Murder on the Orient Express digital programme | Chichester Festival Theatre | Festival 2022

MURDER ON THE ORIENT EXPRESS

By Agatha Christie Adapted for the stage by Ken Ludwig

WELCOME

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

FESTIVAL 2022

Welcome on board the Orient Express!

We’re delighted that you have joined us for this new adventure, which represents a joyful Chichester reunion for many of those involved.

Foremost among them, of course, are actor Henry Goodman and director Jonathan Church. Memories of Henry’s outstanding performances in The Resistible Rise of Arturo Ui and Yes, Prime Minister at Chichester and in the West End are cherished by all who saw them, and we are thrilled he is now adding Hercule Poirot to the roster of extraordinary roles he has brought to our stages. Arturo Ui was also directed

by Jonathan Church, who returns to the Festival Theatre where he created so many wonderful productions during his 10-year tenure as Artistic Director.

Our 60th anniversary season would not have been complete without him.

Jonathan, Henry and adaptor Ken Ludwig – whose Crazy for You opens later this summer – are in conversation in this programme about their approach to Christie’s iconic title.

Designer Robert Jones, whose many CFT shows include Oklahoma!, Mack & Mabel and this season’s The Unfriend, joins many familiar members of a superb creative team; while among the marvellous ensemble cast are those also making welcome returns, while others alight here for the first time.

We wish them all bon voyage.

Following Murder on the Orient Express, Stephen Beresford’s new play The Southbury Child, with Alex Jennings, has a two-week run in the Festival Theatre; don’t miss your chance to see it here before it transfers to London!

And then we greet high summer with the toe-tapping Gershwin extravaganza, Crazy for You. We hope you enjoy today’s performance and look forward to seeing you again soon.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

F E S T I VA L 2 0 2 2

THE SOUTHBURY CHILD A new play by Stephen Beresford

Alex Jennings leads the cast in Stephen Beresford’s very funny new play – a deeply humane exploration of family, faith, tradition and tolerance in a rapidly changing world – directed by Nicholas Hytner.

A co-production with The Bridge Theatre

FESTIVAL THEATRE 13 – 25 June #SouthburyChild

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F E S T I VA L 2 0 2 2

Charlie Stemp

THE GERSHWIN MUSICAL COMEDY Music & Lyrics by George Gershwin and Ira Gershwin Book by Ken Ludwig Co-conception by Ken Ludwig and Mike Ockrent Inspired by material by Guy Bolton and John McGowan

A hilarious, riotously entertaining musical packed with glorious Gershwin melodies and stunning tap dance routines, directed and choreographed by the multi Tony and Olivier Award-winning Susan Stroman. Charlie Stemp (Half A Sixpence, Mary Poppins) returns to Chichester to lead the cast.

FESTIVAL THEATRE 11 July – 4 September #CrazyForYou

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LEAP

Our Learning, Education and Participation (LEAP) programme offers practical workshops, projects and special events for over 62,000

GAME CHANGERS: COMMUNITY COMPANIES CFT’s programme of community events for adults range from weekly classes to talks and tours: allowing participants to discover more about the Theatre and its productions, as well as helping build confidence and gain new skills.

Projects and initiatives includes CFT Buddies, the volunteer companion scheme, and Get Into It! – weekly sessions for adults to learn new skills in designing, acting, dancing, singing and devising.

The latest initiative launched in September 2021. The Wednesday and Friday Community Companies offer weekly workshops for adults with learning disabilities. Sessions exploring creativity and developing personal and social skills are open to anyone over the age of 25, all within a supportive and fun-filled environment.

As part of the Digital Stages events celebrating our 60th anniversary, the Wednesday and Friday groups will be creating Game Changer, combining gaming technology with theatrical storytelling and music to create a new virtual theatre experience.

auditorium, the Friday Company members will create a parallel universe on the digital stage with clay characters animated by 3D scanning technology.

Meanwhile, the Wednesday Company members will be working alongside songwriter and musician Michael Fry to create a soundscape to accompany the digital story, offering an immersive utopia.

Game Changer will be released from 8 July 2022; sign up to our regular e-newsletters to hear more about this and the full Digital Stages programme or head to our website, where you can also read more about our Community Companies and projects at cft.org.uk/take-part/community There are currently spaces available in our Wednesday Company, and we would welcome new members to join in the creative, fun and exciting projects we have planned.

If you – or someone you know – would be interested in joining, you can book a free taster session or discuss our bursary scheme in confidence by contacting Louise Rigglesford, Senior Community and Outreach Manager, at louise.rigglesford@cft.org.uk.

The Friday Company will work with Brighton-based BRiGHTBLACK, a digital company specialising in interactive and immersive playable artwork. Using a highly accurate scan of the Festival Theatre

COMMUNITY

people throughout the year. We aim to ensure that everyone, regardless of age, culture and social background, is given the opportunity to enrich

their lives with the joy of creative expression and the arts.

‘I like being creative and having fun’ Wednesday Company member

‘It makes me feel happy and jolly’ Wednesday Company member

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FOOD AND DRINK Enjoy delicious food and drink at our welcoming café and restaurant. Whether you’re having a meal before the show, simply relaxing with a coffee or powering up using our free Wi-Fi, we can’t wait to welcome you.

DINE BEFORE THE SHOW

GREAT COFFEE IN A GREAT LOCATION

Enjoy a contemporary British menu featuring local and seasonal ingredients, a selection of excellent wines and top-notch service in our stylish and award-winning restaurant The Brasserie – the closest restaurant to the Theatre.

A great spot for barista coffee, freshly made sandwiches, delicious cakes and a range of drinks. Our Café on the Park offers indoor and outdoor seating overlooking Oaklands Park and family friendly areas in our spacious foyer.

Open for Festival Theatre performances: matinees from 12pm and evening shows from 5pm. Also available for private hires and functions.

Open Monday to Friday from 10am and from 9am on Saturday so ParkRunners can stop by for much needed refreshment.

Visit cft.org.uk/eat, call 01243 782219 or email dining@cft.org.uk for opening times, reservations, menus and more.

MURDER ON THE ORIENT EXPRESS

By Agatha Christie Adapted for the stage by Ken Ludwig

AGATHA CHRISTIE, 1922 © THE CHRISTIE ARCHIVE TRUST

THE ENDURING APPEAL OF

AGATHA CHRISTIE

By Mark Aldridge

When Murder on the Orient Express was published in 1934, Agatha Christie was at her productive peak. She made her debut with The Mysterious Affair at Styles in 1920 and had since cemented herself as one of the most well-respected and popular writers of detective fiction. By the 1930s she often published two or three books a year, incredible enough in itself even before considering that much of her output has been acknowledged as some of the greatest crime fiction ever written. For example, 1930 saw the publication of Murder at the Vicarage, in which the observant spinster Miss Marple investigates a fatal crime in her village of St. Mary Mead. Then, at the end of the decade, Christie presented the dark thriller And Then There Were None, a masterpiece of suspense and mystery. It has sold in excess of 100 million copies, making it the best-selling mystery novel of all time.

Sitting among this greatness is one of her most famous stories of all, Murder on the Orient Express. For Christie, the novel was more than just another neat idea for a story – it had reallife inspiration. She was influenced by her love of trains and joy at having finally travelled on the Orient Express after the collapse of her first marriage to Archie Christie in 1926. The combined stresses of this and the death of her mother resulted in Christie disappearing for 11 days – leading to much speculation in the press – before she was found recuperating in a Harrogate hotel. Christie then pushed herself forward as a strong independent woman who thought nothing of travelling the world whenever an opportunity arose. Eventually, her travels led her to an archaeological dig where she met her second husband, Max Mallowan.

Part of their honeymoon included travel on the Orient Express, but Christie was disappointed TOP: AGATHA CHRISTIE AT INNSBRUCK STATION, AUSTRIA, c 1930 © THE CHRISTIE ARCHIVE TRUST BOTTOM: AGATHA CHRISTIE AND MAX MALLOWAN IN 1950 IMAGE COURTESY OF NATIONAL PORTRAIT GALLERY

that for this journey she was joined by the same unwelcome passengers who had shared her cabin on an earlier trip – a group of hungry bed bugs.

It isn’t just the setting of Murder on the Orient Express that was a significant influence.

She was also interested in the principles of justice, an important thread that runs through this story and others (to say more may be a spoiler). There was another real-life influence, that of the 1932 kidnap and murder of Charles and Anne Lindbergh’s 20-month-old son.

Charles Lindbergh was a famous aviator, and the press followed the case closely. It seems that Christie was fascinated by the details of the crime as she closely mirrored some of the events surrounding the kidnap for her novel.

It didn’t take long for it to be apparent that Murder on the Orient Express was a very special novel, and Christie considered adapting it for the stage herself, but never wrote a script.

She mulled over the idea of opening the play with a kidnapping in New York, an important background event to the story, but the project never came to fruition.

ORIGINAL AND EARLY EDITIONS OF AGATHA CHRISTIE NOVELS

Although Murder on the Orient Express was both written and set during the 1930s, it’s important to remember that Christie moved with the times. She was a Victorian, born in 1890, who never went to school and lived through two world wars. She assisted with the war efforts in practical ways – from working in a dispensary to allowing her Devon summer home, Greenway, to be used by the military.

By the time of her death in 1976 the world was almost unrecognisable from the one of her childhood. She experienced an incredible period of change, but worked hard to keep up to date.

For example, in the Swinging Sixties her novels take place in the present day, with Poirot even solving a crime that makes use of hallucinogenic drugs. Christie was interested in what was happening in the world, and spent time closely reading newspapers, but was shocked by what she perceived to be a rise in brutality, something that she reflected in her later novels. She was able to do so because she wasn’t a formulaic writer, in fact she enjoyed new challenges. So, it makes sense that her works are still widely read and reimagined nearly half a century after her death, as they offer such variety and insight into a changing world.

One challenge that Christie tackled early in her career was the best way to place her mysteries on stage. Original plays included the Poirot thriller Black Coffee, while she also turned her hand to a lighter mystery with a comic touch for Spider’s Web, specially written for Margaret Lockwood. Sometimes she adapted existing stories, most famously Three Blind Mice, a short one-act radio play written THE MOUSETRAP AT LONDON’S ST MARTIN’S THEATRE

to celebrate Queen Mary’s 80th birthday in 1947. The mystery was later reworked as a short story, before being presented in its most famous form – The Mousetrap in London’s West End. The stage play opened in 1952 and is still running some 70 years and more than 28,000 performances later. Its success gave Christie confidence to continue her work as a playwright, and she is the only woman to have had three of her plays running simultaneously in the West End. More than 130 years after her birth, Agatha Christie’s legacy seems secure. Since 2017 her play, Witness for the Prosecution, has been in permanent residence at County Hall in London, and adaptations of her stories continue, including recent big-budget Hollywood spectacles and television dramas. Perhaps we should expect no less from the best-selling novelist in history, who has sold over one billion books in English – and a further billion plus in other languages.

Agatha Christie was a private but fascinating woman, and an author who achieved the rare distinction of being loved by readers and praised by critics. Her name has become synonymous with tightly plotted mysteries that offer strong characterisation and gripping stories, as she leads us by the hand through all the key evidence – before pulling the rug from beneath us as she neatly presents the solution to our shocked eyes.

Dr Mark Aldridge is the author of Agatha Christie’s Poirot: The Greatest Detective in the World, which tells the full story of Christie’s Belgian detective.

TALKINGOF TALKING OF At the start of rehearsals, Fiona Mountford sat down to puzzle things out with director Jonathan Church, adaptor Ken Ludwig and actor Henry Goodman.

What is the perennial appeal of Murder on the Orient Express?

Jonathan Church From a Poirot perspective, it’s the only one where he... I probably shouldn’t say that! The answer to the question of whodunnit is the most complex. Like the other great popular Agatha Christie novel, Death on the Nile, it’s the very location that in some way summarises everything about a period, a class, the appeal of Downton and so on. It’s all condensed into the train itself.

Ken Ludwig It’s such an exotic world. I think people love it because it’s so romantic. The clothes are beautiful, it’s a setting we all want to live in, like Downton. It’s a world we JONATHAN CHURCH KEN LUDWIG HENRY GOODMAN

fantasise about and we get to spend two glorious hours there.

Henry Goodman It is brilliantly and carefully written. The journey it takes you on is so beguiling that you’re charmed.

How much of a Christie fan were you coming into this?

JC I fell in love with the genre of crime fiction as a teenager. I read Agatha Christie, Conan Doyle and the American teenage equivalents like Nancy Drew and the Hardy Boys. There is the challenge of trying to work it out, seeing if you can get ahead, the joy of realising you were right and the glorious frustration of realising you were wrong.

HG As a young man, I was too self-absorbed reading Strindberg and Camus. I came to Christie in later life and on the one hand the

F MURDER... books scared the hell out of me, because they mean so much to so many people. I was recently interviewed by someone who said, ‘There is no way that Poirot could be like this or this. How are you going to do it?’ So I said, ‘Yes, there’s the issue’. But what’s wonderful is that people care so much about it.

How influenced have you allowed yourselves to be by previous versions of this story?

KL You can’t discard previous takes – the Finney film was a masterpiece. Yet there was a desire to make it feel original and fresh, to tell it for a new generation of audiences.

JC This is the first time the novel has been adapted for the stage in Europe, so of course there was the question of how you interpret it theatrically.

HG I knew the films and previous versions, but I didn’t know I was going to be playing the part of Poirot one day, so I hadn’t stored that information. When I came to re-read the novels, I was looking at it unequivocally through the lens of this production. I remember when I did Richard III or Shylock or Sir Humphrey in Yes Prime Minister, all these iconic characters, you drink in the details of what others did and you might nick the occasional good idea, but that’s not the point. What matters is the very essence that makes the character survive again and again. To me the essence of Poirot is he represents hope and a love of order.

Ken, what were the key creative decisions you made for your adaptation?

KL One of the basic ones is that in this Poirot story there are 12 major suspects. I reduced the number – I won’t say by how many – simply because on stage I can’t have 12 suspects plus

the other people, because the play will never get produced!

JC The benefit of Ken condensing the numbers is you’re not as broadly spread and you get to know fewer people better. In the book, Christie didn’t investigate the moral dilemma, which is a brilliant final plot twist. Ken has chosen to investigate that. So, between Henry and Ken there is something that isn’t in the book that we’re trying to pull out for an audience now.

KL The novel gives more backstory, but I plunged in as plays need to do.

HG What’s exciting is that the audience is kept moving in terms of the relationships, the story.

This adaptation says to the audience, ‘Sit up, here we go!’.

KL The play is meant to move like a train.

What were the biggest challenges you faced in adapting a book that is inevitably very detail-heavy?

KL You’re right on the button. That was the tricky part. It was challenging to decide which clues to keep and which to let go when condensing the plot and the number of characters. And trying to keep all the details TOP: HENRY GOODMAN OPPOSITE: TIMOTHY WATSON HENRY GOODMAN

of the plot in my head and maintaining the integrity of the mystery gave me all the more respect for Agatha Christie’s genius for plotting.

In addition, I tried to visualise what was going on in the train at any one time and make sure that the play had some sense of reality in terms of staging. In essence, the way you convey all the description that is in the book is through the characters, their joyousness and quirkiness.

Henry, what was your point of entry into the character of Poirot?

HG Start with the text and what it provokes.

Poirot is an expert in cutting through the carapace of class and style. All through the novels, he’s not impressed by the British class system. The issue of his being a foreigner, a Belgian, releases the juices in me. It makes him watchful and wary, as anyone who senses they’re an outsider would be. He is a man who has spent his life being a detective with a conscience; he says in one novel, ‘If I cannot be the agent of God, I’ll be the agent of good’.

Some people have heightened the backstory, but we don’t get into that. If I’m going to do my job properly, I need to embrace the style and momentum of this situation, but to uphold those qualities which are unique to him. The other point that occurs to me is he’s had to deal with fame all his life.

How much of a challenge is it to take on such an iconic character?

How crucial is the design going to be to this production?

HG It can at times be a bit overwhelming, I’d be lying if I said otherwise. But I’ve learnt over the years to trust my instincts.

HG I must say that the unspoken presence in this room is the entire design department.

If one were to play devil’s advocate, what are you trying to avoid in the production?

What are the inherent pitfalls?

JC The trap is to believe it can exist in the same way that we know it on film. We all know it’s easier to do novels on film than on stage.

What we don’t want is something that isn’t inherently theatrical.

KL For me there was a consciousness of wanting to make this an occasion. This was Poirot’s greatest case. That was important to me.

JC That’s a really good way of looking at it.

HG I hope to avoid the danger of losing the man in the manner. I hope to embrace intimacy in the exotic environments of this fantastic story.

JC Design is hugely important. You need to create the impression of a train and the geographical relationship between compartments, but also allow an audience in. That’s fundamentally not naturalistic.

What surprises do you have in store for us?

JC I hope there are some visual and aural surprises. I think one of the surprises will be the wit and fun of the adventure of the evening.

HG Delight! A feast of fun!

Fiona Mountford is a journalist and was Theatre Critic of the London Evening Standard, 2002-19.

MURDER ON THE ORIENT EXPRESS

By Agatha Christie Adapted for the stage by Ken Ludwig

CAST (in order of appearance) Hercule Poirot Head Waiter Colonel Arbuthnot Mary Debenham Helen Hubbard Hector MacQueen Monsieur Bouc Michel the Conductor Princess Dragomiroff Greta Ohlsson Samuel Ratchett Countess Andrenyi Ensemble

Daisy Armstrong Understudies: Monsieur Bouc / Michel / Samuel Ratchett Colonel Arbuthnot / Hector MacQueen / Head Waiter Hercule Poirot Mary Debenham / Countess Andrenyi Helen Hubbard / Greta Ohlsson Princess Dragomiroff

Henry Goodman Matt Addis Philip Cairns Taz Munyaneza Sara Stewart Samuel Collings Patrick Robinson Marc Antolin Joanna McCallum Joanna Van Kampen Timothy Watson Laura Rogers Matt Addis Kelvin Ade Joelle Dyson Jacqueline Tate Sophie Bye / Eleanor Sebastian Matt Addis Kelvin Ade Marc Antolin Joelle Dyson Jacqueline Tate Joanna Van Kampen

The principal action of the play takes place in 1934 aboard the Orient Express as it travels from Istanbul to Western Europe.

There will be one interval of 20 minutes.

MURDER ON THE ORIENT EXPRESS © 2018 Agatha Christie Limited & Ken Ludwig. All rights reserved.

Adapted from Murder on the Orient Express © 1934 Agatha Christie Limited. All rights reserved.

The rights to this play are licensed by Agatha Christie Limited.

First performance of this production of Murder on the Orient Express at at Chichester Festival Theatre, 13 May 2022.

Jonathan Church Robert Jones Mark Henderson Adrian Sutton Christopher Shutt Lucy Hind Paul Benzing Gabrielle Dawes CDG

Director Designer Lighting Designer Music Sound Designer Movement Director Fight Director Casting Director

Penny Dyer Kate Godfrey

Company Dialect Work Voice Coach

Fiona Dunn Ben Davies Ashley D. Polasek

Associate Director Associate Designer Script Associate

Patrick Molony Karen Large Lisa Buckley Campbell Young Associates

Production Manager Costume Supervisor Props Supervisor Wigs, Hair & Make-Up

Suzi Blakey Lou Bann Gareth Newcombe Harriet Saffin Cat Simpson

Company Stage Manager Deputy Stage Manager Assistant Stage Manager – Book Cover Assistant Stage Manager Assistant Stage Manager

Janette McAlpine

Head Chaperone

Production credits: Henry Goodman’s costumes by Sallyann Dixie Book; Patrick Robinson, Philip Cairns & Samuel Collings’s day suits by Mark Costello; Taz Munyaneza’s costumes by Hilary Wili; Joanna McCallum’s costumes by Kirstie Reid, hats by Sean Barrett; Joanna Van Kampen’s day outfit and Timothy Watson’s dressing gown by Katy Adeney; Laura Rogers’s costumes by Carole Coats, hat by Dean Burke; Sara Stewart’s costumes by Ness Coup, hat by Mark Wheeler; Costume hires Angels Costumiers; Costume Assistant Orla Convey; Breakdown Artist Helen Flower; Costume alterations Colette Tulley; Props by Deadline Technical Management, Data Reprographics; Prop Makers Clara Clark, Marise Rose, Bronia Topley, Sophie Yauner; Set built and painted

by Rocket Scenery; Production Carpenter Phil Large; Automation supplied by Absolute Motion Control; additional Sound hires Stage Sound Services; Lighting hires Encore, White Light; Lighting Programmer Katie Pitt; Transport by Paul Mathew Transport; Rehearsal room The American Church.

With thanks to Dr Justin Dickens, Aleksandar Mikic.

Rehearsal and production photographs Johan Persson Programme Associate Fiona Richards Programme design Davina Chung Supported by the Murder on the Orient Express Commissioning Circle: His Honour Michael Baker and Edna Baker, Rosalind Bowen, Ian and Jan Carroll, Karen Coburn, Steve and Sheila Evans, Malcolm Green and Lindy Riesco, Nick and Sue Lutte, Peter and Nita Mitchell-Heggs, Caroline and John Nelson, Jon and Ann Shapiro, Peter and Lucy Snell, Howard M Thompson, Bryan Warnett of St James’s Place, Ernest Yelf.

Sponsored by

#MurderOnTheOrientExpress ChichesterFestivalTheatre

ChichesterFT

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BIOGRAPHIES

HENRY GOODMAN

MATT ADDIS Head Waiter / Ensemble Theatre includes Nicholls in War Horse (National Theatre); Neville in Season’s Greetings (Stephen Joseph Theatre); Demetrius in To Dream Again (Theatr Clwyd/Polka Theatre); Kinnock/Ken Clark/Enoch Powell/Nancy Reagan in Handbagged, Siegfried Sassoon in Not About Heroes, The Men in Two, Chris in Remarkable Invisible, Perks in The Railway Children, The Men in The Blue Room, Greg in Dumb Show (Theatre by the Lake); Louis Knight in Aberystwyth Mon Amour (Lighthouse Theatre); Tom Bowles in Private Resistance (Eastern Angles); Zeller in The Sound of Music, Red in The Complete Works of William Shakespeare (Abridged), Charlie in Stones in His Pockets (Popular Productions); Michael Palin/Terry Jones in Pythonesque (Underbelly); Col Decker in A-Team the Musical (Gilded Balloon); Matthew in Come On Over (Old Vic New Voices).

Television includes The Devil’s Hour, In Cold Blood, Born Wilde, W1A, Doctors, The Coronation, Victoria’s Men, Rose, Pobol y Cwm, Glan Hafren.

Radio includes The Lady in the Van, Our Mutual Friend, Pythonesque, Mansfield Park, The Hairy Ape, The Government Inspector, The Talented Mr Ripley, The Looking Glass War, A Murder of Quality, Ballylenon, Night Watch, Nation, Restless, Good Evening: A Tribute to Beyond the Fringe.

Films include Hounded, Prisoners of the Moon.

KELVIN ADE Ensemble Theatre includes Skylights/Shadow/John Darling in Wendy and Peter Pan (Leeds Playhouse); Stuart/Doctor/Viewer/Journalist in Katzenmusik, Jim in Breathing Corpses, Bertram in All’s Well That Ends Well, Konstantin in The Seagull (ArtsEd).

Films include the shorts OG Doom, Small Utopia.

Trained at Arts Educational Schools.

MARC ANTOLIN Michel the Conductor Previously at Chichester Priest in Amadeus, Sid Phillips in Singin’ in the Rain, Townsperson

in The Music Man (Festival Theatre); Gustav in Taken at Midnight (Minerva Theatre).

Theatre includes Leo Matienne in The Magician’s Elephant (RSC); Jean-René in Romantics Anonymous (Bristol Old Vic/US tour); Seymour in Little Shop of Horrors (Olivier Award nomination for Best Actor in a Musical), Woodsman in Into the Woods, Hello Dolly! (all at Regent’s Park Open Air Theatre); Marc Chagall in The Flying Lovers of Vitebsk (Kneehigh/UK tour/Los Angeles); Sir Lancelot in Camelot (Watermill Theatre); George Tesman in Hedda Gabler (Sherman Theatre); Nicolas Field in Cry Havoc (Park Theatre); Sir Andrew Aguecheek in Twelfth Night (Shakespeare’s Globe); John Darling in Peter Pan (National Theatre); The Flogger/The Student in The Trial (Young Vic); Ludo in Romantics Anonymous (Sam Wanamaker Playhouse); Private ‘Friday’ Clark in From Here to Eternity (Shaftesbury Theatre); Rudolpho in Matilda (Cambridge Theatre/RSC); Jacob in Imagine This (New London Theatre); Billy Liar (UK tour).

Television includes The Outlaws, Keeping Faith and Caerdydd.

Films include London Road, Love Actually and the short film Coconut Shy. SOPHIE BYE Daisy Armstrong This is Sophie’s professional theatre debut.

She attends a local primary school.

PHILIP CAIRNS Colonel Arbuthnot Theatre includes Gordon in Neville’s Island (Queen’s Hornchurch); Jean Paul in Cyrano de Bergerac (Jamie Lloyd Company); Kieran in Peter Gynt (National Theatre); Colonel Krick in Pressure (Park Theatre); Man/Tom O’Toole in Two Way Mirror (Theatre by the Lake); Paul in Villette (West Yorkshire Playhouse); Proctor in The Crucible (Royal Lyceum); Marco in A View from the Bridge (English Touring Consortium); Dominic in Kill Johnny Glendinning (Citizens Theatre/Lyceum Theatre); Max Halliday in Dial M for Murder (Fiery Angel); Dalston in HomeTheatreUK (Stratford East); Bosola in The Duchess of Malfi (Southwark Playhouse); Grimaldi in ‘Tis Pity She’s a Whore, Lennox in Macbeth (Cheek by Jowl); HOS in The Bacchae,

Cousin/Moon in Blood Wedding (Royal & Derngate); Stevie Gillespie in The Bookie (Cumbernauld Theatre Company); Fuente Ovejuna (Òran Mór Classics); Cassio in Othello (Citizens Theatre Company); Warwick in Edward II (Eyestrings); Ali/Alec in The Pearlfisher (Traverse Theatre Company); Yannick in Solemn Mass for a Full Moon in Summer, Catesby in Richard III, Laurent in Therese Raquin, Soranzo in ‘Tis Pity She’s a Whore (Drama Centre); Devon in Farming for our Souls (Company of Angels/Soho Theatre).

Television includes Hollyoaks, Call the Midwife, A Tribute to Heroes: Pressure, Hold Your Breath.

Films include Occupied and the shorts Camel Toe, The Prize, The Weekend.

Trained at Drama Centre London.

Philip is a Patron of the Ectopic Pregnancy Trust.

Twitter: @philcairns43 SAMUEL COLLINGS Hector MacQueen Theatre includes The Great Murder Mystery (Lost Estate); Much Ado About Nothing (Dubai Opera/New English Shakespeare Company); Twelfth Night, Henry V, The Borrowers MATT ADDIS KELVIN ADE

(Storyhouse, Chester); Othellomacbeth (Lyric Hammersmith/HOME Manchester); Boudica, The Inn at Lydda (Shakespeare’s Globe); Hammer House of Horror (Hoxton Hall); Demons (Shoreditch Hall); Waiting for God, Mansfield Park (national tours); A Christmas Carol (Fitzrovia Radio Hour/Seabright); A Midsummer Night’s Dream (US tour); A Midsummer Night’s Dream (Squerryes Court); Macbeth (Omnibus London); Sleight & Hand (Highbrow TV/BBC Arts); Softcops, Antony and Cleopatra (RSC/ Public Theater NYC/Gablestage Miami); Othello, A Midsummer Night’s Dream (Chester); Lady Windermere’s Fan, Edward II, Lady from the Sea, The Comedy of Errors (Royal Exchange); The Black Diamond (Punchdrunk); Collision, Stand Up Diggers All (Latitude); Sexing the Cherry (Southbank Centre); The Man with the Flower... (Oxford Playhouse/Greenwich Theatre/tour); 12 Dancing Princesses (V&A/ Southbank Centre); The Carnival (Southwark Playhouse); Breakwater (Liverpool Everyman); So Little of You Left (Young Vic Genesis/tour); Dr Faustus, The School for Scandal (Greenwich Theatre/Stage On Screen); Ex, The Big Break, Borders (Hampstead Theatre); The Garden (Riverside Studios); Without Laughing (Theatre503); Hanging Around (Kneehigh);

An Inspector Calls (Dukes Lancaster); The Alice Project (BAC/Spill); Dr Faustus (Liverpool Playhouse); Lock the Gates (Lyric Hammersmith); Misper, Dido and Aeneas (Glyndebourne).

Television includes Outlander, Lost Pirate Kingdom, The Last Czars, Shakespeare Uncovered, New Tricks, The Bible, Holby, The Insiders, Hex, Dan Clark’s Guide To Work.

Films include Thirty Two, Sc.25, Envoi, Bluebird, A Tale of Two Girls, The Briefcase, Message in a Bottle.

Radio includes various BBC productions and numerous recordings/live broadcasts for Resonance and BBC New Writing.

JOELLE DYSON Ensemble Theatre includes 2:22 A Ghost Story (Gielgud Theatre); The Windsors: Endgame (Prince of Wales Theatre); Tina (Aldwych Theatre); The Producers (Royal Exchange Theatre); Dusty (UK tour); Dreamgirls (Savoy Theatre); Funny Girl (Savoy Theatre and Menier Chocolate Factory); Peter Pan (Plymouth Theatre Royal); Tommy

MARC ANTOLIN

(Blackpool Winter Gardens).

Films include Barbie, Judy, Made in the Eighties and the short Painter and the Poet.

Trained at the Urdang Academy and the Salon Collective.

HENRY GOODMAN Hercule Poirot Previously at Chichester Sir Humphrey Appleby in Yes Prime Minister (Festival Theatre/West End), title role in The Resistible Rise of Arturo Ui (Minerva Theatre/West End: Olivier Award Best Actor nomination, UK Theatre Award Best Performance in a Play).

At the National Theatre: David Rosenberg in The Holy Rosenbergs, Shylock in The Merchant of Venice (Olivier and Critics’ Circle Awards for Best Actor), Metropolitan Kabarett, Summerfolk, Nathan Detroit in Guys and Dolls, Philip Gellburg in Broken Glass, Roy Cohn in Angels in America, Pericles, After the Fall, Cat on a Hot Tin Roof.

For the RSC: title role in Richard III, They Shoot Horses Don’t They, Every Man in His Humour, The Comedy of Errors, Volpone, The Time of Your Life, Henry VIII.

In the West End: Dr Feldman in Duet for One, The Hypochondriac (Almeida/West End); Tevye in Fiddler on the Roof (Sheffield Crucible/ West End); The Gondoliers (ENO); The Birthday Party; Art; Billy Flynn in Chicago (Olivier Award Best Actor in a Musical nomination); Feelgood (Hampstead/West End); Freud in Hysteria (Royal Court/West End); Charles Guiteau in Assassins (Donmar: Olivier Award Best Actor in a Musical).

Other theatre includes Edmond de Bergerac (Birmingham Rep); Honour (Park Theatre); Looking at Lucian (Ustinov Studio); Arthur Winslow in The Winslow Boy (Old Vic).

Broadway: title role in Tartuffe, Max Bialystock in The Producers.

Television includes Capture 2, The Reckoning, Soul Mates, The New Pope, ABC Murders, Playhouse Presents, Snatch, Genius: Einstein, Agents of SHIELD, Penny Dreadful, London Spy, The Challenger Disaster, New Tricks, Doctor Weiss, Midsomer Murders, Yes Prime Minister, Nixon’s the One, The Silent and the Damned, The Turing Project, The Merchant of Venice.

Films include Golda, Tomorrow Morning, Sundown, The Last Planet, The Good Traitor, Love Gets a Room, Hunter Killer, Tell Tale Heart, Watership Down, Limehouse Golem, Their PHILIP CAIRNS

Finest, Love is Thicker Than Water, The Chosen, Finding Altamira.

Music: Lucy Parham Composer Concerts as Rachmaninoff, Debussy, Chopin, Liszt and Schumann; recordings of Fiddles, Forests and Fowl Fables with the English Symphony Orchestra, and The Wasps with the Hallé Orchestra.

JOANNA McCALLUM Princess Dragomiroff Previously at Chichester The Merchant of Venice, Cavalcade, The Scarlet Pimpernel (also West End), A Month In The Country (Festival Theatre).

Theatre includes Uncle Vanya (HOME Manchester); Hobson’s Choice (UK tour and West End); The Importance of Being Earnest, Communicating Doors (Salisbury Playhouse); The Clean House (Northampton Theatre and tour); Don’t Look Now (Sheffield Lyceum/Lyric Hammersmith); Habeas Corpus (Theatre Royal Bath); Electra (Gate Theatre); Be My Baby (Soho Theatre); Hamlet, The Antipodes (Globe Theatre); Disposing of The Body (Hampstead Theatre); Cymbeline, The Merry Wives of Windsor, Twelfth Night, Henry V (RSC Stratford and Barbican); The Pan Beaters (Greenwich

Theatre); The Cocktail Hour (Sydney Opera House); The Circle (UK tour); A Doll’s House (Perth Festival); Saratoga (RSC/Aldwych Theatre); Love’s Labour’s Lost (Bristol Old Vic); As You Like It, The Taming of The Shrew, Macbeth (Young Vic Theatre); Charley’s Aunt (Apollo Theatre); A Midsummer Night’s Dream (Open Air Theatre, Regent’s Park).

Television includes The Gathering Storm, Sherlock Holmes: The Noble Bachelor, Poirot: The Mysterious Affair at Styles, Good Behaviour, Law and Order UK, All Creatures Great and Small, Henry VI Part 1, Coriolanus, A Masculine Ending, A Class Act, Moving Story, The Franchise Affair, Wide Eyed and Legless, The Ginger Tree, A Wreath of Roses, Stay Lucky, Moon and Son, Rockcliffe’s Babies, The Boys from the Bush, The House of Elliot, A Still Small Shout, By the Sword Divided, Knight School, A Testament of Youth, Wessex Tales, Pygmalion, Bognor, Struggle, Within These Walls.

Films include Tom and Viv, Hopscotch, The Nickel Queen.

SAMUEL COLLINGS

TAZ MUNYANEZA Mary Debenham Theatre includes Alphonsine in Our Lady of Kibeho (Theatre Royal Stratford East); Hermione in The Winter’s Tale, Blanche Dubois in A Streetcar Named Desire, Sian in Dinner, Clytemnestra in This Restless House, Gilda/Miss Tilley in LovePlay (Drama Centre); Nina in The Seagull (Boris Shchukin Theatre Institute).

Television includes The One. Films include Stromboli.

Trained at Drama Centre London.

PATRICK ROBINSON Monsieur Bouc Previously at Chichester Bassanio in The Merchant of Venice (Festival Theatre), Cornwall in King Lear (Minerva Theatre).

Theatre includes Dorn in The Seagull (Playhouse Theatre); Banquo in Macbeth (National Theatre UK tour); Watson in Baskerville (Liverpool Everyman/National Centre for Performing Arts Beijing); title role in Macbeth (Theatre Severn); Belville in The Rover, Earl of Salisbury in King John, Edmund in King Lear

(RSC); Red in Shawshank Redemption (Bill Kenwright); Estragon in Waiting for Godot (West Yorkshire Playhouse); Friedrich in War Horse (NT/New London Theatre); Thomas Peters in Rough Crossings (Headlong); Don Pedro in Much Ado About Nothing (RSC/Novello Theatre); Banquo in Macbeth (world tour); Caesar in Gem of the Ocean (Tricycle Theatre); Gbatokai in Festen (Lyric/Almeida); Sholto in Mappa Mundi (National Theatre); Charles Stanton in Dangerous Corner (Garrick); John Prentice Jr in Guess Who’s Coming to Dinner?

(Middleground); Heathcliff in Wuthering Heights (Chester Gateway).

Television includes Shetland, The Last Kingdom, Death in Paradise, Sitting in Limbo, Vera, The Trouble with Maggie Cole, The Tempest, Mount Pleasant, Him, Casualty, Midsomer Murders, The Bill, The Story of Tracy Beaker, Shane, Shadow Play, Daylight Robbery, Headless, A Many Splintered Thing, Pig Heart Boy, Harpur & Iles, Dodgem, Troublemakers, Who Dares Wins, Julius Caesar.

Films include Belly of the Beast, Driven, The Man, Monument.

JOELLE DYSON JACQUELINE TATE

LAURA ROGERS Countess Andrenyi Previously at Chichester Lady Chiltern in An Ideal Husband, Sorel in Hay Fever (Festival Theatre); Kay Summersby in Pressure (Minerva Theatre, also Edinburgh Lyceum, national tour and West End); Audrey in Blue Remembered Hills (Theatre on the Fly).

Theatre work includes The Ocean at the End of the Lane (NT/West End); The Memory of Water (Hampstead Theatre); Rules for Living (ETT); A Lie of the Mind (Southwark Playhouse); Winter Solstice (Orange Tree); A Lovely Sunday for Creve-Coeur (Print Room at the Coronet); Private Lives (UK tour); Tipping the Velvet (Lyric Hammersmith/Lyceum); Masterpieces (Royal Court); The 39 Steps (Criterion Theatre); Lady Macbeth in Macbeth (Shakespeare’s Globe).

Television includes EastEnders, Holby City, New Tricks, The Smoke, Law and Order UK, Dates, Dark Matters, Twelfth Night, Doctor Who Christmas Special, Midsomer Murders.

ELEANOR SEBASTIAN Daisy Armstrong Eleanor trains at Arabesque School of Performing Arts in Chichester, and is making her professional stage debut in Murder on the Orient Express.

SARA STEWART Helen Hubbard Previously at Chichester Claudia in ENRON (also West End), Lady Utterwood in Heartbreak House (Festival Theatre).

Theatre includes Esther in The Price (Wyndham’s Theatre and Theatre Royal Bath); Pouncher/Caroline Louisa in The Box of Delights (Wilton’s Music Hall); Betty 1 in Collective Rage: A Play in Five Betties (Southwark Playhouse); Ranyevskaya in The Cherry Orchard (Nottingham Playhouse); Trump’s Women (RADA Festival); Martha in Who’s Afraid of Virginia Woolf? (Rapture Theatre); The Manager in Contractions (Sheffield Crucible); Hilary in Jumpy (Theatr Clwyd); Karen in Dinner with Friends (Park Theatre); Myra Arundel in Hay Fever (West End, Theatre Royal Bath, international tour); The Snow Queen (Rose Theatre Kingston); Kitty in Six Degrees of Separation (Old Vic); Serious Money (Birmingham Rep); Where There’s a Will (ETT); The Hour We Knew Nothing of Each Other, Liz Essendine in Present Laughter (National Theatre); Kelly in The Pain and the Itch

JOANNA McCALLUM

(Royal Court); Claire in Proof (Donmar Warehouse); Natalya Petrovna in A Month in the Country (RSC).

Television includes Cell 8, Father Brown, Queens of Mystery, State of the Union, La Fortuna, Shakespeare and Hathaway, Unforgotten, Casualty, Doctor Foster, The Night Manager, Crossing Lines, Mr Selfridge, Midsomer Murders, Quirke, Fresh Meat, Pramface, Le Grand, Wizards & Aliens, Silent Scream: Above Suspicion.

Films include The Princess Switch, Transformers: The Last Knight, Face of an Angel, Take Down, Philomena, The Best Exotic Marigold Hotel, Sightseers, Green and Blue, Genova, Batman Begins, London Voodoo, The Winslow Boy, Mrs Brown.

Trained at Central School of Speech and Drama.

JACQUELINE TATE Ensemble Theatre includes Les Misérables (Queen’s Theatre); South Pacific in Concert (Cadogan Hall); Allegro (Southwark Playhouse); Avenue Q

TAZ MUNYANEZA PATRICK ROBINSON

LAURA ROGERS SARA STEWART

JOANNA VAN KAMPEN MARC ANTOLIN TIMOTHY WATSON HENRY GOODMAN

(national tour and Lyric Hong Kong); South Pacific (Barbican and national tour); Avenue Q (Gielgud, Wyndham’s and national tour); The Phantom of the Opera (Her Majesty’s); My Fair Lady (Esplanade, Singapore); The Pirates of Penzance, The Merry Widow (national and international tours); Bernstein’s Mass (LSO Barbican); Evita (Zouk Mikael, Beirut).

Television includes EastEnders.

Web series East Mode.

JOANNA VAN KAMPEN Greta Ohlsson Theatre includes The Gravity (Bristol Old Vic); Carol in The Stranger on the Bridge (Tobacco Factory); Mrs Marchmont in An Ideal Husband (Vaudeville Theatre); Maggie/Mrs Townsend in North by North West (Theatre Royal Bath and Toronto); Ellie in Ransomed, We Sell Right (Salisbury Playhouse); Sonneteer in Sweet Love Remembered, Hamlet/Julia in As You Will: Pop Up Shakespeare, Sweet Remembered Love (Shakespeare’s Globe); I Sing (Chapter Arts Centre Cardiff); Laureta in Tamar’s Revenge, Nun in The House of Desires, Ines in Pedro the Great Pretender (RSC); Dabby Bryant/2nd Lieutenant William Faddy in Our Country’s Good (Nuffield Theatre Southampton); Luther, Isabella in The Insatiate Countess (National Theatre); Thaisa in Pericles (NT Studio); Jo in Low Level Panic (ICA); Moll in The Roaring Girl (Finborough Theatre); Sally in Spot’s Birthday Party (Oxford Playhouse/national tour); Night Visitor in Concierto Barroco (Central Saint Martins); Charity Gala (Theatre Royal Drury Lane); Bus! (Pleasance Theatre London and Edinburgh); Eustacia Ballyvicks in The Pierglass (Edinburgh Festival).

Television includes The Outlaws, The Pembrokeshire Murders, Brave New World, Pobol y Cwm, Casualty, Decline and Fall, Anita, EastEnders, Happiness.

Radio includes The Archers (as Fallon Rogers), Torchwood, Doctor Who, Tracks, The Lives of Captain Jack, Tsar: Alexander II, One Night in Lillehammer, Tsar: Peter the Great, Queen of Spades, Boy, Going Solo, BBC Shakespeare Digital Festival, Blithe Spirit, Steve Lamacq’s Roundtable, Private Passions, Daughter of the Air. Films include Ellen, American Interior,

That’s For Me and the shorts Fourteen Years, Walk or Fly, Beast.

Trained at LAMDA. TIMOTHY WATSON Samuel Ratchett Previously at Chichester Shadowlands (Festival Theatre).

Theatre includes The Winslow Boy (UK tour); The Beaux’ Stratagem (National Theatre); An Inspector Calls (Novello/Wyndham/Garrick/UK tour); The Woman In Black (Fortune Theatre/UK tour); Plague Over England (Finborough Theatre); Whipping It Up, Bedroom Farce, The Shell Seekers, An Old Man’s Love (UK tours); The Madras House, The Return of the Prodigal, Three Sisters 2, Adam Bede (Orange Tree); The Madness of George III (West Yorkshire Playhouse/Birmingham Rep); A Midsummer Night’s Dream/Troilus and Cressida (Regent’s Park Open Air Theatre); The Merchant of Venice (US tour/ACTER); The Life of Galileo (Almeida); The Rivals (Walnut Street Theatre Philadelphia/ Derby Playhouse); Sinners and Saints (Croydon Warehouse); Saturday Sunday Monday/The Recruiting Officer (Birmingham Rep); Dearest Ivor (Sonning); The Soldier’s Tale (Chester); Charley’s Aunt (Southampton); Another Country, Kiss of the Spiderwoman, The Elephant Man (Northampton); Clay (Ipswich).

Television includes Call the Midwife, Against The Law, The Frankenstein Chronicles, Arthur and George, Midsomer Murders, Jonathan Strange and Mr Norrell, Mr Selfridge, The Lady’s Not For Burning, The Old Curiosity Shop, Man and Boy, The Bretts, Footballer’s Wives, Soldier Soldier, Peak Practice, Casualty, Virtual Murder, Backup, Chillers, EastEnders, Tales of the Black Death.

Radio includes The Archers (as Rob Titchener), Pan Book of Horrors, House of Ghosts, Words and Music, Austerlitz, The Spy, Wives and Daughters, The Incomparable Witness, When We Are Married, Petrella, Maigret, Precious Bane, Julie and the Prince, Falco, Mapping the Soul, Return of the Native, A Dance to the Music of Time, Daughters of Venice, The Return of the Prodigal.

Films include Silent Hours, Age of Heroes, The Tenth Man, Stealing Heaven, The Plot to Kill Hitler.

Trained at Central School of Speech and Drama.

C R E AT I V E T E A M

KEN LUDWIG

AGATHA CHRISTIE Writer Agatha Christie is known throughout the world as the Queen of Crime and is the most widely published author of all time. Her books have sold over a billion copies in English with another billion in foreign languages. She is the author of 66 crime novels, 150 short story collections, over 20 plays, and six novels written under the name Mary Westmacott. In addition to Murder on the Orient Express, her work includes Death on the Nile and the genre-defining And Then There Were None.

Agatha Christie’s first novel, The Mysterious Affair at Styles, was written towards the end of the First World War and published in 1920. In it she created Hercule Poirot, who was destined to become the most popular detective in crime fiction since Sherlock Holmes.

In 1926, Agatha Christie wrote her first masterpiece, The Murder of Roger Ackroyd, published by Collins and marking the beginning of an author-publisher relationship that lasted for 50 years. Ackroyd was also the first of Agatha Christie’s books to be dramatized – under the title Alibi –and to have a successful run in London’s West End. By 1930, Agatha had created Miss Marple, who had her first full length outing in The Murder at the Vicarage, and proved another popular and enduring character.

Her play The Mousetrap opened in 1952 and is the longest-running play in history.

Agatha Christie was made a dame in 1971.

She died in 1976.

Agatha Christie Limited (ACL) has been managing the literary and media rights to Agatha Christie’s works around the world since 1955. The company is managed by Christie’s great grandson James Prichard.

Visit www.agathachristie.com for more information.

KEN LUDWIG Writer Ken Ludwig has had six productions on Broadway and seven in London’s West End. His 30 plays and musicals are staged around the world and throughout the United States every night of the year.

Lend Me a Tenor won two Tony Awards and

was called “one of the classic comedies of the 20th century” by The Washington Post. Crazy for You was on Broadway for five years, on the West End for three, and won the Tony and Olivier Awards for Best Musical.

In addition, he has won the Edwin Forrest Award for Contributions to the American Theater, two Laurence Olivier Awards, two Helen Hayes Awards, the Charles MacArthur Award, and the Edgar Award for Best Mystery of the Year. His plays have starred, among others, Alec Baldwin, Carol Burnett, Tony Shaloub, and Joan Collins.

His book How To Teach Your Children Shakespeare, published by Penguin Random House, won the Falstaff Award for Best Shakespeare Book of the Year, and his essays on theatre are published in the Yale Review. His most recent plays include Pride and Prejudice, Part 2: Napoleon at Pemberley; Lady Molly of Scotland Yard; and Moriarty.

For more information, see his website at www.kenludwig.com.

PAUL BENZING Fight Director Previously at Chichester Sweeney Todd (also West End), Heartbreak House, The Boy in the Striped Pyjamas, Guys and Dolls, Young Chekhov (also National Theatre), Ross, Peter Pan, Sweet Bird of Youth (Festival Theatre); Private Lives and The Pajama Game (also West End), Shang-a-lang, The Rehearsal (Minerva Theatre).

Theatre includes War Horse, Hedda Gabler, Amadeus, Great Britain, Antigone, Emperor and Galilean, Nation, The Revenger’s Tragedy, Mother Courage and her Children at the National Theatre; The Seven Acts of Mercy (RSC); Don Giovanni (Glyndebourne); Robin Hood (Salisbury Playhouse); The Three Musketeers (Southampton/Basingstoke); Journey’s End (Comedy Theatre); Hamlet (Young Vic/Nuffield, Southampton); National Anthem (Old Vic); Lear, Who’s Afraid of Virginia Woolf?

(Sheffield Crucible); A Clockwork Orange, Our Friends in the North, Close the Coalhouse Door, Blue Remembered Hills, Catch 22, Get Carter (Northern Stage); Black Comedy, Moonlight and Magnolias, Of Mice and Men, Sleuth, A Bunch of Amateurs, The Lady Killers (Watermill,

Newbury); Troilus and Cressida (Cheek By Jowl); West Side Story (Wandsworth Prison); Dreams of Violence, Flight Path (Out of Joint); Othello (Ludlow Festival); Zadia (Classical Opera); What the Butler Saw, Beasts and Beauties, Firebird (Hampstead); Wild Oats (Bristol Old Vic); The Comedy of Errors, Into the Woods (Regent’s Park); The Country Wife, The Sea, Marguerite, West Side Story, Buddy, Elf – The Musical (West End).

Television includes Manchester Passion.

He has also arranged fights for Parkshow Productions, a company that puts on stunt shows in theme parks throughout the UK and Europe.

JONATHAN CHURCH Director Jonathan Church CBE is currently Artistic Director of Theatre Royal Bath’s Summer Season, Chair of Marlowe Theatre Canterbury and on the Board of the Almeida Theatre. He was Artistic Director of Chichester Festival Theatre (2006-2016); Artistic Director of Birmingham Repertory Theatre (2001- 2006); Associate Director of Hampstead Theatre (1999-2001); Artistic Director of Salisbury Playhouse (1995-1999); Associate Director of Derby Playhouse (1994-1995) and Assistant Director of Nottingham Playhouse (1992-1994).

West End productions as a director include The Drifters Girl (Garrick Theatre); The Price (Wyndham’s Theatre); Hobson’s Choice

(Vaudeville Theatre); Taken at Midnight (Theatre Royal Haymarket); Singin’ in the Rain (Palace Theatre and Sadler’s Wells); The Resistible Rise of Arturo Ui (Duchess Theatre); Of Mice and Men (Savoy Theatre and The Old Vic); The Witches (Wyndham’s Theatre); A Busy Day (Lyric Theatre); The Life and Times of Nicholas Nickleby (Gielgud Theatre).

BEN DAVIES Associate Designer Previously at Chichester Assistant Designer South Pacific, Guys and Dolls, Gypsy (also West End), Associate Designer Oklahoma!

(Festival Theatre).

Theatre as Associate Designer Moulin Rouge! (Piccadilly Theatre); The Drifters Girl (Garrick Theatre); Anything Goes (Barbican Theatre); The Book of Mormon (UK tour); Matilda the Musical (UK and international tours); Present Laughter, Lungs, Art, Electra, A Christmas Carol, The Lorax (The Old Vic and US/ Toronto); Beautiful, The Ferryman, Charlie and the Chocolate Factory (West End/Broadway); Long Day’s Journey into Night, Venus in Fur (West End); The Red Lion, Three Days in the Country, King Lear (National Theatre).

Theatre as Assistant Designer Groundhog Day (The Old Vic/Broadway); Sweeney Todd, Oliver!, The Audience, The Wizard of Oz, Hamlet, Betty Blue Eyes, The Children’s Hour, Shrek The Musical (West End); God of Carnage (West End/ Broadway); Bombay Dreams (Broadway);

JOANNA McCALLUM HENRY GOODMAN JOANNA VAN KAMPEN PATRICK ROBINSON MATT ADDIS

An American in Paris (Broadway/Paris); The Trojans (Metropolitan Opera New York).

GABRIELLE DAWES CDG Casting Director As Casting Associate at Chichester over 45 productions including Taken At Midnight, Singin’ in the Rain, Private Lives, Neville’s Island, The Resistible Rise of Arturo Ui, The Browning Version/South Downs (all also West End); King Lear (and BAM New York), Macbeth (and West End, BAM, Broadway), Stevie (and Hampstead Theatre), Top Girls (and Trafalgar Studios), Bingo (and Young Vic).

As Casting Associate for Wiltshire Creative, productions include The Children, September in the Rain, Hay Fever, Breaking the Code, Relatively Speaking, Handbagged, Her Naked Skin.

Recent casting includes The Price (West End); The Height of the Storm (West End/ Broadway); Christmas Carol (Wilton’s Music Hall); Alone in Berlin (Northampton); Remains of the Day (Northampton/Out of Joint).

As Casting Associate for Theatre Royal Bath summer seasons 2017 & 2018: The Price, In Praise of Love, An Ideal Husband, Racing Demon, North By North West (and Toronto), Lady in the Van. Further West End theatre includes Dead Funny, The Importance of Being Earnest, Blithe Spirit, Cat on a Hot Tin Roof, Hobson’s Choice, The King’s Speech, Three Days of Rain, A Round Heeled Woman; Classic Spring 2018 season at the Vaudeville Theatre: An Ideal Husband, The Importance of Being Earnest.

Other theatre includes The Norman Conquests (Old Vic and Broadway); All About My Mother (Old Vic); A Thousand Splendid Suns (Birmingham Rep); Caroline, or Change, Elmina’s Kitchen, The Pillowman, Coram Boy (National Theatre).

Television includes Macbeth directed by Rupert Goold, Celebration, Elmina’s Kitchen.

Films include Perdie (BAFTA award for Best Short Film) and The Suicide Club.

FIONA DUNN Associate Director Previously at Chichester Associate Director The Pajama Game (Minerva Theatre). As a member

of the acting company 2003-2005, productions included Helen Vance in Out of this World, Gianetta in The Gondoliers, The Bride in Seven Doors, Rosemary Pilkington in How to Succeed in Business, Anne Vaux in 5/11, Anya in Thermidor, Anoushka in The Government Inspector.

Future work includes Assistant Director Alcina (Glyndebourne Festival 2022).

Theatre credits include Revival and Festival Director Cendrillon (Glyndebourne Festival 2019); Revival Director To Kill a Mockingbird (UK tour); Associate Director Singin‘ in the Rain (Sadler’s Wells, Japan, UK tour 2021-2022), Katya Kabanova, In the Market for Love (Glyndebourne Festival 2020 and 2021), Strictly Ballroom The Musical (Piccadilly Theatre), The Turn of the Screw (Regent’s Park Open Air Theatre and English National Opera), On the Town (Regent’s Park); Resident Director Lord of the Flies, To Kill a Mockingbird (Regent’s Park and tour); Assistant Director Alcina, Cendrillon, Hamlet, Don Giovanni, The Cunning Little Vixen, Imago, The Rape of Lucretia (2014/15), The Turn of the Screw (Glyndebourne Festival Opera), La Traviata, Lucia di Lammermoor (Royal Opera House), Peter Pan, All My Sons, Ragtime, The Sound of Music (Regent’s Park).

As an actor Fiona has worked for 20 years with companies in the West End, Chichester Festival Theatre, Young Vic, RSC and repertory companies throughout the UK, on radio and television.

Studied at Kings College University and RADA. PENNY DYER Company Dialect Work Most recently at Chichester 8 Hotels, Shadowlands, This House, Strife, Gypsy, Frankie and Johnny in the Clair de Lune, Taken at Midnight, Kiss Me Kate and The Resistible Rise of Arturo Ui. Recent theatre includes The Corn is Green, The Normal Heart, Follies, The Red Barn, Husbands and Sons, This House, Blood and Gifts (National Theatre); A Christmas Carol, Faith Healer, A Very Expensive Poison, Girl from the North Country, Present Laughter, American Clock, Groundhog Day, The Caretaker, Other Desert Cities, Sweet Bird of Youth, Kiss Me Kate

(Old Vic); Tree (Young Vic); Heisenberg, Long Day’s Journey into Night, Who’s Afraid of Virginia Woolf, Pressure, Gypsy, The Ruling Class, Good People, The Commitments, The Book of Mormon (West End); Linda (Royal Court); Labyrinth (Hampstead); Roots (Donmar); The Boyfriend, Orpheus Descending, Assassins (Chocolate Factory).

Television includes Wednesday, Mammals, Becoming Elizabeth, The Fear Index, White House Murders, The Accident, The Long Song, The Pursuit of Love, Fallout, Traitors, Belgravia, Catherine The Great, Pure, The Woman in White, Kiri, Patrick Melrose, Britannia, Hanna, Urban Myths, The Last Kingdom, The Rack Pack, Marvellous, Cilla, Tommy Cooper, The Girl, The Slap, Mrs Biggs, Downton Abbey, The Deal, Blackpool, North and South.

Film includes Matilda, After Love, The Mauritanian, Burnt Orange Heresy, The Courier, Mank, Hope Gap, Enola, On Chesil Beach, My Cousin Rachel, The Danish Girl, Florence Foster Jenkins, Testament of Youth, Pride, Philomena, Nowhere Boy, Frost Nixon, Tamara Drewe, The Queen, The Damned United, Dirty Pretty Things, The War Zone, Elizabeth.

KATE GODFREY Voice Coach Previously at Chichester The Recruiting Officer, The Winslow Boy, A Midsummer Night’s Dream.

As part of the National Theatre voice PATRICK ROBINSON LAURA ROGERS

department, productions included War Horse, One Man Two Guvnors, The Red Lion, Three Days in the Country, 3 Winters, People.

As head of the Voice and Text department at the RSC, productions included The Comedy of Errors, The Winter’s Tale, A Museum in Baghdad, The Provoked Wife, Venice Preserved, Maydays, Day of the Living, We Are Arrested, Romeo and Juliet, Macbeth, Twelfth Night, Coriolanus, Titus Andronicus, Antony and Cleopatra, Julius Caesar, The Tempest, King Lear, Cymbeline, Hamlet, Henry V. Other theatre includes Electra (Old Vic), Twelfth Night (Sheffield Crucible) and many West End productions.

Films include Callas Forever, The December Boys.

Trained at Central School of Speech and Drama.

MARK HENDERSON Lighting Designer Previously at Chichester Oklahoma!, Flowers for Mrs Harris, Present Laughter, Sweet Bird of Youth, Forty Years On, An Enemy of the People, Young Chekhov, Gypsy (and West End), Sweeney Todd (and West End), The Scarlet Pimpernel, A Patriot for Me, Valmouth, The Mitford Girls, Feasting with Panthers, The Cherry Orchard (Festival Theatre); Copenhagen, For Services Rendered, Private Lives (and West End), ENRON (and Royal Court, West End and Broadway)

(Minerva Theatre).

He was an Associate and Lighting Consultant to the National Theatre and Lighting Adviser to the Almeida. He was the recipient of the 1992, 1995, 2000, 2002, 2010 and 2016 Laurence Olivier Awards for Lighting Design, was awarded a Tony Award in 2006 and has also received a Welsh BAFTA. Mark has lit extensively for all the major theatre, opera and dance companies in the UK and over 70 West End productions, notably Girl from the North Country, Chitty Chitty Bang Bang, The Iceman Cometh, Copenhagen, Democracy, Hamlet, The Real Thing (all also on Broadway), The Bodyguard, The Sound of Music, Grease, Spend Spend Spend, Neville’s Island, Follies, All My Sons, American Buffalo, Funny Girl.

He has lit over 80 productions for the National Theatre including Racing Demon, Les Parents Terribles, Cat on a Hot Tin Roof (all also on Broadway), All My Sons, Mourning Becomes Electra, The History Boys, The Habit of Art, One Man Two Guvnors.

Opera and dance includes productions for ENO, the Royal Opera, WNO, Opera North and Glyndebourne Festival Opera, LCDT, Rambert Dance Company, the Royal Ballet, Scottish Ballet, Northern Ballet and Birmingham Royal Ballet.

Mark designed the lighting for the Kate Bush ‘Before the Dawn’ shows at Hammersmith Apollo.

LUCY HIND Movement Director Theatre includes, as Movement Director Hamlet (Young Vic), Girl from the North Country (Belasco Theater Broadway/Public Theater NY/Noël Coward Theatre/Old Vic/Australia), The Light in the Piazza (London/LA/Chicago), Macbeth, The House of Bernarda Alba (Manchester Royal Exchange), Local Hero (Lyceum Theatre Edinburgh), The Last Ship (Toronto/US tour), Calendar Girls (UK tour), Miss Littlewood (RSC), The Divide (Old Vic), Ugly Lies the Bone (National Theatre), No’s Knife (Old Vic/Abbey Theatre), The Effect, Playing for Time, Twelfth Night, This Is My Family (Sheffield Theatres), Multitudes, The House That Will Not Stand (Tricycle Theatre), Refugee Boy, The Count of Monte Cristo (West Yorkshire Playhouse).

As Choreographer Billy Elliot (Curve Leicester), The Last Ship (Northern Stage), The Assassination of Katie Hopkins (Theatr Clwyd), The Snowmaiden (Opera North), Barnbow Canaries (West Yorkshire Playhouse), Somme 100 (National Commemoration of the Battle of the Somme), The Merchant of Venice (Shakespeare’s Globe/US tour), The Jacobin (Buxton Arts Festival), Love Your Soldiers (Sheffield Theatres). As Dance Captain Paralympics Opening Ceremony 2012 (LOCOG); Lead Dancer The Impending Storm (DanceXchange/Unlimited Festival). Lucy is an Associate Artist of Slung Low. Television includes Hansel and Gretel, Truthseekers, Thumbelina, The Snow Queen, The Nutcracker, Peter Pan, The Toddler Club, Andy and The Band, Banana.

ROBERT JONES Designer Previously at Chichester Oklahoma!, Strife, Someone Who’ll Watch Over Me, Mack and Mabel, Taken at Midnight (and Haymarket), Kiss Me, Kate (and Old Vic), Cyrano de Bergerac, Calendar Girls (and UK tour/West End/Canada/ Australia), The Music Man, Hay Fever, Water Babies, Saturday Sunday... and Monday, When We Are Married and Quiz (both also West End).

West End productions include The Prime of Miss Jean Brodie, Ragtime, The Sound of Music (also UK and international tour), Much Ado About Nothing, The Dance of Death, The Girls, Benefactors, Heroes (also Los Angeles), The King and I (Royal Albert Hall), Cyrano de Bergerac, The Wizard of Oz (also Toronto/US/ Australia), Rock and Roll (also Broadway).

As an Associate Artist of the RSC The Boy in the Dress, Pentecost, Othello, Jubilee, Romeo and Juliet, The Merchant of Venice, Eastward Ho!, The Herbal Bed, Venus and Adonis, Twelfth Night, Hamlet, Henry VIII (and New York), The Winter’s Tale.

Other theatre includes Happy Days (Riverside Studios); The Light in the Piazza (Southbank Centre/Los Angeles/Chicago); Brian and Roger (Menier Chocolate Factory); Fiddler on the Roof (Menier and Playhouse Theatre); Look Back In Anger, Noises Off (West End, Broadway); The Playboy of the Western World, The Motherf***er with the Hat, Tartuffe (National

Theatre); City of Angels, Sweet Charity, Lobby Hero, The Physicists, A Voyage Round My Father, Black Comedy, The Vote (Donmar); The Mercy Seat, Filumena, Ruined, There Came a Gypsy Riding, The Late Henry Moss (Almeida); Pericles (New York); The Wife of Willesden, Pass Over, Blues in the Night (Kiln Theatre); The Full Monty (West End, tour).

Also, numerous opera productions for The Met, Glyndebourne, Chicago, Madrid, Frankfurt, Vienna, Tokyo, Sydney, Paris and Berlin.

He is a four time Olivier and Evening Standard Award nominee.

CHRISTOPHER SHUTT Sound Designer Previously at Chichester The Country Girls, The House of Special Purpose (Minerva Theatre).

Theatre includes The Corn Is Green, Paradise, Hansard, Peter Gynt, Top Girls, Antony and Cleopatra, Julie, John, War Horse, Twelfth Night, Here We Go, The Beaux’ Stratagem, Man and Superman, The James Plays (I & II), From Morning to Midnight, Burnt By the Sun, Every Good Boy Deserves Favour, Coram Boy, A Minute Too Late, Play Without Words, Machinal (National Theatre); Four Quartets (West End); The Twilight Zone (and West End), The Treatment (Almeida); Glass. Kill. Bluebeard. Imp, ear for eye, Escaped Alone, The Sewing Group, Love and Information, Aunt Dan and Lemon, Serious Money, Road (Royal Court Theatre); Timon of Athens (and New York/Washington), Macbeth, Hamlet, Oppenheimer (and West End), The Two Gentlemen of Verona, Wendy and Peter Pan, The Tempest, King Lear (RSC); Far Away, St Nicholas, Aristocrats, Knives in Hens, Saint Joan, Faith Healer, Privacy, Philadelphia Here I Come! (Donmar); A Disappearing Number, Elephant Vanishes, Mnemonic, Noise of Time, Street of Crocodiles, Three Lives of Lucie Cabrol, The Caucasian Chalk Circle (Complicité); Tiger Bay The Musical (Cape Town/Wales Millennium Centre); Timon of Athens, War Horse, A Human Being Died That Night, Macbeth, All My Sons, The Resistible Rise of Arturo Ui, Happy Days, A Moon for the Misbegotten, Coram Boy, Not About Nightingales, Mnemonic (Broadway/ NY); Frozen, The Entertainer, The Winter’s Tale (West End); The Father (Theatre Royal Bath/ Tricycle/West End); Hamlet, Julius Caesar

(Barbican); The Playboy of the Western World, All About My Mother, Life x 3 (Old Vic).

Awards include Tony Award (War Horse); Evening Standard Theatre Award (A Disappearing Number); New York Drama Desk Award (War Horse, Mnemonic, Not About Nightingales).

ADRIAN SUTTON Music Adrian Sutton is a composer whose theatre scores include War Horse (National Theatre and worldwide), Angels in America (National Theatre, London and Broadway: Tony Award nomination), Coram Boy (National Theatre and Broadway) and The Curious Incident of the Dog in the Night-Time (National Theatre, West End, Broadway, UK, US & international tours: joint Olivier Award for Sound Design); he also produced Curious Incidentals, the soundtrack album.

His War Horse Suite, a symphonic orchestral work, premiered in 2010 and, along with a new commission Some See Us, featured as the centrepiece of a War Horse Prom in the 2014 BBC Proms season at the Royal Albert Hall, played by the BBC Concert Orchestra. His score for War Horse: The Story in Concert premiered at the Royal Albert Hall; the subsequent recording with the RPO was released on the BMG label in 2017.

His children’s concert opera The Griffin and the Grail was premiered by the RPO at Cadogan Hall.

Other theatre work includes Husbands & Sons, Rules for Living, Nation and The Revenger’s Tragedy (National Theatre).

Orchestral works include A Fist Full of Fives (BBC Symphony Orchestra/BBC Radio 3), a Sinfonietta, and chamber works include Arpeggiare Variations commissioned by violinist Fenella Humphreys, released on the Champs Hill label.

Adrian is also a violinist, and performs in orchestras and chamber groups including Blaze Ensemble. www.adriansutton.com

EVENTS

MURDER ON THE ORIENT EXPRESS PRE-SHOW TALK

TOUCH TOURS

Thursday 19 May, 5.45pm Director Jonathan Church in conversation with best-selling author Kate Mosse.

FREE but booking is essential.

POST-SHOW TALK

Thursday 2 June Stay after the performance to ask questions, meet company members and discover more about the play.

Hosted by CFT Literary Associate Kate Bassett.

FREE

Friday 3 & Saturday 4 June Our Touch Tours enable blind or visually impaired customers to explore the set, props and costumes used in Murder on the Orient Express. The tours take place 90 minutes before the audio-described performances.

FREE but booking is essential

cft.org.uk/events

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.

Free Family Fun | Little Notes | Family shows and workshops

cft.org.uk/leap

S TA F F

TRUSTEES Alan Brodie Mark Foster Judy Fowler Victoria Illingworth Georgina Liley Rear Admiral John Lippiett CB CBE Harry Matovu QC Mike McCart Holly Mirams Nick Pasricha Philip Shepherd Stephanie Street Tina Webster Susan Wells ASSOCIATES Kate Bassett Charlotte Sutton CDG

Richard Knowles Louise Rigglesford Chair

Literary Associate Casting Associate

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer DEVELOPMENT Jessey Butcher

Development Officer (Corporate & Trusts)

Julie Field Sophie Henstridge-Brown Charlotte Stroud Karen Taylor

Development Manager Development Officer (Individuals)

Joanna Walker Megan Wilson

Director of Development Events Officer

DIRECTORS OFFICE Kathy Bourne Daniel Evans Elspeth Barron Patricia Key Georgina Rae Julia Smith FINANCE Alison Baker Sally Cunningham Amanda Hart Krissie Harte Katie Palmer

Finance Director & Company Secretary

Amanda Trodd Protozoon Ltd

Management Accountant IT Consultants

HR Emily Oliver Jenefer Pullinger Gillian Watkins

Accommodation Co-ordinator HR Officer HR Officer

LEAP Anastasia Alexandru Helena Berry

Lauren Grant Jade Hall Hannah Hogg

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

Payroll & Pensions Officer Purchase Ledger Assistant Accounting & Report Analyst Finance Officer Assistant Management Accountant

Simon Parsonage

Rob Bloomfield Zoe Ellis Isabelle Elston

Friends Administrator Senior Development Manager

Youth & Outreach Trainee Heritage & Archive Co-ordinator Heritage & Archive Assistant LEAP Co-ordinator Community & Outreach Trainee Deputy Director of LEAP (Maternity Leave)

Youth & Outreach Co-ordinator - Musical Theatre Youth & Outreach Manager

Education Projects Manager Senior Community & Outreach Manager

Dale Rooks Brodie Ross

Director of LEAP Deputy Director of LEAP (Maternity Cover)

Riley Stroud

Education Apprentice

MARKETING, COMMUNICATIONS, DIGITAL & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Head of Marketing Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Helen Campbell Lydia Cassidy

Deputy Box Office Manager Director of Marketing & Communications

Lorna Holmes Helena Jacques-Morton

Box Office Supervisor Senior Marketing Officer

James Mitchell James Morgan Lucinda Morrison Rachael Pennell

Box Office Assistant (Casual) Box Office Manager Head of Press Marketing and Press Assistant

Kirsty Peterson Catherine Rankin Jenny Thompson

Box Office Assistant Box Office Assistant (Casual) Social Media & Digital Marketing Officer

Emilie Trodd Julia Walter Claire Walters Joanna Wiege Jane Wolf

Box Office Assistant (Casual) Creative Digital Producer Box Office Assistant Box Office Administrator Box Office Assistant

PRODUCTION Amelia Ferrand-Rook Claire Rundle Joshua Vine Nicky Wingfield Jeremy Woodhouse

Producer Production Administrator Trainee Producer Production Administrator Producer

TECHNICAL Jake Barinov Stage & Automation Technician Steph Bartle Deputy Head of Lighting Clara Clark Prop Maker Helen Clark Stage Crew Leoni Commosioung Stage Technician Adrien Corcilius Video & AV Technician Sarah Crispin Senior Prop Maker Lewis Ellingford Stage Technician Sam Garner-Gibbons Technical Director Jack Goodland Stage Crew Fuzz Guthrie Senior Sound Technician Lucy Guyver Production Manager Apprentice Katie Hennessy Props Store Co-ordinator Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Zoe Lyndon-Smith Technical Theatre Apprentice Finlay Macknay Stage Crew Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Sound Technician Stuart Partrick Transport & Logistics Assistant Katie Pitt Lighting Programmer Tom Robinson Senior Stage & Construction Technician Neil Rose Joe Samuels James Sharples Tom Smith

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

cft.org.uk/aboutus

Molly Stammers Graham Taylor Dominic Turner Emily Williamson Linda Mary Wise

Lighting Technician Head of Lighting Stage Crew Assistant Lighting Technician Sound Technician

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Duty Manager Ben Geering House Manager Karen Hamilton Duty Manager Will McGovern Deputy House Manager Sharon Meier PA to Theatre Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor Vespasian Security Security WARDROBE & WIGS Brook Bowden Shirley Brody

Wardrobe Manager Assistant Wigs, Hair & Make-Up

Isabelle Brook Dresser Shelley Gray Deputy Wigs, Hair & Make-Up Fran Horler Wardrobe Manager Dee Howland Assistant Wigs, Hair & Make-Up Abbie Johns Dresser Rebecca Rungen Head of Wigs, Hair & Make-Up Emily Souch Zena Sweetapple Loz Tait Afshan Toulalan Colette Tulley Grace Upcraft Maisie Wilkins

Dresser Deputy Wigs, Hair & Make-Up Head of Wardrobe Assistant Wardrobe Wardrobe Maintenance Dresser Dresser

Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Caroline Hanton, Keiko Iwamoto, Chris Monkton, Sue Welling Ushers: Miranda Allemand, Judith Anderson, Maria Antoniou, Izzy Arnold, Jacob Atkins, Carolyn Atkinson, Brian Baker, Richard Berry, Emily Biro, Gloria Boakes, Alex Bolger, Dennis Brombley, Judith Bruce-Hay, Louisa Chandler, Jo Clark, Gaye Douglas, Stella Dubock, Amanda Duckworth, Clair Edgell, Olivia Elgood, Lexi Finch, Suzanne Ford, Suzanne France, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Jay Godwin, Anna Grindel, Caroline Hanton, Justine Hargraves, Joseph Harrington, Joanne Heather, Daniel Hill, Marie Innes, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Pippa Johnson, Julie Johnstone, Ryan Jones, Jan Jordan, Jon Joshua, Sally Kingsbury, Alexandra Langrish, Maille Lyster, Judith Marsden, Samantha Marshall, Emily McAlpine, Janette McAlpine, Fiona Methven, Chris Monkton, Ella Morgans, Susan Mulkern, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Barbara Pope, Fleur Sarkissian, Nicola Shaw, Janet Showell, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust, Sue Welling, Rosemary Wheeler, James Wisker, Donna 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, Richard Frost, 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 Festival 2022 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

SUPPORT YOUR THEATRE

60TH BIRTHDAY APPEAL CFT is a theatre for everyone, where each of us can find something inspiring. Sharing stories together is more important than ever but for many it can be difficult to reconnect.

To celebrate our 60th Birthday, we are working even harder to help everyone join in – whether that’s through providing bursaries for our Youth Theatre, offering relaxed and dementia-friendly performances, or training our volunteer Buddies to assist isolated people with theatre visits. We continue to offer a full range of audio described, captioned and signed performances for blind, visually impaired or D/deaf audiences.

We need to raise £100,000 this year for this activity. Please help us reconnect with the most isolated and vulnerable in our community by giving a gift to our 60th Anniversary appeal.

To make your gift visit cft.org.uk/60for60 or call 01243 781312 Every gift makes a difference.

Th ank yo u

‘What I really like with Chichester is I feel valued here’ Kathy, Access Member

cft.org.uk/support-us

S U P P O R T E R S 2022

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 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 Christine and Dave Smithers Alan and Jackie Stannah Oliver Stocken CBE Howard Thompson Peter and Wendy Usborne The Webster Family Community Fund TRUSTS AND FOUNDATIONS Andrew Lloyd Webber Foundation The Arthur Williams Charitable Trust Artswork The Arts Society, Chichester The Bateman Family Charitable Trust The Bondi Foundation The Chartered Accountants’ Livery Charity Chichester District Council Elizabeth, Lady Cowdray’s Charity Trust The Foyle Foundation The G D Charitable Trust The Noël Coward Foundation Theatres Trust Wickens Family Foundation

FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Judy Addison Smith Mr Brian Baker The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Mrs Margaret Baumber Franciska and Geoffrey Bayliss Lucy Berry Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Janet Bounds Pat Bowman Lucy and Simon Brett Adam and Sarah Broke Therese Brook 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 David and Julie Coldwell Mr and Mrs Barry Colgate 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 Yvonne and John Dean Clive and Kate Dilloway Peter and Ruth Doust John and Joanna Dunstan Peter Edgeler and Angela Hirst Glyn Edmunds Anthony and Penny Elphick Caroline Elvy Sheila Evans Gary Fairhall Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Jane Fogg Robert and Pip Foster Jenifer and John Fox Terry Frost Mr Nigel Fullbrook George Galazka Alan and Pat Galer Robert and Pirjo Gardiner Wendy and John Gehr

Jacqueline and Jonathan Gestetner Marion Gibbs CBE Stephen J Gill Robin and Rosemary Gourlay R and R Green Reverend David Guest Ros and Alan Haigh Dr Stuart Hall Rowland and Caroline Hardwick Dennis and Joan Harrison Roger and Tina Harrison David Harrison Robert and Suzette Hayes Andrew Hine Hania and Paul Hinton Christopher Hoare Dame Denise and Mr David Holt Gill and Tim Howard Pauline and Ian Howat Barbara Howden Richards Richard and Kate Howlett John B Hulbert Mike Imms Mrs Raymonde Jay Melanie J Johnson Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Geoffrey King James and Clare Kirkman Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Amanda Lunt Jim and Marilyn Lush Dr and Mrs Nick Lutte Nigel and Julia Maile Sarah Mansell and Tim Bouquet Sue Marsh Adrian Marsh and Maggie Stoker Charles and Elisabeth Martin Trevor and Lynne Matthews John and Sally-Ann McCormack Tim McDonald Jill and Douglas McGregor James and Anne McMeehan Roberts Mrs Michael Melluish Celia Merrick Diana Midmer Jenifer and John Mitchell David and Di Mitchell Sue and Peter Morgan Roger and Jackie Morris Terence F Moss Mrs Mary Newby Patricia Newton Bob and Maureen Niddrie Lady Nixon Pamela and Bruce Noble Eileen Norris Jacquie Ogilvie Margaret and Martin Overington Mr and Mrs Gordon Owen Graham and Sybil Papworth

Richard Parkinson and Hamilton McBrien Simon and Margaret Payton Terry and John Pearson Stephen and Annie Pegler Jean Plowright Barbara Pope John Pritchard Trust Brian and Margaret Raincock David Rees The Rees Family Tom Reid and Lindy Ambrose Adam Rice John and Betsy Rimmer Robin Roads Philip Robinson Nigel and Viv Robson Ken and Ros Rokison Graham and Maureen Russell Clare Scherer and Jamie O'Meara Dr David Seager John and Tita Shakeshaft Mrs Dale Sheppard-Floyd Jackie and Alan Sherling The Sidlesham Theatre Group David and Linda Skuse Monique and David Smith Simon Smith Mr and Mrs Brian Smouha David and Unni Spiller Mel and Marilyn Stein Elizabeth Stern Barbara Stewart Peter Stoakley Anne Subba-Row Professor and Mrs Warwick Targett Harry and Shane Thuillier Mr Robert Timms Miss Melanie Tipples Alan and Helen Todd Peter and Sioned Vos David Wagstaff and Mark Dunne Ian and Alison Warren Brett Weaver and Linda Smith Chris and Dorothy Weller Bowen and Rennie Wells Judith Williams Angela Williams Lulu Williams Nick and Tarnia Williams 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 2022

PRINCIPAL PARTNERS Platinum Partner

Prof E.F Juniper and Mrs Jilly Styles

Gold Level

Silver Level

CORPORATE PARTNERS Addison Law Criterion Ices

FBG Investment J Leon Group

Jones Avens Oldham Seals Group

The Bell Inn William Liley Financial Services Ltd

Please get in touch for more information: cft.org.uk/support-us | development.team@cft.org.uk | call 01243 812911

Summer 2022 marks a momentous time for Chichester and the surrounding areas as we celebrate Culture Spark 2022.

Inspired by the anniversaries of Chichester Festival Theatre and other leading cultural attractions, Culture Spark will bring together artists, musicians and community groups from across the district to create a season of events that showcases work by local creatives and gives everyone a chance to enjoy a rich summer of fun.

TikTok 22 will see young people create TikToks which tell stories about their lives.

The Big Pic(k)nic is a musical litter-picking walk and wheel bonanza, and the Carnival of Lights is a grand parade that everyone is invited to!

For more information visit thegreatsussexway.org/culture-spark-2022 where the full programme will be revealed, and join CFT for these highlights.

CARNIVAL OF LIGHTS

Friday 10 June Chichester City Centre A grand parade of lanterns created by local schools, groups and artists will dance through the streets of Chichester to the Canal Basin culminating in a waterside extravaganza.

FREE

WE THE PEOPLE EXHIBITION

From 22 August, 10am Festival Theatre Foyer Celebrating the generosity and commitment of many volunteers, this touring photographic exhibition created

by Chichester College students can be enjoyed at various locations across the district, including CFT for two weeks from 22 August.

FREE

Sponsored by

Media Partner