Every Day I Make Greatness Happen Programme

/ RS

G EVE RE R AT Y N DA ES Y S IM H A A K PP E EN

PROGRAMME

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

FREE

D

O

W

N

ST

A

IR S

13 SEPTEMBER - 20 OCTOBER

BY RICHARD MOLLOY DIRECTED BY ALICE HAMILTON #HTPhlebotomist #HTEveryDay

WELCOME

When Susan Stanley was appearing Downstairs last year in Andrew Keatley’s play Alligators, she stepped into our office and dropped off a script by a friend.

It was Every Day I Make Greatness Happen: at the time Richard Molloy didn’t have an agent and Susan had decided to take on the role. She proved very good at it – chivvying us into reading and responding – so she clearly has a second career available if she ever needs one! And we’re never choosy about how a good play gets to us...

Playwright Richard Molloy’s second career is as an English teacher at a school in Stanmore, which has given him a first-hand understanding of the qualities and the challenges of today’s secondary school system. His script has a real authority and authenticity in delivering the milieu, the characters, their speech and their dilemmas… Those are doubtless among the qualities that earned it the most recent Nick Darke Award. And the good news is that, off the back of this play, Richard also acquired an agent (and a very good one).

This has happily left Susan Stanley free to concentrate on her real calling as an outstanding actress, and we were really pleased when the director Alice Hamilton decided to cast her as Miss Murphy. It’s a lovely way for her to benefit from her role in getting this play presented!

And Richard’s play, by an early career writer, is a great way to kick off the autumn Downstairs. We’re following it with Ifeyinwa Frederick’s very first play The Hoes and rounding the year off with Paradise by Dusty Hughes – a mature writer with a truly formidable track record. It’s a fabulous range of differing work to be able to place before you, and I know you’re going to enjoy it all.

EDWARD HALL ARTISTIC DIRECTOR

ALISHA KAREEM JOHN MISS MURPHY IMAN

SOFIA BARCLAY MOE BAR-EL JON FOSTER SUSAN STANLEY JOSH ZARÉ

CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER COMPOSER AND SOUND DESIGN PRODUCTION MANAGER STAGE MANAGER REHEARSAL PHOTOGRAPHER

RICHARD MOLLOY ALICE HAMILTON LUCY SIERRA NIC HOLDRIDGE ED LEWIS TAMMY ROSE CIARA DREDGE JESS WOODWARD

GREATNESS HAPPEN

EVERY DAY I MAKE

CAST IN ALPHABETICAL ORDER

THE DAVINA MOSS INTERVIEW DM Of the four plays you have completed, this one and The Separation are based on personal experience. Is that something you thought about or were you instinctively drawn to familiar material?

RM Writing a play is still quite a mysterious process to me, and I guess I would question the degree to which the most fundamental elements of that process – including the selection of subject matter – rely on deliberate choice at all. For me, much of playwriting is about following creative impulses that are not conscious or deliberate.

I don’t fully understand why I choose to write about any given topic. Having said that, I think everything I’ve written is rooted to some degree in personal experience. The crucial thing is not to let personal experience limit what you’re doing in any way. Sooner rather than later, you’ve got follow the lead of your characters and just let the story fly.

DM What made you decide to write a play on this particular subject?

RM I’ve been teaching for about ten years and writing plays for almost as long. I knew more or less as soon as I began my teaching career that I wanted to write a play set in a classroom. Classrooms – in particular in London schools – are so rich with life and language but also with tension and conflict, they’re an ideal setting for a play.

DM Hampstead takes a very artistcentred approach to production, so the director and you have worked closely developing the text and bringing it to production. How much influence has Alice Hamilton had over the eventual shape of the piece, and how have you enjoyed working together to bring the play to the stage?

RM Working with Alice has been a genuine privilege. She’s ridiculously good at what she does. I got a strong sense from our first meeting that she and I have similar ideas about the job of a play, and that felt really important.

I think it’s fair to say that playwrights sometimes struggle to cede control of their work to other people, but I’ve always felt like this play is in the best possible hands. Alice has really helped me to improve the script – both before and during rehearsal.

She’s so sensitive to every little lull or misstep or inconsistency. She hasn’t allowed me to get away with anything.

I’d love to work with her again.

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

RM I’ve really enjoyed it so far – we’re at the end of the first week now. It’s been a thrill to watch the story start to come to life, and I’ve loved spending time in the rehearsal room with Alice and the cast – they’re a really talented (and nice) bunch of people.

It’s been lovely as well to see the

THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER

RICHARD MOLLOY lengths to which the actors are going to get to grips with their roles – ‘the students’, for example, have been doing GCSE English tasks. I feel so lucky to have such a dedicated team behind the play.

DM This is obviously also a play with a strong political message... would you describe yourself essentially as a political playwright?

RM No! As an audience member, I really don’t like a play to slap me in the face with a message (political or otherwise). While I’d agree that any writing is shaped to a large extent by its social, historical, and political context, the last thing I’d want to do is write a preachy, message play. It’s obvious that the British education system is deeply flawed. As a storyteller, that system is nowhere near as interesting to me as the people who inhabit it.

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

RM Absolutely not! There’s a line in Martin McDonagh’s play, The Pillowman, which I might be paraphrasing slightly: ‘The only duty of a storyteller is to tell a story’. True dat.

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

RM I’d like the audience to experience a range of emotions. I’d like people to laugh, to feel sympathy for the characters, to root for them and then to feel let down by them, and maybe then to root for them again. More than anything, I’d just like the audience to have an entertaining night at the theatre.

EDUCATION OR ASSESSMENT? Stephen Hickman has been teaching for 20 years and is Head of Sixth Form in a London school. His blog, The Unconscious Curriculum, is an attempt to capture some of the twists and turns in his teaching career. These are some of his thoughts...

“The ideal of the perfect teacher who can meet the differing needs of a whole class may be one such defensive fantasy, produced simultaneously by the teacher, to persecute themselves for failing to meet the ideal, and by the culture which denies the reality of teaching” J. Shaw, Education, Gender and Anxiety The role of the teacher is often defined by powerful unconscious phantasies which are prone to projections and transference.

As teachers we are ideally placed to become transfer relationships where past experiences are re-enacted in both the students and ourselves.

The powerful anxieties and projections that surround these relationships create an environment where teachers are often idealized or denigrated. I wonder whether the idea of good and bad teachers has an existing template informed by our phantasies about good and bad parenting.

There is as much debate surrounding what ‘good’ parenting means and I have often felt that the same judgements, language and feelings surround teachers. At any one point, one can be seen as too caring and not setting clear enough boundaries or too strict and not emotionally open. There does seem to be a deep desire in educational institutions amongst students, staff and senior leaders to fit teachers into the good/ bad dichotomy. The reality is clearly much more difficult as we are all both good and bad.

This climate of good or bad teachers is further perpetuated by an increasingly persecutory inspection regime which does not allow much space in-between these ideal types and fails to recognise the emotional landscape of learning.

Teaching and learning is an anxiety provoking process and I am interested that at times our anxieties are pushed into some teachers whilst our hopes are carried high on the shoulders of our knights in shining armour. Nonetheless, the notion that teachers are either good or bad seems a recurrent motif in educational discourse.

I would like to suggest that a more useful approach is to consider whether one is ‘good-enough’ and to resist the dynamic of the idealised parent and/or teacher.

A good-enough teacher is someone who can make contact with the emotional factors of learning and offer some form of consistency and containment. The key to this debate is to understand the anxieties that surround learning and teaching.

In an educational climate, which has become obsessed with escalator targets, it is hard not to feel slightly persecuted by an agenda that expects a statistical year-onyear improvement. With no extra resources or time, we are expected to deliver on many inherently contradictory agendas including widening participation, inclusion vs. academic excellence, gifted and talented vs. growth mindset, independent learning vs. visible learning. The expectation is that an ‘ideal’ teacher would be able to manage both the curriculum and the emotional development of young people.

I often wonder whether we have set ourselves a possible task. For some, the pastoral support and experience of emotional containment will build up their self-confidence, resilience and empower them to access the curriculum, but for others, the academic demands of content, assessment and exams will be over-powered by their own emotional and psychic needs.

“The examination system should (be)… part and parcel of the education, and not its soulless despot” E. H. Startling As well as being a governmental cause celebre, schools powerfully represent society’s hopes and fears about the future. They contain inherent contradictory functions and ambiguities about their primary task and how best to achieve it.

Is education about knowledge or skills, social change or status quo, individuals or groups?

There is nothing new in the debate about the relationship between teaching and assessment. For some, exams embody a meritocratic ideal, which replaces entitlement and privilege. Others are more concerned about the impact that testing has on teaching and learning where

students work to pass and not to know; a “learn it to forget it” culture.

Against the backdrop of stable pass rates and the media tropes of smiling young people who achieve outstanding grades, what about those who do not get a good pass? I wonder how this new system feels to them...

Furthermore, the nature of high stakes assessment at 16, an all-eggs-in-one basket approach has had a profound effect on the students. By their very nature, exams are stressful and anxiety provoking and they should represent an academic challenge. However, the question is to what degree and whether these changes, the anxieties of being in the first cohorts and the time and cost of implementation have created a better education system. Was the gain worth the pain?

MOE BAR-EL AND SOFIA BARCLAY

SUSAN STANLEY

‘IT’S OBVIOUS THAT THE BRITISH EDUCATION S THAT SYSTEM IS NOWHERE NEAR AS INTEREST RICHARD

JOSH ZARÉ SOFIA BARCLAY

MOE BAR-EL JON FOSTER

SYSTEM IS DEEPLY FLAWED. AS A STORYTELLER, TING TO ME AS THE PEOPLE WHO INHABIT IT’ MOLLOY

RICHARD MOLLOY AND ALICE HAMILTON

CAST AND CREATIVE TEAM RICHARD MOLLOY WRITER

Richard’s playwriting credits include The Separation (Project Arts Centre, Dublin/Theatre503 - nominated for an Off West End Theatre Award for ‘Best New Play’) and O Do Not Love Too Long (Irish Theatre of Chicago at their New Irish Voices festival – winner of the New Works of Merit Playwriting Contest 2017 and shortlisted for the Liverpool Hope Playwriting Prize 2015 and the Kings Cross Award 2016). His piece Someone’s Gonna Break Your Heart was performed as work in progress at Flux Theatre’s Emerge 2 showcase at the Tristan Bates Theatre in July 2017.

Every Day I Make Greatness Happen won the Nick Darke Award 2017.

ALICE HAMILTON DIRECTOR

Alice is the co-Artistic Director (with writer Barney Norris) of Up In Arms Theatre Company. Directing work for the company includes The March On Russia and German Skerries (both Orange Tree); Visitors (Arcola/Bush/UK tour); Eventide (Arcola/UK tour) and While We’re Here (Bush).

Other theatre work includes Echo’s End (Salisbury Playhouse); Thirty Christmases (Supporting Wall); Anything That Flies (Jermyn Street); Orca and Orson’s Shadow (both Southwark Playhouse). She has been a staff director at the National Theatre, and has led development and dramaturgical projects at the Royal Court, the National Theatre, Salisbury Playhouse and High Tide.

SOFIA BARCLAY

ALISHA

Theatre work includes Mosquitoes (National Theatre); Future Conditional (Old Vic); SYP (Soho Theatre); The Two Worlds of Charlie F (Haymarket/ UK tour); Othello (Brockley Jack Theatre) and As You Like It (Lafayette Theatre NYC).

Film work includes Sulphur and White; Misconduct (Short); Avenue to Nowhere (Short) and Bistro Caprice (Short).

Television work includes Defending the Guilty (BBC pilot).

F*ck the Polar Bears (Bush); Portia Coughlan (Old Red Lion - nominated Best Female Performance, OFFIES 2015); The Separation (Theatre503); Almost Maine (Park Theatre); The Separation (Project Arts Centre, Dublin); The Last Confessions of a Scallywag (The Mill at Sonning) and Bedbound (The Lion and Unicorn).

Film work includes Hotel Amenities (winner of Best Actress, Malaga Film Festival 2013); Shadows in the Wind; This Chair is Not Me; The End of the Nine Till Five; Timelarks and Resurrecting the Streetwalker.

Television work includes Fair City.

Susan is co-founder of theatre company Pixilated.

MOE BAR-EL

JOSH ZARÉ

KAREEM

Moe trained at the Identity School of Acting in London.

Theatre work includes Moormaid (Arcola); Punk Rock (Courtyard Theatre) and Awkward Silence (Sadler’s Wells).

Film work includes Zero and Austenland.

Television work includes Code 404; Snatch; Tyrant; Phoneshop and Black Mirror.

JON FOSTER JOHN

Theatre work includes Othello (Shakespeare’s Globe); The Unknown Island; Idomeneus; Tenet; Trojan Women; Dream Story and Mud (all Gate); F*ck the Polar Bears (Bush); Buckets (Orange Tree); A New Way to Please You; Sejanus: His Fall; Speaking Like Magpies and Thomas More (all RSC) and Long Time Dead (Paines Plough).

Film work includes Alba; Tides and Nice Guy. Television work includes Prime Suspect 73; Fortitude; Da Vinci’s Demons; The Great Fire; New Tricks; Rev; Southcliffe; The Town and Mrs Biggs.

SUSAN STANLEY MISS MURPHY

Susan trained at LAMDA. Theatre work includes Alligators (Hampstead Downstairs); Tomcat (Southwark Playhouse);

IMAN

Josh graduated from The Royal Academy of Dramatic Art in July 2018.

Every Day I Make Greatness Happen is his professional debut.

LUCY SIERRA DESIGNER

Theatre design work includes Hansel & Gretel (The Place/Tour); Shift (Norfolk & Norwich Festival); Education, Education, Education (Shoreditch Town Hall/King Dome Pleasance); Cathy (Soho Theatre/Tour); The Winter’s Tale (National Theatre); Ramona Tells Jim (Bush Studio); A Ducky Summer Tea Party (Hull City Centre); Ode to Leeds (West Yorkshire Playhouse); Macbeth (National Theatre); This Tuesday and A Kid (both Arcola); The Tempest (Royal & Derngate); Giving (Hampstead Downstairs); Another World (Shed, National Theatre); Calculating Kindness (Camden People’s Theatre); Snow White & Rose Red (Rash Dash); Abyss (Arcola); Sign of the Times (Bury St Edmunds); Benefit (Cardboard Citizens/Pleasance/Tour); We Have Fallen (Underbelly, Edinburgh); Royal Court Gala (Trafalgar Pub); We Are All Misfits (48-29 Tanner St); Meet George (Camden People’s Theatre); The Bear, Improbable (Oval Space/Tour); If You Don’t Let Us Dream, We Wont Let You Sleep (Royal Court); Songs Inside (Gate/ATC); Sweeney Todd and David Copperfield (both Bolton Octagon).

NIC HOLDRIDGE LIGHTING DESIGNER

Theatre work includes Pilgrims (Theatr Clwyd/ High Tide/The Yard); Skylight and The Rise and Fall of Little Voice (both Theatr Clwyd); The Hotel Plays (Grange Hotel Holborn); The Firebird (English National Ballet, London Coliseum); Scott Mills The Musical (Pleasance); Xerxes (Iford Arts); Uncle Vanya (Wilton’s Music Hall); The Promise (Mercury); The Immodest Tease Show (KOKO Camden); The Yeoman of the Guard (Opera Della Luna, Buxton Opera House); Deathwatch; House of Bones; The Criminals and Till Death Do Us Part (all Drama Centre London, The Platform Theatre); The Go! Go! Go! Show (Empire Leicester Square) and The Mikado; Beowulf the Pantomime; La Bohème; The Pirates of Penzance and The Three Musketeers (all Charles Court Opera/The King’s Head/Tour).

ED LEWIS

COMPOSER AND SOUND DESIGN Ed studied Music at Oxford University and trained as a composer and sound designer at the Bournemouth Media School.

Recent theatre work includes The Best Man (Playhouse); Alligators (Hampstead Downstairs); Arturo Ui (Donmar); Scarlett (Hampstead Downstairs/Theatr Clwyd) Fool For Love; Bug; Unfaithful and The Dazzle (all Found 111); The Vertical Hour (Theatre by the Lake); The Rubenstein Kiss (Nottingham Playhouse); Baddies the Musical; Breaking the Ice and Hannah (all Unicorn); Chef (Soho); Abigail’s Party (Leicester Curve); The Cement Garden (VAULT Festival); The Speed Twins (Riverside Studios); Molly Sweeney (The Print Room/Lyric); Gravity (Birmingham Rep); A Midsummer Night’s Dream (Almeida); Darker Shores; Amongst Friends; Platinum; Ignorance and On the Rocks (all Hampstead Theatre); Measure for Measure (Cardiff Sherman); Once Upon a Time in Wigan and 65 Miles (both Paines Plough/Hull Truck); Krapp’s Last Tape and Spoonface Steinberg (both Hull Truck) and A Midsummer Night’s Dream (Southwark Playhouse).

JOSH ZARÉ

PATRONS AND SUPPORTERS INDIVIDUALS CREATIVE BENEFACTORS Anonymous Celia & Edward Atkin CBE Veronica & Lars Bane Kurt & Paivi Björklund Martin Byman & Peggy Samson Sir Trevor & Lady Chinn Lin & Ken Craig Barbara & Mick Davis Simon & Claire Godwin Andrew & Marina Newington Simon & Midge Palley Maarten & Taina Slendebroek Katja & Nicolai Tangen Mary Ellen & Tom Wanty Mattias Westman PATRONS Standing Ovation Celia & Edward Atkin CBE Alexander Graham Selina & David Marks James & Annette Sellar Encore Eric Abraham Anonymous Tania Black Sir Trevor & Lady Chinn The John S Cohen Foundation The George Colman Charitable Trust Ros & Alan Haigh Madeleine Hodgkin Charles & Lara Mindenhall David Tyler & Margaret Fingerhut Opening Night Jocelyn Abbey & Tom Carney Anonymous Russ & Linda Carr Bell Cohen Charitable Trust Dr Natalie Greenwold Melanie J Johnson Martin & Elizabeth Morgan Helen Payne & Matthew Greenburgh Lady Rayne Sue & Tony Rosner Davide & Anna Serra Sophie & David Shalit Melanie & Michael Sherwood Roland & Sarah Turnill Claire Tremeer & Bob Reichert Preview 1001 Nights Productions Ltd Heather Acton Bob Ainscow Anonymous Kay & Jim Ashton Liz & Mark Astaire Lucy Astor William & Kerri Benjamin Pauline & Brian Binstock Françoise Birnholz & Joseph Taussig Joanne Black & Nick Young 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 Francesca Cherubini Stoughton & jfuJames Stoughton Dr John L Collins & Mrs Isabel C H Collins David Dutton Michael Frayn Ian & Margaret Frost

Jackie & Michael Gee Jacqueline & Jonathan Gestetner Lisa & Edward Goldfinger Katya Gurova Andrew Harrington & Susan Schoenfeld Harrington Claudia & Christopher Harris Sir Michael & Lady Heller Tracy Hofman Hollick Family Charitable Trust Sara Holmes-Woodhead Zmira & Rodney Hornstein John Hyatt Adam Jones Jean-Charles & Luce Julien Ralph & Patricia Kanter Dr Costas & Dr Evi Kaplanis Ian & Deborah Kelson Nicola Kerr Varvara Kjallgren Janet Langdon Jacqueline & Melvin Lawson Wilson & Mabel Lee R Leeming Rose & Dudley Leigh J Leon Charitable Fund Claudia & Richard Leslie Caroline Macdonald & David Simmons Alan Maclean Alexandra Marks CBE Julia & Julian Markson The Philip Marsden Family Charitable Trust Elizabeth & Ashley Mitchell Catherine & Garry Monaghan Andrew & Jennifer Morris Keith Moss Terry & Jenny Nemko Ellie & Philip Olmer Alison & Simon Parry-Wingfield Karen & Ian Paul Penny & Richard Peskin Jane & Nick Prentice The Raven Charitable Trust Michaela Rees Jones Kathleen Roberts Cissie Rosefield Charitable Trust The Rubin Foundation Barry Serjent Bhags Sharma Lucy & Joe Smouha Margo & Nicholas Snowman OBE 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 Dr Adrian Whiteson OBE & Mrs M Myrna Whiteson MBE Gideon & Tamara Wood Sir Clive & Lady Woodward Dress Rehearsal Anonymous Pauline & Daniel Auerbach Graham & Michelle Barber Maggie Barnes Lisa & Andrew Barnett Ian Bell Ben-Levi Family Ann & Neil Benson Liz Berman The Beryls Catharine Browne Steven & Miriam Bruck Fatma Charlwood Maureen Clark-Darby Lord & Lady Collins of Mapesbury Mr & Mrs Leigh Collins

Simone & Simon Collins Ed Cooke Meera Cortesi Derek Councell & Jenny Dover Allan & Sylvia Cowen Lynette & Robert Craig Mark Dennis QC & Christabel Dennis Robyn Durie Sally & Steven Dyson Vera Farrants Françoise Findlay Gail & Michael Flesch Sue Fletcher Jane & Nigel Franklin Roger & Marilyn Freeman Emma Friedman & Kevin Gold 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 John & Terry Heller 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 Tania & Olivier Levenfiche Roger & Vivien Lewis Sir Sydney Lipworth QC & Lady Lipworth CBE Claire Livingstone Nick & Sophie Marple Amanda May Dianne & Martin Mendoza Nadya Menuhin Patricia & Richard Millett Clive Mishon Geoffrey Mitchell David & Sandy Montague Mr Nigel Moore Diana & Allan Morgenthau 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 Sir Brian & Lady Pomeroy Livia Prior Kate Rankine Mike & Louise Redferne Donald Rogers Brenda & Neill Ross Bob & Pippa Rothenburg Isabelle Rush-Canevet Dick & Mandy Russell Elizabeth Frost Sainty Louise & Greg Scott Elizabeth Selzer

Lucy & Jonathan Silver Brian Smith Dr Diana Spencer Victoria Stark Peter & Prilla Stott James & Imogen Strachan Esther & Romie Tager QC Neil Thakrar Anthony & Jacqueline Todd The Andrea and Claudia Utermann Charitable Trust Laurence Vallaeys Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Chris Walsh Francoise Winton Richard & Susan Wolff David & Vivienne Woolf Katherine Wood J. Wrightson Mrs Karen Yerburgh Michael & Michaela Zelouf Corporate Supporters Aesop Bennetts Associates Farrow & Ball – Hampstead Showroom Linklaters Nyman Libson Paul TRUSTS AND FOUNDATIONS The AKO Foundation The London Community Foundation & Cockayne – Grants for the Arts The Dorset Foundation The Rose Foundation The Rothenberg Family * The Sobell Foundation * Sir Siegmund Warburg’s Voluntary Settlement * Access Programme HAMPSTEAD DOWNSTAIRS Jocelyn Abbey & Tom Carney The Andor Charitable Trust Anonymous Catkin Pussywillow Charitable Trust The Cheruby Trust The John S Cohen Foundation Sheila & Denis Cohen Charitable Trust Clore Duffield Foundation Tracy Hofman James Roose-Evans (FTP) The Sackler Trust The Vandervell Foundation Mary Ellen & Tom Wanty Garfield Weston Foundation HAMPSTEAD THEATRE LITERARY FUND Adèle Bennett Legacy Rodney & Zmira Hornstein The Estate of Margaret Lowy The Estates of Peter Anthony Lund and David Gavin Lund In Memory of Henry & Esther RrRudolf The Harold Hyam Wingate Foundation INSPIRE Rodney & Zmira Hornstein Noël Coward Foundation

ALEC NEWMAN

MAIN STAGE

WHAT’S ON THE HUMANS

BY STEPHEN KARAM DIRECTED BY JOE MANTELLO UNTIL 13 OCTOBER

I AND YOU DOWNSTAIRS

BY LAUREN GUNDERSON DIRECTED BY EDWARD HALL 18 OCTOBER - 24 NOVEMBER

EVERY DAY I MAKE GREATNESS HAPPEN

BY RICHARD MOLLOY DIRECTED BY ALICE HAMILTON 13 SEPTEMBER - 20 OCTOBER

THE HOES

BY IFEYINWA FREDERICK DIRECTED BY LAKESHA ARIE-ANGELO 26 OCTOBER - 1 DECEMBER

PARADISE WEST END

BY DUSTY HUGHES 7 DECEMBER - 19 JANUARY

CAROLINE, OR CHANGE

BOOK & LYRICS BY TONY KUSHNER | MUSIC BY JEANINE TESORI DIRECTED BY MICHAEL LONGHURST | STARRING SHARON D. CLARKE 20 NOVEMBER - 9 FEBRUARY PLAYHOUSE THEATRE, EMBANKMENT

WITHERBYS

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

EVERY DAY I MAKE GREATNESS HAPPEN