Sing Yer Heart Out for the Lads digital programme | Chichester Festival Theatre | Festival 2022

SING YER HEART OUT FOR THE LADS

By Roy Williams

WELCOME

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

FESTIVAL 2022

In autumn 2019, the Chichester Spiegeltent opened with Nicole Charles’s new production of Sing Yer Heart Out for the Lads. Roy Williams’s play hit the back of the net for audiences and critics alike.

A planned National Theatre transfer was sadly shown the red card by the pandemic; so we are delighted that you now have another chance to see this compelling and powerful work in the Minerva, which revival director Joanna Bowman and set designer Joanna Scotcher have transformed to give an immersive sense of a south London pub.

It’s testament to how special this production is, that 10 of the original cast of 14 are returning to their roles.

It’s a joy to welcome them back, together with the four “new” actors joining them.

Much has changed since 2019, and even more so since 2002 when the play premiered at the National Theatre. Sadly, the scourge of racism both on and off the pitch has not; and in this World Cup and Women’s Euro year, the play is more pertinent than ever. As the sports writer Jonathan Liew says in his article in this programme, ‘if football is a microcosm of society, then by fixing the part we can start to fix the whole.’

We hope you enjoy the performance – and to see you again later in the season, particularly for the next contemporary play in the Minerva: Christopher Shinn’s gripping and witty The Narcissist.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

F E S T I VA L 2 0 2 2

Harry Lloyd Claire Skinner

THE NARCISSIST A new play by Christopher Shinn A gripping, inventive and witty take on personal and political communication in the internet age. Harry Lloyd and Claire Skinner lead the cast in this world premiere from celebrated American playwright Christopher Shinn, directed by Josh Seymour.

MINERVA THEATRE 26 August – 24 September #TheNarcissist

cft.org.uk

F E S T I VA L 2 0 2 2

Jenna Russell

WOMAN IN MIND

By Alan Ayckbourn Olivier Award winner Jenna Russell stars in Alan Ayckbourn’s dazzling black comedy, taking us on a dizzying journey through the looking glass into a woman’s mind. Anna Mackmin directs.

FESTIVAL THEATRE 23 September – 15 October #WomanInMind

cft.org.uk

LEARNING ON THE JOB Apprenticeships and Traineeships are an important feature of CFT’s work, not least because they support the training of the next generation of theatre makers and provide vital access routes into the creative industry.

WITHIN THE LAST SIX YEARS: • 10 Technical Theatre and two Education apprentices and trainees have successfully graduated from CFT and are all now working professionally in the industry • 12 Trainees and 42 Young Practitioners have trained in our Learning department, with 89% opting for careers in the arts.

• Over 200 work experiences opportunities have been offered to school students • In 2021, an alumni apprentice, Jesse Caie, won the Association of British Theatre Technicians (ABTT) Award for Emerging Excellence.

• We have also partnered for three years with the Association of Professional Lighting Designers (ALPD) to launch Lumiere: an early career development programme to offer professionals working in theatrical lighting a six-month placement at CFT, followed by six months with a freelance theatre lighting designers.

CURRENTLY: • We have a new Creative Learning and Participation Officer Apprenticeship; a Creative Venue Technician Apprenticeship (level 3); and a Creative Industries Production Manager Apprenticeship (level 7) which we believe to be the first of its kind in theatre.

• We also have one Trainee Producer; two Youth & Community Trainees and six young people undertaking the annual Young Practitioners Training programme.

JESSE CAIE

F E S T I VA L 2 0 2 2

CFT TRAINEES RYAN PANTLING & AMY CLAYTON

Lucy Guyver is Creative Industries Production Manager Apprentice: a two-year MA-equivalent course at CFT in partnership with Chichester College I did a degree in technical theatre and stage at CFT; next, I’m going to help him on the management at RADA. I wanted to go into South Pacific tour. production management, but didn’t have The apprenticeship is 80% working at CFT, enough experience. So this apprenticeship, 20% college work or self-training. Alongside for this very specific job, was exactly what this is a lot of coursework, building up to my I needed. end-point assessment for which I have to The production manager oversees all the complete a big project and give a presentation physical and technical aspects of getting a on why I did it the way I did, and present production ready for the stage, making sure my portfolio. the set is built and every department has the This course is unique; it’s the first in the time they need to create the vision on stage. country. don’t know where I Alecky Blythe’s engrossing new verbatim playI genuinely tells the stories of a generation.

You have to keepOften everyone happy!

Budgets would be if I hadn’t found it.

To be good too extraordinary to be fiction, Daniel Evans directs this funny aand and scheduling are the moving other key aspects. production manager, you need a lot of play in a co-production with the National Theatre.

CFT has given me opportunities to be experience; it’s hard to get into and it’s still mentored by professionals. I’ve achieved male-dominated field, although the MINERVAa very THEATRE a West End credit as Assistant Production number of women is growing. Without this – 14 May I doubt I would still be Manager on Cock at the Ambassador’s 22 Aprilapprenticeship, #OurGeneration Theatre, which came through their production considering it as a career. It’s been pretty manager, Ben Arkell, who works regularly life-changing.

LEAP cft.org.uk

FOOD AND DRINK Enjoy delicious food and drink at Chichester Festival Theatre.

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.

FOOD AND DRINK BEFORE THE SHOW

GREAT COFFEE IN A GREAT LOCATION

Enjoy tempting pub-style snacks from The Minerva Bar & Grill which also offers local gins and spirits, beers and wines.

On Thursday, Friday and Saturday we serve a selection of sharing platters, small plates, burgers and desserts.

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.

For more formal dining, a contemporary British prix fixe menu is available in our stylish restaurant, The Brasserie.

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

Open for matinees from 12pm and evening shows from 5pm. Also available for private functions.

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

SING YER HEART OUT FOR THE LADS

By Roy Williams

In his foreword to the published text of Sing Yer Heart Out for the Lads, Roy Williams tells us that he very much wanted to write a play ‘Not just simply about race, but about British nationalism: what does it mean to be British in the 21st century, who’s more British now, the blacks or the whites?’

He continues: ‘I had been wanting to write about these themes ever since I watched (for the hundredth time) Spike Lee’s brilliant ROY WILLIAMS PHOTO BY HELEN MURRAY

movie Do the Right Thing, one of the most honest pieces of drama I have seen about race.

I admired the film because it did not lose its bottle by drowning itself with wishy-washy liberal platitudes. To me, Spike’s movie said ‘fuck’ to all that. It just told it as it was.

No apologies.

‘It was not an easy play to write. And I was thankful for that. I wanted to challenge myself as well as the audience and the world of my

LISTEN, THEN CONFRONT. NO APOLOGIES Roy Williams introduces his play

play. One of the main characters is called Alan.

He is a member of a fascist political party, not unlike our British National Party. It was important to me not to make him a devil. The night after Sing Yer Heart Out opened [in 2002], local elections were taking place all over the country. The British National Party won several seats. People were actually going out to vote for them. What was that about? What was it the BNP said that made them do that? It had

to be something. It had to come from somewhere. As much as Alan’s views disgust me, he does say one thing in the play that I totally agree with: If you want to stop people from being like me, then you are going to have to start listening to people like me...

‘That pretty much sums up how I feel racial issues should be addressed. Listen, then confront. No apologies.’

English football is consumed by racism and hatred.

Can the cycle be broken?

Jonathan Liew asks if football can provide a solution to our societal crisis TRIBUTES FROM WELL-WISHERS OBLITERATE RACIALLY-AGGRAVATED ABUSE ON A MANCHESTER MURAL OF MARCUS RASHFORD IMAGE COURTESY OF SKY SPORTS

Four decades ago, before his England debut, Cyrille Regis was sent a bullet in the post by a racist fan. In 2008, shortly after being appointed as Chelsea’s manager, Avram Grant was deluged with dozens of antisemitic emails. These days, as footballers continue to be subjected to racist abuse on Twitter and Instagram, the temptation is to wonder whether anything has changed except the method of delivery.

The recent wave of social media abuse – directed primarily at prominent black footballers – follows a well-worn pattern.

The incidents begin to cluster with a grisly momentum: Marcus Rashford, Axel Tuanzebe on two separate occasions, Anthony Martial, Reece James, Romaine Sawyers, Alex Jankewitz and Lauren James. Statements are issued. Governing bodies, broadcasters and public figures clamber over each other to offer

their condemnation, often by way of a fancy social media graphic. And then, like any wave, the anger subsides. The news cycle gets bored.

Racism carries on, and so does everyone else.

Until the next wave, at least.

You do not have to physically tweet racist abuse or sing antisemitic songs in order to be complicit in a culture that enables these actions.

Can the cycle ever be broken? Will football ever be able to move beyond strong statements and outright condemnations and the occasional glimpse of a man walking out of a magistrate’s court with a jacket over his head? Players and senior figures within the game have urged greater vigilance from social media platforms.

The government has threatened tech companies with criminal sanctions and fines running into the billions. But for now, all of this remains just words. Realistically, are we ever going to get the measure of this thing?

This isn’t just about racism, as NO ROOM FOR RACISM CAMPAIGN IMAGE COURTESY OF PREMIER LEAGUE

demonstrated by the death threats sent to referee Mike Dean, or the treatment of the pundit Karen Carney by Leeds fans. Nor is it about single incidents, or even overt abuse.

Focusing on social media platforms is to address only the thinnest sliver of the problem, given that much of the abuse currently being dished out has simply migrated online in the absence of fans from stadiums. For all the joy it inspires, the stirring stories it serves up, English football feels more thoroughly consumed by hatred than at any point in its recent history: a smell you can neither accurately place nor decisively ignore.

The sociologist Dr Jamie Cleland has been studying the discourse of football and football fans for more than a decade, and agrees that the window has shifted. “What we’re seeing,” he says, “is a ‘casualisation’ of language.

Society has become a lot busier, and so social norms aren’t being challenged as they would have been historically. People are getting away with things that they wouldn’t have a generation previously.”

There are clear parallels here between the rise of online abuse towards footballers and the highly gendered hooliganism of the 1970s and 1980s, a process that Cleland describes as “capital acquisition”. “This was the notorious aspect of hooliganism: people engaged in violent behaviour because it gave them a form of social or cultural capital,” he says. “Whereas once they proved themselves by engaging in violence, now it’s about proving their worth online as a fan. That person might not have a high level of capital in their everyday life.

But this gives them a sense of worthiness.

They want someone to bite. They feel alive.”

The natural rejoinder is that, now as ever, the actions of a vocal and vicious minority should not taint the standing of the majority.

But this defence only really works to a point, and in any case: who or what is really being defended here? You do not have to physically tweet racist abuse or sing antisemitic songs in order to be complicit in a culture that enables these actions. “We keep talking about a minority,” says Haringey Borough manager Tom Loizou. “But they’re in amongst the majority.

And if the majority are doing nothing about it, then they’re just as guilty.”

Football fans are often an easy scapegoat for far broader social problems.

To a large extent, the problem is one of data and intelligence. We may think we have an idea in our head of who the archetypal racist fan might be. But we still don’t know for sure, even though the technology to profile and proactively target problem users has long existed in other sectors. “We don’t have a taxonomy of offenders,” says Sanjay Bhandari, the chair of Kick it Out. “We’re aware that there are kids doing this because they’re bored.

There are people who don’t know better. People who have extremist views, people who want to put off opponents, people from outside the UK who think they’re not going to be caught.

For all we know, some of it might be automated bots. What we don’t know is the volume of each category.”

Bhandari advocates a two-pronged strategy: pressure on the tech giants, allied with lobbying for changes in the law. “If you look at something like hacking,” he explains, “we know who’s doing it. For years, the banking industry has had a common registry of offending IP addresses for anti-money-laundering purposes. These systems exist. But you need the help of Twitter and Facebook, because they’ve got all the data.

Unless you understand the problem, all we’re doing is playing whack-a-mole.”

Dr Mark Doidge is a senior research fellow at the University of Brighton who specialises in football fan culture. He reckons football fans are often an easy scapegoat for far broader social problems. “Historically, football fans have been demonised,” he says. “They’re invariably seen as violent or racist. Whereas in reality, football fans come from all walks of life. And it’s a very convenient excuse to blame things on football fans that are happening at a wider level.

“There is a particular aspect of football culture around the world which is about: we are this, you are that. It’s about superiority,

MURAL SUPPORTING ENGLAND'S BUKAYO SAKA, MARCUS RASHFORD AND JADON SANCHO

masculine hierarchy. And that structures a lot of interactions between fans. However, this coarsening of debate comes from the top.

The prime minister has made openly sexist, homophobic and racist comments. So you have a society that is more comfortable speaking about these things.”

Cleland describes this as “internalised disposition” – behaviours we learn by watching others. If we see politicians rise to power despite making openly racist or sexist comments, if the restraining influence of peers and social groups is devalued to the point of irrelevance, if we see the most obnoxious and attention-seeking online behaviour rewarded with likes and followers, it follows that these traits will filter into everyday currency.

And so, if these forces go as deep as humanity itself, how on earth do we begin to resist them? “I’ve seen people argue education is important,” says Cleland. “But in many ways, we’re past that stage. The problem is so deep.

The fluidity is getting out of control. It’s probably KICK IT OUT CAMPAIGN

impossible, but society needs to shake itself down, reassess the ways in which we deal with each other.”

If football is a microcosm of society, then by fixing the part we can start to fix the whole.

For Doidge, meanwhile, the solution lies at source: with supporters themselves. “Over the last 30 years, football fans have shown that they can work together when they recognise there’s a bigger issue,” he says.

“The clubs have a huge role to play, but the best way of getting fans to do something is to propose it from within the fanbase. Not UEFA, not the police, but your friends.” And when

Ian Wright published screenshots of racist abuse he had received last year, Instagram users identified the culprit within minutes.

And so really this is a problem that goes well beyond football. It encompasses the criminal justice system, the hegemony of Big Tech, the dereliction of our politics and the way we talk to each other. The solutions, too, must be equally wide-ranging: from the banning order and the boycott to the block button and the coordinated political campaign. On some level it feels like a hopeless crusade: like trying to hold back the world with just your two bare hands.

Yet perhaps there are still grounds for optimism. Football has so often acted as a petri dish for wider social trends: the same toxic combination of fierce tribalism and crowd anonymity that now feels so endemic to our lives as a whole. You can look at this in one

of two ways. Either we complain that the task is too monstrous, the forces of chaos too irresistible, and draw the curtains. Or we conclude that if football is a microcosm of society, then by fixing the part we can start to fix the whole. Football may not be the root cause of all its problems. But perhaps it can be the root of the solution.

This is an edited version of Jonathan Liew’s article, first published in the Guardian on 8 February 2021.

Copyright Guardian News & Media Ltd 2021.

MARK SPRINGER AND MICHAEL HODGSON IN SING YER HEART OUT FOR THE LADS (2019)

SING YER HEART OUT FOR THE LADS

By Roy Williams CAST (in order of appearance) Gina Jimmy Glen Mark Duane Bad ‘T’ Lawrie Lee Becks Phil Jess Alan Barry Sharon

Sian Reese-Williams Steven Dykes Jem Matthews Mark Springer Harold Addo Duramaney Kamara Richard Riddell Alexander Cobb Samuel Armfield Rob Compton Kirsty J Curtis Michael Hodgson Makir Ahmed Jennifer Daley

The play is set in the King George Pub in south-west London on Saturday 7 October, 2000.

There will be one interval of 20 minutes.

First performance of this production of Sing Yer Heart Out for the Lads at Chichester Spiegeltent, 7 October 2019; first performance at the Minerva Theatre, 22 July 2022.

Sing Yer Heart Out for the Lads © Roy Williams 2002 First produced at the National Theatre Loft, 2 May 2002.

Nicole Charles Joanna Bowman Joanna Scotcher Amelia Jane Hankin Joshua Carr George Dennis Isaac Madge Chris Whittaker Kate Waters Charlotte Sutton CDG

Original Director Revival Director Set Designer Costume Designer Lighting Designer Sound Designer Video Designer & Programmer Movement Director Fight Director Casting Director

Tess Dignan Kay Welch Camille Etchart Olamide Ajisafe

Voice Coach Dialect Coach Associate Set Designer Assistant Director

John Page Josie Thomas Sharon Foley

Production Manager Costume Supervisor Props Supervisor

Nikki Colclough Luke Chambers Isobel Eagle-Wilsher

Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Production credits: Set by Tin Shed Scenery; Video hires supplied by Stage Sound Services; Rehearsal Room RSC Clapham.

With thanks to Noluthando Boqwana; Jack Myers as Rob; Daren Rowland, David Beal, Luciano Macis, William McGovern, Ernesto Ruiz, Freddie Dempster; Sky Sports; Pond5; James Lewis; Lee Barnes; the team at RSC Clapham; The Bell Inn, Chichester. Special thanks to the FA for the match footage.

Rehearsal and production photographs Helen Murray Programme Associate Fiona Richards Programme design Davina Chung

Supported by the Sing Yer Heart Out for the Lads Commissioning Circle: Patrick and Maggi Burgess, Veronica J Dukes, David Leon, Elizabeth Miles, Vicky Mudford and all those who wish to remain anonymous.

Sponsored by

#SingYerHeartOut ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

ChichesterFT

BIOGRAPHIES

HAROLD ADDO Duane Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Young Clarence in A Place for We (Park Theatre/Talawa); X-Ray in Holes (Nottingham Playhouse/Fiery Angel/ UK tour); Moritz in Spring Awakening (Young Vic); Sailor in Billy Budd (Royal Opera House); Horatio in Hamlet and Jim Hawkins in Treasure Island (Iris Theatre); Nkrumah in Womb (Black Lives Black Words/Bush Theatre); Toe-Rag/ Hoodie 2 in The Gift of the Gab (White Bear Theatre); Teddy in Beyond the Blue (Cut the Cord Theatre); Estragon in Waiting for Godot (Sweaty Palms Productions/site specific); Scott/ Male 2 in It Might Never Happen (Doll’s Eye Theatre); Prince Charmont/Ensemble in Ella Enchanted (Bush Barrel Tun/Edinburgh Fringe); Tom in The 49 (Theatre N16); Anibal de la Luna in Cloud Tectonics (Corbett Theatre); Prince Tydeus in Welcome to Thebes, Ross in Macbeth, Orlando/Charles the Wrestler in As You Like It, Vasilly Solyony in Three Sisters, Lucius Jenkins in Jesus Hopped the ‘A’ Train (East 15 Acting School); Chorus in 4.48 Psychosis (LoneTree Theatre Project).

Television includes Banged Up Abroad, Premature.

Radio includes The Man and His Soul, From Fact to Fiction.

Films include Urban Decay and the shorts King of the Couch, The Project, Pu Ekaw Tnod, Scrap of Paper, Beatrice.

Trained at East 15 Acting School.

ROB COMPTON MARK SPRINGER MAKIR AHMED (2019)

KIRSTY J CURTIS MAKIR AHMED (2019)

MAKIR AHMED Barry Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Leo in The Firm and Josh in A Further Education (Hampstead Theatre); Nick in Four Minutes Twelve Seconds (Gothenburg English Studio); Simon in Cookies (Theatre Royal Haymarket); Lieutenant General Alexis in The Tale of the Wolf and the Shepherd and Smith in Party Time (Arthur Cotterell Theatre); Leader of the Opposition in Prosopopeia (London Theatre); Jason in Torn (Arcola Theatre); Sister/Leonid Adreyavitch in Brezhnev’s Children, Joe Smith in Club 27 and Theseus in A Midsummer Night’s Dream (London College of Music); Tyrone Jackson in Fame The Musical and Borachio in Much Ado About Nothing (Sandown Bay Academy).

Television includes Marriage, Father Brown, Citadel, Golden Oldies, EastEnders, Unforgotten, Doctors, Casualty.

Radio includes Fault Lines, The Likes of Us. Films include the shorts What Happened to Evie, Colours, Reckless, Get Home Safe.

Trained at Identity Drama School.

SAMUEL ARMFIELD Becks This is Samuel’s professional debut.

Theatre while training includes Simon/ Carter/Ashley in Play House/Bull/Game, Mr McQueen in Urinetown The Musical, Stiva Oblonsky in Anna Karenina, Metellus Cimber/ Messala in Julius Caesar, Benedick in Much Ado About Nothing, title role in Oedipus, Biff in Death of a Salesman, Jason in Sweat, Alexander Vershinin in Three Sisters, B in An Intervention (Guildhall) and productions for the National Youth Theatre.

Trained at Guildhall School of Music and Drama.

ALEXANDER COBB Lee Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Antony and Cleopatra and The Magistrate (National Theatre); The Duchess of Malfi (RSC); Mary Stuart (Almeida); Red Velvet (Garrick Theatre); The Seagull

(Headlong); Goodbye to All That (Royal Court); The Two Gentlemen of Verona (Royal & Derngate); Wasted (Paines Plough/Latitude).

Television includes Moon Knight, Whitstable Pearl, Grace, The Outlaws, Vera, Indian Summers, Ripper Street, The Mimic, Call the Midwife, Mr Selfridge, Doctors, Parade’s End. Radio includes The Duchess of Malfi, Calais 2037, A Soldier and a Maker.

Films include Between The Lights, The King’s Man, Mary Shelley and the shorts Whitehawk and The Parish.

Trained at RADA. ROB COMPTON Phil Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Matilda (RSC); Wonder.land (Manchester International Festival/National Theatre); Bat Boy (Southwark Playhouse); Mother Courage and Her Children (Manchester Library Theatre/The Lowry); A Chorus of Disapproval (Harold Pinter Theatre); All the Fun of the Fair (UK tour); Merlin and the Woods of Time and As You Like It (Grosvenor Park Open Air Theatre); Great Expectations (ETT); A Christmas Carol (West Yorkshire Playhouse).

Television includes Andor, True Horror, Rellik, Babs, Ripper Street, Corner Shop Show, Silent Witness, EastEnders, Endeavour.

Films include Matilda, American Assassin, and the shorts Adjustments and Faithful.

KIRSTY J CURTIS Jess Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Bianca in the forthcoming Othello (National Theatre); Margaret in Much Ado About Nothing (Mercury Theatre); Lucy in Dirty Promises (The Hope Theatre); Hannah in Days of Significance (Unicorn Theatre); Carrie in Memory of Forgetting (Arcola Theatre); C in The Club (Tristan Bates Theatre); Monologueslam UK (Theatre Royal Stratford East); Kate in The Red Balloon (Theatre503); Jane in My Girlfriend’s a Real Doll’s Face and Honey in Sweetheart and Honey Fight the War (Bush Theatre).

ALEXANDER COBB RICHARD RIDDELL (2019)

Television includes Sneakerhead, Little Darlings, Bloods, The Inside Man, Harlots, Sliced, Timewasters, Grantchester, Hailmakers, Rellik, The Halcyon, Holby City, Birds of a Feather, Doctors, People Just Do Nothing, Casualty, Locked Up Abroad, Call the Midwife.

Radio includes The Interrogation, The Taylors.

Films include Rise of the Footsoldier: Origins, The Festival, Homeless Ashes, Bonded

by Blood 2, Urban Hymn, Resurrection of Daniel Durante, Again, Tough Crowd.

Web series Match Not Found.

Trained at Rose Bruford College.

Instagram and Twitter: @KirstyJCurtis JENNIFER DALEY Sharon Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes: Big Big Sky (Hampstead Theatre); Tapped (Theatre 503); Every Thing (Lawrence Batley Theatre); The Goat, or Who Is Sylvia? (Theatre Royal Haymarket); Left My Desk (New Diorama); Safe (Soho Theatre); This Wide Night (Albany); Educating Rita (UK tour);

Gutted (Theatre Royal Stratford East); Bashment (Theatre Royal Stratford East); London Exiles (Soho).

Television: Trust, The Interceptor, Hidden Lives, EastEnders, Dalziel & Pascoe, Doctors and Casualty.

Film: The Adventures of Selika, Bashment (Winner, Best Supporting Actress, British Independent Film Festival), Robot Overlords, Fit. Radio: Jennifer plays the role of Amy Franks in The Archers.

STEVEN DYKES Jimmy Theatre includes American premieres of Howard Barker’s Pity in History, The Castle and Victory (Potomac Theatre Project/Atlantic Theater Stage II New York) and with Barker’s Wrestling School in (Uncle) Vanya (European tour).

Other credits include Danton’s Death (Young Vic Studio); The Spoils (Arcola), Safety (Traverse and national tour); Kolonists (Bridge Lane).

Television includes EastEnders, Casualty, Emmerdale, In Deep, This Is Personal, Judge John Deed, Dalziel and Pascoe.

MICHAEL HODGSON Alan Previously at Chichester Strife (Minerva Theatre), Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Road (Northern Stage); Macbeth, Romeo and Juliet, The Shoemaker’s Holiday, The Mouse and His Child (RSC); Oliver Twist (Regent’s Park Open Air Theatre); Treasure Island (Birmingham Rep); Get Carter, Catch 22, Noir, A Christmas Carol (Northern Stage); Romeo and Juliet (Sheffield Crucible); Brilliant Adventures (Manchester Royal Exchange); The Pitmen Painters (original cast, Live Theatre/ National Theatre/West End/Broadway); Can’t Pay Won’t Pay, Accidental Death of an Anarchist (Told By An Idiot); Bones (Hampstead); King Lear (Young Vic/Japan tour); The Three Musketeers (UK tour); The Tower (Almeida); The Wind in SIAN REESE-WILLIAMS ALEXANDER COBB (2019)

the Willows, The Devil’s Disciple (National Theatre); Jane Eyre, Travels With My Aunt (West End); Death of a Salesman, The Last Yankee, Tess of the D’Urbervilles (West Yorkshire Playhouse); The Guise (Arts Threshold/Romania/ Hong Kong/Off Broadway NY).

Television includes George Gently, Accidental Farmer, Vera, Skins, The Visit, Instinct, Angel Cake, Spit Game, Ghost Squad, 55 Degrees North (series regular), Babywar, Lawless, Spooks, 2000 Acres of Sky (series regular), Without Motive, Dalziel and Pascoe, Touching Evil, Doctors, The Bill, The Royal.

Films include The Duke, In Bruges, The One and Only, Gypsy Woman, The Lowdown, The Last Minute, Wonderland, First Knight.

DURAMANEY KAMARA Bad ‘T’ Theatre includes DJ in Bangers (Cardboard Citizens/Soho Theatre and UK tour); Benjay in The Response RD (The Seagull Lowestoft/ Mercury Theatre Colchester); Lamarai in Boy (Almeida Theatre).

Television include Sneakerhead, Trigonometry, Marcella.

Films include Yardie, What Happened to Evie.

JEM MATTHEWS Glen This is Jem’s professional theatre debut.

Films include White Bird: A Wonder Story, and the shorts Incrementum, Birds and Brothers.

Trained with the National Youth Theatre.

MICHAEL HODGSON (2019)

SIAN REESE-WILLIAMS Gina Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Lungs, The Initiate, Our Teacher’s a Troll (Roundabout Season/ Paines Plough); Linda in Enjoy (West Yorkshire Playhouse); Marta in Children of Fate (Bussey Building); Queenie in Be My Baby (New Vic Theatre); Phoebe in As You Like It (Derby Playhouse); Future Perfect, Freya in Coltan and Lucy in Sixtyfive Miles (Paines Plough); Sarah in Present Tense (Trafalgar Studios); Young Gladys in Diamond (King’s Head Theatre); Jennifer in The Dreaming (BBC London Theatre Award) and Rapunzel in Into the Woods (National Youth Music Theatre).

Television includes Wolf, The Light, Vera, Silent Witness, Hidden/Craith, Pili Pala, Line

of Duty, Requiem, 35 Diwrnod, Hinterland, Emmerdale.

Radio includes Safe From Harm (BBC Audio Drama Award nomination).

Films include The Beautiful Game, Justine.

Trained at Royal Welsh College of Music and Drama.

JEM MATTHEWS DURAMANEY KAMARA HAROLD ADDO

RICHARD RIDDELL Lawrie Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Gabriel, Titus Andronicus and The Comedy of Errors (Shakespeare’s Globe); All Who Pass (International Playwrights Showcase/Royal Court); Pastoral (Soho Theatre); Filumena (Almeida Theatre); The Merchant of Venice and The Homecoming (RSC); After the Party (Criterion Theatre).

Television includes Endeavour, Curfew,

Bodyguard, The Terror, Scott and Bailey, Barbarians Rising, Doc Martin, Penny Dreadful, Vera, Misfits, Jabberwock, The Fattest Man in Britain, Krod Mandoon and the Flaming Sword of Fire, Merlin, Waking the Dead, Fanny Hill: The Memoirs of a Woman of Pleasure, Heartbeat.

Films include Between the Lights, 55 Steps, Star Wars VII, The Merciless Beauty, Legend, Weekender, Blitz, Robin Hood, The Imaginarium of Dr Parnassus, Act of God, Enemy Lines, Dogging: A Love Story.

MARK SPRINGER Mark Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes An Unfinished Man (The Yard Theatre); The Island (Dukes Theatre Lancaster and The Theatre Chipping Norton); Henry V, Troilus and Cressida, The Merchant of Venice, The Darker Face of the Earth (National Theatre); The War That Still Goes On, Thomas More, A New Way to Please You, Believe What You Will (RSC Stratford/West End); Macbeth,

SAMUEL ARMFIELD STEVEN DYKES

Much Ado About Nothing and Mercutio in Romeo and Juliet (Shakespeare’s Globe); title role in Don Juan (Citizens Theatre); King Lear (Royal Exchange Theatre/Talawa); Brutus Jones in The Emperor Jones (LOST Theatre); Chigger Foot Boys (Ovalhouse); Meet the Mukherjees (Bolton); Where the Mangrove Grows and Songs of Grace and Redemption (Theatre503); The Chimes (Southwark Playhouse); The Suppliants (Gate); A Taste of Honey (Watford); Night and Day (Northampton).

JENNIFER DALEY

Television includes Shadow and Bone, One Night, Buried, New Tricks, Doctor Who, Sea of Souls, EastEnders, Holby City, Law & Order: UK, Doctors, Rose and Maloney, In 2 Minds, The Merchant of Venice, Second Generation, The Bill.

Films include Bull, Kingslayer, King Lear, Sahara, Acceptable Damage.

C R E AT I V E T E A M

OLAMIDE AJISAFE Assistant Director Previously at Chichester, Assistant Director on Doubt (Festival Theatre).

Olamide’s theatre credits include Co-Director for debbie tucker green’s a profoundly affectionate, passionate devotion to someone (-noun) (Warwick Arts Centre); Theatre Workshop Facilitator at Camp Bob at Kanuga USA; Head of Drama at The Latymer School.

Television and radio includes Assistant Producer for BBC Radio 1; Production Assistant for The Kitchen (DMC Film/Netflix/Brekkie Frownie Productions) and The Mandela Project (Paramount/Viacom/Google); Production Coordinator for BBC Radio 1’s Big Weekend Connects and The Black Filmmakers Curriculum (BBC Radio 1Xtra/Netflix); Production Runner for The Capture (NBC), Ru Paul’s Drag Race UK: CHRIS WHITTAKER JOANNA BOWMAN

The Podcast (BBC Sounds), Funny Festival Live (BBC 2), Domino’s Dough to Door (Radical Media), Man Like Mobeen (Tiger Aspect) and The Rap Game (BBC Three).

Studied at University of Warwick.

JOANNA BOWMAN Revival Director Previously at Chichester, Assistant Director Sing Yer Heart Out for the Lads (Spiegeltent).

Credits include, as Director Alright Sunshine, Mary and Ada Set the World to Rights (Òran Mór), The Metamorphosis: Unplugged (Vanishing Point/national tour), Chaos (Perth Theatre), Fox-Pops, Smiles Better (Mahogany Opera/Edinburgh International Festival); as Associate Director Carousel (Regent’s Park Open Air Theatre), The Good Life (Fiery Angel/UK tour), The Metamorphosis (Vanishing Point/ Emilia Romagna Teatro Fondazione/Tron

Theatre); as Assistant Director A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Cyrano de Bergerac (National Theatre of Scotland), Nora: A Doll’s House, A Christmas Carol and The Macbeths (Citizens Theatre), Toy Plastic Chicken (Traverse Theatre and Òran Mór).

Joanna was a finalist for the 2022 JMK Award. She is Associate Director of Vanishing Point. She trained on the MFA in Theatre Directing at Birkbeck, University of London.

JOSHUA CARR Lighting Designer Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Recent credits include Hangmen (Broadway: Tony Award nomination for Best Lighting Design of a Play, also Atlantic Theatre Company New York, Royal Court and West End); The Welcome Back Season (Theatre Royal Bath); Hamlet (Leeds Playhouse); True West (Vaudeville); Dealing with Clair (Orange Tree); Sweet Charity (Nottingham Playhouse); A Christmas Carol (Hull Truck & Leeds Playhouse); Tiger Bay (Wales Millennium Centre, Cape Town Opera); Terror (Lyric Hammersmith); Romeo and Juliet (West Yorkshire Playhouse); Everybody’s Talking About Jamie (Sheffield Theatres); Henry V (Regent’s Park); Sleeping Beauty, All My Sons, The Miser (Watermill); Stewart Lee: Content Provider (London and UK tour); Lunch and the Bow of Ulysses (Trafalgar Studios); Wonderman (Gagglebabble, National Theatre of Wales and Wales Millennium Centre); Raz (West End); Songs for the End of the World (Vault Festival, BAC); Dinner with Friends (Park Theatre); Albert Herring (RCM); The Dissidents (Tricycle); The Caucasian Chalk Circle, Britain’s Best Recruiting Sergeant (Unicorn Theatre); The Wasp, In the Vale of Health (Hampstead); Breeders (St James Theatre); Holes (Arcola); The Saints, The Best Christmas Present in the World (Nuffield); Le Gateau Chocolat: Black (Assembly Edinburgh, Soho Theatre, Homotopia Festival, Liverpool and UK tour); Yellow Face (National Theatre and Park Theatre); Some Girl I Used to Know (West Yorkshire Playhouse and UK tour); His Teeth (Only Connect, Offie Award Best Lighting Design nomination); The Song of Deborah (Lowry).

NICOLE CHARLES Original Director Nicole Charles directed the original production of Sing Yer Heart Out for the Lads in the Chichester Spiegeltent in 2019. Her work has been staged at the Young Vic, The Bush Theatre, National Theatre and Theatre Royal Haymarket.

Recent work includes Emilia by Morgan Lloyd Malcolm, which transferred from Shakespeare’s Globe to the Vaudeville Theatre; Testmatch (ETT/Ustinov Studio, Bath); Gluathione by Winsome Pinnock at the Young Vic; and assistant directing Joe Murphy and Joe Robertson’s The Jungle which transferred from the Young Vic to the Playhouse Theatre.

She was also a finalist in the Young Vic’s Genesis Future Director Awards 2018.

Television includes Hair Power: Me and My Afro (winner of a Cannes Silver Lion 2021, nominated for Broadcast Awards 2022 Best Specialist Factual Programme and Edinburgh TV Festival New Voice Best Director Award 2021), Pack of Lies.

Before becoming a director, Nicole trained as an actress at RADA. GEORGE DENNIS Sound Designer Previously at Chichester The Southbury Child, The Norman Conquests (Festival Theatre), Hedda Tesman, The Deep Blue Sea (Minerva Theatre), Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Straight Line Crazy, Two Ladies, A Very Very Very Dark Matter (The Bridge); The Homecoming (West End: Olivier Award nomination for Best Sound Design); Nine Night (West End and National Theatre); The Seagull, A Slight Ache & The Dumb Waiter, The Lover & The Collection, One for the Road, A New World Order, Mountain Language & Ashes to Ashes, The Importance of Being Earnest (West End); An Octoroon (Orange Tree and National Theatre); Sweat (Donmar Warehouse and West End); The Mountaintop, Glee & Me (Royal Exchange); The Duchess of Malfi, Three Sisters (Almeida); Venice Preserved (Royal Shakespeare Company); Talent, Frost/Nixon, Tribes (Crucible Sheffield); The Mountaintop (Young Vic, Royal Exchange and UK tour); Mary Stuart, The Beacon (Staatstheater Stuttgart); An Unfinished

Man (The Yard); Hedda Tesman, Richard III, Spring Awakening (Headlong); The Island (Young Vic); Much Ado About Nothing, Imogen, The Taming of the Shrew (Shakespeare’s Globe); Harrogate, Fireworks, Liberian Girl (Royal Court); Guards at the Taj, Visitors (Bush Theatre); Killer, The Pitchfork Disney (Shoreditch Town Hall, co-designed with Ben and Max Ringham: Off-West End Award for Best Sound Design); Faces in the Crowd, The Convert, In the Night Time, Eclipsed (Gate Theatre).

TESS DIGNAN Voice Coach Previously at Chichester, Dialect Coach on Flowers for Mrs Harris (Festival Theatre), Voice Coach on Sing Yer Heart for the Lads (Spiegeltent).

Tess is Head of Voice at Shakespeare’s OLAMIDE AJISAFE

Globe Theatre where she has recently coached on Henry IV Part 1, Henry IV Part 2, Henry V, A Midsummer Night’s Dream, As You Like It and Bartholomew Fair.

She has coached at the Royal Shakespeare Company for many years on productions including Hamlet, King Lear, Romeo and Juliet, Women Beware Women, The Drunks, Twelfth Night, The Mouse and his Child, Love’s Labour’s Lost and Much Ado About Nothing. Other theatre in the UK and internationally includes Emilia (Shakespeare’s Globe & West End); Mother Courage (Manchester Royal Exchange); Night School (Pinter at the Pinter); Tartuffe (Theatre Royal Haymarket); Pink Mist (Bristol Old Vic/ Bush Theatre); Othello, Macbeth, Twelfth Night and The Haunting of Hill House (Liverpool Everyman); Odyssey (Theatre Ad Infinitum); Caledonia (National Theatre of Scotland);

Macbeth, A Midsummer Night’s Dream, Pride and Prejudice, Dracula, West Side Story and The Tempest (Stratford Shakespeare Festival, Ontario).

Television includes Outlander.

Trained at The Webber Douglas Academy, the Royal Central School of Speech and Drama, Manchester University and Kristin Linklater’s International Voice Centre.

CAMILLE ETCHART Associate Set Designer Previously at Chichester, Associate Designer Doubt (Festival Theatre).

As Associate Designer, Platinum Jubilee Celebration (Royal Horse Show Windsor); Tao Of Glass (Manchester International Festival & Perth Festival); Groan Ups (UK tour).

As Assistant Designer and Model Maker, Emilia (Globe); Appropriate (Donmar Warehouse); The Ocean at the End of the Lane (Dorfman Theatre); The Merry Widow (London Coliseum); La Bohème (Gothenburg Opera House); Vassa (Almeida Theatre); Love Love Love (West End): Lanark (Citizens Theatre & Edinburgh International Festival); Marriage of Figaro (Opera de Paris); Pelléas et Mélisande (Santa Fe Opera); Mother Courage (Royal Exchange).

As Design Assistant and Prop Supervisor, Party Skills at the End of The World and Madhouse (Shoreditch Town Hall).

Originally trained at LIPA with a degree in Theatre and Performance Design, with a foundation from Central St Martin’s in Performance Design and Practice.

AMELIA JANE HANKIN Costume Designer Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre includes Red Pitch, The Neighbourhood Project (Bush Theatre); Holes (Theatre Royal, Bury St Edmunds); Let The Right One In, Mountains: The Dreams of Lily Kwok (Royal Exchange); The Night Before Christmas, Rudolf (Leeds Playhouse); Unknown Rivers (Hampstead); One Under (Graeae); The Wolf, the Duck and the Mouse (Unicorn Theatre); The Wave, (This Isn’t) A True Story (Almeida Theatre); Blue/Orange (Birmingham Rep);

Gastronomic (Curious Directive); The Fishermen (HOME/Arcola/Trafalgar Studios); The Comedy of Errors (RSC); Confidence, Natives (Southwark Playhouse); Europe After the Rain (Mercury Theatre); Smack That (A Conversation) (Barbican and UK tour); Mixed Brain (Paines Plough/tiata fahodzi); The Scar Test (Soho Theatre); Punts (Theatre503); Powerplay (Hampton Court Palace); Good Dog (Palace Theatre Watford & UK tour); We Are You (Young Vic at British Museum); The Tiger’s Bones (Lakeside Nottingham, Polka London and Leeds Playhouse); She Called Me Mother (Tara Arts and UK tour); Fake It ‘Til You Make It (Soho Theatre, Traverse Edinburgh, UK and Australian tour); The Same Deep Water As Me, The Crucible, Dealer’s Choice and Pinter Triple Bill (Guildhall School of Music and Drama); 64 Squares (New Diorama and UK tour); You Once Said Yes (Perth International Festival, Nuffield Theatre and Lowry Theatre); The Many Whoops of Whoops Town (Lyric Hammersmith); The Itinerant Music Hall (Lyric Hammersmith, Latitude, Greenwich & Docklands and Watford Palace).

ISAAC MADGE Video Designer & Programmer Previously at Chichester Video Designer for Sing Yer Heart Out for the Lads (Spiegeltent), AV Content Editor for Caroline, Or Change (Minerva Theatre, also Hampstead and Playhouse Theatres), Video Operator on Quiz (Minerva Theatre and Noël Coward Theatre).

Theatre includes The House of Shades (Video Designer, Almeida); Leopoldstadt (Projection, Wyndham’s Theatre); Top Girls (Projectionist, National Theatre); Hansard (Video Content, National Theatre); All About Eve (Camera Operator, Noël Coward); My Brilliant Friend, Peter Gynt, The Tell-Tale Heart, The Lehman Trilogy, I’m Not Running and Antony and Cleopatra (National Theatre).

JOANNA SCOTCHER Set Designer Previously at Chichester Doubt (Festival Theatre), Sing Yer Heart Out For The Lads (Spiegeltent).

Theatre includes The Tragedy of Macbeth (Almeida Theatre, Costume Design); Current

Rising (Royal Opera House); Women Beware Women (Shakespeare’s Globe Sam Wanamaker Playhouse); Love Love Love (Lyric Hammersmith); Robot Boy (Bochum Schauspielhaus/Theatre Rites); Emilia (Vaudeville Theatre/Shakespeare’s Globe: Olivier Award Best Costume Design); Mother Courage (Royal Exchange Theatre/Headlong); The Village (Theatre Royal Stratford East); Winter, Two Endless Moments (Young Vic); Katie Roche (Abbey Theatre Dublin); Boys Will Be Boys (Bush Theatre/Headlong); Cuttin’ It (Young Vic/Royal Court/Birmingham Rep/Sheffield Theatres/Yard Theatre); The Rolling Stone, Anna Karenina (Royal Exchange/West Yorkshire Playhouse); The Railway Children (National Railway Museum/King’s Cross Theatre: WhatsOnStage Award Best Set Designer, National Dora Award nominations Outstanding Costume Design and Outstanding Set Design); European Olympic Games, Baku 2015 – Capturing the Flame Ceremony (Baku); Arabian Nights (Birmingham Rep/Coney); A Harlem Dream (BirdGang/Dance Umbrella/Young Vic); Antigone (Pilot Theatre/ Theatre Royal Stratford East); Pests (Clean Break/Royal Exchange/Royal Court); Hopelessly Devoted (Paines Plough); Billy the Girl MARK SPRINGER SIAN REESE-WILLIAMS

(Soho Theatre/Clean Break); Silly Kings (National Theatre of Wales/Cardiff Castle); Once Upon a Christmas, Above and Beyond (Look Left Look Right/site specific with Covent Garden & Corinthia Hotel respectively); Imaginary Menagerie (Les Enfants Terribles); House of Cards (Kensington Palace/Coney); Epidemic, Platform (Old Vic Tunnels/Old Vic New Voices); House Party (Channel 4 Arts Commission/ACME TV); All That is Solid Melts into Air (NT Watch This Space/Tangled Feet Productions/Greenwich International Festival); Young Pretender (Nabokov Theatre); Counted (Roundhouse/Look Left Look Right); The Caravan (Look Left Look Right/Royal Court/UK tour). www.joannascotcher.com CHARLOTTE SUTTON CDG Casting Director Previously at Chichester The Unfriend, Our Generation, The Taxidermist’s Daughter, Doubt, The Long Song, South Pacific (CDG Casting Award nomination), Crave, Sing Yer Heart Out for the Lads (CDG Casting Award nomination), Oklahoma!, Plenty, Shadowlands, Flowers for Mrs Harris, Me and My Girl, The Chalk Garden, Present Laughter, The Norman Conquests,

Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack and Mabel (Festival Theatre); Home, The Butterfly Lion, 8 Hotels, The Deep Blue Sea, This Is My Family, The Watsons, Cock, Copenhagen, The Meeting, random/generations, Quiz, The Stepmother, The House They Grew Up In, Caroline, Or Change (also Hampstead/West End; CDG Casting Award nomination), Strife (Minerva Theatre).

Theatre credits Best of Enemies, Fairview (CDG Casting Award nomination), Death of a Salesman (CDG Casting Award nomination), The Convert, Wild East, Winter, trade, Dutchman (Young Vic); Company (Gielgud; CDG Casting Award nomination); Long Day’s Journey into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey, German Skerries (Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork Disney, Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot, Queen Coal (Sheffield Crucible); Henry V, Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler, Little Shop

MICHAEL HODGSON STEVEN DYKES

of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing, Jumpy (Theatr Clwyd); wonder.land, The Elephantom, Emil and the Detectives, The Light Princess (National Theatre); One Man, Two Guvnors (Theatre Royal Haymarket/international tour); Desire Under the Elms (Lyric Hammersmith); Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

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

Previously at Chichester Fight Director for The Norman Conquests (Festival Theatre), The Deep Blue Sea (Minerva Theatre), King Lear (Minerva Theatre and Duke of York’s) and Sing Yer Heart for the Lads (Spiegeltent), Fight and Movement Director for Miss Julie/Black Comedy (Minerva Theatre).

Work for the National Theatre includes Small Island, Othello, As You Like It, Our Country’s Good, The Curious Incident of the Dog in the Night-Time (also West End), One Man Two Guvnors (also West End, Broadway, world tour),

Frankenstein, Season’s Greetings, Hamlet, War Horse (and West End).

Recent work includes Young Marx, Julius Caesar (The Bridge Theatre); Tina – The Tina Turner Musical (West End/Germany); The Windsors: Endgame, The Lieutenant of Inishmore, Hand to God, From Here to Eternity (West End); Henry V (Donmar Warehouse); The Tragedy of Macbeth (Almeida); Kiss Me, Kate (Sheffield Crucible); The Convert (Young Vic); The Last Goodbye (The Old Globe San Diego California); Cyrano de Bergerac, The Maids, Macbeth, Richard III (Jamie Lloyd Company);

Urinetown The Musical (St James Theatre and West End); Don Giovanni (ROH); Sweat, Julius Caesar, Henry IV (Donmar Warehouse and St Ann’s Warehouse NYC); Romeo and Juliet, Macbeth, Two Noble Kinsmen, Hamlet (RSC); Noises Off (Old Vic and West End); Carousel, Evita, Jesus Christ Superstar, Peter Pan, Seven Brides for Seven Brothers (Regent’s Park Open Air Theatre); and numerous productions for major regional theatres.

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

SAMUEL ARMFIELD KIRSTY J CURTIS ROB COMPTON MAKIR AHMED RICHARD RIDDELL ALEXANDER COBB

Live 2015.

Films include the National Theatre’s Romeo and Juliet, Making Noise Quietly, Pond Life.

KAY WELCH Dialect Coach Previously at Chichester, Dialect Coach on Guys and Dolls (Festival Theatre), Miss Julie/Black Comedy (Minerva Theatre), Sing Yer Heart Out for the Lads (Spiegeltent); Voice Coach on The Boy in the Striped Pyjamas, Way Upstream (Festival Theatre).

Kay works in theatre, TV and film and

coaches at RADA. Her freelance work includes The Curious Incident of the Dog in the NightTime, Hedda Gabler, Jane Eyre, Shakespeare for Younger Audiences: Romeo and Juliet / Macbeth (National Theatre); and work for The Old Vic, Almeida, Nottingham Playhouse, Park Theatre and Unicorn Theatre including Sweet Charity, Hole, Wonderland, Oil, The Boys in the Band, The American Wife/The Vertical Hour, Deathtrap, The Magna Carta Plays, Little Shop of Horrors, Bedroom Farce/Separate Tables, A Man of No Importance, The Seven Year Itch, Design for Living, Night Must Fall, The Railway

Children, Rise, Ages, Barbarians, Oliver, The Prince and the Pauper, Backstage in Biscuit Land, Fanta Orange, Kingdom of Earth.

She trained as an actress at Royal Welsh College of Music and Drama before completing an MA in Vocal Pedagogy at Royal Central School of Speech and Drama.

CHRIS WHITTAKER Movement Director Previously at Chichester Sing Yer Heart Out for the Lads (Spiegeltent).

Theatre credits include Anastasia (Tampere Theatre, Finland); Judy! (Arts Theatre); Lady Chatterley’s Lover (Shaftesbury Theatre); Mimma (Cadogan Hall); I Wish My Life Were Like a Musical (King’s Head Islington/Edinburgh Fringe Festival, also Director); Testmatch (ETT/ Ustinov Studio, Bath); The Marriage of Kim K (UK tour); Twelfth Night, The Two Gentlemen

SAMUEL ARMFIELD RICHARD RIDDELL KIRSTY J CURTIS ROB COMPTON ALEXANDER COBB AND THE COMPANY

of Verona and The Merry Wives of Windsor (Guildford Shakespeare Company); The Wild Party, The Light In The Piazza and Urinetown (Royal Academy of Music); Seussical, Through The Mill and Gatsby (Southwark Playhouse); Top Hat (Best Choreographer, Off West End Awards), 9 to 5, Anything Goes and Singin’ In the Rain (Gatehouse Theatre); Blondel (Union Theatre); Alice in Wonderland, The Adventures of Pinocchio, Peter Pan, The Wind in the Willows and Shout! (Associate Director/Choreographer, UK tours); Carnivale, Mad Hatter’s Circus and

’Twas The Night Before Christmas (TAG Live); L.A. Nights and Miami Beach (Backyard Cinema); Cry Baby (ArtsEd); Dick Whittington and Robin Hood (Kenton Theatre, Henley-onThames); Beauty and the Beast and The Wizard Of Oz (Harrow Arts Centre); Snow White and the Seven Dwarfs (Civic Theatre, Chelmsford); Ruby Strippers: West End Bares (Novello Theatre); Aladdin (Millfield Theatre, Edmonton); Lucky Stiff (Lillian Baylis Theatre); Romeo and Juliet (UK and international tour); UK premiere of A Catered Affair (London Theatre Workshop);

You Won’t Succeed on Broadway If You Don’t Have Any Jews (St James Theatre and international tour).

ROY WILLIAMS Writer Roy Williams’s Sing Yer Heart Out for the Lads premiered at the National Theatre’s Loft in 2002 and was revived in a new production at the NT’s Cottesloe in 2004.

His other plays include Death of England and Death of England: Delroy (both co-written with Clint Dyer), Baby Girl and Slow Time (all for the National Theatre); Go, Girl (Lyric Hammersmith); Sucker Punch (nominated for Olivier and Evening Standard Awards for Best Play), Fallout, Clubland (Evening Standard Award for Most Promising Playwright) and Lift Off (joint winner of the George Devine Award), all for the Royal Court; Come Back Tomorrow (National Theatre of Wales); The Fellowship, The Firm, Wildefire and Local Boy (Hampstead Theatre); Soul: The Untold Story of Marvin Gaye (Royal and Derngate/Hackney Empire); adaptations of Antigone and The Loneliness of the Long Distance Runner (Pilot Theatre/UK tours); Kingston ’14 and The No-Boys Cricket Club (Theatre Royal Stratford East); Angel House (Eclipse Theatre/UK tour); Days of Significance (RSC); Joe Guy (tiata fahodzi); Absolute Beginners (Lyric Hammersmith); Little

Sweet Thing (Nottingham Playhouse); The Gift (Birmingham Rep/Tricycle Theatre); Starstruck (John Whiting Award, Alfred Fagon Award & EMMA Award for Best Play) and Category B (Tricycle Theatre). He also contributed to the Royal Court’s Peckham: The Soap Opera.

His work for television includes Death of England: Face to Face (co-written with Cliff Dyer: BAFTA nomination), Soon Gone: A Windrush Chronicle (BAFTA nomination), Let It Snow, Fallout (Screen Nation Award for Achievement in Screenwriting), Offside (BAFTA Award for Best Schools Drama) and Babyfather.

For film he has co-written Fast Girls.

His radio work includes adaptations of A Choice of Straws, To Sir With Love and The Midwich Cuckoos, as well as original plays Tell Tale, Homeboys and seven series of Interrogation for BBC Radio 4.

Roy Williams was awarded an OBE for Services to Drama in 2008 and made a fellow of The Royal Society of Literature in 2018.

STEVEN DYKES SIAN REESE-WILLIAMS JENNIFER DALEY AND THE COMPANY

EVENTS

SING YER HEART OUT FOR THE LADS PRE-SHOW TALK

Tuesday 26 July, 6.00pm Revival director Joanna Bowman in conversation with best-selling author Kate Mosse.

FREE but booking is essential.

POST-SHOW TALK

Tuesday 9 August Stay after the performance to ask questions, meet company members and discover more about the play. Hosted

by CFT Literary Associate Kate Bassett.

FREE

TACKLING RACISM

Friday 29 July, 6pm Playwright and lifelong Queens Park Rangers fan Roy Williams and guests discuss the ugly side of the game, and of the players, fans and activists working to kick racism out of football.

Tickets £5

CFT LATES PUB QUIZ

Friday 29 July, 10pm Join us at the Minerva Theatre’s King George for a pub quiz with special guest hosts including playwright Roy Williams.

Tickets £5.

MAKIR AHMED (2019)

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 Caro Newling OBE Nick Pasricha Philip Shepherd Stephanie Street Tina Webster Susan Wells ASSOCIATES Kate Bassett Charlotte Sutton CDG

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 Barnes

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 Francis Gillian Watkins

Accommodation Co-ordinator HR Officer HR Officer

LEAP Anastasia Alexandru Helena Berry

Lauren Grant Jade Hall Hannah Hogg Richard Knowles

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 James Barnes Stage Crew Molly Barron Sound 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 Chris Minton Stage Crew Charlotte Neville Head of Props Workshop Ryan Pantling Sound Technician Stuart Partrick Transport & Logistics Assistant Tom Robinson Senior Stage & Construction Technician Neil Rose Joe Samuels James Sharples Molly Stammers Graham Taylor

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

cft.org.uk/aboutus

Dominic Turner Emily Williamson

Stage Crew Assistant Lighting Technician

THEATRE MANAGEMENT Janet Bakose Gill Dixon Ben Geering Karen Hamilton Will McGovern Sharon Meier Emily Singleton Gabriele Williams Caper & Berry Proclean Cleaning Ltd Vespasian Security

Theatre Manager Duty Manager House Manager Duty Manager Deputy House Manager PA to Theatre Manager Deputy House Manager Deputy House Manager Catering Cleaning Contractor Security

WARDROBE & WIGS Isabelle Brook Dresser Tobias Dane Dresser Emma Davidson Assistant Wardrobe Shelley Gray Deputy Wigs, Hair & Make-Up Abbie Hart Dresser Fran Horler Wardrobe Manager Dee Howland Assistant Wigs, Hair & Make-Up Amy Jeskins Wardrobe Manager Abbie Johns Dresser Henry Reeder Dresser Rebecca Rungen Head of Wigs, Hair & Make-Up Stacie Smith Assistant Wigs, Hair & Make-Up Emily Souch Zena Sweetapple Loz Tait Colette Tulley Molly Upcraft Eloise Wood

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

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

SUPPORT US

SUPPORT OUR 60TH BIRTHDAY APPEAL Birthdays are for sharing and we are working harder than ever to help everyone join in. Your donation will mean more people can be part of our celebratory Festival 2022 Season.

We’re proud of CFT’s 60-year history of making and sharing stories for all.

So to celebrate our 60th Birthday, we’re doing even more to ensure everyone can get involved – 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’re continuing to offer tickets starting from £10 for our Festival Theatre shows, as well as a full range of audio described, captioned and signed performances.

We need your help to raise £100,000 this year to enable everyone to be part of CFT’s birthday year. However much you choose to donate, your generosity will make a real difference to those most in need.

Make your gift today at cft.org.uk/birthdayappeal or call 01243 812915

Th ank yo u

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

cft.org.uk/birthdayappeal

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 Sandy and Mark Foster 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 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 CS and M Chadha 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 Nick and Jo Pasricha 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/supportus | development.team@cft.org.uk | call 01243 812911

DIGITAL STAGES Dynamic digital projects celebrating Chichester Festival Theatre across the decades. Visit cft.org.uk/DigitalStages VISIONARY STAGES Join Daniel Evans, Sir Derek Jacobi, John Simm and special guests for a virtual meet-up using cutting-edge technology to recreate the 1962 Festival Theatre stage.

Tickets £5

BACKSTAGE VIRTUAL TOUR

A 360-degree video backstage tour, revealing the inner workings of the Theatre.

FREE

DIGITAL DIORAMA

Memories and anecdotes attached to 60 pieces from CFT’s fascinating archive.

FREE

GAME CHANGER

Gaming technology combined with theatrical storytelling and music for a virtual theatre experience, created

by CFT’s community companies for adults with learning disabilities.

FREE