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HOME

By David Storey

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

WELCOME

A warm welcome to the final production of Festival 2021, David Storey’s Home.

As Jasper Rees notes in this programme, our revival is the first since Storey’s death in 2017 and the posthumous publication of his powerful and revealing memoir A Stinging Delight, which sheds fresh light on the themes of the play.

We are delighted to welcome director Josh Roche to Chichester for the first time, alongside a talented young creative team – two members of whom have been recruited according to the principles of OpenHire, the initiative Josh co-founded to widen the opportunities available to freelance creatives.

It is also a pleasure to greet our quintet of actors. Four – Leon Annor, Hayley Carmichael, Daniel Cerqueira and Doña Croll – are also new to Chichester, while John Mackay makes a welcome return to the Minerva. It has been thrilling

to see companies once again inhabiting our stages after so many dark months.

We’re also glad to see our community participants returning to live activity. An Elders Company will be presenting their short piece of original work responding to the themes of Home on 30 October.

Josh Roche will be in conversation with Kate Mosse on 12 October, and the company will provide further insights at a post-show talk on 28 October.

Of course, the culmination of Festival 2021 doesn’t mean the end of engrossing theatre! Our packed Winter season of visiting drama, dance, comedy and music opens in November with the National Theatre/Birmingham Rep anniversary revival of Ayub Khan Din’s comic drama East Is East. And don’t miss our own revival next January of another modern classic: John Patrick Shanley’s Pulitzer Prize-winning Doubt: A Parable, with Lia Williams directing Monica Dolan and Sam Spruell.

Thank you for joining us this season, and we hope you enjoy this performance.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

WINTER 2021 - 22

EAST IS EAST

By Ayub Khan Din Direct from its London run, the smash hit modern classic of comedy drama celebrates its 25th anniversary in a new co-production from Birmingham Rep and the National Theatre.

3 – 6 November #EastIsEast

cft.org.uk

WINTER 2021 - 22

DOUBT A PARABLE

By John Patrick Shanley Lia Williams directs Monica Dolan and Sam Spruell in Chichester Festival Theatre’s revival of the celebrated, Pulitzer Prize-winning play.

22 January – 5 February #Doubt

cft.org.uk

LEAP

Our Learning, Education and Participation (LEAP) programme is a beacon of excellence and inspiration to our local audience, providing

ACTORS & CREATIVES INSIGHT

A new pilot project from the LEAP team, Actors and Creatives Insight, is delivering creative learning experiences to students in local schools through interactive and lively workshops, giving them an insight into different areas of the arts.

A public call-out to professionals from any discipline of the arts in the local area received an enthusiastic response from 20 talented artists. Between them, they will be leading over 100 workshops during the summer term at primary and secondary schools across the region, from Lancing to Hampshire.

The project was the brainchild of actor Edward Bennett, who appeared at Chichester Festival Theatre as Benedick in Much Ado

About Nothing and Berowne in Love’s Labour’s Lost in 2016. Edward, who now lives near Chichester, is himself delivering a number of workshops, which respond to curriculum needs – from Shakespeare for English students to directing techniques.

Other workshops on offer include technical, movement, mask, physical theatre and composing.

The project has been enabled by the government’s Culture Recovery Fund grant, helping CFT transition back to full activity, employ freelance artists and maintain our commitment to the community. We intend to evaluate and develop the project for the future.

‘I could see the confidence in the pupils building throughout the session.

They learnt vital teamwork skills and their wellbeing was significantly affected in a positive way’.

Teacher, The Academy Selsey

‘I learnt how to apply knowledge and skills from theatre to multiple real-life scenarios and roles’.

Year 10 student, Felpham Community College

COMMUNITY

opportunities for over 62,000 people throughout the year. We create and deliver practical workshops, projects and special events for everyone,

regardless of age, culture and social background, ensuring all are given an opportunity to be engaged and excited by the arts.

KEEPING YOUNG CARERS CONNECTED

Young Carers Connect is CFT’s major project to help reconnect young carers in West Sussex with vital support services, their education, fellow young carers, and creative activities.

Every day, more than 6,000 young caregivers in West Sussex under the age of 18 take on substantial responsibilities. Covid-19 left many isolated and unable to access support or their schoolwork because they couldn’t afford a computer or internet access.

After a successful fundraising appeal, CFT has now distributed 300 laptops to young carers most in need, through their schools and The West Sussex Young Carers service.

Young Carers Connect also provides internet

access, a programme of online arts activities to entertain and inspire, and safely connects young carers with each other. Free bursaries are also available to any young carer aged 5-25 in West Sussex to join their local Chichester Festival Youth Theatre group (run in nine locations across the county).

Young Carers Connect has been made possible by the generous support of The G D Charitable Trust and many private donors. To find out more, please visit cft.org.uk/young-carers-connect

‘We cannot thank CFT and all of their kind donors enough for this amazing offer.

12 of our families will be able to access online learning at home and will be able to complete all of their homework. Being part of the Young Carers Connect project also enables them to take part in virtual creative activities with CFT. What an amazing project.’

Andrew Strong, Headteacher, Portfield Primary Academy

cft.org.uk/leap

CFT BUDD Recently, Chichester Festival Theatre mounted its first-ever Dementia Friendly performance. A South Pacific matinee featured adjustments to sound and light levels, a live introduction to the plot, and a relaxed approach to audience movement.

And on hand were a team of CFT Buddies, to offer support where needed.

Since its inception in 2017, CFT’s volunteer companion scheme has significantly grown and evolved. While Buddies continue to be available free of charge to accompany individuals to attend any performance or event at the Theatre, thanks to ongoing support from Rathbones Investment Management its remit has expanded well beyond that original concept.

Louise Rigglesford, Senior Community and Outreach Manager, explains: ‘Throughout lockdown, anyone who had used the scheme, or members of our community groups who were at risk of isolation, were offered a weekly phone call from one of our Buddies to help keep their spirits up. We also signposted them towards support services where necessary, such as help with their shopping or medication.

‘Since we’ve come out of lockdown, in 2021 we’ve further expanded the remit of the Buddies scheme through a growing connection with Chichester District Council’s Social Prescribing Team. If someone goes to their GP presenting symptoms that are best dealt with creatively rather than medically –

DIES loneliness, for example – they’ll be referred to the Social Prescribing Team, who have a network of community and wellbeing groups to help combat the issues they’re experiencing.

‘In addition to coming to see a show or getting a phone call, we’ve added two extra options. People can be referred to us for monthly tea and coffee visits, to have some social interaction and friendly contact.

Whereas previously Buddies were only available to take people to see a show at CFT, we’re now offering activities anywhere across the district from Petworth and Pulborough down to Selsey.

‘That might be one of our own events or workshops; or if there’s something at

a local cultural organisation or a community centre, for example, the Buddies will support the individual going there as well, at least initially – to make sure that crossing that threshold isn’t a barrier.’

Victoria Homer, Client Service Executive and Regional Marketing Co-Ordinator for Rathbones Investment Management, cites the company’s sponsorship of CFT Buddies as the highlight of their six-year partnership with the Theatre and one way in which they are giving back to the community. ‘CFT is our local theatre which is attended by our staff and clients, some of whom would like to make use of this scheme; others may require the Buddies scheme in the future.’

Not simply financial partners, Rathbones are actively involved too; Victoria is one of the Rathbones staff who are themselves being trained as volunteer Buddies.

‘Our whole remit is about getting people to engage with the arts,’ says Louise. ‘The social prescribing movement equally values the importance of arts and creativity within wellbeing and people living fulfilled lives.

So for me it’s a natural fit. It’s about connecting our volunteers with people in need through shared interests. This is a place for everyone – yes, we put on fantastic shows, but this organisation does so much more.’

If you know someone who might benefit from the CFT Buddies scheme, visit cft.org.uk/buddies

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

DINE BEFORE THE SHOW

GREAT COFFEE IN A GREAT LOCATION

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

A great spot for barista coffee, freshly made sandwiches, delicious cakes and a range of drinks. Our newly revamped Café on the Park is now open with extra outdoor seating overlooking Oaklands Park and new family friendly areas in our spacious foyer.

And if you’re planning festive family dining, look no further than The Brasserie this Christmas.

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

Visit cft.org.uk/eat for opening times, reservations, menus and more.

HOME

By David Storey

DAVID STOREY A GIANT OF POST-WAR ENGLISH CULTURE There is a famous tale about David Storey.

It’s set in 1976 at the Royal Court, where a new play of his opened in the same week that his novel, Saville, had won the Booker Prize. With unrivalled success across fiction, theatre and cinema, Storey was a giant of post-war English culture. He was also, compared to most writers, an actual giant. This Sporting Life, his novel made into a groundbreaking film, grew out of his experience of playing professional rugby league.

His genuine modesty seemed to grow out of guilt that, while his father toiled down a pit in the South Yorkshire coalfield, he had escaped into the arts.

Unlike Saville, his play Mother’s Day was greeted by a raspberry fanfare. A night or two later, Storey was giving the demoralised cast a stirring pep talk in the Court’s bar when he noticed the presence of the very critics who had just dumped on his play.

‘I thought they were all queuing up to apologise,’ he told me when I first met him 25 years ago, ‘but then the one at the front asked me to get out of the way.’ They were queuing to get past him and into the theatre. ‘I stepped aside, and I just couldn’t resist verbally abusing them and I got carried away. I only really hit DAVID STOREY IMAGE COURTESY OF FAMILY OF DAVID STOREY

hard at Michael Billington. I was rather soft with the others. It was on the back of the heads, reproachful, like you do with school children.

With Billington I hit him each time I came to a vowel. “I-di-ot.” I just remembered the first sentence of his review, which only had two words in it. “A stinker.” I knocked his glasses across the floor.’

For all his brawn, David Storey was a quiet and Eeyorishly wry teller of wonderful tales against himself. His genuine modesty seemed to grow out of guilt that, while his father toiled down a pit in the South Yorkshire coalfield, he had escaped into the arts.

He trained as a painter at the Slade. When This Sporting Life was published in 1960 his name was made. Only later, and almost by accident, was he to become a playwright.

‘I don’t think I’d been to the theatre more than a dozen times in my life,’ he told me. ‘All the plays were written with no knowledge of the theatre at all. The only plays that have ever worked are when I start with the first line and a vague idea of what they might be about, and they write themselves.’

Storey’s first play, about his life as a teacher, languished in a drawer for eight years.

When The Restoration of Arnold Middleton was eventually staged in 1967, it earned him a share of the Evening Standard Award for most promising playwright. It had a galvanising effect. While his co-winner, Tom Stoppard, needed four years to come up with a full-length follow-up to Rosencrantz and Guildenstern Are Dead, in four months Storey wrote several of the plays on which his dramatic reputation still rests: In Celebration, The Contractor, The Changing Room and Home.

Home still feels like an anomaly. It is not simply that, for all its melancholy, it’s also funny. It doesn’t – or didn’t seem to – follow

a pattern that remains clear in the rest of Storey’s writing. He wrote about the jobs he’d had and the world he’d come from. Home, by contrast, opens in the grounds of a country house where two dotty gents exchange rambling repartee. They seem to be relics of an evanescent Middle England, equidistant from coalfield and art school. But their fragmented speech – they can barely finish a thought – and the arrival of three other characters soon tell another story.

Oh, to have been a fly on the wall when Storey’s father, visiting from Wakefield, met Gielgud.

The play attracted illustrious leads in Sirs John Gielgud and Ralph Richardson. They were improbable candidates to star at the didactic Royal Court. Gielgud later wrote in his memoir that, despite not understanding the play at all, he was persuaded by the playwright’s smile.

‘I can’t remember smiling,’ Storey later told

me. ‘I think it was a mixture of wonder and amusement. I thought, how can such an eminent actor be so nervous and so lacking in self-confidence?’ He would form a stronger bond with the ludic Richardson. ‘When I first went round to talk to him, he poured some liquid into a glass and filled it to the brim and then he had his own glass filled to the brim and started drinking and I said, “What is it?”

And he said, “Gin.”’ The two grandees signed up out of fear they were growing out of touch. Several times Gielgud told Storey about the time Richardson was visited in his dressing room by a man who produced a play from a rucksack and suggested he’d be right for a main role. Richardson read it and couldn’t understand a word of it. He gave it to Gielgud who said, ‘Definitely no good, do not do it, Ralphie, it’s a total mistake.’

The writer was Samuel Beckett, the play Waiting for Godot.

Beckett’s loss was Storey’s gain. Home opened in June 1970 and moved to Broadway in November. Oh, to have been a fly on the wall when Storey’s father, visiting from Wakefield, met Gielgud. ‘The total incomprehension on both sides was almost elemental – the miner who had been down the pit for 40 years meeting an actor who was supposedly homosexual and effete. They were two human

DAVID STOREY AND HIS FATHER FRANK, IN THEIR BACK GARDEN, LUPSET, YORKSHIRE, 1961 IMAGE COURTESY OF FAMILY OF DAVID STOREY

beings that couldn’t possibly encounter each other at all in any circumstances.’

There have been revivals, but this is the first since Storey’s death in 2017 and, more pertinently, follows the publication this year of his posthumous memoir. A Stinging Delight sheds light on an element of Storey’s life which he kept shrouded: the clinical depression that drove him close to suicide and into psychiatric care.

Every day he wakes to a feeling of terror that derives from unaddressed grief.

The agonies he describes in unsparing detail have their root in the death of an older brother when Storey was still in the womb. ‘Your death’ – the book is addressed to this fraternal spectre – ‘had been fed into me as primal matter, coming in not merely through the umbilical tube but almost literally through the wall of the womb itself.’ His mother, in grief,

could not bring herself to hug her new-born son. The only time he remembers her touch was when, finding a pair of his accidentally soiled underpants, she angrily smeared the excrement into his mouth. ‘I recall looking at my face and thinking, “I shall never look at myself again.”’

In A Stinging Delight, Storey does little else as he charts a deeply detailed map of mental illness. Every day he wakes to a feeling of terror that derives from unaddressed grief. He lives in ‘a hellhole of the mind’. His four children give him a reason to survive and, spurning lithium, to fight bare-knuckled with his ‘indigenous depression’. Such was Storey’s intellectual curiosity about his suffering that his own psychiatrist came to perceive him more as colleague than patient.

There are clues about this savage hinterland in his work. He put a version of his older brother’s death into the opening pages of Saville. His novel Pasmore (1972) is a portrait of a marriage in which the husband, a lecturer in London whose father is a miner in Yorkshire, suffers a paralysing mental breakdown. But it is in Home, above all, that David Storey inspected the crack in the mirror.

JASPER REES

Is a journalist and author. His latest book is Let’s Do It: The Authorised Biography of Victoria Wood.

GARRYSTOREY DAVID HYNES AT HOME IN BELSIZE PARK, WITH HIS PAINTINGS IN THE BACKGROUND, 1961 IMAGE COURTESY OF FAMILY BARRY OF CRONIN DAVID STOREY

POETIC REALISM We asked Director Josh Roche and Designer Sophie Thomas for an insight into their working method and their approach to this new production of Home.

You’ve worked together several times. When starting work on a production, where does your conversation start?

JR We always try and work out what the “event” of the show is, which is separate from the story or history or relevance of the play.

We decided one previous production was a séance; My Name is Rachel Corrie was a transformation act; Orlando was an act of communion. We came down on Home being a balancing act – nothing to do with acrobatics, obviously! That’s more my job, perhaps.

SOPHIE THOMAS AND JOSH ROCHE

ST Yes, but I find it really useful because it anchors me. In week two or three of our scriptreading and thinking, on every single show, I ask Josh: ‘In an ideal world, how do you want the audience to feel when they leave the room?

What’s that north star, what’s that frame of reference?’ And often, because Josh is concise and poetic, it’s very clear. It’s never prescriptive; obviously the audience will take what they want from it, but I find it really useful in terms of our collaboration. That’s the start and then we often move on to mood-boarding, and really quickly we get to the model box. We do that collaboratively.

JR Your drawings and sketches are always incredibly useful to me because if I’m sitting there with a very abstract idea of mood and

sense and atmosphere, then the drawings match that atmosphere onto the actual space we’ll be performing in. Usually the design comes out of that in some way.

left-brain, linear, text-based, bookish, whereas Sophie works in images and colours and senses; and yet for some reason we are able to communicate.

How did you meet, and what is it about each other’s working methods that makes you want to go on collaborating?

ST We stretch ideas, a bit like that coaching strategy where someone asks you a question, and then says ‘why?’ seven times. We’ll produce something and question it, and then question it again.

JR I was assistant directing and Sophie was a resident assistant designer at the RSC. We watched a lot of very good, very well-funded productions; imagining what we would do with all those resources, we put together an imaginary, limitless budget production of Troilus and Cressida. And in doing so we realised we think in very different ways but are able to communicate very easily. I am completely HOME MODEL BOX IMAGE COURTESY OF SOPHIE THOMAS

Is the role of design in engendering a feeling in an audience particularly important in a play like Home which is very poetic and plotless in a sense?

JR Yes, I think it is. Home was first described, in the Royal Court version, as ‘the autumnal

play’. Bill Gaskill [then artistic director of the Court] talks about the plays of that era – lots

by David Storey but Arnold Wesker similarly – as being slices of life but in a more poetic sense. Home is rooted in realism, but it’s poetic realism. The characters are in a particular place and there are particular pressures put on them because of that place; how can you emphasise aspects of that place in order to produce stronger or different reactions? Yes, it’s the garden of a building but what if it’s more than a garden? It’s been interesting to make an atmospheric design, whereas a lot of our previous designs have been quite plot driven.

ST We were both aware we were working with an artist as well as a playwright; David Storey studied at the Slade under Peter Snow who was a fine art lecturer and a theatre designer.

During one of his years there, he was interested in gesturalism (which has its origins in expressionism): the idea of masses having spirit and capturing that in a gesture, and markmaking being about the emotion behind it, not a static, linear thing.

So, taking the notion of what David Storey’s influences were, we’ve ended up with a static set but hopefully with enough balance to allow the finer, more poetic details to breathe, and for the 21 foot-high corals I’ve put on this seminaturalistic space not to feel so extraordinary.

JR The set design is static but sound and light will create movement within it. As a director, you try to work out what the dramaturgical jobs of each element are. Design was going to be doing juxtaposition, backdrop and relief and allowing a little bit of abstraction.

Everything else would be tied into realism, but lights and sound would be handling progression, and the actors, as always, handling the emotional impact.

TOP: EARLY DRAWING BY DAVID STOREY, 1953 IMAGE COURTESY OF THE FAMILY OF DAVID STOREY BOTTOM: HOME SET DESIGN IN PROGRESS IMAGE COURTESY OF SOPHIE THOMAS

ST Gesturalist paintings are in themselves static but they have this incredible contained energy.

I like the idea that there never will be wind in the theatre, but at any minute the dandelion on the set could blow away. There’s no magical scene change, but I’m hoping that it’s magical by its sheer beauty and the intensity of the staging. And coming from the pandemic, I think maybe audiences need that after being inside for so long. I don’t think I could do just a shiny black dance floor with four chairs. Maybe in five years’ time...

JR Pretty much all David Storey’s plays have a cycle and a return. In The Contractor they put up and take down a tent. The family plays, In Celebration and The March on Russia, all start with an empty living room and return to an empty living room. There’s always a sense of slight futility and loss, and return at the end.

The reason to do Home now seemed to me to be about a whole host of things that have happened in the last few years. About England’s place in the world, in particular. With its old identity decaying, we haven’t found a new, HOME MOOD BOARD IMAGE COURTESY OF SOPHIE THOMAS

modern identity that everyone has agreed on yet, aside from being the biggest country in the union. A lot of the play is about that sense of loss and confusion and how long the idea of the village cricket green, Spitfires and “by Jove” will sustain us.

A very positive thing is that when Gielgud and Richardson did this in 1970, mental health was so hard to talk about; there was a radicalism just in seeing people of a certain age being vulnerable. It’s really gratifying that’s no longer as true as it once was – it’s obviously still a topic fraught with inhibitions but it doesn’t feel the same tense, really volcanic territory it would have done in 1970 and for which David Storey suffered throughout his life. His amazing memoir A Stinging Delight is one of the best portraits of mental health and the pursuit of art that I’ve ever read. You see in this play a sort of mental health terror that he didn’t understand and was trying to work out, and it’s really good to know that in the present day people don’t feel so abandoned in the face of that.

HOME

By David Storey

CAST Alfred Kathleen Harry Marjorie Jack

Leon Annor Hayley Carmichael Daniel Cerqueira Doña Croll John Mackay

There will be one interval of 20 minutes.

Home was first presented by The English Stage Company on 17 June 1970 at the Royal Court Theatre.

First performance of this production of Home at the Minerva Theatre, Chichester, 8 October 2021.

Agency for dramatic rights in David Storey Plays www.unitedagents.co.uk

Josh Roche Sophie Thomas Alex Musgrave Sam Glossop Charlotte Sutton

Director Designer Lighting Designer Composer and Sound Designer Casting Director

Simon Money Sian Harris

Voice Coach Costume Supervisor

Production Manager Company Stage Manager Deputy Stage Manager

John Page Lou Bann Alice Barber

Production credits: Scenery by Richard Nutbourne Scenic Studio; additional Set Construction by James Lewis for Tin Shed scenery; Prop Maker Harriet Saffin; Lighting hires White Light; rehearsal room London Welsh Centre.

With thanks to Neil Kelso, Magic Consultant; Gerry Knold and Noluthando Boqwana.

Rehearsal and production photographs by Manuel Harlan Programme Associate Fiona Richards Programme design by Davina Chung Supported by Home Commissioning Circle: Philip Berry, Christina Breene, Mrs Veronica J Dukes, Themy Hamilton, Anne and Eddie Hazel, John and Chrissie Lieurance, Peter and Nita Mitchell-Heggs, Caroline Nelson, Howard M Thompson, Bryan Warnett of St James’s Place, Ian and Alison Warren, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#Home

ChichesterFestivalTheatre

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BIOGRAPHIES

JOHN MACKAY LEON ANNOR HAYLEY CARMICHAEL DANIEL CERQUEIRA

LEON ANNOR Alfred Theatre includes Charles the Wrestler in As You Like It (National Theatre and NT Live); Tom Smith in The Stranger (Riverside Studios).

Television includes Stay Close, Mister Winner, Britannia, Into the Badlands, The End of the Fucking World, Doctors, Will, Snatch.

Films include Infinite, Iboy, Level Up, Petrichor.

HAYLEY CARMICHAEL Kathleen Theatre includes Why, The Prisoner, Fragments (Bouffes des Nord); First Love is the Revolution (Soho Theatre); Here Be Lions (Print Room); Beyond Caring (Yard Theatre); Too Clever

By Half (Manchester Royal Exchange/Told By An Idiot); Hamlet, The New Tenant (Young Vic); Forests (Birmingham Rep/BIT/Barbican); Sweet Nothings (Young Vic); Farenheit Twins, A Little Fantasy, I Weep at My Piano (Told By An Idiot); Bliss (Royal Court); The Maids (Brighton Festival); title role in Casanova (Told By An Idiot/ West Yorkshire Playhouse/Lyric Hammersmith); Cymbeline (Knee High); Theatre of Blood, The Birds (National Theatre); I’m a Fool to Want You (BAC/Told By An Idiot); Zumanity (Cirque du Soleil); Shoot Me in the Heart (Told By An Idiot/Gate/BAC); Kattrin in Mother Courage (Shared Experience); The Dispute (RSC/Lyric Hammersmith); Eva in Mr Puntila and His Man Matti (Almeida); Cordelia in King Lear (Leicester Haymarket/Young Vic); Maria in The Street of Crocodiles (Complicite).

Television includes Les Misérables, Kiss Me First, Witness for the Prosecution, Chewing Gum, Our Zoo, Garrow’s Law, Viva Blackpool, Tunnel of Love.

Radio includes 1001 Nights; Hound of the Baskervilles, The Burning Times.

Films include Tonight the World, Dernier Amour, Undergods, Lands End, A Hunger Artist, Tale of Tales, Paddington Bear, Anazapta, The Emperor’s New Clothes.

Hayley is a co- founder of Told by an Idiot, with Paul Hunter and John Wright. She volunteers for Scene and Heard, a charity playwriting project for children, based in north London.

DANIEL CERQUEIRA Harry Theatre includes Catesby in Richard III, John/ Paul in Game, Death in Blood Wedding, Raimondo in Aunt Dan and Lemon (Almeida); Birdland, Plasticine, Mountain Language, Rod in Cleansed, Attempts On Her Life (Royal Court); Feast, Deflores in The Changeling, Vernon God Little, Rutherford Selig in Jo Turner’s Come and Gone, Chico Mendez in Amazonia, Pete in Some Voices, Tiny in Afore Night Comes, Michael in The People Downstairs, Jorge in The Art of Random Whistling (Young Vic); Albert/Orion in Table (National Theatre); The Ogress in Sleeping Beauty (Young Vic/Barbican/New Victory New York); Parmeno in Celestina (Birmingham Rep/ Edinburgh International Festival); Bisher al Rawi/Major Michael Mori in Guantanamo (Tricycle/Ambassadors); Lennie in In Arabia We’d All Be Kings (Hampstead Theatre); Uncle in The Girl on the Sofa (Shaubuhne am Lehniner Platz/Edinburgh Festival); Dalton in Luminosity (RSC); Whitworth in Meat (Theatre Royal Plymouth); Powder Keg (The Gate); Menas in Antony and Cleopatra (Moving Theatre Company).

Television includes Pennyworth, Casualty, The Spanish Princess, The War of the Worlds, Dr Foster, Shakespeare and Hathaway, Strikeback, The A Word, Silent Witness, Don’t Take My Baby, Call the Midwife, A Young Doctor’s Notebook, New Tricks, Top Boy, Falcon, Wallander, Birdsong, Rock and Chips, Royal Bodyguard, Going Postal, Waking the Dead, Rome, Distant Shores, Pinochet in Suburbia, Murder Prevention, Cruise of the Gods, I’m Alan Partridge.

Films include Radiator (for which he cowrote the screenplay: Writers’ Guild of Great Britain Best Screenplay nomination; Glasgow Film Festival Audience Award; Nashville Film Festival New Directors Competition, Best Actor Award); Judy, The Limehouse Golem, The Woman in Black, Fade to Black, Sixty Six, Venus, Saving Private Ryan.

Trained at RADA.

DOÑA CROLL Marjorie Theatre includes John of Gaunt in Richard ll (Globe Theatre, London); Lady Catherine de Bourgh in Pride and Prejudice (Regents Park/UK tour); Kate Keller in All My Sons (Talawa Theatre/Royal Exchange); Maria in Twelfth Night (ETT/Crucible Theatre Sheffield); Olivia in The American Plan (Theatre Royal Bath); Juanita in Heresy of Love, Mistress Quickly and Alice in Henry V (RSC); Mistress Overdone in Measure for Measure (Plymouth/Thelma Holt); Gloria/ Mother Theresa in The Last Days of Judas Iscariot, Two Step (Almeida); Anastasia in Elmina’s Kitchen (National Theatre/Birmingham Rep tour/Garrick Theatre); Cleopatra in Antony and Cleopatra (Talawa Theatre).

Television includes Holby City, Death in Paradise, Emmerdale, The Long Song, West of Liberty, EastEnders, Eve, Moving On, Eden, Ice Cream Girls, Dani’s Castle, Casualty, Doctors, Silent Witness, The Shadow in the North, Doctor Who, Bremner Bird and Fortune, Little Miss Jocelyn, Time Trumpet, The Last Will and Testament of Billy Two Sheds, The Bill, William and Mary, Charity Begins.

Films include Mr. Malcolm’s List, Manderlay, Mammoth, Tula the Revolt, Eastern Promises, Kill Kill Faster Faster, I Could Never Be Your Woman, Hallelujah Anyhow, The Statistical Probability of Love at First Sight.

JOHN MACKAY Jack Previously at Chichester The Executive/Mr Pace in Six Characters in Search of an Author (Minerva Theatre).

Theatre includes Duke of York in Richard II, Defense in Machinal, Menelaus in Oresteia (Almeida); The Colonel/Bremer in Occupational Hazards, Man in Wild, Clement Attlee in Drawing the Line, Speaker Lenthal in 55 Days (Hampstead Theatre); F/Mac in The Sewing Group (Royal Court); Lucio in Measure for Measure (Young Vic); title role in Richard III, Jacques in As You Like It, Ulysses in Troilus and Cressida, Leontes in The Winter’s Tale, Angelo in Measure for Measure (Shakespeare at the Tobacco Factory); Max in Going Dark (Young Vic/Fuel Theatre/tour); Glushko in Little Eagles, Octavius in Antony and Cleopatra, Albany

in King Lear, Camillo in The Winter’s Tale, Cassius in Julius Caesar, Mortko in The Grain Store, The Dauphin/Jack Cade/Mowbray/ Worcester/Tyrrel in The Histories, Andrew Aguecheek in Twelfth Night, Oliver in As You Like It, Gandhi/Interpreter in Pilate, Rosencrantz in Hamlet, Ross in Macbeth (RSC); Euan in Dark Earth (Traverse); Frank in All My Sons (Theatre Royal York).

Television includes Landscapers, Temple 2, Bridgerton, Traces 2, The Canterville Ghost, Call The Midwife, Black Earth Rising, The Hollow Crown II, Casualty, The Honourable Woman, Holby City, Law & Order, The Great Transatlantic Cable, Doc Martin and the Legend of the Cloutie.

Radio includes The Tempest, The Attendant, Talk to Me, Hi-Spec, Freezing to Death, Death of a Salesman, Farran at Bay, Barnaby Rudge, Poetry Please, The Broken Word, The Stuarts, Only the Sure Foot, The Martin Beck Killings, Operation Black Buck, Erebus, Heart of Darkness, Night and Day, The Iliad.

Films include Living, Judy, Cruella, Ammonite, The Power.

JOHN MACKAY DOÑA CROLL DOÑA CROLL JOHN MACKAY LEON ANNOR

C R E AT I V E T E A M

JOSH ROCHE

SAM GLOSSOP Sound Designer Design work includes The Tempest, Midsummer Night’s Dream (Greenwich Theatre); Where is Peter Rabbit? (London Haymarket Theatre & Hong Kong/Singapore tour); Tell Me On A Sunday, By Jeeves, Sherlock’s Last Case, Untold Stories (Old Laundry Theatre); In Limbo, San Domino, Pete ‘n’ Keely (Tristan Bates Theatre); Queen Mab (Iris Theatre); The Narcissist (Arcola Theatre); Dead Good (UK tour); Gun, Before 30 (Edinburgh Fringe); Soapbox Racer (The Local Theatre); On Behalf of the People (UK tour); The Masque of the Red Death/The Fall of the House Usher (The Brockley Jack); Henna Night (New Diorama); Robin Hood, Sleeping Beauty (Solihull Core Theatre); Jack and the Beanstalk (Loughborough Town Hall); The Nest (53Two); Beauty and the Beast (Derby Arena); Just So (Theatre Royal, Winchester); Dem Times (Streatham Space Project); Abyss (Petersfield Shakespeare Festival); Beetles from the West, The Censor ( Hope Theatre).

Design and Composition work includes The Legend of Sleepy Hollow (UK tour); Gracie (Finborough Theatre); Something Awful, Giving Up Marty (Vaults Festival); A Separate Peace (Curtain Call).

Sam graduated from Leeds Met with a degree in Music Production.

ALEX MUSGRAVE Lighting Designer Design work includes You Are Here, Fiver The Musical (Southwark Playhouse); An Evening with Sophia Loren, An Evening with Kelsey Grammer and Shalamar (Aldwych); Elegies for Angels, Punks and Raging Queens, Market Boy (Union Theatre London); Katzenmusik, Fear and Misery of The Third Reich (ArtsEd); The Light Burns Blue, A Midsummer Night’s Dream, Babe – The Sheep Pig (GSMAD); Marriage á la Mode, Fiddler on the Roof (Chichester University); Jekyll and Hyde The Musical (Alexandra Theatre); Joe Black’s House of Burlesque, Cinderella, Priscilla Queen of the Desert, Snow White, Dirty Rotten Scoundrels, 9 to 5 The Musical, Made in Dagenham, Oliver!

The Musical, Cats (Kings Theatre Portsmouth); Thoroughly Modern Millie (Tring Park School for Performing Arts); The King’s Speech,

Let the Right One In, The Winter’s Tale (The Square Tower Portsmouth); Farm Boy (Station Theatre and Square Tower); The Last Five Years (Station Theatre); Veterans Day (Finborough Theatre); Diwali Show 2016 (Aldwych Theatre).

Alex was nominated for Best Lighting Design by OffWestEnd.com for You Are Here at the Southwark Playhouse and was the 2019 recipient of the Association of Lighting Designers Lumiere Scheme.

He studied Technical Theatre at Bath Spa University. alex-musgrave.com JOSH ROCHE Director Theatre credits include My Name is Rachel Corrie (Young Vic); Radio (Arcola Theatre/ Audible); Orlando (Edinburgh Festival/VAULT Festival/59E59); Resurrecting Bobby Awl (BBC Arts/Avalon); Plastic (Old Red Lion/Mercury Theatre); Winky (Soho Theatre); Magnificence, A Third (Finborough Theatre); This Must Be The Place (VAULT Festival); I Feel Fine, Specie, Uninvited (New Diorama Theatre); No Particular Order, Tiger Country (Oxford School of Drama); Mosquitos (Mountview); Posh (ALRA); The Agony and the Style (RWCMD).

He has worked as an Associate Director in the West End and at the Royal Shakespeare Company, Shakespeare’s Globe and Soho Theatre.

Josh studied English Literature with Creative Writing at the University of Warwick.

He is Co-Founder of the OpenHire campaign and an Associate Director with Poleroid Theatre company. He is a previous winner of the JMK Award.

DAVID STOREY Writer David Storey was born in Yorkshire. He studied at Wakefield Art School from 1951-53, and subsequently at the Slade School in London, which he subsidised by playing professional rugby. Storey began writing at the Slade and later while teaching in some of London’s toughest schools.

He wrote fifteen plays which have been produced throughout the world to great acclaim, including In Celebration (1969), Home (1970)

and The Changing Room (1973); and eleven novels, including This Sporting Life (1960) which was made into a film in 1963 starring Richard Harris and directed by Lindsay Anderson, who also directed many of Storey’s plays.

David Storey’s work for television included Home in 1971, and Grace, an adaptation from a story by James Joyce, which was shown on the BBC in 1974. He wrote the screenplays for This Sporting Life and In Celebration.

Of his novels, This Sporting Life won the Macmillan Fiction Prize in 1960; Flight into Camden won the John Llewellyn Rhys Memorial Prize in 1961 and the Somerset Maugham Award 1963; Pasmore won the Geoffrey Faber Memorial Prize in 1973; and Saville won the Booker Prize for Fiction in 1976.

David Storey died in 2017. His memoir, A Stinging Delight, was published posthumously

by Faber in 2021.

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester The Long Song, South Pacific, Crave, Sing Yer Heart Out for the Lads (CDG Casting Award nomination), Oklahoma!, Plenty, Shadowlands, Flowers for Mrs Harris, Me and My Girl, The Chalk Garden, Present ALEX MUSGRAVE SOPHIE THOMAS

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

Theatre credits Fairview (CDG Casting Award nomination), Death of a Salesman (CDG Casting Award nomination), The Convert, Wild East, Winter, trade and Dutchman (Young Vic); Company (Gielgud; CDG Casting Award nomination); Long Day’s Journey into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey and German Skerries (Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork Disney and Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot and Queen Coal (Sheffield Crucible); Henry V and Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler and Little Shop of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing and Jumpy (Theatr Clwyd); wonder.land, The Elephantom, Emil and the Detectives and The Light Princess

(National Theatre); One Man, Two Guvnors (Theatre Royal Haymarket and international tour); Desire Under the Elms (Lyric Hammersmith); Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York).

SOPHIE THOMAS Designer Theatre designs includes Resurrecting Bobby Awl (Avalon/BBC Arts); Radio (Audible UK/Arcola Theatre); Orlando (The Vaults and Edinburgh Fringe/59E59); Plastic (Old Red Lion and Mercury Colchester); The Caucasian Chalk Circle (Central School of Speech and Drama); My Name is Rachel Corrie (Young Vic: JMK Award Winner); Herons, The (Imaginary) Misogynist (GSMAD); The Slave (Tristan Bates Theatre and Covent Garden); Henry V (Cambridge Arts Theatre).

Film designs include Carnage: Swallowing the Past (costumes), Never Land (production and costumes), New Gods, Ringo and The Listener (production), And Then I Was French (art director).

Sophie was Resident Assistant Designer at the Royal Shakespeare Company 2015-16.

Trained at Royal Welsh College of Music and Drama and studied at Oxford Brookes University.

SAM GLOSSOP

#OPENHIRE OpenHire is a campaign which encourages theatres to widen the opportunities available to freelance directors, designers and creatives by publicly advertising jobs and fees, and having a transparent process and clear criteria for application selection.

Once the hire has been announced, anonymous headline equal opportunities data is published about who applied.

Chichester Festival Theatre was one of the first theatres to commit to the OpenHire model for at least one production a year, lending the campaign crucial support in its early stages. For Home, the Lighting and Sound designers were recruited using OpenHire. Other theatres signed up to the initiative include Shakespeare’s Globe, Orange Tree Theatre, Theatr Clywd and Actors Touring Company.

If you’re a freelancer looking to hear about work, or just curious to find out more about OpenHire, head to www.openhire.uk

EVENTS

HOME PRE-SHOW TALK

Tuesday 12 October, 6pm Director Josh Roche in conversation with Kate Mosse.

FREE but booking is essential

POST-SHOW TALK

Thursday 28 October Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

ELDERS COMPANY PRESENT

Saturday 30 October, 10.30am Minerva Theatre A newly-formed community Elders Company will present a short piece of original work responding to the themes within David Storey’s Home.

Tickets £5

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PLAY YOUR PART IN OUR FUTURE If you have enjoyed your visit to Chichester Festival Theatre, please consider supporting us.

Leaving a gift in your Will, no matter how small, helps CFT inspire communities for generations to come.

To find out more about remembering CFT in your Will, please visit cft.org.uk/legacies or call 01243 812911

Th ank yo u

We strongly advise you seek professional advice when drafting a new Will or updating an existing one. This ensures you receive confidential guidance and your Will is tailored to your particular circumstances Registered Charity No 1088552

S TA F F

TRUSTEES Sir William Castell Mr Alan Brodie Ms Judy Fowler Ms Victoria Illingworth Ms Georgina Liley Rear Admiral John Lippiett CB CBE Mr Harry Matovu QC Mr Mike McCart Ms Holly Mirams Mr Nick Pasricha Mr Philip Shepherd Ms Stephanie Street Ms Tina Webster Mrs Susan Wells ASSOCIATES Kate Bassett Anna Ledwich Charlotte Sutton CDG

Chairman

Julie Field Rosie Hiles

Literary Associate Writer-in-Residence Casting Associate

Development Officer (Corporate & Trusts) Friends Administrator Senior Development Manager (Corporate & Trusts)

Joanna Walker Director of Development Carolyn Warne Senior Development Manager (Individuals) Megan Wilson

Events Officer

DIRECTORS Kathy Bourne Daniel Evans Patricia Key Georgina Rae Julia Smith

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

FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Katie Palmer Assistant Management Accountant

Amanda Trodd Protozoon Ltd HR Emily Oliver Jenefer Pullinger Gillian Watkins

Finance Director & Company Secretary Management Accountant IT Consultants

Accommodation Co-ordinator HR Officer HR Officer

LEAP Anastasia Alexandru Youth & Outreach Trainee Elspeth Barron LEAP Officer Isabelle Elston Community & Outreach Trainee Lauren Grant Hannah Hogg Richard Knowles Poppy Marples

Director of LEAP Education Apprentice

Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Head of Marketing (Maternity Leave)

Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate)

Karen Taylor Development Officer (Individuals)

Simon Parsonage

Senior Community & Outreach Manager

Dale Rooks Riley Stroud

MARKETING, COMMUNICATIONS, DIGITAL & SALES

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

Louise Rigglesford

Deputy Director of LEAP Youth & Outreach Officer Education Projects Manager Senior Youth & Outreach Officer

Helen Campbell Lydia Cassidy

Deputy Box Office Manager Director of Marketing & Communications

Lorna Holmes Box Office Assistant Helena Jacques-Morton Senior Marketing Officer James Mitchell Box Office Assistant (Casual) James Morgan Box Office Manager Lucinda Morrison Head of Press Kirsty Peterson Box Office Assistant Catherine Rankin Box Office Assistant (Casual) Jennifer Thompson Social Media & Digital

Marketing Officer Emilie Trodd Box Office Assistant (Casual) Anne-Marie Varberg Box Office Assistant Joshua Vine Box Office Supervisor Julia Walter Creative Digital Producer Claire Walters Box Office Assistant Vanessa Walters Head of Marketing

(Maternity Cover) Joanna Wiege Jane Wolf

Box Office Administrator Box Office Assistant

PRODUCTION Amelia Ferrand-Rook Claire Rundle Nicky Wingfield Jeremy Woodhouse

Producer Production Administrator Production Administrator Producer

TECHNICAL Dan Armstrong Transport & Logistics Jake Barinov Stage Crew Steph Bartle Deputy Head of Lighting Ben Coates Stage Crew Leoni Commosioung Stage Technician Adrien Corcilius Video & AV Technician Lewis Ellingford Stage Technician Sam Garner-Gibbons Technical Director Jack Goodland Stage Crew Maura (Fuzz) Guthrie Sound Technician Lucy Guyver Production Manager Apprentice Katie Hennessy Props Store Co-ordinator Jack Hobbins Stage Crew Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Zoe Lyndon-Smith Technical Theatre Apprentice Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Sound Technician Tom Robinson Senior Stage

& Construction Technician Neil Rose Ernesto Ruiz Joe Samuels James Sharples

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

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Graham Taylor Dominic Turner Emily Williamson

Head of Lighting Stage Crew Technical Theatre Apprentice

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Karen Hamilton Front of House Duty Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor Vespasian Security Security WARDROBE & WIGS Isabelle Brook Brooke Bowden Jessica Griffiths Fran Horler Dee Howland Abbie Johns Kirsty Lloyd Kendal Love Stacie Smith Emily Souch Loz Tait Colette Tulley Maisie Wilkins

Dresser Wardrobe Assistant Wardrobe Manager Wardrobe Manager Deputy Wigs Dresser Deputy Wigs Wigs Manager Assistant Wigs Dresser Head of Wardrobe & Wigs Wardrobe Maintenance Dresser

Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, Bob Bentley, Gloria Boakes, Dennis Brombley, Judith Bruce-Hay, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Gaye Douglas, Stella Dubock, Amanda Duckworth, Clair Edgell, George Edwards, Lexi Finch, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Anna Grindel, Caroline Hanton, Justine Hargraves, Joseph Harrington (Trainee), Gillian Hawkins, Joanne Heather, Daniel Hill, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Pippa Johnson, Ryan Jones, Jan Jordan, Jon Joshua, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Maille Lyster, Judith Marsden, Samantha Marshall, Emily McAlpine, Janette McAlpine, Fiona Methven, Chris Monkton, Susan Mulkern, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Barbara Pope, Fleur Sarkissian, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Rosemary Wheeler, Jonathan Wilson (Trainee), James Wisker, Donna Wood, Kim Wylam, Jane Yeates We acknowledge the work of those who give so generously of their time as our Volunteer Audio Description Team: Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Sue Hyland, David Phizackerley, Christopher Todd

ACCESS AND CAR PARKING

Wheelchair users Wheelchair spaces are available on two levels in the Festival Theatre, with accessible lifts either side of the auditorium. Two wheelchair spaces are available in the Minerva Theatre.

Hearing impaired Free Sennheiser listening units are available for all performances or switch your hearing aid to ‘T’ to use the induction loop in both theatres.

Signed performances are British Sign Language interpreted for people who are D/deaf or hard of hearing.

Stagetext Captioned performances display text on a screen for D/deaf or hearing impaired patrons.

Audio-described performances offer live narration over discreet headphones for people who are blind or visually impaired.

Touch Tours enable blind or visually impaired people to explore the set before audio described performances. Free but booking is essential.

Dementia-Friendly Theatre All Box Office and Front of House staff have attended a Dementia Friends Information Session, and can be identified by the blue pin on their uniform.

Assistance dogs are welcome; please let us know when booking as space is limited.

Parking for disabled patrons Blue Badge holders can park anywhere in Northgate Car Park free of charge.

There are 9 non-reservable spaces close to the Theatre entrance.

Car Parking Northgate Car Park is an 836-space pay and display car park (free after 8pm). On matinee days it can be very busy; please consider alternative car parks in Chichester. chichester.gov.uk/mipermit If you have access requirements or want to book tickets with an access discount, please join the Access List.

For more information and to register, visit cft.org.uk/access, call the Box Office on 01243 781312 or email access@cft.org.uk

Large-print version of this programme available on request from the House Manager or access@cft.org.uk Large-print and audio CD versions of the Festival 2021 brochure are available on request from access@cft.org.uk For more access information, call 01243 781312 or visit cft.org.uk/access

cft.org.uk/visitus

SUPPORT US

BE PART OF YOUR THEATRE Community is central to everything we do at Chichester Festival Theatre and has been from the very beginning.

Throughout 2020, whilst our doors were closed, we kept connected with our audiences, supporters and vulnerable members of our community – ensuring people continued to experience the joy of creativity and live performance.

Chichester Festival Theatre is a registered charity and every penny generated by our supporters goes towards creating exceptional work on stage and involving over 60,000 people each year in our award-winning Learning, Education and Participation programme. Whether it’s working with local groups and communities to share the joy of live art or collaborating with

a new generation of theatremakers and emerging artists to create diverse, ground-breaking work, there is something for everyone; and our work feels more vital now than ever.

There are a variety of ways for you to be a part of your Theatre and its future.

Whether you are looking for priority booking, want to support our education and community work or to follow our latest production from page to stage, there is a place for you at CFT. We would not be here without the support of our community. Please join us, and be part of something amazing.

Visit cft.org.uk/support-us to find out how you can be more involved.

‘There are some wonderful benefits for being a member. The Supporters’ events are marvellous: exclusive dinners with the cast, platform events.

They last all season long. Even the pandemic didn’t stop CFT! When the theatre re-opens I am really looking forward to South Pacific, it’s my favourite musical and I can’t wait to see it.’

Gary Fairhall, Festival Player

cft.org.uk/support-us

S U P P O R T E R S 2021

INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry George W. Cameron OBE and Madeleine Cameron Sir William and Lady Castell John and Pat Clayton John and Susan Coldstream Clive and Frances Coward Yvonne and John Dean Jim Douglas George and Natasha Duffield Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Sir Michael and Lady Heller Liz Juniper The family of Patricia Kemp Roger Keyworth Jonathan and Clare Lubran Selina and David Marks Mrs Sheila Meadows Jerome and Elizabeth O’Hea Philip and Gail Owen Graham and Sybil Papworth Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE David and Sophie Shalit Simon and Melanie Shaw Greg and Katherine Slay Christine and Dave Smithers David and Alexandra Soskin Alan and Jackie Stannah Oliver Stocken CBE Howard Thompson Peter and Wendy Usborne The Webster Family Community Fund TRUSTS AND FOUNDATIONS Andrew Lloyd Webber Foundation The Arthur Williams Charitable Trust Artswork The Arts Society, Chichester The Bateman Family Charitable Trust The Bondi Foundation The Chartered Accountants’ Livery Charity Chichester District Council Elizabeth, Lady Cowdray’s Charity Trust The G D Charitable Trust The Noël Coward Foundation Theatres Trust Wickens Family Foundation

FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Judy Addison Smith Paul Arman The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Mrs Margaret Baumber Franciska and Geoffrey Bayliss Lucy Berry Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Janet Bounds Pat Bowman Lucy and Simon Brett Nick and Carol Brigstocke Adam and Sarah Broke Therese Brook Peter and Pamela Bulfield Jean Campbell Julie Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Sally Chittleburgh David and Claire Chitty Denise Clatworthy David and Julie Coldwell Mr & Mrs Barry Colgate Mr Charles Collingwood and Miss Judy Bennett Michael and Jill Cook Freda Cooper Brian and Claire Cox Susan Cressey Jonathan and Sue Cunnison Rowena and Andrew Daniels Jennie Davies The de Laszlo Foundation Yvonne and John Dean Clive and Kate Dilloway Peter and Ruth Doust Peter and Jill Drummond Peter Edgeler and Angela Hirst Glyn Edmunds Anthony and Penny Elphick Sheila Evans Gary Fairhall Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Jane Fogg Robert and Pip Foster Jenifer and John Fox Debbie and Neil Franks Terry Frost Mr Nigel Fullbrook George Galazka Alan and Pat Galer Robert and Pirjo Gardiner Wendy and John Gehr

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

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

‘Chichester Festival Theatre enriches lives with its work both on and off stage. It is a privilege to be connected in a small way with this inspirational and generous-hearted institution, especially at such a challenging time for everyone in the Arts.’

John and Susan Coldstream, Benefactors and Festival Players

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S U P P O R T E R S 2021

PRINCIPAL PARTNERS Platinum Partner Prof E.F Juniper and Mrs Jilly Styles

Gold Level

HOLIDAY LETS

Silver Level

CORPORATE PARTNERS Addison Law Behrens Sharp Chichester College

Criterion Ices FBG Investment J Leon Group

Joanna Williams Jones Avens Oldham Seals Group

The Bell Inn William Liley Financial Services Ltd

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