Dry Powder programme

DRY POWDER

BY SARAH BURGESS DIRECTED BY ANNA LEDWICH

DOWNSTAIRS

MAIN STAGE

WHAT’S ON CAROLINE, OR CHANGE BOOK & LYRICS BY TONY KUSHNER MUSIC BY JEANINE TESORI DIRECTED BY MICHAEL LONGHURST STARRING SHARON D. CLARKE 12 MARCH – 21 APRIL

YOUS TWO

BY GEORGIA CHRISTOU DIRECTED BY CHELSEA WALKER UNTIL 24 FEBRUARY

ACCEPTANCE

BY AMY NG DIRECTED BY ANNA LEDWICH 2 MARCH – 7 APRIL

THE PHLEBOTOMIST

ELSEWHERE

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

HAMPSTEAD THEATRE IN ASSOCIATION WITH THE BUNKER PRESENTS

KEN

BY TERRY JOHNSON DIRECTED BY LISA SPIRLING UNTIL 24 FEBRUARY | THE BUNKER LONDON BRIDGE 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 Happy New Year! And I am delighted to celebrate the arrival of 2018 with another play from the brilliant generation of younger female American playwrights who now dominate the scene across the Atlantic. It’s exciting to welcome Sarah Burgess to Hampstead and to launch her theatre career in the UK with this ultra-smart comedy. We were, of course, aware of Sarah’s stratospheric rise to prominence, but, perhaps surprisingly, Dry Powder actually landed in the Hampstead inbox before that, courtesy of David Hare. Even this many years after giving it up to write, David has a Literary Manager’s nose for talent, and he had been particularly struck by a quality in Sarah’s writing that is in increasingly short supply in today’s theatre (or indeed today’s world): wit.

By wit, I took him to mean something rather more than just a talent for jokes or well-turned comic dialogue, though both of those are here present and correct, but something belonging to a much older tradition of writing in English – a tough reasonableness beneath the slight lyric grace… Thus a comedy seemingly concerning itself with a tiny but highly competitive corner of the world of high-finance evolves into a meditation on Capitalism, on Society, and on the nature of human folly. And it does this without clumsy polemical intent, but with a dexterity and lightness of touch balanced by the utmost seriousness. There is a directness and a compelling quality to Sarah’s work that made this an absolute page turner and I hope that this will be the first of many of her plays at this address.

And it’s a very special pleasure to have the brilliant Anna Ledwich back to direct Dry Powder. Regular Hampstead attenders will know Anna’s work well as this is her ninth production for us. Indeed, her tenth Hampstead production, of Amy Ng’s Acceptance Downstairs, will open later this spring, so by the time this is in print she’ll be back in our rehearsal room! Here she has assembled a top notch cast led by the extraordinary Hayley Atwell who I had the pleasure of directing in the BBC’s film of William Boyd’s bestselling espionage story Restless. Hayley is ably supported by Tom Riley who is also making his Hampstead debut, and Aidan McArdle and Joseph Balderrama who are making welcome returns to our stage. Enjoy the New Year fireworks!

EDWARD HALL ARTISTIC DIRECTOR

THE WILL MORTIMER INTERVIEW WM Have you always been New York based?

SB No, I grew up mostly in the suburbs of Washington DC but I moved to New York for college: I was at NYU studying Film. So I have been here the whole of my adult life.

WM But you didn’t train in playwriting?

SB No, the only theatre class I have ever taken was actually in London! I went to London to intern at the BBC for a semester when I was at NYU, and I was required to take a theatre class whilst I was there.

I was really annoyed about it at first but eventually I ended up enjoying it. And whilst I was in London I also saw a lot of theatre...

WM The publicity narrative is that you ‘exploded’ onto the New York theatre scene… How did that happen?

SB Well, after college I spent seven or eight years tutoring. I knew I wanted to be a writer and I found a really good day-job for that: tutoring and teaching classes at different schools around New York. I was mainly giving extra math lessons, which I really enjoyed.

Meanwhile, on my own, I applied to a writers’ group in New York called Ars Nova, which is a real magnet for new playwriting talent. I joined them for a two-year residency which offered biweekly meetings and a lot of support - and I wrote this play whilst I was in the group.

They give you a reading of your work at the end. I had completed Dry Powder and I used it for my reading. And because I had enjoyed being part of a writers’ group far more than just being confined to my apartment writing - I decided to apply to the Public Theater’s writers’ group. I submitted the Dry Powder script as a sample of my work when I applied, they passed the script to Oskar Eustis who runs the Public and...

WM …and he said: ‘we’ll do it.’

SB Yes, that’s exactly what he said! It’s a weird story and it’s sort of embarrassing. But for most of my twenties I was writing alone...

WM So was this actually your first play?

SB No, I had written two plays before Dry Powder, one of them to get into the writer’s group, but they hadn’t been widely submitted.

WM OK – so, Private Equity, a tricky subject for a playwright because you have to make the audience understand what is essentially an unfamiliar world.

What drew you to the subject?

SB When Mitt Romney ran against Barack Obama in 2012, Romney’s time at Bain Capital – he had worked for the Private Equity arm of Bain and Company became a real political football both in the Republican primary and in the General Election, because it made him very easy to attack. And that made me curious about that world: the idea of a small New York or Boston firm taking over a large company and the immense power wielded by a relatively small entity...

So I read Barbarians at the Gate, which is a really entertaining retelling of the RJR Nabisco buyout, and it suggested the two main characters to me.

WM So you were just reading around the subject and then you thought ‘this is a play... maybe’?

SB I was attracted by the completely unapologetic point of view that became the core of the Jenny character. That’s there in Romney, and I also have family who are very conservative and share that world view, so I knew there was real comedy available there... Of course, she needed a foil, so I imagined these two characters going back and forth within the firm and writing them became the scenes that eventually became the play.

WM So it started with Jenny – she is really intriguing, almost dysfunctional...

SB Well, she is the kind of person for whom ideas and numbers really keep her company. But there are plenty of people for whom math is actually soothing - though I think you are right, hers isn’t a well-rounded personality.

WM But you taught maths... Are you a maths genius?

SB No, I was tutoring in schools, so I was tutoring math, algebra and pre-calculus, but nothing beyond that. Though there is something special about connecting with someone from a very different background through abstract ideas. It calms the mind just to be able to focus on this one thing and to try to solve something together quickly.

WITH THE WRITER

SARAH BURGESS WM So is Jenny based on anybody?

SB No, I don’t think so. I think that some of the ways that she interacts with people, I could personally relate to, but it’s pushed to a comic extreme...

Or maybe not, you tell me...

WM Ha! But was she fun to write?

SB Yes, great fun. She was an easier voice for me than others.

WM You must have done a fair amount of research.

What sort of people were you talking to?

SB At first I did research on my own: I read some books and case studies and biographies as well as Private Equity guides and a lot of news articles. After I wrote the first draft, I met some people who had either worked in Private Equity for well-known firms or worked in sectors around PE and interacted with it. I would send them the draft and some of them were surprisingly keen on reading it and giving me feedback.

I still remember meeting with one woman who used to work at The Carlyle Group, and when I met her she arrived with a full printout of my script with perhaps thirty or forty post-it notes sticking out of it, and she was severe, really harsh... She loved the play, I could tell, but she did not dilute her criticisms with praise.

There is a way that people are trained to talk to writers but she didn’t do any of that… Yes, that was the really fun part of the process. Obviously, I am an outsider to that world, so I would ask my questions and I was happy to be corrected. And because the play is essentially a comedy, that helped ease these conversations, because they knew the aim of the writing wasn’t critical or an attempt to capture their entire world…

WM But whilst it’s clearly a comedy, is it making any sort of political statement about American capitalism?

SB I didn’t write it to make any political comment, but the play explores a line of American ideas concerning pure competition, like the national myth of the frontier where we build everything ourselves whilst ignoring the harder, darker truths about the cost of doing that... And it therefore explores the tension between what we do for money and our personal morals, how we see ourselves and how what we

do everyday makes us who we are, whether we like it or not. The fun was finding those moments when the two principal characters debate debt ratios or whatever, and the back and forth between these two people who have been competing their whole lives becomes something absurd, the carefully chosen phrases which they know will get under the skin of the person they kind of hate but of course, as their rival, they also love having in their life...

WM It is certainly playful!

SB Well no one needs to see a simplistic play about why finance is bad, and I wouldn’t want to write that play...

WM But managing the narrative, feeding the audience the right information at the right moment... that was instinctive?

SB It certainly felt instinctive. I remember simply following each thread implied by the interaction between the characters; I didn’t think consciously about the shape of the debate because it’s essentially a simple story: the play is about whether they are going to buy something, and the implications of that purchase. And with different productions and on different nights what happens in the end lands differently – different audiences will side either with Jenny or with Seth and it’s hard to know why they go one way or another...

WM Interesting… What is your working methodology?

SB I write on a computer alone either in the library or at my home, focussing on the dialogue, which will lead me to different places. Later it is very helpful to hear it read aloud, because you experience this chilling realisation about the sections that won’t work when people will have to perform them…

WM Who are your playwriting heroes?

SB I am shy about saying... but certainly David Hare.

I worked with him last year and got to ask him a lot of random questions and then I read Skylight and loved it! I also read a lot of Stoppard when I was first getting interested in playwriting, and Stephen Sondheim was really important to me at that time. And I went through a phase of reading a lot of Shakespeare, who isn’t a bad playwright in my view...

CORPORATE SOCIAL RESPONSIBILITY

BY DAVID WALLER

The economist Milton Friedman asserted that the business of business is just business. But there is often so much more to it than that, and actions taken in pursuit of pure profit, without taking account of the interests of society at large or the wider media context, can backfire. There are many real-life captains of industry who have been denounced for their antisocial business behaviours.

Think of Sir Philip Green, the retail tycoon vilified in Parliament and the press for taking nearly £600 million in dividends and other payments out of the BHS retail group, before it was sold for £1 and then went bankrupt with the loss of thousands of jobs.

their commitment to worthy aims such as reducing carbon emissions or promoting gender equality in the workforce.

CSR itself has a long heritage: the concept of corporate social responsibility is not a new one and it goes almost as far back as the French Revolution of 1789 – 1799, which brought about a major turning point in the history of Western democracy as the age of absolutism gave way to the age of citizenry as a dominant political force.

Indeed altruistic CSR has been in existence in the UK since the 1770s. And even during the Industrial Revolution, a time when workers were oppressed by

‘THE BUSINESS OF BUSINESS IS JUST BUSINESS’ Or of tech companies like Google and Amazon, hauled over the coals of public opinion for paying little or no tax in countries where they generate hundreds of millions in sales. Or US drug companies condemned by politicians for gouging patients with exorbitant prices during last year’s presidential election. And bankers demonised on all sides in the aftermath of the 2008 financial crash.

Even with Donald Trump in the White House, a president who encourages oil prospecting in pristine national parks, the bald fact is that modern businesses can no longer operate as if in a zone hermetically sealed from the rest of society.

New technologies and social media mean people are able to express outrage over dubious business practices and even start social movements targeting businesses who abuse their power. Companies have to take scrupulous account of the physical world and the broader world of customers, communities, politicians and regulators.

Few corporations today, even in Trump’s dystopian America, will be without a department dedicated to promoting Corporate and Social Responsibility (CSR), and most publish a special annual report glorifying

the forces of capitalism and mechanisation, some enlightened business owners went to great trouble to ensure that their employees were well looked after.

Sir Titus Salt’s model village at Saltaire near Bradford in West Yorkshire is one manifestation of that. Sir Joseph Whitworth, the great Manchester machine tool entrepreneur, provided education and housing to his employees and left a great philanthropic legacy, not least the eponymous Whitworth Gallery and park in central Manchester. The degree to which these early social and corporate experiments were actually in the interest of the workforce or were rather expressions of the will of the employers is, of course, open to question.

More recently, the concept of CSR evolved in part as a response to environmental and social catastrophes such as the gas leak in 1984 at the Union Carbide chemicals plant in Bhopal, the worst industrial accident in history, in which thousands of people lost their lives, or the Exxon Valdez oil spill in 1989.

It is a concept with many definitions and practices that addresses a plethora of topics such as human rights, corporate governance, health and safety, environmental effects, working conditions and

SARAH BURGESS

contribution to economic development. And it was the UK government under Tony Blair and Gordon Brown that played a vital role in establishing CSR. Indeed, in March 2000 Blair’s administration was the first government administration anywhere in the world to appoint a Minister for CSR. Before that, for decades, the concept of CSR was discredited: corporations appeared only to pay lip-service to ideals, rather than changing their actual practices. Thus the phenomenon of ‘green-washing,’ whereby companies involved in dirty businesses - such as mineral extraction - sought to present themselves in a better light by selective use of statistics or careful brand positioning. BP, for example, rebranded itself in 2001 as ‘Beyond Petroleum,’ an aspiration that in no way matched the reality of its business practice.

A more recent example is the VW emissions scandal, when the German car company introduced ‘defeat devices’ into 11 million or more diesel powered cars, with the aim of fraudulently getting round rules restricting emissions of noxious gases. Consumers were duped into thinking they were buying clean technology, when in fact emissions could be up to

HAYLEY ATWELL

40 times more than permitted levels. The technology that VW developed to get round the tests was an illegal triumph of clever German engineering. It was also a cynical ploy from a company which had prided itself on its CSR credentials, famously producing a Superbowl advert in which its engineers were portrayed as turning into angels every time a car reached 100,000 miles. There was nothing angelic about this business practice, and the company has lost tens of billions of Euros in fines, product recalls and reputational damage.

Despite these negative cases, it is clear that many far-sighted corporations are going beyond producing glossy brochures, and actually influencing social policy for the better. In 2016, North Carolina’s House Bill 2 sought to ban transgender people from using the public bathrooms that match their gender identities.

Approximately 50 private and public investment groups, including investment bank Morgan Stanley and New York State’s pension fund, responded by releasing a signed letter in protest at this new law, indicating that it was ‘making it difficult for our portfolio companies to provide the safe, open,

and inclusive environment necessary for a successful workplace’.

Other associations, such as the National Basketball Association (NBA) and the National Collegiate Athletic Association (NCAA), also voiced their concerns and have taken action (the NBA moved the 2017 All-Star Game from Charlotte to New Orleans). A further group of about 100 major companies urged North Carolina Governor Pat McCrory to repeal the law, a number that eventually swelled to more than 180, including Apple, Airbnb, Bank of America, Starbucks and United Airlines. Companies including Deutsche Bank and PayPal put on hold plans to expand in the state.

Although it took courage for them to wade into

trained them in selling soaps, detergents, and other products door-to-door. More than 65,000 women entrepreneurs now participate, nearly doubling their household incomes, on average, while increasing rural access to hygiene products and thus contributing to public health. These social gains have been met by business gains for the company: so-called Project Shakti had achieved more than $100 million in sales. Its success has led Unilever to roll out similar programs in other parts of the world.

Early last year, the company suffered an unwelcome takeover approach from Kraft Heinz, an unsentimental corporation dedicated to maximising profits. Unilever fended this off, but it is fair to say that since then it has faced more scrutiny about exactly

‘THE BALD FACT IS THAT MODERN BUSINESSES CAN NO LONGER OPERATE AS IF IN A ZONE HERMETICALLY SEALED FROM THE REST OF SOCIETY’ social policy like this, corporations were not motivated by altruism. Commercial self-interest was also at stake. Protecting companies’ gay, lesbian and bisexual employees from discrimination directly affects corporations’ ability to attract talent and make money, according to Deena Fidas, Director of the workplace equality program at the Human Rights Campaign.

‘If you look at the advancement of the rights in Fortune 500 companies compared to [LGBT] rights in the states, Fortune 500 companies were way more progressive than the states or any of the governments were,’ said Brayden King, a management and organisations professor at Northwestern University’s Kellogg School of Business.

Other companies, notably the consumer goods giant Unilever, have a long-term heritage of pursuing social good as an integral part of their business strategy. Under CEO Paul Polman, Unilever launched its Sustainable Living Plan, in which it has set out a vision for growing its sales and profits, while serving its customers and sourcing raw materials in a sustainable way. It has committed to helping more than a billion people to take action to improve their health and wellbeing by 2020.

In rural India, Unilever has recruited village women, provided them with access to microfinance loans, and

how its CSR rhetoric delivers an economic return.

CSR should be more than a sticking-plaster, it should be aligned with business goals. It’s surely for that reason that Goldman Sachs, for decades indifferent to its reputation with the general public, now cultivates female entrepreneurs and small business-owners through its 10,000 Women and 10,000 Small Businesses programs. The beneficiaries of these initiatives are important for the future of Goldman Sachs’ franchise and influence how the firm is perceived by Washington lawmakers.

Even the Private Equity world now takes such issues very seriously. A Private Equity firm must behave ruthlessly, but it still needs to be mindful that reputational damage will inhibit its future ability to operate. Sarah Burgess’s play dramatises some key questions of modern financial capitalism: do profits always come first? How important are traditional values when set off against money-making? Can heritage be harnessed as part of a commercial plan, or can it simply be disbanded if doing so leads to a few extra millions of return?

David Waller is an author and consultant specialising in corporate reputation; his latest book, The Reputation Game, was published in October 2014.

More details on www.davidwallerwriter.com

WHAT IS PRIVATE EQUITY

BY MARVIN DUMONT

The simplest definition of private equity is that it is equity – that is, shares representing ownership of or an interest in an entity – that is not publicly listed or traded. A source of investment capital, private equity actually derives from high-net-worth individuals and firms that purchase shares of private companies or acquire control of public companies with plans to take them private, eventually delisting them from public stock exchanges. Most of the private equity industry is made up of large institutional investors, such as pension funds, and large private equity firms funded by a group of accredited investors.

Since the basis of private equity investment is direct investment into a firm, often to gain a significant level of influence over the firm’s operations, quite a large capital outlay is required, which is why larger funds with deep pockets dominate the industry. The minimum amount of capital required for investors can vary depending on the firm and fund. Some funds have a $250,000 minimum investment requirement; others can require millions of dollars.

The underlying motivation for such commitments is of course the pursuit of achieving a positive return on investment. Partners at private-equity firms raise funds and manage these monies to yield favourable returns for their shareholder clients, typically with an investment horizon between four and seven years.

Private equity has successfully attracted the best and brightest in corporate America, including top performers from Fortune 500 companies and elite strategy and management consulting firms. Top performers at accounting and law firms can also be recruiting grounds, as accounting and legal skills relating to transaction support work are required to complete a deal and translate to advisory work for a portfolio company’s management.

Marvin Dumont is a certified content expert who has served as managing editor and writer for Fortune 500 companies and several media organizations.

GLOSSARY OF TERMS DRY POWDER is the remaining capital in a private equity fund.

LPs or LIMITED PARTNERS are secondary investors in a private equity fund. Typically high-net-worth individuals or institutional investors.

AN INVESTMENT FUND is a pool of money from numerous investors used to collectively purchase tradeable assets. Each investor retains ownership and control of his/her own shares in the fund.

TOP QUARTILE is the best performing of four equal groups of statistically ranked financial data.

TO RAISE DEBT is to borrow money.

LEVERAGED BUYOUT is the acquisition of another company using a significant amount of borrowed money. The assets of the company being acquired are used as collateral for the loans.

DEBT-TO-CAPITAL RATIO is a measurement of a company’s indebtedness. It is calculated by taking the company’s total debt and dividing it by the value of the business.

EQUITY, generally speaking, is the value of an asset minus the amount of all liabilities on that asset. It can be represented with the accounting equation: Assets - Liabilities = Equity.

EQUITY POSITION is how much equity you own of a particular asset. For example, the value of a house minus the mortgage against it is the homeowner’s equity position.

DISINTERMEDIATION is the removal of intermediaries in economics from a supply chain, or cutting out the middlemen in connection with a transaction or a series of transactions.

ZERO BASED BUDGETING is a method of budgeting in which all expenses must be justified for each new financial period.

DUE DILIGENCE is analysis of the potential risks and returns of an investment opportunity.

The BETA of an investment indicates whether the investment is more or less volatile than the market as a whole.

SENSITIVITY ANALYSIS looks at how the output of a financial model changes when various input assumptions are changed.

DIVIDEND RECAP(ITALISATION) is when a company borrows money to finance the payment of a one-off dividend to shareholders.

CAPITAL CALL is a legal right of an investment firm to demand a portion of the money promised to it by an investor.

FIDUCIARY RESPONSIBILITY is the legal responsibility for managing somebody else’s money.

HAYLEY ATWELL AIDAN McARDLE

TOM RILEY

JOSEPH BALDERRAMA AIDAN McARDLE

SARAH BURGESS & ANNA LEDWICH

SARAH BURGESS

ANNA LEDWICH

Sarah Burgess’ work has been developed and performed in New York,

Anna began her directing career at Theatre503. She was awarded

Houston, Boston, Chicago, Seattle, Miami, and in various parts of California.

the Michael and Morvern Heller Director’s Bursary at Chichester

Festival Theatre and was co-Artistic Director of Theatre on the Fly for

WRITER

Her plays include Kings (premiering at the Public Theater in New York

DIRECTOR

this season); Camdenside (Kilroys List; Ground Floor selection, Berkeley

Chichester’s 50 th Anniversary Celebrations. Anna received the Gate

Rep); Earthsiege: Commence (Naked Angels’ First Mondays, New York)

Theatre/Headlong New Directions Award for her adaptation of Frank

and FAIL: Failures (ANT Fest, New York).

Wedekind’s Lulu and was nominated for the 2015 Olivier Award for

Outstanding Achievement in an Affiliate Theatre for Four Minutes

Sarah has been a writer-in-residence at SPACE on Ryder Farm in Brewster,

NY and the Cape Cod Theatre Project. She is an alumna of WP Lab and

Twelve Seconds at Hampstead Downstairs.

Ars Nova Play Group.

(Hampstead Theatre); No One Will Tell Me How To Start A Revolution;

Dry Powder received the Laurents/Hatcher Foundation Award and

was a finalist for the Susan Smith Blackburn Prize.

Recent work includes Cookies (Theatre Royal Haymarket); Labyrinth

The Argument; Deluge; Donny’s Brain and The Empty Quarter (all Hampstead Downstairs); Kiss Me and Four Minutes Twelve Seconds (both Hampstead Downstairs/West End); The Stick House (Raucous Collective/Bristol Old Vic); Blue Remembered Hills and A Christmas Carol (both Chichester Festival Theatre); Dream Story (Gate) and How Does A Snake Shed Its Skin (Summerhall/National Theatre Studio).

Anna’s adaptation of Beauty and the Beast premiered at

Chichester Festival Theatre in 2017.

CAST IN ALPHABETICAL ORDER HAYLEY ATWELL

JENNY

JOSEPH BALDERRAMA

JEFF RICK

AIDAN McARDLE

SETH

TOM RILEY

CREATIVE TEAM SARAH BURGESS

WRITER DIRECTOR

ANNA LEDWICH

DESIGNER

ANDREW D EDWARDS ELLIOT GRIGGS

LIGHTING DESIGNER

MAX PAPPENHEIM

SOUND DESIGNER

IAN WILLIAM GALLOWAY

VIDEO DESIGNER

DANIELE LYDON

DIALECT COACH

ANNA COOPER CDG

CASTING DIRECTOR

NATASHA HYMAN

ASSISTANT DIRECTOR

TOM NICKSON

PRODUCTION MANAGER

LUCY MARTIN

COSTUME SUPERVISOR

ROBYN HARDY

COMPANY STAGE MANAGER

AMY SLATER

DEPUTY STAGE MANAGER

LUIS HENSON

ASSISTANT STAGE MANAGER

NATASHA WHITLEY

STAGE MANAGEMENT PLACEMENT WARDROBE MANAGER

VICTORIA HITCHENS

VIDEO PROGRAMMERS

SALVADOR AVILA & HAYLEY EGAN RAFAEL VARTANIAN

VIDEO ANIMATOR

ALASTAIR MUIR

REHEARSAL PHOTOGRAPHER

SET UP SCENERY

SET CONTRUCTION BY

HAMPSTEAD THEATRE WOULD LIKE TO THANK MENS TAILORING with thanks to BROOKS BROTHERS Costume alterations by AISLINN LUTON Hair consultation by KATRIN REES PAUL MATHEWS TRANSPORT TRAVEL GOODS SHOWCASE MAGAZINE

FOR EXCLUSIVE INFORMATION, NEWS & COMPETITIONS @Hamps_Theatre #HTDryPowder

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Original New York Production by The Public Theater Oskar Eustis Artistic Director Patrick Willingham Executive Director

CAST & CREATIVE TEAM HAYLEY ATWELL JENNY Theatre work includes The Pride (Trafalgar Studios – Olivier Awards Best Actress Nomination 2014, WhatsOnStage Awards Best Actress In a Play nomination); The Faith Machine (Royal Court); A View From the Bridge (Duke of York’s – Olivier Awards Best Supporting Actress nomination, 2010); Major Barbara (National Theatre – Ian Charleson Nomination, 2009); The Man of Mode (National Theatre); Women Beware Women (RSC) and Prometheus Bound (Sound Theatre).

Film work includes Christopher Robin; The Complete Walk: Cymbeline; Ant Man; Cinderella; Testament of Youth; The Avengers: Age of Ultron; Captain America The Winter Soldier; Jimi: All is By My Side; The Man; The Sweeney; I, Anna; The Duchess; Brideshead Revisited; How About You and Cassandra’s Dream.

Television work includes Howards End; Conviction; Agent Carter (series 1 & 2); Life of Crime; Black Mirror (series 2: Be Right Back); Restless; Falcon – The Blindman of Seville and The Silent and the Damned; Any Human Heart; The Pillars of the Earth (Golden Globe Awards Best Actress in a mini-series nomination, 2011; Gemini Awards Best Performance by an Actress in a Leading Role in a Dramatic Program or MiniSeries, 2011); The Prisoner; Mansfield Park; The Ruby in the Smoke; Fear of Fanny and The Line of Beauty.

JOSEPH BALDERRAMA JEFF Training: NYT and LAMDA. Theatre work includes All the President’s Men? (National Theatre at the Vaudeville); Drones Baby, Drones (Arcola); Labyrinth (Hampstead Theatre); The White House Murder Case (Orange Tree); The Miser (Royal Exchange); Wet Weather Cover (King’s Head/West End); No Such Cold Thing (Tricycle); The Accidental Death of an Anarchist (Colchester); Hamlet; Arabian Nights and The Merchant of Venice (all Creation Theatre); Cinderella is Not Enough and Biloxi Blues (both for CPP) and Romeo and Juliet (ETT Tour/Hong Kong).

Film work includes Stan and Ollie; The Current War;

Tad Jones: The Hero Returns; Spectre; Meet the Firm: Revenge in Rio; Jack and Jill and The Nutcracker: The Untold Story.

Television work includes Press; Snatch; War On Drugs; Benidorm; Capital; I Live With Models; Not Going Out; The Armada: 12 Days to Save England; Borgia; Episodes; Schizo Samurai Shitzu; Canoe Man; Holby City; Bremner, Bird and Fortune; The Omid Djalili Show; The Bill; The Vice and The Robinsons.

Radio work includes Assata Shakur; The FBI’s Most Wanted Women; The Village; The Clintons; Prayers for the Stolen; The Weapon; The Old Man and the Sea and We Are Water.

AIDAN McARDLE RICK Theatre work includes The Secret Theatre (Wanamaker Playhouse); The Silver Tassie (National Theatre); The White Devil (Menier Chocolate Factory); There Came a Gypsy Riding (Almeida); The Shadow of a Gunman (Tricycle - Olivier Award Nomination for Outstanding Achievement in an Affiliate Theatre); Antony and Cleopatra; Othello; A Midsummer Night’s Dream (Ian Charleson Award Nomination); Henry VI Parts I, II and III and Richard III (all RSC); A Prayer for Owen Meaney (National Theatre); Stairs to the Roof (Chichester Festival Theatre) and Democracy (Sheffield Crucible Theatre/Old Vic - TMA award for Best Supporting Actor).

Film work includes Ella Enchanted; Not Only But Always; The Duchess; Borderlands; The Professor and The Madman and Black 47.

Television work includes Jane Eyre; Mr Selfridge; Poirot: Final Curtain; Casualty 1909; The Maigret Series; Humans; The Fall; Miss Marple; Sense 8 and Delicious.

Aidan is an Associate Artist of the RSC.

TOM RILEY SETH Theatre work includes My City (Almeida); Arcadia (Broadway – Drama Desk Award 2011 Nomination for Outstanding Featured Actor); Hurts Given and Received (Riverside Studios - Off West End Theatre Award 2010 Nomination for Outstanding Actor); Paradise Regained; The Vertical Hour; Censorship; Shoot, Get Treasure, Repeat; Victory; The Entertainer and The Woman Before (all Royal Court).

Film work includes Ghost Light; Extinction; Starfish; Modern Life Is Rubbish; Pushing Dead; Kill Your Friends; St. Trinian’s 2; Happy Ever Afters; Return to the House on Haunted Hill; I Want Candy and A Few Days in September.

Television work includes Angie Tribeca; Ill Behaviour; The Collection; Inside No 9 (Series II); Doctor Who; Da Vinci’s Demons (3 Series BAFTA CYMRU 2014 Award for Best Actor); Monroe (Series I & II);

Twenty Twelve; Bedlam; A Bouquet of Barbed Wire; No Heroics; Poirot: An Appointment With Death; Lost in Austen; Lewis (Series II); The London Hospital; Miss Marple - Ordeal by Innocence and Freezing (Series I & II).

ANDREW D EDWARDS DESIGNER Theatre work includes Labyrinth (Hampstead Theatre); Donny’s Brain (Hampstead Downstairs); Fack Ju Göhte (Werk 7, Munich, Stage Entertainment); Après la Pluie (Théâtre Du Vieux-Colombier, Comédie Française, Paris); 31 Hours (Bunker Theatre); William Wordsworth (ETT/Theatre by the Lake); Plaques and Tangles and Who Cares (both Royal Court); Romeo and Juliet (Shakespeare’s Globe/World tour); As You Like It (Shakespeare’s Globe); The House of Bernarda Alba (La Comédie Française); Love’s Labour’s Lost (Madrid); Miss Julie/Black Comedy (Chichester Minerva Theatre); Running Wild and The Hundred and One Dalmatians

TOM RILEY & HAYLEY ATWELL

(both Chichester Festival Theatre); Blue Remembered Hills; Playhouse Creatures and Fred’s Diner (all Chichester Festival Theatre/Theatre On The Fly); Impossible (West End/World tour); Five Finger Exercise and The Dumb Waiter (both Print Room); The Life and Times of Fanny Hill (Bristol Old Vic); Les Parents Terribles (Donmar Season At Trafalgar Studios); Backbeat (West End/Toronto/Los Angeles); A Voyage Around My Father (Salisbury Playhouse); Measure For Measure (Theatre Royal Plymouth/UK tour); Jesus Christ Superstar (Madrid/European Tour); Single Spies; Heroes; Educating Rita and Lettice and Lovage (all Watermill Theatre) and Quiz Show (Traverse Theatre, Edinburgh).

Opera work includes Così Fan Tutte (Central City Opera) and La Bohème (Opera Holland Park).

ELLIOT GRIGGS LIGHTING DESIGNER Theatre work includes Disco Pigs (Irish Rep, NY/ Trafalgar Studios); Cookies (Haymarket); Anything That Flies (Jermyn Street); Heroine; The SugarCoated Bullets of the Bourgeoisie and Lampedusa (all HighTide); Loot (Park Theatre/Watermill Theatre); Kiki’s Delivery Service (Southwark Playhouse); Hir and Forget Me Not (both Bush); The Oracles (Punchdrunk); My Eyes Went Dark (59E59/Traverse /Finborough); An Octoroon; Low Level Panic; Sheppey and Buckets (all Orange Tree); Home Truths and Benefit (both Cardboard Citizens); Diminished; The Argument and Deluge (all Hampstead Downstairs); Don’t Wake the Damp; He Had Hairy Hands and The Boy Who Kicked Pigs (all Soho/Lowry/UK tour); Faust X2 (Watermill Theatre); Raising Martha (Park Theatre); Fleabag (Soho/UK tour); Fool For Love (Found 111); Romeo and Juliet and Pigeon English (both NYT); Educating Rita (Hull Truck); The Night Watch (Royal Exchange); Martha, Josie and the Chinese Elvis (Bolton Octagon/ Hull Truck); Yen (Royal Court/Royal Exchange); Pomona (National Theatre/Royal Exchange/Orange Tree - Off West End Award for Best Lighting Designer); John Ferguson; The Soft of Her Palm and And I and Silence (all Finborough); Aladdin (Beck Theatre, Hayes); Peter Pan (Harlow Playhouse).

Event Design includes Height of Winter, The SingleOpticon and Alcoholic Architecture (Bompas & Parr).

MAX PAPPENHEIM SOUND DESIGNER Theatre work includes The Children (Royal Court/ Manhattan Theatre Club); Teddy (Watermill Theatre/ National Tour); Miss Julie (Theatre by the Lake/Jermyn Street); Cookies (Haymarket); No-One Will Tell Me How to Start a Revolution (Hampstead Downstairs); Sex with Strangers and Labyrinth (both Hampstead Theatre); A Fox on the Fairway (Queen’s Theatre, Hornchurch); Loot (Park Theatre/Watermill Theatre); Ophelias Zimmer (Schaubühne, Berlin/Royal Court); The Lottery of Love; Sheppey; Blue/Heart; Little Light and The Distance (all Orange Tree); The Gaul (Hull Truck); Toast (National Tour/59E59/Park Theatre); Jane Wenham (Out of Joint); Waiting for Godot (Sheffield Crucible); My Eyes Went Dark (59E59/Traverse Theatre/ Finborough); The Blinding Light (Jermyn Street); Cargo (Arcola); CommonWealth (Almeida); Creve Coeur (Print Room); Wink (Theatre503); And Here I Am; Fabric and Invincible (all UK tours); Spamalot and The Glass Menagerie (both English Theatre, Frankfurt); The Cardinal; Kiki’s Delivery Service; Johnny Got His Gun and Fiji Land (all Southwark Playhouse); Mrs Lowry and Son (Trafalgar Studios); Martine and Black Jesus (both Finborough).

Opera work includes Miranda (Opéra Comique, Paris); Carmen: Remastered (Royal Opera House) and Vixen (Vaults/World tour).

Radio work includes Home Front.

Max is Associate Artist of The Faction and of Silent Opera.

IAN WILLIAM GALLOWAY VIDEO DESIGNER Theatre work includes Goats (Royal Court); Prism and Hapgood (both Hampstead Theatre); What is the City But the People? (Manchester International Festival); Mosquitoes (National Theatre); Singin’ in the Rain; Gypsy and Elf: The Musical (all West End); Schikaneder (Raimund Theatre, Vienna); Wendy and Peter Pan and The Gods Weep (both RSC); The Absence of War; Spring Awakening and A Midsummer Night’s Dream (all Headlong); Oh What a Lovely War (Theatre Royal, Stratford East); Beautiful Burnout and Lovesong (both Frantic Assembly); Macbeth and The Missing (both National Theatre of Scotland); Amadeus (Chichester Festival Theatre); The Graduate and Enjoy (both West

Yorkshire Playhouse); The Radicalisation of Bradley Manning and Mother Courage and her Children (both National Theatre Wales); Est-ce Que tu Dors? (Festival d’Avignon/Complicite) and The Tempest and The Lion in Winter (both Haymarket).

Opera work includes La Fanciulla del West (La Scala); Madama Butterfly (Glyndebourne); Hansel and Gretel (Opera North); Agrippina (Theater an der Wien); The Marriage of Figaro (ENO); Eugene Onegin (ENO/ Metropolitan Opera); Faust (Mariinsky); The Flying Dutchman (Scottish Opera); Juliette and Where the Wild Things Are (both Bremer Oper); The Lion’s Face and Seven Angels (both The Opera Group) and Hotel de Pékin (Nationale Reisopera).

DANIELE LYDON DIALECT COACH Daniele trained at Central School of Speech and Drama.

Theatre work includes The Twilight Zone (Almeida); Big Fish (The Other Place); Open House (Theatre Royal, Bath); Carousel (ENO); Sex With Strangers (Hampstead Theatre); School of Rock (West End); The Two Noble Kinsmen (RSC); Harry Potter and the Cursed Child (Sonia Friedman Productions); Hotel; Here Lies Love; The Motherf**ker with the Hat; Behind the Beautiful Forevers; Medea; Man and Superman and The Curious Incident of the Dog in the Night-Time (all National Theatre); John (DV8); Juno and the Paycock (Liverpool Everyman); Blue Heart Afternoon (Hampstead Downstairs); Chalet Lines and Kitchen Sink (both Bush) and Jumpers for Goalposts (Paines Plough).

Work as Resident Dialect Coach includes Billy Elliot (West End/tour).

Film work includes Life; Star Wars: Episode VIII; Rogue One: A Star Wars Story; Salt and Fire and A United Kingdom.

Television work includes Victoria; Vera; George Gently; Boy Meets Girl; Urban Myths; Poldark; An Inspector Calls; Dark Angel and The Paradise.

ANNA COOPER CDG CASTING DIRECTOR Theatre work includes Gloria (Hampstead Theatre); Circle, Mirror, Transformation (HOME); HIR (Bush); They Drink It in the Congo (Almeida); Five Finger Exercise (Print Room); Multitudes (Tricycle); A Number (Young Vic/Nuffield); Tonight at 8.30 (ETT/Nuffield); The Glass Menagerie; The Saints and The Snow Queen (all Nuffield Theatre); The Hudsucker Proxy (Liverpool Everyman/Nuffield); The Arabian Nights (Tricycle); The Fastest Clock in the Universe and Lucky Seven (both Hampstead Theatre); The Pitchfork Disney (Arcola); Jeffrey Bernard is Unwell (Theatre Royal, Bath); Our Country’s Good (Liverpool Playhouse); Scenes from an Execution (Hackney Empire); ’Tis Pity She’s a Whore (Southwark Playhouse); Ghosts (West End) and Measure for Measure (TRP).

Short film work includes The Knackerman; Bunny and Clive; That Woman and Act of Love.

As Casting Associate, television work includes Capital; Doc Martin; Arthur & George; Silk; Atlantis; Ashes to Ashes; Vicious and The Politician’s Husband.

As Casting Associate, film work includes Dunkirk; Kursk; Where Hands Touch; The Lady in the Van; The Dark Knight Rises; Belle and Sex and Drugs and Rock ’n’ Roll.

NATASHA HYMAN ASSISTANT DIRECTOR Natasha is a freelance theatre director based in London, with a special interest in new work. She was Trainee Director at West Yorkshire Playhouse 2016-7 and trained on the MFA Theatre Directing at Birkbeck College.

Work as Assistant Director includes The Claim (UK premiere); The Graduate (UK tour); Pygmalion (Headlong); The Witches (West Yorkshire Playhouse/ Leicester Curve); Sleuth (West Yorkshire Playhouse/ Nottingham Playhouse) and After Miss Julie (RADA Vanburgh Theatre).

Work as a director includes Ode to Leeds (West Yorkshire Playhouse); M, The Daily Plays (Pleasance, London); 5 Encounters on a Site Called Craigslist (Camden Peoples’ Theatre); La Dispute (Hamilton House, Bristol) and Hedda Gabler (The Alma Tavern Theatre, Bristol).

HAMPSTEAD THEATRE IN 2016/17 PUBLIC DEMAND

BEYOND NW3

72%

BOX OFFICE PERFORMANCE £2,800,000

OF BOOKERS LIVE OUTSIDE OF NW POSTCODE

£2,400,000

£2,000,000

15 HOUSE PRODUCED PRODUCTIONS 12 WORLD PREMIERES

£1,600,000

WILD

2 UK PREMIERES £1,200,000

BY MIKE BARTLETT LIVE-STREAMED WITH THE GUARDIAN FREE TO VIEW ACROSS THE WORLD

93% CAPACITY ACROSS MAIN STAGE AND DOWNSTAIRS

£800,000

£2,694,874 AT THE BOX OFFICE 8% INCREASE ON PREVIOUS YEAR

£400,000

OLIVIER AWARD WINNER

117,876 TICKETS SOLD 9% INCREASE ON PREVIOUS YEAR

0 2015/16

2014/15

2016/17

Box Office Revenue

Core Fundraising

ACE Revenue Grant

Accumulated Reserve

VISITS TO hampsteadtheatre.com

1,953,288

616 PERFORMANCES 6% INCREASE ON PREVIOUS YEAR

64k

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

52%

had never visited hampstead theatre.com before

10k

FACEBOOK FOLLOWERS

STARRING RUPERT EVERETT PLAYED SEASONS IN TORONTO & NEW YORK

ACCESS FOR ALL

+30%

PAGE VIEWS ON hampsteadtheatre.com

TWITTER FOLLOWERS

TRANSFERRED FROM THE WEST END TO A UK TOUR

4,000 NEW BOOKERS

DIGITAL INNOVATION

624,628

SUNNY AFTERNOON

UNDER 30s TICKETS SOLD since introducing £10 tickets for ALL Main Stage & Downstairs performances

+9%

INCREASE IN ACCESS BOOKERS including wheelchair users

13

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,

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, Tony Kushner’s iHo and Branden Jacob Jenkins’ Gloria.

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.

Ryan Early, Donny’s Brain 2012 Jonathan McGuiness, Four Minutes Twelve Seconds 2014 Diana Hardcastle & Michael Simkins, The Argument 2016

Sean Delaney, Labyrinth 2016 | Ben Lloyd-Hughes & Claire Lams, Kiss Me 2016 Helen Monks, Sophie Melville & Charlotte Beaumont, No One Will Tell Me How To Start A Revolution 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 Patrons’ 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, development@hampsteadtheatre.com or visit hampsteadtheatre.com/support-us

Geoffrey Streatfeild & Emmet Byrne in CELL MATES

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 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 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 Eric & Jean Beecham Charitable Trust Ann & Neil Benson James & Melissa Bethell Pauline & Brian Binstock 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 Arnold Fulton Jackie & Michael Gee Jacqueline & Jonathan Gestetner Lisa & Edward Goldfinger Katya Gurova Andrew Harrington & Susan Schoenfeld Harrington Claudia & Christopher Harris Sir Michael & Lady Heller Yew Weng Ho & Gordon Lewis Tracy Hofman Hollick Family Charitable Trust Sara Holmes-Woodhead Zmira & Rodney Hornstein John Hyatt Andrew & Elizabeth Jeffreys Adam Jones Jean-Charles & Luce Julien

Ralph & Patricia Kanter Dr Costas & Dr Evi Kaplanis Julie Kaya & Paul Smith Ian & Deborah Kelson Nicola Kerr Varvara Kjallgren Sarah Kleiman Janet Langdon Melvin & Jackie Lawson Wilson & Mabel Lee R Leeming J Leon Charitable Fund Claudia & Richard Leslie Karen & Lawrence Lever Caroline Macdonald & David Simmons Alan Maclean Alexandra Marks CBE Julia & Julian Markson Philip Marsden Mark & Cassy Martell Elizabeth & Ashley Mitchell Catherine & Garry Monaghan Diana & Allan Morgenthau Andrew & Jennifer Morris Terry & Jenny Nemko Hugh O'Donnell & Vivienne De Courcy Ellie & Philip Olmer Alison & Simon Parry-Wingfield Ian & Karen Paul Helen Payne & Matthew Greenburgh Penny & Richard Peskin Michael & Livia Prior The Raven Charitable Trust Michaela Rees Jones Kathleen Roberts Cissie Rosefield Charitable Trust Sir David & Lady Scholey Barry Serjent Sophie & David Shalit Bhags Sharma Philip & Janice Silvert Lucy & Joe Smouha Margo & Nicholas Snowman OBE Josh & Vivienne Spoerri Josi & Alan Steinfeld QC William & NanDee Stockler Robert & Patricia Swannell Peter Tausig Tobyn & Sam Thomas Marina Vaizey Rob & Laura Wallace Carole & David Warren Simon & Charlotte Warshaw Sophie & Stephen Warshaw Melissa Jean Woodside Sir Clive & Lady Woodward Hilda & Marc Worth Dress Rehearsal Anonymous George Anson Pauline & Daniel Auerbach Graham & Michelle Barber Maggie Barnes Lisa & Andrew Barnett Ian Bell Ben-Levi Family Lisa & Robi Bernberg The Beryls Miriam & Richard Borchard Molly Borthwick Clive & Rosalind Boxer Rene Branton-Saran Catharine Browne Steven & Miriam Bruck Fatma Charlwood The Cheruby Trust Maureen Clark-Darby Lord & Lady Collins of Mapesbury Mr & Mrs Leigh Collins Simone Collins Edward Cooke Katie Cooper Derek Councell & Jenny Dover Allan & Sylvia Cowen Lynette & Robert Craig Mark Dennis QC & Christabel Dennis Kate Donaghy Robyn Durie Sally & Steven Dyson Judith Farbey & Prabhat Vaze

Françoise Findlay Gail & Michael Flesch Sue Fletcher Jane & Nigel Franklin Roger & Marilyn Freeman Emma Friedman & Kevin Gold Gillian Frumkin Jenny Garcia Baroness Garden Eleni Gill Julietta Gishen Nick & Fiona Green Elaine & Peter Hallgarten Mark Hamsher & Elna Jacobs Pamela, Lady Harlech Harris Family Charitable Trust Florence & Neil Hasson Jean Hawkins Mary Holness Victoria & Ronald Hooberman Chris Hopson & Charlotte Gascoigne Gillian & Barry Howard Doris Hugh Dr June Huntington Alan & Louise Jacobs Dr Alison Jones Annabel Karmel MBE Alex & Grace Kay Nina Kaye & Timothy Nathan Cassandra & Taig Karanjia 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 Patricia & Richard Millett Lara Mindenhall Clive Mishon Geoffrey Mitchell Beate Mjaaland Roísín Monaghan 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 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 Romie & Esther Tager Anthony & Jacqueline Todd Katharine Turner Claudia Utermann Laurence Vallaeys Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Christopher Walsh Carole & Denis Waxman Paul & Manya Wayne Dr Adrian Whiteson OBE & Mrs Myrna Whiteson MBE Francoise Winton Richard & Susan Wolff David & Vivienne Woolf Katherine Wood J. Wrightson Mrs Karen Yerburgh Joanne & Nick Young Michael & Michaela Zelouf

CORPORATE SUPPORTERS Aesop Bennetts Associates Farrow & Ball – Hampstead Showroom Linklaters MAC Cosmetics Nyman Libson Paul Sublime Universal Ltd

TRUSTS AND FOUNDATIONS The AKO Foundation The Chapman Charitable Trust The London Community Foundation & Cockayne – Grants for the Arts The Dorset Foundation Hedley Foundation The David & Elaine Potter Foundation The Rose Foundation The Rothenberg Family * Sir Siegmund Warburg’s Voluntary Settlement The Tsukanov Family Foundation *Access Programme

HAMPSTEAD DOWNSTAIRS The Andor Charitable Trust Anonymous The John S Cohen Foundation Clore Duffield Foundation Fenton Arts Trust Tracy Hofman Mr & Mrs V Meyer Edith and Ferdinand Porjes Charitable Trust James Roose-Evans (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 & David Gavin Lund In Memory of Henry & Esther Rudolf The Harold Hyam Wingate Foundation

INSPIRE 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 Katja Tangen Peggy Vance Debbie Wosskow 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* Acting Deputy Head of Stage Lucas Rajpaul 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

Isabella Evans

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

Martin Karadzhov

Daniel Fernandez Holly Gibbs Lauren Gibson Andrea Golinucci Christine Gomes Caitlin Goodwin Maria Goretti Cabrera Sam Harding Aliou Janha Stella Kailides Nellie Kirsh Mauricia Lewis Luyanda Unati Lewis-Nyawo Joseph Lukehurst

CAFÉ BAR AT HAMPSTEAD THEATRE Enjoy our new menu of delicious gourmet sandwiches,

Claudia Marinaro

salads and light meals freshly made on site (just like our

Alice Morgan

shows) and served throughout the day.

Bill Palmer Adam Parkinson Callan Purcell

Pre and post-show, enjoy a glass of wine from our

Lizzie Roberts

carefully curated menu, a craft beer from Camden Town

Eddie Sellers Elena Skreka

Brewery or a specialist gin and tonic from The Gin Bar,

Ben Fox Smith

as well as a selection of organic snacks suitable for

Kyanne Smith Jane Staiano Marlow Stainfield

everyone’s requirements.

Roberto Tallerico

OPENING HOURS

Ruben Watts

Monday - Friday 9am - 11pm

Madeline Young Alessandro Zappala

Saturday 10am - 11pm

Head Cleaner

Food served 12pm - 7pm

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 Cell Mates production photography MARC BRENNER

FREE WIFI

See our full menu at hampsteadtheatre.com/cafebar

NEVER MISS A SHOW 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 Visit hampsteadtheatre.com/ be-a-friend or call Jonathan Mace in our Development team on 020 7449 4174