The Spy Who Came in from the Cold Digital Programme | CFT Festival 2024

John le Carré’s

The Spy Who Came In From The Cold

Adapted for the stage by David Eldridge

Welcome

Welcome

Welcome to this performance of The Spy Who Came In From The Cold, our fourth world premiere of Festival 2024.

John le Carré’s novels have long been a staple of film and television, so it’s hard to believe there’s never been a stage adaptation before.

We’re delighted to rectify that omission with David Eldridge’s new version of this gripping portrait of covert operations during the Cold War. David is one of our foremost contemporary playwrights, whose work includes Beginning and Middle, the first two plays in his trilogy for the National Theatre, and his award-winning adaptation of Festen (Almeida, West End and Broadway); it’s a great pleasure to welcome him to Chichester.

We also warmly greet the return of director Jeremy Herrin whose memorable productions here include This House, Another Country and South Downs, alongside innumerable London successes including People, Places and Things. He has assembled an outstanding cast: some, such as Rory Keenan, Gunnar Cauthery and John Ramm returning to our stages, and others making their debuts. We wish them all an enjoyable run.

We are well into the second half of our Festival season; but still to come is another world premiere in the Festival Theatre, Charlotte Jones’s Redlands – a riotous tale inspired by the famous Rolling Stones trials, which shows a very different aspect of the 1960s; and finally, to end the season in the Minerva, The Cat and the Canary: a deliciously terrifying tale in a new co-production with Told by an Idiot.

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

Justin Audibert Artistic Director

Kathy Bourne Executive Director

Kathy Bourne and Justin Audibert Photograph by Peter Flude

These kids – they’re taking over the world – they’re the new aristocracy, man and the old guard don’t like it.

Redlands Festival Theatre 20 September – 18 October Sending the season out with ‘a bigger bang’ in the Festival Theatre, Charlotte Jones’s new play Redlands catapults us back to the Chichester of the 1960s and a moment of local history: the trial of Mick Jagger and Keith Richards.

CFT Artistic Director Justin Audibert is at the helm, and tells us: ‘This is a local story with national resonance. It tells the dramatic story of the drugs bust at Keith Richards’ house in the Witterings, and explores how Michael Havers QC manages to get the Rolling Stones acquitted; and how for his young son, the esteemed actor Nigel Havers, the experience changes his life forever.

‘As a dedicated Rolling Stones fan myself, it gives me enormous ‘Satisfaction’ to be directing this colourful, vibrant piece of ensemble theatre which will be supported with a live band onstage and some absolutely brilliant R&B songs.’

One minute to midnight. It’s time. Ladies and gentlemen, take a seat and I shall begin...

The Cat and the Canary Minerva Theatre 27 September – 26 October The Cat and the Canary, adapted by Carl Grose from the play by John Willard, is a hilariously chilling mixture of Agatha Christie and gothic horror that will have you shrieking with laughter and fear in equal measure.

And there’s nobody better than the genius shape-shifting company Told by an Idiot, and director Paul Hunter, to tell it.

Justin Audibert says: ‘Who doesn’t love a brilliantly scary ghost story as the nights get darker and chillier? This will be a physically entertaining piece of storytelling which centres around a motley group of characters who gather in a remote house in Cornwall to hear the reading of a will.

‘It has the perfect mixture of spooks, belly laughs and thrills to end the season.’

Making an imp We are delighted that Chichester District Council has granted planning permission for The Nest, a new 120-seat studio theatre created to be a vibrant hub for innovative and community performances from 2025.

The news comes as two reports commissioned by CFT on its local impact are published. An Economic Impact report examining the monetary impact that Chichester Festival Theatre has on the economy of Chichester District shows that, in 2023, our net economic impact was almost £26 million – compared with £17.5m in 2014 and £20 million in 2016.

This is substantially due to the expenditure (excluding tickets) by audiences attending the Theatre’s performances and events, but also the goods and services bought by the Theatre, its staff and artists from local suppliers.

Meanwhile, a Social Impact Report has measured the social outcomes and longer-term impact of the Theatre’s performances, outreach and participatory

programmes – particularly the work of our LEAP (Learning, Education and Participation) programme, which provides over 80,000 participation opportunities annually for people of all backgrounds, abilities and ages. Drawing on the experiences of hundreds of participants, audiences, partners, visitors and staff, the Social Impact Report used robust social impact indicators to measure the effectiveness of the programmes. Among the findings were that 98% felt welcome and included; 93% reported a positive impact on their mental health and wellbeing; 90% reported improved knowledge and skills; and 96% of trainees and apprentices improved their career opportunities.

Kathy Bourne, Executive Director of Chichester Festival Theatre, points out that ‘2024 marks the 10th anniversary of ‘Renew’, the major project to restore and upgrade the Grade II* listed Festival Theatre; our plans for The Nest show we’re not resting on our laurels.

mpact ‘We’ve always put our community first, whether that’s people who have lived and breathed Chichester all their lives, or the new community – whether students at the University or Chichester College, or those who’ve recently moved here. As Chichester regenerates post-Covid we want to be part of its future, building the audiences of tomorrow.

‘The Economic Impact report is a result of that commitment. The financial contribution is obviously meaningful, but we believe very strongly that commitment to our community is what powers our drive to ensure we sit at the heart of Chichester and all that it delivers. We’re determined to keep growing the artists and audiences of the future, and strengthen the remarkable work of our LEAP department, led by the indefatigable Dale Rooks whose exceptional vision was recently recognised with her well-deserved MBE.’ The Social Impact Report will also ensure that LEAP’s work will continue

to grow and evolve, says Dale Rooks.

‘For example, we are developing a Youth Theatre skills framework which will outline the progression of creative knowledge and skills from Year 6 to Year 13. Our ongoing evaluation processes will ensure that we are always reflecting on how we can further improve outcomes to strengthen the impact of our work.’

She acknowledges that measuring social impact ‘is not like marking maths with a right and a wrong answer. What can you put in place to measure how somebody’s confidence might have improved? Hence we brought in an external consultant to devise a framework of impact measures and to compile the report; but more importantly, worked with the participants and the people who gave their feedback to ensure there was a high degree of transparency and objectivity. It’s a comprehensive, detailed report that covers every aspect of our work.

‘What’s really lovely are the comments from the young people, parents, carers, teachers and supporters, so there’s a cross-section of people’s honest views of what they believe the value and impact of the work is. The stats are not always 100% and that’s how it should be; if you’re hitting 100% in everything, where’s the journey? Where’s the learning? We have to digest the Report and use it as a platform and foundation to look at the areas where we might improve. It’s a demonstration not just of the value of what we do for the community, but what we do to achieve that.’

Provenance Community Sustainability Creating exceptional food to enhance your Festival experience

Our ethos Delicious dishes are only as good as their component parts and community is a key factor for Caper & Berry and CFT. We believe that working with fantastic local producers has huge benefits to local communities and creates better environments.

In our larder Fresh ingredients have been at the centre of Caper & Berry’s ethos since 2004: Ultra Sustainable Suppliers

Chef’s Farms

- Tempus Cured Meats - Charlie’s Smokehouse - Cadd Oxshott Pizza

- Slade Farm Asparagus - Secretts Farm Leaves - Surrey Watercress

Discover more

John le Carré’s

The Spy Who Came In From The Cold

Adapted for the stage by David Eldridge

John le Carré Nick Harkaway traces his father’s journey from young spy to gentleman author

As my father told it, the story begins with Willy Brandt, speaking in early August of 1962. David Cornwell, a junior diplomat (for which read ‘an up-and-coming spy’) at the British Embassy in Bonn, had been sent to observe. He was a curious figure for the role: the son of a convicted felon, a former runaway and now a counterfeit gentleman pretending to be a legitimate foreign servant.

Brandt, young Cornwell recorded, had ‘Fingerspitzengefühl’. Something was happening, he said, there was something in the air. ‘By the pricking of my thumbs’, my father repeated in Stockholm in early 2020.

By his telling he was at best a mediocre spy, unskilled or perhaps unlucky, sometimes clumsy to the point of obvious.

Today I find that the translation is contentious. ‘Fingerspitzengefühl’ is the diplomat’s sense of the appropriate – an emotional intelligence. Perhaps, at a stretch, it is the craftsman’s fingertip understanding of the work. Maybe the usage in 1962 was broader, or perhaps his usually perfect German failed him in this one respect.

Either way, the prophecy was immediately fulfilled. Cornwell returned to the embassy in the small hours to find all the lights on.

The Berlin Wall was going up, and the Iron Curtain was descending.

The next weeks were frantic, as he went back and forth along the border between East and West, receiving defectors and looking for the very few who might not have been missed who might return as British agents under cover of their own lives. Here, as often in his recounting, the narrative becomes contradictory. By his telling he was at best a mediocre spy, unskilled or perhaps unlucky, sometimes clumsy to the point of obvious. Somewhere along the line, someone told me he had actually been fast-tracked for promotion – though whether that is a recommendation or evidence of John le Carré, 1982.

Photo by Stephen Cornwell.

institutional desperation is unclear. Equally, it’s likely – if not certain – that he had already been betrayed by the Cambridge spies, so perhaps he was very lucky indeed.

The first draft of The Spy Who Came In From The Cold was written in two months, as he spied and commuted for Britain.

He had by this time written two novels: A Call for the Dead is a short, almost Waugh-like tale of espionage and detection.

It concerns the death of a civil servant who was under not-very-serious suspicion of spying. The first George Smiley novel, it’s something of a minor classic of British mid-century life among the governing class and makes me think of Seicho Matsumoto’s gripping Japanese crime novels as much as of Graham Greene. His second book, A Murder of Quality, is exactly what it sounds like: a savage dissection of life in and around a minor British public school – he had taught at Eton, and run away from several such places as a boy – by way of a brutal murder, again investigated by Smiley in a Poirot-like mode.

The raising of the Wall unleashed something in him that was both timely and timeless. The first draft of The Spy Who Came In From The Cold was written in two months, as he spied and commuted for Britain. It was much longer than the version we have, but a surgical editing process yielded a book which is still utterly gripping: noirish, curt and seething with rage, it’s a story of decline and betrayal, of unholy alliances and unwholesome necessity.

Or perhaps, in the rearview mirror, what happens is not necessary and serves no purpose beyond being a proxy war between two empires. Noir stories, in the jargon, are those where the protagonists and the antagonists are morally similar, and good and evil can be hard to distinguish even when Us and Them are not. No gaudy romp

this, and not a martini or an Aston Martin in sight. The mood has more in common with Le Salaire de la Peur, the film adapted from George Arnaud’s 1950 novel, in which four hard-luck cases are hired to transport nitroglycerin across treacherous terrain to put out an oil well fire. Control, the oleaginous head of British intelligence, wheedles an exhausted Alec Leamas into taking on one more mission, a chance to make a real difference. The implication is that not much else has. George Smiley is in the mix too, running errands for his chief, but this isn’t the perfect reasoner of the later Karla trilogy (comprised of Tinker Tailor Soldier Spy, The Honourable Schoolboy and Smiley’s People); Smiley is not master in the house. Control lives up to his name.

The young spy’s cover was thoroughly blown, and he became a gentleman author.

The language of the book is simple and stark, the setting likewise. The Wall has only been there a short while, and yet somehow it feels as if it always has been and always will be. We exist in a permanent shadow.

Later, that style evolves. Tinker Tailor Soldier Spy is elliptical, allusory and even poetic where The Spy Who Came In From The Cold is bare and stained with natural colour like the blocks of concrete separating one half of Berlin from the other. The action runs with John le Carré on the set of The Pigeon Tunnel, 2019.

Photo by Des Willie.

a similar inevitability, and the ending comes as a shock even if you know what it is.

The book was a massive hit. It was global, even by modern standards, selling in the millions. The young spy’s cover was thoroughly blown, and he became a gentleman author – ironically gaining access to the same toffs his criminal father had always hoped to reach through his children’s social mobility: a better class of person can of course be more lucratively conned. As with the books, so with the man: his voice evolved. In contemporary interviews he sounds like a cut-glass Etonian – as he told Errol Morris in the film of The Pigeon Tunnel, he had adopted the manners and modes of a class not his own.

To me, listening now, the tone is almost impossibly forced and unrecognisable. The nervous, nasal drawl and the tight smile are foreign to the father I knew, who spoke from the gut, laughed often, and whose voice more resembled that of Peter Jefferson, who once read the forecast for shipping on the BBC, than that of some knighted scion.

He was – like so many of his characters – forever in search of his own truth.

Well, of course. He was – like so many of his characters – forever in search of his own truth. He found it many times, in many different places, and either failed

to recognise it or wanted more of the same.

Every holiday and research trip yielded another passionate embrace of a new country. A trip to Panama? We should move there. Literary prize in Capri? How does anyone manage anywhere else? He knew who he was, but not how he fitted in – perhaps because he could fit in anywhere.

Mobsters and cab men, doctors, poets, lawyers and gunrunners opened their hearts to him and told him their secrets.

His books are all fiction, except when they’re not. The Spy Who Came In From The Cold was notoriously described by one senior intelligence officer as ‘the only bloody double-agent operation that ever worked’ – but behind the demands of satisfying narrative are layers of unsatisfied reality. The original Smiley novels* as they evolve are acutely aware of the limits of the espionage game. Spying cannot win the Cold War; all it can do is diminish the likelihood of loss. A trench war, then, fought over a dozen yards of secrets – and in the knowledge that all this has been done before, and will be again.

As we contemplate the reality of 2024, we do well to look over our shoulder at the past. Europe’s new wars are hardly unfamiliar territory, for all that we prefer to teach the Kings of England and

the fights historical in our classrooms, rather than spend time on the causes and consequences of Trianon – where the victorious powers of the First World War, in particular the United States, tore apart Austria-Hungary, creating new nations and sadly also waking furies which shaped the Second World War. Eric Hobsbawn called the 1900s ‘the short century’, but reading – or watching – The Spy Who Came In From The Cold, which feels as live now as when it was first written, you could be forgiven for thinking the 20th century has lasted well into the 21st, and for wishing that we had a George Smiley or a John le Carré to help us understand it all. *The Smiley novels: A Call for the Dead, A Murder of Quality, The Spy Who Came In From The Cold, The Looking Glass War, Tinker Tailor Soldier Spy, The Honourable Schoolboy, Smiley’s People, The Secret Pilgrim, A Legacy of Spies.

Nick Harkaway is the author of eight novels and the fourth son of John le Carré. His latest book, Karla’s Choice (set in the George Smiley universe, shortly after the events of The Spy Who Came In From The Cold) will be published in October.

John le Carré’s The Spy Who Came In From The Cold surfaced in September 1963 at a moment when Britain’s intelligence services were, like the country itself, caught between different worlds, past and future, fact and fantasy.

A hangover of the days of excessive deference and secrecy, few had much idea of what MI6 really got up to, leaving a vacuum to be filled by fiction and scandal.

The Secret Intelligence Service had already been around for half a century, stealing secrets from around the world. But while everyone knew it by its unofficial name of MI6, in that strangely British way it was not actually formally acknowledged to exist by the government. A hangover of the days of excessive deference and secrecy, this meant few had much idea of what it really got up to, leaving a vacuum to be filled by fiction and scandal.

Inside its corridors, those who worked for ‘the Service’ knew that the myths were not always matched by reality. MI6 was just emerging from a period known as ‘the horrors’ in the mid 1950s when nothing

The Service Gordon Corera on Britain’s intelligence services during the Cold War

seemed to be going right. The Cold War was well underway and seen as a struggle for survival but operations to drop exiles into Soviet satellite states like Albania and the Baltics had gone badly wrong. No one was quite sure how far that was due to treachery and how far it was thanks to incompetence as Britain’s spies came up against a foe that was both sophisticated and ruthless.

There was a growing debate inside the confines of the American and British state about how far Western spy services should be willing to go in order to deal with the highly effective Soviet KGB and its East German partners. ‘Hitherto acceptable norms of human conduct do not apply… We must…

learn to subvert, sabotage and destroy our enemies by more clever, more sophisticated and more effective methods than those used against us’, one US report argued.

This sense that moral compromises might be required would find a clear echo in The Spy Who Came In From The Cold.

‘We cannot afford methods less ruthless than those of our opposition,’ the fictional Control says. Some believed that deception and amoral cunning were required to play the game of spies.

And that meant individual lives could be disposable as pawns in the bigger chess game being played between powers.

After Kim Philby turned up in Moscow, the British public were still in the dark as to the true, epic scale of his treachery. Those on the inside knew all too well how bad it was.

Outside its walls, the public had also begun hearing worrying suggestions that all was not well. In 1956 there had been the ‘Buster Crabb’ affair when MI6, freelancing without ministerial permission, sent an aged, alcohol-soaked diver to have a look underneath a Soviet ship carrying the Soviet leader Khruschev to Britain on a state visit.

Lionel ‘Buster’ Crabb’s headless corpse washed up some time later leading the press to have a field day and the spies having to do their best to cover up their embarrassment.

And there was treachery. MI6 officer George Blake was sentenced to 42 years for spying for the Soviets in 1961 after betraying countless agents, particularly in Berlin.

Above all though, there was Kim. In January 1963, former high-flying MI6 man Kim Philby had fled Beirut for Moscow. He had been tagged as the ‘Third Man’ back in the fifties

after people asked who might have helped two British diplomats, Burgess and Maclean, to flee. The tag was a reference to the film of the same name, written by Graham Greene who was himself a former colleague of Philby at MI6. Fact and fiction were blurring. But even after Kim turned up in Moscow, the British public were still in the dark as to the true, epic scale of his treachery. Those on the inside knew all too well how bad it was. It all suggested something was rotten not just inside the secret world but in the wider British establishment.

All of this was set against the wider story of imperial decline and the questioning of what kind of power and influence Britain had – and should have – in the world.

Nothing cut deeper than the humiliation of the 1956 Suez adventure in which Britain and France’s attempts to take on Nasser’s Egypt failed miserably, not least because America was caught unawares and unhappy. Washington proved unwilling to help in an escapade which many there saw as a last gasp of imperialism. In the British state, they were having to come to terms with a new more subservient position when it came to Washington, and the limits of their power.

Above: Lionel ‘Buster’ Crabb, 1944. Photo Imperial War Museums.

George Blake, 1950s.

Kim Philby, 1955.

Right: Oleg Penkovsky’s military passes, 1961. Photos The Central Intelligence Agency.

The bleak, real-life spy-world that surrounded le Carré... bled into the fiction he wrote. Its success with the public proved uncomfortable for western spies.

And in the summer of 1961, the Berlin Wall had suddenly appeared, cutting through the middle of Berlin, a wound in the heart of Europe and a physical manifestation of a deep divide.

This was the bleak, real-life spy-world that surrounded le Carré when he worked on the inside of the secret state and which bled into the fiction he wrote. It led to a vision rooted in betrayal and deception and which stood in sharp contrast to any simple notions of good guys and bad guys. Its success with the public proved uncomfortable for western spies.

In London and Washington, spy chiefs took an instant dislike to The Spy Who Came In From The Cold. Over dinner in Washington, CIA Director John McCone complained to his British counterpart, Dick White, that the negative portrayal was undermining their work. ‘He hasn’t done us any good... He’s presenting

a service without trust or loyalty, where agents are sacrificed and deceived without compunction.’

The reality wasn’t all gloom. It was also a time of transition. There were the first signs of a new professionalism inside MI6. At the start of the sixties, along with the CIA, it had run a hugely valuable agent in the form of Oleg Penkovsky, a Soviet military intelligence officer. His material went up to the Oval Office and played an important role in helping President Kennedy manage the Cuban Missile Crisis in 1962. Penkovsky would be caught in the end and pay for it with his life but, even though the public knew little of his efforts, it was a sign that perhaps all was not lost for the British spies and their ability to run agents and collect intelligence behind enemy lines.

A different image of the Service was also materialising in public through fiction.

1963 would see the second James Bond film hit the screens, From Russia with Love, hot on the heels of Dr No, the previous year.

This was British intelligence in fantastical technicolour rather than moody noir.

It offered a vision of a country and a spy service which still mattered and could punch above its weight rather than worry about decline. The good guys and bad

guys were clear and the Americans would sometimes still have to follow the British lead. Bond operated alone. But, unlike le Carré’s characters, he was not lonely.

1963 seems both distant and familiar. And yet the language of the Cold War, of spies and of geopolitical competition, is arguably more present now than it has been for many years.

Two duelling visions of British intelligence were arriving in the sixties and at the same time the old grey image of the country was giving way to a more youthful nation. Both visions would co-exist uneasily, wrestling for control over the public consciousness, acting as twin reference points for decades to come and a source of easy headlines for those poor journalists who try and make sense of the spy world.

Today, that era of 1963 seems both distant and familiar. It is a time beyond the recollections of many. And yet the language

‘Attention! You are now leaving West Berlin’, 1961. Photo German Federal Archives.

of the Cold War, of spies and of geopolitical competition, is arguably more present now than it has been for many years, with renewed tensions between the West and Moscow, as well as with China. And the questions about what role we want our spies and our country to play in the world, and how far we want them to go in order to serve those goals, are with us once again.

Gordon Corera has covered the work of British intelligence as a journalist for 25 years and is the author of books including MI6: Life and Death in the British Secret Service and Russians Among Us.

Above: Workers near the Brandenburg Gate reinforce the Wall dividing East and West Berlin, 1961.

Photo United States Information Service.

KGB, CIA and MI6 emblems.

John le Carré’s

The Spy Who Came In From The Cold Adapted for the stage by David Eldridge

Cast Fiedler Miss Crail / President of the Tribunal Karl Riemeck / Kiever Mundt Control Ashe Alec Leamas Liz Gold George Smiley / Karden Pitt / Ford / Governor

Philip Arditti Norma Atallah Mat Betteridge Gunnar Cauthery Ian Drysdale Tom Kanji Rory Keenan Agnes O’Casey John Ramm David Rubin

All other roles played by members of the company.

There will be one interval of 20 minutes.

The Spy Who Came In From The Cold was commissioned and developed by The Ink Factory and Second Half Productions.

World premiere performance of The Spy Who Came In From The Cold at the Minerva Theatre, Chichester, 23 August 2024.

Director Designer Lighting Designer Composer Sound Designer Movement Director Fight Director Casting Director

Jeremy Herrin Max Jones Azusa Ono Paul Englishby Elizabeth Purnell Lucy Cullingford Bret Yount Jessica Ronane CDG

Associate Director Voice and Dialect Coach

Joe Lichtenstein Hazel Holder

Production Manager Costume Supervisors

Kate West Laura Rushton Josie Thomas Rob Wilson Kate Margretts

Wigs, Hair & Make-Up Supervisor Props Supervisor Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Francesca Finney Morag Lavery Flynn White

Production credits: Set built by Deadline; Set painted by RN Scenic; Scenic Drapes by JD McDougall; Production Carpenters Tom Humphry, Jon Barnes; Costume hires supplied by Angels Costumes; Propmakers Holly Isaacs, Properlymade Ltd and Ellie Hayward; Lighting hires supplied by White Light; Transport by Paul Mathew Transport, EJS Logistics; Rehearsal Room Jerwood Space.

Trumpet played by Chris Storr.

With thanks to Gordon Corera for advice about the Secret Intelligence Service; Sophie Hare; Eygló Belafonte, Luis Garcia Munoz, Elize Layton, Daniela Francisca Poch Márquez, Rebecca Wield.

Rehearsal and production photographs Johan Persson Programme consultant Fiona Richards Programme design Davina Chung Cover image Bob King Creative, inspired by book cover designed by Matt Taylor

Minerva Season Principal Charles Holloway OBE Supported by The Spy Who Came In From The Cold Patrons and Supporters Circles: Caroline and Malcolm Butler, Jim Douglas, The Draysons, Veronica J Dukes, Sheila and Steve Evans, Dennis Harrison, Charles and Catherine Hindson, Richard and Rosie Hoare, Gay and Colin Kaye, Judy Martin-Jenkins, Lyana Peniston, Lindy Riesco, David Shalit MBE and Sophie Shalit, Howard M Thompson, Clare and Hugh Twiss, Honor Woods, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

ChichesterFT

Cast Biographies Philip Arditti Fiedler Theatre includes English Kings Killing Foreigners (Camden People’s Theatre); Baghdaddy (Royal Court); Copenhagen (Theatre Royal Bath); Histories/Globe Ensemble ’19 (Globe Theatre); Oslo (also West End), As You Like It, Salome, The Holy Rosenbergs, Blood and Gifts, England People Very Nice (National Theatre); The Hunting Lodge, Fourth Wise Man (Unicorn Theatre); Henry V (Regent’s Park); Who Cares (Royal Court); Catch 22 (Northern Stage); Facts (Finborough Theatre); 66 Books (Bush Theatre); Light Shining in Buckinghamshire, A Family Affair, Tartuffe (Arcola Theatre); Rope (Almeida Theatre).

Television includes Day of the Jackal, Protection, Breathtaking, No Return, Domina, Sanctuary, L’Ispettore Coliandro, Chimerica, Black Earth Rising, Patrick Melrose, Kiss Me First, The State, The White Princess, Spotless, Ripper Street, The Honourable Woman, The Vatican, Game of Thrones, Strike Back 4, Da Vinci’s Demons, Borgia, New Tricks, Twenty Twelve, Accused, Five Days, Father and Son, 10 Days to War and House of Saddam.

Radio includes The Voyage of the St Louis, Miriam and Youssef, Fall of the Shah, Censoring an Iranian Love Story, Castle of the Hawk, Arabian Nights, The Bethlehem Murders, Love is Not New in This Country, The Bastard of Istanbul, The Great Charter, Book at Bedtime, Farran at Bay, Reluctant Spy, Book of the Week.

Films include The Last Planet, Anchor and Hope, The Danish Girl, Inferno, Hyena, Exodus, Monsters: Dark Continent, Red II, Singing Women, Born of War, Interview with a Hitman, Happy-Go-Lucky.

Writing credits include: English Kings Killing Foreigners (Camden People’s Theatre), Cutting the Tightrope (Arcola), Burnt at the Stake (Globe Theatre) and Extinct.

Trained at RADA. philiparditti.com

Rory Keenan

Norma Atallah Miss Crail / President of the Tribunal Theatre includes George Sand in The Oyster Problem (Jermyn Street Theatre); Lisel in Babette’s Feast (The Print Room); Monica Smithers in Daisy Pulls It Off (The Gatehouse); Maxine in Stepping Out (UK tour); Emily Whitman in Follies (National Theatre); Abuella in In the Heights (King’s Cross Theatre); Ruth in The Pirates of Penzance (Kilworth House); Lina Darling in Nine (Donmar Warehouse); Madame Thenardier in Les Misérables (Palace Theatre).

Television includes Doctors, The Evermoor Chronicles, Rome, Judge John Deed, Chucklevision, Genie in the House, The Biz, Hale and Pace, EastEnders, Gold Digger, The Spy Series, The Sound of Music Live.

Films include Eximo, Mortdecai, The Story of F…, The Kid, Les Misérables, Beauty and the Beast, Mamma Mia!, Yentl; and additional dialogue on Tore and Midsummer Night.

Mat Betteridge Karl Riemeck / Kiever Theatre includes Ulster American (Riverside Studios); All of Us, Manor, King Lear (National Theatre); Market Boy, Heartbreak House (Union Theatre); Hireth (O-region); Romeo and Juliet, Much Ado About Nothing (Waterloo East Theatre); A Judgement in Stone (UK tour); The Test (Southwark Playhouse); Antenora, Bipolar Me (Etcetera Theatre); The Foolish Young Man (Roundhouse); Bird in the Bush, Crystal Clear (Edinburgh Festival); The Pride (English Theatre of Hamburg); Private Lives, The Winter’s Tale, Beginning and Middle (Ovo Theatre).

Television and film includes Slow Horses, Crimewatch, Arrows of Desire, Bubble Burst, Pokomen, The Flash.

Mat has also directed theatre including the award-nominated Oopsy Daisy for Red Squash Theatre at The Katzpace.

Trained at Rose Bruford College.

Gunnar Cauthery Mundt Previously at Chichester, Frank Capra in Mack & Mabel (Festival Theatre & tour), The House of Special Purpose (Minerva Theatre).

Theatre includes Fabian in Nachtland (Young Vic); Gary Lineker & Sven-Goran Eriksson in Dear England (also in the West End), Another World: Losing Our Children to Islamic State, The Suicide, This House and The White Guard (National Theatre); Saving Grace (Riverside Studios); All My Sons (Old Vic); Ravens: Spassky vs Fischer, Wild Honey, Wonderland and The Empty Quarter (Hampstead Theatre); Little Shop of Horrors (Royal Exchange, Manchester); Privacy (Donmar Warehouse); The Winter’s Tale and Henry V (Propeller); A View from the Bridge (Edinburgh Royal Lyceum); Harvest (Oxford Playhouse).

Television includes EastEnders, Doctor Who, Casualty, The First Team, Mars,

Philip Arditti

Genius: Einstein, The Tudors, The Demon Headmaster, Just William.

Radio includes Home Front, Tommies, Watership Down, Reykjavík, Planet B, Wives and Daughters.

Films include Indiana Jones and the Dial of Destiny, Eurovision, The Nest, War Horse, Benjamin Dove.

Trained at RADA. Ian Drysdale Control Previously at Chichester, Colonel Barrington in Ross (Festival Theatre).

Theatre includes Kerr in Backstairs Billy, Henry V (Michael Grandage Company); Danforth in The Crucible (Sheffield Crucible); Torvald Helmer in A Doll’s House Part 2, Osric/Voltemand in Hamlet, Twelfth Night, Ivanov (Donmar Warehouse); French Ambassador in The Mirror and the Light (Gielgud Theatre); Mr Hofbauer in The Visit,

Norma Atallah Mat Betteridge

Gunnar Cauthery Ian Drysdale

Network, Blood and Gifts (National Theatre); Hank in The Night of the Iguana, Max Fabian in All About Eve (Noël Coward Theatre); Rivers/Blunt in Richard III, Valentine/Priest in Twelfth Night (Shakespeare’s Globe); Francisco in The Tempest (Theatre Royal Haymarket); Tiresias in Oedipus, On the Waterfront (Nottingham Playhouse & Liverpool Playhouse); Sgt Davy in Rough Crossings (Headlong); Tony Blair in Pilate, Sejanus: His Fall, Thomas More, Hamlet, Macbeth, Brand, Much Ado About Nothing, Antony and Cleopatra (RSC); Dr Livesey in Treasure Island (Tobacco Factory); Titus in Tear from a Glass Eye (The Gate); Peter in Blue Remembered Hills (Edinburgh Festival); Gibbet in The Beaux’ Stratagem (Bristol Old Vic).

Television includes The Diplomat, Buffering, EastEnders, Casualty, Sitting in Limbo, Deep State, Harlots, Doc Martin, Atlantis, Southcliffe, Fashion, The Verdict,

Tom Kanji

Pulling, Time Gentlemen Please, The Bill.

Films include Firebrand, Wicked Little Letters, My Policeman, Supernova, Genius, Suffragette, Tulip Fever.

Author of the play Idée Fixe (Bristol Old Vic).

Tom Kanji Ashe Previously at Chichester, The Country Wife (Minerva Theatre).

Theatre includes Richard My Richard (Shakespeare North/Bury St Edmunds); Julius Caesar, The Box of Delights (RSC); Pinocchio (Unicorn); Private Peaceful (Nottingham Playhouse); Home I’m Darling (Keswick/Scarborough/Bolton); Shoe Lady (Royal Court); Yes Prime Minister (Theatr Clwyd); Love’s Labour’s Lost, The Winter’s Tale, Pericles, Romeo and Juliet, Julius Caesar, Doctor Scroggy’s War, Eternal Love (Shakespeare’s Globe); A Midsummer

Nights Dream, Macbeth (Shakespeare’s Rose); Richard III (Headlong); The Taming of the Shrew (US tour); The Box of Delights (Wilton’s Music Hall); Fiddler on the Roof, Romeo and Juliet, The Story Giant, The Sum (Liverpool Everyman); Romeo and Juliet, Antony and Cleopatra, Much Ado About Nothing (Barbican); Cadfael – The Virgin in the Ice (Middle Ground Theatre); Much Ado About Nothing, Twelfth Night (Ludlow Festival); A Russian Play (Lion and Unicorn); Hamlet (Northern Broadsides); Othello, The Importance of Being Earnest (QM2); Wild Horses (Theatre503); Back of the Throat (Old Red Lion); The Girl, The Oil Pipe and The Murder in the Forum, The Tempest (Tara Arts); Prints of Denmark (Edinburgh Fringe); Les Liaisons Dangereuses (New Vic Stoke); Indian Ink (Salisbury Playhouse).

Television includes Supacel, Tyrant, Silent Witness, Hustle, Midnight Man, Saddam’s Tribe.

Trained at RADA.

Agnes O'Casey

Rory Keenan Alec Leamas Previously at Chichester, Raymond Brock in Plenty (Festival Theatre), Edward in Someone Who’ll Watch Over Me (Minerva Theatre).

Theatre includes Al Manners in Trouble in Mind, title role in Liola, Kevin in The Kitchen, Pedrisco in Damned by Despair (National Theatre); Afterplay (Coronet Theatre); James Tyrone Jr in Long Day’s Journey Into Night (West End/New York); The Inquisitor in Saint Joan, Gene in Welcome Home Mr Fox!, Private Gar in Philadelphia Here I Come! (Donmar Warehouse); Trigorin in The Seagull (Corn Exchange); Mark in Dublin Carol (Donmar at Trafalgar Studios); Lakeboat, Prairie du Chien (Arcola); The Big Fellah (Lyric Hammersmith); title role in Macbeth (Once Off Productions); Fred in Saved (Peacock Theatre Dublin); title role in Don Carlos, Tranio in The Taming of the Shrew

John Ramm David Rubin

(Rough Magic Theatre Company); Charles Surface in The School for Scandal, The Stepson in Six Characters in Search of an Author, Moses in She Stoops to Folly (Abbey Theatre); Festen, A Christmas Carol (Gate Theatre); Levelland (Edinburgh Festival); Freud in Hysteria (Project Theatre); Cpt Molyneaux in The Shaughraun (West End); Monged (Fishamble Theatre Company); title role in Hamlet (Second Age Theatre Company).

Television includes The Regime, Funny Woman, Blackshore, Somewhere Boy, Rules of the Game, The Duchess, Come Home, Versailles series 3, Striking Out series 1 & 2, Lucky Man, War and Peace, Peaky Blinders II, Birdsong, Primeval, Aristocrats, On Home Ground, Showbands, The Clinic.

Films include the short Bump which he also wrote and directed, winning the Best Debut at The Galway Film Festival and Best Director at the British Short Film Awards; Power Ballad, Boski Plan, Refriending, Human Remains, The Young Messiah, Grimsby, Take Down, Second Coming, The Guard, Ella Enchanted, Intermission, One Hundred Mornings, Pride and Joy, Reign of Fire, Zonad.

Agnes O’Casey Liz Gold Theatre includes Lily (Nina) in The Seagull (Druid Theare Company).

Television includes Black Doves, The Mirror and the Light, Ridley Road, Dangerous Liaisons.

Films include Small Things Like These, Lies We Tell, The Miracle Club.

Agnes was recently named a 2024 Screen International Star of Tomorrow; she received an IFTA (Irish Film and Television Award) for Best Actress in 2024 and was nominated for Best Supporting Actress and Rising Star in the same year.

John Ramm George Smiley / Karden Previously at Chichester, Newman Noggs in Nicholas Nickleby, William Monteagle in 5/11 (Festival Theatre); Fool in King Lear (Minerva Theatre).

Rory Keenan and company

Theatre includes title role in Sheppey (Orange Tree: Offie Award for Best Actor); Benedick in Much Ado About Nothing (Theatr Clwyd); Duke Senior in As You Like It, Raymond in The Wonder of Sex, Gerald Croft in An Inspector Calls (National Theatre); Raymond Box in Love Upon the Throne (Comedy Theatre); Sir Thomas More in Wolf Hall/Bring Up the Bodies, Ford in The Merry Wives of Windsor, title role in Pedro The Great Pretender (RSC); Botvinik in The Machine (The Armoury, New York/MIF); Mr Low in The Low Road (Royal Court); Detective Voss in The Physicists, Hitler/Eichmann in Good (Donmar Warehouse); Dogberry in Much Ado About Nothing (Wyndham’s); Mark in 66 Books (Bush Theatre); Judge Collyer in The Deep Blue Sea (West Yorkshire Playhouse); Lopakhin in The Cherry Orchard (Birmingham Playhouse); Breakfast at Tiffany’s (Haymarket Theatre); Scrooge in A Christmas Carol (Rose Theatre Kingston); title role in Tartuffe (Liverpool Playhouse & Rose Theatre Kingston); Ring Round the Moon (Playhouse Theatre); title role in Uncle Vanya (Birmingham Rep); And Then There Were None (Gielgud Theatre); Malvolio in Twelfth Night (Royal Exchange Manchester); Bottom in A Midsummer Night’s Dream, Iachimo in Cymbeline (Shakespeare’s Globe); Leontes in The Winter’s Tale (Salisbury Playhouse); Angelo in Measure for Measure (Nottingham Playhouse/Barbican).

Television includes The Enfield Poltergeist, Am I Being Unreasonable?, Doctors, A Spy Among Friends, Quacks, Humans, Count Arthur Strong, Come Fly With Me, 2012, Midsomer Murders, Krod Mandoon, My Family, Foyle’s War, The Palace, Losing It, Robin Hood, Massive Landmarks of the 20th Century.

Films include Bus Driver, Mary Queen of Scots, On Chesil Beach, The Love Punch, The Nine Lives of Thomas Katz, Shakespeare in Love, Food of Love.

Trained at Webber Douglas Academy.

David Rubin Pitt / Ford / Governor Previously at Chichester, Pitcairn (Minerva Theatre/Out of Joint/Shakespeare’s Globe).

Theatre for the RSC includes Tamburlaine, Titus Andronicus, Hamlet, Romeo and Juliet, The Winter’s Tale, The Grain Store, As You Like It, A Mad World My Masters, American Trade, Julius Caesar, Le Morte d’Arthur, Antony and Cleopatra, The Tempest. For the National Theatre: The Red Balloon, The Threepenny Opera, Twelfth Night, A Midsummer Night’s Dream, As You Like It, The Tempest.

Other theatre includes A Lesson from Aloes (Finborough); Oxy and the Morons, Company (New Wolsey Ipswich); Woyzeck (Old Vic); People, Places and Things (National Theatre/Headlong/West End); Richard III (West Yorkshire Playhouse); Twelfth Night (Liverpool Everyman); These Trees Are Made of Blood (BAC); The Lion The Witch and the Wardrobe (Kensington Palace Gardens); Sunday Morning at the

Centre of the World (BAC/Tara Arts); The Overcoat, Taylor’s Dummies (Gecko Theatre); Fightface, Juicy Bits (Lyric Hammersmith); Stomp (Yes/No Productions); The Wizard of Oz (Oldham Coliseum); Five Guys Named Moe (West End); Sleeping Beauty (Theatre Royal Stratford East); Peter Pan (Nuffield Theatre Southampton); Cyrano de Bergerac (Northampton Theatre Royal); Hamlet, The Attraction, Paula’s Story, The Night Before Xmas, Cinderella and many more (Chickenshed Theatre); Godspell (Barbican); Macbeth (Chester Gateway); King Arthur (Red Shift).

Television includes Grantchester, Midsomer Murders, Vera, Doctor Who, Birds of a Feather, The Passion, Holby City, Walking with Cavemen, EastEnders, Dalziel and Pascoe, Playdays, Sitting Pretty, Mysteries of July, The DJ Kat Show, Number 73, Zig-Zag. Films include Finding My Voice, Love at First Sight, Judy, Brooms.

Creative Team Lucy Cullingford Movement Director Previously at Chichester, King Lear (Minerva Theatre & Duke of York’s Theatre); also this season The Caretaker (Minerva Theatre).

For the National Theatre: Dear Octopus, The Father and the Assassin, All of Us, Death of England, The Winter’s Tale.

In the West End: King Lear, Don Quixote and My Mother Said I Never Should.

Other Theatre includes Measure for Measure, The Taming of the Shrew, Coriolanus, Snow in Midsummer, The Tempest, Don Quixote, The Jew of Malta and Matilda The Musical (dance repetiteur, Jeremy Herrin

in the West End) for the RSC; Shakespeare’s Macbeth (international tour); Medea (@sohoplace); Top Girls (Liverpool Everyman); Hamlet (Bristol Old Vic); Constellations (Royal Court, West End, Broadway & tour); Bridgerton (Secret Cinema); The Wizard of Oz, A Christmas Carol and The Night Before Christmas (Leeds Playhouse); Anansi (Unicorn Theatre); A Thousand Splendid Suns, 101 Dalmatians and Of Mice and Men (Birmingham Rep); The Remains of the Day (Out of Joint/Royal & Derngate); Swallows and Amazons (Storyhouse); Mountains (Royal Exchange, Manchester);

Abigail’s Party (also UK tour), Talking Heads, The Mother, The Double and The Spanish Golden Age (Theatre Royal Bath); The Shadow Factory (Nuffield); Anything Is Possible If You Think About It Hard Enough and No Place for a Woman (Small Things Theatre); The Last Mermaid (Wales Millennium Centre); East is East (Northern Stage and Nottingham Playhouse).

David Eldridge Writer David Eldridge is an award-winning playwright and screenwriter. His work is performed across the UK and internationally in translation.

His original plays include the first two David Eldridge

plays in a trilogy for the National Theatre, Beginning and Middle; Market Boy (National Theatre); Holy Warriors (Shakespeare’s Globe); In Basildon, Incomplete and Random Acts of Kindness (Royal Court) and Under the Blue Sky (Royal Court & Duke of York’s Theatre, West End: Time Out Live and Theatregoers’ Choice Awards for Best New Play); The Stock Da’wa and Falling (Hampstead Theatre); The Knot of the Heart (Almeida Theatre: Off West End Award for Best Play); A Thousand Stars Explode in the Sky (co-written with Simon Stephens and Robert Holman, Lyric Hammersmith); Something, Someone, Somewhere (Sixty Six Books, Bush Theatre); M.A.D. and Serving It Up (Bush Theatre); Summer

Begins (Donmar Warehouse); A Week with Tony, Fighting for Breath (Finborough Theatre); Dirty (Theatre Royal Stratford East); Cabbage for Tea, Tea, Tea! (Platform 4, Exeter).

Adaptations include new versions of Strindberg’s Miss Julie and Ibsen’s The Lady from the Sea (Royal Exchange, Manchester), John Gabriel Borkman and The Wild Duck (Donmar Warehouse); Jean-Marie Besset’s Babylone (Belgrade Theatre, Coventry); and Festen from the Dogme 95 Film (Almeida, Lyric Theatre West End & Broadway: Theatregoers’ Choice Award for Best New Play).

Screenplays include The Scandalous Lady W (BBC2), Our Hidden Lives and Killers (BBC4) and his many plays for radio include The Picture Man, which won the Prix Europa for Best European Radio Drama.

David Eldridge is currently under commission to the National Theatre and

The company

Royal Court, and is writing a four part TV series for Mammoth Screen and a feature film for Indefinite Films and Electric Shadow.

He is a Lecturer in Creative Writing at Birkbeck College, University of London.

Paul Englishby Composer Previously at Chichester, The House They Grew Up In, South Downs/The Browning Version, Three Sisters, Romeo and Juliet.

Paul is an Associate Artist at the RSC and has written scores for over 20 RSC productions, including Kyoto, Love’s Labour’s Lost, Cymbeline, Richard III, Henry V, The Tempest, Hamlet and A Midsummer Night’s Dream. Other Theatre includes Jack Absolute Flies Again, The Visit, Peter Gynt, A Taste of Honey, Emil and the Detectives (National Theatre); The Inheritance (Tony and Olivier nominated original score); Skylight, The Audience (West End/

Broadway); White Teeth (Kiln); Hedda Gabler (The Old Vic); The Moderate Soprano (Hampstead/West End); Red Velvet (Tricycle/West End/NYC); The House That Will Not Stand, Fabulations (Tricycle); The Importance of Being Earnest, Travesties, Wuthering Heights (Birmingham Rep); Private Lives, The Girl on the Train (Salisbury Playhouse); Pinocchio (National Ballet of Canada/Texas Ballet Theatre); Pleasure’s Progress, The Thief of Baghdad (Royal Opera House).

Television includes Now and Then, Masters of the Air (Big Band Arrangements); Lang Lang Plays Disney, Luther (five seasons, BAFTA nominated original score); The Musketeers (two seasons); The Witness for the Prosecution (Ivor Novello award nominated original score); The Canterville Ghost, Danny Boy, Queens of Mystery, Decline and Fall, The Great Train Robbery, Turks and Caicos, Salting the Battlefield,

The Guilty, A Mother’s Son, Good Cop, Inside Men, Outcasts, Undeniable, Hamlet.

Films include They All Came Out to Montreux, Together, Good Grief (Choral Arrangements), Page Eight (Emmy Award winner), An Education, A Royal Night Out, Sunshine on Leith, Miss Pettigrew Lives for a Day, Confetti, An Englishman in New York, Magicians, Ten Minutes Older.

Trained at Goldsmiths College, Royal Academy of Music.

Jeremy Herrin Director Previously at Chichester, The House They Grew Up In, This House (also National Theatre/West End), Another Country, Uncle Vanya, South Downs (also West End), all Minerva Theatre.

Theatre includes People, Places and Things (National Theatre/Headlong/West End/UK tour/St Ann’s Warehouse/Trafalgar

Theatre); Long Day’s Journey Into Night (Wyndham’s); A Mirror (Trafalgar Theatre/ Almeida); Ulster American (Riverside Studios); Best of Enemies (Young Vic/West End: South Bank Show Award for Best Theatre Production); The Dumb Waiter, All My Sons (The Old Vic); After Life, The Visit, The Plough and the Stars, Statement of Regret (National Theatre); Labour of Love (West End: Olivier Award for Best Comedy); The Glass Menagerie, The Nether, That Face, Absent Friends, Death and the Maiden (West End); Wolf Hall, Bring Up the Bodies (RSC/West End/Broadway: Evening Standard Award for Best Director); Junkyard, The Absence of War (Headlong); Observe the Sons of Ulster Marching Towards the Somme (Headlong/Abbey Theatre/international tour); The Tempest, Much Ado About Nothing (Shakespeare’s Globe); Noises Off (Broadway/Lyric Hammersmith/West End); Haunted Child, The Heretic, Kin, Spur of the Moment, Off the Endz, The Priory (Olivier Award for Best Comedy), Tusk Tusk, The Vertical Hour, That Face (Royal Court); The Moderate Soprano (West End/Hampstead Theatre); Marble (The Abbey Theatre); The Family Reunion (Donmar Warehouse); Blackbird (Market Lucy Cullingford Joe LIchtenstein

Theatre Johannesburg).

Jeremy Herrin was previously Deputy Artistic Director of The Royal Court, Associate Director at Live Theatre Newcastle upon Tyne, and Artistic Director of Headlong. With Alan Stacey and Rob O’Rahilly, he is a Founding Director of Second Half Productions.

Hazel Holder Voice and Dialect Coach Previously at Chichester, The Long Song (Festival Theatre), generations, Caroline, Or Change (also Hampstead Theatre & West End) (Minerva Theatre).

Theatre work includes The Grapes of Wrath, Hot Wing King, Blues for an Alabama Sky, Trouble in Mind, Rockets and Blue Lights, Under Milk Wood, Death of England: Delroy, Death of England, Small Island, Nine Night, Barber Shop Chronicles, Angels in America, Ma Rainey’s Black Bottom (National Theatre); Death of England Trilogy, People, Places and Things, Two Strangers, 2:22 A Ghost Story, The Glass Menagerie, Best of Enemies, To Kill a Mockingbird, Cock, Constellations, Uncle Vanya, Death of a Salesman, Caroline, Or Change, Dreamgirls (Resident Director), Tina:

The Tina Turner Musical, The Goat, or Who is Sylvia? (West End); Clyde’s, Mary Seacole, A Doll’s House, Part 2 (Donmar Warehouse); Jitney (Old Vic); Passing Strange, The Homecoming, Mandela, Best of Enemies, Changing Destiny, Fairview, The Convert, Death of a Salesman, The Mountaintop, The Emperor (all Young Vic).

Television includes The Anansi Boys, The Baby, The Power, Small Axe. Audio includes A Visible Man. Films include The Ministry of Ungentlemanly Warfare, Drift, The Silent Twins, ear for eye, Death on the Nile.

Max Jones Designer Previously at Chichester The Inquiry, The House They Grew Up In (Minerva Theatre).

Theatre designs include Between Riverside and Crazy (Hampstead); A Mirror (Almeida & West End); Jekyll & Hyde (Edinburgh Lyceum & Reading Rep); Ulster American (Riverside Studios); Anna Karenina, Long Day’s Journey Into Night, Crime and Punishment, A Streetcar Named

Gunnar Cauthery Rory Keenan

Desire, Orpheus Descending (Bunakmura Theatre Tokyo); The Comedy of Errors, The Shoemaker’s Holiday, The Merry Wives of Windsor (RSC); Noises Off (Lyric Hammersmith & West End); Sydney and the Old Girl (Park Theatre); All My Sons (Old Vic/ Headlong); Meek (Headlong); Close Quarters (Out of Joint/Sheffield Theatres); Love and Information, Queen Coal (Sheffield Theatres); Trainspotting, A Day in the Death of Joe Egg (Citizens Theatre); The Hypocrite (RSC/Hull Truck/Hull City of Culture); Pride and Prejudice (& tour), A Winter’s Tale (Re-Imagined) (Regent’s Park Theatre); The York Mystery Plays (York Minster); The Crucible, Brilliant Adventures, Miss Julie (Royal Exchange); The Little Shop of Horrors, Educating Rita, Glengarry Glen Ross, Bruised, A Doll’s House, Blackthorn, Dancing at Lughnasa, A Small Family Business (Theatr Clwyd); The Broken Heart, The Tempest (Shakespeare’s Globe); Blasted (The Other Room Cardiff); Play Strindberg (Ustinov Theatre Bath); True West (Citizens Theatre & Tricycle Theatre); Much Ado About Nothing (NPAC Japan); Of Mice

and Men (West Yorkshire Playhouse); A Time to Reap, Spur of the Moment (Royal Court); Così fan tutte (WNO).

He is a winner of The Linbury Biennial Prize for Stage Design and was an Associate Artist at Theatre Clwyd 2008-2015.

Max has sat on the Equity Directors and Designers committee since 2019 and is also a founder member of Scene/Change.

Trained at the Royal Welsh College of Music and Drama.

John le Carré Novelist John le Carré is the nom de plume of David John Moore Cornwell, who was born on 19 October 1931 in Poole, Dorset. He was educated at Sherborne School, the University of Bern and Lincoln College, Oxford, where he graduated with a first-class honours degree in Modern Languages.

He taught at Eton from 1956 to 1958 and was a member of the British Foreign Service

from 1959 to 1964, serving first as Second Secretary in the British Embassy in Bonn, and subsequently as Political Consul in Hamburg.

He began writing in 1961 and published twenty-six novels and one memoir: Call for the Dead (1961), A Murder of Quality (1962), The Spy Who Came In From The Cold (1963), The Looking Glass War (1965), A Small Town in Germany (1968), The Naive and Sentimental Lover (1971), Tinker Tailor Soldier Spy (1974), The Honourable Schoolboy (1977), Smiley’s People (1979), The Little Drummer Girl (1983), A Perfect Spy (1986), The Russia House (1989), The Secret Pilgrim (1991), The Night Manager (1993), Our Game (1995), The Tailor of Panama (1996), Single & Single (1999), The Constant Gardener (2001), Absolute Friends (2003), The Mission Song (2006), A Most Wanted Man (2008), Our Kind of Traitor (2010), A Delicate Truth (2013), The Pigeon Tunnel (memoir, 2016), A Legacy of Spies (2017),

Lucy Cullingford David Eldridge Jeremy Herrin Joe Lichtenstein

Agent Running in the Field (2019) and Silverview (published posthumously in 2021).

His third novel, The Spy Who Came In From The Cold, became an international bestseller, spending 32 weeks at number 1 on the New York Times bestseller list; it was selected as one of the All-Time 100 Novels by Time magazine.

Many of his novels have been made into films, including Tinker Tailor Soldier Spy, The Constant Gardener, The Russia House and The Tailor of Panama. Tinker Tailor Soldier Spy, Smiley’s People, A Perfect Spy, The Night Manager and The Little Drummer Girl have all been adapted for television.

John le Carré declined all British-based honours, but accepted the title of Commandeur de L’Ordre des Arts et des Lettres (France) in 2005, and the Goethe Medal (Germany) in 2011. He was also the recipient of the Olof Palme Prize in Stockholm at the beginning of 2020. In 2010,

he was awarded the Sunday Times Award for Literary Excellence, which he received at the Sheldonian Theatre in Oxford.

He was an Honorary Fellow of Lincoln College, Oxford and held Honorary Doctorates at Exeter University, the Universities of St. Andrews, Bath, Southampton, Plymouth, Bern, Oxford and Falmouth College of Arts.

He died of pneumonia in Cornwall on 12 December 2020.

Joe Lichtenstein Associate Director Previously at Chichester, Associate Director Doubt (Festival Theatre).

Directing credits include Fiesta (Queen’s Theatre Hornchurch/Havering Changing); The Empty Chair (Queen’s Theatre Hornchurch); Beginning (National Theatre production at Theatre Royal Bath & Queen’s Theatre Hornchurch); A Taste of Joy! (site specific); Cornermen (The Pleasance, New Diorama & VAULT Festival); Smoke of Home (Clifford’s Tower York, Bloomsbury Theatre & Landesbühnen Sachsen); A Matter of Life and Death (Old Red Lion); In my head (Hope Street Theatre).

Associate Director credits include Pinter at the Pinter Season (West End); Beginning (National Theatre & West End); Assistant Director A View from the Bridge (Broadway); Of Mice and Men, The Glass Menagerie (Bolton Octagon); Brassed Off! (Theatre Royal York).

Animation includes Do You Dream in Colour?, The Shark, The Eye, Love Your Heart, The Drip, The Bird, Time Passes Slowly, Cadmium Red No 682, Tidal Wave, View from Court 15, My Box. Joe Lichtenstein is a director and fine artist. He is a graduate of the National Theatre Studio’s Directors Course.

Azusa Ono Lighting Designer Theatre includes A Mirror (Trafalgar Theatre West End/Almeida); Grenfell in the words of survivors (National Theatre/St Ann’s Warehouse NY); Romeo and Juliet (Royal Exchange Theatre); Macbeth (Shakespeare

North/international tour); Henry V (Sam Wanamaker Playhouse/tour); Watch on the Rhine, A Doll’s House Part 2 (Donmar Warehouse); Much Ado About Nothing (RSC); Can I Live?, Copyright Christmas (Barbican Theatre); Walden (Harold Pinter Theatre, West End); Blue/Orange, Concubine (Birmingham Rep); Lao Can Impression, Yvette (Southbank Centre); Love Lies Bleeding (The Print Room); Thick As Thieves (Clean Break/UK tour); Abandon (Lyric Hammersmith); Smack That (Barbican/UK tour); Effigies of Wickedness (Gate Theatre); Cuttin’ It (Young Vic/UK tour); Darkness Darkness (Nottingham Playhouse); Peddling (New York 59E59/ tour); We Are Proud… (Bush Theatre); The Love Song of Alfred J Hitchcock (Curve Theatre Leicester/New York 59E59).

Opera includes The Magic Flute (Nevill Holt Festival Opera); Kairos Opera (V&A Museum).

Other projects include COP27 Health Pavilion (Sharm El Sheikh Egypt); The Sleeping Tree (Brighton Dome); Aurora (Toxteth Water Reservoir Liverpool); Tate Live Exhibition – Joan Jonas (Tate Modern).

Azusa trained in fine arts in Japan and lighting design at the RCSSD in London. azusa-ono.com Elizabeth Purnell Sound Designer Music/Sound Designs include Of Mice and Men (Birmingham Rep); And Then There Were None (Royal & Derngate/UK & China tour); How the Other Half Loves, The Girl on the Train, A Chorus of Disapproval (Salisbury Playhouse); While the Sun Shines, Candida, Shaw Shorts, The False Servant, Arms and the Man (Orange Tree); A View from the Bridge (Liverpool Playhouse); All’s Well That Ends Well, Hamlet, The School for Scandal, As You Like It, Richard II, Richard III, The Comedy of Errors, King Lear, The Cherry Orchard, A Midsummer Night’s Dream, Much Ado About Nothing, Love’s Labour’s Lost, Three Sisters, Macbeth, Coriolanus, Twelfth Night, Troilus and Cressida (Shakespeare at The Tobacco Factory); Commercial Road, The Seat at Night, Tom Kanji Philip Arditti Mat Betteridge

Khadija is 18 (Hackney Empire); Our New Girl (Bush Theatre); The Misanthrope (Bristol Old Vic); Punk Rock, Nosferatu, Home Chat, Blood Wedding, Rhinoceros, Trojan Women, Hobson’s Choice, The Caucasian Chalk Circle, Liola (Birmingham Old Rep/Crescent Theatre/Patrick Centre); The Most Effective Drum (Stepping Out Theatre); Walking the Chains – A Brunel Musical (Passenger Shed Bristol); Searchlights Over Bemmy (Rondo Theatre Bath); Kindertransport (Aberystwyth Theatre); Knives in Hens (Ustinov Bath); Noisy Neighbours (The Egg Bath); Mummy Monster, Lady Strong’s Bonfire (The Wardrobe Bristol).

Audio and radio work includes Fanfare and Parade (2022 Commonwealth Games); Fairy Meadow, The Bomb series 3, The Once and Future King, Martin Beck, Classic Serial: She, Triton Amongst the Minnows,

The Element of Water, Antony and Cleopatra, Between the Ears: Mighty Beast, A Season in Hell and Bee Journal; 1984, Vergil! (audiobooks).

Elizabeth is an Emmy-nominated orchestral arranger and conductor for numerous films and television, including Black Mirror, Annihilation, Devs, HANNA, Any Human Heart; and numerous BAFTA-awarded Attenborough natural history documentaries. elizabethpurnell.com Jessica Ronane CDG Casting Director Also for Festival 2024, The Caretaker (Minerva Theatre).

For Second Half Productions: The Little Foxes (upcoming, Young Vic); Long Day’s Journey into Night (Wyndham’s); Ulster

American (Riverside Studios); A Mirror (Almeida & West End); The Glass Menagerie (Duke of York’s).

For The Old Vic: Pygmalion, The Dumb Waiter, Faith Healer, Endgame/Rough for Theatre II, A Christmas Carol, Lungs, A Very Expensive Poison, Present Laughter, All My Sons, The American Clock, SYLVIA, A Monster Calls, Mood Music, Fanny & Alexander, Woyzeck, Rosencrantz and Guildenstern are Dead, King Lear, The Caretaker, The Master Builder, Dr Seuss’s The Lorax, The Hairy Ape, Future Conditional, Girl from the North Country (also West End), The Divide (also Edinburgh International Festival).

For the West End: Stranger Things (Phoenix); The Lehman Trilogy (National Theatre at the Gillian Lynne).

Television includes True Detective,

Night Country, The Amazing Mr Blunden.

Films include the upcoming After the Hunt, Mickey 17, Queer, Good Grief, Emma, The Kid Who Would Be King.

Jessica Ronane is Casting Director for Second Half Productions, Casting Consultant for The Old Vic and co-chair of the Casting Directors Guild.

Bret Yount Fight Director Previously at Chichester, Strife, The Meeting (Minerva Theatre).

Theatre includes Middle, The Normal Heart, Master Harold and the Boys, Top Girls, Nine Night (also West End), Ma Rainey’s Black Bottom, St George and the Dragon, Treasure Island, A Taste of Honey, Emil and the Detectives, Moon on a Rainbow Shawl, Double Feature, Men Should Weep (National Theatre); Hamlet, The Cherry Orchard (Theatre Royal Windsor); Two Palestinians Go Dogging, The Glow, The Cane, Cyprus Avenue, In Basildon, Wastwater, Free Outgoing, Belong, Remembrance Day, Our Private Life, Redbud, POSH (also West End), Spur of the Moment, Disconnect, Linda, The Low Road, No Quarter (Royal Court); Hamlet, Romeo and Juliet, The Winter’s Tale/Harlequinade (Kenneth Branagh Theatre Company); Girl from the North Country, A Very Expensive Poison, Fanny Rory Keenan

& Alexander, The Hairy Ape (Old Vic); Much Ado About Nothing, Anne Boleyn, Richard II, The Tempest (Shakespeare’s Globe); ‘Tis Pity She’s a Whore (Sam Wanamaker Playhouse); Much Ado About Nothing, The Magician’s Elephant, King Lear, Arden of Faversham, The Roaring Girl, Wolf Hall/Bring Up the Bodies, Candide (RSC); The Pirates of Penzance, Rodelinda, Benvenuto Cellini, The Girl of the Golden West (ENO); A Streetcar Named Desire, A Season in the Congo, Public Enemy (Young Vic); City of Angels, Caroline Or Change, Who’s Afraid of Virginia Woolf?, The Exorcist, An American in Paris, American Buffalo, Clybourne Park (also Royal Court), Chimerica (also Almeida), Absent Friends, Death and the Maiden, Fences (also Theatre Royal Bath), The Cripple of Inishmaan (West End); Force Majeure, Teenage Dick, Appropriate, Europe, The Resistible Rise of Arturo Ui, One Night in Miami, The Physicists, The Recruiting Officer (Donmar); Spring Awakening, The Hunt, Dance Nation, Children’s Children, The Knot of the Heart, House of Games, Ruined (Almeida).

Events

The Spy Who Came In From The Cold Live Music Summer Sessions Friday evenings, 23 & 30 August, 6.15pm Enjoy sunny, summer Friday evenings with live music on Oaklands Park.

It’s free whether you’re here for the show or just want to come and soak up the vibes!

Free

Pre-Show Talk Wednesday 28 August, 5.30pm Join director Jeremy Herrin for a fascinating insight into how his production came together, with a chance to ask questions of your own.

Jeremy is in conversation with bestselling author Kate Mosse.

Free but booking is essential.

Post-Show Talk Friday 13 September Stay after the performance to hear from company members about all the action behind the scenes and ask questions of your own.

Free Pre- and Post-Show Talks sponsored by Close Brothers Asset Management

Consider yourself part of the CFT family Get closer to CFT and become part of our community with our Learning, Education and Participation team (you can call them LEAP for short).

Whatever your age or ability, there’s something for you at CFT. From people who have been coming to CFT for years, to those who have never set foot in a theatre, we offer exciting opportunities for everyone from newborns to those in their 90s.

Weekly classes. One-off workshops. Long term projects to get your teeth into.

Our LEAP team does it all.

This is a space where experiences are created and shared, and where everyone can find their place. So come join us, and become part of our story.

‘Working at the theatre under many guises gave me a well-rounded knowledge of our industry and the support was always there and still is – I wouldn’t be where I am without it. Please never stop working tirelessly to grow us into the next generation.’

Former CFYT member

‘I’ve discovered abilities I never knew I had. The classes contribute greatly to my quality of life and to that of the wider community.’

Community participant

So many people think they know what we do here at CFT. But did you know that we offer: • Free Youth Theatre places for young carers and anyone from underprivileged backgrounds

• Groups for adults with disabilities

• A creative outlet for isolated individuals through our weekly Chatter Project

• Wellbeing support for participants, visiting cast and company members, and staff

• Weekly Festival Fridays for kids who find creative ways of learning more accessible

• Free Buddy support for anyone who feels unable to attend shows or classes on their own

• Work experience, training opportunities and apprenticeships

• Training opportunities in Technical Theatre And that’s really just scratching the surface of our LEAP team’s reach.

Visit cft.org.uk/get-closer or email leap@cft.org.uk to find out more and discover a way into CFT that’s right for you.

With thanks to all our amazing LEAP supporters who generously fund this work.

Help us hatch the next generation of talent. Please donate today.

We have an urgent need to build a third space for emerging artists, community groups and families.

Our solution is The Nest: a sustainably built performance venue nestledamong the trees, providing a supportive space for exciting new projects.

With The Nest we will be able to host community and family classes, late night events, fringe-style performances and rehearsals for our Emerging Artist Development Programme.

We are halfway there!

We now have planning permission. We need to raise at least £1,500,000 to make this dream a reality and we have just reached the halfway point – so now we urgently need your help to get us across the finish line.

‘Nurturing the next generation of artists is vital to ensure that theatre in the UK maintains its international reputation for excellence. I am delighted to support Chichester Festival Theatre - a place dear to my heart - as they embark on creating this exciting new space. I cannot wait to see the work that is incubated in The Nest!’

SIR SAM MENDES CBE

Registered Charity No. 1088552

Discover more and donate cft.org.uk/the-nest

Staff Trustees Mark Foster (Chairman) Neil Adleman Jessica Brown-Fuller Jean Vianney Cordeiro Paddy Dillon Tasha Gladman Vicki Illingworth Rear Admiral John Lippiett CB CBE Caro Newling OBE Nick Pasricha Philip Shepherd Stephanie Street Hugh Summers

LEAP Ellen de Vere Matthew Downer

Directors Office Justin Audibert Kathy Bourne Keshira Aarabi

Louise Rigglesford

Helena Berry Angela Buckley

Artistic Director Executive Director Projects & Events Co-ordinator Heritage & Archive Manager Projects, Events & Green Book Co-ordinator

Miranda Cromwell Sophie Hobson Hannah Joss

Associate Director Creative Associate Associate Director (Literary)

Patricia Key Aimée Massey

Executive PA Diversity, Inclusion & Change Consultant

Julia Smith

Company Secretary & Board Support

Building & Site Services Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer

Youth & Outreach Trainee Cultural Learning & Participation Apprentice

Zoe Ellis Sally Garner-Gibbons

LEAP Co-ordinator Apprenticeship Co-ordinator

Matthew Hawksworth

Head of Children & Young People’s Programme

Hannah Hogg

Senior Youth & Outreach Manager

Shari A. Jessie Kate Potter

Creative Therapist Youth & Outreach Co-ordinator Senior Community & Outreach Manager

Dale Rooks Angela Watkins

Director of LEAP LEAP Projects Manager

Marketing, Communications & Sales Josh Allan Assistant Box Office Manager Caroline Aston Becky Batten

Audience Insight Manager Head of Marketing (Maternity leave)

Laura Bern

Head of Marketing (Maternity cover)

Emily Biro Jessica Blake-Lobb Helen Campbell Jay Godwin Lorna Holmes

Box Office Systems Manager Box Office Assistant Assistant Box Office Manager

Mollie Kent Box Office Assistant Stephanie McKelvey-Aves Marketing & Press Assistant James Mitchell

Costume Brooke Bowden Ev Butcher Isabelle Brook Helen Clark Tobias Dane Chris Davenport Ella Duffy

Wardrobe Manager Dresser Wardrobe Assistant Dresser Dresser Wardrobe Manager Wigs, Hair & Make-Up Trainee

Lily Eugene-Kelly Aly Fielden Helen Flower Lysanne Goble Abigail Hart Sophie Kemp Kendal Love

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

Natasha Pawluk Roseby Willow Scovell

Wigs, Hair & Make-Up Assistant

Isobel Shackleton

Wigs, Hair & Make-Up Assistant

Hannah Sinclair

Wigs, Hair & Make-Up Assistant

Loz Tait Colette Tulley Rachel Usher Eloise Wood

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

Development Nick Carmichael Development Officer Julie Field Friends Administrator Sophie Henstridge-Brown Head of Philanthropy Sarah Mansell Liz McCarthy-Nield Leo Powell Charlotte Stroud Karen Taylor Megan Wilson

Appeal Director Development Director Appeal Co-ordinator Development Manager Development Manager Events and Development Officer

Sally Cunningham Krissie Harte Katie Palmer Simon Parsonage Amanda Trodd Protozoon Ltd

Payroll & Pensions Officer Finance & Commercial Director Purchase Ledger Assistant Finance Officer Assistant Management Accountant Interim Finance & Commercial Director Management Accountant IT Consultants

Sales & Marketing Assistant

James Morgan Lucinda Morrison

Head of Sales & Ticketing Head of Press & Publications

Brian Paterson Kirsty Peterson Catherine Rankin Vic Shead Luke Shires

Distribution Co-ordinator Box Office Assistant Box Office Assistant Marketing Manager Director of Marketing & Communications

Jenny Thompson

Social Media & Digital Marketing Officer

Grace Upcraft Josh Vine Isobel Walter Claire Walters Joanna Wiege Jane Wolf

Box Office Assistant Box Office Assistant Marketing Officer Box Office Assistant Box Office Manager Box Office Assistant

People Paula Biggs Naz Jahir Emily Oliver Annie Thomas Bent Gillian Watkins

Head of People People Manager Accommodation Co-ordinator People Administrator HR Officer

Production Niamh Dilworth Producer Amelia Ferrand-Rook Senior Producer Robin Longley General Manager Claire Rundle Production Administrator George Waller Trainee Producer Nicky Wingfield Production Administrator Technical Sam Barnes Sound Technician Steph Bartle Deputy Head of Lighting Victoria Baylis Props Assistant Finley Bradley Technical Theatre Apprentice Leoni Commosioung Stage Technician Rebecca Cran Stage Crew & Stage Technician Sarah Crispin

Finance Alison Baker Victoria Clarke

Box Office Assistant Marketing Manager (Corporate)

Connor Divers Elise Fairbairn Zoe Gadd Ross Gardner Lyla Garner-Gibbons Sam Garner-Gibbons Jack Goodland Fuzz Guthrie Laura Hackett Jamie Hall

Deputy Head of Props Workshop Lighting Technician Stage Technician Lighting Technician Stage Crew Stores Assistant Technical Director Stage Crew & Auto Technician Senior Sound Technician Technical Apprentice Sound Technician

Anaya Hammond Katie Hennessy Tom Hitchins Joe Jenner

Stage Crew Props Store Co-ordinator Head of Stage & Technical Production Manager Apprentice

Mike Keniger Bethany Knowles Andrew Leighton Matthew Linklater Ethan Low Zoe Lyndon-Smith Fin Macknay Connor McConnell Charlotte Neville Stuart Partrick

Head of Sound Stage Crew Senior Lighting Technician Sound Technician Stage Crew Stage Crew Stage Crew No.1 Sound Engineer Head of Props Workshop Transport & Logistics Assistant

Neil Rose Ernesto Ruiz Max Rusbridge Anna Setchell (Setch) James Sharples Sophie Spencer Graham Taylor Dominic Turner Linda Mary Wise Simon Woods Theatre Management Janet Bakose Judith Bruce-Hay Charlie Gardiner Ben Geering

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

Theatre Manager Duty Manager Duty Manager Head of Customer Operations

Dan Hill Assistant House Manager Will McGovern Deputy House Manager Sharon Meier PA to Theatre Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor 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, Jacob Atkins, Carolyn Atkinson, Ieva Bagdonaite, 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, Lyla Garner-Gibbons, Anna Grindel, Caroline Hanton, Justine Hargraves, Joseph Harrington, Joanne Heather, Maisie Henderson, Marie Innes, Keiko Iwamoto, Joan Jenkins, Pippa Johnson, Julie Johnstone, Ryan Jones, Jan Jordan, Jon Joshua, Grace King, Sally Kingsbury, Alexandra Langrish, Judith Marsden, Janette McAlpine, Fiona Methven, Chris Monkton, Ella Morgans, Susan Mulkern, Chris Murray, Lucija O’Donnell, Isabel Owen, Martyn Pedersen, Susy Peel, Helen Pinn, Barbara Pope, Alice Rochford, Sian Rodd, Fleur Sarkissian, Derren Selvarajah, Peg Shaw, Janet Showell, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust, Hannah Watts, Sue Welling, Gemma Wilcox, James Wisker, Dawn Wood, Donna Wood, Kim Wylam.

We acknowledge the work of all those who give so generously of their time for Chichester Festival Theatre, including our CFT Buddies, Heritage & Archive Volunteers, and our Volunteer Audio Description Team: Lily Barkes, Janet Beckett, Richard Chapman, Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Richard Frost, David Phizackerley, Christopher Todd, Joanna Wiege.

Youth Advisory Board: Issie Berg Rust, Theo Craig, Anayis Der Hakopian, Esther Dracott, Chloe Gibson, Aled Hanson, Ophelia Kabdenova, Alice Kilgallon, Francesca McBride, Ace Merriot, Katherine Munden, Jacob Simmonds, Susie Udall, Priya Uddin.

Our Supporters 2024/5 Minerva Season Principal Charles Holloway OBE Major Donors Deborah Alun-Jones Robin and Joan Alvarez Elizabeth and the late David Benson Philip Berry George W. Cameron OBE and Madeleine Cameron Sir William and Lady Castell David and Claire Chitty John and Susan Coldstream Clive and Frances Coward Yvonne and John Dean Jim Douglas Nick and Lalli Draper Mrs Veronica J Dukes Melanie Edge Sir Vernon Ellis Huw Evans Steve and Sheila Evans Val and Richard Evans Sandy and Mark Foster Simon and Luci Eyers Robert and Pirjo Gardiner Angela and Uri Greenwood Themy Hamilton The Heller Family Liz Juniper Roger Keyworth Vaughan and Sally Lowe Jonathan and Clare Lubran Elizabeth Miles Eileen Norris Jerome and Elizabeth O’Hea Denise Patterson DL Stuart and Carolyn Popham Dame Patricia Routledge DBE David Shalit MBE and Sophie Shalit Greg and Katherine Slay Christine and Dave Smithers Alan and Jackie Stannah Oliver Stocken CBE Howard Thompson Bryan Warnett Ernest Yelf

Trusts and Foundations The Arthur Williams Charitable Trust The Arts Society, Chichester The Bassil Shippam and Alsford Trust The Bernadette Charitable Trust Bruce Wake Charitable Trust The Chartered Accountants’ Livery Charity Dora Green Educational Trust The Dorus Trust The D’Oyly Carte Charitable Trust Elizabeth, Lady Cowdray’s Charity Trust Epigoni Trust Friarsgate Trust The Garrick Charitable Trust The G D Charitable Trust Hobhouse Charitable Trust John Coates Charitable Trust The Mackintosh Foundation The Maurice Marshal Preference Trust Noël Coward Foundation Rotary Club of Chichester Harbour Theatre Artists Fund Wickens Family Foundation

Festival Players 1000+ John and Joan Adams Lindy Ambrose and Tom Reid Sarah and Tony Bolton Robert Brown Ian and Jan Carroll C Casburn and B Buckley Jean Campbell Sarah Chappatte David Churchill Denise Clatworthy Michael and Jill Cook Lin and Ken Craig Deborah Crockford Clive and Kate Dilloway Jim Douglas Peter and Ruth Doust Gary Fairhall Mr Nigel Fullbrook George Galazka Wendy and John Gehr Marion Gibbs CBE Stephen J Gill Mr & Mrs Paul Goswell Rachel and Richard Green Ros and Alan Haigh Rowland and Caroline Hardwick Chris and Carolyn Hughes John and Jenny Lippiett Anthony and Fiona Littlejohn Alan and Virginia Lovell Dr and Mrs Nick Lutte Sarah Mansell and Tim Bouquet Patrick Martyn Rod Matthews James and Anne McMeehan Roberts Mrs Sheila Meadows 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 Joanna Walker Ian and Alison Warren Angela Wormald

Festival Players 500+ Judy Addison Smith Mr James and Lady Emma Barnard (The Barness Charity Trust) Martin Blackburn Janet Bounds Frances Brodsky and Peter Parham Sally Chittleburgh Mr and Mrs Jeremy Chubb Mr Charles Collingwood and Miss Judy Bennett Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Roz Frampton Jacqueline and Jonathan Gestetner Dr Stuart Hall Dennis and Joan Harrison Barbara Howden Richards Karen and Paul Johnston Frank and Freda Letch Anthony and Fiona Littlejohn Jim and Marilyn Lush Selina and David Marks Dr and Mrs Nick Lutte Sue Marsh Adrian Marsh and Maggie Stoker Trevor and Lynne Matthews Tim McDonald Mrs Mary Newby Margaret and Martin Overington Jean Plowright Ben Reeder Robin Roads Graham and Maureen Russel David Seager John and Tita Shakeshaft Mr and Mrs Brian Smouha Elizabeth Stern Anne Subba-Row Harry and Shane Thuillier Miss Melanie Tipples Penny Tomlinson Tina Webster Chris and Dorothy Weller Nick and Tarnia Williams

...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

Our Supporters 2024/5 Principal Partners Platinum Level

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

Silver Level

Corporate Partners Carpenter Box Jones Avens FBG Investment J Leon Group

Montezuma’s Oldham Seals Group Phoenix Dining

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