam Silversaw Wonderland Ticket Seller Wonderland Carousel Horse

Wonderland Balloon Seller Wonderland Hook a Duck Wonderland Organ Grinder Donkeys

Sweeties

Clown

Sponsored by

Noah Wharton / Matthew O’Shea Daisy Rowe / Grace Watkins Ella O’Keeffe / Libby Connor Amy Glenister / Sydney Craddock Rosie Wharton / Georgia Cornell Louis Matthews, Priya Uddin / Joseph Mackley, Ella Matchan Ellie Bradbury / Lyla Garner-Gibbons Lily Barkes / Milly Frymann Thomas Uren / Olivia Edwards-Cox Daisy Rowe / Grace Watkins Tewogbola Ajayi / Georgia Cornell Amy Glenister / Sydney Craddock Ella O’Keeffe / Libby Connor Rosie Wharton / Ellie Dickens Joe Clines, Riley Stroud, Jack Taylor / Richard Chapman, Rudi Millard, Luc Oratis Louis Matthews / Joseph Mackley Alex Webb / Noah Peirson Callum Beaven / Spencer Dixon Priya Uddin / Ella Matchan Erin Liu / Dominic Lacey Evie Armitage / Honami Davies Isobel Buckler / Kitty Peirson Eva Buckler / Lara Perri Cayden Woodall-Jones / Edward Bromell Martha Waddington / Lyla Garner-Gibbons Ella O’Keeffe / Libby Connor Thomas Uren / Rudi Millard Lily Barkes, Rosie Wharton, Priya Uddin / Olivia Edwards-Cox, Milly Frymann, Ella Matchan Barnaby Scutts / Megan Rimer Callum Beaven / Spencer Dixon Louis Matthews / Joseph Mackley Alex Webb, Noah Wharton / Matthew O’Shea, Noah Peirson Funmi Ajayi, Tewogbola Ajayi, Daisy Rowe, Ellie Bradbury, Joe Clines, Amy Glenister, Hollie Luff, Riley Stroud / Richard Chapman, Georgia Cornell, Ellie Dickens, Grace Watkins, Sydney Craddock, Jessica Hodgson Jack Taylor / Luc Oratis

CREATIVE TEAM Anna Ledwich Tom Brady Dale Rooks Simon Higlett Ryan Dawson Laight James Whiteside Colin Billing Gregory Clarke Lauren Grant Bobby Brook Teddy Clements James Humphreys

Book Music Director Set Designer Costume Designer Lighting Designer Musical Director Sound Designer Movement Director Associate Director Rehearsal Pianist Copyist Costume Supervisor Costume Makers

Costume Breakdown Costume Prop Makers

Kingsley Hall Katy Adeney, Lucy Anderson, Hannah Boothman, Jordan Edwards, Kate Healy, Tilly Kaye, Lou Petty, Sarah Stoddard, Josie Thomas, Kelsey Lianne Vickery, Rosie Whiting, Eleanor Wilkinson Lottie Higlett April Dalton, Elliot Ditton, Ginny Graham, Julie Sayers, Gabrielle Selwyn Smith, Elliot Squire, Charlie Tymms, Oscar Wanless

Head of Wardrobe Wardrobe Assistants Head of Props Props Maker Sound No 1 Sound No 2 Lighting Programmer Automation Operator Apprentice Lighting Design Assistant Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager Trainee Assistant Stage Manager Chaperone Manager Head Chaperone COVID Officer

Loz Tait Amy Jeskins, Gina Warnes Charlotte Neville Sarah Crispin Mike Keniger Fuzz Guthrie and Ryan Pantling Laura Howells Lewis Ellingford Emily Williamson Paul Hennessy Sally Ann Garner-Gibbons / Lou Bann Andrew Reed / Victoria Rousell Isobel Eagle-Wilsher / Laura Levis Seren Partridge / ZoĂŤ Lyndon-Smith Elspeth Barron Janette McAlpine / Tracy Clayton Harriet Saffin

TECHNICAL YOUTH THEATRE / CHICHESTER COLLEGE TECHNICAL STUDENTS Junior Assistant Stage Managers Abbie Williams / Amy Kirkman Junior Props Makers Amy Kirkman, Zoë Lyndon-Smith, Seren Partridge,

Abbie Williams, Oskar Wilson Junior Costume Assistants Tobias Dane, Annie Francis, Xander Gostage,

Anastasia Jardin, Hannah Lee-Sargent,

Henry Reeder, Evie Richardson, Bethany Stallard Junior Follow Spot Operators Jack Goodland, Jack Hobbins,

Ollie Howlett, Ben Stitson Junior Radio Mic Runners Finley Bradley, Daniel Kay,

Ethan Lowe, Finley Macknay MUSICIANS Colin Billing Hannah Lawrance Dominique Pecheur Sandy Suchodolski Mike Parkin Owain Harries

Keyboard Flute / Clarinet / Alto Sax Cello Bass Percussion Trumpet / Flugelhorn / Piccolo Trumpet

MUSICAL NUMBERS The Toys You Make Best Days of Your Life Stringless The Land of Loot I Promise There’s No ‘I’ in We Wonderland I Promise reprise The Toys You Make reprise Chichester Festival Theatre gratefully acknowledges the support from the families of Youth Theatre cast and crew members.

With special thanks to the following for all their support and dedication: Cat Beveridge, Lucy Anderson, Daniel Hill, Lily Holloway, Helen Flower, Scenery built and painted by Capital Scenery, Scenic Drapery by Promptside Theatrical, Production Carpenter Steve Bush, Lighting Hires by White Light, John Rockliffe for tubular bells and crotales hire, Mark Flashman at Lollipop Printing and Arthur JJ Collibrass.

Thanks to our wonderful chaperones without whom none of this would be possible: Clare Apel, Vicky Barkes, Ella Bassett, Jenny Beadle, Tom Chown, Tracy Clayton, Simone Craddock, Freddie Dempster, Ellie Edwards, Hannah Hogg, Richard Knowles, Samantha Luff,Emily McAlpine, Janette McAlpine, Rachel Perri, Louise Rigglesford, Becky Stuckey, Margaret Todd, Ian Wadey, Laura Wadey.

Rehearsal photography by Richard Gibbons Production photography by Manuel Harlan Programme design by Davina Chung Supported by the Pinocchio Commissioning and Patrons Circles: Mrs Veronica J Dukes, John and Chrissie Lieurance, Greg and Katherine Slay, Bryan Warnett of St. James's Place and all those who wish to remain anonymous.

#Pinocchio

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BIOGRAPHIES

COLIN BILLING Musical Director Previously at Chichester Musical Director and Orchestrator for The Wizard of Oz, Musical Director for Sleeping Beauty, Beauty and the Beast, Peter Pan, A Christmas Carol and The Hundred and One Dalmatians (Festival Theatre).

Theatre credits as Musical Director include Lend Me A Tenor – The Musical (Gielgud Theatre and Theatre Royal Plymouth), West Side Story (RWCMD), Lift Off! (opening show at Leicester’s Curve), Chasing Fate (Birmingham Hippodrome), Marina Laslo’s Russian Romance (Barbican Hall), The Lion, the Witch and the Wardrobe (Leicester Haymarket); as Musical Director/ Orchestrator Sleeping Arrangements (Landor Theatre and UK tour); as Musical Director/ Arranger Beyond Phantom (UK tour), Kaye’s the Word (New End Theatre and tour), Friends Like Us (Arts Theatre), The Maladjusted Songster (Plush Rooms San Francisco); as Musical Director/Arranger/Orchestrator The Wizard of Oz (Leicester Haymarket), Three Men THE COMPANY

In a Boat (UK tour), No One in the World (Cochrane Theatre), Brenda Bly – Teen Detective (world premiere, Bridewell Theatre); as Musical Supervisor/Arranger A Spoonful of Sherman (St James’ Theatre), Bugle Boy (UK tour), Christmas with The Salvation Army (Royal Albert Hall); as Musical Supervisor/Orchestrator Bumblescratch (workshop and demo album), Godspell (UK tour), City of Angels (LSMT/Bridewell Theatre).

Vocal Coaching and Musical Theatre workshops include London School of Musical Theatre, Royal Welsh College of Music and Drama, Chichester Festival Theatre, Royal Central School of Speech and Drama, University of Warwick, University of Chichester and Big Little Theatre School of which he is Co-Founder. colinbilling.co.uk TOM BRADY Composer Previously at Chichester The Butterfly Lion, Sleeping Beauty (Composer), Flowers for Mrs Harris (Musical Supervisor & Musical

Director, also for the recently released cast album), Fiddler on the Roof (Musical Director) and Forty Years On (Musical Director & Musical Arrangements).

Credits as Musical Director include Romantics Anonymous (Wise Children/Bristol Old Vic); Pinocchio (National Theatre); Show Boat, Caroline, Or Change (West End); Anything Goes (Sheffield Crucible and UK tour); Flowers for Mrs Harris, Everybody’s Talking About Jamie, The History Boys (Sheffield Crucible); The Empress (RSC and Kneehigh); Floyd Collins (Wilton’s Music Hall); ABOMINATION: A DUP Opera, The Fall of the House of Usher (Lyric Theatre, Belfast Ensemble); Les Mélodies du Bonheur (Orchestre National de Lille); Lunaria (Queen Elizabeth Hall); A Tale of Two Cities (Royal & Derngate Northampton); December Songs (St James Theatre); Evita (Festival Ljubljana, Slovenia); Have a Nice Life (Edinburgh and NYC Fringe).

As Associate/Assistant MD The Light Princess, She Stoops to Conquer (National THE COMPANY

Theatre); 13 (Apollo, West End); My Fair Lady (Sheffield Crucible); Wah! Wah! Girls (Sadler’s Wells and Kneehigh).

Tom read Music at Oxford University before training at the Royal Academy of Music, from which he received the ARAM award. He now teaches on the Royal Academy of Music Musical Theatre course.

BOBBY BROOK Associate Director Bobby is the co-founder of the award-winning Cloakroom Theatre, whose debut production Sex With Robots and Other Devices at the King’s Head Theatre won The Adrian Pagan Award and the Live Theatre Live Lab Bursary 2017. In 2014 she was awarded a BBC Performing Arts Fund Fellowship. She is an Artistic Associate of the National Youth Theatre and an Education Associate for Shared Experience.

Directing credits include Hello Dolly!

(London College of Music); Spamalot and Company (Stanwix Theatre, University of

Cumbria); Bold Girls (Theatre By The Lake); The Acedian Pirates and It Never Ends (Theatre503); Bold As Brass (Duke of Clarence); Animal Farm and The Book of Everything (Harrogate Theatre); DeoxyriboNucleic Acid (National Theatre Connections); Lily (Theatre503 Futures) as well as short plays and devised pieces for Theatre503, Tristan Bates Theatre, The Pleasance, Miniaturists and Bits of Obits.

Associate credits include Beauty and The Beast (Theatre By The Lake); As You Like It (Shared Experience/national tour); Land of Our Fathers (national tour); My Mother Said I Never Should (St James Theatre); Henceforward (Stephen Joseph Theatre/national tour).

Assistant credits include After The Dance, As You Like It (Theatre By The Lake); The Life of Stuff (Theatre503); Land of Our Fathers and A Handful of Stars (Theatre503 and Trafalgar Studios); My Mother Said I Never Should and Bus (West Yorkshire Playhouse); The Laramie Project, Krapp’s Last Tape and The Zoo Story (Harrogate Theatre).

THE COMPANY

Bobby has also worked on short and feature films for Channel Four, Shoot Productions and Queer as Film.

GREGORY CLARKE Sound Designer Previously at Chichester The Wizard of Oz, The Butterfly Lion, Sleeping Beauty, The Watsons, The Midnight Gang, Beauty and the Beast, Peter Pan, A Christmas Carol, Mrs Pat, The Boy in the Striped Pyjamas.

Theatre includes The Bridges of Madison County, The Bay at Nice, Spamilton, The Gronholm Method, Barnum, The Lie, The Secret Diary of Adrian Mole aged 13¾ The Musical (also West End), Love In Idleness, She Loves Me (Menier Chocolate Factory); Orpheus Descending (Theatr Clwyd/Menier); Rosmersholm (Duke of York’s); Twelfth Night (Royal Lyceum Edinburgh); The Color Purple (Broadway); Medea, The Doctor’s Dilemma, Misterman (National Theatre); The Goat, Or Who Is Silvia? (Theatre Royal Haymarket); The Truth

(Wyndham’s); The Merry Wives of Windsor, The Two Noble Kinsmen, The Alchemist, All’s Well That Ends Well, Coriolanus, Tantalus, Cymbeline, A Midsummer Night’s Dream (RSC); Journey’s End (Duke of York’s/New York, Drama Desk Award for Outstanding Sound Design); Equus (Gielgud/New York, Tony Award for Best Sound Design); Welcome Home Captain Fox!, My Night With Reg, Versailles, The Night Alive, A Voyage Round My Father, The Philanthropist (Donmar); Clarence Darrow, A Flea In Her Ear, National Anthems, Six Degrees of Separation (Old Vic); The Beacon, Albion, Against, The Merchant of Venice, Cloud Nine (Almeida); Shelter, Furniture, Richard III, Sive, Waiting for Godot (Druid Theatre); The Night Alive, The Philanthropist, Pygmalion (New York); My Night With Reg, Goodnight Mister Tom, The Vortex, A Voyage Round My Father, And Then There Were None, Some Girls, What the Butler Saw (West End).

TOP ROW: COLIN BILLING DALE ROOKS LAUREN GRANT

LAUREN GRANT Movement Director Previously at Chichester Movement Director for The Wizard of Oz, Assistant Director for Beauty and the Beast and Peter Pan (Festival Theatre), Assistant Choreographer for Grimm Tales (Cass Sculpture Foundation).

Theatre credits as Director include Doormats at Chichester Festival Theatre (in partnership with The Paper Birds Theatre Company) and #Getonyoursoapbox at Live Theatre Newcastle.

Lauren is an alumni of Step Change, the National Theatre’s professional development and leadership programme. She has worked extensively with children and young people designing and delivering arts projects across the country including Live Theatre Newcastle, New London Performing Arts Centre and Stretton Arts Festival.

Lauren studied dance at Stella Mann College of Performing Arts and Musical Theatre at Mountview Academy of Theatre Arts.

THE COMPANY

Lauren is Deputy Director of Learning, Education and Participation (LEAP) at Chichester Festival Theatre and manages their work with children and young people.

SIMON HIGLETT Set Designer Previously at Chichester The Butterfly Lion, The Midnight Gang, The Chalk Garden, The Norman Conquests, Mrs Pat, Amadeus, Stevie (also Hampstead), The Resistible Rise of Arturo Ui, Singin’ in the Rain (also world tour), Rosencrantz and Guildenstern Are Dead, Collaboration/Taking Sides, Nicholas Nickleby (all West End transfers), A Marvellous Year for Plums, The Grapes of Wrath, The Circle, The Ragged Trousered Philanthropists. For CFYT: The Wizard of Oz, Sleeping Beauty, Beauty and the Beast, Peter Pan, A Christmas Carol, The Lion, the Witch and the Wardrobe.

Future designs (postponed due to Covid-19): Singin’ in the Rain (Sadler’s Wells), Derren Brown’s Showman, Don Giovanni (Scottish Opera), La traviata (Nevill Holt Opera), The Merry Widow (Holland Park Opera), Private Lives (Theatre Royal Bath).

Recent designs include Big the Musical, The Price, An Ideal Husband (West End), Song at Twilight, Racing Demon (Bath), Falstaff (Grange Festival), The Magic Flute (Scottish Opera), The Wizard of Oz (Leeds Playhouse), Twelfth Night (Royal Shakespeare Company), Some Mothers Do ‘Ave ‘Em (UK tour), Schoenberg in Hollywood (Boston Lyric Opera).

Other highlights: Chitty Chitty Bang Bang (West Yorkshire Playhouse/tour), Love’s Labour’s Lost and Love’s Labour’s Won (RSC/Chichester/ West End), Blithe Spirit (West End/USA), The Force of Change (Royal Court), Yes Prime Minister, Hay Fever (West End), Accidental Death of an Anarchist (Donmar), Enemies, Whistling Psyche, The Earthly Paradise (Almeida), A Russian in the Woods, Singer, Thomas More (all RSC), Pygmalion (Old Vic).

Awards: two TMA Best Design Awards and Helen Hayes Award (USA).

RYAN DAWSON LAIGHT Costume Designer Previously at Chichester The Wizard of Oz, Crossing Lines, Sleeping Beauty, Beauty and

the Beast, Peter Pan, A Christmas Carol, Grimm Tales.

Theatre includes My Brilliant Friend (National Theatre, Associate Costume Design alongside Soutra Gilmore); Don Quixote, The Tempest, The Snow Queen, Peter Pan, Brave New World, Swallows and Amazons, Dracula, A Christmas Carol, Alice in Wonderland, Hamlet, Macbeth, As You Like It, Henry IV, King Lear and Treasure Island (Creation Theatre); for Le Gateau Chocolat Duckie (Royal Festival Hall), Icons (Edinburgh Festival), Black (Unity Theatre Liverpool/Soho Theatre) and Le Gateau Chocolat (Menier Chocolate Factory); HMS Pinafore, Chess, Blondel and The Mikado (Union Theatre national tours); for the Brit School Landmines (Oval House); Sticky and Infinite Joy (Southwark Playhouse); Chip Shop The Musical (Octagon Theatre Bolton); Ice Cream Opera (Freedom Arts Studio).

Dance includes Botis Seva’s BLKDOG (Sadler’s Wells, Olivier Award Best New Dance 2019); Blak Whyte Gray (Boy Blue/Barbican, Olivier Award Nomination 2018); REDD (Boy Blue/Barbican Theatre); Madhead (NYDC/ Sadler’s Wells); Wasteland, Coal (Gary Clark Company, UK Theatre Award for Achievement in Dance); Toro, Mariposa, Ham and Passion (DeNada Dance Theatre); Drew McOnie’s Drunk (Leicester Curve/Bridewell Theatre) and Good Morning Midnight (Jermyn Street Theatre); Genius (Anjali); New Ways Of Living (Pink Fringe Brighton); Je Suis (Aakash Odedra Company/ Lillian Baylis Studio/Sadler’s Wells); Ruffle (Carlos Pons Guerra/Rambert Dance/Lowry Theatre); Hear Hear (Deaf Men Dancing/ Sadler’s Wells). ryandawsonlaight.com Instagram @laightyboyy ANNA LEDWICH Writer Anna began her directing career at Theatre503 where she directed a number of world premieres before being made an Associate Director. She was awarded the Michael and Morvern Heller Director‘s Bursary at Chichester Festival Theatre where she assisted directors such as Richard Eyre and Rupert Goold. In 2012 Anna was made co-Artistic Director of Theatre on the Fly at Chichester Festival Theatre.

Her adaptation of Michael Morpurgo’s The Butterfly Lion premiered at the Minerva Theatre in 2019; her play Crossing Lines, a promenade performance by Chichester Festival Youth Theatre, also premiered last year.

Her adaptation of Beauty and the Beast for Chichester Festival Youth Theatre premiered in 2017.

Anna received the Gate Theatre/Headlong New Directions Award for her adaptation of Frank Wedekind’s Lulu and retuned to the Gate the following year to adapt and direct Arthur Schnitzler’s Dream Story.

She was nominated for the 2015 Olivier Award Outstanding Achievement in an Affiliate Theatre for her production of Four Minutes Twelve Seconds at Hampstead Theatre Downstairs, which subsequently transferred to Trafalgar Studios.

Her production of Dry Powder at Hampstead Theatre was nominated for the 2018 Olivier Award for Best Comedy.

Further credits as director include: Deluge, The Argument, Labyrinth, Kiss Me, No One Will Tell Me How To Start a Revolution, Wilderness (all Hampstead), The Stick House (Bristol Old Vic/Temple Meads Station), The Importance of Being Earnest (Guildford Shakespeare Company), Cookies (Theatre Royal Haymarket), Roundelay (Southwark Playhouse), Lovely And Misfit (Trafalgar Studios).

the Witch and the Wardrobe, A Christmas Carol, Alice in Wonderland, Peter Pan and Beauty and the Beast.

She has also directed for the National Theatre (NT Connections), Regent’s Park Open Air Theatre, Royalty Theatre London, Brighton Dome, London Thames Festival, International Youth Arts Festival and the Edinburgh Fringe Festival. Other credits include Stage Director for The Shakespeare Schools Festival, opera projects with West Sussex Schools and the BBC Concert Orchestra players, and European Schools’ Drama Project with companies in Normandy, France.

Dale has worked as Education Specialist for the London based company Artichoke, designing and creating a programme of work for schools in London and Brooklyn, New York and on a further live arts project as part of the Liverpool City of Culture Celebrations. Other credits include working in partnership with NAYT (National Association of Youth Theatres); Dale is the Lead Officer for the South East region, networking with other youth theatres in the South of England.

Dale is Director of Learning, Education and Participation (LEAP) at Chichester Festival Theatre and works extensively with children and young people. She is a Board member and ex officio Director of Arts at Bishop Luffa School, Chichester.

DALE ROOKS Director Dale Rooks’s promenade production of Michael Morpurgo’s Running Wild was staged for Festival 2015, winning the UK Theatre Award for Best Show for Children and Young People.

She co-directed, with Tim Sheader, a reimagination of Running Wild for Regent’s Park Open Air Theatre 2016 and a UK tour in 2017.

In 2018, Dale directed the world premiere production of The Midnight Gang (based on David Walliams’s novel) in the Festival Theatre, and in 2019 directed the world premiere of Michael Morpurgo’s The Butterfly Lion in the Minerva Theatre.

Dale’s other directing credits for Chichester Festival Youth Theatre include The Hundred and One Dalmatians, The Witches, The FireworkMaker’s Daughter, Toad of Toad Hall, The Lion,

JAMES WHITESIDE Lighting Designer Previously at Chichester The Wizard of Oz, Sleeping Beauty, The Midnight Gang, Beauty and the Beast, Peter Pan, A Christmas Carol, The Hundred and One Dalmatians, A Marvellous Year for Plums, The Lion, The Witch and The Wardrobe, Alice in Wonderland and The Snow Queen (Festival Theatre), Miss Julie/Black Comedy, The Witches, The Ragged Trousered Philanthropists, Wallenstein and Funny Girl (Minerva Theatre), Running Wild (Festival Theatre and UK tour).

Theatre includes Torch Song (Turbine Theatre); Ain’t Misbehavin’ (Southwark Playhouse/Mercury Colchester); The Art of Success, The Taste of the Town, Love’s Labour’s Lost (Rose, Kingston); Tango Moderno, Shirley Valentine, Love Me Tender (UK tours); The

Borrowers (Sherman Theatre Cymru); Unfaithful (Found 111); The House of In Between (Theatre Royal Stratford East); Jumpy (Theatr Clwyd); The Royale, Disgraced, Fear (Bush Theatre); Deathtrap, A Voyage Round My Father (Salisbury Playhouse); The Last Tango, Dance Til Dawn, Midnight Tango, Never Forget, Footloose (West End and UK tours); The Night Before Christmas, Little Sure Shot, Salonika (West Yorkshire Playhouse); Monsieur Popular, Animal Farm (Theatre Royal, Bath); Far From the Madding Crowd (Watermill Theatre); The Dumb Waiter

THE COMPANY

(Print Room); The Jungle Book (Citizen’s Glasgow); Stroke of Luck (Park Theatre); Bully Boy (St James Theatre); Holding the Man (Trafalgar Studios); The Female of the Species (Vaudeville); April in Paris, The Odd Couple, Moonlight and Magnolias, Twelfth Night (Perth Theatre); James and the Giant Peach (Birmingham Stage Company); The Gruffalo, The Gruffalo’s Child, Room on the Broom and The Snail and the Whale (Tall Stories Theatre Company).

BEGINNERS CALL Keen on theatre but don’t want to perform? The Technical Youth Theatre may be for you.

With every show, the spotlight falls inevitably on the performers on stage. But have you ever stopped to wonder who is operating that spotlight? Who makes those sound effects go off at just the right moment? Who sewed the costumes, sourced the props and made sure all the elements came together as a seamless whole?

Running alongside the Chichester Festival Youth Theatre groups focusing on drama, dance and musical theatre, the Technical Youth Theatre offers a chance to explore all the practical, technical and creative elements that go into putting on productions: from lighting and sound design and stage management roles to puppetry, costume and prop-making.

‘We try to give everyone a taste of the minutiae of what it means to work backstage.’

It’s led by Sally Garner-Gibbons, who is Deputy Head of Learning for Creative and Performing Arts at Chichester College, and also acts as the company stage manager for all CFYT shows.

‘I’ve been working with the Youth Theatre since 1998, and we always had a little army IMAGE COURTESY OF CARL PENDLE

of backstage cadets – in fact Graham Taylor, now CFT’s Head of Lighting, was one of those people,’ says Sally. ‘By 2008, there was a bigger influx of young people interested in the technical side, so we established a group which very quickly grew into weekly sessions.

‘We try to give everyone a taste of the minutiae of what it means to work backstage.

We do a lot of making and designing – prop and costume making, masks and puppetry. We look at lighting and sound, and stage management techniques such as scale measuring and how to cue a sequence. We have visiting lecturers and the CFT staff are incredibly generous with their time and expertise.’

The most exciting aspect for most participants is the chance to work on the CFYT productions alongside the professional technical and stage management teams.

‘Everything we’ve covered in the Youth Theatre sessions suddenly comes to life,’ says Sally. ‘We’ve been so fortunate with the Deputy Stage Managers [who call the actors’ and technical cues during a performance] and Assistant Stage Managers [generally responsible for all the props used on a show] because they’ve been so open to having young trainees around.

‘As far as I’m aware, it’s the longest established Technical Youth Theatre in the

country and we’ve had great success with students who’ve done the two-year programme: some go off to drama school or uni, others have come to my course at the College, two or three have gone on to become apprentices at CFT.’ The experience can open the door to career possibilities of which young people were previously unaware.

‘Theatre is not just about what happens on stage or front of house, it’s about all the magic that we make happen.’

‘Often they don’t know anything about stage management when they’re young,’ Sally explains. ‘Matthew Hoy, who was one of our very early intake, came because he couldn’t find an after school club for photography; he did two sessions on stage management and realised he loved it. He’s now ASM on Hamilton and Les Mis in the West End. Dan Reed is another ASM who started with us and now tours musicals across the world.

‘Another graduate was Jesse Caie; he did my course at the College, became a technical apprentice at CFT and is now an automation technician on Dear Evan Hansen. Georgia Dacey

has just graduated from drama school and is now the Company Stage Manager on Dear Santa in the Minerva – back where it all began!’

But whether or not you decide to make theatre your career, Sally is clear that any young person will get a lot out of the experience.

‘The wonderful thing about the Tech Youth Theatre is that it becomes a skills-sharing opportunity. I see the progression: having done two Christmas or Summer shows, the young people then mentor the new intake. And because people tend to join with people they’ve never met before, they have to forge relationships outside their tight little school group. It builds their confidence and communication skills.

‘I try really hard to ignite the flame that I had ignited in me, all those years ago, about how wonderful it is to be backstage. Theatre is not just about what happens on stage or front of house, it’s about all the magic that we make happen.’

Technical Youth Theatre sessions run one evening a week during term-time at CFT. Anyone in Year 10+ can apply; no experience is necessary. For more information please email cfyt@cft.org.uk or visit cft.org.uk/cfyt and fill in the application form; there is a waiting list but there are likely to be vacancies for the January term.

S TA F F

LEAP

TRUSTEES Sir William Castell

Chairman

THEATRE MANAGEMENT

Elspeth Barron

LEAP Officer

Freddie Dempster

Mr Alan Brodie Ms Judy Fowler Ms Odile Griffith

Vice Chair

Gill Dixon

Deputy Director of LEAP

Ben Geering

Hannah Hogg

Youth & Outreach Officer

Karen Hamilton

Richard Knowles

Ms Georgina Liley

Poppy Marples

Mr Mike McCart

Louise Rigglesford

Ms Holly Mirams

Dale Rooks

Mr Harry Matovu QC

Janet Bakose

Lauren Grant

Ms Victoria Illingworth Rear Admiral John Lippiett CB CBE

Youth & Outreach Trainee

Education Projects Manager Senior Youth & Outreach Officer Senior Community & Outreach Manager

Theatre Manager Front of House Duty Manager House Manager Front of House Duty Manager

Will McGovern

Assistant House Manager

Sharon Meier Joshua Vine

PA to Theatre Manager Front of House Duty Manager

Gabriele Williams

Deputy House Manager (Maternity Leave)

Director of LEAP WARDROBE & WIGS

Mr Nick Pasricha Mr Philip Shepherd

MARKETING, PRESS & SALES

Ms Stephanie Street

Carole Alexandre

Ms Tina Webster

Josh Allan

Mrs Susan Wells

Caroline Aston

Box Office Assistant Audience Insight Manager

Becky Batten ASSOCIATES

Loz Tait

Head of Wardrobe

Distribution Officer

Head of Marketing

Laura Bern

Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton

Marketing Manager

Ushers: Miranda Allemand, Maria Antoniou,

Box Office Supervisor

Jacob Atkins, Carolyn Atkinson, Brian Baker,

Kate Bassett

Literary Associate

Jenny Bettger

Charlotte Sutton CDG

Casting Associate

Jessica Blake-Lobb Marketing Manager (Corporate)

Bob Bentley, Gloria Boakes, Janet Bounds,

Helen Campbell

Louisa Chandler, Helen Chown, Jo Clark,

BUILDING & SITE SERVICES Chris Edwards Lez Gardiner Daren Rowland Graeme Smith

Maintenance Engineer Duty Engineer Facilities Manager Duty Engineer

DEVELOPMENT David Beal

Eleanor Blackham

Interim Deputy Director of Development Memberships Officer

Deputy Box Office Manager

Lydia Cassidy

Director of Marketing & Communications

Hannah Dobson

Communications Assistant

Judith Bruce-Hay, Julia Butterworth, Gaye Douglas, Stella Dubock, Clair Edgell, George Edwards, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook,

Maddie Harker

Box Office Assistant

Barry Gamlin, Charlie Gardiner, Luc Gibbons,

Rebecca Harte

Box Office Assistant

Anna Grindel, Karen Hamilton, Caroline Hanton,

Lorna Holmes

Box Office Assistant

Joseph Harrington (Trainee), Gillian Hawkins,

Helena Jacques-Morton James Morgan

Marketing Officer Box Office Manager

Lucinda Morrison

Head of Press

Joanne Heather, Lottie Higlett, Paige Holdsworth, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Lucy Jenkinson, Pippa Johnson, Ryan Jones,

Kirsty Peterson

Box Office Assistant

Jan Jordan, Jon Joshua, Sally Kingsbury,

Alice Stride

Box Office Assistant

Alexandra Langrish, Valerie Leggate,

Rosie Hiles Corporate Development Manager

Anne-Marie Varberg

Box Office Assistant

Emily McAlpine, Janette McAlpine, Chris Monkton,

Laura Jackson

Head of Individual Giving Memberships Officer

Fran Boxall Julie Field

Karen Taylor Joanna Walker

Development Administrator Friends Administrator

Director of Development

Joshua Vine

Box Office Supervisor

Susan Mulkern, Georgie Mullen, Isabel Owen,

Claire Walters

Box Office Assistant

Martyn Pedersen, Kirsty Peterson, Helen Pinn,

Joanna Wiege

Box Office Administrator

Lydia Piper, Barbara Pope, Justine Richardson,

Jane Wolf

Box Office Assistant

Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear,

PRODUCTION

DIRECTORS Kathy Bourne

Executive Director

Daniel Evans

Artistic Director

Patricia Key Georgina Rae Julia Smith

PA to the Directors Head of Planning & Projects Board Support

Andy Trust (Trainee), Joshua Vine,

Stephen Bailey

Resident Assistant Director

Amelia Ferrand-Rook Claire Rundle

Producer

Nicky Wingfield

Production Administrator

Jeremy Woodhouse

Production Administrator / Producer Pinocchio Producer

Alison Baker

Payroll & Pensions Officer

Krissie Harte

Finance Officer IT Support

TECHNICAL Adrien Corcilius

Deputy Head of Lighting

Simon Parsonage

Mike Keniger

Video & AV Technician

Sam Garner-Gibbons

Finance Director & Company Secretary IT Support

Paul Sturgeon

IT Consultant

Amanda Trodd

Management Accountant

Katie Hennessy Karl Meier Tom Robinson

Neil Rose James SharplesÂ

HR Emily Oliver Jenefer Pullinger

Gillian Watkins

Kim Wylam, Jane Yeates We acknowledge the work of those who give so generously of their time as our Robert Dunn, Geraldine Firmston, Suzanne France,

Steph Bartle

Katie Palmer Assistant Management Accountant

Mark Pollard

James Wisker, Donna Wood,

Volunteer Audio Description Team: Tony Clark,

FINANCE

Will Jupp

Rosemary Wheeler, Jonathan Wilson (Trainee),

Graham Taylor Accommodation Coordinator

Emily Williamson

Technical Director Props Store Co-ordinator Head of Sound Head of Stage Senior Stage & Construction Technician Deputy Head of Sound Senior Stage Crew & Rigger Head of Lighting Technical Theatre Apprentice

HR & Recruitment Officer (Maternity Leave) HR Officer

cft.org.uk/aboutus

Sue Hyland, David Phizackerley, Christopher Todd

ACCESS AND CAR PARKING

Wheelchair users 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 Autumn 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

As a registered charity, never before has Chichester Festival Theatre been so reliant on the generosity of our supporters. We are grateful to each and every donor, sponsor and member who has stood by us during this difficult year and allowed us to continue sharing the power of live art with our communities – we could not have done it without you. As we look forward to the future, there are a variety of ways you can get involved and show support for Chichester Festival Theatre.

HOW YOU CAN HELP You can create an immediate difference by making an online donation to support the theatre: cft.org.uk/donation Join the Friends scheme and benefit from priority booking, discounts and special events.

Membership from £35 As a Festival Player, you will receive advance priority booking and exclusive events as thanks for your generous support.

Membership from £250 (£75 minimum plus £175+ donation).

By supporting individual shows, Commissioning and Patrons Circle members can follow a production from ‘page to stage’ and receive exclusive behind-the-scenes access and detailed insights into the creative process.

Membership from £800 (£100 minimum plus £700+ donation).

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

Gifts from £3,000 For businesses, a Corporate Partnership is the perfect way to support a local Theatre whilst benefiting from increased profile, branding, advertising, hospitality, exclusive events and tickets.

Please get in touch for more information: cft.org.uk/supportus | development.team@cft.org.uk | call 01243 812881

cft.org.uk/supportus

S U P P O R T E R S 202 0

INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry George W. Cameron OBE and Madeleine Cameron Sir William and Lady Castell David and Sonia Churchill John and Pat Clayton John and Susan Coldstream Clive and Frances Coward Yvonne and John Dean Jim Douglas George and Natasha Duffield Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Sir Michael and Lady Heller 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 Graham and Sybil Papworth Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE David and Sophie Shalit Simon and Melanie Shaw Greg and Katherine Slay David and Alexandra Soskin Alan and Jackie Stannah Oliver Stocken CBE Peter and Wendy Usborne TRUSTS AND FOUNDATIONS Andrew Lloyd Webber Foundation Artswork The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Chartered Accountants’ Livery Charity Chichester District Council Elizabeth, Lady Cowdray’s Charity Trust The G D Charitable Trust The John Coates Charitable Trust The Noël Coward Foundation The Roddick Foundation Wickens Family Foundation

FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Tom Reid and Lindy Ambrose Paul Arman His Honour Michael Baker and Edna Baker Mr Brian Baker The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Franciska and Geoffrey Bayliss Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Sarah Mansell and Tim Bouquet Janet Bounds Pat Bowman Lucy and Simon Brett Nick and Carol Brigstocke Therese Brook Peter and Pamela Bulfield Jean Campbell Julie Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Sally Chittleburgh David and Claire Chitty Mr and Mrs Jeremy Chubb Denise Clatworthy Annie Colbourne David and Julie Coldwell Mr & Mrs Barry Colgate The Colles Trust Mr Charles Collingwood and Miss Judy Bennett Michael and Jill Cook Freda Cooper Brian and Claire Cox Susan Cressey Deborah Crockford Jonathan and Sue Cunnison Rowena and Andrew Daniels Jennie Davies The de Laszlo Foundation 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 Anthony and Penny Elphick Sheila Evans Gary Fairhall Brian and Sonia Fieldhouse Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Jane Fogg Robert and Pip Foster Jenifer and John Fox Debbie and Neil Franks Terry Frost Mr Nigel Fullbrook George Galazka Alan and Pat Galer

Robert and Pirjo Gardiner Wendy and John Gehr Marion Gibbs CBE Stephen J Gill Olwen Gillmore Mr and Mrs Paul Goswell Robin and Rosemary Gourlay R and R Green Reverend David Guest Ros and Alan Haigh Dr Stuart Hall David Harrison Dennis and Joan Harrison Roger and Tina Harrison Julia and Tom Haxworth 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 Maria and David Johnson Robert Kaltenborn Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Anna Christine Kennett Geoffrey King James and Clare Kirkman Elaine Leaver Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Anthony and Fiona Littlejohn Amanda Lunt Jim and Marilyn Lush Dr and Mrs Nick Lutte Robert Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Adrian Marsh and Maggie Stoker Sue Marsh Charles and Elisabeth Martin Trevor & Lynne Matthews John and Sally-Ann McCormack Tim McDonald Jill and Douglas McGregor James and Anne McMeehan Roberts Andrew McVittie Mrs Michael Melluish Celia Merrick Diana Midmer David and Di Mitchell Jenifer and John Mitchell Gerald Monaghan Nick & Pat Moore Sue and Peter Morgan Roger and Jackie Morris Sara Morton Terence F Moss Mrs Mary Newby Patricia Newton Bob and Maureen Niddrie Pamela and Bruce Noble

Eileen Norris Jacquie Ogilvie Margaret and Martin Overington Mr and Mrs Gordon Owen Richard Parkinson and Hamilton McBrien Alex and Sheila Paterson Simon and Margaret Payton Terry and John Pearson Stephen & Annie Pegler Jean Plowright John Pritchard Trust Brian & Margaret Raincock John Rank David Rees The Rees Family Malcolm and Angela Reid Adam Rice Sandi Richmond-Swift John and Betsy Rimmer Robin Roads John and Valerie Robinson Philip 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 David and Linda Skuse Simon Smith Monique and David Smith Christine and Dave Smithers Mr and Mrs Brian Smouha David & Unni Spiller Mel and Marilyn Stein Elizabeth Stern Barbara Stewart Judy and David Stewart Peter Stoakley Anne Subba-Row Ms Maura Sullivan Professor and Mrs Warwick Targett Patricia Tatspaugh 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 Brett Weaver and Linda Smith Chris and Dorothy Weller Bowen and Rennie Wells Judith Williams Angela Williams Lulu Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald And all those who wish to remain anonymous

‘Chichester Festival Theatre enriches lives with its work both on and off stage.

It is a privilege to be connected in a small way with this inspirational and generous-hearted institution, especially at such a challenging time for everyone in the Arts.’

John and Susan Coldstream, Benefactors and Festival Players

cft.org.uk/supportus

S U P P O R T E R S 202 0

PRINCIPAL PARTNERS

Diamond Level Prof E.F Juniper and Mrs Jilly Styles

Gold Level

HOLIDAY LETS

Silver Level

W E A LT H S O L U T I O N S

CORPORATE PARTNERS Addison Law Behrens Sharp The Bell Inn

Bishops Printers Chichester College FBG Investment

Joanna Williams The J Leon Group Jones Avens

Westminster Abbey William Liley Financial Services Ltd

Please get in touch for more information: cft.org.uk/supportus | development.team@cft.org.uk | call 01243 812881

LEAP

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

COMMUNITY

CHILDREN & YOUNG PEOPLE

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

Chichester Festival Youth Theatre | Holiday Activities | Arts Award

EDUCATION

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

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

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

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

FAMILIES

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

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

cft.org.uk/leap