Acceptance programme

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I TA NS T W EN DORES AD P T E KIN PS T M IA A HA EL C

2 MARCH 7 APRIL

By AMY NG Directed by ANNA LEDWICH

#HTAcceptance

WELCOME Acceptance may only be Amy Ng’s second play, but it was an automatic choice to bring the financial year 2017-18 to a close alongside Caroline, or Change upstairs. This has been a busy year for us, and though it may, of course, be the last year in which Downstairs will operate as a year-round producing theatre, it is worth celebrating with some brief statistics: In any week of the year Hampstead had an average 17.6 actors under contract; including Stage Management we employed an average 24.4 Equity members every week. That places us on a par with the busiest theatres in the UK. With the reduction in our funding it will be hard to maintain this level of activity of course, and we’ll be more dependent on your support to enable us to do so.

Some facts about the casts we have employed: the gender balance of the actors appearing on our stages across the year was exactly 50/50; 41% of the actors appearing on our Main Stage were BAME; across both stages 37.5% of actors appearing were BAME; 25% of the plays premiered were written by BAME playwrights.

Hampstead, then, is presenting work that largely reflects the population of contemporary London - and is doing so to capacity houses. I say “largely” because, alas, we will have underperformed when it comes to female playwrights: where 28% of the plays we receive from agents are by women, this year only 23.5% of the plays presented were female-authored. But the work we receive goes in cycles, and next year’s repertory already looks better balanced in this regard. Still, we do need your support because it obviously remains urgent that Hampstead Downstairs can continue to nurture the emerging generation: Georgia Christou, Ella Road, Fiona Doyle and, of course, tonight’s Amy Ng.

EDWARD HALL ARTISTIC DIRECTOR

CAST IN ALPHABETICAL ORDER BIRCH COFFIN MERCY JONES ANGELA CHAN BEN COHEN VOICE ACTORS

TERESA BANHAM DEBBIE KORLEY JENNIFER LEONG BO PORAJ AOSAF AFZAL JONATHAN BLAYDON ROXANE BOURGES CHARLOTTE DOWDING ANDREW GICHIGI SORAYA SPIERS MARLOW STAINFIELD NIAMH WATSON

CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER SOUND DESIGNER ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER REHEARSAL PHOTOGRAPHER PRODUCTION PHOTOGRAPHER COSTUME SUPERVISOR

AMY NG ANNA LEDWICH FRANKIE BRADSHAW ELLIOT GRIGGS ALEXANDRA FAYE BRAITHWAITE KAYLA FELDMAN TAMMY ROSE MICHAEL DENNIS BECKY PARIS ROBERT DAY FLORA MOYES

THE WILL MORTIMER INTERVIEW WM This is your second play… How did the issues it tackles come to seize your attention?

AN I wanted to explore the many aspects of “acceptance” – acceptance to what?

By whom? What is acceptable? Who judges what is unacceptable? Can you buy acceptance? Too many applicants and their parents think acceptance into Harvard and Yale, Oxford and Cambridge etc is like a Charlie and the Chocolate Factory kind of golden ticket — to heaven, to the Elite/Inner Circle; a guarantee of success in life. In this play, my protagonist has to work painfully towards self-acceptance.

WM Hampstead takes a very artistcentred approach to production, so you and your director Anna Ledwich have had a free hand in developing the text and bringing it to production.

Can you describe that process?

AN Anna and I met a number of times to discuss the play before the rehearsal period. After each meeting I’d rewrite the play and she would always send back very helpful notes, with the process intensifying the closer we got to D-day (first day of rehearsals). In fact, we are still redrafting the play in the second week of rehearsals. I felt from the start that Anna got the play and the issues, and so it was more a matter of trying to

find a form to express the ideas best, and adjusting the rhythms of the play.

WM And how much influence has the director had over the eventual shape of the piece? Has that been a happy collaboration?

AN It has been a happy collaboration.

I have rewritten the play about 3 times since meeting Anna, so she’s definitely put her stamp on the piece, especially on the ending. Anna suggested that a scene which had come at the mid-point of the play be moved to the end, which I think vastly increases the power and poignancy of the play.

WM How are you feeling about the rehearsal process at the moment?

AN I am really enjoying it, though I was alarmed at how much I was rewriting during the first two weeks.

Anna runs a calm rehearsal room.

She really listens to input from actors (and writer!) but ultimately makes the necessary decisions. There are some sticky issues in the play, and by being calm and matter of fact, Anna has enabled a safe environment to explore. The actors are all at the top of their game, and have been both generous and forensic in excavating the play for hidden meanings.

THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER

AMY NG

WM Though the play is rooted in the personal, it is definitely a play with political points to make… Do you think that’s fair, and would you describe yourself as a political playwright?

AN My background is in political history which inevitably informs my work, though this is not a political play with a capital ‘P’. I’ve always been very interested in how big political issues are refracted in the lives of people on the ground. I also believe that the personal is political, and the political personal, so yes, in that sense I am a political playwright.

WM What do you want the audience to take away from the play?

AN ‘There are more things in heaven and earth…than are dreamt of in your philosophy.’

That reality is always bigger than our limited perceptions; that ideologies are almost always simplifying and distorting of complex individuals and situations.

WM Do you think all playwrights have an obligation to be political – with either a small or a capital “p”?

AN I am uncomfortable with the language of ‘obligation’ since I find that can be quite paralysing for a playwright. That said, since our lives are enmeshed in and formed by politics, any play, whether it is a love story, a family drama, a thriller, a coming of-age journey etc, is bound to be political with a small ‘p’.

JENNIFER LEONG

AFFIRMATIVE ACTION

BY WHITNEY FOSTER

Ivy League college presidents are defending their use of affirmative action during the admissions procedure, stating that is “necessary” in the hiring process.

Affirmative action is back in the news again after Donald Trump’s administration decided to investigate complaints against Harvard University that affirmative action was discriminating against Asian students.

Just last year, the Supreme Court ruled in favor of the University of Texas after Abigail Fisher, a white woman, claimed discrimination after her rejection based

review many factors.”

The president of Princeton University has defended the school’s use of affirmative action in the admissions process. In an interview conducted with CBS News, Princeton President Chris Eisgruber insists that a “race-conscious” approach is necessary: “We want students to go out in the world and have an impact in a multicultural and diverse society and to produce those kinds of students; we need to have a diverse student body on this campus.”

‘Ivy League college presidents are defending their use of affirmative action during the admissions proCEDURE, stating that is “necessary” in the hiring process’ on affirmative action.

This time, it’s Asian students who are feeling the sting, and some are now siding with white Conservatives who have been against affirmative action since its early days. In 2014, Asian American groups brought allegations against Harvard University after they limited the admissions of Asian students. The school favored Hispanics and African Americans in their admissions selections to create a “racially balanced” student body.

Melodie Jackson, a Harvard spokesperson, stated that Harvard is committed to equal standards in admissions policies: “Harvard’s admissions process considers each applicant as a whole person, and we

Michael Wang - an Asian student with a 2230 SAT, perfect ACT score, and a 4.67 GPA - applied to every Ivy League university in 2012, but he was only accepted to one.

He believed things would be different had he been African American or Hispanic.

On the other hand, the New York Times reported that Jonathan Haynes, an African American student, stated that others told him that the only reason he was going to Princeton was that he was black. Eisgruber insists that race is just one, but one important, factor in considering admission to Princeton: “…I can guarantee that all of our students are held to an equal standard. It’s tough to get into Princeton, and it’s tough to get

into other Ivy colleges regardless of what group you’re from, but everybody gets a fair shake.”

Colleges are not secretive about taking race into account during admissions processes. Many admissions departments state that academics are not the only factor considered in college admissions.

Private schools like Princeton and Harvard openly stand by their policies of using race as an admissions factor.

The group that brought allegations against Harvard University calls itself ‘Students for Fair Admissions’. In its complaint, the group stated that Harvard was using similar techniques to cap Asian students to those

‘In 2014, Asian American groups brought allegations against Harvard University after they limited the admissions of Asian students’ However, it seems that affirmative action, while being advantageous for some, inadvertently leaves others behind.

Low-income students are also sought by admissions officers to achieve diverse freshman classes. Public universities cannot use race as a factor in admissions policies. They substitute income levels for race, hoping to make up the difference.

it has previously used on Jewish students.

However, Harvard recently announced that its upcoming freshman class is majority non-white, with Asian students making up the highest minority percentage.

Whitney Foster is a freelance writer based in Cleveland, Ohio. She is a member of the Freelance Writer’s Den and has a website at www.whitneyafoster.writersresidence.com

AFFIRMATIVE ACTION – known in the UK as positive discrimination - was introduced by John F Kennedy in 1961, with a law which included a provision that government contractors “take affirmative action to ensure that applicants are employed, and employees are treated during employment, without regard to their race, creed, colour, or national origin.”

This practice was later included in university admissions procedures, encouraging people from ethnic minorities to apply for university, even if they had not attended a school that traditionally sent students on to higher education.

JENNIFER LEONG

DEBBIE KORLEY TERESA BANHAM

BO PORAJ JENNIFER LEONG

ANNA LEDWICH

CAST AND CREATIVE TEAM AMY NG WRITER

Amy is a British-Hong Kong playwright. Her debut play Shangri-La premiered at the Finborough Theatre in July 2016. Her radio play Tiger Girls will be broadcast on 17 July 2018 on BBC Radio 4. She is under commission to the Royal Shakespeare Company, Belgrade Theatre Coventry, Yellow Earth Theatre, and feminist theatre company Dangerous Space. She was recently named in the BBC New Talent Hotlist 2017.

Amy is also the author of Nationalism and Political Liberty (Oxford University Press).

ANNA LEDWICH DIRECTOR

Anna began her directing career at Theatre503.

She was awarded the Michael and Morvern Heller Director’s Bursary at Chichester Festival Theatre and was co-Artistic Director of Theatre on the Fly for Chichester’s 50th Anniversary Celebrations.

Anna received the Gate Theatre/Headlong New Directions Award for her adaptation of Frank Wedekind’s Lulu and was nominated for the 2015 Olivier Award for Outstanding Achievement in an Affiliate Theatre for Four Minutes Twelve Seconds at Hampstead Downstairs.

Recent work includes Cookies (Theatre Royal Haymarket); Dry Powder and Labyrinth (Hampstead Theatre); No One Will Tell Me How to Start a Revolution; The Argument; Deluge; Donny’s Brain and The Empty Quarter (all Hampstead Downstairs); Kiss Me and Four Minutes Twelve Seconds (both Hampstead Downstairs/West End); The Stick House (Raucous Collective/Bristol Old Vic); Blue Remembered Hills and A Christmas Carol (both Chichester Festival Theatre); Dream Story (Gate) and How Does A Snake Shed Its Skin (Summerhall/ National Theatre Studio).

Anna’s adaptation of Beauty and the Beast premiered at Chichester Festival Theatre in 2017.

TERESA BANHAM BIRCH COFFIN

Theatre work includes a Chorus of Disapproval (West End); Heresy of Love and Measure for Measure (both RSC); The Glass Menagerie (Theatre Clwyd); True Love Lies (Royal Exchange); Test the Echo (Tricycle); Thomas More; A New Way To Please You; Believe What You Will and Speaking Like Magpies (all RSC West End); The IO Passion (Almeida); One Minute (Bush); Othello (Northampton/Greenwich); The Shawl (Sheffield Crucible); My Best Friend (Hampstead Theatre); Snake in the Grass (Old Vic); The Herbal Bed (RSC/West End); The White Devil (RSC); Anna Karenina (Shared Experience) and Here (Donmar).

Television work includes Vera; Poirot: The Big Four; Utopia; Silent Witness; Waking the Dead; Doctor Who; Robin Hood; Dalziel & Pasco; Trial and Retribution; Vincent; Rose and Maloney; Redcaps; Trust; The Project; Gentleman’s Relish; Monsignor Renard; Touch and Go; Out of Hours; Six Sides of Steve Coogan; Roughnecks; Ghost Hour: The Healer and The Adventures of Sherlock Holmes.

DEBBIE KORLEY MERCY JONES

Theatre work includes King Lear (Royal Exchange); Cargo (Arcola); Beowulf (Unicorn); Prurience (Southbank Centre); The Residents (Albany); Boi Boi is Dead (West Yorkshire Playhouse); Black Jesus (Finborough); Too Clever By Half (Royal Exchange); The Endings (Theatre503/ Papercut Theatre); King Lear; American Trade; Little Eagles; Hamlet; Morte d’Arthur; Romeo and Juliet; As You Like It; The Comedy of Errors and The Grain Store (all RSC); Coram Boy and A Matter of Life and Death (both National Theatre); Feathers in the Snow (National Theatre Studio); Cinderella (Theatre Royal, Stratford East); Whistle Down the Wind (Palace/UK tour); Sick! (Almeida); Ten Suitcases (Drill Hall); The Vagina

Monologues (Mercury); Aida (Albert Hall) and The African Maiden (Blue Elephant Theatre).

Film work includes King Lear and The Ones Below.

Television work includes Delicious; Doctors; Cbeebies; Green Balloon Club; Holy Smoke; Casualty; Night and Day and Night Fever.

Radio work includes Homefront.

JENNIFER LEONG ANGELA CHAN

Theatre work includes Kiki’s Delivery Service (Southwark Playhouse); From Shore to Shore (On the Wire/UK tour); Globe to Globe Hamlet (Shakespeare’s Globe/World tour) and Di and Viv and Rose (Tristan Bates).

Film work includes Kat and the Band.

BO PORAJ BEN COHEN

Theatre work includes Gloria (Hampstead Theatre); Blithe Spirit (Apollo); Roman Bath (Arcola); Timon of Athens (Shakespeare’s Globe); Cloud Nine (Almeida); Easter and Americans (both Oxford Stage Company); Doctor Faustus (Young Vic); Stairs to the Roof (Chichester Festival Theatre); The Tempest (RSC); Remembrance of Things Past (National Theatre); Hamlet (Bristol Old Vic); Three Sisters (Oxford Stage Company); The Glass Menagerie (Watford Palace); Much Ado About Nothing (Cheek by Jowl); Prayers of Sherkin (Old Vic); Fair Ladies at a Game of Poem Cards (National Theatre); Tartuffe (Almeida) and Mother Courage and Her Children (National Theatre).

Film work includes Angel Has Fallen; The Boat That Rocked; Stormbreaker; The Queen of Sheba’s Pearls and Enigma.

Television work includes Lucky Man; Boomers; Musketeers; Miranda; The Thick of It; Waking the Dead; Holby City; The Golden Hour; Murder Prevention; Eastenders; North West Passage; Ny-Lon; D-Day; Killing Hitler; Casualty; Wycliffe; Underworld; No Bananas and The Thin Blue Line.

FRANKIE BRADSHAW DESIGNER

Frankie is a set and costume designer for theatre and performance. She was a Jerwood Young Designer in 2017, won the Off West-End Best Set Design award in 2016 for Adding Machine (Finborough) and was a Linbury prize finalist in 2015.

Designs for theatre include Saved and Colder Than Here (both GSMD); Cookies (Haymarket); Easter (RADA); Oxy and the Morons (New Wolsey, Ipswich); Private Lives (UK tour); Di and Viv and Rose (Stephen Joseph); Nesting (Watermill Theatre); Assata Taught Me (Gate); Moth (Hope Mill Theatre, Manchester); Trestle and Orca (both Southwark Playhouse); La Ronde (Bunker Theatre); Clickbait and A First World Problem (both Theatre503); Barbarians (Young Vic – JMK Award 2015, Olivier Award Nominated); Grav (Torch Theatre, Wales); Stories from the Sea (Unity Theatre, Liverpool); Punk Rock (Actor’s Studio, Liverpool); The Picture of Dorian Gray and The Comedy of Errors (both LIPA, Liverpool).

ELLIOT GRIGGS

LIGHTING DESIGNER Theatre work includes Dry Powder (Hampstead Theatre); Diminished; The Argument and Deluge (all Hampstead Downstairs); Disco Pigs (Irish Rep, NY/Trafalgar Studios); Cookies (Haymarket); Loot (Park Theatre/Watermill Theatre); Kiki’s Delivery Service (Southwark Playhouse); Hir (Bush); The Oracles (Punchdrunk); My Eyes Went Dark (59E59/Traverse/Finborough); An Octoroon;

Low Level Panic; Sheppey and Buckets (all Orange Tree); Home Truths and Benefit (both Cardboard Citizens); The Sugar-Coated Bullets of the Bourgeoisie and Lampedusa (both HighTide); Faust X2 (Watermill Theatre); Fleabag (Soho/UK tour); Fool For Love (Found 111); Educating Rita (Hull Truck); The Night Watch (Royal Exchange); Martha, Josie and the Chinese Elvis (Bolton Octagon/Hull Truck); Yen (Royal Court/Royal Exchange) and Pomona (National Theatre/Royal Exchange/Orange Tree - Off West End Award for Best Lighting Designer).

Event Design includes Height of Winter; The Single-Opticon and Alcoholic Architecture (Bompas & Parr).

ALEXANDRA FAYE BRAITHWAITE SOUND DESIGNER

Theatre work includes Kanye the First (Hightide Festival); Room (Theatre Royal, Stratford East/National Theatre of Ireland); If I Was Queen (Almeida); Rudolph (West Yorkshire Playhouse); The Remains of Maisie Duggan (National Theatre of Ireland); Torch (New Diorama); Grumpy Old Women III (UK tour); The Tempest (Royal & Derngate); Simon Slack (Soho); Diary of a Madman (The Gate/Traverse, Edinburgh); The Rolling Stone (Orange Tree - Nominated For Off West End Award For “Best Sound Design”); Happy to Help (Park Theatre); The Future (The Yard); My Beautiful Black Dog (Southbank Centre); Hamlet Is Dead. No Gravity (Arcola); Juicy & Delicious (Nuffield Theatre); Remote (Theatre Royal Plymouth); The Shelter (Riverside Studios) and Lonely Soldiers (Arts Theatre).

DEBBIE KORLEY

PATRONS AND SUPPORTERS INDIVIDUALS CREATIVE BENEFACTORS Anonymous Celia & Edward Atkin CBE Veronica & Lars Bane Kurt & Paivi Björklund Martin Byman & Peggy Samson Sir Trevor & Lady Chinn Lin & Ken Craig Barbara & Mick Davis Simon & Claire Godwin Andrew & Marina Newington Simon & Midge Palley Maarten & Taina Slendebroek Katja & Nicolai Tangen Mary Ellen & Tom Wanty Mattias Westman PATRONS Standing Ovation Celia & Edward Atkin CBE Alexander Graham James Sellar Encore Eric Abraham Tania Black Sir Trevor & Lady Chinn The John S Cohen Foundation The George Colman Charitable Trust Ros & Alan Haigh Madeleine Hodgkin Selina & David Marks Davide & Anna Serra David Tyler & Margaret Fingerhut Opening Night Jocelyn Abbey & Tom Carney Anonymous Russ & Linda Carr Bell Cohen Charitable Trust Scott Delman Dr Natalie Greenwold Melanie Johnson Lady Rayne Sue & Tony Rosner Melanie & Michael Sherwood David Sigall Roland & Sarah Turnill Claire Tremeer & Bob Reichert Sarah Williams Preview 1001 Nights Productions Ltd Heather Acton Bob Ainscow Anonymous Kay & Jim Ashton Liz & Mark Astaire Lucy Astor Ann & Neil Benson James & Melissa Bethell Pauline & Brian Binstock Françoise Birnholz & Joseph Taussig Niall Booker Katie Bradford Dorothy & John Brook Gillian & Tom Budd Jules & Cheryl Burns Barry & Deborah Buzan Paul & Rachel Campbell Lord & Lady Carlile Paul & Fiona Cartwright Richard & Robin Chapman Dr John L Collins & Mrs Isabel C H Collins Meera Cortesi David Dutton Michael Frayn Ian & Margaret Frost Arnold Fulton Jackie & Michael Gee Jacqueline & Jonathan Gestetner Lisa & Edward Goldfinger Katya Gurova Andrew Harrington & Susan Schoenfeld Harrington Claudia & Christopher Harris

Sir Michael & Lady Heller Yew Weng Ho & Gordon Lewis Tracy Hofman Hollick Family Charitable Trust Sara Holmes-Woodhead Zmira & Rodney Hornstein John Hyatt Andrew & Elizabeth Jeffreys Adam Jones Jean-Charles & Luce Julien Ralph & Patricia Kanter Dr Costas & Dr Evi Kaplanis Julie Kaya & Paul Smith Ian & Deborah Kelson Nicola Kerr Varvara Kjallgren Sarah Kleiman Janet Langdon Melvin & Jackie Lawson Wilson & Mabel Lee R Leeming J Leon Charitable Fund Claudia & Richard Leslie Karen & Lawrence Lever Caroline Macdonald & David Simmons Alan Maclean Alexandra Marks CBE Julia & Julian Markson Philip Marsden Mark & Cassy Martell Elizabeth & Ashley Mitchell Catherine & Garry Monaghan Diana & Allan Morgenthau Andrew & Jennifer Morris Terry & Jenny Nemko Hugh O’Donnell & Vivienne De Courcy Ellie & Philip Olmer Alison & Simon Parry-Wingfield Karen & Ian Paul Helen Payne & Matthew Greenburgh Penny & Richard Peskin Michael & Livia Prior The Raven Charitable Trust Michaela Rees Jones Kathleen Roberts Cissie Rosefield Charitable Trust Sir David & Lady Scholey Barry Serjent Sophie & David Shalit Bhags Sharma Philip & Janice Silvert Lucy & Joe Smouha Margo & Nicholas Snowman OBE Josh & Vivienne Spoerri Josi & Alan Steinfeld QC William & NanDee Stockler Robert & Patricia Swannell Peter Tausig Tobyn & Sam Thomas Marina Vaizey Rob & Laura Wallace Carole & David Warren Simon & Charlotte Warshaw Sophie & Stephen Warshaw Melissa Jean Woodside Sir Clive & Lady Woodward Hilda & Marc Worth Dress Rehearsal Anonymous Pauline & Daniel Auerbach Graham & Michelle Barber Maggie Barnes Lisa & Andrew Barnett Ian Bell Ben-Levi Family Lisa & Robi Bernberg The Beryls Joanne Black & Nick Young Miriam & Richard Borchard Molly Borthwick Clive & Rosalind Boxer Rene Branton-Saran Catharine Browne Steven & Miriam Bruck Fatma Charlwood The Cheruby Trust Maureen Clark-Darby

Lord & Lady Collins of Mapesbury Mr & Mrs Leigh Collins Simone Collins Edward Cooke Katie Cooper Derek Councell & Jenny Dover Allan & Sylvia Cowen Lynette & Robert Craig Mark Dennis QC & Christabel Dennis Kate Donaghy Robyn Durie Sally & Steven Dyson Judith Farbey & Prabhat Vaze Françoise Findlay Gail & Michael Flesch Sue Fletcher Jane & Nigel Franklin Roger & Marilyn Freeman Emma Friedman & Kevin Gold Gillian Frumkin Jenny Garcia Baroness Garden Eleni Gill Julietta Gishen Nick & Fiona Green Elaine & Peter Hallgarten Mark Hamsher & Elna Jacobs Pamela, Lady Harlech Harris Family Charitable Trust Florence & Neil Hasson Jean Hawkins Mary Holness Victoria & Ronald Hooberman Chris Hopson & Charlotte Gascoigne Gillian & Barry Howard Doris & Terry Hugh Dr June Huntington Alan & Louise Jacobs Irina & Russell Jacobs Dr Alison Jones Cassandra & Taig Karanjia Alex & Grace Kay Nina Kaye & Timothy Nathan Richard & Susan Keller Angela & John Kessler Edna Kissmann Roger & Yvette Kutchinsky Anne & Brian Lapping Danielle Lawrence Rose & Dudley Leigh Tania & Olivier Levenfiche Roger & Vivien Lewis Sir Sydney Lipworth QC & Lady Lipworth CBE Claire Livingstone Alison & Michael Lurie Kinvara MacTaggart Guido Manca Nick & Sophie Marple Amanda May Jo McKenna Isabelle Mee Dianne & Martin Mendoza Nadya Menuhin Patricia & Richard Millett Clive Mishon Geoffrey Mitchell Beate Mjaaland David & Sandy Montague Mr Nigel Moore David & Bev Mullarkey Nicholas Murphy Jonathan Mussellwhite & Daphne Walker Cecilia Orive Hilary Page & Michael Rosenberg Julia Palca & Nicolas Stevenson Parkheath Franchising Deborah & Clive Parritt Jonathan Pfitzner Mrs Kirsten Poler Jacob Polny Sir Brian & Lady Pomeroy Jane & Nick Prentice Kate Rankine Mike & Louise Redferne Donald Rogers Dan Rosenfield Anthony & Lizzie Rosenfelder

Brenda & Neill Ross Bob & Pippa Rothenburg Marion Rubens The Rubin Foundation Isabelle Rush-Canevet Dick & Mandy Russell Elizabeth Frost Sainty Mariam Moussavi Satrap Louise & Greg Scott Elizabeth Selzer Suzanne & David Shalson David Sherborne Lucy & Jonathan Silver Brian Smith Karen Smith Dr Diana Spencer Victoria Stark Peter & Prilla Stott James & Imogen Strachan Esther & Romie Tager QC Anthony & Jacqueline Todd Katharine Turner The Andrea and Claudia Utermann Charitable Trust Laurence Vallaeys Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Christopher Walsh Carole & Denis Waxman Paul & Manya Wayne Dr Adrian Whiteson OBE & Mrs Myrna Whiteson MBE Francoise Winton Richard & Susan Wolff David & Vivienne Woolf Katherine Wood J. Wrightson Mrs Karen Yerburgh Michael & Michaela Zelouf Corporate Supporters Aesop Bennetts Associates Farrow & Ball – Hampstead Showroom Linklaters MAC Cosmetics Nyman Libson Paul TRUSTS AND FOUNDATIONS The AKO Foundation The London Community Foundation & Cockayne – Grants for the Arts The Dorset Foundation The David & Elaine Potter Foundation The Rose Foundation The Rothenberg Family * The Sobell Foundation * Sir Siegmund Warburg’s Voluntary Settlement * Access Programme HAMPSTEAD DOWNSTAIRS The Andor Charitable Trust Anonymous The John S Cohen Foundation Clore Duffield Foundation Fenton Arts Trust Tracy Hofman Mr & Mrs V Meyer Edith and Ferdinand Porjes Charitable Trust James Roose-Evans (FTP) The Sackler Trust The Vandervell Foundation Mary Ellen & Tom Wanty The Peter Wolff Trust HAMPSTEAD THEATRE LITERARY FUND Adèle Bennett Legacy The Estate of Margaret Lowy The Estates of Peter Anthony Lund and David Gavin Lund In Memory of Henry & Esther Rudolf The Harold Hyam Wingate Foundation INSPIREALEC NEWMAN Jon & NoraLee Sedmak

MAIN STAGE

WHAT’S ON CAROLINE, OR CHANGE BOOK AND LYRICS BY TONY KUSHNER

MUSIC BY JEANINE TESORI DIRECTED BY MICHAEL LONGHURST 12 MARCH - 21 APRIL

DESCRIBE THE NIGHT

BY RAJIV JOSEPH DIRECTED BY LISA SPIRLING 30 APRIL - 9 JUNE

GENESIS INC. DOWNSTAIRS

BY JEMMA KENNEDY DIRECTED BY LAURIE SANSOM 22 JUNE - 28 JULY

THE PHLEBOTOMIST

BY ELLA ROAD DIRECTED BY SAM YATES 12 APRIL - 19 MAY

THE STRANGE DEATH OF JOHN DOE

WEST END

BY FIONA DOYLE DIRECTED BY EDWARD HALL 25 MAY - 30 JUNE

PLAYFUL PRODUCTIONS PRESENTS HAMPSTEAD THEATRE’S

THE MODERATE SOPRANO

BY DAVID HARE DIRECTED BY JEREMY HERRIN 5 APRIL - 30 JUNE | DUKE OF YORK’S, LEICESTER SQUARE

WITHERBYS

ARE PROUD TO SUPPORT THE PROGRAMME FOR THE HAMPSTEAD DOWNSTAIRS’ PRODUCTION OF

ACCEPTANCE