The Beauty Queen of Leenane digital programme | Chichester Festival Theatre | Festival 2021

THE BEAUTY QUEEN OF LEENANE

By Martin McDonagh

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

WELCOME

A warm welcome back to the Minerva Theatre, and to this new production of The Beauty Queen of Leenane.

We are over the moon to be working in partnership for the first time with the Lyric Hammersmith Theatre – and we’re thrilled that their Artistic Director, Rachel O’Riordan, is directing this production.

As the play’s original director, Garry Hynes, vividly recalls in this programme, The Beauty Queen of Leenane caused a sensation in the theatrical world on both sides of the Irish Sea and the Atlantic when it debuted in 1996. Since then, Martin McDonagh has, of course, gone on to conquer Hollywood with screenplays including Three Billboards Outside Ebbing, Missouri and In Bruges, along with many other award-winning plays, all combining his trademark ability to startle audiences with black and sometimes shocking humour alongside

a never-failing, clear-eyed view of our human yearning for connection.

Rachel has assembled an outstanding, all-Irish cast – Adam Best, Ingrid Craigie, Orla Fitzgerald and Kwaku Fortune. We welcome them all and wish them an enjoyable time in Chichester and then at the Lyric, where they will play immediately following the Minerva run.

We have two remaining plays in the Festival 2021 season. Suhayla ElBushra’s new adaptation of Andrea Levy’s great novel, The Long Song, runs in the Festival Theatre from 1– 23 October; don’t miss the chance to see this ebullient and life-affirming play which finds humanity, humour and hope in the darkest of times. And following Beauty Queen in the Minerva is a revival of David Storey’s modern classic Home : a deeply humane study of hearts, minds and England.

We very much hope that you will return to see both productions, and that you enjoy today’s performance.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

WORLD PREMIERE

THE LONG SONG A new adaptation by Suhayla El-Bushra Based on the novel by Andrea Levy Adapted from Andrea Levy’s award-winning novel, The Long Song is set in Jamaica during the last turbulent days of slavery. Charlotte Gwinner directs this ebullient and life-affirming play which finds humanity, humour and hope in the darkest of times.

1 – 23 October #TheLongSong

cft.org.uk

COMING SOON

HOME

By David Storey Josh Roche directs a major revival of David Storey’s award-winning classic: a heartrendingly funny, haunting and deeply humane study of hearts, minds and England.

8 October – 6 November #Home

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

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.

★★★★★

‘This was the first time the restaurant had opened after lockdown. The staff obviously delighted to be back, and the food excellent’.

Richard B, via Bookatable 2020

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.

THE BEAUTY QUEEN OF LEENANE

By Martin McDonagh

I am delighted to be co-producing Martin McDonagh’s extraordinary play with Chichester Festival Theatre in our first partnership. The Beauty Queen of Leenane is funny, but it is also savage. It speaks of an Ireland that is in transition; pre-Good Friday Agreement, and well before the vote on marriage equality or bodily autonomy. Ireland was in a liminal space in 1995 – and in this play, the characters are also trapped between their situation and their aspiration. The co-dependent relationship which defines Maureen and Mag resonates strongly in a post-colonial Ireland; real independence feels impossible for both mother and daughter. The humanity of McDonagh’s text is as vital as its rage. It is a wonderful play.

Rachel O’Riordan Artistic Director Lyric Hammersmith Theatre

KWAKU FORTUNE RACHEL O’RIORDAN INGRID CRAIGIE

THE BIRTH OF

BEAUTY QUEEN Garry Hynes, Artistic Director and co-founder of Ireland’s Druid Theatre Company, directed the 1996 premiere of Martin McDonagh’s first play, The Beauty Queen of Leenane in a co-production between Druid and London’s Royal Court Theatre. Two years later, her production opened in New York and she became the first woman to receive the Tony Award for Best Director. She went on to direct the premieres of McDonagh’s A Skull in Connemara and The Lonesome West – known, along with Beauty Queen, as The Leenane Trilogy.

25 years on, as Rachel O’Riordan – also an Irish director – was starting rehearsals for this revival at Chichester, we asked Garry Hynes about the play’s significance.

What are your memories of first encountering Martin and his work?

I first encountered Martin on the page.

Having left Druid in 1990, I had come back to the company (supposedly on a temporary basis: that was about 30 years ago!), and started reading plays that had been sent in. I found one particular play which was A Skull in Connemara MARTIN McDONAGH IMAGE COURTESY OF EUAN KERR

and became immediately interested in it.

I asked who the writer was and whether he was writing for Druid at the time, but all we had was a name. He’d sent in another couple of plays as well, The Lonesome West and The Beauty Queen of Leenane, so I read them, too.

When I thought about who might have written these plays, I couldn’t figure it out.

It felt like it was somebody in the middle of Connemara but I knew it couldn’t be, and yet the dialogue and the sound and the characters all felt so dramatically right.

We optioned all three plays and I arranged to meet Martin in London a few weeks later. The question became, which of his plays should we do first? Eventually it was Beauty Queen which opened the new Town Hall Theatre in Galway in 1996.

Martin’s inspiration is the west of Ireland and his experiences of holidaying there with his grandparents and so on, but he’s not writing documentaries.

Why did you think the play couldn’t have been written by someone in Connemara?

If someone had been living amongst those people they couldn’t have written the play like that, I think. It needed to be filtered through a distance – which was exactly as it turned out, because Martin is London Irish. That was the very important distance that allowed him to write and create the plays he did. But whereas the first draft of The Lonesome West contained the essence but was quite different from the play that eventually emerged, Beauty Queen was fully formed from the start.

Is the Galway setting intrinsic to the play’s significance?

Martin’s inspiration is the west of Ireland and his experiences of holidaying there with his grandparents and so on, but he’s not writing documentaries. His ability to lead people down a certain path and suddenly rush back up that path and down another one, is true theatrical sophistication.

You continue to see that imagination in Martin’s other plays and in his career as a writer of film. You never know where it’s going to go and that requires great skill; it’s part of the reason why his work has been so successful and popular.

Did you foresee the international success of the play: that it would go on from Galway to conquer the West End, Broadway and beyond?

No, I don’t think we did. But I was very aware that I wanted the play to be seen, if possible, by a wider audience. I was an Associate Director of the Royal Court at the time and I asked Stephen Daldry [then Artistic Director of the Court] if they would be interested in co-producing the play; he immediately said yes, therefore the play was seen in London four weeks after its premiere in Ireland. That was very important to me, that it wasn’t placed as something that grew out of an Irish folk culture, that it was seen as the modern piece of writing it was.

ORLA FITZGERALD INGRID CRAIGIE

Did audiences react the same in London and New York?

Yes, they did. Perhaps the Irish audience got the point of the joke a millisecond quicker, but the reaction was exactly the same.

It’s the combination of the personal experience and understanding plus the distance that helps create the worlds both of Martin’s plays and of his films.

Is that because everyone can recognise themselves in these characters?

Absolutely. You could easily conceive, for instance, of the play being set in any sort of community that is declining, that is distanced from cities or people, whether that’s in the GARRY HYNES IMAGE COURTESY OF BARRY CRONIN

south of the US, or a distant rural part of the UK. It requires a group of people living fairly solitary lives in a small community where perceptions are very set, and then someone comes from outside that community – as Pato does, the émigré. It has a classical set-up.

You didn’t want the play to be seen as a piece of Irish folk theatre, but does Martin’s work relate to the canon of Irish literature?

Yes of course it does. It’s the work of somebody who comes from somewhere outside the Irish setting of his plays, as Synge did in a way; he wrote about the peasantry despite the fact he was a member of the gentry. It’s the combination of the personal experience and understanding plus the distance that helps create the worlds both of Martin’s plays and of his films. Global is a word I hate, but it’s a combination of being utterly modern and having this kind of experience of another society which was rapidly in decline at the time he started writing about it.

Garry Hynes’s production of Thomas Kilroy’s The Seagull (after Chekhov) can be seen on demand as part of GIAF 2021 from 5 -12 September: www.druid.ie

That’s Ireland, anyways.

There’s always someone leaving.

The Beauty Queen of Leenane

CLIFDEN GLEN HOLIDAY HOMES, COUNTY GALWAY

THE COLONISATION OF

CONNEMARA

This article by Frank McDonald appeared in The Irish Times on 25 June 1997

One of the most remarkable phenomena in Ireland today, according to Leo Hallissey, is that people who live in suburban housing estates in Dublin and elsewhere are being persuaded to spend their summer holidays in virtual suburban housing estates in other parts of the country.

Mr Hallissey, a primary school principal who runs the Connemara Environmental Education Centre in Letterfrack, cites the example of Clifden Glen, a scheme of 120-plus holiday homes two miles from Clifden – a “town outside a town” – where the houses (“they call them lodges”) are just 15 feet from each other.

“Near the Connemara Golf Club in Ballyconncely, there’s another scheme of holiday homes laid out like a suburban housing estate, complete with street lights. It looks really strange at night-time, this vision of suburbia in a rural landscape. But you’ve got to compliment them on their marketing expertise.”

However, it isn’t just purpose-built schemes that are changing the face of Connemara.

“If you take the Errislannan peninsula, there are around 44 houses on it and 39 of them are second homes. I’ve also seen statistics which show that second homes now account for 64 per cent of the housing stock in three townlands south of Clifden.”

Leo Hallissey sees this colonisation of Connemara as “a new form of land clearance” and says it’s “very strange that it should be happening at a time when we’re commemorating the Famine.” He also has an apocalyptic vision of Connemara in 2020, when the local people will be reduced to working as caretakers and security guards.

The signs are already apparent. One German who owns a holiday home overlooking Derryinver Bay, near Renvyle, has reacted to two burglaries by securing his house with roller shutters, which are pulled down over all of the windows while he is away. How long will it be before other second home owners resort to similar devices?

This is not an environmental argument about keeping a place pretty, or the whole notion of aesthetics. This is about the moving on of a people.

“With all of these houses sitting there empty for most of the year, if you’re into robbing televisions, you’ll come to Connemara and take 25 in one go. So what we’ll have is people involved in some kind of Securicor operation, as well as a migrant population that’ll move in for the summer and move out. That’s what’s facing us,” he says.

“When you pan a camera around the landscape, it looks brilliant. Many of these second homes are good houses and their owners have spent a few bob on doing them up right. But you won’t realise that they’re all empty.” Those who were born, lived and died in those houses, he adds, have all been wiped out.

“This is not an environmental argument about keeping a place pretty, or the whole notion of aesthetics. This is about the moving on of a people. And what’s happening here has already happened to a huge extent in Donegal and West Cork, and it’s going to happen in South Mayo, Sligo, Waterford and anywhere else that’s beautiful.”

In the case of Connemara, he says second

LEENANE, COUNTY GALWAY

homes are “putting tremendous pressure” on the community, while contributing nothing to it. “The owners do their shopping in Dublin and arrive here with the car boot full of booze and food. All they spend locally is on a few pints in a pub and maybe a meal out somewhere.

“Any site in this area with a derelict stone building on it, you’re talking about £40,000 or maybe more.” His own son recently bought a house in the Mourne Mountains in Co Down, with spectacular views, and renovated it – all for just £35,000. “A similar house in the same kind of setting around these parts would set you back £135,000, without a shadow of a doubt, and that puts it well outside the range of local people.

“What this means is that when I look at the 25 kids in my infants’ class, I know they haven’t got a snowball’s chance in hell of staying in Connemara. Because how will they be able to amass in a lifetime £25,000 to buy a site for a house if they end up working in a part-time job for £3 an hour during the 12-week summer season?

“With the way we’re going, we’re just getting them ready for flight. If you look at the statistics in the schools, which are a very frightening indicator, they show that Leenane has 13 children leaving school this year, the school in Tully has halved its population in six years. And in Cashel, there is something like two children under 10.

“What it looks like in 20 years’ time is that we’ll be lucky if we have two left of the 13 primary schools in our area at present. That’s the whole of north-west Connemara, from Leenane right down to Roundstone – a vast area which was identified in the 1970s as the

largest piece of special landscape in the country. But what we’re doing now is dismantling it.”

Most of the beneficiaries are Irish – city dwellers from Galway and, more usually, from Dublin, “legal eagles with loads of money to spare.”

The trouble with Ireland is that there’s a price tag on everything and everything is for sale.

He can’t see the trend being reversed without major intervention. “For a start, there should be a tax of, say, £800 a year on all second homes. It wouldn’t even involve any hardship because all they would have to do is to rent them out for two weeks to get the money back. But the revenue could be used locally to provide proper jobs and affordable housing.”

Leo Hallissey believes that Galway County Council should be following the example of its counterpart in Cork in buying up parcels of land and providing sites for local people to build houses, along with a design service. This would overcome the “connotations” which people still associate with public housing.

“If we as a nation want to sustain beautiful places and if we really believe that Connemara is a place of cultural significance, then we have to do something about it. But I would hate to

think that people would toss this away and say ‘that’s just these people down in Connemara being awkward again, because they’re an awkward breed anyway’.

“One of the saddest things is that the environmental lobby has allowed itself to be sidelined. Because when we’re looking at different ecologies, this is twisted by some who say that three flowers in a bog, or the sightings of some rare birds, are more important than the people who have to live in this landscape and try to provide for their children.”

Leo Hallissey wants to ensure that the indigenous, pre-existing population of Connemara does not become residual. “If over 50 per cent of the houses in an area are second homes, then that should be a reason for refusing permission for any more of them.

This may cut across property rights but what about the community’s right to survive?”

In the meantime, he is fearful of the consequences if the business lobby in Clifden manages to persuade the incoming government to designate the area for the same tax incentives available in Achill and other resorts.

Because this could lead to more clusters of holiday homes being shovelled into the landscape, as is happening elsewhere.

The trouble with Ireland is that there’s a price tag on everything and everything is for sale. “If you want to get planning permission on the seaward side of the road, tell them you’re building a cluster – that’s the new joke around here,” he says. “We’re just a small part of the ‘Ireland for Sale’ series.”

Reproduced by kind permission of The Irish Times.

This article has been slightly edited for length.

THE BEAUTY QUEEN OF LEENANE

By Martin McDonagh

CAST Pato Mag Maureen Ray

Adam Best Ingrid Craigie Orla Fitzgerald Kwaku Fortune

The play is set in Leenane, a small town in Connemara, County Galway.

There will be one interval of twenty minutes.

A co-production with Lyric Hammersmith Theatre The Beauty Queen of Leenane was produced by Druid Theatre Company/Royal Court Theatre at the Town Hall Theatre, Galway, Ireland on 1 February 1996. The production subsequently opened at the Royal Court Theatre Upstairs in London on 5 March 1996. The production was subsequently produced by Atlantic Theater Company, New York on 11 February 1998. It then opened on Broadway produced by Atlantic Theater Company, Randall L. Wreghitt, Chase Mishkin, Steven M. Levy and Leonard Soloway in association with Julian Schlossberg and Norma Langworthy on 14 April 1998.

First performance of this production of The Beauty Queen of Leenane at the Minerva Theatre, Chichester, 3 September 2021.

The Beauty Queen of Leenane is presented by arrangement with Knight Hall Agency Ltd.

Rachel O’Riordan Good Teeth Theatre Kevin Treacy Anna Clock Kev McCurdy Sam Stevenson

Director Designer Lighting Designer Composer and Sound Designer Fight Director Casting Director Voice and Dialect Coach Costume Supervisor Props Supervisors

Assistant Director

Edda Sharpe Ellen Gifford Claire Bryan Charlotte Neville Alex Hurst

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Seamus Benson Claire Bryan Helen King Chris Carr

Production credits: Set constructed and painted by Illusion Design and Construct Ltd; Floor and gauze printed by Promptside; Tree made by Emma Hughes; Work experience prop maker Harmony Trodd.

With thanks to Martin Halvey; Ros Scanlon, Cultural Director of the Irish Cultural Centre, London; Killian Welch, Consultant Neuropsychiatrist, Royal Edinburgh Hospital.

Rehearsal and production photographs by Helen Maybanks Programme Associate Fiona Richards Programme design by Davina Chung Supported by the The Beauty Queen of Leenane Commissioning Circle: Ben-Levi Family, Veronica Dukes, Steve and Sheila Evans, Vicky Mudford, Jon and Ann Shapiro, Howard M Thompson, Mrs Honor Woods, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

#BeautyQueen

ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

BIOGRAPHIES

ADAM BEST Pato Theatre includes Le Bret in Cyrano de Bergerac (Jamie Lloyd Company); Bosola in The Duchess of Malfi, Raskolnikov in Crime and Punishment (Royal Lyceum Theatre/Citizens Theatre); Tom in The Girl on the Train (West Yorkshire Playhouse); Brack in Hedda Gabbler (National Theatre/UK tour); Swann/Colonel Davies in Lions and Tigers (Shakespeare’s Globe); Antonio in Twelfth Night, Captain Brennan in The Plough and the Stars, Barney Bagnall in The Silver Tassie (National Theatre); The Watchman in This Restless House, Laertes/Rosencrantz in Hamlet (Citizens Theatre Glasgow); Jackie Jackson in The Deep Blue Sea ADAM BEST

(Watermill Theatre); Elegy (Transport); James Tyrone Jnr in Long Day’s Journey Into Night (Royal Lyceum); Captain Horster in Public Enemy (Young Vic); The Actor in The Woman in Black (Fortune Theatre West End); A Young Man in The Golden Dragon (ATC); Thomas Russell in Northern Star (Finborough); Vincent in Pieces of Vincent (Arcola); Remco in Truckstop (Company of Angels); Joseph Swane in By the Bog of Cats (Wyndham’s). Adam is an associate of the Original Theatre Company.

Television includes Extinction, Peaky Blinders, Giri/Haji, Doctors, Silent Witness, Waking the Dead, The Bill, The Catherine Tate Show, Holby City.

Radio includes Death of a Salesman, Elegy, John Walker’s Blues.

Films include The Little Stranger, Blooded.

INGRID CRAIGIE Mag Previously at Chichester Aunt Nonnie in Sweet Bird of Youth (Festival Theatre).

Theatre includes Duchess of York in Richard III (Druid/Abbey/Lincoln Center); Grace in Faith Healer, Hester Collyer in The Deep Blue Sea, Judith Bliss in Hay Fever, Hannah Jarvis in Arcadia (Gate Theatre Dublin); Aunt Kate in The Cripple of Inishmaan (Noël Coward Theatre/ Broadway); Bernie in Wonderful Tennessee INGRID CRAIGIE

(Abbey Theatre Dublin/Broadway); W1 in Play (Gate Dublin/Barbican); M in Crave (Traverse Theatre Edinburgh Festival/Ambassadors /Royal Court); Meg in Prayers of Sherkin (Old Vic); The Colleen Rua in The Colleen Bawn (Royal Exchange Manchester); Molly & Angela in The Wexford Trilogy (Bush Theatre); Valerie in The Weir (Centaur Theatre Montreal); Eliante in The Misanthrope (NT); Claire in Aristocrats, Nora in The Plough and the Stars, Dolly in A Life (Abbey Theatre).

Television includes Madame Blanc, Epic, Roadkill, Blood, Striking Out, The Whistleblower, The Clinic, Jack Taylor, The Wexford Trilogy, Ballykissangel, The Ballroom of Romance.

Films include You Are Not My Mother, Death of a Ladies Man, Forever in my Heart, Entebbe, Citadel, Sensation, Circle of Friends, A Man of No Importance, Da, The Dead.

Awards include Irish Times Theatre Awards Best Actress (Blithe Spirit, The Recruiting Officer); Irish Times Best Actress nominations (Faith Healer, Splendour, Boston Marriage, Copenhagen); Best Supporting Actress nomination (The Cripple of Inishmaan); IFTA Best Supporting Actress nomination (Blood); Irish Times Special Tribute Award; Trinity College Dublin Alumni Award for Contribution to Irish Theatre.

ORLA FITZGERALD

ORLA FITZGERALD Maureen Theatre includes the title role in Josephine K and the Algorithms (Abbey Theatre); Valerie in The Weir (Sherman Theatre); Inside the GPO (Fishamble); Before Monsters Were Made (15th Oak Productions); Digging for Fire (Project Arts Centre: Irish Times Theatre Awards Best Actress nomination); The Playboy of the Western World, Uncle Vanya (Lyric Theatre Belfast).

Television includes Orla Walsh in three series of The Young Offenders, Taken Down, The ‘C’ Word, Holby Blue, Law & Order UK, The Last Furlong, Love is the Drug, Pure Mule: The Lost Weekend, Cardinal Burns.

Films include The Wind That Shakes the Barley (Irish Film and Television Awards Best Actress and Best Breakthrough Artist nominations), The Guarantee, Speed Dating.

KWAKU FORTUNE Ray Theatre includes Four in Wall (Druid Debuts); Man in Before the Storm (Fishamble Tiny Plays); Eli in Asking for It (Birmingham Rep/Gaiety Theatre Dublin/Everyman Palace Cork/Abbey Theatre Dublin); Ray in Peat (The Ark); Dara Mood in On Raftery’s Hill (Abbey Theatre Dublin); Patrick in Playboyz (New Theatre/Dublin Theatre Festival).

KWAKU FORTUNE

Television includes Hidden Assets, Redemption, Line of Duty, Normal People, 13 Steps Down, The Importance of Being Whatever.

Films include Burn It All, Animals, A Girl from Mogadishu, Kissing Candice.

Trained at Lír Academy Dublin (in association with RADA).

C R E AT I V E T E A M

RACHEL O’RIORDAN

ANNA CLOCK Composer and Sound Designer Previously at Chichester, Crave (Festival Theatre).

Theatre work includes Inside (Orange Tree Theatre); The Effect (English Theatre Frankfurt); Earthquakes in London (Guildhall School of Music & Drama); Easy (Blue Elephant); I Wanna Be Yours (Paines Plough/Tamasha, UK tour & Bush Theatre); Not F**kin’ Sorry, Shuck ‘n’ Jive, Soft Animals, Fabric (Soho Theatre); Groove, Looking Forward (BAC); Admin (Vault Festival, Live Collision & Dublin Fringe Festival); Anguis (sound design, Edinburgh Festival); SummerFest (sound design, NYT/Bunker Theatre); Armadillo (The Yard); Fatty Fat Fat (Canada Water Theatre/ Roundhouse/Edinburgh Festival & tour); Trace (Old Diorama Arts Theatre); The Love of the Nightingale, The Lower Depths (Fourth Monkey); Mary and Maria (Camden People’s Theatre); The Butterfly Lion (composer and MD, Barn Theatre); Miss Fortunate, Work Bitch (Vault Festival); Twelfth Night (composer and MD, ORLA FITZGERALD ADAM BEST

Southwark Playhouse); Finding Fessbender (Edinburgh & Vault Festival); Punk Rock, Pomona (Mountview/New Diorama); Bury The Dead (Finborough); Songlines (sound design, HighTide & DugOutTheatre, Edinburgh & Aldeburgh Festivals, UK tour, The Mix Walthamstow); Spun (Arcola Theatre); They Sailed Away (Southwark Playhouse); This Is A Blizzard (Waltham Forest Festival/Barbican Lab); Uncensored (sound design, Theatre Royal Haymarket); [Blank] (Orange Tree/ Lyric Hammersmith).

As a composer and instrumentalist they have written for the RTE Contempo quartet, Tonnta, New Dublin Voices, Kirkos Ensemble, Node Ensemble, Dulciana, Gamelan Nua and their own groups Low Tide and Téada Orchestra. Their album Celestial is available for download.

Trained at Trinity College Dublin, Royal Irish Academy of Music and Central School of Speech and Drama. www.annaclock.com

GOOD TEETH THEATRE Designer Good Teeth Theatre is a theatre design studio founded by artists and designers. They formed Good Teeth to expand their design landscape through broadening participation and in-depth material research.

Theatre design collaborations include Dumb Waiter (Hampstead Theatre); The Winter’s Tale (Shakespeare’s Globe); Skylight (Theatr Clwyd); Little Shop Of Horrors (Royal Exchange, Manchester); While We’re Here (Bush Theatre); Pilgrims (Hightide/Theatr Clwyd); German Skerries, Jess And Joe (The Orange Tree Theatre); Breeders (St James Theatre); Lost In Yonkers (Watford Palace Theatre); Dances Of Death (Gate Theatre); Foxfinder (Finborough Theatre); Life Of Stuff, Many Moons (Theatre503). www.goodteeththeatre.co.uk

INGRID CRAIGIE KWAKU FORTUNE

ALEX HURST Assistant Director Alex is currently the Resident Assistant Director at the Lyric Hammersmith Theatre, whilst studying for his Directing MFA at Birbeck College.

As Director, theatre credits include Scripts Aloud: Burden (Manchester ADP); Fell (Obscura Theatre); Crumpet (53TWO); What Do Bears Eat? (Edinburgh Fringe); excerpt from Buried Child and The Glass Menagerie (University of Manchester).

As Assistant Director, credits include Out West (Lyric Hammersmith Theatre), Market Boy (Rose Bruford College).

KEV McCURDY Fight Director Previously at Chichester Love’s Labour’s Lost/ Much Ado About Nothing (Festival Theatre, also RSC).

Theatre includes Les Misérables (Sondheim

Theatre & UK tour); Miss Saigon (Prince Edward, UK and European tour); Phantom of the Opera (Her Majesty’s Theatre); The Whip, Antony and Cleopatra (RSC); King Lear, Frankenstein, Hamlet (Royal Exchange, Manchester); An Octoroon, Macbeth (also UK tour), Antony and Cleopatra, Pericles, Mosquitoes, Barbershop Chronicles (National Theatre); Othello, Eyam, Love’s Labour’s Lost, The Taming Of The Shrew, Henry IV Part I (Shakespeare’s Globe); The Crucible (Old Vic); West Side Story (Curve); Glory (The Dukes, Lancaster & UK tour); Only Fools and Horses (Theatre Royal Haymarket); Our Lady of Blundellsands, Sweeney Todd, Romeo and Juliet, The Conquest Of The South Pole, Fiddler On The Roof, The Big I Am (Everyman, Liverpool); The Comedy About A Bank Robbery (UK tour); Tina The Musical (Stage Entertainment Nederlands); Hamlet (Almeida); Fairview, Things Of Dry Hours (Young Vic); Glengarry Glen Ross (Ambassadors); White Noise, Holy Shit (Kiln); All About Eve (Noel Coward Theatre); American Nightmare, ORLA FITZGERALD INGRID CRAIGIE

Hela (The Other Room).

Television includes EastEnders, The A List, Hetty Feather, Hollyoaks, Pobol Y Cwm, Keeping Faith, Craith/Hidden, 4Stories, 15 Days, The Story of Tracy Beaker.

Film includes Lady of Heaven, Season Of The Witch, John Carter Of Mars, Journey’s End, Kenya, Canaries, Camilla.

Kev is Fight Instructor at the Royal Welsh College of Music and Drama, and Co-Founder and Chairman of the Academy of Performance Combat.

MARTIN McDONAGH Writer Martin McDonagh is an award-winning writer and director.

His theatre credits include The Beauty Queen of Leenane (Druid Theatre, West End, Broadway); A Skull in Connemara (Royal Court, off-Broadway); The Lonesome West (Druid Theatre, Royal Court, Broadway); The Lieutenant of Inishmore (RSC, West End, Broadway);

The Cripple of Inishmaan (National Theatre, Broadway); The Pillowman (National Theatre, Broadway); A Behanding in Spokane (Broadway); Hangmen (Royal Court, West End, Broadway); and A Very Very Very Dark Matter (Bridge Theatre).

Film as Director and Writer includes Six Shooter, In Bruges, Seven Psychopaths and Three Billboards Outside Ebbing, Missouri.

RACHEL O’RIORDAN Director Rachel O’Riordan is Artistic Director and CEO of the Lyric Hammersmith Theatre. She launched her debut season there in Autumn 2019, directing an adaptation of A Doll’s House

by Tanika Gupta and Love, Love, Love by Mike Bartlett; in summer 2021 she co-directed Out West.

Previously, Rachel was the Artistic Director and CEO of Sherman Theatre from 2014 – KWAKU FORTUNE INGRID CRAIGIE

2019, winning The Stage’s Regional Theatre of the Year Award in 2018. Her productions there included The Cherry Orchard; the Olivier Awardwinning Killology (with the Royal Court); Bird (with the Royal Exchange); and Iphigenia in Splott (also at the National Theatre; England tour, Edinburgh Festival, Schaubühne, Berlin and off-Broadway).

EDDA SHARPE Voice and Dialect Coach Previously at Chichester Hedda Tesman (Minerva Theatre).

Theatre includes Oleanna (Arts Theatre, West End); Switzerland, King Lear (Theatre Royal, Bath); Love Love Love, A Doll’s House (Lyric Hammersmith); Gaslight (UK tour); When The Crows Visit (Kiln Theatre); Mother of Him (Park Theatre); Hobson’s Choice (Manchester Royal Exchange); Does My Bomb Look Big In This, Approaching Empty (Kiln Theatre

& Tamasha Theatre); Witness For The Prosecution (County Hall); Lions and Tigers (Shakespeare’s Globe); The Graduate (West Yorkshire Playhouse); Anita and Me (Birmingham Rep); African Gothic, My Children!

My Africa! (Two Sheds Theatre); Around the World In 80 Days (St James’s Theatre); East is East (Trafalgar Studios); The 39 Steps (Criterion Theatre); Dangerous Lady (Theatre Royal Stratford East); Rough Crossing (Headlong); The Price (Bolton Octagon); The Rover, Volpone, Wendy and Peter Pan, What Country Friends Is This?, The Homecoming, I’ll Be The Devil (RSC); and 20 seasons as Head of Voice and Dialect at The Shaw Festival Theatre, Ontario.

Television includes Beowulf, Last Tango, X Company, Ant and Dec’s Saturday Take Away, Gordon Ramsay’s Cookalong Live.

Films include Patients of a Saint, Far From The Madding Crowd, The Door, The Anomaly, Kajaki.

ADAM BEST ORLA FITZGERALD

Publications: How To Do Accents and How To Do Standard English Accents.

Digital: The ACCENT Kit app, available for iPhone and Android.

SAM STEVENSON CDG Casting Director Previously at Chichester For Services Rendered (Minerva Theatre).

Theatre includes Tartuffe, Translations, Home, I’m Darling, The Great Wave, Common, Twelfth Night, Ugly Lies the Bone and Blood & Gifts (National Theatre); Noises Off (Lyric Hammersmith & West End); Love, Love, Love (Lyric); This House (Headlong/UK tour); Labour of Love (Headlong/MGC); Richard III (UK tour); Frost/Nixon (Sheffield Crucible); the 2017 Everyman company, The Haunting of Hill House (Liverpool Everyman); The Royale, The Herd (Bush); An Inspector Calls, One Man, Two Guvnors, Breakfast at Tiffany’s, Waiting for

Godot, The Vortex (West End); 55 Days, Canary (Hampstead Theatre).

Television includes Don’t Take My Baby, Our World War, Glasgow Girls, Nightshift, Care, The Minor Character, Nixon’s The One, The Selection, Silent Witness, Money, Emma (with Gemma Hancock: Emmy nomination), Consuming Passion, Mr Loveday’s Little Outing, The Inspector Lynley Mysteries.

Film includes Treasures, Leave to Remain, Private Peaceful, Babel (UK casting), The New World (Casting Associate).

KEVIN TREACY Lighting Designer Theatre includes A Doll’s House (Lyric); for all the women who thought they were mad (Stoke Newington Town Hall); LUNATIC 19 (Finborough Theatre); Killology (Royal Court Theatre: Olivier Award 2018 for Outstanding Achievement in Affiliate Theatre); The Cherry Orchard, The Weir THE COMPANY

(Sherman Theatre, Cardiff); Bird (Royal Exchange, Manchester); Unfaithful (Traverse Theatre, Edinburgh); Macbeth, The Seafarer (Perth Theatre, Scotland); Come on Home (Abbey Theatre, Dublin).

Opera includes Così fan tutte (Nevill Holt Opera/Sage Gateshead); L’Elisir d’Amore (Norwegian National Opera); The Turn of The Screw (Kolobov Novaya, Moscow); Orpheus in the Underworld (Scottish Opera); Macbeth (Welsh National Opera); Die Fledermaus (Wermland Opera, Sweden); Faramondo (Handel Festspiele, Göttingen Germany); The Abduction from the Seraglio, Albert Herring (Grange Festival).

EVENTS

THE BEAUTY QUEEN OF LEENANE PRE-SHOW TALK

FROM LEENANE TO MISSOURI

Wednesday 8 September, 6pm Director Rachel O’Riordan in conversation with Kate Mosse.

FREE but booking is essential

POST-SHOW TALK

Thursday 23 September Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

Friday 17 September, 5pm Minerva Theatre Prompted by the production of The Beauty Queen of Leenane, join Professor Simon Barker as he introduces and explores the international range of Martin McDonagh’s work in the theatre and for the screen – and invites discussion of the growing reputation of this unique creative voice.

Tickets £5

cft.org.uk/events

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 Coordinator 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 Morgan Lucinda Morrison Kirsty Peterson Jennifer Thompson

Box Office Manager Head of Press Box Office Assistant Social Media & Digital Marketing Officer

Anne-Marie Varberg Joshua Vine Julia Walter Claire Walters Vanessa Walters

Box Office Assistant Box Office Supervisor Creative Digital Producer Box Office Assistant 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 Jake Barinov Steph Bartle Graham Burgess Jesse Caie

Transport & Logistics Stage Crew Deputy Head of Lighting No 1 Sound Automation Technician & Operator

Ben Coates Stage Crew Leonie 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 Sammy Lacey Stage Crew 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 Graham Taylor

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

cft.org.uk/aboutus

Dominic Turner Emily Williamson Linda Mary Wise

Stage Crew Technical Theatre Apprentice Sound Technician

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 Brooke Bowden Tobias Dane Emma Davidson Jessica Griffiths Kamilia Anna Harchi Fran Horler Dee Howland Abbie Johns Kirsty Lloyd Kendal Love Hannah Sargent Stacie Smith Emily Souch Loz Tait Colette Tulley Maisie Wilkins

Wardrobe Assistant Dresser Wardrobe Assistant Wardrobe Manager Assistant Wigs Wardrobe Manager Deputy Wigs Dresser Deputy Wigs Wigs Manager Dresser 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, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, Bob Bentley, Gloria Boakes, Judith Bruce-Hay, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Gaye Douglas, Stella Dubock, Clair Edgell, George Edwards, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Anna Grindel, Karen Hamilton, Caroline Hanton, Justine Hargraves, Joseph Harrington (Trainee), Gillian Hawkins, Joanne Heather, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Pippa Johnson, Ryan Jones, Jan Jordan, Jon Joshua, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Emily McAlpine, Janette McAlpine, Chris Monkton, Susan Mulkern, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Barbara Pope, 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 Front of House Hosts: Ian Bevan, Dennis Brombley, Amanda Duckworth, Lexi Finch, Daniel Hill, Maille Lyster, Judith Marsden, Samantha Marshall, Fiona Methven, Fleur Sarkissian 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 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 Paul Arman Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Franciska and Geoffrey Bayliss Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Janet Bounds Pat Bowman Lucy and Simon Brett Nick and Carol Brigstocke 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 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 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 Mrs Raymonde Jay Robert Kaltenborn Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Anna Christine Kennett 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 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 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 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 Peter and Sioned Vos David Wagstaff and Mark Dune 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 Angela Wormald And all those who wish to remain anonymous

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

John and Susan Coldstream, Benefactors and Festival Players

cft.org.uk/supportus

S U P P O R T E R S 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

The Lyric Hammersmith Theatre is one of the UK's leading producing theatres; creating bold and relevant world-class theatre from the heart of Hammersmith.

We created some of the UK’s most adventurous and acclaimed theatrical work over our 125 years. Working with some of the world’s finest writers, directors, actors and theatre companies; from Harold Pinter to Tanika Gupta; Sir John Gielgud to Sheila Hancock; Complicite to Frantic Assembly.

We are committed to being vital to, and representative of, our local community and to being a major force in London and UK theatre. We develop and nurture the next generation of talent, and provide opportunities for young people from all backgrounds to discover the power of creativity.

The Lyric has two stages – a Frank Matcham designed traditional Victorian Main House and a flexible contemporary Studio theatre. The theatre’s Reuben Foundation Wing, houses state-of-the-art creation and arts education facilities for theatre, dance, film, digital and music.

The Lyric is the largest creative hub in West London and home to an innovative partnership of arts organisations who work together to deliver life-changing creative opportunities for thousands of young West Londoners.

Right in the heart of Hammersmith, your beautiful theatre is here for everyone.

Find out more about our work at Lyric.co.uk