Genesis inc digital programme

GENESIS

BY JEMMA KENNEDY DIRECTED BY LAURIE SANSOM #HTGenesisInc

INC.

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WELCOME And so, we arrive at the last play of the 2017 - 18 Season and from Prism to Genesis Inc. it has been an extraordinary year. There have been plenty of high points to savour: three transfers, the huge successes of Prism and the Olivier nominated Dry Powder, the massive scale of Caroline, or Change and the continuing showers of approbation on Branden Jacobs-Jenkins for last Season’s production of his hit, Gloria. At the same time, Downstairs has continued to play to capacity and has seen the emergence of some exciting new talent.

And what a way to end the year! We’ve been following Jemma Kennedy’s career for a long time, and were delighted when we received this play. It’s an extraordinarily ambitious piece of work, on a truly urgent topic: the privatisation of human reproduction. Produced to coincide with the 40 th anniversary of the birth of the first test tube baby, the play is even more than that… The societal shift to wanting to have children later in life is the key driver of the IVF industry, and that results from other profound social changes over the past half century. So there is a deep sense in which the play is considering the state of the nation.

And, within the ‘State of the Nation’ genre, it is unusual because it is a comedy – and an extremely funny one – and a comedy with regular excursions into the surreal. In scope, scale, sweep and tone I found it reminiscent of Angels in America; I can think of nothing quite like it in the British canon. And it’s a delight to welcome the prodigiously gifted Laurie Sansom to Hampstead for the first time. A play of this complexity needs a really experienced and cool head to wrangle it, and Laurie has been equal to the challenge, assiduously shepherding the continuing evolution of the script in the rehearsal room. The wonderfully talented cast he has assembled have all contributed to that evolution and to bringing Jemma’s play to full readiness.

I would like to take this opportunity to thank you all for your support throughout the year: with under 15% of our revenues now coming from subsidy, the general public is far and away our largest stakeholder.

So I wish you a peaceful and relaxing summer, and I look forward to welcoming you back to Hampstead in September.

EDWARD HALL ARTISTIC DIRECTOR

THE WILL MORTIMER INTERVIEW WM How did you come to consider IVF as a subject for a play?

JK My starting point came when I went through the private system myself a couple of years ago and had my eggs frozen. It was a time of great emotional upheaval but one part of my brain was, as always, objectively storing up the details. You sit in these hushed waiting rooms with their expensive flower displays and walls of baby pictures from grateful clients and everyone around you is on some private journey of hope, desperation and, often, blind faith.

Everyone speaks in deferential whispers, and nobody will look you in the eye when you hand over your credit card. The more research I did, the more disturbed I became by the murkier aspects of the industry, particularly the unsubstantiated claims it makes in the competition for business. I found the whole thing quite surreal and absurd, and I came out the other side really keen to capture it in a play.

WM Did placing your own lived experience at the centre of a work of fiction present particular problems?

JK No, not really. It’s certainly the most emotionally autobiographical play I’ve ever written, but I had no issues about exposing my feelings and thoughts in it.

In this instance it felt essential to the piece that I’d had a personal experience of the particular world of the play. Although I’m creating a heightened theatrical reality with that world, it’s all rooted in real experience.

WM Whilst Genesis Inc. isn’t a polemical piece, is it fair to say your play is an unflattering portrayal of the IVF industry?

JK I would say so. And I think it’s really important that such an unflattering portrayal exists out there in the cultural sphere. Private IVF clinics now account for the majority of fertility treatments that happen in this country, and because of their steep costs, we are developing a two-tier system in term of access, which is deeply unfair. And those consumers who can afford it are often being ripped off and manipulated. These are strong words, but it’s an extremely competitive, defensive and litigious industry – and, of course, one that is making untold millions. The private sector has no financial regulation and can charge what it likes for treatment – and it is booming, while the NHS funding

for IVF slowly dwindles. Clearly there is a huge range of ethical practise out there; there are wonderful doctors and clinics, and there are others who obfuscate their statistics, legally manipulate the presentation of their data, and sell unnecessary treatments to their patients with mounting fees. I’m interested in the clinics at the less positive end of the spectrum for obvious reasons, so I have invented one which I hope dramatises some of these elements. I’ve already been accused by a few people who work in the industry of demonising it. My answer to that is: no; I’m satirising it.

WM So are you seeking to change attitudes and to influence behaviour of potential users of IVF therapies?

JK As a playwright I’m seeking to tell a good story, first and foremost. And I don’t have the right to tell anyone what to believe or what to do. What I do want to do, though, is ask people to look at the bigger picture.

The fertility crisis is happening by and large because people are having children a lot later. This is not, and should not be, something that can just be solved simply by asking people to pay for private treatment.

Why people are waiting is a complex social issue; it's about lack of affordable housing and childcare, unequal career opportunities, shifting gender relationships and many other things. But the industry doesn’t want to acknowledge this; they just insist the solution lies simply in giving consumers as much choice as they can afford. I shared a panel recently with a very successful and well respected fertility specialist who works with both NHS and private patients (and who is definitely a man at the ethical end of the spectrum) who said that he hates it when people refer to his work as an ‘industry’. I understand his distaste, but the point is, it is an industry, and one that is driven by profit, like any business. Because the work IVF doctors do has undeniably noble intentions – to produce babies, which bring such immeasurable joy – it can appear somehow above reproach. But the business models it operates have, in my opinion, many complex emotional, psychological and physical effects on us as individuals and as a society.

WM How did you come to think of comedy as the right approach to what is an essentially serious subject?

JK Well, that’s how I think about the world in general.

THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER

JEMMA KENNEDY I find human beings – and I include myself, of course – tragic and hilarious, ridiculous and admirable in equal measure. I’m not known as a comedy writer per se, but I think there is a deep seam of humour in most of my writing and have, I hope, a keen ear for the absurd. I also felt a lot of anger about the issues I’m raising, and I find that a very galvanising force.

WM The material is extremely skilfully martialled.

What organising principles did you employ?

JK Writing is very much about organising – it’s a bit like architecture. Writing dialogue is one key element of writing a play, but so is building a structure and foundation in terms of story and plot. I had the bones of my story early on, along with a specific professional world and a key event (the IPO). I did a lot of research too, which I always find essential; as for the rest, it was the usual trial and error of finding out who your characters are by putting words in their mouths and developing key relationships that drive the story.

WM And what drove the decision to introduce the historical characters into the mix?

JK Well, the play is in part a critique of capitalism, which sounds very grand and polemical, but you can’t not look at the often catastrophic privatisation of public services when you’re writing about the private fertility industry. But the play (any play) is, first and foremost, about people. So it’s always about how you balance ideas with human stories. After the first draft it was clear that I couldn’t communicate some of the ideas I wanted to explore by just having the characters debate them onstage. That’s not theatre, that’s Newsnight. So the historical figures started to pop up in the more fantastical parts of the play as a way of having those debates whilst also dramatising the internal conflicts of the characters.

WM Where there any existing models that you were thinking about as you were writing?

JK I was certainly thinking a lot about some big extant stories; Genesis in the Old Testament and creation myths within Hinduism, for example. I was also led unexpectedly to a couple of classic plays, including Joan Littlewood’s Oh What A Lovely War and Brecht’s Mother Courage, mainly because of their use of music

and heightened theatrical form.

WM Did workshops play a significant part in developing the original script?

JK Given that the play has 30 characters played by 9 actors and includes musical numbers and several big theatrical set pieces, the play should have been workshopped to within an inch of its life. But no, the entire unwieldy thing was created in my head.

WM There’s a lot in the script that will be tricky to stage, so the influence of the director must be crucial. Tell me about Laurie’s contribution…

JK Before I’d written a word of this play I knew it would have elements of fantasy and heightened theatricality, and that is simply because the whole issue of procreation, parenting and children is, to me, so much about fantasy and projection. So there’s a sort of chaotic anarchy to the form and style. Accordingly, Laurie and I spent a lot of time talking about the theatrical language in the script before we went into the rehearsal, but we were both also aware that we probably wouldn’t know exactly how he’d stage those elements, or what aesthetic the production would end up adopting until we were actually in the room. That is both exciting and terrifying, because it means you start making the play without having all the answers, and it requires a very large leap of faith for writer, director and actors. But Laurie is very experienced, has a wonderful theatrical imagination and is a fantastic dramaturg. Crucially, he understood why I’d created the non-realistic scenes and motifs, and what their dramatic and thematic roles were. So it was a question of letting the staging evolve naturally out of the writing, which in turn influenced the rewriting.

WM So you are continuing to shape the play together in rehearsal?

JK Yes, I’ve done more rewriting on this play than ever before and it’s constantly evolving in rehearsal. Apart from Laurie’s guiding hand we have an ensemble of 9 experienced and brilliant actors, all of whom have contributed so many ideas and thoughts and details that I’m in awe of how flexible and creative they’ve been, helping build the characters and world as we’re going along.

HARRY ENFIELD

RITU ARYA & OLIVER ALVIN-WILSON GEORGINA LAMB, LAURIE SANSOM & JEMMA KENNEDY

VISIONS OF MORTALITY

BY ROBERT WINSTON

In the Old Testament, one of the earliest of known written works, there is a gripping narrative that, irrespective of the reader’s background, gives universal insights into the nature of human impulses, desires, instincts and behaviour. Its opening volume, Genesis, is an account of human nature with all its flaws, illustrated by the story of Abraham and his family.

The Bible is explicit about Abraham’s years of infertility. When God promises that Abraham will become father of a great nation, Abraham simply replies, ‘God, what will you give me, seeing that I go childless?’ The Hebrew word that Abraham uses for ‘childless’ is stark: ariri, a term that does not just imply ‘sterile’, but has the connotations ‘desolate’, ‘abandoned’, even ‘destroyed’. In his barren situation,

as we have seen, is the first. Getting old, she urges Abraham to bed her maid Hagar, hoping she can adopt any child that results from the union. Poignantly she says, ‘Perhaps I can be builded up through her,’ asserting that her status as a wife and a woman is reduced by being childless. Thousands of years after these words were written, this sadness, this lack of self-esteem and these feelings of human inadequacy are expressed daily, in different ways, by women in every infertility clinic.

The arrangement with Hagar is the earliest example of surrogate motherhood. Even today some infertile couples still consider surrogacy. Experience suggests that, like Sarah, they frequently fail to understand its emotional pitfalls and the psychological risks run by

‘GIVE ME CHILDREN, OR ELSE I DIE’ (GENESIS. 30: 1) RINGS DOWN THE AGES, AND IS STILL TO BE HEARD IN THE COURSE OF MEDICAL PRACTISE’ Abraham sees his own mortality all too clearly.

Irrespective of whether one believes in the Bible as historical record or divine revelation, this ancient text shows the deepest perception. It is no accident that, when God answers Abraham in his distress at being childless, the Hebrew construction reporting this conversation is unusual. At this point, instead of the direct dialogue Abraham has always been privileged to have with God, the text says, ‘And, behold, the word of the Lord came unto him saying... “He that cometh forth from out of thine own bowels shall be thine heir.”’

This is not a conversation – these words reflect a deep primeval instinct, Abraham’s instinct that he needs his own genetically related child, ‘out of his own bowels’.

The focus on fertility and family at the beginning of the Bible is no accident. The very first commandment, after man is created, contains four verbal decrees: ‘be fruitful and multiply, fill the Earth and subdue it.’ This commandment, which the childless cannot naturally fulfil, comes before any of the conventional decrees about preserving life, submitting to God, moral behaviour or justice.

How striking that all four biblical matriarchs, mothers of the nation, suffer with infertility! Sarah,

all involved. Hagar despises Sarah for her infertility; but she is threatened by Sarah the moment her pregnancy becomes visible. Hagar flees the household, temporarily preferring to die in the desert, before being persuaded to return to give birth to her son, Ishmael.

After Ishmael’s birth, the tension between Sarah and Hagar continues for years. A decade later, Sarah eventually conceives and Isaac is finally born. Then Sarah throws Hagar out, unconcerned that Ishmael, now a teenager, may die of thirst or starvation with his mother in the wilderness.

Pregnancy in infertile women can produce serious medical problems. Sarah’s daughter-in-law, Rebecca, is also infertile. When she eventually conceives twins, the pregnancy is so difficult that she says she would prefer death. Even now pregnancy in infertile women raises particular problems. First, miscarriage is more common. Moreover, the babies of infertile mothers are more likely to be of low birth-weight and more likely to die in infancy. Multiple pregnancy (for example, twins or triplets), so common after in vitro fertilization (IVF), presents substantial difficulties.

Jacob, one of Rebecca’s twin boys, marries in turn the two daughters of Laban, Leah and Rachel.

Although he falls in love with Rachel, Jacob is tricked by their father into marriage with Leah. She, the older sister, is unattractive but initially fertile. Seven years later he is allowed to marry Rachel, who turns out to be infertile. Rachel is deeply threatened by her sister’s fecundity. Her agonized cry, ‘Give me children, or else I die’ (Genesis. 30: 1) rings down the ages, and is still to be heard in the course of medical practise.

Her husband’s response seems almost indifferent.

Perhaps it reflects the belief that infertility is a female problem and a kind of punishment.

But now Leah, having had four sons, finds it difficult to conceive again – the first recorded case of secondary infertility. In search of a remedy, she sends her eldest son, Reuben, into the fields to dig

Infertility frequently has a severe impact on people who suffer from it. Although a few infertile people are not greatly affected by being childless, for the majority it causes serious anxiety. This anxiety is often followed by depression, loss of self-esteem, feelings of pointlessness, and/or loss of libido. Some infertile people even think of suicide. For many others it represents a deep threat to their most precious human relationships. And, as our children are our immortality – for most of us, our most important achievement, irrespective of our success in various walks of life – so childlessness can cause utter despair.

The fourth of the verbal decrees at the beginning of Genesis is; ‘Be fruitful, multiply, fill the Earth and subdue it.’ The Hebrew verb used is wrongly

‘THE NEED TO REPRODUCE IS ONE OF THE STRONGEST INSTINCTS THAT HUMANS POSSESS, SECOND PERHAPS ONLY TO THE DRIVE FOR PERSONAL SURVIVAL’ up mandrakes. Rachel, believing like Leah in the plants’ legendary medicinal powers in promoting conception, pleads with her sister to give her some of Reuben’s mandrakes. In exchange, she offers Leah the opportunity to spend an extra night with Jacob. Thus Leah conceives Issachar – after the first documented fertility treatment – and the herbal remedy works also for Rachel, who finally conceives, giving birth to Joseph.

These and other stories in Genesis, eternal in their resonance, form the central themes and context of my book. The need to reproduce is one of the strongest instincts that humans possess, second perhaps only to the drive for personal survival – of which it is, indeed, one expression. Parenthood is the most important experience most humans will have, influencing our adult lives most profoundly. Yet we are capable of damaging the lives and development of our children in many different ways. Although Jacob uses his skill in sheep genetics to take revenge on an unscrupulous and evil man, the misuse of genetic manipulation and the intrusion of commercial interests remain two great threats in human endeavours to exploit reproductive technology.

translated as ‘subdue’. It does not mean ‘conquer’ or ‘overcome’. Rather, it implies the intelligent use of human power – including human technology – in recognition of humans’ responsibility for the health of the Earth. My book is about how humans have used, still use and will in the future use technology to improve or manipulate reproduction, and a major issue that I cover is how that technology can now, and must in the future, be used with responsibility and care. Reproductive manipulation is incredibly powerful.

It has caused great happiness and can cause deep unhappiness; it can improve and destroy health; it can cement relationships and undermine them – and it can leave offspring deeply damaged. But above all, I contend that reproductive manipulation – and in particular genetic meddling – is so powerful that it could ultimately change our idea of what it is to be human.

This is an edited extract from the prologue of A Child Against All Odds by Robert Winston (Bantam Press 2006) reproduced with kind permission of the author. Professor Winston is a fertility specialist, writer, broadcaster, founding Chairman of the Genesis Research Trust, Professor of Science and Society and Emeritus Professor of Fertility Studies at Imperial College

JEMMA KENNEDY

CLARE PERKINS, ARTHUR DARVILL, RITU ARYA & OLIVER ALVIN-WILSON ARTHUR DARVILL & ARTHUR WILSON

THE REALITY OF FERTILITY

BY JOYCE HARPER

Globally women are delaying having their first child: in the UK and in many other countries, the average age at first conception is now 30. However, because women are their most fertile in their teens and 20s, an increasing number of people are having trouble getting pregnant and 1 in 6 couples now experiences infertility.

Men stay relatively fertile their whole lives, producing millions of sperm in each ejaculate. Whilst there are some genetic abnormalities that can occur with age, the risk is relatively low and it is possible for a man to father children in his 60s and 70s. Women, on the other hand, experience fertility decline with age because the quantity and quality of their eggs decreases. As far as quantity is concerned, women

chromosomally abnormal embryos often fail to implant in the womb, or if they do implant they lead to a higher risk of miscarriage or an increased risk of a child with a chromosome abnormality. Trisomy 21 is one of the few chromosome abnormalities that can survive and results in Down’s syndrome. Whilst, amazingly, the womb stays fertile at almost all ages (even beyond menopause) late pregnancies also increase the obstetric risks such as gestational diabetes, breech presentation, premature birth, low birth weight, still birth and labour complications such as high blood pressure.

Infertility is defined as not being able to achieve a pregnancy after one year of trying to do so. About a third of infertility is due to the male, a third is due

‘THE AVERAGE AGE AT FIRST CONCEPTION IS NOW 30’ are born with all the eggs they are going to produce. They have about 1 - 2 million at birth, but this decreases to about 300,000 by puberty and at the menopause there are no eggs left. If they start trying to have children when they are 30, approximately 85% of women will achieve a pregnancy within one year. At 35, this decreases to about 70 75%. But the quantity and quality of the eggs has a significant effect after age 35, so that by age 40, only 40% of women will achieve a pregnancy within a year and by age 45, this is just 4%. Whilst these figures are for natural conception, it is important to note that IVF cannot significantly help age-related fertility decline.

The data from the Human Fertilisation and Embryology Authority (HFEA), the body that governs IVF in the UK, shows that the birth rate per embryo transferred under age 35 is 29%, 35 - 37 is 23%, 38 - 39 is 15%, 40 - 42 is 9%, 43 - 44 is 3% and over 44 is 2%.

The decrease in quality especially affects the chromosomes in the eggs as the chromosomes are held in a very delicate state and they can become abnormal with increasing age. Having a chromosome abnormality in the egg will lead to an abnormality in the embryo. An extra chromosome in the egg leads to a trisomy in the embryo and a missing chromosome leads to a monosomy. Most chromosome abnormalities are incompatible with life and so

to the female and a third is due to both or the reason is unknown. Male infertility is caused by a low or abnormal sperm count or blockages that prevent sperm being in the ejaculate. Infections, health problems and lifestyle choices can all affect the sperm count. Female infertility is caused by problems with ovulation, blocked fallopian tubes, damage to the womb and age. In the female, the first test for infertility will be a blood test to check that the hormones are normal and that the woman is ovulating.

Progesterone is measured about 7 days before the expected period as this helps determine if ovulation has occurred. It is also important to check that the fallopian tubes and womb are normal. The man will have his sperm checked to see if it is normal: an ejaculate should contain at least 15 million sperm per ml, with most of the sperm swimming in a forward direction.

Globally, IVF has helped millions of people have children they would never have had. But IVF is not the answer for everyone and many people do not achieve the family they hope for because IVF is unsuccessful or because they cannot afford it. In most IVF clinics, the average age of female patients is around 37.

In an IVF cycle, women are usually given large doses of fertility drugs so they produce about 10 - 12 eggs; these eggs are retrieved from the woman’s

ovaries by a minor surgical procedure. On the day the eggs are collected, the man has to produce a sample of sperm which is prepared in the laboratory and used to inseminate the eggs with the aim of creating embryos. The embryologist in the laboratory will monitor the embryos over the next few days to see how they are developing. They will choose the ‘best’ embryo to transfer and will freeze any remaining good quality embryos. Whether the fresh cycle is successful or not, frozen embryos can be transferred in future cycles, so it may be possible to have more than one child from one round of IVF. If a man has a low sperm count, a procedure called intracytoplasmic sperm injection can be used. It is almost identical to IVF except that the embryologist

The NHS will cover the cost of egg freezing for women undergoing chemotherapy or radiotherapy but will not, however, pay for ‘social’ egg freezing.

And social egg freezing is not a guarantee of a baby. It is also very expensive, and ironically, it costs more with age as ideally at least 12 eggs should be stored, but it will take more cycles of treatment to get to this number as a woman gets older. And, as mentioned above, eggs from older women will be of a lower quality. Another problem in the UK is that Parliament has determined that women storing their frozen eggs for social reasons can only do so for 10 years. This is nonsensical: many women would wish to use them beyond 10 years, and the data shows that most would try to conceive naturally before using their

‘IT IS IMPORTANT TO NOTE THAT IVF CANNOT SPECIFICALLY HELP AGE-RELATED FERTILITY DECLINE’ will inject a single sperm directly into the egg. In some cases, even if a man has a blockage that is preventing sperm from being present in the ejaculate, sperm can be aspirated from the testes.

Egg donation is a more expensive procedure than IVF as the egg donor will need to take fertility drugs and have her eggs collected as described above. It is, however, a very successful method because the eggs are donated by women under the age of 35. The HFEA data shows that using donor eggs grants the same pregnancy rate (almost 30%) across all ages, notwithstanding the high obstetric risks for a woman carrying and delivering a child when she is older.

In the past, it was very difficult to freeze eggs as an egg is a very large cell with the chromosomes in a delicate state. But, about 10 years ago, a freezing method called vitrification was successfully applied to human eggs. Ideally, women need to freeze their eggs when they are in their 20s, though data from the HFEA has shown that 68% of women freezing their eggs in the UK are over 35. Currently, we have very little data to know what the chances of success are with eggs that are frozen when a woman is older than 35, but they will be either the same or lower than the IVF birth rates at corresponding ages using fresh eggs.

frozen eggs. Furthermore, women freezing their eggs for medical reasons can store their eggs for up to 55 years and a man having a vasectomy can store his sperm for up to 55 years.

In many countries, the health service will pay for IVF but the availability of NHS funded IVF treatment in the UK depends on where you live; there is a campaign to secure equal access to IVF treatment across Britain. And the cost – and indeed the success – of private treatment in different clinics in the UK and overseas varies hugely: patients may go through multiple cycles of treatment with no success and they may try many different ‘treatments’ or change clinic.

In 2016 the Fertility Education Initiative was created to ensure that fertility education is delivered in schools and beyond because too many people are unaware of the issue of female fertility decline and of the limitations of what IVF can offer.

Professor Joyce Harper heads the Department of Reproductive Health at the Institute for Women’s Health, University College London. She is the author of over 190 scientific papers and 3 books. www.joyceharper.com

ARTHUR DARVILL RITU ARYA, OLIVER ALVIN-WILSON, ARTHUR DARVILL & ARTHUR WILSON

SHOBU KAPOOR

THE BUSINESS OF FERTILITY

BY SARAH NORCROSS

On 25 July 1978, the world's first test tube baby, Louise Brown, was born – and probably before her delighted father had lit the customary cigar, so was the fertility business. The Browns were the success story of the pioneering research conducted by Sir Robert Edwards, Dr Patrick Steptoe and Jean Purdy.

Money has always played a part in the treatment of infertility, and while the UK's Medical Research Council rejected Edwards and Steptoe's original grant application for Studies on Human Reproduction in 1971, the research was ultimately funded by an American philanthropist. The difficulties in obtaining funding were centred upon ethical issues as well as fears that the babies born following such an unnatural process would be abnormal, but the birth of Louise

a woman's reproductive lifespan is limited. While we women can avail ourselves of a whole range of treatments to look young on the outside, miracle moisturisers don't work on our ovaries. Of course the delay in women starting a family may also be caused by many other social factors; not meeting the right partner, lack of career opportunities, and wanting to have financial stability and a foot on the property ladder before having children. Conveniently, the fertility industry has a solution for women in these circumstances: social egg freezing, which means literally putting your fertility on ice until you are ready to have a family. Egg freezing has been offered by companies such as Apple as a perk for female employees. Is this an initiative that will help women

‘RESEARCH ESTIMATES THE MARKET FOR FERTILITY CLINICS IN THE UNITED STATES ALONE SHOULD REACH $4.5 BILLION IN 2022’ provided reassurance. All of a sudden there was hope for those who could not conceive naturally.

So what is the size of the market some 40 years later? Between 1991, when the UK's regulator the Human Fertilisation and Embryology Authority (HFEA) was established and 2016 there have been 1.1 million IVF treatment cycles nationwide. According to the latest data published by the HFEA, in 2016 there were 68,000 IVF treatment cycles resulting in over 20,000 births. Of these 68,000 cycles 59% were carried out in the private sector. Approximately 6 million babies worldwide later, we can safely say that the fertility business is booming. In a report, US Fertility Clinics Market, BCC Research estimates that the market for fertility clinics in the United States alone should reach $4.5 billion in 2022.

So what is driving the growth? The answer is, a large and complex range of factors. And the good news for those looking for a return on their investment in this industry is that many of these factors are hard to resolve. Firstly, a demand for services is caused by the female biological clock. Mother Nature did not have to comply with equalities legislation and

break through the glass ceiling? Or does it send a message that women shouldn't be taking time out to have a family when they are at their most fertile?

Either way, egg freezing is a win-win for the fertility industry. Women pay the clinic to collect their eggs – depending on the result they may then be advised to do more than one round of egg collection – and then pay again for the clinic to store them. Of course the woman may never need to use those eggs as she may fall pregnant naturally when her circumstances change. But if she does end up needing to use them she is highly likely to come back to the same clinic for fertility treatment, either with a male partner, or to fertilise the eggs with donor sperm. In the UK, if the woman doesn't use her eggs within ten years of freezing them and there is no medical ground for continuing to store them (ageing is not a medical ground) then the eggs must be destroyed. Overall social egg freezing has become a substantial windfall for the fertility industry. One specialist told me that his clinic's egg freezing business is booming and is now a significant revenue stream. This growth is backed up by the HFEA's data. In 2016 there were 1,173 egg

freezing cycles, a 10% increase in the number of cycles from 2015.

In America this trend has given rise to a phenomenon called the ‘Egg Whisperer’; ‘egg freezing parties’ held by fertility ‘experts’ offering cocktails and canapés along with advice for women who want to delay motherhood. Those attendees who decide to go ahead and freeze their eggs are given discounts of 10 per cent off the $10 - 15,000 procedure at the relevant practice. But the number of babies born following egg freezing in the UK is still very low and there is not enough UK data to show how successful the technique really is. There are concerns that many women may be in for disappointment if they need to use their eggs in the future. They need to be aware that not

treatment. But the most important contributing factor to the growth of the business is the lack of state-funded treatment. For most people assisted conception is not available on the NHS. This creates an expanding market for fertility treatment and an industry has developed around that core need, offering related services and products.

Nowhere is this better illustrated than at Kensington Olympia at the Fertility Show. The show is itself a commercial enterprise, attracting paying exhibitors selling products and services to paying visitors. Visitors could easily think that they had wandered into the luxury foreign holiday show that takes place on the same weekend in the exhibition hall next door. Clinics from Barbados, South Africa,

‘CLINICS FROM BARBADOS, SOUTH AFRICA, LAS VEGAS AND FLORIDA REGULARLY EXHIBIT AT THE SHOW, OFFERING A VARIETY OF TREATMENTS PACKAGED LIKE HIGH-END HOLIDAYS’ all the eggs will survive the thaw; not all the eggs will fertilise to make embryos; not all the embryos will be suitable for transfer; not all the transfers will result in a pregnancy, and not all the pregnancies will result in a baby. So at every step in the process, the chances of success diminish. How well this is communicated to women, and how much they take in about the chance of success or the probability of failure at the time of treatment, is contentious.

It seems particularly apt to quote Karl Marx here: ‘Capital is money, capital is commodities… By virtue of it being value, it has acquired the occult ability to add value to itself. It brings forth living offspring, or, at the least, lays golden eggs.’

Our expanding waistlines are also thought to be creating market growth. Obesity can cause hormonal imbalances and problems with ovulation in women.

Male fertility is also reported to be in decline. In addition there are also increasing numbers of lesbian couples and single women accessing treatment following changes to the UK legislation in 2008, as fertility clinics no longer have to take into account the potential baby’s need for a father before offering

Las Vegas and Florida regularly exhibit at the show, offering a variety of treatments packaged like highend holidays. The 100 or so exhibitors use a variety of marketing techniques and claims to promote their products, and the overall effect of this can be confusing and overwhelming. If taken together, these sales pitches may be contradictory – they would certainly be very expensive. And of course, the pitches are being made to people who may be more susceptible in their eagerness to learn about and improve their own fertility.

The Progress Educational Trust (PET) is one of a very small number of non-commercial exhibitors present at the show. It is a Charity aiming to provide balanced comment and up-to-date news on assisted conception and genetics – primarily through its free publication: BioNews. Many visitors look instantly relieved that PET isn’t there to sell them a product or service. It’s also an opportunity for them to grumble about the cost of IVF treatment and suggested nutritional supplements, and to voice their confusion about IVF ‘add-ons’ with questionable benefits.

Fertility ‘add-ons’ are procedures and treatments

offered alongside IVF – sometimes at considerable expense to the patient – which may not be supported by robust evidence. If you are paying £5,000 for a round of IVF it can seem tempting to spend an extra few hundred pounds for something that may just boost your chances, but the benefits, harms and appropriateness of add-ons are often open to question. They have increasingly become a matter

on this subject, published in the Human Fertility Journal on 1st November 2017, found evidence that women may well be given false hope by industry professionals and encouraged to continue with IVF treatment despite success being unlikely. The study also suggested that financially-motivated clinicians might routinely offer IVF to patients who do not actually need it, and are actually more likely to

‘AS THE FERTILITY INDUSTRY CONTINUES TO BOOM, WE MAY WELL NEED TO QUESTION WHO THE FERTILITY PROFESSIONAL IS PUTTING FIRST: THE PATIENT OR THE SHAREHOLDER?’ of heated debate among professionals. Sometimes these add-ons are marketed directly to patients who ask for them at their clinic, creating a demand that ultimately leads to the clinic investing in the necessary technology and equipment. The clinic itself may then need to market the services back to their patients in order to recoup its capital expenditure.

In Australia, where several fertility clinics have floated on the stock market, the fertility industry has received considerable public criticism. Some professionals believe that there is a conflict of interest when clinics operate as commercial businesses, unavoidably impacting the way they offer and deliver treatment to potentially vulnerable women. A study

RITU ARYA, OLIVER ALVIN-WILSON & SHOBU KAPOOR

achieve pregnancy using less invasive and expensive methods. Is it likely that a similar conflict of interest exists in the UK? Unfortunately, the answer is yes.

As the fertility industry continues to boom, we may well need to question who the fertility professional is putting first: the patient or the shareholder?

Sarah Norcross is Director of the Progress Educational Trust (PET), Commissioning Editor of its flagship publication. PET works to improve choices for people affected by infertility and genetic conditions and promotes the responsible application of science. She frequently represents PET in the national and international print and broadcast media and is Co-Chair of the campaigning organisation Fertility Fairness.

LAURA HOWARD, CLARE PERKINS & KIRSTY BESTERMAN

OLIVER ALVIN-WILSON HARRY ENFIELD

ARTHUR DARVILL & KIRSTY BESTERMAN LAURA HOWARD

JEMMA KENNEDY WRITER

Jemma Kennedy is a novelist, playwright and screenwriter. Her first novel, Skywalking, was published in 2003. She was awarded a Jerwood Arvon Young Playwrights Apprenticeship in 2006 and was Pearson playwright in residence at the National Theatre in 2010.

Recent plays include The Prince and the Pauper (Unicorn Theatre); The Grand Irrationality (Lost Theatre Studio, Los Angeles); Don’t Feed the Animals (National Theatre Connections); The Summer Book (Unicorn Theatre); The Gift (New Vic Theatre, Stoke-On-Trent) and Second Person Narrative for Tonic Theatre’s inaugural Platform play series.

She is currently writing her first stage musical Electric Ladies for Universal Music. Jemma’s first feature film, Captain Webb, was released in 2015. Other film adaptation work includes Barbara Pym’s novel Excellent Women for Raindog/BBC Films and Crooked Heart by Lissa Evans for Braven/BBC Films.

LAURIE SANSOM DIRECTOR

Laurie Graduated from the University of Cambridge in 1994.

He was Artistic Director of the National Theatre of Scotland from 2013 to 2016; Artistic Director of Royal & Derngate, Northampton, from 2006 to 2013 and Associate Director to Alan Ayckbourn, Stephen Joseph Theatre, Scarborough, from 2002 to 2006.

Most recent directing work includes Kiss of the Spider Woman (Menier Chocolate Factory) and Nightfall (Bridge Theatre).

Work at the National Theatre of Scotland includes The James Plays (Evening Standard Award for Best Play); The Driver’s Seat and The 306:Dawn.

Work at the National Theatre includes The Holy Rosenbergs; Spring Storm; Beyond the Horizon (Evening Standard Nomination, Best Director) and The James Plays.

Work at Royal & Derngate includes One for the Road; Hedda Gabler; Blood Wedding; The Bacchae; Eden End; Spring Storm; Beyond the Horizon (TMA Award, Best Director); The Duchess of Malfi; My Zinc Bed; The Wizard of Oz; The Prime of Miss Jean Brodie; Private Fears in Public Places; Follies (TMA Award Nomination for Best Musical Production and Best Regional Production, Whatsonstage Awards); Frankenstein; The Glass Cage; Soap; Twelfth Night and Time of My Life.

Work at the Stephen Joseph Theatre, Scarborough, includes Charlotte Bronte’s Villette; Fields of Gold; Playing God; Inglorious Technicolour; Bedtime Stories; Soap; I Ought to Be in Pictures; Spittin’ Distance; The Jonah Boy and A Beginner’s Guide to Cybershopping.

Work at The Assembly Rooms, Edinburgh, includes The Magnets – Magnetude and The Prime of Miss Jean Brodie.

Work at the Birmingham Rep includes Getting to the Foot of the Mountain and Musical Youth.

Work at The New Vic Theatre, Newcastle under Lyme, includes Blue Remembered Hills; Second From Last in the Sack Race and All That Trouble That We Had. Work at Watford Palace Theatre includes Dangerous Corner; Absurd Person Singular; Court in the Act; Passport to Danger and Animal Farm.

Other theatre work includes Frankie and Tommy and 2:18 Underground (both Lyric Hammersmith Studio); Dangerous Corner (West Yorkshire Playhouse/Garrick); Hysteria and Children of a Lesser God (both Salisbury Playhouse) and Electra (Arts Theatre, Cambridge).

CAST IN ALPHABETICAL ORDER OLIVER ALVIN-WILSON

JEFF/ABRAHAM/EMBRYOLOGIST

RITU ARYA

SERENA/SARAH KIKI/NARRATOR/SERENA’S OVARY/ DAISY/HAGAR/TEENAGER/MEDIC

KIRSTY BESTERMAN ARTHUR DARVILL

MILES/ABRAHAM/MEDIC DR MARSHALL/KARL MARX/ MESSENGER 1/GOD

HARRY ENFIELD

BRIDGET/SERENA’S OVARY/ MESSENGER 2/MEDIC

LAURA HOWARD

SERENA’S VAGINA/MITA/SERVANT/ GREAT GRANDMOTHER/MEDIC/SURGEON

SHOBU KAPOOR

LARISSA/SHARON/SERENA’S OVARY/ MESSENGER 3/NURSE/SUSAN SONTAG/MEDIC

CLARE PERKINS

FATHER SCALES/ISHMAEL/MORTGAGE ADVISOR/ NURSE/MEDIC/SECURITY GUARD

ARTHUR WILSON

And JENNI MURRAY as THE VOICE OF THE WOMB

CREATIVE TEAM JEMMA KENNEDY

WRITER

LAURIE SANSOM

DIRECTOR

JESS CURTIS

DESIGNER

OLIVER FENWICK

LIGHTING DESIGNER SOUND DESIGNER

GARETH FRY

VIDEO DESIGNER

IAN WILLIAM GALLOWAY ZARA NUNN

COMPOSER

GEORGINA LAMB

MOVEMENT DIRECTOR

SUZANNE CROWLEY & GILLY POOLE

CASTING DIRECTORS

SARA VAN PARYS

ASSISTANT DIRECTOR

LUKE CHILD

PRODUCTION MANAGER

MICHAEL DENNIS

COMPANY STAGE MANAGER

SOPHIA DALTON

DEPUTY STAGE MANAGER

IMOGEN FIRTH

ASSISTANT STAGE MANAGER COSTUME SUPERVISOR

MEGAN DOYLE

WARDROBE MANAGER

TORI HITCHENS CHARLOTTE WAINWRIGHT

COSTUME MAKER

EMILY MEADE DICK

WIGS MAKER

VISUAL SCENE

SET BUILDERS

MANUEL HARLAN

REHEARSAL PHOTOGRAPHER

RAFAEL VARTANIAN

VIDEO ANIMATOR

LAUREN KUNICKI

VIDEO PROGRAMMER

HAMPSTEAD THEATRE WOULD LIKE TO THANK CONCEPT FERTILITY CLINIC DAVID PURDIE-SMITH

FOR EXCLUSIVE INFORMATION, NEWS & COMPETITIONS @Hamps_Theatre #HTGenesisInc

hampsteadtheatre

MAKE UP PROVIDED BY We’ve partnered with Fertility Network UK and Donor Conception Network to help provide more information about the topics explored in Genesis Inc. Please refer to the back pages for contact details.

CAST & CREATIVE TEAM OLIVER ALVIN-WILSON JEFF/ABRAHAM/EMBRYOLOGIST Theatre work includes Nine Night; The Red Barn; Emperor and Galilean and All’s Well That Ends Well (All National Theatre); The Twilight Zone (Almeida); Hamlet (Hamlet Scenen); A Midsummer Night’s Dream (Young Vic); Othello (Stafford Gatehouse); A Midsummer Night’s Dream; The Merchant of Venice and Henry V (All Propeller); Antigone (adapted By Roy Williams – Theatre Royal, Stratford East/Pilot Theatre); Doctor Faustus (West Yorkshire Playhouse/ Citizens Theatre); Blue/Orange (UK tour); Romeo and Juliet and This Child (both Pilot Theatre); The Gala; World Poetry Day Recital and Seven Ages of Poetry (all RSC); Antony and Cleopatra (Nuffield Theatre); To Kill a Mockingbird (Theatre Clwyd/tour); Pigeon Love (The Space) and Much Ado About Nothing (Derby Live).

Television work includes The Rebel; Collateral; Lovesick; From Cradle to Grave; Misfits; Hollyoaks and Casualty.

RITU ARYA SERENA/SARAH Theatre work includes Mother Christmas (Hampstead Theatre); Noises Off (Nottingham Playhouse/ Northern Stage); Mermaid (Shared Experience); Carpe Diem (National Theatre); The Collector (Arcola/Gilded Balloon); As You Like It (Transport Theatre); The Fourth Wise Man; 1001 Nights and Liar, Liar (all Unicorn).

Film work includes Daphne; The Super Recogniser (short film) and My Beautiful White Skin (short film).

Television work includes Humans (seasons 2 & 3); Good Karma Hospital 2; Doctors; Crackanory; We the Jury; Sherlock The Sign of Three (series 3) and The Tunnel.

KIRSTY BESTERMAN KIKI/NARRATOR/SERENA’S OVARY/ DAISY/HAGAR/TEENAGER/MEDIC Kirsty trained at RADA. Theatre work includes Experience (Hampstead Theatre); Winter Solstice (ATC); Betrayal (Salisbury Playhouse); They Drink It in the Congo (Almeida); Tipping the Velvet (Lyric Hammersmith); Arcadia (ETT); Separate Tables

(Salisbury Playhouse); Tonight at 8.30 (Nuffield Theatre); Private Lives (Royal Lyceum); The Precariat (Finborough); School For Scandal (Park Theatre); Dangerous Corner (Salisbury Playhouse); Playhouse Creatures (Chichester Festival Theatre); The Great Gatsby (Wilton’s Music Hall); Foxfinder (Finborough); The Importance of Being Earnest (Rose, Kingston); Twelfth Night (Ludlow Festival); Amy’s View (Nottingham Playhouse); Edmund (Wilton’s Music Hall); Liberty; Much Ado About Nothing; The Merchant of Venice and Holding Fire (all Shakespeare’s Globe); Plunder (Watermill, Newbury); The Rivals (Theatre Royal, Bath/tour); Othello (International tour) and King Lear (RSC Academy).

Film work includes Chicken.

Television work includes Holby City; Father Brown; Silent Witness; Foyle’s War and Doctors.

ARTHUR DARVILL MILES/ABRAHAM/MEDIC Theatre work includes Hir (Bush); Treasure Island (National Theatre); Once (Broadway/West End); Our Boys (Duchess); Doctor Faustus (Shakespeare’s Globe); Is Everyone Ok? (Nabokov); Swimming with Sharks (Vaudeville); Terre Haute (tour/ Trafalgar Studios - Nominated For Outstanding Newcomer Evening Standard Award 2007); Stacey (Arcola) and Terre Haute (Assembly Rooms, Edinburgh).

Film work includes Sex, Drugs, Rock N Roll and Pelican Blood.

Television work includes Legends of Tomorrow; Danny and the Human Zoo; Broadchurch (Series 1, 2 & 3); The White Queen; The Paradise; Doctor Who; Little Dorritt; He Kills Coppers and The Verdict.

Radio work includes Seven Songs for Simon Dixelius; Burning Both Ends and Gulliver’s Travels.

Work as a composer includes Been So Long (Young Vic/Traverse - about to be released as a movie with Netflix); Fantastic Mr Fox (Nuffield/Lyric/tour); I Want My Hat Back (National Theatre - nominated for Olivier Award for Best Family Show); The Frontline and The Lightning Child (both Shakespeare’s Globe); Stoopud Fucken Animals (Traverse) and Old Vic 200th Celebrations (Old Vic).

HARRY ENFIELD DR MARSHALL/KARL MARX/ MESSENGER 1/GOD Theatre work includes Once in a Lifetime (Young Vic).

Film work includes Swallows and Amazons; Scottish Mussel; Acts of Godfrey; Churchill: The Hollywood Years and Tooth.

Television work includes The Windsors; Upstart Crow; Ruddy Hell! It’s Harry and Paul (winner of a British Comedy Award and two BAFTA TV Awards); Bad Education; Psychobitches; Blandings; It’s Kevin; The Hunt for Tony Blair and Skins.

LAURA HOWARD BRIDGET/SERENA’S OVARY/ MESSENGER 2/MEDIC Theatre work includes Fall of the Kingdom; Rise of the Foot Soldier and Always Orange (both RSC); Crushed Shells and Mud (Southwark Playhouse); Invincible (Orange Tree/St James’ Theatre); Lost in Yonkers (Watford Palace); The Norman Conquests (Liverpool Playhouse); The Life of Riley and Communicating Doors (both Stephen Joseph); Two Women (Theatre Royal, Stratford East); Look Back in Anger (Northern Stage); The Blue Room (Anvil Arts); Switzerland (Hightide); Dracula (Centerline/English Touring Consortium); The Hotel in Amsterdam (Donmar); Emma (Good Company); Arcadia (Chichester Festival Theatre); The Master Builder and The Taming of the Shrew (both ETT).

Short film work includes Get Well Soon; The Responsibility Virgin and Queens Park Story.

Television work includes Casualty; Cuffs; The Delivery Man; Young Dracula (series regular, season 5); Eastenders; Doctors; Midsomer Murders (series regular, seasons 1-13); Cold Enough For Snow; Eskimo Day; Soldier Soldier; Covington Cross and So Haunt Me (series 1 – 3).

SHOBU KAPOOR SERENA’S VAGINA/MITA/SERVANT/ GREAT GRANDMOTHER/MEDIC/ SURGEON Theatre work includes Shakespeare Within the Abbey (Shakespeare’s Globe); Dinner With Saddam (Menier Chocolate Factory) and What Fatima Did... (Hampstead Theatre).

Film work includes Boogie Man; Shoot Me. Kiss Me. Cut! and Acts of Godfrey.

Television work includes Eastenders; Citizen Khan; Unforgotten; Krypton; Clean Break; The Split and The Boy With the Topknot.

CLARE PERKINS LARISSA/SHARON/SERENA’S OVARY/MESSENGER 3/NURSE/ SUSAN SONTAG/MEDIC Theatre work includes The Immigrant (Hoxton Hall); Daisy Pulls It Off (Park Theatre); Nora (Corn Exchange); Primetime (Royal Court Upstairs/UK tour); Roundelay (Southwark Playhouse); The Convert (Gate); Removal Men (Yard Theatre); Play On and Little Revolution (both Almeida); The Curious Incident of the Dog in the Nighttime (National Theatre/UK & Ireland tour); The House That Will Not Stand (Tricycle); The Rover (Hampton Court Palace); Neighbours (Hightide Festival); Welcome to Thebes (National Theatre); The Caucasian Chalk Circle (Shared Experience); The Hounding of David Oluwale (Eclipse Theatre/West Yorkshire Playhouse); Any Which Way (Only Connect Theatre Co.); How Long Is Never? and Fabulation (both Tricycle); Our Country’s Good and Cyrano de Bergerac (both Southampton Nuffield); Generations of the Dead (Young Vic Studio); Ready or Not (Theatre Royal, Stratford East); Mules (Clean Break/Royal Court) and Meridian (Contact Theatre).

Film work includes Blacklands; 7 Lives; Deadmeat; Bullet Boy; Secrets and Lies and Ladybird, Ladybird.

Television work includes Death in Paradise; Damned; Doctors; Run; EastEnders; Verbatim Riots; Learning: True Stories; Holby City (semi-regular – series 13); Clapham Junction; All in the Game; The Messenger; Family Affairs; Learning Zone Drama; Baby Father; Mersey Beat; A&E; My Wonderful Life (series 1, 2 & 3) and Pigheart Boy.

ARTHUR WILSON FATHER SCALES/ISHMAEL/ MORTGAGE ADVISOR/NURSE/ MEDIC/SECURITY GUARD Theatre work includes Things I Know To Be True (Frantic Assembly/State Theatre Company); Persuasion (Manchester Royal Exchange); The Crunch (Look Left Look Right); Richard II (Shakespeare’s Globe); Man and Superman

(National Theatre); The Comedy of Errors; A Midsummer Night’s Dream; The Taming of the Shrew and Twelfth Night (all Propeller); Project Space (Secret Cinema); Hard Times; If I were You and Tom’s Midnight Garden (all Library Theatre Company); Peter Pan (PPKG/US tour); Resurrection (Oran Mor); A Hole in the Fence (Box of Tricks Theatre Company); Home – Edinburgh (National Theatre of Scotland); Amid the Clouds (Tron Theatre) and The Borrowers (Citizens Theatre).

Film work includes Opus.

Television work includes Call the Midwife; Law and Order; The Academy and Sea of Souls.

JESS CURTIS DESIGNER Jess is a set and costume designer for theatre, opera and ballet. She trained at the Motley Theatre Design Course.

Recent work includes Hotel Cerise (Theatre Royal, Stratford East); Uncle Vanya (Almeida); One for the Road; My Zinc Bed and Glass Cage (all Royal & Derngate); Frankenstein (Royal & Derngate/Frantic Assembly); The Holy Rosenbergs (National Theatre); Another Door Closed (Peter Hall Company – Theatre Royal, Bath); Endgame (Liverpool Everyman); Villette and Dangerous Corner (both West Yorkshire Playhouse/West End) and Burial at Thebes (Nottingham Playhouse/Barbican/US tour).

Ballet design work includes Fantasy and Rhapsody (both Royal Ballet, Royal Opera House).

Since 2013, Jess has been designing productions for Grosvenor Park Open Air Theatre including Stig of the Dump; As You Like It; Two Gentlemen of Verona; Romeo and Juliet; The Wind in the Willows; The Merry Wives of Windsor; Macbeth; The Secret Garden; A Comedy of Errors; Othello; Cyrano do Bergerac and A Midsummer Night’s Dream and the opening season of four plays for Storyhouse.

OLIVER FENWICK LIGHTING DESIGNER Theatre work includes Mother Christmas; Gloria; Occupational Hazards; Reasons To Be Happy; Private Lives; The Giant; Glass Eels and Comfort Me With Apples (all Hampstead theatre); The Great Wave; Ugly Lies the Bone; The Motherf**ker With the Hat; The Holy Rosenbergs; The Passion and Happy Now? (all National Theatre); Love’s Labour’s Lost; Much Ado About Nothing; The Jew of Malta; Wendy and Peter Pan;

The Winter’s Tale; The Taming of the Shrew; Julius Caesar; The Drunks and The Grain Store (all RSC); Girls and Boys; Lela & Co; Routes; The Witness and Disconnect (all Royal Court); One Night In Miami; The Vote; Berenice and Huis Clos (all Donmar); My City and Ruined (both Almeida); The Invisible Hand; Multitudes; Red Velvet (also St Ann’s, NY); Paper Dolls; Bracken Moor and Handbagged (all Tricycle); Red Velvet; Di and Viv and Rose; Handbagged; The Importance of Being Earnest; Bakersfield Mist; The Madness of George III and Ghosts (all West End); King Lear and The King’s Speech (both Chichester Festival Theatre); To Kill a Mockingbird (Regent’s Park/Barbican) and Saved and A Midsummer Night’s Dream (both Lyric Hammersmith); The Open House; Right Now; Therese Raquin; The Big Meal; King Lear and Candida (all Theatre Royal, Bath) and The Merchant of Venice (New York/Washington/Chicago/China).

GARETH FRY SOUND DESIGNER Gareth trained in Theatre Design at the Central School of Speech & Drama.

Recent work includes Harry Potter and the Cursed Child (Palace/Lyric Theatre, New York); The Encounter (Complicité); The Barber Shop Chronicles (National Theatre); Let the Right One In (Abbey Theatre, Dublin); Victory Condition; B and Road (all Royal Court); Cat on a Hot Tin Roof (Apollo); Woyzeck (Old Vic); City of Glass (Manchester HOME/Lyric Hammersmith), Peter and the Starcatcher (Northampton).

Other theatre work includes The Master and Margarita; Shun-kin and Endgame (all Complicité); Black Watch (National Theatre of Scotland); Othello (Frantic Assembly) and John (DV8, National Theatre).

Recent television work includes CBeebies The Snow Queen; CBeebies Alice in Wonderland and A Christmas Carol.

Other work includes the Soundscape Design for the Opening Ceremony of the 2012 Olympic Games and The Discovery Adventures (Podcast, Land Rover).

Awards include Olivier Awards for Best Sound Design for Waves (2007), Black Watch (2009) and Harry Potter And The Cursed Child (2017), a Helpmann Award for Black Watch, an IRNE Award for Wild Swans, an Evening Standard Award, Helpmann Award, Drama Desk and a special Tony Award for The Encounter.

Gareth is an Honorary Fellow of the Royal Central School of Speech and Drama.

IAN WILLIAM GALLOWAY VIDEO DESIGNER Theatre work includes Goats (Royal Court); Dry Powder; Prism and Hapgood (all 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) and Est-ce Que tu Dors?

(Festival d’Avignon/Complicite).

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).

ZARA NUNN COMPOSER Zara is a composer/lyricist, writer and musical director. In 2017 she wrote, orchestrated, musically directed, produced and showcased her first musical, In Versions.

Other work includes Cinderella (Oxford Playhouse - nominated for Best Musical Director at GB Panto Awards 2017); Josephine the Egg (Theatre Royal, Bath); The Tempest (Watford Palace); Yarico (London Theatre Workshop); Results Day (Rose, Kingston, short film); Alice in Wonderland and The Lion, the Witch and the Wardrobe (both Royal & Derngate, Northampton); Elmer (Birmingham Stage Company); The Muddy Choir (Theatre Centre); The Beggar’s Opera and Babes in Arms (both Mountview); Much Ado About Nothing; The Scarlet Pimpernel; Aladdin; Dick Whittington; Cinderella; Jack and the Beanstalk and Sleeping Beauty (all Everyman Theatre, Cheltenham); Various Cures For Loneliness (Albany, for Trinity Laban); Arabian Nights; Peter Pan; Alice; The Doctor’s Daughter; The Greek;

Life of Pi; The Grimms’s Tales; An Artist and a Mariner and A Time Machine (all Central School of Speech and Drama at The Minack).

In addition to her professional composing and MD engagements, Zara has worked extensively in music and theatre education and specialised in major largescale devising and performance projects both in the UK and overseas.

GEORGINA LAMB MOVEMENT DIRECTOR Recent theatre work includes Kiss of the Spider Woman and The White Devil (both Menier Chocolate Factory); Frozen (Haymarket); A Christmas Carol; Titus Andronicus; The Roaring Girl and Romeo and Juliet (all RSC); Babette’s Feast (Print Room); Sweeney Todd (Tooting Arts Club/West End/New York – Lucille Lortel Nomination for ‘Outstanding Choreography’); Sleeping Beauty (Watermill, Newbury); Running Wild (Regent’s Park/Chichester Festival Theatre/tour); Wit (Royal Exchange); East is East (ATG/tour); The Comedy of Errors; Holy Warriors; Doctor Faustus and The Frontline (all Shakespeare’s Globe); The Witches (Chichester Festival Theatre); The Ritual Slaughter of Gorge Mastromas (Royal Court); Chimerica (Almeida/West End); The Lion, the Witch and the Wardrobe (Kensington Gardens); Much Ado about Nothing (Wyndham’s); Electral Lulu and Dream Story (both Gate); A Game of Love and Chance (Salisbury Playhouse); The Duchess of Malfi; The Prime of Miss Jean Brodie and The Glass Cage (all Royal & Derngate, Northampton); Gambling (Soho); King Lear (Headlong/ Liverpool Everyman/Young Vic); Macbeth (Chichester Festival Theatre/West End/BAM/ Broadway) and Six Characters In Search of an Author (Chichester Festival Theatre/Headlong/West End).

Film and Television work includes True Stories; Once Upon a Time; Hansel and Gretel (BAFTA nominated) and Macbeth.

SUZANNE CROWLEY & GILLY POOLE CASTING DIRECTORS Work at Hampstead Theatre includes Cellmates; Prism; Filthy Business; Sex with Strangers; Labyrinth; Lawrence After Arabia; Reasons to be Happy; Rabbit Hole; Wonderland; Sunny Afternoon; Drawing the Line; Rapture, Blister, Burn; Chariots of Fire and No Naughty Bits.

Other theatre work includes Journey’s End (Duke of York’s); Twelfth Night (Albery); Broken Glass

(Tricycle/West End); The Great Game; Women, Power and Politics; Not Black and White; Playboy of the West Indies; Two Trains Running; The Piano Lesson; A Love Song for Ulster; The Stephen Lawrence Enquiry; The Nuremberg Trials; Bloody Sunday and The Hutton Enquiry (all Tricycle); Ruined; Reasons To Be Pretty and Becky Shaw (both Almeida).

Film work includes Urban Hymn; The Walker; Titanic; Conspiracy; A Knight’s Tale; Tomorrow La Scala; Redtails and Bhaji on the Beach.

Television work includes Killing Eve; The White Princess; The Durrells (3 series); Indian Summers (2 series); Trollied; Partners in Crime; The White Queen; Spooks (7 series); Outnumbered (5 series); The Sculptress; Life Isn’t All Ha Ha Hee Hee; New Worlds; Not Only But Always; Whitechapel; The Last Weekend; Case Sensitive; Nicholas Nickleby; Generation Kill (Emmy nomination); Hunted; Episodes; Five Days and Tsunami: The Aftermath.

SARA VAN PARYS ASSISTANT DIRECTOR Sarah is a Young Everyman Playhouse Directors Course graduate and a recent recipient of the 3 month placement bursary from the Regional Theatre Young Directors Scheme with the Everyman and Playhouse and English Touring Theatre. Sarah started her own Theatre company, Falling Doors Theatre who regularly produce theatre in the North West.

Work as an Assistant Director includes The Odyssey: Missing Presumed Dead (ETT/Liverpool Everyman/Liverpool Playhouse/UK tour).

Work as a Director includes Kitty (Light Night Liverpool); Taking Care of Baby (The Casa Theatre, Liverpool Fringe Festival); Chair and Forever and Anon (both Liverpool Everyman/Playhouse Studio); New Dawn Fades (All Roads Meet/UK tour); Committed (The Blade Factory/Lantern Theatre/Liverpool Irish Festival); The Road to Skibbereen (Unity Theatre/C Venues Edinburgh Fringe); Inference (King’s Arms, Manchester); Trolley Shaped Bruise (Unity Theatre); Pipedreams and The Morning After (both Lantern Theatre); Supernatural Violence (U-Decide, Unity Theatre) and Liverpool and the Titanic (Theatre in the Rough).

ARTHUR DARVILL, CLARE PERKINS, KIRSTY BESTERMAN & LAURA HOWARD

HARRY ENFIELD

HAMPSTEAD THEATRE IN 2017/18 PUBLIC DEMAND 15 HOUSE PRODUCED PRODUCTIONS 9 WORLD PREMIERES 2 UK PREMIERES 90% CAPACITY ACROSS MAIN STAGE AND DOWNSTAIRS £2,697,500 AT THE BOX OFFICE 123,055 TICKETS SOLD 5,000 MORE THAN PREVIOUS YEAR 6,000 NEW BOOKERS 40% MORE THAN PREVIOUS YEAR 611 PERFORMANCES

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11k

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5k

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BEYOND NW3

70% OF BOOKERS LIVE OUTSIDE OF NW POSTCODE

OCCUPATIONAL HAZARDS PERFORMED ON RADIO 4 FOR THEATRE ON 4 SERIES

OLIVIER NOMINATION FOR BEST NEW COMEDY

DRY POWDER THE MODERATE SOPRANO TRANSFERS TO THE WEST END

CAROLINE, OR CHANGE TRANSFERS TO THE WEST END

KEN TRANSFERS TO THE BUNKER THEATRE

KISS ME

OUR AUDIENCE COME FROM ALL OVER LONDON AND THE SURROUNDING CITIES AND TOWNS IN THE UK

TRANSFERS TO THE WEST END BRANDEN JACOBS-JENKINS WINS CRITICS’ CIRCLE AWARD FOR MOST PROMISING PLAYWRIGHT FOR

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14

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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,

Frances de la Tour, High Time 1972 | Alison Steadman, Abigail’s Party 1977 | Juliet Stevenson, Burn This 1990

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 nearly 60-year history. For more archive photos, please visit our History wall in the lower foyer of the theatre.

Sara Kestelman, Filthy Business 2017 | Hayley Atwell, Dry Powder 2018 | Sharon D. Clarke, Caroline, or Change 2018

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

David Birrell & Ben Caplan in DESCRIBE THE NIGHT

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

PATRONS Standing Ovation Celia & Edward Atkin CBE Alexander Graham Selina & David Marks 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 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 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 Sarah Williams Preview 1001 Nights Productions Ltd Heather Acton Bob Ainscow Anonymous Kay & Jim Ashton Liz & Mark Astaire Lucy Astor 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 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 Rose & Dudley Leigh J Leon Charitable Fund Claudia & Richard Leslie Karen & Lawrence Lever Caroline Macdonald & David Simmons Alan Maclean Alexandra Marks CBE Julia & Julian Markson The Philip Marsden Family Charitable Trust Mark & Cassy Martell Elizabeth & Ashley Mitchell Catherine & Garry Monaghan Andrew & Jennifer Morris Keith Moss Terry & Jenny Nemko Hugh O'Donnell & Vivienne De Courcy Ellie & Philip Olmer Alison & Simon Parry-Wingfield Karen & Ian Paul Penny & Richard Peskin The Raven Charitable Trust Michaela Rees Jones Kathleen Roberts Cissie Rosefield Charitable Trust The Rubin Foundation Barry Serjent 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 Gideon & Tamara Wood 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 Liz Berman The Beryls Ann & Neil Benson Joanne Black & Nick Young Miriam & Richard Borchard Molly Borthwick Clive & Rosalind Boxer Rene Branton-Saran Catharine Browne Steven & Miriam Bruck Fatma Charlwood 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 Vera Farrants Françoise Findlay Gail & Michael Flesch Sue Fletcher Jane & Nigel Franklin Roger & Marilyn Freeman Emma Friedman & Kevin Gold 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 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 Kinvara MacTaggart Nick & Sophie Marple Amanda May Dianne & Martin Mendoza Nadya Menuhin Patricia & Richard Millett Clive Mishon Geoffrey Mitchell Beate Mjaaland 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 Jacob Polny Sir Brian & Lady Pomeroy Jane & Nick Prentice Livia Prior Kate Rankine Mike & Louise Redferne Donald Rogers Dan Rosenfield Anthony & Lizzie Rosenfelder Brenda & Neill Ross Bob & Pippa Rothenberg 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 The Andreas and Claudia Utermann Charitable Trust Laurence Vallaeys Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Chris Walsh Dr Adrian Whiteson OBE & Mrs Myrna Whiteson MBE Francoise Winton Richard & Susan Wolff David & Vivienne Woolf Katherine Wood J. Wrightson Mrs Karen Yerburgh Michael & Michaela Zelouf

CORPORATE SUPPORTERS

Aesop Bennetts Associates Farrow & Ball – Hampstead Showroom Linklaters MAC Cosmetics Nyman Libson Paul

TRUSTS AND FOUNDATIONS

The AKO Foundation The London Community Foundation & Cockayne – Grants for the Arts The Dorset Foundation The 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 The Cheruby Trust The John S Cohen Foundation Sheila & Denis Cohen Charitable Trust Clore Duffield Foundation Tracy Hofman Mr & Mrs V Meyer Edith and Ferdinand Porjes Charitable Trust James Roose-Evans (Frontier Theatre Prods.)

The Vandervell Foundation Mary Ellen & Tom Wanty Garfield Weston Foundation 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

Finance Officer

Catherine Carnegie

Sam Harding

Zeinab Badawi

Sherry Lau*

Jae Endris

Aliou Janha

Cory Haas

Stella Kailides

Andrew Jardine

Martin Karadzhov

Adam Line

Nellie Kirsh

Kirsty Osmon

Mauricia Lewis

Susie Boyt Gillian Budd James Harding Adam Jones Dan Marks

DEVELOPMENT Director of Development Cathy Baker* Development Manager

Simon Parry-Wingfield

Sally Wilson*

FRONT OF HOUSE

Luyanda Unati Lewis-Nyawo

Karen Paul

LITERARY

AND CATERING

Joseph Lukehurst

Jeremy Sandelson

Literary Manager/

Head of Catering

Claudia Marinaro

Meera Syal

Line Producer

Assunta Dogali*

Alice Morgan

Will Mortimer*

Head of Front

Bill Palmer

of House

Adam Parkinson

Edith Furlong*

Callan Purcell

Kitchen Manager

Lizzie Roberts

Simon Rodda

Eddie Sellers

Assistant Kitchen

Elena Skreka

Manager

Ben Fox Smith

Joe James

Kyanne Smith

Duty Managers

Jane Staiano

Matt Barker

Marlow Stainfield

Jon Cobb

Roberto Tallerico

William Sebag-Montefiore

Madeline Young

Colm Tracey

Alessandro Zappala

Bar Duty Managers

PRODUCTION

Head Cleaner

Andrew Jardine

Head of Lighting

William Dike

Susan Schoenfeld

Sean Matthew Jones

Emily Holmden*

Cleaners

Harrington

Max Loble

Deputy Head of Lighting

Samuel Gyamfi

Nicholas Snowman OBE

Front of House Staff

Christopher Spray

Avril Cook*

Patrick Bayele

Peggy Vance

Head of Stage

Angelina Chudi

Nick Aldrich*

Calvin Crawley

Deputy Head of Stage

Jacob Crossley

Nic Donithorn*

Thomas Crowhurst

EXECUTIVE PRODUCER

BOX OFFICE

Geraldine Curtis

Greg Ripley-Duggan*

Head of Sales

James Easey

Joanne Boniface*

Conor Ensor

Deputy Head of Sales

Daniel Fernandez

and Associate Producer

and Access Manager

Holly Gibbs

Neil Morris*

Hannah Gill*

Lauren Gibson

Production Co-ordinator

Box Office Assistants

Andrea Golinucci

Amelia Cherry*

Matt Barker

Christine Gomes

Head of Finance

Colin Burnicle

Caitlin Goodwin

Ashok Shah

Laura Cantergril

Maria Goretti Cabrera

Katja Tangen David Tyler (Chair)

MARKETING ADVISORY COUNCIL Dame Jenny Abramsky DBE Sir Michael Codron CBE Michael Frayn Daniel Peltz Peter Phillips OBE Paul Rayden Patricia Rothman

Marketing Director Jess Woodward* Marketing Manager Lucie Blockley* Press Jo Allan PR 0207 520 9392 Programme Editor Pascale Giudicelli

DEVELOPMENT BOARD

Design

Tania Black

SWD www.swd.uk.com

Karen Paul (Chair) Simon Parry-Wingfield

ARTISTIC DIRECTOR Edward Hall*

ADMINISTRATION Director of Operations

Paul Jachie *Full time employees

All information and images printed in the Genesis Inc. Hampstead Programme are the property of Hampstead Theatre.

Edward Hall image HELEN MAYBANK Describe the Night production photography MARC BRENNER

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