4000 Miles | CFT | Festival 2023

4000 Miles

By Amy Herzog

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

Festival 2023 A warm welcome to the first production of the Minerva 2023 season, Amy Herzog’s 4000 Miles.

It is an absolute joy to welcome Dame Eileen Atkins back to Chichester. One of the UK’s most distinguished actors, Eileen first worked here in 1968 in Eliot’s The Cocktail Party, before playing Elizabeth I in Vivat! Vivat! Regina and then Virginia Woolf in both A Room of One’s Own and in Vita and Virginia.

Her many screen roles include her BAFTA and Emmy Award-winning role in Cranford, Doc Martin and The Crown.

We’re also delighted to welcome back director Richard Eyre, returning after The Stepmother (2017) and 8 Hotels (2019). Alongside Eileen, with whom he has worked over many years, Richard has assembled three wonderfully talented actors in their ‘salad days’, including Sebastian Croft, who has won a worldwide following for Heartstopper and

Horrible Histories: The Movie but is already the veteran of many stage performances.

4000 Miles was a finalist for the 2013 Pulitzer Prize for Drama, won the 2012 Obie Award for Best New American Play and was named Time magazine’s best play of 2012; we’re happy to introduce Amy Herzog’s compassionate, cross-generational story to Chichester audiences.

Next up in the Minerva is another American play, here receiving its UK premiere. Mom, How Did You Meet The Beatles? is a rare outing of a play

by US writer Adrienne Kennedy and is her mesmerising true account of adapting John Lennon’s book ‘In His Own Write’ for the National Theatre in the 1960s. We cannot wait to share Diyan Zora’s production with you and look forward to welcoming the BAFTA award-winning Rakie Ayola who plays Adrienne.

We hope to see you again then, and that you enjoy today’s performance.

Executive Director Kathy Bourne

Artistic Director Daniel Evans

Mom, How Did You Meet The Beatles?

By Adrienne Kennedy and Adam P. Kennedy

16 June – 8 July Tickets from £10 Book at cft.org.uk

Adrienne Kennedy’s mesmerising account of adapting John Lennon’s book In His Own Write for the National Theatre.

Her encounters with Laurence Olivier and a host of Swinging 60s celebrities make for a story that seems like a dream come true. But slowly the stars align in a different way. Diyan Zora directs Rakie Ayola in this UK premiere.

The Sound of Music 10 Jul – 3 Sep For a special experience, join us for the charity Summer Gala performance on 28 July Tickets from £10 Book at cft.org.uk

Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse Suggested by The Trapp Family Singers

by Maria Augusta Trapp

This summer, join us for Rodgers & Hammerstein’s beloved musical, produced at Chichester for the first time. Gina Beck (South Pacific 2021) returns to play Maria, directed by Adam Penford.

The Sound of Music is presented by arrangement with Concord Theatricals Ltd on behalf of Rodgers & Hammerstein Organization concordtheatricals.co.uk

Dementia Friendly Performances After the Crazy for You Dementia Friendly performance last summer, an audience member wrote: ‘It was lovely to share the experience of going to the theatre with my husband who has Alzheimer's. This was a time we could have a normal life for a few hours.’

Minor adjustments to the sound and lighting levels on a performance can make a big difference for people living with dementia, together with plenty of staff on hand to create a welcoming atmosphere.

This year, we are delighted that George Ide LLP, the West Sussex solicitors and a Principal Partner of CFT, have chosen to support our Dementia Friendly activities, including the Dementia Friendly performance of The Sound of Music on Thursday 10 August at 2.30pm (all tickets £16).

Louise Rigglesford, Senior Community and Outreach Manager, explains: ‘More and more people are living with dementia, and it’s incredibly important that they are able to live well with dementia. We want to enable them – and their families, friends and carers – to enjoy our spectacular summer musical in relaxed and unpressured conditions.

‘Audience members are welcome to come and go during the show; we'll reduce the volume and keep our houselights at a low level so you're never completely in the dark.

And we do a little recap after the interval to bring you up to speed before settling into the second act.’

Ursula Watt, Partner & Head of the Private Client department at George Ide, says: ‘George Ide LLP has deep roots in the local community and we’re committed to making a real difference to the lives of those who live and work around us.

Our extensive private client work, which includes Court of Protection, Deputyship and serious personal injury matters, has fuelled our particular interest in dementia and the individuals and families whose lives it affects.

‘That’s why we’re so pleased to sponsor Chichester Festival Theatre’s Dementia Friendly performances and other community outreach initiatives – supporting these projects is a perfect fit for us and we hope CFT’s important work in this area will bring real benefits to those coping with the multiple challenges of the condition.’

To find out more about our Dementia Friendly performances, and the work of our LEAP department, visit cft.org.uk/dementiafriendly.

‘A lovely experience’

Food and Drink From cracking cakes and brilliant barista coffee to delicious dining in The Brasserie, we have plenty of options to keep you, your family and friends feeling full and happy.

Our inviting restaurant, The Brasserie, is most certainly the closest to the theatres and prides itself on a locally sourced modern British menu as well as excellent service.

And we guarantee to have you in your seat in time for the show.

inside and out, and children of all ages enjoying our family friendly spaces. We’re officially a Warm Space, breastfeeding friendly and offer free Wi-Fi plus quiet spots around our spacious foyer to plug in and power up.

Our Café on the Park is a welcoming space all day long. Our regular visitors include Parkrunners on Saturday mornings, dog walkers (and their well-behaved fourlegged friends) making use of our seating

For the full menu of food and drink here at CFT, visit cft.org.uk/eat, email dining@cft.org.uk or call 01243 782219.

4000 Miles

By Amy Herzog

Richard Eyre on Growing Old Richard Eyre

The last time I was working here, in 2019, I wrote a poem about Chichester.

It contained these lines: Here the old hold hands, And I forget I’m one of them Pretending to be immune to time.

I can’t pretend any more. I had my 80th birthday just before we started rehearsals for this play and I can no longer joke – not that it was ever true – that I’d be the youngest person in the audience. I’m old by any standards.

But the main character in Amy Herzog’s 4000 Miles is older than I am and one of the things that drew me to this play, apart from the delight of working again with my friend Eileen Atkins, is that the character she plays is 91 years old. She is based on the author’s grandmother – ‘her words, habits and history’ – and, like Vera, is a long-time member of the Communist Party. In the play she develops a deep relationship with her 21-year-old grandson which is, for me, a way of doing vicariously what I never had the chance to do: talk to my grandparents.

My grandfather’s Edwardian clothes echoed his living conditions: no central heating and no electricity...

Water was pumped from a well in the yard.

Three of my grandparents were dead by the time I was born. My mother’s father had been first lieutenant to Captain Scott on his first Antarctic expedition; her mother an actress. My other grandmother had died young – a stroke at 58 – according to my father worn out by his father’s systematic bullying. So I was left with one grandparent who didn’t encourage conversation; indeed, he presided over meals with an air of silent disdain interrupted by eruptions of volcanic severity. On one occasion my sister – then probably about 10 – said that someone had talked to her on a train. My grandfather slammed his fist on the table, shaking the glasses and the cutlery, and shouted, ‘No one’s ever spoken to me on a train, thank Christ!’.

He had served in the army without distinction, retired on his Major’s pension.

His hair was cut close to his scalp and he always dressed in breeches with puttees, a Norfolk jacket and a shirt with a high-necked stiff collar. His Edwardian clothes echoed his living conditions: no central heating (fires were only allowed from the 1st of October to the 1st of March) and no electricity. Lighting was provided by candles and oil-lamps, cooking was on a large black open coalburning range in a kitchen with a smokestained ceiling and a flag-stoned floor.

Water was pumped from a well in the yard.

The joy of being in the theatre, was for me to discover the joy of family.

So, growing up without grandparents – or aunts or uncles since both my parents were only children – I envied children who had four grandparents to talk to. I still do.

I think it’s one of the reasons I became an actor when I was 21. I often found myself in the company of actors who were two, three, four times as old as I was and had no prejudices or inhibitions about sharing their time and their wisdom with a naive, inexperienced, and fairly untalented actor.

The joy of being in the theatre, was for me to discover the joy of family.

[In the 60s] I shared the belief that London was the centre of the cultural universe, but I was more preoccupied by becoming a premature protester against the Vietnam War, briefly becoming a Marxist, even more briefly a Maoist.

But for all my joy in being in the company of older people in the sixties I couldn’t fail to be infected by the spirit of the time. I had missed conscription by 18 months, wore jeans (my father said they were intended to ‘let the girls know what I was thinking’), went to university (the first in my family to do so), supported CND but saw no contradiction with procuring marijuana from the USAF base in Alconbury.

I was a musical snob, blind to the absurd irony of a white middle-class man deploring

the Rolling Stones while admiring their exemplars John Lee Hooker, Muddy Waters and Chuck Berry, all of whom I saw live as well as The Beatles, Ike & Tina Turner, Jerry Lee Lewis, Little Richard and Bob Dylan.

I was even lucky enough to hear live the jazz greats Stan Getz, Bill Evans, Sonny Rollins and Miles Davis. I saw, fresh minted, the films of Truffaut, Goddard, Malle and Chabrol, as well as those of Fellini, Visconti, Antonioni, Forman, Menzel, Wadja and, of course, Bergman.

In the theatre I was able to see the work of Joan Littlewood at Stratford East, the Royal Court in its most fertile years, the newly formed RSC and the newly formed National Theatre. The young Judi Dench, Maggie Smith, Eileen Atkins and Vanessa Redgrave; the young Albert Finney, Ian McKellen and Anthony Hopkins; the plays of Harold Pinter, John Osborne, Peter Shaffer, Edward Bond, David Storey, Tom Stoppard… To a young man who hadn’t seen a play until he was 16 this was heady stuff.

In 1966 I was in Southeast Asia working

Above: Joan Baez and Bob Dylan at the 1963 March on Washington.

Right: Vietnam War protesters, 1967.

Photo National Archives Foundation.

for the British Council and I returned to the UK via Cambodia and Vietnam. In Cambodia, Pol Pot had not yet tidied up the human balance sheet and the people seemed universally handsome, kind and happy. Saigon was another matter: the US squatted on the city like Goya’s Colossus.

When I returned to London I discovered Time magazine had pronounced that London was ‘swinging’. I shared the belief

that London was the centre of the cultural universe, but I was more preoccupied by becoming a premature protester against the Vietnam War, briefly becoming a Marxist, even more briefly a Maoist, but settling on the left of the Labour Party and refusing the blandishments of friends to join les évenéments on the streets of Paris in 1968.

However, I was still unembarrassed about talking about ‘revolution’ in my own country.

Only recently have I come to acknowledge that to love the old is part of the only indispensable moral injunction: to love thy neighbour as thyself.

That country is now a vanished land.

Where did all the flowers go? Within a few years my generation’s solipsistic flirtation with revolution migrated into an equally solipsistic embrace of Thatcherism; ‘sex, drugs and rock ‘n’ roll’ morphed into ‘markets, management and PR’ and the sense that we were on an inexorable path to progress, towards a more just, more equitable society, gave way to an obsession with the creation of wealth.

Why? Was it because we were selfabsorbed, swollen with scorn for what had come before us? Or, for all our protesting for civil rights and against war, were we too wound up in ourselves to see what was going on outside our youthful bubble? Was it that we were always selfish and always greedy – even if our greed was for change rather than money? To be young was to be indestructible, immunised against ageing.

Pete Townsend sang ‘I hope I die before I get old’ and we cheered. Youth was our fetish, our magic potion: narcissistic and self-centred, we were Dorian Gray.

Recently a film which I directed called Allelujah was released. It opens with these arresting words in voice-over spoken by a young doctor: ‘I have always loved the old’.

I wish, in my case, it were true. Only recently have I come to acknowledge that to love the old is part of the only indispensable moral injunction: to love thy neighbour as thyself.

The film, adapted by Heidi (Call the Midwife) Thomas from Alan Bennett’s play, is about care of the old and care of the NHS. The film argues, along with Alan Bennett, that the NHS ‘is something to be defended... it’s part of being English really.’ And as I live through a catalogue of decline – white hair, broken wrists, cracked ribs, cataracts, night cramps, arthritis and loss of memory – I agree with Alan ever more fervently.

My mother had Alzheimer’s disease.

She was losing her mind for years but death seemed ashamed to approach her. Little by little she slipped away, lying on the floor in a foetal position on a beanbag in a geriatric ward of the local NHS hospital. Then, like the patients in Allelujah, they needed the bed in the ward and she was ‘decanted’ into a care home. She died within a week.

On the film set of Allelujah: Bally Gill, Richard Eyre, Alan Bennett and Judi Dench.

Photo Rob Youngson © Pathé Productions

I made another film about old age called Iris, adapted from John Bayley’s account of the dementia of his wife, Iris Murdoch. When the film opened in Japan I asked a Japanese journalist what the Japanese would make of the film. She drew four ideographs in a vertical line: 取 緒 白 髪 Then wrote these words: getting together white hair

Which is more or less what WH Auden wrote in his poem ‘September 1, 1939’: ‘We must love one another or die’. Later he changed the line to ‘We must love one another and die’, moving from wilful optimism to despairing resignation. I think he was probably right. I’m with Michael Caine on growing old: ‘It’s the very best thing – considering the alternative’.

The Playwright th

Above: Amy Herzog Right: Leepee Joseph Image courtesy of Amy Herzog

and he Radical This is a lightly edited version of an article

by Alexis Soloski about the Lincoln Center Theater production of 4000 Miles, published in The New York Times on 22 March 2012.

Snacking on pastries and tea at her cloth-covered dining table, Leepee Joseph, 95, worked to put into words the odd experience of seeing her long-time home, a light-filled apartment on the eighth floor of a sturdy brick building on West 10th Street in Greenwich Village, recreated onstage in the play 4000 Miles.

“I suddenly realized…” she began.

Then the sentence trailed away.

“How much I had stolen?” suggested her granddaughter, the playwright Amy Herzog.

A writer as graceful as she is unsparing, Ms. Herzog has fondly purloined far more

than her grandmother’s interior design.

In After the Revolution […] and again in 4000 Miles […], Ms. Herzog used Ms. Joseph’s words, habits and history to fashion the character of Vera Joseph, described in After the Revolution, as “sprightly” but also “fragile” and in 4000 Miles as “tiny and frail but not without fortitude.” (Even the name Vera is scrounged from Ms. Joseph’s background. It belongs to her older sister.)

Grandmother and granddaughter have always enjoyed a strong bond, even after Ms. Herzog abandoned acting for a master’s degree in playwriting at the Yale School of Drama, much to Ms. Joseph’s initial chagrin: “I really wanted her to be an actress.”

4000 Miles […], which Charles Isherwood described in The New York Times as “altogether wonderful,” centers on Vera and her 21-year-old hippie grandson

Leo (based on one of Ms. Herzog’s cousins), who crashes at her place after a catastrophic cross-country bicycle trip.

The play helps to cement Ms. Herzog’s reputation as a young writer of stature, one who draws on her family’s history – and her own – to create forceful, literate, compassionate drama […].

“Amy is exacting when it comes to truth and authenticity in her work,” said Anne Kauffman, who directed the 2011 premiere of Ms. Herzog’s thriller Belleville at the Yale Repertory Theater in New Haven. “She is an inexhaustible excavator.”

“The only way change ever takes place is if you believe in something, and you work for it” As it happens, Ms. Joseph has a long history with the stage. As a young woman she landed a job with the theater section of the W.P.A. [the Works Progress Administration was a programme for the unemployed, created in 1935 as part of President Roosevelt’s New Deal]. She also took acting classes, once studying with John Garfield, of whom she keeps a picture.

“I had talent,” she said. “But not enough.”

Though an acting career never flourished, Ms. Joseph (born Amy Taft, she was given the nickname Leepee by a young relation) spent many decades in the wings, working as a secretary for the likes of Cheryl Crawford, a founder of the Group Theater; the composer Marc Blitzstein; and the actress Kitty Carlisle Hart. From a folder of mementoes she proudly displayed a program for the 1950 Broadway show All You Need is One Good Break, which lists her as production secretary. It flopped after four performances.

Ms. Joseph says she doesn’t often attend the theater these days, citing difficulty with her hearing, though she sees her granddaughter’s plays, as well as those of Ms. Herzog’s husband, the prolific director Sam Gold. Regarding Mr. Gold’s

work, she deemed Nick Jones’s pirate punk rock opera, Jollyship the Whizbang, her favorite. She declared herself less fond of Seminar, the Theresa Rebeck play directed

by Mr. Gold […]. “It makes fun of literature,” she said.

Besides the theater Ms. Joseph’s life’s work has been left-wing politics. As a schoolgirl she demonstrated for free lunches and proudly recounts her arrest for picketing at the age of 12. With her husband, Joe Joseph, who died in 1997, she continued her activism into adulthood. “The only way change ever takes place is if you believe in something, and you work for it,” she explained.

Though a tremor now makes walking and marching difficult, she said she stopped in to Occupy Wall Street a few months earlier, brandishing a sign someone handed her reading, “Tax the #@&%ing Rich.” “I was having such fun,” she said. “Everybody was taking pictures of me.” Then she realized that the symbols on her sign stood in for a “dirty word.” “I shouldn’t really have carried it,” she said.

“Why?” her granddaughter asked.

“You’re no prude.”

She isn’t. When a photographer arrived in the mid-afternoon, she tried to ply him with a cocktail. “As long as he doesn’t get so drunk he takes bad pictures of us,” she said. She seemed slightly regretful when the photographer asked for a glass of water.

Ms. Joseph voiced further regret that her political fervor had inspired so few of her grandchildren. (Unlike the character Vera, Ms. Joseph has two biological grandchildren, Ms. Herzog and her brother, and a bevy of step-grandchildren too.) “My grandmother would say her politics didn’t go into me,” Ms. Herzog said. “But the fact that I come from a very political family is very influential on me.”

Her grandmother said: “Oh, no question about that. But I didn’t see any politics in 4000 Miles.”

Ms. Joseph also criticized Ms. Herzog’s treatment of her husband, Joe Joseph, in After the Revolution, which hinges on the revelation that Joe (the character and,

it turns out, the real person) had spied for the Soviets. She said she felt the play suggested that he should not have engaged in espionage. “I thought what my husband had done was perfectly legitimate,” she said, and then softened her appraisal of her granddaughter’s work: “But she writes so well.”

“You captured what I said and put it in the proper place and made it flow.”

Other family members had less generous feelings toward the play, Ms. Joseph added, referring elliptically to “some storms going on, some unhappiness.”

Ms. Herzog admitted that while she had few qualms about writing the play, the prospect of her family seeing it made her “very nervous.” She was particularly wary of her grandmother’s opinion. “The Vera character is based so specifically and directly on you…” she began.

“Some of it word for word,” her grandmother interjected.

“If you hated the play, or if you felt like I was exploiting you…”

“No, no, none of these feelings.

You captured what I said and put it in the proper place and made it flow.”

Ms. Herzog […] has recently returned to work on a playwriting commission, a new piece featuring the Joseph family.

Asked if she would mind being depicted again onstage, Ms. Joseph judiciously replied, “It depends what she does with it.”

Would she mind if the next play failed to feature Vera? “Oh my goodness no.”

“Would you be relieved?” her granddaughter asked.

Leepee Joseph Image courtesy of Amy Herzog

“I never wanted to be in the plays anyway,” Ms. Joseph said. “Either one.

I was surprised when you had me in them. And flattered. But there are a lot of other characters in our family who you should write about.”

From The New York Times. © 2012 The New York Times Company. All rights reserved. Used under license.

4000 Miles

By Amy Herzog

Cast Vera Joseph Leo Joseph-Connell Bec Amanda

Eileen Atkins Sebastian Croft Nell Barlow Elizabeth Chu

The action of the play takes place in September 2010, in Vera Joseph’s apartment in Greenwich Village, New York.

There is no interval.

First performance of this production of 4000 Miles at the Minerva Theatre, Chichester, 4 May 2023.

4000 Miles was originally produced by Lincoln Center Theater, New York City in 2011.

4000 Miles is presented by arrangement with Concord Theatricals Ltd on behalf of Samuel French Ltd. concordtheatricals.co.uk The videotaping or making of electronic or other audio and/or visual recordings or streams of this production is strictly prohibited, a violation of United Kingdom Copyright, Designs and Patents Act 1988 and an actionable offence.

Director Set and Costume Designer Lighting Designer Sound Designer Casting Director

Richard Eyre Peter McKintosh Peter Mumford John Leonard Ginny Schiller CDG

Dialect Coach Associate Lighting Designer Assistant Director

Penny Dyer Charlotte Burton Caroline Yu

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

Ben Arkell Yvonne Milnes Lizzie Frankl for Propworks Katie Balmforth for Propworks HUM Studios

Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Alix Harvey-Thompson Lorna Earl Ellie Penney

Set and Scenery constructed by Set Up Scenery Ltd; Production Carpenter Jon Barnes; Costume maker Pat Farmer; Eileen Atkins’s wig made by HUM Studios; Transport by Paul Mathew Transport; Rehearsal room St Mary Abbots Centre.

With thanks to Isobel Arnett as cover for the role of Vera Joseph, and Caroline Yu.

Rehearsal and production photographs Manuel Harlan Programme Associate Fiona Richards Programme design Davina Chung Cover image Bob King Creative, photograph Seamus Ryan Supported by 4000 Miles Supporters Circle: Ben-Levi Family, Themy Hamilton, Elizabeth Miles, Nita and Peter Mitchell-Heggs, Howard M Thompson, Bryan Warnett, Ernest Yelf, and all those who wish to remain anonymous.

Sponsored by

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

ChichesterFT

Cast Biographies Eileen Atkins Vera Joseph Previously at Chichester The Cocktail Party (also West End), Elizabeth I in Vivat! Vivat!

Regina! (also West End and Broadway: Tony Award nomination for Best Actress) in the Festival Theatre; Virginia Woolf in Vita and Virginia (also West End and Broadway) and in A Room of One’s Own (also West End, Broadway & US tour: Drama Desk Award for Best Solo Performance) in the Minerva Theatre.

Theatre includes title role in Ellen Terry (which she also directed, Sam Wanamaker Playhouse); All That Fall (Jermyn Street/Arts Theatre/Broadway); The Height of the Storm (West End/UK tour/Broadway); The Sea, Female of the Species, The Birthday Party (West End); There Came A Gypsy Riding (Almeida); Doubt, Indiscretions, The Retreat From Moscow, Prin (Broadway); title role in Honour (Olivier Award for Best Actress), Gunhild Borkman in John Gabriel Borkman, Hannah Jelkes in The Night of the Iguana, Paulina in The Winter’s Tale (Olivier Award for Best Supporting Actress), Cymbeline, Mountain Language (all National Theatre); The Unexpected Man (RSC/Barbican/ Broadway: Olivier Award for Best Actress); Agnes in A Delicate Balance (Theatre Royal Haymarket: Evening Standard Award for Best Actress); title role in Medea (Young Vic); title role in Saint Joan, Viola in Twelfth Night, Sergeant Musgrave’s Dance, The Lady’s Not For Burning, Heartbreak House (Old Vic); The Killing of Sister George (West End/ Broadway: Evening Standard Award for Best Actress); title role in Suzanne Andler (Aldwych Theatre); Rosalind in As You Like It, Passion Play (RSC).

Television includes The Crown, Doc Martin, Upstairs Downstairs, Cranford (BAFTA Award for Best Actress, Emmy Award for Outstanding Supporting Actress), Miss Marple, Cold Comfort Farm.

Films include Paddington 2, The Hours, Gosford Park, Cold Mountain.

Eileen Atkins co-created (with Jean Marsh) the television dramas Upstairs Downstairs and The House of Elliot, Eileen Atkins

and wrote the screenplay for Mrs Dalloway for which she won the Evening Standard Award for Best Screenplay. She was appointed CBE in 1990 and DBE in 2001.

Nell Barlow Bec Theatre includes Rivka in One Night of Joseph Kaufman (Theatre Royal Haymarket), Katherine Howard in Six Wives (Historic Royal Palaces).

Television includes Married to a Paedophile, Doctor Thorne.

Films include Sweetheart, Where Is Anne Frank?, Their Finest.

Nell is the BAFTA Breakthrough Performer 2022, and won the British Independent Film Award for Breakthrough Performance 2021 for Sweetheart.

Elizabeth Chu Amanda Theatre includes Lesbian Space Crime (Soho Theatre) and Much Ado About Nothing (UK tour). Credits while training include Oedipus/Antigone, Love and Information, Table (Guildford School of Acting).

Television includes Holby City, How to Be a Person.

Originally from Hong Kong, Elizabeth Nell Barlow Elizabeth Chu Sebastian Croft

graduated with first-class honours in a BA in Acting from Guildford School of Acting.

Twitter and Instagram @a_lizard_beth Sebastian Croft Leo Joseph-Connell Theatre includes Coriolanus (Donmar Warehouse/NT Live); Prince Arthur in King John (Rose Theatre, Kingston); Matilda The Musical (RSC); Adrian Mole in The Secret Diary of Adrian Mole The Musical (Leicester Curve); Emil and the Detectives (National Theatre); Oliver in Oliver! The Musical (Theatre Royal Drury Lane/national tour); Les Misérables (Queen’s Theatre).

Television includes Heartstopper, Doom Patrol, Game of Thrones, Love Death and Robots, Houdini and Doyle, Penny Dreadful.

Films include How To Date Billy Walsh, Dampyr, Horrible Histories: The Movie – Rotten Romans (for which he received a Children’s BAFTA nomination), School’s Out Forever, Wonderwell, Where is Anne Frank?, I’ll Find You, The Hippopotamus.

Creative Team Penny Dyer Dialect Coach Most recently at Chichester Murder on the Orient Express, 8 Hotels, Shadowlands, This House, Strife, Gypsy, Frankie and Johnny in the Clair de Lune, Taken at Midnight, Kiss Me Kate, 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); Eureka Day, Faith Healer, A Very Expensive Poison, Girl From The North Country, Present Laughter, American Clock, A Christmas Carol, Groundhog Day, The Caretaker, Other Desert Cities, Sweet Bird of Youth, Speed Richard Eyre Eileen Atkins

The Plow, Kiss Me Kate (Old Vic); Tree (Young Vic); Watch on The Rhine, Roots (Donmar); 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); The Boyfriend, Orpheus Descending, Assassins (Menier Chocolate Factory).

Television includes Curveball, Debutante, 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.

Films include 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, Infamous, Tamara Drewe, The Queen, The Damned United, Dirty Pretty Things, The War Zone, Elizabeth.

Richard Eyre Director Previously at Chichester 8 Hotels, The Stepmother, The Pajama Game, The Last Cigarette (Minerva Theatre).

Theatre includes Hamlet (Royal Court); Comedians, Guys and Dolls, The Beggar’s Opera, The Government Inspector, The Futurists, The Voysey Inheritance, Racing Demon, Richard III, The Night of the Iguana, Skylight, Sweet Bird of Youth, The Absence of War, John Gabriel Borkman, Amy’s View, King Lear, The Invention of Love, Vincent in Brixton, The Reporter, The Observer (National Theatre); The Crucible (Broadway); Mary Poppins (West End/Broadway); his own adaptations of Hedda Gabler, Ghosts, Little Eyolf (Almeida); Private Lives, Betty

Blue Eyes, Quartermaine’s Terms, Stephen Ward, Mr Foote’s Other Leg (West End); Long Day’s Journey Into Night (Bristol Old Vic/New York); My Name is Lucy Barton (Bridge Theatre/Broadway); The Bay At Nice (Menier Chocolate Factory); Blithe Spirit (Bath/West End); and his own play The Snail House (Hampstead).

Opera includes La Traviata (ROH); Le Nozze di Figaro, Carmen, Werther, Manon Lescaut (Metropolitan Opera).

Television includes The Insurance Man, Country, v, Tumbledown, Henry IV Parts I and II, The Dresser and King Lear.

Films include The Ploughman’s Lunch, Iris, Stage Beauty, Notes on a Scandal, The Children Act and Allelujah.

Richard Eyre is the author of Utopia and Other Places, National Service, Talking Theatre, What Do I Know and Place To Place, a collection of poems.

He was Director of Nottingham Playhouse from 1973-1978, Producer of Play for Today for BBC TV 1978-1981, and Director of the National Theatre from Caroline Yu

Eileen Atkins Nell Barlow

1988-1997. He has received numerous theatre and film awards, was knighted in 1997 and was made a Companion of Honour in 2017.

Amy Herzog Writer Amy Herzog’s plays include Mary Jane (Yale Repertory Theatre and New York Theatre Workshop: Best Play, New York Drama Critics’ Circle Awards); The Great God Pan (Playwrights Horizons); Belleville (Yale Repertory Theatre and Donmar Warehouse: finalist for the Susan Smith Blackburn Prize); 4000 Miles (Duke on 42nd Street Theatre and Lincoln Center Theater: Pulitzer Prize finalist and Obie Award for the Best New American Play); and After the Revolution (Williamstown Theatre Festival and Playwrights Horizons).

She is a recipient of the Horton Foote Playwriting Award from the Dramatists Guild of America, the Whiting Writers’ Award, the Benjamin H. Danks Award from the American Academy of Arts and Letters,

the Helen Merrill Award, the Joan and Joseph F. Cullman Award for Extraordinary Creativity and the New York Times Outstanding Playwright Award.Amy Herzog has taught playwriting at Bryn Mawr and Yale.

Amy’s adaptation of A Doll’s House is currently running on Broadway.

John Leonard Sound Designer John Leonard has worked for most of the major theatre companies in the UK and extensively in London’s West End, Broadway and on national and international tours.

Extensive credits at Chichester include The Deep Blue Sea, Rattigan’s Nijinsky, Yes Prime Minister, Calendar Girls, Racing Demon, Our Betters, Divorce Me Darling, Blithe Spirit, The Visit (Festival Theatre), 8 Hotels, The Stepmother, Stevie, The Master Builder, Collaboration, Taking Sides, Suzanna Andler (Minerva Theatre).

Recent theatre includes As You Like It (Soho Place Theatre); The Sex Party (Menier

Chocolate Factory); The Snail House, Night Mother, Wolf Cub, Cell Mates, The Meeting, Stevie (Hampstead Theatre); The Dresser (Theatre Royal Bath/UK tour); Prism (Hampstead Theatre/UK tour); Blithe Spirit (Theatre Royal Bath/UK tour/West End); Bloody Difficult Women (Hammersmith Riverside/Edinburgh Festival); Consent, Cocktail Sticks (National Theatre/West End); My Name is Lucy Barton (Bridge Theatre/ Friedman Theatre New York); Uncle Vanya (Theatre Royal Bath); Charlotte and Theodore, In Praise of Love (Ustinov Theatre Bath); Long Day’s Journey Into Night (Bristol Old Vic/West End/New York/Los Angeles); Hand To God (Vaudeville Theatre); McQueen (St James Theatre/West End); Firebird, Mr Foote’s Other Leg (Hampstead Theatre/ West End); Ghosts (Almeida Theatre/West End/Harvey Theatre Brooklyn); Farm Hall, All Our Children, Told Look Younger (Jermyn Street Theatre).

He is the author of a renowned textbook on theatre sound, winner of Drama Desk and Sound Designer of the Year Awards and is

a Fellow of the Guildhall School of Music and Drama, an Honorary Fellow of The Hong Kong Academy of Performing Arts and a Companion of The Liverpool Institute of Performing Arts.

Peter McKintosh Set and Costume Designer Previous work at Chichester includes South Pacific (also Sadler’s Wells/UK tour), Shadowlands, The Deep Blue Sea, Guys and Dolls, Love Story.

Peter is a Tony and Olivier-nominated designer, whose awards include Olivier Award for Best Costume Design for Crazy for You (Regent’s Park and West End).

Theatre includes Orlando, A Day in the Death of Joe Egg, The Wind in the Willows, Guys and Dolls, Dirty Rotten Scoundrels, My Night With Reg, Hay Fever, Fiddler on the Roof, Another Country, Entertaining Mr Sloane, The Dumb Waiter, Viva Forever!, Noises Off, Love Story, Donkeys’ Years, The Birthday Party, Butley (West End); Trouble in Butetown, Measure for Measure, The York Realist, The Resistible Rise of Arturo Ui, Splendour, My Night With Reg, Luise Miller, Serenading Louie, Be Near Me, The Chalk Garden, John Gabriel Borkman, The Cryptogram, Boston Marriage (Donmar Warehouse); Extinct, King Hedley II, Eileen Atkins Sebastian Croft

After The End, Shining City (Theatre Royal Stratford East); Funny Girl, Guys and Dolls (Marigny, Paris); 42nd Street (Châtelet, Paris); The Winslow Boy (Old Vic and New York); The 39 Steps (London, New York and worldwide; Tony nominations for Best Scenic and Best Costume Design); Our Country’s Good, The Doctor’s Dilemma, Widowers’ Houses, Honk! (National Theatre); Alice In Wonderland, Pericles, King John, The Merry Wives of Windsor, Brand (RSC); Saint Nicholas, Measure for Measure, Waste, Cloud Nine, Knot of the Heart, The Turn of the Screw, Romance, House of Games (Almeida); On The Town, The Sound Of Music, Hello, Dolly! (Regent’s Park).

Opera includes Hansel and Gretel (Regent’s Park); The Handmaid’s Tale (Royal Danish & Canadian Operas, ENO); The Marriage of Figaro (ENO).

Peter is a founding member of FreelancersMakeTheatreWork.

Peter Mumford Lighting Designer Previous designs at Chichester include Heartbreak House, The Last Confession, The Master and Margarita, A Midsummer Night’s Dream, Out of This World (Festival Theatre); 8 Hotels, The Stepmother, King Lear (also BAM), The Waltz of the Toreadors

(Minerva Theatre). Peter is a former CFT Lighting Design Associate.

Recent theatre designs include A Number (Bridge Theatre); Far Away (Donmar); Three Sisters (National Theatre); The Ferryman (Royal Court/West End/ Broadway); 42nd Street (West End); King Kong (Global Creatures/Australia/ Broadway); My Name is Lucy Barton (Bridge Theatre/Samuel J Friedman Theatre New York); Ghosts (Almeida/West End/BAM); Long Day’s Journey into Night (West End/BAM).

Recent ballet designs Don Quixote (Birmingham Royal Ballet); Within the Golden Hour, Corybantic Games (Royal Ballet).

Recent opera designs Die Tote Stadt (Opernhaus Düsseldorf); Falstaff (Greek National Opera); Romeo et Juliette (Teatro del Maggio Musicale Fiorentino); Peter Grimes (Paris/ROH/Madrid); Madama Butterfly (Vienna); Beauty and Sadness (Hong Kong); The Mask of Orpheus (ENO).

Peter directed the concert staging and designed the lighting and projection for Der Ring des Nibelungen (which won the

Elizabeth Chu Sebastian Croft

South Bank Sky Arts Opera Award) and Der Fliegende Holländer for Opera North; Fidelio (Garsington); Die Walkure (Lisbon); Otello (Bergen National Opera); and Fidelio (Orchestre de Chambre de Paris).

Awards include South Bank Show Sky Arts Awards for Opera (Ring Cycle); Olivier Award for Best Lighting Design (The Bacchai); Olivier Award for Outstanding Achievement in Dance; Knight of Illumination Award (Sucker Punch); Helpmann Award and Green Room Award for Best Lighting (King Kong). He was a double 2019 Tony nominee for Best Lighting Design for The Ferryman and King Kong. petermumford.info Ginny Schiller CDG Casting Director Previously at Chichester, three repertory seasons co-cast with Maggie Lunn 2003-05.

Ginny has been an in-house casting director for the RSC, Rose Theatre Kingston, ETT and Soho Theatre and has worked closely with Bath Theatre Royal and Ustinov Studio for the last decade. She has cast

extensively for the West End and touring circuit as well as for the Almeida, Arcola, Birmingham Rep, Bolton Octagon, Bristol Old Vic, Cambridge Arts, Charing Cross Theatre, Clwyd Theatr Cymru, Frantic Assembly, Hampstead Theatre, Headlong, Jermyn Street, Leicester Curve, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Menier Chocolate Factory, Northampton Royal & Derngate, Nottingham Playhouse, Oxford Playhouse, Plymouth Theatre Royal and Drum, Regent’s Park Open Air Theatre, Shakespeare’s Globe, Shared Experience, Sheffield Crucible, Traverse Edinburgh, West Yorkshire Playhouse, Wilton’s Music Hall, Young Vic and Yvonne Arnaud Guildford.

She has also worked on many television, film and radio productions, including the BBC Radio 4 series Nuremberg and Nazis: The Road To Power. Recent theatre productions include Noises Off at Phoenix Theatre, The Tempest at the Ustinov Studio, The Starry Messenger at Wyndham’s, The Best Exotic Marigold Hotel (UK tour), Bad Jews at the Arts Theatre and Richard Eyre’s The Snail House at Hampstead Theatre.

Eileen Atkins Opposite: Sebastian Croft Eileen Atkins

Caroline Yu Assistant Director Caroline trained as a director at LAMDA. Prior to this she directed extensively at the ADC Theatre, where she was the Director’s Rep of the Cambridge University Amateur Dramatic Club.

She was most recently Assistant Director on the New Diorama Untapped Award and Fringe First Award Winner This Is Not A Show About Hong Kong by Max Percy + Friends (New Diorama Theatre/ Edinburgh Fringe Festival); Lemons, Lemons, Lemons, Lemons, Lemons (Harold Pinter Theatre); and Cinderella (Theatre Royal Stratford East).

Directing credits include Walking Cats (Network Award: VAULT Festival), Yen (LAMDA), Unexpected Item in the Bagging Area (Underbelly, Edinburgh Fringe), Footlights Pantomime: The Gingerbread Man (ADC Theatre), Essentially Black (Camden Fringe, transferred to Soho Theatre) and Baby, What Blessings (The Park Theatre).

Events

4000 Miles Theatre Day

Post-Show Talk

Tuesday 23 May, 10.30am Get a real insider’s view with the creative team and technical crew of 4000 Miles, with 90 minutes of demonstrations and discussion. £10 (plus optional show ticket)

Saturday 3 June Stay after the performance to ask questions, meet company members and discover more about the play.

Hosted by Kate Bassett, CFT Literary Associate.

Free

Pre-Show Talk Tuesday 9 May, 5.30pm Director Richard Eyre in conversation with best-selling author Kate Mosse.

Free but booking is essential.

Prologue Pen Pals Saturday 3 June, 3.30pm If you’d like to come to CFT with someone new, join fellow Prologue members (aged 16-30) for 4000 Miles and we’ll pair you up with a Pen Pal – meeting in the Minerva Bar for a drink before the show and staying for the Post-Show Talk afterwards.

Prologue show tickets £5

Get Creative Whatever your interests or skill-set, there’s something for you in our programme of activities for adults. Everyone’s welcome, so join us and get creative.

Get Into It! Learn new skills and socialise in our termly sessions in Acting, Dancing or Singing each Monday. Can’t make it every week? Try our Drop-Ins and join us when suits you. No experience necessary - everyone is welcome to Get Into it!

Mind, Body, Sing Fun and relaxing, our group singing sessions are open to everyone aged 18+ and are dementia friendly. We believe everyone is musical and there are no wrong notes, so join us and experience the health-giving properties of group singing.

Scan to find out more cft.org.uk/get-creative

Wednesday Company and Friday Company For adults aged 25+ with learning disabilities to develop their artistic skills, meet new people and socialise in a fun and supportive environment.

Wednesday Company takes place at The Capitol in Horsham and Friday Company takes place at St Paul’s Church in Chichester.

Chichester People’s Theatre Our community company work together to devise an original piece of theatre inspired by the work on our stages. The piece is then shared at a public performance.

Join Chichester Festival Youth Theatre “For young people, knowing you can identify as whoever you really think you are is more and more relevant, and CFYT has always felt like a space where you can do that.”

CFYT MEMBER

Every week, CFYT members meet at locations across the county to discover new skills and explore new stories, make friends, build confidence and, most importantly, “laugh until your sides hurt”* (*direct quote from a member).

For ages 5 to 25 we have drama, dance, musical theatre and technical theatre sessions to choose from, as well as groups for young people with additional needs (CFYT Wednesday in Horsham and CFYT Friday in Chichester).

Our weekly sessions take place in locations across West Sussex for you to meet like-minded people and find a space where you can just be yourself!

Find your group across West Sussex and join us!

Scan to find out more

cft.org.uk/CFYT

Light a Spark What’s your first theatre memory?

Was it the buzz as you took your seat, being wowed by the show, the interval ice cream?

We want your first theatre memories to be part of an exhibition celebrating Chichester Festival Theatre and our new Light a Spark campaign.

Share your memories with us today cft.org.uk/LightASpark

Light a Spark is fundraising to support magical first theatre experiences for children, young people and families in our communities.

Chichester Festival Theatre is a registered charity. Charity no. 1088552.

Staff Trustees Mark Foster Judy Fowler Victoria Illingworth Rear Admiral John Lippiett CB CBE Harry Matovu KC Caro Newling OBE Nick Pasricha Philip Shepherd Stephanie Street Hugh Summers Jean Vianney Cordeiro Tina Webster Associates Kate Bassett Charlotte Sutton CDG

Chair

Literary Associate Casting Associate

Building & Site Services Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer Grace Upcraft Dresser Costume Isabelle Brook Helen Clark Aly Fielden Helen Flower Shelley Gray

Emily Souch

Dresser Dresser Wardrobe Manager Senior Costume Assistant Wigs, Hair & Make-Up Manager Dresser Wardrobe Manager Wigs, Hair & Make-Up Assistant Wigs, Hair & Make-Up Manager Assistant Wardrobe

Loz Tait Colette Tulley Grace Upcraft

Head of Costume Wardrobe Maintenance Dresser

Development Jessey Barnes Laura Blake

Development Officer Fundraising Consultant

Abbi Hart Amy Hills Dee Howland Kendal Love

Julie Field Friends Administrator Sophie Henstridge-Brown Senior Development Manager Charlotte Stroud Karen Taylor Joanna Walker Megan Wilson

Directors Office Justin Audibert

Development Manager Development Manager (Maternity Leave) Director of Development Events and Development Officer

Artistic Director Designate

LEAP Anastasia Alexandru Helena Berry Rob Bloomfield

Heritage & Archive Assistant

Zoe Ellis Isabelle Elston

LEAP Co-ordinator Community & Outreach Trainee

Matthew Hawksworth Head of Children & Young People’s Programme Hannah Hogg Shari A. Jessie Louise Rigglesford

Riley Stroud

Cultural Learning & Education Apprentice

Angela Watkins

Helen Campbell

Director of Marketing & Communications

Jay Godwin Lorna Holmes Mollie Kent

Box Office Assistant Box Office Supervisor Box Office Assistant (Casual)

James Mitchell James Morgan Lucinda Morrison Brian Paterson

Box Office Assistant Box Office Manager Head of Press Distribution Co-ordinator

Rachael Pennell Kirsty Peterson Ben Phillips

Marketing Officer Box Office Assistant Marketing & Press Assistant

Catherine Rankin

Box Office Assistant (Casual)

Jenny Thompson

Social Media & Digital Marketing Officer

Julia Walter Claire Walters Joanna Wiege Jane Wolf

Angela Buckley

Projects & Events Co-ordinator

Jenefer Francis Gillian Watkins

Georgina Rae

Director of Planning & Projects

Amanda Hart

Finance & Operations Director

Krissie Harte Katie Palmer

Finance Officer Assistant Management Accountant

Simon Parsonage

Finance Director & Company Secretary

Amanda Trodd Protozoon Ltd

Management Accountant IT Consultants

Deputy Box Office Manager

Lydia Cassidy

Joshua Vine

Ross Gardner Sam Garner-Gibbons Jack Goodland Fuzz Guthrie Lucy Guyver

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

Accommodation Co-ordinator HR Officer HR Officer

Production Amelia Ferrand-Rook Producer Claire Rundle Production Administrator George Waller Trainee Producer Nicky Wingfield Production Administrator Jeremy Woodhouse Producer Technical Steph Bartle Deputy Head of Lighting James Barnes Stage Crew Victoria Baylis Props Assistant Daisy Vahey Bourne Stage Crew Finley Bradley Technical Theatre Apprentice Leoni Commosioung Stage Technician Adrien Corcilius Video & AV Technician Sarah Crispin Senior Prop Maker

Stage Crew Technical Director Stage Crew & Automation

Senior Sound Technician Production Manager Apprentice

Katie Hennessy

Props Store Co-ordinator

Tom Hitchins Head of Stage & Technical Laura Howells Senior Lighting Technician Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Finlay Macknay Tito Mateo Karl Meier Charlotte Neville

Stage Crew Stage Technician Head of Stage Head of Props Workshop

Stuart Partrick Neil Rose James Sharples

Transport & Logistics Deputy Head of Sound Senior Stage Crew & Rigger

Molly Stammers Graham Taylor Bogdan Virlan Elliott Wallis

Lighting Technician Head of Lighting Stage Crew Sound Technican

LEAP Projects Manager

Marketing, Communications, Digital & Sales Josh Allan Box Office Supervisor Caroline Aston Audience Insight Manager Becky Batten Head of Marketing Laura Bern Marketing Manager Jessica Blake-Lobb Marketing Manager (Corporate)

People Emily Oliver

Finance Alison Baker Payroll & Pensions Officer Sally Cunningham Purchase Ledger Assistant

Creative Therapist Senior Community & Outreach Manager Director of LEAP Youth & Outreach Co-ordinator

Executive Director PA to the Directors Projects & Events Co-ordinator

Board Support

Senior Youth & Outreach Manager

Dale Rooks Abi Rutter

Kathy Bourne Patricia Key Keshira Aarabi

Julia Smith

Youth & Outreach Trainee Heritage & Archive Co-ordinator

Theatre Management Janet Bakose Theatre Manager Judith Bruce-Hay Minerva Supervisor Charlie Gardiner Minerva Supervisor Ben Geering Head of Customer Operations Will McGovern Deputy House Manager Sharon Meier PA to Theatre Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor Goldcrest Guarding

Security

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, 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, Judith Marsden, 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, 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: Janet Beckett, Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Richard Frost, David Phizackerley, Christopher Todd

Our Supporters 2023 Major Donors Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry George W. Cameron OBE and Madeleine Cameron Sir William and Lady Castell David and Claire Chitty John and Pat Clayton David and Jane Cobb John and Susan Coldstream Clive and Frances Coward

Trusts and Foundations The Arthur Williams Charitable Trust The Arts Society, Chichester The Bernadette Charitable Trust The Dorus Trust The D’Oyly Carte Charitable Trust Elizabeth, Lady Cowdray’s Charity Trust Epigoni Trust The Foyle Foundation The G D Charitable Trust

Festival Players 1000+ John and Joan Adams Tom Reid and Lindy Ambrose The Earl and Countess of Balfour Sarah and Tony Bolton Ian and Jan Carroll C Casburn and B Buckley CS and M Chadha David Churchill Denise Clatworthy Michael and Jill Cook Lin and Ken Craig

Festival Players 500+ Judy Addison Smith Mr James and Lady Emma Barnard (The Barness Charity Trust) Martin Blackburn Janet Bounds Pat Bowman Jean Campbell Sally Chittleburgh Mr and Mrs Jeremy Chubb Mr Charles Collingwood and Miss Judy Bennett

Yvonne and John Dean Jim Douglas Mrs Veronica J Dukes Melanie Edge Huw Evans Steve and Sheila Evans Val and Richard Evans Sandy and Mark Foster Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Lady Heller and the late Sir Michael Heller Liz Juniper Roger Keyworth Vaughan and Sally Lowe Jonathan and Clare Lubran Mrs Sheila Meadows Elizabeth Miles Eileen Norris Jerome and Elizabeth O’Hea Mrs Denise Patterson DL Stuart and Carolyn Popham Dame Patricia Routledge DBE The Shalit Family 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 Bryan Warnett Ernest Yelf

Hobhouse Charitable Trust The Maurice Marshal Preference Trust Noël Coward Foundation Rotary Club of Chichester Harbour Theatre Artists Fund The Vernon Ellis Foundation Wickens Family Foundation

Deborah Crockford Clive and Kate Dilloway Peter and Ruth Doust Gary Fairhall Mr Nigel Fullbrook George Galazka Robert and Pirjo Gardiner Wendy and John Gehr Marion Gibbs CBE Rachel and Richard Green Ros and Alan Haigh Chris and Carolyn Hughes Melanie J. Johnson John and Jenny Lippiett Sarah Mansell and Tim Bouquet James and Anne McMeehan Roberts Mrs Michael Melluish Celia Merrick Roger and Jackie Morris Jacquie Ogilvie Mr and Mrs Gordon Owen Graham and Sybil Papworth Richard Parkinson and Hamilton McBrien Nick and Jo Pasricha John Pritchard Trust Philip Robinson Nigel and Viv Robson Ros and Ken Rokison David and Linda Skuse Peter and Lucy Snell Julie Sparshatt Richard Staughton and

The de Laszlo Foundation Lady Finch Colin and Carole Fisher Beryl Fleming Terry Frost Stephen J Gill Dr Stuart Hall Rowland and Caroline Hardwick Dennis and Joan Harrison Karen and Paul Johnston Frank and Freda Letch Anthony and Fiona Littlejohn Jim and Marilyn Lush Dr and Mrs Nick Lutte Trevor & Lynne Matthews Tim McDonald Jill and Douglas McGregor Sue and Peter Morgan Mrs Mary Newby Margaret and Martin Overington Jean Plowright Robin Roads Dr David Seager John and Tita Shakeshaft Elizabeth Stern Anne Subba-Row Harry and Shane Thuillier Miss Melanie Tipples Chris and Dorothy Weller Nick and Tarnia Williams

Claire Heath Ian and Alison Warren Angela Wormald

...and to all those who wish to remain anonymous, thank you for your incredible support.

‘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, Major Donors and Festival Players

Our Supporters 2023 Principal Partners Platinum Level

Prof. E.F. Juniper and Mrs Jilly Styles Gold Level

Silver Level

Corporate Partners FBG Investment J Leon Group Jones Avens

Montezuma’s Oldham Seals Group Pallant House Gallery

Protozoon William Liley Financial Services Ltd

Why not join us and support the Theatre you love: cft.org.uk/support-us | development.team@cft.org.uk | 01243 812911