HAMPSTEAD THEATRE PRESENTS THE CHICHESTER FESTIVAL THEATRE PRODUCTION OF
CAROLINE, OR CHANGE BOOK & LYRICS BY TONY KUSHNER MUSIC BY JEANINE TESORI DIRECTED BY MICHAEL LONGHURST
WHAT’S ON DESCRIBE THE NIGHT BY RAJIV JOSEPH DIRECTED BY LISA SPIRLING 30 APRIL – 9 JUNE
GENESIS INC. D OW N S TA I R S
BY JEMMA KENNEDY DIRECTED BY LAURIE SANSOM 22 JUNE – 28 JULY
ACCEPTANCE BY AMY NG DIRECTED BY ANNA LEDWICH 2 MARCH – 7 APRIL
THE PHLEBOTOMIST BY ELLA ROAD DIRECTED BY SAM YATES 12 APRIL – 19 MAY
THE STR ANGE DEATH OF JOHN DOE ON TOUR
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 THEATRE LEICESTER SQUARE
WELCOME Sometimes it’s good to kick over the traces. We know how much you enjoy the fact that we present a repertoire of premieres and unfamiliar work, because our House Full sign sees an awful lot of service… So we know you have an appetite for the unfamiliar and the surprising – nobody looks to Hampstead for the predictable revival – but here in Caroline, or Change, comes the rare opportunity to see a landmark production of a unique and powerful musical. Hampstead Theatre has had a long and happy association with Tony Kushner, so it was a delight to hear that his collaboration with Jeanine Tesori was being revived at Chichester last spring. Michael Longhurst was directing and he was about to direct Gloria for us here, so there were many reasons for battling to the South Coast on a Bank Holiday Monday to see it. I had seen the National Theatre production of Caroline in 2006, but this production felt like it was of an entirely different piece; not only was it superbly directed and designed, but the cast, led by the extraordinary Sharon D. Clarke, were phenomenal and Kushner and Tesori’s musical emerged new-minted. After the performance, more than anything, I urgently wanted to bring it to a London audience. The size of our auditorium has always made producing musicals a challenge, but despite this, and despite the increased financial pressure we are now under, it became an imperative that we bring this piece of work to you. So, finally, after much wrangling, a complex production process, and entirely thanks to the generosity and support of our friends at Chichester and at ATG - here it is! The plea at the heart of Caroline is that racism and poverty are evils with an incalculable human cost. And the contemporary resonance of the piece has grown since its Chichester outing: the Charlottesville Rally last August, sparked by the removal of a confederate monument and resulting in three deaths, shows that less has changed since 1963 than might have been hoped. Such events must serve to galvanise the struggle for a fairer society, because the transformative achievements of the American civil rights movement have demonstrated that real social change is achievable. But such progress only comes when a society recognises its faults and determinedly elects for change. And ours are dark times. EDWARD HALL ARTISTIC DIRECTOR
THE WILL MORTIMER INTERVIEW WM Tony, to what degree is Caroline, or Change autobiographical? TK Well, it’s more autobiographical than anything else I have written. Like Noah I grew up in Lake Charles, Louisiana, though unlike him, I had siblings. My mother got sick when I was about 11, though happily she didn’t die. The dead mother in the play was a bassoonist and my mother was a bassoonist; the father in the play is a clarinettist and my father was a clarinettist... And the play is dedicated to a woman called Maudie Lee Davis, who still lives in Lake Charles and on whom the character of Caroline is based. There are incidents from my childhood worked into the story, but it’s not a docudrama – for one thing there are singing washing machines and dryers, and I’m pretty sure that didn’t happen when I was a kid! WM Tell me about how you came to write the piece. TK I was commissioned by San Francisco Opera to write a libretto for Bobby McFerrin, but he decided he didn’t want to write an opera. So I took it to George C. Wolfe who had directed Angels in America on Broadway, we resolved to work on it together and immediately decided to ask Jeanine Tesori to write the music… and she said… NO!… JT NO! (laughter)… Well, what I originally read was dazzling, but it felt somehow hermetically sealed. Music is filled with repetition – your ear has to settle on something before it moves onto the next thing – and it didn’t feel like there was any room for what I did. TK In the meantime we were hired to work together on a musical based on a movie; we wrote one song and decided not to continue with it. But we had loved working together, so I called her and asked her to look at Caroline again. She said she would, George and I organised a reading, and a week or two later she played me The Bus song – and I was completely blown away… From there we worked on it piece by piece, and it remains for me the single most wonderful collaborative experience of my entire working life. I rewrote a lot, and George was enormously important in shaping it… JT Caroline changed everything for me; it changed the way I work. I had never worked from the inside outwards, and one of the reasons I said ‘no’ at first was because I didn’t recognise an alternative way
of working. Everything about the experience was new and nothing would ever be the same again afterwards. It changed the way I think about Musical Theatre and about theatre in general. WM So you stripped the text back and you rebuilt it with music? JT At the beginning everything in the text was single spaced and there was no song form, so we would focus on kernels of ideas and we started the tennis game... This is the story, these are the ideas, this is how people talk, this is the washing machine... TK Yes, the original version was written like a one act play without intermission. And about half way through, Caroline’s kids came on, and they sang a tiny little song; Jeanine said, ‘Well, I think that if we are going to see her kids, it has to be something bigger’ and boy, did she get her wish! We talked about what it might be, and I went off and tried to expand it. And it turned into Roosevelt Petrucius Coleslaw at the end of the first act, which is the longest number in the entire show! But that grew out of a tiny little kernel and Jeanine’s comment which really hit home: you can’t just bring these kids on as a prop - you have to really give them time on stage. And Lot’s Wife, Caroline’s big number near the end, the version that Jeanine first received had a preacher giving a sermon about Lot’s wife… JT …and there were singing frogs… TK Well, George got rid of the frogs, but it wasn’t originally sung by Caroline – she was at church and there was a preacher… I went through about eighteen iterations and it changed enormously. It became something much deeper, but I struggled with the question of whether or not Caroline would actually change, would move herself into a different place… I didn’t want that. I called George and said ‘I really don’t know what to do’, and he said ‘Do what you think is right’ so I did, and Murder Me God (the closing section of the number) came really quickly. JT …and Murder Me God has I Hate the Bus playing as a tenor melody underneath it. One of the things we were doing was exploiting the circular value of a long form composition. We used echoes: Caroline’s first humming is also the first thing that the father plays on the clarinet and the washing machine’s music is also
THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER AND COMPOSER
TONY KUSHNER & JEANINE TESORI based on it... Everybody is in concert with everybody else, everybody is in dialogue, even though they don’t know it. WM Was the plan always that it would be through - composed? JT At the start I think Tony was thinking that it would be a book musical but I absolutely knew it would be through-composed because his original impulse had been that everything was to be considered musically, and the way that it first appeared on the page felt operatic. It wasn’t a musical, it was an opera. I used to call it a ‘thopera’ because it is its own thing. TK Jeanine made it possible for it to stay throughcomposed by avoiding recitative, which is the thing that kills many modern operas. A lot of modern composers, it seems to me, have lost the trick of integrating recitative into the dynamic flow of the music… WM Did you have any musical models in mind? JT Well, Janacek, who is a composer I really admire
because of how the music is moulded around the speech patterns – I love his work. But I was also taken with Tony’s family: they are their own opera and I became obsessed with the concert of that household, and with his ear and his operatic nature... His family were their own band: I’d ask Tony what would he practice? What would your mother be playing? I would just note it down and listen to it later. So there were things I really didn’t need to invent because they were available and part of the world… like those old sing-song playground songs. There was so much on the palette, so many things to paint with. WM Talk to me about George C. Wolfe’s input to the creative process. TK Well, there’s nothing sentimental about George: he is somebody who has thought in a searching and rigorous way about identity and about how identity affects power dynamics in American society – or in any democratic society. And he’s thought about it in terms
Mrs Maudie Lee Davis, the Kushners’ Housekeeper in Lake Charles
of speech, in terms of literature, in terms of music, in terms of rhythm. I had a problem when I was writing because of the African-American speech patterns. I grew up in a progressive household and imitating the way AfricanAmericans speak was something our parents would never let us do – I found myself feeling anxious about doing it. But I knew that I could go to George and say: is this OK, and if I had got it wrong he’d say NO but once he’d said YES we could hand it over to these amazing performers and actors and they’d tell me if I had it wrong. He was also always pushing me... George doesn’t take anything for granted: everything that he puts on stage he has grappled with in an incredibly tough minded way. When we were first working with actors, the question came up, ‘How do you play a washing machine or a dryer?’ and I had no idea. But George immediately said ‘well, they are slaves, machines are slaves; they do endless drudgery for the people and they are not treated as humans, so you are like the ghosts of slaves that lived near this house in the days of slavery; you now inhabit a washing machine’. And the minute he said that, something clicked. When Noah first comes in, I had just written that the dryer is on, but Jeanine realised that if the dryer is on we should hear the dryer, and it’s that chilling, devastatingly sad lament that the dryer sings. WM Jeanine, what is your working method: do you work at the keyboard or use a computer? JT No, I use manuscript paper. It’s funny, both of us use longhand – I never go straight to the computer. It changes the way you write. WM So you notate straight onto paper? JT Well, I procrastinate… and then I use a Pentel 0.9mm pencil and green Aztec paper – everything by hand. A lot of people now write on the computer, but I have found that when I’ve tried to do that, I have cut and pasted a lot. It was too fast. I can write quickly by hand if I need to and there’s something really beautiful about the calligraphy of notation. It’s also much easier to read. WM So, the writing process: you would work alone and then come together to share? Is that how it worked? JT Firstly, we would talk through a scene in GREAT detail and I’d ask him, ‘Let me hear YOU read this. Let me hear where your intention is. Let me hear how you say this.’ And that became a way of working because it told me so much. If there was a stretching out of a word, I would hear it, if there was a pause, I’d hear…
and Tony pays great attention to punctuation, so there are never misplaced commas. A comma, a semi-colon, a space on the page: it is like poetry, it’s all on the page. So he would read and I would write crazy notes and then I’d go home, work through them and I’d send him something. And then we’d get back together – like that, back and forth. WM And when you are together, are you around the piano? TK Usually, yes, I sit somewhere near the piano, and she plays. WM And it’s always lyrics first? Are there any points at which you say to him: I need to do this, can I have some different words please? JT It’s always the idea or the text first… TK …apart from I Hate the Bus. Jeanine had written the melody, so George gave us an assignment which is something he didn’t usually do: ‘this is the show-stopper number, this is the killer melody. Go and make this into a song.’ So I then had to write words to fit this immensely great melody. There’s also a song at the end when Noah asks Caroline, ‘What’s it like under water?’ and she describes what it’s like – and Jeanine said, for musical reasons, ‘I think we need to have a repeat of this’. That was a hard one and I struggled, because I didn’t know what else she would have to say: she’s a hard person to make talk, Caroline – she’s not exactly generous with her speech. But the strictures of writing for music can produce things that surprise you and the line ‘You’ll learn how to lose things’ came out of that melody. It wasn’t in the original at all. JT And that’s my favourite line. I have said it to so many people and it has accompanied me through my life everywhere. We all learn how to lose things… WM Caroline incorporates a variety of musical idioms, but it feels completely unified. How did you achieve that? JT A lot of people have described the language of Caroline as pastiche. But that’s pejorative and it’s also not true. Caroline is actually a collage work. WM It clearly isn’t pastiche, it actually seems to be written in a plastic idiom which takes on different characters as it moves along – not unlike those Janacek scores… JT Well, as a young musician I was trained by an extraordinary teacher who was curious about all types of music, and he made me as unprejudiced and as curious as he was. He would say, ‘Attune your ear
to what those musicians are doing’. And we would play Kabelevsky and Pop and TV Themes – whilst exploring the circle of fifths and understanding what the keys did and how they made the listener feel. It was like learning to speak seven musical languages… TK She is also really great at knowing when to bring a melody back, and part of the brilliance of her score is that there are deep thematic connections between different points in the music; those also serve to bind it together and give it a unity. And if you listen to the transitions, they also unify. It’s not a book-musical with dialogue, so each section has to transition into the next section and those transitions are loaded with meaning – like when the Klezmer of the Chanukah party in the living room turns into the Blues in the kitchen. JT Oh, that tormented me! We had talked about it, the way that Klezmer and the Blues exist in microtones, the relationship and the difference between them, the yearning and the sorrow of those things – and I felt such pressure to put down on paper what he heard in his head. Tony’s stage directions are very, very accurate and what we are trying to do is to musicalise behaviour, and that sets the path for the actors. We are directing the performers through how we are setting the text, where we are placing it, as well as the tempo in which it is placed, the metronome markings… TK Yes, but that moment when the Klezmer turns into the blues, that wasn’t in my script. I wanted some Klezmer in the piece, because it is the great Jewish music, though in my family the music that we actually listened to was Mozart. The Chanukah number uses a traditional Jewish song which leads to the Mi Kamocha prayer with its traditional melody, but then there’s something like a cinematic cut as they sing the Mi Kamocha and they light the candle… JT …significantly, the Mi Kamocha appears as a bassoon solo… TK …and it cuts in the script to the kitchen where Emmie, Dottie and Caroline are talking. The whole idea of it turning from this happy Jewish number, which is then overwhelmed by Stewart’s grief, and then that leading into a Bluesy thing where they are talking about the danger that the African-American community faces – that the statue being destroyed is going to cause them real problems – Jeanine did that, that wasn’t me. And that kind of thing – finding that connection – is what the collaboration was all about.
WM It’s quite unlike regular musical theatre collaborations because the profound nature of your discussions and your mutual understanding feels like genuine co-authoring. Can we talk about genres? This piece is really hard to categorise. Once upon a time, there was Opera and there was Musical Comedy: High Art v Entertainment... TK I like what Alex Ross, a music critic for the New Yorker, says about Porgy and Bess. That those really great works of musical theatre – and he says it is true of Shakespeare as well – pay no attention to that distinction. The thing that makes Verdi or Mozart so great is their ability to write these shatteringly great arias as well as music for a little street band, so the entire notion of the distinction is thrown out. But look, it’s not a dirty little secret: Caroline, or Change is an opera, a through-composed opera. But the distinction between those genres is completely silly. WM Jeanine, was Tony having a strong musical background helpful, or was it a problem? JS It was incredibly helpful. I mean, it’s not like ‘a little bit of knowledge is a dangerous thing’. We share a way of hearing the world… TK Oh, all that I really offer is that I love Opera. I listen to Opera all the time and I love how a non-Euclidean, non-rational thing like music, which in its absolute essence has no meaning, can sit on words and lift words and move around words… What I bring to the partnership musically is that I know when the music is delivering the goods dramatically and when it isn’t. You can just tell. Handel is great, but he doesn’t know how to write dramatic music: it’s very inert. But Haydn and Gluck, they knew how to make music part of the dramatic action. JT OK, but you grew up in a musical household, as did I. We share that background. So it’s not just about Opera - it’s about the ear. Your plays sing without music. And all I have to do is illuminate the text. That is why we ALWAYS start with Tony.
DAVID DUBE, JOSIAH CHOTO, ABIONA OMONUA, KENYAH SANDY & MICKELL STEWART-GRIMES LAUREN WARD
SHARON D. CLARKE
AN INTRODUCTION TO CAROLINE, OR CHANGE BY TONY KUSHNER
Caroline, or Change tells a story I’ve been thinking about for many years. It’s partly based on an incident from my childhood, grounded in memories from my early life. I wanted to write about race relations, the civil rights movement, and African-Americans and southern Jews in the early 1960s, a time of protean change sweeping the country – and to write about these things from the perspective of a small, somewhat isolated southern town. I grew up on Lake Charles, Louisiana, during this period. Change was taking place in Lake Charles, of course, but in a more subterranean fashion, and at a different pace, than elsewhere in America. I took notes over the years and dredged up various recollections, but I couldn’t find
us down, for a variety of reasons. She felt the script was too complete, assuming I wouldn’t do rewrites – this was before we’d even met. George and I, disappointed, spent another year looking for a composer, not agreeing on or even finding any other suitable candidate. Then Jeanine and I were asked to collaborate on a score for a musical based on a film. I agreed because I love musicals. I have always wanted to try writing one; also there was the promise of good money. And I wanted to work with Jeanine. We wrote a couple of songs together, she realized that I like rewriting, we realized we liked each other, we realized we didn’t care much for the adaptation we were supposed to be doing, at which point I proposed
‘WORDS CAN BE GRACEFUL, BUT MUSIC IS GRACE ITSELF’ the right vessel for the story I had decided to tell. I decided to write Caroline when San Francisco Opera asked me to do a libretto. I am an ardent opera fan, and I come from a musical family: my parents and my brother are professional musicians. I think getting a commission from an opera company made it possible for me to begin the play since I would be writing lyrics, I had permission to write... well, lyrically, to use a loosely rhythmic, loosely rhymed verse instead of prose. And writing text for an opera connected the story I wanted to tell to music, a central component of my childhood, and perhaps the missing key to my memory of these characters, these incidents, that time. I brought the first draft of Caroline to George C. Wolfe, hoping he’d help me as I developed the script, and hoping also that he’d want to direct it. George agreed to work on the project, but he felt that the dramatic demands of the material would require a cast of singing actors rather than opera singers. He suggested that we turn it into a musical-theater piece. San Francisco Opera’s intended composer, meanwhile, decided he didn’t want to write an opera after all, and so George and I began to search for a theatre composer. Our first choice was Jeanine Tesori; we both loved her musical, Violet, and her score for Nick Hytner’s production of Twelfth Night. Jeanine turned
that she take another look at Caroline. George, Jeanine and I spent four years Caroline, or Change. I have never enjoyed a partnership more, nor have I ever felt prouder of the results. My collaborators’ vast experience with musical-theater has been essential to the shaping of the piece, compensating for my embarrassing awkwardness in a medium in which I can claim nothing in the way of expertise. Writing a musical felt to me like starting over as a writer, like my first page of dialogue, writing my first play, waiting for the Fraudulence Police to kick down the door and break my pencil. The project began with my libretto, and I have always worked alone as a playwright until now; I am a reasonably friendly person but I’ve never felt an urge to co-author anything. But the script has changed since the first draft. The words are mine, the music is Jeanine’s, but responsibility for the final shape of both words and music can’t be neatly allocated. Ours is by leagues my most intimate working collaboration, and the most pleasurable and productive; we’ve shaped each other’s work on the piece in an atmosphere of almost preposterous harmony. It’s required struggle and effort – a lot of that – but also real joy. George C. Wolfe is incomparable, astonishing, utterly brilliant, utterly original, and very brave.
I already knew from our production of Angels in America on Broadway how smart he is about dramatic structure, language, the human heart, political struggle. I’ve learned through Caroline that he has an exquisite musical ear. I’m enormously excited about having written a musical. I intend to remain a playwright, but I hope I’ll continue growing as a lyricist and writer of musicals as well. In the workshops we did, in watching George work with the fantastic singer/actors we gathered together – and Caroline has had an unbelievable cast, starting with he great Tonya Pinkins in the title role (when I brought the script to George he said, ‘I know who can play this, I know who you wrote this part for!’) – in my long sessions with Jeanine, I’ve learned hugely important things, I suppose primarily about the relationship of sound and sense, the emotional and the rational. There are places inside us only song can reach, Words can do all sorts of things; obviously I’m a big fan of words, of speech,
of language. Words can say what words can’t say; the apt description can describe the indescribable. But as someone who has spent his adult lifetime trying to move audiences with words alone, I have advice to offer any playwright who cares about such things: try a musical. Words betray the arduousness of the struggle to express, to interpret, to understand. Music offers up emotion and idea with an organicity and shapeliness and spontaneity that must be what we mean when we say that something possesses grace. Words can be graceful, but music is grace itself. Music is a blessing that enters the soul through the ear. Of course you have to find the right composer. Jeanine has that rare knack of writing a tune that makes all the doors and windows of the heart fly open and all sorts of weather rush in, I think she has that Italian opera gene, I think I was very smart to find a composer whose name ends in a vowel, I’m a huge opera queen and so I knew: Donizetti Rossini Bellini Verdi Puccini – look for the vowel at the end of the
Tony Kushner’s family home in Lake Charles
name! My mother, Sylvia Deutscher Kushner, who was a great bassoonist, used to play in the pit for New York City Opera; she told me she always hated performances of Madama Butterfly, because it’s hard to play the bassoon when you’re sobbing. I recently heard the New York Philharmonic do a concert version of Sweeney Todd for Stephen Sondheim’s seventieth birthday. The entire audience of jaded, battle-weary adult New Yorkers levitated out of their seats, borne aloft on a cloud of compound vapour in which terror and glee and sheer sensual delight were indescribably and perfectly blended; it was ecstasy, pure and simple, and we’ve all felt it, in the presence of great musical-theater. Six years
tragedies, shouldn’t blind us to our victories. The failure of this country to address racism and poverty, domestically and globally, has been a terrible failure, its cost incalculable, and the worst consequence have not yet arrived. And yet, the African-American civil rights movement changed not only America but the entire world. A new model for human liberation was born of that movement, of that moment, a model that oppressed people around the world have embraced. And the struggle goes on. Jewish-Americans, with their deep understanding of the vital role of the federal government in protecting minority rights, with their deep commitment to social and economic justice, were and are critically important participants in the
‘THIS PLAY COMES FROM SORROW, FROM ANGER AND GRIEF, AND ALSO FROM HOPE LEARNED FROM HISTORY’ old or six hundred, it’s instantly recognizable: Bacchic joy, as close to irrepressible and universal as almost anything other than Shakespeare and Mozart. This play comes from sorrow, from anger and grief, and also from hope learned from history, from recent history, which has shown us both the terrors and also the pleasures of change, which has shown us that change, progress, is difficult, uneven, uncertain, but also absolutely possible. Sorrow, anger and grief, our
struggle. If the movement’s mightiest dreams haven’t been realized yet, it would be worse than a mistake to predict that they never shall be realized. If that epic struggle did not accomplish everything it intended, it breached the wall of oppression, and through that breach the future is pouring in. Tony Kushner New York City | June 2004
14 May 1961, a fire bomb was thrown into a Freedom Rider bus in Alabama. Freedom Riders escaped the burning bus and were brutally beaten by members of the surrounding mob.
‘AS OUR PEOPLE USED TO SAY: TROUBLE DON’T LAST ALWAYS. IT MIGHT LAST ALL OF MY LIFETIME, BUT NOT ALWAYS’ Rev. Brenda Brown-Grooms | African-American minister from Charlottesville, Virginia, 2017
THE CHARLOTTESVILLE RALLY The Unite the Right rally, also known as the Charlottesville rally, was a far-right rally in Charlottesville, Virginia, in August 2017. Its stated goal was to oppose the removal of a statue of the Confederacy’s general, Robert E. Lee, from Emancipation Park. The rally occurred against the backdrop of controversy generated by the removal of Confederate monuments throughout the country in response to the Charleston church shooting in 2015. Those who favoured removal saw the symbols as monuments to white supremacy, but their opponents accused them of trying to erase history. Protesters included white supremacists, white nationalists, neo-Confederates, Klansmen, neo-Nazis,
and various militias. Some of the marchers chanted racist and antisemitic slogans, carried semi-automatic rifles, swastikas, Confederate battle flags, and anti-Muslim and antisemitic banners. The event turned violent after protesters clashed with counter-protesters, leaving over 30 injured. On the morning of August 12, the governor of Virginia declared a state of emergency, stating that public safety could not be safeguarded without additional powers. Within an hour, the Virginia State Police declared the assembly to be unlawful. Later that day, a man linked to white-supremacist groups rammed his car into a crowd of counter-protesters half a mile away from the rally site, killing one person and injuring 19.
ANGELA CAESAR ALASTAIR BROOKSHAW
NIGEL LILLEY CAROLE STENNETT, Tâ€™SHAN WILLIAMS & SHARON ROSE
DOMESTIC WORKERS FROM SLAVERY TO THE CIVIL RIGHTS MOVEMENT BY REBECCA SHARPLESS
For a hundred years, between the Civil War and the Civil Rights Movement, African-American women in the United States used domestic work as a bridge between slavery and an open economy. They worked in white people’s houses as long it was the best employment available, and they quit as better opportunities slowly came along. In the late nineteenth century, perhaps as many as half of the employed African-American women labored as domestics, and in large cities such as Atlanta, as many as a third of all white families enjoyed the services of domestic workers. The expectations and limits of domestic
owners wanted to keep the old system as intact as possible and sometimes refused to inform their erstwhile possessions that they were in fact free. But the news inevitably spread, and about a fourth of the former slaves left the plantations where they had spent their lives. As formerly enslaved women made their ways from rural areas into southern American towns and cities, they had to figure out a way to make money. Because of blatant racial discrimination, many African-American men found getting paid employment to be excruciatingly difficult, and women were forced to work even though many of them would have preferred
‘AS FORMERLY ENSLAVED WOMEN MADE THEIR WAYS FROM RURAL AREAS INTO SOUTHERN AMERICAN TOWNS AND CITIES, THEY HAD TO FIGURE OUT A WAY TO MAKE MONEY.’ work shaped African-American families for more than a century. African-American domestic work had its roots deep in slavery. While most enslaved African and then African-American women did only fieldwork for their owners, a minority – we’ll never know exactly how many – worked in their houses. They performed a wide range of tasks, from nursing infants to scrubbing floors to turning out delicate puff pastry. Being a house slave had its advantages. The jobs were mostly indoors and didn’t involve long days picking worms off tobacco plants, getting stuck by cotton burrs, or standing knee deep in water in the rice fields. But it also had the disadvantage of being under close scrutiny by the owners, on call twenty-four hours a day, with no time or space to call one’s own. A house slave had to be ingenious to maintain her personhood, and they often used the means at their disposal: breaking dishes, being sullen, or claiming illness at critical moments. Always, however, the greater power remained on the owner’s side, for the law said that the slave’s body belonged to him or her, able to do with it pretty much what the owner wanted. The Civil War ended legal slavery in the United States in 1865, but the newly freed African-Americans received very little assistance in figuring out how their new lives were supposed to take shape. Their former
to stay home and raise their families, an opportunity none of them had had before. They quickly discovered that even cash-poor white families were willing to pay at least meager wages for domestic work, and they found employment as washerwomen, cooks, maids, nannies, or a combination of all of those positions. Wealthy employers had full staffs, but most white southerners employed only one household worker, expected to do it all. While some of the women were already skilled at their duties, particularly cooking, others had to learn their jobs quickly. Contrary to popular stereotype, African-American women were not born knowing how to cook and clean, and they did not automatically love white children. The work that they found was hard. Washerwomen were the most independent domestic workers, for they usually picked up their employers’ laundry and took it to their own house to clean. This afforded them their own schedule and work space. But laundry was grueling and dangerous, involving open flames heating large cauldrons of water, wet, heavy clothes, and chunky irons also heated in the fire. Cooks stood over wood-burning stoves, creating meals from the raw materials provided by their employers. Nannies had to deal with fractious children, and ‘maids of all work’ had to balance all these tasks while cleaning houses made dirty from wood or coal fires and open windows,
with harsh chemicals like lye soap. And in all of these chores, the workers faced close inspection from their employers, whose standards could be unforgiving. Difficult, too, was spending one’s days in isolation in a white family’s home. Where employees in shops or factories often had peers for socialization and solidarity, domestic workers labored by themselves. They found time with other workers mainly in their daily commutes, whether by bus, streetcar, or on foot, and after hours, sharing ideas and solutions. Even more seriously, domestic workers faced frequent sexual harassment and sometimes assault by the men who
Cash wages varied wildly, but they were almost always extremely low, and employers often substituted leftover food and used clothing for cash. The practice of taking leftover food, called ‘toting’, was fraught, as workers and employers contested each other over the quality and amount of food prepared and thus available for the worker’s family. Domestics resisted in other ways as well. Quitting without notice was a favorite, somewhat self-defeating tactic, for being unemployed sometimes outweighed moral satisfaction. At various times, domestic workers organized unions, striking terror in the hearts of their employers, but the unions
‘WHERE EMPLOYEES IN SHOPS OR FACTORIES OFTEN HAD PEERS FOR SOCIALIZATION AND SOLIDARITY, DOMESTIC WORKERS LABORED BY THEMSELVES.’ lived in the houses where they were employed. Their options for prosecuting against such actions were almost nonexistent, and many women either suffered in silence or quit. Domestic workers labored long hours. Cooks, for example, were often expected to prepare breakfast for their employers and to stay through the clean-up after the evening meal. At first, many of them lived with the families who employed them. ‘Living in’, as it was called, provided a place to stay, but it had huge disadvantages. Like a slave, a woman who lived with her employer had no time or space of her own, and frequently the dwelling spaces were uncomfortable. She might be forced to live separately from her husband and children. As soon as they could, most domestic workers moved to their own households, despite the frequent difficulty of long commutes. African-American workers in their own households lived in segregated neighborhoods, often in poor-quality housing far from their employers’ domiciles. Most rented, being unable to afford to buy houses. Despite the rigors of their jobs, they did create families of their own. Rearing children proved extremely challenging because of the hours expected by employers. Women who worked as domestics could expect to be gone from before dawn till dark, and they had to depend on friends and family for child care.
effected little real or lasting change. Perhaps their most effective weapon was dissemblance: protecting their own identities and lives from the prying eyes of their employers, not disclosing what they were thinking or feeling, learning to shrug off the indignities and dangers of their environment. Employers might control the work that the women did, but they could not control their minds. While some domestic workers remained with the same employers for decades, most changed jobs fairly frequently. White housewives usually had little training as managers, and their expectations could be unreasonable. They suspected their employees of all types of transgressions, from stealing to spreading tuberculosis. They often segregated workers within their houses, requiring them to come in through the back door and to eat in the kitchen. Workers were always on the lookout for employers who paid better, had easier hours, or treated their employees more kindly. Still, some workers and employers did form affectionate bonds, and those relationships could endure for decades. White children who grew up with domestic workers in their households often remembered the women fondly, as their relationships were less tense than those between their mothers – the supervisors – and the workers. For fifty years, the situation remained startingly
static. Change began around World War I, when international migration to the US came to a halt and African-Americans started moving to the northern part of the country to take jobs that would have been filled by white immigrants. This movement, called the Great Migration, brought black domestic workers to the cities of the North. Little changed except the location, however, for circumstances there resembled those in the South. Wages and working conditions remained stubbornly poor throughout the 1920s.
to the new jobs, preferring regular hours and wages to the caprices of their earlier employment. They actively encouraged their daughters and other younger relatives to find different occupations. Even before the Civil Rights Movement, almost two-thirds of African-American women had found employment other than being domestics. The Civil Rights Act of 1964 sealed the fate of household work for African-Americans, making discrimination illegal in the workplace on the basis of race, color, or sex.
‘AS OPPORTUNITIES IN MANUFACTURING AND OTHER TYPES OF INDUSTRIAL AND COMMERCIAL EMPLOYMENT GRADUALLY BEGAN OPENING DURING WORLD WAR I AND AFTER, DOMESTIC WORKERS FLOCKED TO THE NEW JOBS...’ Government programs during the Great Depression brought small relief, as southern legislators insisted that domestic workers be left out of minimum wage laws and the pension plan known as Social Security. The percentages of African-American women employed as domestics peaked in the early twentieth century, when seven out of ten new jobs in Atlanta were for servants. As opportunities in manufacturing and other types of industrial and commercial employment gradually began opening during World War I and after, domestic workers flocked
1963 An African-American woman being carried to police patrol wagon during a demonstration in Brooklyn.
By 1980, only 7 percent of African-American women worked in other women’s homes. While most AfricanAmericans today had a grandmother who worked as a domestic, virtually none of them do those jobs themselves. The door from the white employer’s house finally went in only one direction, and that was out. Rebecca Sharpless Professor of History at Texas Christian University in Fort Worth, is the author of Cooking in Other Women’s Kitchens: Domestic Workers in the South, 1865-1960.
August 28, 1963 The civil rights march on Washington.
NAANA AGYEI-AMPADU VINCENT PIRILLO & SUE KELVIN
TEDDY KEMPNER MICHAEL LONGHURST
AARON GELKOFF & CHARLIE GALLACHER MEâ€™SHA BRYAN
TONY KUSHNER WRITER BOOK & LYRICS
Tony Kushner's plays include A Bright Room Called Day; Angels in America Parts One and Two; Slavs!; Homebody/Kabul; the musical Caroline, or Change and the opera A Blizzard on Marblehead Neck (both with composer Jeanine Tesori), as well as The Intelligent Homosexual's Guide to Capitalism and Socialism With a Key to the Scriptures. He has adapted and translated Pierre Corneille's The Illusion; S.Y. Ansky's The Dybbuk; Bertolt Brecht's The Good Person of Szechwan and Mother Courage and Her Children and the English-language libretto for the opera Brundibรกr by Hans Krasa. He wrote the screenplays for Mike Nichols' film of Angels in America, and for Steven Spielberg's Munich and Lincoln. His books include Brundibar, with illustrations by Maurice Sendak; The Art of Maurice Sendak, 1980 to the Present and Wrestling With Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. Kushner is the recipient of a Pulitzer Prize, two Tony Awards, three Obie Awards, two Evening Standard Awards, an Olivier Award, an Emmy Award, two Oscar nominations and the Steinberg Distinguished Playwright Award, among other honors. In 2012, he was awarded a National Medal of Arts by President Barack Obama.
JEANINE TESORI COMPOSER
Jeanine Tesori has written a diverse catalog for Broadway, Opera, film and television. Her Broadway musicals include Fun Home (2015 Tony Award Winner, Pulitzer finalist); Violet; Caroline, or Change; Shrek the Musical; Thoroughly Modern Millie; Twelfth Night (LCT); John Guare’s A Free Man of Color and Mother Courage (Delacorte theater, starring Meryl Streep). She has received five Tony nominations, three Obie Awards and three Drama Desk Awards. The hallmarks of her work have been described as ‘close-to-the-surface emotion, structural rigor and rhythmic drive’. Her operas include The Lion, the Unicorn and Me and Blizzard on Marblehead Neck (MET/LCT Opera/Theater and Glimmerglass Opera commission); and her upcoming collaboration with Tazewell Thompson, Blue was commissioned for Glimmerglass Opera company and will premier there next season. She wrote the musical featured in the 2016 revival of Gilmore Girls and has also written special material for artists such as The Girl in 14G for Kristin Chenoweth and has been featured in documentaries Show Business and Theater of War. Tesori became the founding Artistic Director of a new concert series at New York City Center called Encores! Off-Center for which she has helmed seasons joined by artists such as Stephen Sondheim, Lin Manuel-Miranda, Randy Newman, William Finn, Alan Menken, Renée Elise Goldsberry, Sutton Foster and Jonathan Groff. After producing four seasons of Off-Center concerts, she took one of those concerts, Sunday in the Park with George (starring Jake Gyllenhaal) to Broadway where she produced the 2017 revival, with ATG and Riva Marker. She was the recording producer for Sunday as well as the Original Cast Recordings of Violet; Caroline, or Change; Shrek; Twelfth Night; etc. A lecturer in music at Yale and on faculty at Columbia University, Tesori has spoken and taught at universities and programs all over the country. She is the founding Creative Director of the non-profit A BroaderWay, an arts empowerment program for young women. She was given the Einhorn Mentorship Award by Primary Stages for her exceptional work with young artists.
MICHAEL LONGHURST DIRECTOR
Previous work at Hampstead Theatre includes Gloria (Hampstead Mainstage) and The Blackest Black (Hampstead Downstairs). Work for the National Theatre includes Amadeus (Olivier & NT Live); The World of Extreme Happiness (The Shed) and Stovepipe (site-specific with Bush Theatre & HighTide Festival. Sunday Times Top Ten Theatre Events of the Decade). Work on Broadway includes Constellations (Samuel J Friedman Theater/ Duke of York’s West End/Royal Court/UK tour – winner of the Evening Standard Award for Best Play, the MTA Best Visiting Production, a Drama League Award nomination for Outstanding Production of a Broadway or Off-Broadway Play and four Olivier nominations). West End theatre work includes Bad Jews (Haymarket/Arts/St James’/ Theatre Royal, Bath/UK tour). Other theatre work includes Belleville (Donmar); Caroline, or Change (Minerva Theatre, Chichester Festival Theatre); They Drink It in the Congo and Carmen Disruption (both Almeida); The Winter’s Tale and ‘Tis Pity She’s a Whore (both Sam Wanamaker Playhouse at Shakespeare’s Globe); Linda; The Art of Dying and Remembrance Day (all Royal Court); A Number (Nuffield Theatre/Young Vic); Dealer’s Choice (Royal & Derngate Theatre); Cannibals (Manchester Royal Exchange); The History Boys (Sheffield Crucible); If There Is I Haven’t Found It Yet (Roundabout Theatre, New York); Midnight Your Time (HighTide Festival/Assembly Rooms, Edinburgh); On the Record and Gaudeamus (both Arcola); It’s About Time (Latitude Festival Theatre Arena); 66 Books and On the Beach (both Bush); Dirty Butterfly (Young Vic – winner of the Jerwood Directors Award); Cargo (Oval House Theatre); Guardians (Pleasance Theatre, Edinburgh/Theatre503 – winner of a Fringe First Award) and Doctor Faustus (Lakeside Arts Centre, Nottingham). Michael was Associate Director for Nuffield Theatre (2013-15). He trained at Mountview Academy after studying Philosophy at Nottingham University.
ABIONA OMONUA AKO MITCHELL & SHARON D. CLARKE
CAST IN ORDER OF APPEARANCE CAROLINE THIBODEAUX
SHARON D. CLARKE
THE WASHING MACHINE
CHARLIE GALLACHER & AARON GELKOFF
ROSE STOPNICK GELLMAN
GRANDMA GELLMAN GRANDPA GELLMAN
SUE KELVIN VINCENT PIRILLO
THE MOON THE BUS
ANGELA CAESAR AKO MITCHELL
KENYAH SANDY & MICKELL STEWART-GRIMES
JOSIAH CHOTO & DAVID DUBE
CREATIVE TEAM WRITER BOOK AND LYRICS
DIRECTOR SET AND COSTUME DESIGNER CHOREOGRAPHER MUSICAL DIRECTOR LIGHTING DESIGNER SOUND DESIGNER CASTING DIRECTOR ASSOCIATE DESIGNER ASSOCIATE MUSICAL DIRECTOR ASSOCIATE SOUND DESIGNER
MICHAEL LONGHURST FLY DAVIS ANN YEE NIGEL LILLEY JACK KNOWLES PAUL ARDITTI CHARLOTTE SUTTON CDG AMY JANE COOK JENNIFER WHYTE ROB BETTLE
COSTUME SUPERVISOR PROPS SUPERVISOR WIGS AND MAKE-UP SUPERVISOR
LISA AITKEN MARCUS HALL PROPS MATT GEORGE (THE BIG WIG COMPANY)
COMPANY STAGE MANAGER
DEPUTY STAGE MANAGER ASSISTANT STAGE MANAGER
ASSISTANT STAGE MANAGER
ALICE JENKINS JESSICA COOPER
WARDROBE MANAGER DEPUTY WARDROBE MANAGER
SARAH LECLERE EMILY GROVE
DEPUTY WIGS MANAGER
COSTUME MAKER FOR THE RADIOS PERFORMER FLYING BY
FREEDOM FLYING SAM CLARKSON & JON SEALEY
PRODUCTION SOUND ENGINEERS
SET BUILDERS & PAINTERS
JONATHAN JJ SMITH
ORCHESTRA NIGEL LILLEY
PIANO/DEPUTY MUSICAL DIRECTOR
GUITARS FLUTE/CLARINET/BASS CLARINET/ALTO SAXOPHONE
JOHN GRAHAM ALICE LEE
MARIANNE HAYNES & ANNA SZABO
DOUBLE BASS/BASS GUITAR
ANDY BARNWELL (MUSICAL CO-ORDINATION SERVICES LTD)
MUSIC TECHNOLOGY ASSOCIATE
LUCY BAKER MARY STONE
RADIO MIC RUNNER
WITH SUPPORT FROM AMBASSADOR THEATRE GROUP, GAVIN KALIN & GARETH LAKE
FOR EXCLUSIVE INFORMATION, NEWS & COMPETITIONS @Hamps_Theatre #HTCaroline
MAKE UP PROVIDED BY Originally directed on Broadway by George C. Wolfe Originally produced on Broadway by Carole Shorenstein Hays, HBO Films, Jujamcyn Theatre, Freddy DeMann, Scott Rudin, Hendel/ Morten/Wiesenfeld, Fox Theatricals/Manocherian/Bergere, Roger Berlind, Clear Channel Entertainment, Joan Cullman, Greg Holland/ Scott Nederlander, Margo Lion, Daryl Roth, Zollo/Sine in association with the Public Theatre Originally developed and produced in October 2003 by the Public Theatre; George C. Wolfe, Producer; Mara Manus, Executive Producer Performed by arrangement with Music Theatre International (Europe) Limited. This production of Caroline, or Change was first performed at the Minerva Theatre, Chichester on 6 May 2017 Photograph of Sharon D. Clarke by Hugo Glendinning, image creation by Bob King Creative for Chichester Festival Theatre
MUSICAL NUMBERS ACT ONE
16 Feet Beneath the Sea
Santa Comin’ Caroline
Noah Down the Stairs
Mr. Gellman’s Shirt
I Saw Three Ships
I Got Four Kids
The Chanukah Party
Caroline, There’s Extra Food
Dotty and Emmie
There Is No God, Noah
I Don’t Want My Child to Hear That
Rose Stopnick Can Cook
Mr. Stopnick and Emmie
Dotty and Caroline
A Twenty Dollar Bill and Why
I Hate the Bus
Moon, Emmie and Stuart Trio
The Twenty Dollar Bill
That Can’t Be
Caroline and Noah Fight
Noah and Rose
Why Does Our House Have a Basement?
Gonna Pass Me a Law
Noah, Go to Sleep
Noah Has a Problem
Stuart and Noah
Quarter in the Bleach Cup
Caroline Takes My Money Home
Roosevelt Petrucius Coleslaw
No One Waitin’
CAST NAANA AGYEI-AMPADU DOTTY MOFFETT Theatre work includes Touch (Soho); The Project (National Theatre Studio); A Pacifist’s Guide to the War on Cancer (National Theatre/Manchester Home); Fury (Soho); I Want My Hat Back (National Theatre); The Oresteia and Measure for Measure (both Shakespeare’s Globe); The Amen Corner (National Theatre); Feast and Been So Long (both Young Vic); The Frontline (Shakespeare’s Globe); Little Shop of Horrors (New Wolsey); Avenue Q (Noel Coward) and Caroline or Change (National Theatre). Film work includes Ready Player One. Television work includes Hard Sun; Cuffs and The Future Wages of Great Britain. Radio work includes Gone.
ALASTAIR BROOKSHAW STUART GELLMAN Recent theatre work includes A Little Night Music (Watermill Theatre); She Loves Me (Menier Chocolate Factory); Sweeney Todd (ENO); The Grand Tour (Finborough); De Profundis (Leicester Square); Parade (Southwark Playhouse); Strictly Gershwin (English National Ballet/Royal Albert Hall/Coliseum); Bed and Sofa (Finborough); Shoes (Sadler’s Wells); Carnival of the Animals (Riverside Studios); Hot Mikado (Watermill Theatre); Blood Brothers (Phoenix); Cabaret (Lyric) and For the Public Good (Coliseum).
ME’SHA BRYAN THE WASHING MACHINE Theatre work includes Desire Under the Elms (Sheffield Crucible); Caroline, or Change (Chichester Festival Theatre); Sister Act! (National Concert Hall, Dublin); The Lion King (UK tour); Little Shop of Horrors (West Yorkshire Playhouse); Ragtime (Piccadilly); The Wizard of Oz (Birmingham Rep); Creation (Edinburgh Fringe Festival) and Been So Long (Young Vic). Television work includes Live 8; Concert For Diana; Later…with Jools Holland; Friday Night with Jonathan Ross; Die Ultimative Chart Show; Manu Katché’s One
Shot Not; BBC 6 Music Sessions; The Dylan Sessions and Live at St. Luke’s. Recordings include Paradise Lost (Studio Cast Album). Me’sha has toured and recorded with Bryan Ferry, Beverley Knight, Heaven 17, Roxy Music, The Australian Pink Floyd Show, Russell Watson, Donovan, Chicane, Groove Armada, Basement Jaxx, Lisa Miskovsky, The Transit Kings, The Counterfeit Stones, Roy Wood and La Roux. Session vocals include Kylie Minogue, Victoria Beckham, S Club 7, S Club Juniors, The Appletons, Gareth Gates and Popstars: The Rivals. Songwriting; Me’sha’s a concert headliner, has released a live DVD, Me’sha Bryan Live at The Luminaire and an album of original music, Maybe Today. She presents vocal masterclasses and coaches for television’s The Voice; The Voice Kids UK and Change Your Tune.
ANGELA CAESAR THE MOON Trained at The Peabody Institute of the Johns Hopkins University. Theatre work includes Caroline, or Change (Chichester Festival Theatre); Orlando and the Three Graces; Clown and Into the Forest (all Theatre Peckham); Seven Brides for Seven Brothers and Porgy and Bess (both Regent›s Park); The Phantom of the Opera (UK tour); Carmen Jones (Royal Festival Hall) and An African Cargo (Nitro Theatre Company). Opera work includes Heart of Darkness (Royal Opera House); Knight Crew (Glyndebourne); Varjak Paw (Old Vic) and The Silent Twins (Almeida). Workshops include Ghost Map (National Theatre New Works Dept) and The Magic Paintbrush (Theatre Peckham). Film work includes Porgy and Bess. Vocalist on film includes The Marvel and Black Panther. Television work includes Anna Nicole; The Opera; The Rise and Fall of the City of Mahagonny and Carmina Burana (The South Bank Show). Radio work includes The Fiske Jubilee Singers and Grace Kumalo Lost in the Stars. Angela is Creative Assistant at Theatre Peckham. Most recent work is with a capella Vocal group
Nitrovox – with which she is a vocalist – in Voices of Change (Theatre Peckham). Member of new music group, NeoKitsch. Vocalist on films, The Soloist, and new music scores for The Manxman and The Cat and the Canary.
The Crust; and Waking the Dead. Radio work includes Beloved; Sensationomics; Scorched; Bad Faith; Handprint and Jingles. Last year Sharon received an MBE for services to drama.
Joe Trained at Make Believe London, Steppaz and Streets Ahead. Theatre work includes Kinky Boots (West End); The Bodyguard (UK tour/ China tour); Caroline, or Change (Chichester Festival Theatre) and Make Believe presents The Tour (Watford Palace). Film work includes House Full 3. Radio work includes 30 Eggs and Anansi Boys. Other work includes Thriller Live (Young MJ School); Motown camp and The Lion King Cub School.
David trains at Stagecoach Colchester, Caves of Hope Academy and Academy Agency. David also attended cub school for The Lion King and Motown School. Theatre work includes Adriana Lecouvreur (Royal Opera house). Television work includes Formula 1 Feel it all commercial for SKY. David is also a keen drummer at church and has been attending rock school for School of Rock.
SHARON D. CLARKE
Theatre work includes Caroline, or Change (Chichester Festival Theatre); The Life (Southwark Playhouse); Pigs and Dogs (Royal Court); Sleeping Beauty; Puss In Boots; Blues in the Night; (Hackney Empire); Ma Rainey's Black Bottom; The Amen Corner (Olivier Award Best Supporting Actress); Everyman and Guys and Dolls (all National Theatre); A Wolf in Snakeskin Shoes (Tricycle); Romeo and Juliet (Rose, Kingston); Porgy and Bess (Regent’s Park); Medea (Young Vic); Ghost (Olivier Award nomination and Manchester Theatre Award Best Actress); Hairspray; Chicago; We Will Rock You (Olivier Award nomination); The Lion King; Rent; Mama I Want to Sing (all West End); Fame (Scandinavian tour); Once On This Island (Birmingham Rep – Olivier Award nomination) and Little Shop of Horrors (Leicester Haymarket). Film work includes Tau; Sugarhouse; Secret Society; Beautiful People; Broken Glass and Tumble Down. Television work includes Kiri; Silent Witness; Doctor Who; Informer; Death in Paradise; New Tricks; Psychobitches; Justin's House; EastEnders; The Shadow Line; The Bill; Last Choir Standing; Holby City; Boo!;
Charlie trains at Theatre Skills Academy in Orpington. Theatre work includes Caroline, or Change (Chichester Festival Theatre); Les Misérables (Queen’s); Kinky Boots (Adelphi); The Snowman (2016-2018 tour); Peter Pan (Orchard Theatre, Dartford); and Joseph and The Amazing Technicolour Dreamcoat (Woodville Hall Theatre). Other work includes commercials for Not on the High Street, Travelodge and American Express.
AARON GELKOFF NOAH GELLMAN Aaron is a scholarship student and currently trains at Youngstar Factory at RADA. Theatre work includes A Christmas Carol (Lyceum); Kids of the West End (Leicester Square); Chitty Chitty Bang Bang (2016 UK tour); Les Misérables (Queen’s); Evita (Orchard, Dartford) and Joseph and the Amazing Technicolour Dreamcoat (Cliffs Pavilion, Southend/ Orchard, Dartford). Film work includes Dagenham.
SUE KELVIN GRANDMA GELLMAN Theatre work includes Wicked (Apollo); Barmitzvah Boy (Aria Entertainment); Bette Midler ...And Me (Gilded Balloon); Private Lives (Gielgud); Travelling Light (National Theatre); Onassis (Derby Theatre/West End); Fiddler on the Roof (Savoy); Chicago (Cambridge/Adelphi); Apartment 2012 (The White Bear); Hetty Feinstein’s Wedding Anniversary (New End); Beau Jest (Hackney Empire); Sit And Shiver (New End/Hackney Empire); Sophie Tucker’s One Night Stand (UK tour); A Streetcar Named Desire (National Theatre); Rags (Bridewell Theatre); Wild Wild Women (Orange Tree); An Evening With Victoria Wood (Drury Lane); Tales My Lover Told Me (King’s Head); Oliver! (Palladium); Assassins (Donmar); Les Misérables (Palace); Hello Dolly! (Nottingham/UK tour); Teechers (Northampton Theatre); Annie (Aberystwith); Wide-Eyes Kingdom (Bristol Express); Great American Backstage Musical (Basingstoke Haymarket) and Mum’s the Word (Resisters Theatre Co.). Film work includes Great Expectations; Anxiety; Reuniting the Rubins; Song of Songs and Red Eagle. Television work includes Funny Women; I Live With Models; Silent Witness; Doctors; The Legend of Dick and Dom; Love Soup; Afterlife; Bewitched In Battersea; Brazen Hussies; Casualty; Coupling; Doctor Who; Friday Night Fever; Keen Eddie; London Bridge; Love Hurts III; Made With Magic; Red Dwarf VIII; Red Eagle and The Worst Week of My Life. Radio work includes Jack and Millie and co-hosting the Jenny Eclair Show.
TEDDY KEMPNER MR STOPNICK Theatre work includes Driving Miss Daisy (Theatre Royal, Bath); Caroline, or Change (Chichester Festival Theatre); 42nd Street (Théâtre musical de Paris Châtelet); The Last Tango (Phoenix); Dance ‘Til Dawn and Midnight Tango (both Aldwych); The Solid Gold Cadillac (Garrick); Cymbeline; The Merry Wives of Windsor; Othello; Three Sisters; The Suicide and Nicholas Nickleby (all RSC/Aldwych/Broadway); Le Bourgeois Gentilhomme and The Trial (both National Theatre); Kiss me Kate (Victoria Palace); Snoopy
(Duchess – Olivier Award Nomination); The Kitchen and Mary Barnes (both Royal Court); City of Angels (Prince of Wales); Company (Albery); Pacific Overtures (Donmar) and Les Misérables (Palace). Film and television work includes The World’s End; De-lovely; Yentl; Truly, Madly, Deeply; 9/11: Dawn to Dusk; Birds of a Feather; Hustle; Henry IV; Nicholas Nickleby and Coriolanus. Teddy is co-writer and producer of several animation series: Foxy Fables; Tales of a Wise King; Insektors and Witchworld. He has also co-written Three Friends and Jerry; Something Else; Preston and the feature film Clarence.
AKO MITCHELL THE DRYER / THE BUS Theatre work includes Guys and Dolls (Royal Exchange); Caroline, or Change (Chichester Festival Theatre); The Wild Party (The Other Place); Ragtime (Charing Cross – Off West End Best Actor nomination); The Trial of Jane Fonda (Park Theatre); Grey Gardens (Southwark Playhouse); Misanthropes (Old Vic New Voices); How To Succeed In Business Without Really Trying (Royal Festival Hall); Little Shop of Horrors (Manchester Royal Exchange); Klook’s Last Stand (Park Theatre – Off West End Best Actor nomination); Fences (Duchess); The 25th Annual Putnam County Spelling Bee (Donmar); Sister Act (London Palladium); The Lion King (Lyceum); Dr. Dolittle (UK tour); The Mystery Plays (Bath Music Festival) and Broadway in the Shadows (Luxembourg National Theatre/Arcola). Netflix series include Johnny English. Television work includes Lake Placid: The Final Chapter; Silent Witness and Berlin Station. Ako is the voice of the Woodman in the upcoming film Hilda and the voice of the series Strangest Weather on Earth (Discovery/Weather Channel USA). He directed and co-wrote the short film I’m In the Corner With the Bluebells (Toronto International Film Festival – winner of Best Director at the Mica Film Festival in Brazil) and also directed the short film Box Red (Sunderland Short Film Festival 2018).
ABIONA OMONUA, JOSIAH CHOTO, MICKELL STEWART-GRIMES, DAVID DUBE, KENYAH SANDY, CHARLIE GALLACHER & AARON GELKOFF Tâ€™SHAN WILLIAMS, AKO MITCHELL & SHARON ROSE
Abiona Trained at Arts Educational Schools London. Theatre work includes Guys and Dolls (Royal Exchange); Caroline, or Change (Chichester Festival Theatre); Hamlet (Tara Arts); Soul (Royal & Derngate, Northampton/Hackney Empire); Dessa Rose (Trafalgar Studios); The Color Purple (Menier Chocolate Factory); Legally Blonde (Savoy); Parade (Southwark Playhouse); Hairspray (UK tour) and Hot Mikado (Watermill). Film work includes Beauty and the Beast. Television work includes Cucumber.
VINCENT PIRILLO GRANDPA GELLMAN Theatre work includes Caroline, or Change (Chichester Festival Theatre); She Loves Me (Menier Chocolate Factory); The Grand Tour (Finborough); The Phantom of the Opera (UK tour); Sweeney Todd (Chichester Festival Theatre); Knock, Knock (Theatre503); Inherit the Wind (Old Vic); Fiddler on the Roof (Sheffield Crucible/Savoy); Imagine This (New London); The Woman in White (Palace); Annie (Leatherhead/Dubai); Robbers (Tristan Bates); Ragtime (Piccadilly); Sunset Boulevard (UK tour); Napoleon (Shaftesbury); Sammy Cahn: Words and Music (Duke of York’s); Chess (European tour); Tanz der Vampire; Beauty and the Beast and The Phantom of the Opera (all Vienna); Kismet; Bells Are Ringing; Cats and Evita (all Los Angeles). Television work includes How (Not) to Kill Your Husband and 50 Ways to Kill Your Lover. Radio work includes Meeting of Minds: Berlin Conference of 1884; Meeting of Minds: Philadelphia Convention; Nightwaves and Freedom by Richard Fir. Audio work includes Doctor Who and a recently completed audiobook for Audible. An accomplished opera singer, Vincent has performed major roles in professional productions across Europe.
Theatre work includes Beautiful: The Carole King Musical (Aldwych); Motown: The Musical (Shaftesbury) and Sister Act (Southend/ Tunbridge Wells). Sharon is also is a regular on the London Club circuit with her band The Thorns and The Divas show. She has performed at London Fashion Week as part of Malan Breton’s show and has been guest vocalist for Gorgon City.
KENYAH SANDY JACKIE THIBODEAUX Trained with Blue Boy Entertainment and Zoonation. Attended Cub School and Motown School. Theatre work includes ZooNation (Sadler’s Wells); Boy Blue Entertainment (Breakin’ Convention festival at Sadler’s Wells); A Night With Boy Blue (Barbican) and The Lion King (Lyceum). Other work includes Looks at Me Black Panther inspired shoot as young Black Panther
CAROLE STENNETT THE RADIO Carole trained at the University of North London and at Vocal Tech Music School London. Theatre work includes The Bodyguard (China/Toronto/West End); The Lion King (Lyceum 2012 and 2014/first UK tour 2012-2013); The Legend of the Lion King (Disneyland Resort Paris); This Is Also England and Just A Man (both Tristan Bates); Little Shop of Horrors (Salisbury/Colchester); Thriller Live (Lyric); Peter Pan (Milton Keynes Theatre) and The 12 Days of Christmas (Tilbury Docks). Television work includes The Late Show, Dublin (with the cast of The Lion King); This Morning (with the cast of The Lion King) and GMTV (Get Up & Give Ensemble). Radio work includes Gospel Train.
MICKELL STEWART-GRIMES JACKIE THIBODEAUX Theatre work includes The Bodyguard (UK tour/West End shows and a three month tour of China). Mickell was a mini presenter on the Sky Sports programme Game Changers and appeared twice on the Sportswomen of the Year Awards.
LAUREN WARD ROSE STOPNICK GELLMAN Theatre work includes Caroline or Change (Chichester Festival Theatre); Matilda (Cambridge Theatre/Courtyard/RSC); BatBoy The Musical (Southwark Playhouse); The Sound of Music (Palladium); The Philadelphia Story (Old Vic); A Midsummer Night’s Dream and Camelot (both Regent’s Park); The Winter’s Tale and Pericles (both RSC); The Vagina Monologues (Arts); Dubarry Was a Lady (Her Majesty’s); Johnny Johnson (Sadler’s Wells) and Elegies (Arts). USA work on Broadway includes Matilda (Shubert – Tony Nomination); Follies (Belasco); 1776 (Gershwin); The Heiress and Carousel (both Lincoln Center). OffBroadway work includes The New Moon (City Center Encores!); Carousel (Carnegie Hall); Time and Again
(Manhattan Theater Club); Saturday Night (Second Stage); Wise Guys (New York Theater Workshop); Jack’s Holiday and Violet (Playwrights Horizon – Drama Desk nomination and Drama Logue Award); Compleat’ Female Stage Beauty (Philadelphia); Rough Crossing (Hartford Stage Company); The Glass Menagerie and As You Like It (both Great Lakes Theater); Romeo and Juliet (Colonial Theater); She Stoops to Conquer (Walnut Street); The Royal Family and Tartuffe (both Utah Shakespeare). Film and Television work includes Kiss Me First; Doctors; The Last Days of the Lehman Brothers; A Touch of Frost; Torchwood; Law and Order: SVU; Joe Gould’s Secret; The Story of a Bad Boy and Broken News.
T’SHAN WILLIAMS THE RADIO T’Shan trained at the Guildford School of Acting. Theatre work includes Guys & Dolls (Royal Exchange, Manchester); The Color Purple: In Concert (Cadogan Hall); The Life (Southwark Playhouse); The Book of Mormon (Prince of Wales); Love Me Tender (UK tour) and The Blues Brothers (Arts).
SHARON D. CLARKE
CREATIVE TEAM FLY DAVIS STAGE & COSTUME DESIGNER Trained at RADA and Motley. Theatre work includes Macbeth (RSC); Beginning (National Theatre/Ambassadors); I Want My Hat Back (Olivier nominated) and The Comedy of Errors (both National Theatre); The Winter’s Tale (Royal Lyceum); Othello (Sam Wanamaker Playhouse); Our Town; Parliament Square; A Streetcar Named Desire; How My Light is Spent; Scuttlers; Hunger for Trade and Nothing (all Royal Exchange); Barbarians (Olivier nominated and JMK Award Winner); Trade; A Streetcar Named Desire; Parallel and Turning a Little Further (all Young Vic); The Last Remains of Maisie Duggan (National Theatre Ireland); The Glass Menagerie (Headlong UK tour); Opera for the Unknown Woman (Fuel UK tour); James and the Giant Peach (West Yorkshire Playhouse); The Dissidents (Tricycle); I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole (Gate); Image of an Unknown Woman (Gate – Off West Awards Best Set Design); Primetime; Pigeons; Collaboration and costume design for Unreachable (all Royal Court); The Great British Country Fete Musical (Bush/UK tour); Eye of a Needle and Superior Donuts (both Southwark Playhouse); What the Animals Say (Greyscale UK tour); Contractions (Sheffield Crucible) and The Crocodile (Manchester International Festival). Other work includes The Invisible Dot’s Big Birthday Bash (Hammersmith Apollo) and McFly music video Love is Easy.
ANN YEE CHOREOGRAPHER Trained at Boston Conservatoire of Music, Harvard Summer Dance Center, and Ohio State University. Theatre work includes The Taming of the Shrew (The Public Theatre Shakespeare in the Park, New York); Sunday in the Park with George (Hudson Theater, Broadway, New York); Shakespeare Trilogy (Donmar at King’s Cross/St Ann’s Warehouse, New York); The Threepenny Opera (Salzburg Opera Festival); Queen Anne (RSC); Anita and Me (Birmingham Rep.); Urinetown (St James’/Apollo); Blurred Lines (National Theatre Shed); Mr Burns (Almeida); How to Hold Your Breath and Birdland (both Royal Court); The Commitments (Palace); The Color Purple (European
Premiere); Torch Song Trilogy (Menier Chocolate Factory); Wozzeck (ENO); Macbeth (Trafalgar Studios); Berenice and Philadelphia, Here I Come (both Donmar); The Acrington Pals and The Country Wife (both Royal Exchange); The Duchess of Malfi (Old Vic); After Miss Julie (Young Vic); She Stoops to Conquer and The Comedy of Errors (both National Theatre). Other work includes The 25th Annual Putnam County Spelling Bee, The Musical (Donmar); Salome (Headlong); Romeo and Juliet (Middle Temple Hall); Oxford Street (Royal Court); Angels in America (Lyric Hammersmith/UK tour); Bent (Trafalgar Studios); Hair (Gate); Woyzeck (St Ann’s Warehouse, New York/ Gate) and Food (Traverse/UK tour).
NIGEL LILLEY MUSICAL DIRECTOR Trained at King’s College London and the Royal Academy of Music (DipRam Award). Nigel was elected as an associate of RAM in 2013. Work as Music Supervisor includes Guys and Dolls and Sweet Charity (both Royal Exchange); Romantics Anonymous (Globe); Chaplin (European tour); Bend It Like Beckham (Phoenix); A Wolf in Snakeskin Shoes (Tricycle); Anything Goes (Sheffield Crucible/UK tour); That Day We Sang (Royal Exchange/MIF); Paper Dolls (Tricycle); The Umbrellas of Cherbourg (Curve Leicester/West End); Sweet Charity (Menier Chocolate Factory/Haymarket) and Talent (Menier Chocolate Factory). Work as Musical Director includes Follies (National Theatre); Caroline, or Change (Chichester Festival Theatre); The Go-Between (West End); Charlie and the Chocolate Factory (Drury Lane); My Fair Lady and Company (both Sheffield Crucible); Ragtime (Regent’s Park); Spring Awakening (Lyric/Novello); La Cage Aux Folles (Menier Chocolate Factory/Playhouse); Piaf (Donmar/Vaudeville); Les Misérables (Bournemouth Symphony Orchestra); The Bacchae (National Theatre of Scotland/Edinburgh International Festival); Acorn Antiques (UK tour) and Putting It Together (Harrogate Theatre). Television work includes Victoria; That Day We Sang; Victoria Wood’s Christmas Special and 2008 Royal Variety Performance (conducting La Cage aux Folles).
JACK KNOWLES LIGHTING DESIGNER Trained at the Central School of Speech and Drama. Theatre work includes Circle Mirror Transformation (Home MCR); Wonderland (Nottingham Playhouse); Beginning (Ambassadors/National Theatre); Barber Shop Chronicles (National Theatre/tour); The Greatest Play in the History of the World; Parliament Square; Our Town; Twelfth Night; A Streetcar Named Desire; Wit; The Skriker and There Has Possibly Been An Incident (all Royal Exchange); Committee (Donmar); 4.48 Psychosis; Reisende auf einem Bein and Happy Days (all Schauspielhaus, Hamburg); Junkyard and Pygmalion (both Headlong); Dan and Phil: The Amazing Tour is Not on Fire (World tour); They Drink it in the Congo; Boy; Carmen Disruption and Game (all Almeida); The Forbidden Zone (Salzburg Festival/ Schaubühne, Berlin/Barbican); 2071 (Royal Court); The Massive Tragedy of Madame Bovary! (Liverpool Everyman/Peepolykus); Cleansed (National Theatre); The Haunting of Hill House (Liverpool Playhouse); Phaedra (Enniskillen International Beckett Festival); A Sorrow Beyond Dreams (Vienna Burgtheater); Lungs and Yellow Wallpaper (both Schaubühne, Berlin); Moth (Hightide/Bush Theatre); Say it with Flowers (Hampstead Theatre); Night Train (Schauspiel, Köln/ Avignon Festival/Theatertreffen); In a Pickle (RSC/Oily Cart); Ring-A-Ding-Ding (Unicorn Theatre/New Victory/ Oily Cart); Kubla Khan; Land of Lights; Light Show; There Was An Old Woman; The Bounce and Mr & Mrs Moon (all Oily Cart).
PAUL ARDITTI SOUND DESIGNER Recent sound designs include Caroline, or Change (Chichester Festival Theatre); Macbeth; Amadeus (2017 Olivier nomination); Mosquitoes; The Threepenny Opera; Ma Rainey’s Black Bottom; Everyman and London Road (all National Theatre); Beginning (National Theatre/West End); wonder.land (National Theatre/Manchester International Festival/Théâtre du Châtelet, Paris); Julius Caesar and Young Marx (both Bridge Theatre); The Jungle (Young Vic/National Theatre/West End); The Inheritance; If You Kiss Me Kiss Me and Measure For Measure (all Young Vic); Mary Stuart (Almeida/West End); American Psycho
(Almeida); King Charles III (Almeida/West End/ Broadway); Betrayal (Derby); Labour of Love (West End); A Streetcar Named Desire (Young Vic/St Ann’s Warehouse, New York); Charlie and the Chocolate Factory (West End) and Hamlet (RADA/Kenneth Branagh Co). Paul’s awards include a Tony, a Drama Desk and an Olivier Award for Billy Elliot The Musical; Tony nominations for Mary Stuart and One Man Two Guvnors on Broadway, an Olivier Award for Saint Joan at the National Theatre, an Evening Standard Award for Festen in the West End and a Drama Desk Award for The Pillowman on Broadway. Paul is a founder member of the Association of Sound Designers and an Associate Director of the National Theatre.
CHARLOTTE SUTTON CDG CASTING DIRECTOR Theatre work includes Quiz; The Norman Conquests; The Stepmother; Fiddler on the Roof; Sweet Bird of Youth; Strife and Mack and Mabel (all Chichester Festival Theatre); Long Day’s Journey Into Night (Wyndham’s/BAM/L.A.); Winter; Trade and Dutchman (all Young Vic); Nell Gwynn (ETT tour/Shakespeare’s Globe); My Brilliant Friend (Rose, Kingston); The Pitchfork Disney and Killer (both Shoreditch Town Hall); Annie Get Your Gun; Lady Chatterley’s Lover; Flowers for Mrs Harris; Waiting for Godot and Queen Coal (all Sheffield Theatres); A Pacifist’s Guide to the War on Cancer (Complicite/National Theatre); Sheppey and German Skerries (both Orange Tree); Insignificance; Much Ado About Nothing and Jumpy (all Theatr Clwyd); Henry V and Twelfth Night Re-Imagined (both Regent’s Park); The Buskers Opera (Park); Hedda Gabler and Little Shop of Horrors (both Salisbury Playhouse); Goodnight Mister Tom (Duke of York’s/tour); wonder.land (MIF/National Theatre); Albion (Bush); The Light Princess; Emil and the Detectives and The Elephantom (all National Theatre); One Man, Two Guvnors (Haymarket recasts); The Rise and Shine of Comrade Fiasco; I’d Rather Goya Robbed Me of My Sleep… and Gruesome Playground Injuries (all Gate); Forever House (Drum Theatre, Plymouth); Desire Under the Elms (Lyric Hammersmith) and Bunny (Underbelly, Edinburgh/Soho/59E59, NY).
AMY JANE COOK ASSOCIATE DESIGNER Theatre work includes The Rise and Fall of Little Voice; Insignificance and St Nicholas (all Theatr Clwyd); To Dream Again (Clwyd/Polka); Insignificance (The Langham, New York); The 8th (Barbican); Mydidae (Soho/Trafalgar Studios); 66 Books (Bush/ Westminster Abbey); Mudlarks (Bush/HighTide Festival); Medea (Gate); 65 Miles and Once Upon a Time in Wigan (both Hull Truck); Hamlet (Young Vic/ Maria Theatre); Flooded Grave and Where’s My Seat? (both Bush); The Water Engine (Old Vic Tunnels); Glory Dazed (Soho); The Mobile Phone Show (Lyric Hammersmith Studio); Almost Maine (Park Theatre); The Separation (Project Arts Centre, Dublin/ Theatre503) Where the Mangrove Grows (Theatre503); The Giant Jam Sandwich (Derby Live/Polka); Thumbelina’s Great Adventure (Cambridge Arts Centre); I (heart) Peterborough (Pleasance, Edinburgh). Amy was the winner of Best Design at the Wales Theatre Awards 2017.
JENNIFER WHYTE ASSOCIATE MUSIC DIRECTOR Jennifer studied music at Glasgow University and the University of Massachusetts. Theatre work as pianist/conductor includes Follies (National Theatre); Caroline, or Change (Chichester Festival Theatre); Boys Will Be Boys (Bush); The Magistrate (National Theatre); Betty Blue Eyes (Novello); A Catered Affair (Royal Academy of Music); Les Misérables (Queen’s); Avenue Q (Noel Coward/ Gielgud); Follies (Glasgow Royal Concert Hall); The Threepenny Opera (National Theatre); Cats (Clear Channel); The Wiz (Royal Academy of Music); Sunset Boulevard (UK tour); My Fair Lady (National Theatre); Whistle Down the Wind (Aldwych); The Phantom of the Opera (UK tour); Martin Guerre (UK tour); Show Boat (Prince Edward) and Dames At Sea (Byre Theatre). Film and television work includes PopIdol II; Can’t Sing Singers; Hit Me Baby One More Time; Soapstar Superstar; Children in Need; The Phantom of the Opera and Les Misérables. Work as composer/arranger includes Can’t Sing Singers; Children in Need; Tsunami Prayers; Vet Safari (all for BBC); Shehallion, a Celtic dance show; The Famished Land, an Irish folk musical; Underworld, an American jazz musical; Jennifer Whyte – Stories
(Mozart Records), a solo album of music for piano and orchestra; Les Misérables 21st Anniversary (Queen’s) and Daniel Boys – So Close.
HAZEL HOLDER ASSISTANT DIRECTOR/DIALECT COACH Work as Voice and Dialect Coach includes Barber Shop Chronicles; Angels in America; Les Blancs and Ma Rainey’s Black Bottom (all National Theatre); Tina: The Tina: The Tina Turner Musical (Aldwych); Guys & Dolls (Talawa/Royal Exchange); Caroline, or Change (Chichester Festival Theatre); The Goat, Or Who Is Sylvia? (Haymarket); Grimly Handsome; Pigs & Dogs and Father Comes Home from the Wars (all Royal Court); The Mountaintop; The Emperor and Cuttin’ It (all Young Vic); Half Breed and Girls (both Talawa/Soho) and Twilight: Los Angeles and Eclipsed (both Gate). Television work includes In the Long Run; Poldark; No Offence; Broken; The Cambridge Spies; and Dr Pepper. Education work includes National Theatre Education Dept; Guildhall School of Music & Drama, RADA, ALRA, Arts Ed and Royal Central School of Speech & Drama. Theatre work as a performer includes Here We Go; As You Like It; Medea and Death and the King’s Horseman (all National Theatre); The Bakkhai (Almeida); The Tempest (RSC); The Bacchae (National Theatre of Scotland/Lincoln Center, Broadway); Sleeping Beauty (Young Vic/Barbican/New Victory, Broadway). Film work includes The Followed. Hazel was Resident Director for the premiere London production of Dreamgirls 2016-2017.
DEBBIE O’BRIEN CHILDREN’S CASTING DIRECTOR West End and International productions include Thriller Live; Dirty Dancing; American Idiot; Priscilla, Queen of the Desert; Grease; Starlight Express; Flashdance; Piaf; The Snowman; The King and I; The Harder They Come; Showboat; Dancing in the Streets; The Rat Pack Live from Las Vegas; Chitty Chitty Bang Bang; Saturday Night Fever; Fame; Annie; Peter Pan; Daisy Pulls It Off; Napoleon; La Cava; Smokey Joe’s Café; The Rocky Horror Show; Rent; Always; Steaming and Ain’t Misbehavin’. UK tours and regional productions include 20th
Century Boy; Jackie the Musical; Crush; Oxy and the Morons; Room; Godiva Rocks; The Last Five Years; Ostrich Boys; The Burnt Part Boys; Red Snapper; The Sisterhood; Only a Day; Medea; Mum’s the Word; Motherhood the Musical; Much Ado About Nothing; As You Like It; A Midsummer Night’s Dream; Romeo and Juliet; The Comedy of Errors; The Merry Wives of Windsor; Twelfth Night; Noises Off; And Then the Dark; The Bubbly Black Girl Sheds Her Chameleon Skin; Treasure Island; Five Guys Named Moe and Amadeus. Children’s casting includes Annie; Kinky Boots; Medea; Show Boat; The Bodyguard and the TV series Grandpa in My Pocket and Waybuloo.
ANDY BARNWELL ORCHESTRAL MANAGER Musical Co-ordination Services Ltd – The company, founded by Andy Barnwell in 1994, is one of the foremost Orchestral Management companies in the UK. Current London productions include Tina: The Tina Turner Musical; Strictly Ballroom; Hamilton; The Grinning Man; Aladdin; Motown The Musical; and, recently, An American in Paris; Jesus Christ Superstar; Lady Day; The Wind in the Willows; Half a Sixpence; Committee (Donmar); On the Town; Love’s Labour’s Lost/Much Ado About Nothing; In the Heights; Charlie and the Chocolate Factory; Bugsy Malone; Guys and Dolls; Gypsy; Memphis; Shrek; Sinatra; High Society; Women on the Verge of a Nervous Breakdown; City of Angels; Porgy and Bess; Monty Python Live (mostly) (O2 Arena); Spamalot; A Chorus Line; Kiss Me, Kate; Sweeney Todd; Priscilla; Into the Woods and Sister Act. Current/recent regional/UK tours include Shrek; Tango Moderno; Hairspray – The Musical (and London);
Fiddler on the Roof; Addams Family; Billy Elliot (and London); The Commitments (and London); One Love – The Bob Marley Musical; Funny Girl (and London); The Rocky Horror Show (and London); Dirty Rotten Scoundrels (and London); Anything Goes; Dirty Dancing (and London); Singin’ In the Rain (and London); West Side Story; Oliver!; Legally Blonde and South Pacific.
CHICHESTER FESTIVAL THEATRE ORIGINAL PRODUCER Chichester Festival Theatre is one of the UK’s flagship theatres, renowned for the exceptionally high standard of its productions as well as its work with the community and young people. Situated in a cathedral city in West Sussex between the South Downs and the sea, the Festival Theatre’s bold thrust stage design makes it one of England’s most striking playhouses; a studio theatre, the Minerva Theatre, sits nearby. The annual Festival season runs from April to November, during which productions originated at Chichester reach an audience of over 230,000. Yearround programming continues through the winter with the Theatre presenting high-class touring productions, as well as a traditional Christmas show mounted by the renowned Chichester Festival Youth Theatre. Daniel Evans and Rachel Tackley joined the organisation as Artistic Director and Executive Director respectively in 2016. Three highlights of their first Festival season in 2017 are transferring to London this year: in addition to Caroline, or Change, James Graham’s new play Quiz runs at the Noël Coward Theatre from 31 March – 16 June and Ian McKellen reprises his King Lear at the Duke of York's Theatre from 11 July – 3 November. For more information, visit cft.org.uk
T’SHAN WILLIAMS, AKO MITCHELL, SHARON D. CLARKE, CAROLE STENNETT, ME’SHA BRYAN & SHARON ROSE
HAMPSTEAD THEATRE IN 2016/17 PUBLIC DEMAND BOX OFFICE PERFORMANCE £2,800,000
15 HOUSE PRODUCED PRODUCTIONS 12 WORLD PREMIERES
2 UK PREMIERES £1,200,000
93% CAPACITY ACROSS MAIN STAGE AND DOWNSTAIRS
£2,694,874 AT THE BOX OFFICE 8% INCREASE ON PREVIOUS YEAR
117,876 TICKETS SOLD 9% INCREASE ON PREVIOUS YEAR
Box Office Revenue
ACE Revenue Grant
4,000 NEW BOOKERS 616 PERFORMANCES 6% INCREASE ON PREVIOUS YEAR
624,628 VISITS TO hampsteadtheatre.com
had never visited hampstead theatre.com before
PAGE VIEWS ON hampsteadtheatre.com
OF BOOKERS LIVE OUTSIDE OF NW POSTCODE
BY MIKE BARTLETT LIVE-STREAMED WITH THE GUARDIAN FREE TO VIEW ACROSS THE WORLD
OLIVIER AWARD WINNER
SUNNY AFTERNOON TRANSFERRED FROM THE WEST END TO A UK TOUR
SCARLETT CO-PRODUCTION WITH THEATR CLWYD, WALES
THE JUDAS KISS OUR AUDIENCE COME FROM ALL OVER LONDON AND THE SURROUNDING CITIES AND TOWNS IN THE UK
STARRING RUPERT EVERETT PLAYED SEASONS IN TORONTO & NEW YORK
ACCESS FOR ALL
UNDER 30s TICKETS SOLD since introducing Â£10 tickets for ALL Main Stage & Downstairs performances
INCREASE IN ACCESS BOOKERS including wheelchair users
ACCESS PERFORMANCES for those hard of hearing and/or visually impaired
THE HISTORY OF HAMPSTEAD THEATRE Hampstead Theatre was founded in 1959 by James Roose Evans and was initially based in a church hall in Hampstead Village. New plays formed the core of the repertory from the very beginning and the first season included successful premieres of Pinter’s The Room and The Dumb Waiter. In 1962 the theatre moved to the 157 seat prefabricated building at Swiss Cottage which was to be its home for over 40 years. The programme mix was much the same as it is now: occasional revivals (a 1963 production of Private Lives doing much to restore Noel Coward’s reputation) supporting a diverse repertory of new plays and UK premieres of American work. During its first decade, the theatre existed without any subsidy, making it dependent on Box Office revenue, philanthropic support and revenue from transfers. Accordingly, the diverse range of Hampstead’s work developed a particular character, with intellectual challenge balanced by a significant entertainment component. This contrasted with the work of its near contemporary institution, The Royal Court, where greater financial support granted greater license for experiment. The institutions have both remained true to their heritages and Hampstead’s always close relationship with the commercial theatre has led to a surprisingly high number of West End transfers and tours. Once established, Hampstead supported the careers of a number of notable writers. Three plays by David Hare (including his first play, Slag) premiered here; there were premieres of three plays by Michael Frayn, four plays by Mike Leigh (including Abigail’s Party), two plays by Terry Johnson, five plays by Philip Ridley, two plays by Stephen Jeffreys, and the return of Harold Pinter with the premiere of The Hothouse. Alongside these there were UK premieres of plays by Tennessee Williams (one also a World premiere), three Frank McGuinness plays, four Brian Friel plays, and plays by Athol Fugard, David Mamet and Tony Kushner. Other notable world premieres included Bernard Pomerance’s The Elephant Man and Dennis Potter’s only play Sufficient Carbohydrate. Inevitably this repertory attracted some of the finest creative and acting talent available. Amongst others the tiny Hampstead stage attracted artists as diverse as Ian McKellen, Leonard Rossiter, Jude Law, Zoe Wanamaker,
Charity Wakefield, The Blackest Black 2014 | Charity Wakefield & John Light, The Blackest Black 2014 | Kae Alexander & Ellie Kendrick, Gloria 2017
Faye Dunaway, Ian Holm, Susan Hampshire, Albert Finney, Eileen Atkins, Ewan McGregor, Harriet Walter, Alan Rickman, Nigel Hawthorne, Elaine Stritch, Frances de la Tour, John Hurt, Penelope Keith, Billie Whitelaw, John Malkovich, Sheila Hancock, David Suchet, Juliet Stephenson, Timothy Spall, Maureen Lipman and many others. In 2003, with the prefab becoming increasingly dilapidated, a National Lottery grant and the generosity of the local community enabled Hampstead to create its current state-of-the-Art premises. But adjustment to this new home proved unexpectedly difficult both financially and artistically: the much loved but tatty old auditorium was less than half the size of the luxurious new Main House. Accordingly, a very different approach to play selection and production was required, and the early years proved challenging. In 2010 a comprehensive rethink of the business model was initiated, reducing overhead, investing more money onstage, and starting to present professional productions in the downstairs Studio for the first time. The new model rapidly yielded results and notable recent successes have included World premieres of four Howard Brenton plays including 55 Days, Drawing the Line and #aiww: The Arrest of Ai Weiwei, David Hare’s The Moderate Soprano, Mike Bartlett’s adaptation of Chariots of Fire and his Wild, Beth Steel’s Wonderland and Labyrinth – as well as Hampstead’s first large scale musical, Sunny Afternoon. UK premieres of American plays have included David Mamet’s Race, Gina Gionfriddo’s Rapture, Blister, Burn, David Lindsay Abaire’s Good People and Rabbit Hole and Tony Kushner’s iHo. There have been revivals of plays by Stoppard, Frayn, Hare and Terry Johnson. And Hampstead Downstairs has, since 2010, given World premieres to over 40 plays (many of which have gone on to other stages) whilst Hampstead has transferred eight of its Main Stage productions to the West End. Whilst now operating an unique commercial/funded model at a scale and prominence unimaginable in those early days in the church hall, Hampstead Theatre continues to honour its early creative values, as well as respecting the rich heritage that it has created in the course of its 50-year history. For more archive photos, please visit our History wall in the lower foyer of the theatre.
Bayo Gbadamosi & Colin Morgan, Gloria 2017 | Sara Kestelman & David Calder, iHO 2017 | Tamsin Greig, iHO 2017
BE A PATRON Building on its rich history, Hampstead Theatre is renowned for original, entertaining and ambitious work. We aim to move theatre forward with new ideas, talent and energy to excite our audiences with the lateral, the fresh and the unexpected. Sell-out hits, West End transfers and Olivier Awardwinning triumphs originate with us and will continue to do so thanks to philanthropic support. Our Patronsâ€™ contribution is vital, and in turn they enjoy a range of benefits which bring them closer to the Theatre they love. These include very popular pre-show receptions and post-show discussions with the cast for every production on our two stages, complimentary tickets and programmes, and backstage tours. For more information about being a Patron please contact the Development team on 020 7449 4155, email@example.com or visit hampsteadtheatre.com/support-us
Hayley Atwell in DRY POWDER by Sarah Burgess
PATRONS & 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 Standing Ovation Celia & Edward Atkin CBE Alexander Graham James & Annette 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 J 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 Jacqueline & Melvin 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 Sophie & Stephen Warshaw 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 & Simon Collins Edward Cooke Katie Cooper Derek Councell & Jenny Dover Allan & Sylvia Cowen Lynette & Robert Craig Mark Dennis QC & Christabel Dennis 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 Rothenberg 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 Andreas and Claudia Utermann Charitable Trust Laurence Vallaeys Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Chris 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
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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 Tracy Hofman Mr & Mrs V Meyer Edith and Ferdinand Porjes Charitable Trust James Roose-Evans (Frontier Theatre Prods.) 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
Jon & NoraLee Sedmak
HAMPSTEAD STAFF DIRECTORS Zeinab Badawi Susie Boyt Gillian Budd James Harding Adam Jones Dan Marks Simon Parry-Wingfield Karen Paul Jeremy Sandelson Meera Syal Katja Tangen David Tyler (Chair) ADVISORY COUNCIL Dame Jenny Abramsky DBE Sir Michael Codron CBE Michael Frayn Daniel Peltz Peter Phillips OBE Paul Rayden Patricia Rothman DEVELOPMENT BOARD Tania Black Karen Paul (Chair) Simon Parry-Wingfield Susan Schoenfeld Harrington Nicholas Snowman OBE Christopher Spray Peggy Vance ARTISTIC DIRECTOR Edward Hall* EXECUTIVE PRODUCER Greg Ripley-Duggan* ADMINISTRATION Director of Operations and Associate Producer Neil Morris* Production Co-ordinator Amelia Cherry* Head of Finance Ashok Shah Finance Officer Sherry Lau*
DEVELOPMENT Director of Development Cathy Baker* Development Manager Sally Wilson* Development Manager Jonathan Mace* LITERARY Literary Manager/ Line Producer Will Mortimer* MARKETING Marketing Director Jess Woodward* Marketing Manager Becky Paris* Marketing Manager Lucie Blockley* Press Jo Allan PR 0207 520 9392 Programme Editor Pascale Giudicelli Design SWD www.swd.uk.com PRODUCTION Technical Director Simon Godfrey* Head of Lighting Emily Holmden* Deputy Head of Lighting Avril Cook* Head of Stage Nick Aldrich* Deputy Head of Stage Nic Donithorn* BOX OFFICE Head of Sales Joanne Boniface* Deputy Head of Sales and Access Manager Hannah Gill* Box Office Assistants Matt Barker Colin Burnicle Laura Cantergril Catherine Carnegie Jae Endris
Edith Furlong Cory Haas Lanna Joffrey Adam Line Kirsty Osmon FRONT OF HOUSE AND CATERING Head of Front of House Rob Coughlan* Head of Catering Assunta Dogali* Kitchen Manager Simon Rodda Assistant Kitchen Manager Joe James Duty Managers Matt Barker Jon Cobb Edith Furlong Lanna Joffrey Cherise Parks William Sebag-Montefiore Colm Tracey Bar Duty Managers Laurel Cummins Andrew Jardine Sean Matthew Jones Max Loble Hugh Stubbins Front of House Staff Bolaji Alakija Patrick Bayele Charlie Burt Geraldine Caulfield Angelina Chudi Calvin Crawley Jacob Crossley Thomas Crowhurst Geraldine Curtis Rosie Dwyer James Easey Conor Ensor Isabella Evans Daniel Fernandez Holly Gibbs Lauren Gibson Andrea Golinucci Christine Gomes
Caitlin Goodwin Maria Goretti Cabrera Sam Harding Aliou Janha Stella Kailides Martin Karadzhov Nellie Kirsh Mauricia Lewis Luyanda Unati Lewis-Nyawo Joseph Lukehurst Claudia Marinaro Alice Morgan Bill Palmer Adam Parkinson Callan Purcell Lizzie Roberts Eddie Sellers Elena Skreka Ben Fox Smith Kyanne Smith Jane Staiano Marlow Stainfield Roberto Tallerico Ruben Watts Madeline Young Alessandro Zappala Head Cleaner William Dike Cleaners Samuel Gyamfi Paul Jachie *Full time employees
All information and images printed in the Hampstead Dry Powder Programme are the property of Hampstead Theatre. Edward Hall image HELEN MAYBANKS Dry Powder production photography ALASTAIR MUIR
CAFÉ BAR AT HAMPSTEAD THEATRE Enjoy our new menu of delicious gourmet sandwiches, salads and light meals freshly made on site (just like our shows) and served throughout the day. Pre and post-show, enjoy a glass of wine from our carefully curated menu, a craft beer from Camden Town Brewery or a specialist gin and tonic from The Gin Bar, as well as a selection of organic snacks suitable for everyone’s requirements. OPENING HOURS Monday - Friday 9am - 11pm Saturday 10am - 11pm Food served 12pm - 7pm
See our full menu at hampsteadtheatre.com/cafebar
April â€“ December PRESENT LAUGHTER random / generations THE CHALK GARDEN THE COUNTRY WIFE ME AND MY GIRL THE MEETING COPENHAGEN FLOWERS FOR MRS HARRIS COCK THE MIDNIGHT GANG THE WATSONS SLEEPING BEAUTY
cft.org.uk 01243 781312 #Festival2018
LIMITED WEST END SEASON Following a sold out run at Hampstead Theatre
NANCY CARROLL A NEW PLAY BY
‘NOTE-PERFECT’ Daily Mail
Image: From an original painting by Julian Sutherland-Beatson
5 APRIL - 30 JUNE 2018 • DUKE OF YORK’S THEATRE 0844 871 7623 TheModerateSoprano.com *
Calls cost 7p per minute, plus your phone company’s access charge.
‘Performances that sear into the memory’ SURANNE JONES JASON WATKINS NINA SOSANYA METRO
HHHH ‘Mightily moving’ DAILY MAIL
HHHH FINANCIAL TIMES
Directed by Jonathan Munby
BY BRYONY LAVERY
HHHH THE GUARDIAN
UNTIL 5 MAY FrozenThePlay.com
15 Mar –21 Apr
Kene has a thrilling flair for language THE TIMES
by Arinzé Kene directed by Omar Elerian
bushtheatre.co.uk 020 8743 5050
NEVER MISS A SHOW
‘A note-perfect production’
‘A stupendous revival’
BECOME A FRIEND AND SUPPORT HAMPSTEAD THEATRE FOR JUST £50 A YEAR
■ Advance Priority Booking for all shows ■ 10% discount at the Café Bar Invitations to the Artistic Director’s ■ Breakfasts ■ Regular e-newsletter, Hampstead Backstage, exclusively for supporters
by Peter Shaffer
Now playing until 24 April
Visit hampsteadtheatre.com/ be-a-friend or call Jonathan Mace in our Development team on 020 7449 4174
In association with Southbank Sinfonia
TANYA MOODIE ELIZABETH BERRINGTON BO PORAJ SHEILA REID
BY J O E L D R A K E J O H N S O N 18 APR – 12 MAY 2018
atgtickets.com 0844 871 7632*
*Calls cost up to 7p per minute plus your phone company’s access charge
T H E L EG E N DA R Y B R OA DWAY M U S I CA L A S YO U â€™ V E N E V ER S E E N I T B E FO R E
ROSALIE CRAIG AND
COMPANY MEL GIEDROYC MUSIC & LYRICS
ORIGINALLY PRODUCED AND DIRECTED BY
From 26 September 2018 | ElliottAndHarper.com GIELGUD THEATRE A DELFONT MACKINTOSH THEATRE
Storyhouse, Chester Architect: Bennetts Associates Photo ©Peter Cook www.bennettsassociates.com 2017_3_half page_horizontal.indd 1
“Impeccable” THE NEW YORK TIMES
MUSIC BY JEANINE TESORI, BOOK AND LYRICS BY LISA KRON BASED ON THE GRAPHIC NOVEL BY ALISON BECHDEL DIRECTION Sam Gold
18 JUN – 1 SEP 020 7922 2922 YOUNGVIC.ORG
7 Apr – 19 May
Instructions for Correct Assembly By Thomas Eccleshare
“Maybe turn down the ‘opinionated’ dial?” Tickets from £12
From the writer of the Olivier nominated Four Minutes Twelve Seconds
TheFall By James Fritz
28 April – “ Exceptional new 19 May play charges Southwark Playhouse through life at Tickets from £12 breakneck speed” nyt.org.uk/The Fall The Stage
Quarter Page 69x106mm_NYT Fall.indd 1
We are delighted to be associated with this production
Fine selection of new and reconditioned upright, grand and digital pianos for sale and hire Long term hire with Option to Buy
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Teaching and practice studios with recording facilities
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A R T. B R I N G YO U R H O M E TO L I F E . 1 0 â€“ 1 3 M AY 2 0 1 8 Hampstead Heath, London
Half price tickets using code CHANGE online* Book tickets and browse art: affordableartfair.com *Offer excludes Charity Private View, applies to on-the-door prices and is subject to a small booking fee
HHHH HHHH HHHH HHHH
‘SAMANTHA SPIRO ‘KEVIN BISHOP ‘JENNIFER SAUNDERS ‘GRACE MOLONY IS SPLENDID AND
SPELLBINDING’ LONDON THEATRE
HHHH ‘YOU WOULD BE MAD TO MISS IT’
LADY SPIRO BISHOP
HHHH ‘A ROSTER OF EXCELLENT PERFORMANCES’ DAILY EXPRESS
FAN SAUNDERS JENNIFER
THE SELFISH GIANT, AN IDEAL HUSBAND AND THE IMPORTANCE OF BEING EARNEST NOW ON SALE
MUST END 07 APRIL 0330 333 4814 classicspring.co.uk
Published on Mar 8, 2018
Published on Mar 8, 2018
An Olivier Award winning musical with a hugely original, highly eclectic and uniquely American score, Caroline, or Change creates an uplifti...