FREE PROGRAMME
BY ROY WILLIAMS DIRECTED BY DENIS LAWSON
D
O W
TH
E FI RM
S/ IR TA NS T W EN DORES AD P T E K IN PS T M IA A HA EL C
3 MAY - 8 JUNE
N S
#HTTheFirm
TA IR S
WELCOME
Roy Williams is an old friend, and it has meant a lot that he has headed up the first two years of Hampstead’s INSPIRE Programme for young playwrights. But, whilst it’s been lovely to see a lot of him, it’s far better to be actually producing a play of his. And I am especially proud of my inspired suggestion that Denis Lawson direct The Firm: Denis’ Downstairs production of an Andrew Payne play had been outstanding, and Roy’s play seemed right up his street. And so it proved: the production in the autumn of 2017 was such a huge hit with the public (and great fun to produce!) that I immediately promised Roy and Denis that we would bring it back for a second outing. The meat of the play is about the evolution of gang culture from an oldfashioned East End model to the now-ubiquitous Los Angeles model with its attendant ills: contemporary drug-running clearly requires a differently structured sort of gang. But somehow, in Roy’s hands, a lament for times past also becomes a satirical meditation on masculinity and on how male hierarchies operate. So a comic study of the evasions often implicit in relationships between men also looks at how badly many men manage the ageing process. Accordingly, whilst the milieu might be alien, the characters have a tragicomic familiarity. And in this final season of my Artistic Directorship, it’s been good to see the pioneering work of Hampstead Downstairs bear palpable fruit with this second run of Roy’s play and the successful Main House transfer of Ella Road’s first play, The Phlebotomist. Whilst it’s obviously great to see Downstairs launch a new career, it’s also richly satisfying to be producing the work of such a successful and inspiring friend.
EDWARD HALL . ARTISTIC DIRECTOR
THE FIRM
CAST IN ALPHABETICAL ORDER FRASER TRENT GUS LESLIE SELWYN
MAKIR AHMED GEORGE EGGAY RAY FEARON JAY SIMPSON CLARENCE SMITH
CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER SOUND DESIGNER FIGHT DIRECTOR PRODUCTION MANAGER COSTUME SUPERVISOR STAGE MANAGER MARKETING IMAGE REHEARSAL PHOTOGRAPHER
ROY WILLIAMS DENIS LAWSON ALEX MARKER NEILL BRINKWORTH JOHN LEONARD BRET YOUNT HEATHER DOOLE VICTORIA HITCHENS ADAM COX HELEN MAYBANKS CHIARA WAKELY
HAMPSTEAD THEATRE WOULD LIKE TO THANK RADA FOR THE LOAN OF BEER PUMPS
THE FIRM HAS BEEN KINDLY SUPPORTED BY THE GODWIN FAMILY
THE DAVINA MOSS INTERVIEW DM Welcome back to Hampstead! It’s great to be bringing this play back after its initial success in 2017. RW Thank you so much, it is good to be back: it is what I was hoping for. We had such a terrific response from the public last time. DM Was that initial Downstairs process useful, and did it result in any changes to the script that are going to influence its second outing? RW Well, I love the Downstairs space. It’s full of surprises and more creative than one might think. When I first learned that Hampstead wanted to do The Firm Downstairs, I made two decisions fairly quickly. One was that the piece would be rewritten slightly so that the action of the play would be set completely in real time; and to keep the characters onstage for as long as possible. I like to think of myself as a playwright who thinks about the stage my play will be on as I am writing and therefore to serve that space, rather than the other way round. I suspected the Hampstead audience would know very little about the world the characters of The Firm would come from, so I felt it was important they should be as close as possible to the performers and the set and engage with them and hopefully learn something. Coming back for a second run allowed me to fine-tune a few lines and character developments here and there. Playwrights do not always get an opportunity to revisit their work, so I consider myself quite fortunate to have this chance to do so.
HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER
ROY WILLIAMS
DM Obviously it’s a slightly different cast, but Denis Lawson and the creative team have been a constant. How has your relationship with him developed through the process? RW Wonderfully! It has been a blast working with Denis. I sense - because he is an actor as well as a director - that he is able to communicate so well with the actors in rehearsals. He understands what they are thinking, and never feels like he is stepping back. It always feels that he is with them every step, if that makes any sense...
and never used violence. They loved and trusted each other. They were a family. Naturally, there is a fine line between what you love and who you hate. I wanted the play to show that as soon as the guys crossed that line, everything started to unravel for them. It is 2019 now and as you said, the world feels very divisive. My guys in the play are as confused as anyone else. They are older, and not necessarily wiser, and struggling to understand where they fit in now as they become middle- aged. The lines are blurred. The enemy is harder to identify now.
DM The Firm deals with ideas of identity and our need to align ourselves with a group. Obviously the country is facing a divisive moment - how do you think this text speaks to our modern situation? RW The guys from the play all grew up in the 80s, which was also a turbulent time. But for them it was also simpler. It was Rich Vs Poor, they knew who the enemy was. As soon as the guys became aware that they were a part of society that the likes of Margaret Thatcher did not care about, they decided to do something about it which was to steal. Not only that but they developed an impressive array of skills and techniques in order to be bloody good thieves! They are all based on real characters I met, there really was a Firm from South London. I was fascinated by them because despite being thieves they had a strong moral code. They only stole from the rich, never from their own,
DM The play is about male friendship, but the characters show their regard for one another through a series of practised behaviours. Do you think this is typical of relationships between men? RW Absolutely, you bet! One of the first things that struck me when I met the guys from the ‘real-life’ Firm was their banter and putdowns, and everyone within the Firm got a taste of it. It was clear these guys had been doing this for years, so even though some of the exchanges on their own could be viewed as quite aggressive and threatening, it was anything but. Read between the lines and what was not being said in fact said so much about their feelings for each other. As I stated earlier, these guys loved and trusted each other unquestionably, even though they would never say it out loud.
DM Generational conflict plays a part too, and the play turns on the transformation in the structures and behaviour of criminal gangs. How did you become aware of that issue and how do you see The Firm in relation to the younger generation – do you think it has a strong political message? RW By imagining what the 17 and 18 year olds, now (particularly men) would be like in thirty year’s time. Then I realised I did not have to imagine as the guys from the play were those boys thirty years ago. Every generation believes they are the first to do this and do that. I do not like to preach, but what I hope is that some teenagers today, especially those that carry knives, will come to understand that this live fast die young mentality is wrong, just wrong! They have a long life ahead of them, and I would implore them to take advantage of it. Live the lows as well as the highs, because there will be plenty of both. The older characters in the piece are horrified by the way young kids are living. No morals, no code, turning on each other so quickly, stabbing someone because you don’t the like the way they are looking at you! The guys in the play are, in a sense, fighting for the next generation’s soul, here in the form of the character of Fraser. But in doing so, they must take account of their own actions. As recent terrible headlines have shown, a lot of young people are living in a scary world but the previous generation must accept they played a huge part in shaping it.
SARA KESTELMAN
THE GANGS OF LONDON Whatever today’s newspapers would have us believe, the scourge of gang violence and its associated knife and gun culture is not a modern phenomenon. All humans are fundamentally gregarious: we need to belong, to be recognised; we need the support of a group to protect and teach us. We are protected by our elders and we learn by copying their behaviour using established patterns of social interaction. The smallest group is the family nucleus, then our immediate social surround, then the broader social group commonly termed ‘Society’. Remove the support of any one of those structures and the others take its place. But if you remove both family structure and broader social structure, the only one left is the immediate social surround: the tribe, the clan, the gang...
lacking elsewhere in their lives – and it also offers the opportunity to earn money for themselves and for their immediate family members. London has always been home to many gangs, their membership drawn from marginalised or recently arrived social groups. The phenomenon has been recorded in literature as far back as 1728 with John Gay’s Beggar’s Opera; in 1837 Charles Dickens’ Oliver Twist described what felt to his contemporaries like the archetypical Victorian gang (his gang-leader Fagin is based on a real-life criminal). Then, between 1864 and 1866, an anonymously authored penny dreadful entitled The Wild Boys of London appeared. Purporting to be a true account, this depicted a gang culture that had striking similarities to that which
LONDON HAS ALWAYS BEEN HOME TO MANY GANGS Across the centuries, gang members show common characteristics. Their background is often marked by social and domestic problems, and, from the orphan boys of Dickens to today’s children from broken families, traditional parental role models are absent. School attendance is typically poor and literacy levels are often low amongst gang members; whilst this might have been unsurprising in Victorian times, it remains much the same today. And, of course, this in itself is an isolating factor. And where gang members traditionally came from slums, they still live today in deprived neighbourhoods, often tough housing estates where life is dangerous, job expectations non-existent, and new members easily recruited. The strict codes of conduct and strong hierarchical structure that characterise many gangs, along with their own macho culture, are highly seductive for marginalised boys craving acceptance. The gang provides a sense of belonging and purpose as well as a support and safety structure that is often
still exists, with gangs clearly defined along territorial lines - as their names indicated – and fiercely defending their ‘turf’ from one another: The Bow-Commoners, The Lambeth Lads, The Dove-Row gang, The Golden Lane Gang, The New Cut Gang or The Drury Lane Gang. In 1888, the Pall Mall Gazette released a research report on gangs and crime in England which studied the downfall and dissolution of a gang called The Skeleton Army that had taken place a few years earlier; it also included details of nine further gangs and mapped out their respective territories for the reader. The gang phenomenon remained prevalent in 20th century London – now known as ‘Mobs; they particularly dominated the East End. Prominent examples included The Yiddishers, The Hoxton Mob, The Watney Streeters, The Aldgate Mob, The Whitechapel Mob, The Bethnal Green Mob and the particularly cold-blooded and highly organised Italian
Mob headed by Charles Sabini which crushed The Elephant and Castle Boys with extreme violence at the so-called ‘Battle of Waterloo’ (Road) in 1927, leaving eight dead. There were also more exotic examples: the hard-bitten Alice Diamond headed a ruthless all-female gang, The Forty Thieves, whose daring shoplifters
alongside their other criminal activities defended from outsiders. This strong local attachment was still reflected in names such as The Wembley Boys or The Peckham Boys. Gang membership remains a physical and emotional commitment – exhibited through gang “colours” and a real sense of local pride at being visibly present on
GANGS ARE NOW MOVING AWAY FROM TRADITIONAL “POSTCODE” RIVALRIES plagued exclusive West End shops before and after World War One. The twentieth century brought new influences to bear on gang culture: the experience of military service in the two World Wars introduced a more rigid discipline alongside an increased contempt for authority. And exposure to American gangster movies glamourized gang membership and encouraged both greater ambition and a cold-blooded contempt for outsiders and opponents – including the forces of the law. These factors can be seen at play in the gangs of the 1950s and 60s – particularly that of the infamous Kray twins (whose gang was called The Firm...). As recently as ten years ago, most London gangs were still organised around postcode territories which members -
the street. Things, however, seem to be changing. A recent study has found that gangs are now moving away from traditional “postcode” rivalries and are developing into purely business-orientated groups focusing on dealing in Class A drugs. As a result of the new commercial imperatives, though the appearance of their being grass-roots local phenomena often remains (and is useful for recruiting new members), there is growing evidence that they are developing into sophisticated pan-London networks. The new model is the corporation: highly organised, using very effective pyramid structures and monitoring their progress against business plans. In the social media world, and with a ready supply of illicit drugs, their current focus is profit, not conflict.
CLARENCE SMITH, RAY FEARON, AND JAY SIMPSON
JAY SIMPSON AND CLARENCE SMITH
DENIS LAWSON
RAY FEARON
‘I CAN’T GET OUT OF BED WITHOUT GROANING OR FEEL SUMMIN INSIDE OF ME IS CREAKING... WE’RE TOO OLD FOR THIS SHIT’ THE FIRM
ANNA LEDWICH MAKIR AHMED ALLISON GEORGEMCKENZIE EGGAY
NATALIE KLAMAR ROY WILLIAMS
CAST AND CREATIVE TEAM ROY WILLIAMS WRITER
Roy Williams’ previous work at Hampstead Theatre includes The Firm (Downstairs); Wildefire and Local Boy (Main Stage). Other theatre work includes Soul: The Untold Story of Marvin Gaye (Royal and Derngate/ Hackney Empire); Antigone (Pilot Theatre/UK tour); an adaptation of The Loneliness of the Long Distance Runner (Pilot Theatre/UK tour); Sucker Punch (Royal Court - nominated for Olivier Award for Best Play); Kingston ‘14 (Theatre Royal, Stratford East); Category B (Tricycle); Days of Significance (RSC); Joe Guy (Tiata Fahodzi); There’s Only One Wayne Matthews (Polka Theatre); Baby Girl (NT Connections); Absolute Beginners (Lyric Hammersmith); Slow Time (National Theatre Education UK tour); Fallout (Royal Court); Sing Yer Heart Out for the Lads (National Theatre); Clubland (Royal Court); The Gift (Birmingham Rep); Lift Off (Royal Court); Starstruck (Tricycle - Winner of the Alfred Fagon Award for Best Play) and The NoBoys Cricket Club (Theatre Royal, Stratford East). His film and television work includes Fast Girls; Let It Snow; Fallout; Offside (Winner of BAFTA Children’s Film & TV Award for Best Schools Drama); Babyfather and Soon Gone: The Windrush Chronicles. His radio work includes adaptations of To Sir with Love; The Midwich Cuckoos and the original series The Interrogation.
DENIS LAWSON DIRECTOR
Denis Lawson’s directing work includes The Firm and The Meeting (both Hampstead Downstairs); The Anniversary (Garrick) and Little Malcolm and His Struggle Against the Eunuchs (Hampstead Theatre/ Pinter). His theatre acting work includes Art (UK tour); The Acid Test (Royal Court); La Cage aux Folles (Playhouse - Olivier nominated); Lust (Haymarket/ Walnut Street, Philadelphia); Oleanna (Duke of York); Volpone (Almeida); Ashes (Bush); Lend Me a Tenor; Mr Cinders (Fortune - Olivier Award); Pal Joey (Fortune - Olivier nomination); The Lucky Chance (Royal Court) and Bits of Lenny Bruce (King’s Head). His film acting work includes The Machine; Broken; The Wee Man; Perfect Sense; The Chain; Local Hero; Providence; Star Wars Trilogy and The Man in the Iron Mask. His television acting work includes Victoria; The Life of Rock With Brian Pern; Inside No. 9; Parade’s End; New Tricks (lead regular); Marchlands; Just William; Criminal Justice II; Law and Order UK; Enid; Breaking the Mould; No Holds Bard; The Passion; Robin Hood; Jekyll; Bleak House (Bafta & Emmy nominated); Sensitive Skin; Holby City (lead regular); Lucky Jim; The Fabulous Bagel Boys; Other People’s Children; Bob Martin; The Ambassador; Cold Feet; Hornblower; Born Kicking; Boon and The Justice Game.
MAKIR AHMED FRASER
Makir trained at the Identity School of Acting in London where he is based. Theatre work includes Four Minutes Twelve Seconds (Gothenburg English Studio); A Further Education (Hampstead Downstairs) and Cookies (Theatre Royal Haymarket). Most recent television work includes Eastenders. Other television work includes Unforgotten (Series 2); Doctors and Casualty.
GEORGE EGGAY TRENT
Theatre work includes Ear For Eye (Royal Court); King Lear (Old Vic); The Tiger’s Bones (Polka Theatre/ Nottingham Lakeside Arts Centre); Arabian Nights (New Vic); Dishoodbe On TV (Hackney Empire); Nailed (UK tour); Passage to Freedom and This Accursed Thing (both National Portrait Gallery/House of Commons /Birmingham Museum); Blue Devil Papa Mas (Plymouth Theatre Royal); Frozen; A Streetcar Named Desire and The Power Book (All National Theatre); The Ramayana (Birmingham Rep/National Theatre); Starstruck (Tricycle); The Servant of Two Masters (Nottingham Theatre); The Meeting (Riverside Studios); The Robbers (Gate); Bretvski Street (Oval House); The Wind in the Willows (National Theatre) and Crossfire (Traverse – Paines Plow). Film work includes All You Need Is Kill and The Final Passage. Television work includes Black Earth Rising; Doctors; Sarajevo; Crimewatch; Spooks; Soldier Soldier; Pie in the Sky and Between the Lines.
RAY FEARON GUS
Theatre work includes Blue Door (Bath, Ustinov Studio); Hecuba; Julius Caesar; Pericles; Othello; Romeo and Juliet; The Merchant of Venice; Troilus and Cressida and Don Carlos (all RSC); Macbeth (Shakespeare’s Globe); Guys and Dolls; Love’s Labour’s Lost; Blues For Mister Charlie and A Raisin in the Sun (all Manchester Royal Exchange); The Lower Ninth (Donmar); Venice Preserved (Almeida); Sing Yer Heart Out for the Lads (National Theatre); The Soldier’s Fortune (Young Vic); Macbeth (Manchester Festival) and A Midsummer Night’s Dream (Sheffield Crucible). Film work includes Origin Unknown; The Foreigner; The Yellow Birds; Beauty and the Beast; The Hooligan Factory; Harry Potter and the Philosopher’s Stone and Hamlet. Television work includes Fleabag; Silent Witness; Origin; Da Vinci’s Demons; Snach; New Blood; Silk; Shakespeare and Hathaway; Above Suspicion; Revelations; Keen Eddie; Outside the Rules; As If; Coronation Street and Waking the Dead.
JAY SIMPSON LESLIE
Theatre work includes Arden of Faversham and The Witch of Edmonton (both RSC); Scenes From an Execution; Mother Clap’s Molly House and Battle Royal (all National Theatre); The Pride (Sheffield Crucible); Dealer’s Choice (Menier Chocolate Factory/ Trafalgar Studios); Diamond Hard (Almeida); The Quaire Fellow (Oxford Stage Co/Tricycle) The Good Samaritan and No Experience Required (both Hampstead Theatre); Richard III (Pleasance); Srebrenica (Tricycle/National Theatre) and Afters (Old Red Lion/BAC). Film work includes The 101 Year Old Man; Their Finest; The Guvnors; Wild Bill;
Dreams of a Life; Rush; Acts of Godfrey; Thomas; Shifty; Hush Your Mouth; The Holiday and Pride and Prejudice. Television work includes MotherFatherSon; Brexit; King Gary; Chernobyl; Frontier; Henry IX; Peep Show; Silent Witness; Cradle to the Grave; Not Going Out; Silk; The Guilty; Run; Utopia; Him & Her; Mrs Biggs; The Suspicions of Mr Whicher; Hattie; Ashes to Ashes; Recovery; Bad Crowd; Soundproof; Rome; Foyle’s War (3 series) and The Firm.
CLARENCE SMITH SELWYN
Theatre work includes Hamlet; King Lear; Antony and Cleopatra; American Trade; As You Like It; The Winter’s Tale; Pericles; King Lear and Don Juan (all RSC); The Invisible Man (ArcolaLAB); Chasing the Moment (Southwark); King Lear (Headlong); Pure Gold (Soho); Shrieks of Laughter; Design For Living and Les Blancs (all Manchester Royal Exchange); The Storm (Almeida); The Honest Whore and The Merchant of Venice (both Shakespeare’s Globe); Love at a Loss (Wild Iris Theatre Company); Romeo and Juliet; Fuente Ovejuna; Yerman and Blood Brothers (all Bristol Old Vic); The Jamaican Airman Forsees and Our Country’s Good (both Royal Court) and Smith (Salzburg National Theatre). Film work includes Misbehaviour; Intrigo: Death of an Author; Nobody Wants the Night; The Last Invasion, Ufo; Roswell; Star Wars: Episode I The Phantom Menace and The Dinner. Television work includes Catastrophe; The Selection (US Pilot); Casualty; Undercover; X Company; Holby City; Hollyoaks; The Last Detective; Waking the Dead; Eastenders and Undercover Cops.
ALEX MARKER DESIGNER
Work at Hampstead Theatre includes The Firm and The Meeting. Recent design work includes The Odd Couple (Vienna’s English Theatre); Harpy (Underbelly, Edinburgh); Can’t Buy You Love and London Calling (both Salisbury Playhouse); Sherlock Holmes and the Crimson Cobbles and Around the World in 80 Days (both The Theatre, Chipping Norton/UK tour); Bodies; A Day By the Sea and The Fifth Column (all Southwark Playhouse); Don Carlos; Love Seals Us From Loneliness and New England (all LAMDA). Alex is resident designer at the Finborough where he has designed over 40 productions including The White Carnation (transfer to Jermyn Street); Dream of the Dog (transfer to Trafalgar Studios) and London Wall (transfer to St James). At the Finborough, he directed the first production in over 60 years of J. B. Priestley’s play Summer Days Dream. James is also director of The Questors Youth Theatre in West London.
NEILL BRINKWORTH LIGHTING DESIGNER
Neill trained in Visual Performance and Theatre at Dartington College of Arts. He was nominated for the Off West End Award for Best Lighting Design in 2013 and 2015. He has worked on a wide variety of theatre, dance and opera productions across Europe. Recent work includes Blank (National Theatre); The Dark (Fuel Theatre); Billy the Kid (NYMT - Leicester Curve); Everybody’s Talking About Jamie (Apollo - Associate LD); Hansel & Gretel (ROH - Associate LD): Broadway Showtunes (Bournemouth Pavillions); The Meeting (Hampstead
Theatre); In the Night Garden Live (Minor Entertainment/BBC); Lohengrin (National Opera of Greece/Polish National Opera); Tamburlaine (Yellow Earth); Children of Killers (National Theatre); Dido and Aeneas (English Touring Opera); Symbionts (Wayne MCcGregor - Estonia National Ballet); Sweat Factory (YMT – Sadler’s Wells); Dessa Rose and As Is (both Trafalgar Studios); Vincent River (Old Vic productions); Step 9 of 1 and Tape (both Trafalgar Studios).
JOHN LEONARD SOUND DESIGNER
Work at Hampstead Theatre includes Eden; The Humans; Prism; The Firm; Ken; Lawrence After Arabia; Stevie; Mr Foote’s Other Leg (also West End) and Farewell to the Theatre. Other recent theatre work includes My Name Is Lucy Barton (Bridge Theatre); Long Day’s Journey Into Night (Bristol/West End/New York/Los Angeles); The Stepmother (Minerva, Chichester Festival Theatre); All Our Children (Jermyn Street); Consent; Waste; Detroit; Grief; Untold Stories: Cocktail Sticks; 2000 Years; England People Very Nice; Much Ado About Nothing; London Assurance and Rocket to the Moon (all National Theatre); The Dark Earth and the Light Sky; The Master Builder and Little Eyolf (all Almeida); Ghosts (Almeida/West End/ New York); Into the Woods (Manchester Royal Exchange); The BFG (Birmingham Rep); Macbeth (Shakespeare’s Globe); Consent; The Libertine; Dead Funny; Hand to God; The Duck House; Just Jim Dale; Firebird and McQueen (all West End). CLARENCE SMITH AND RAY FEARON
PATRONS Standing Ovation Celia & Edward Atkin CBE Selina & David Marks Encore Eric Abraham H Acton Anonymous Tania & Keith Black Sir Trevor & Lady Chinn 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 Melanie J Johnson Martin & Elizabeth Morgan Helen Payne & Matthew Greenburgh Lady Rayne Sue & Tony Rosner Roland & Sarah Turnill Claire Tremeer & Bob Reichert Preview 1001 Nights Productions Ltd Bob Ainscow Anonymous Kay & Jim Ashton Liz & Mark Astaire Lucy Astor William & Kerri Benjamin Pauline & Brian Binstock Niall Booker Katie Bradford Dorothy & John Brook Gillian & Tom Budd Jules & Cheryl Burns Barry & Deborah Buzan Paul & Rachel Campbell Paul & Fiona Cartwright Richard & Robin Chapman Francesca Cherubini Stoughton & __James 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 Andrew Harrington & Susan Schoenfeld Harrington Claudia & Christopher Harris
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Neil Thakrar Anthony & Jacqueline Todd The Andreas and Claudia Utermann Charitable Trust Laurence Vallaeys Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Richard & Susan Wolff David & Vivienne Woolf J. Wrightson Joanne & Nick Young Michael & Michaela Zelouf Corporate Supporters Aesop Bennetts Associates Farrow & Ball – Hampstead Showroom Linklaters Nyman Libson Paul TRUSTS AND FOUNDATIONS The AKO Foundation Anglo-American Charitable Foundation The London Community Foundation & Cockayne – Grants for the Arts The Dorset Foundation The Rose Foundation The Rothenberg Family * The Sobell Foundation * * 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 Simon & Claire Godwin The Golsoncott Foundation Tracy Hofman Elizabeth Meyer Andrew & Marina Newington James Roose-Evans (Frontier Theatre Prods.) 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
DOWNSTAIRS
CREATIVE BENEFACTORS Anonymous Celia & Edward Atkin CBE Veronica & Lars Bane Martin Byman & Peggy Samson Sir Trevor & Lady Chinn Lin & Ken Craig Barbara & Mick Davis Simon & Claire Godwin Simon & Midge Palley Fredrik & Helene Stenmo Katja & Nicolai Tangen Mary Ellen & Tom Wanty Mattias Westman
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THE FIRM