Boys From The Blackstuff Show Programme 2024

By James Graham Directed by Kate Wasserberg

Souvenir Programme

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Welcome To

Hi and welcome to Liverpool’s Royal Court.

We reopened this beautiful building for theatre back in 2006 and last year we celebrated our 100th production. Many of those shows have been highlights in their own way. From respected writers like Willy Russell and Jonathan Harvey through to talent that has its first stage productions here at the Court such as Gerry Linford and Joe McNally. And along the way we’ve bricked up tunnels, had Scousers in the Antarctic and discovered Liverpool had the first ever female rock band in the shape of the Liverbirds.

Of all the 100+ shows we’ve now produced, Boys From The Blackstuff is the one that I wanted. We’ve produced two of Alan’s plays previously, On The Ledge and Down The Dock Road, but Boys meant a lot to me and it wasn’t even a theatre piece.

Like most of us I knew it from the BBC Play For Today and the subsequent short series. What an impact that had on me signing on with my Dad and uncle in the same line. There were so many queuing back then coming out of the dole office was like leaving the match. The streets of Walton were rammed. The 80s hit Liverpool harder than most cities, that was a Liverpool story.

The Royal Court is a theatre that has Liverpool voices and Liverpool stories at its heart and it didn’t take a degree in rocket science to realise that this might be a play for us. With that in mind I approached Alan and asked him if we could do a stage version. He said ‘No.’ He didn’t want to go back to it and ‘it was best left in the past.’

yes to me. But Kate Wasserberg approached Alan with the idea of James Graham adapting the TV scripts to create a stage piece.

That’s better than rocket science, that’s genius. Alan and James met, they got on and here we are. Annoying great writers can pay off!

Nothing I say can really articulate how grateful the Royal Court is that we have this play. They have both been a real pleasure to work with. Alan and James, thank you.

Great pieces of theatre start with the script. But then it takes a quality cast and creative team, led in this case by the ace director Kate Wasserberg, to take that script and do it justice on the stage. In my opinion this team do that rather well!

Boys From The Blackstuff was of its time back in 1982. Although this performance is true to the original and is set in the 80s, its characters and it’s themes speak to today. In a society that has people dependent on foodbanks and zero hours contracts being the norm for many people you could say that in 2023, 40 years on, Boys From The Blackstuff is very much a Play For Today.

And not only is this a play for today for Liverpool. Directly after this run at the Royal Court the play will transfer to the Olivier stage at the National Theatre and then move on to the Garrick Theatre in the West End. This is a play for the country.

Ever the optimist, I’m a theatre producer, for as long as I can remember I have contacted Alan on 1 January each year to see if he had changed his mind. His answer was always a polite ‘No.’ to which my response was ‘I’ll leave it for a year.’ Alan never did say

Kevin Fearon Executive Producer Liverpool’s Royal Court

Liverpool’s Royal Court presents Alan Bleasdale’s Boys From The Blackstuff by James Graham Directed by Kate Wasserberg • Associate Director Lauren Dickson • Set and Costume Design Amy Jane Cook Lighting Designer Ian Scott • Composer and Sound Designer Dyfan Jones • Associate Sound Designer Kate Harvey Movement Director Rachael Nanyonjo • Associate Movement Director Jocelyn Prah Fight Director RC Annie • Video Designer Jamie Jenkin

Liverpool’s Royal Court Supporters

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Theatre Engagement

Liverpool’s Royal Court continues on its journey to work with all communities across the city

Maurice Bessman

Music Access All Areas

Boisterous Stage Write

There is no doubt Liverpool is renowned for its wealth of talent but we, along with the rest of our city’s theatre organisations and institutions, recognise we need to do more to ensure we are accessible, engaging and aspirational if we are to be truly representative and inclusive of the communities we serve. It is a long-term continuing process and funding is key as is working together with the theatres across the region.

Over the past three years we have laid down the foundations, initiating our plans for meaningful and real change. This includes the theatre’s programming, engagement, accessibility and relationships with artistes, communities, creatives, individuals, institutions, organisations, Schools/FE. We are working towards ensuring our talent development programmes are applicable, realistic and robust.

Listening and engaging in the first instance to a wide cross section of creatives and communities – recognising and taking ownership of our failure to be fully inclusive and to take a proactive approach to ensure there is inclusivity and diversity across the sector A brief look at a few of our talent development projects so far:

Community Music AAA (Access All Areas) is a partnership project together with three grassroots organisations: Positive Impact, Capoeira For All, and Catalyst performing arts supported by funding from Youth Music. Children and young people aged 6 – 25 can access free musical instruments, musical theatre, hip hop, dance, singing, drama and performance

Raw Talent Young people from our youth theatre continue to have access to auditions and employment opportunities – during the past 3 years, 6 young people have been cast in Terriers, written by Maurice Bessman touring to schools and venues across the country.

More recently working with Fury films, 120 young people aged 15 – 25 from across the city took part in audition workshops for the film of Terriers at Fire Fit in South Liverpool, MYA’s Space in Bootle and The Vibe in Huyton. 8 young people will be working with the Director to support the script development.

Mentoring This is a pilot programme supported by PH Holt Trust and Curious Minds – eight mentors from the creative industries have been paired with mentees – providing support, guidance and shadowing opportunities in acting, marketing, production, directing, writing, set design, and music skills. This talent development initiative will support eight young black, asian and minority artistes and creatives develop their skills as they progress through the industry.

Programming Our Boisterous Theatre strand of programming brought us a main house production of Bouncers, introducing four new actors to the main house stage – and new audiences to the theatre.

The Alternative Black Cabaret Showcase – now a regular bi-monthly show presenting some of the best black comedians and singers on the circuit and with a platform to showcase emerging and existing local talent.

Stagewrite – our new writing classes/workshops to encourage and support new writers to develop their work to full production.

We continue on our journey with a number of other talent development initiatives in progress as a matter of priority to ensure we remain accessible, adaptable and continually listen and learn. It will take time and investment and with your continuing support for all we do. We will make a difference.

The Big Interview

In 2023 Boys From The Blackstuff was a smash hit success, with more than 36,000 people coming to see the show. With a National Theatre and a West End transfer already secured, the cast are looking forward to taking the show to a whole new audience. Barry Sloane returns as Yosser after a plethora of incredible reviews and Jamie Peacock is new to the cast, having watched the show plenty of times in its original run.

Catherine Jones goes to the rehearsal room to find out how things are shaping up.

When Boys from the Blackstuff burst on to British television screens in autumn 1982 it packed a profound and powerful punch.

And the stage version of Alan Bleasdale’s seminal drama – adapted by award-winning playwright James Graham, created a similar stir when it was premiered at Liverpool’s Royal Court last autumn, where it played to more than 36,000 people and won much critical acclaim.

Among those “blown away” by the production was actor Jamie Peacock, who worked in front of house throughout the six-week run – little imagining six months later he would be in the rehearsal room as one of two new members among a returning Blackstuff cast.

In fact, the LIPA graduate recalls the idea was so surreal that initially he was convinced he had been hired as understudy, excitedly announcing his good fortune to his workmates until he was taken aside and told that no, he had really got the role of Department of Employment ‘sniffer’ Moss.

“It was like receiving the good news all over again,” he laughs. “I had to go round telling everyone ‘I’m actually in it!’”

Among those returning for the new run is Barry Sloane, reprising his towering performance as Yosser Hughes.

It’s a role of huge cultural significance - Sloane himself has described it as ‘Scouse Shakespeare’. But was there any

Jamie Peacock in Masquerade Liverpool’s Royal Court 2019

struggling with loss of work, pride and hope in Thatcherite Britain retains its resonance, not least in an age where unemployment may not be as high, but where many people are still struggling, holding down several jobs to survive.

While Sloane was just a toddler when the original Blackstuff was screened, and Peacock not even a twinkle in the eye, their families were affected just as were thousands of others in Liverpool.

Sloane, born and raised in the ‘dock town’ of Garston, says: “My mum and dad were struggling for work and money, but I never felt that because our family unit, and the people around that community, were full of life and love and happiness.

“It’s only when I look back and see the pictures, I go – ah, OK, it looks different.”

Meanwhile seeing Blackstuff on stage prompted Peacock’s mum to open up to him about her experience for the first time.

“It made her really emotional because it brought a lot of stuff back for her,” he reveals. “She said times were hard and she and my grandad were living hand to mouth. She said: ‘We weren’t the only ones; a lot of people were in similar circumstances’.”

More conversations are likely to be prompted with the production’s return to the Court.

This time it’s also heading for London – with a sold-out run in the capacious Olivier space at the National Theatre followed by a West End transfer.

Barry Sloane in Boys From The Blackstuff Liverpool’s Royal Court

pressure following in the footsteps of Bernard Hill, whose screen performance of a man on the edge remains seared in people’s memories?

“I never feel pressure,” insists the 43-year-old, sporting a lavish homegrown ‘muzzy’. “I always feel excitement.”

Hill himself came to a preview when Blackstuff opened last September, and while the pair didn’t speak – “two Yossers can’t meet, or the play would disintegrate!” Sloane jokes – word got back that his performance had reduced the older actor to tears.

It reflected a wider wave of emotion in the auditorium.

Sloane recalls: “I remember the first night I entered as Yosser for the building site scene, I could feel the audience was SO with him. And it was so powerful to have that audience at your back from the get-go. He’s a hero to so many people.”

Despite it being 40 years since Bleasdale’s characters made their debut, the story of five jobless tarmac layers (and their families)

Sloane is relishing the opportunity to perform for Royal Court audiences again, explaining: “It’s something special, it’s palpable.

The energy – this play, in that room, with those people.”

For Peacock, who made his professional debut in Masquerade in the Royal Court Studio five years ago, playing the Roe Street theatre’s main stage – in front of family, but also colleagues - will be “very emotional”.

As for appearing at the National, he smiles: “It hasn’t hit me, and it won’t until we’re in that space, and on that stage.”

It may be yet to hit the 25-year-old, but perhaps London audiences aren’t aware what’s going to hit them either.

“It should feel like a corner of Liverpool,” insists Sloane with Yosser-like intensity. “It should feel like Liverpool 8 in the West End, and you should feel the tension, you should feel like you’re stepping into the early 80s era.

“It’s our house you’re coming into, unapologetically, we won’t be taking the edge off the accent, we won’t be slowing the thing down. You’ll stay with it, and you’ll get hit by it and feel the power of it. And I’m excited to do that.”

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Rehearsal Photos

Photographs by Liverpool’s Royal Court

Cast & Company

Cast George Caple

Snowy/Kevin/Scotty

Dominic Carter

Molloy/Marley/Landlord/Catholic Priest/Policeman/Gas Man/ Clerk/Paper Boy

Helen Carter

Miss Sutcliffe/Freda/Margaret

Aron Julius

Loggo

Nathan McMullen

Chrissie

Lauren O’Neil

Angie/Jean/Lawton/Student/Lollipop Lady/Clerk

Jamie Peacock

Moss/Clerk/Redundant Worker/Protestant Reverend/Milkman

Barry Sloane

Yosser

Philip Whitchurch

George

Mark Womack

Dixie

Kieran Foster, Liam Powell-Berry, Hayley Sheen, Liam Tobin

Understudies

Workshop Workshop Manager

Carpenters

Scenic Artists

John Kavanagh

Mick Gunnigle

Hannah Dimelow

Scenic Art Manager

Connor McLeod

Abbie Jones

Jen Baron

Mike Gray

Chris McCourt

Shaun Gillespie David Davies

Company Alan Bleasdale

Writer (Original)

James Graham

Writer (Adaptation)

Kate Wasserberg

Director

Lauren Dickson

Associate Director

Amy Jane Cook

Set and Costume Designer

Ian Scott Rachael Nanyonjo

Lighting Designer Movement Director

Jocelyn Prah

Associate Movement Director

Dyfan Jones

Composer and Sound Designer

Kate Harvey

Associate Sound Designer

Jamie Jenkin

Video Designer

Sean Gannon

Production Manager

Rachel Bown-Williams of RC Annie Ltd

Fight Director

Ziggy (Paul) Corfield

Flying Director

Marie Jones

Wardrobe Supervisor

Flying By Foys

Flying Effects

Andrew Lock

Technical Stage Manager

Helen Lainsbury

Company Stage Manager

Laura Thomas

Deputy Stage Manager

Alicia Southerton

Assistant Stage Manager

Sam Hill

Technical Assistant Stage Manager

Lloyd Smith

Crew

Anthony Leigh

Crew

Liam McGrath

Sound Operator

Helena Harvey

Sound No.2

Martyn Case

LX/AV Operator

Kate Hinson

Dresser

Fay Rusted

Dresser

Thank You To Barry at Colour Create

Paul and Alf at One Offs

Steve Eccleson at Theatre Clwyd

Ken Moses - tarmac raking technique and etiquette

Mike Hornby at Granada

Cast Biographies

George Caple

Helen Carter

Snowy/Kevin/Scotty

Miss Sutcliffe/Freda/Margaret

Although technically a wool George has lived in Liverpool for nearly 25

Helen is thrilled to be back at The Royal Court and honoured to be involved

years. He’s very proud to call this city his home, and made up to be on

in this retelling of the iconic Boys From The Blackstuff.

the Royal Court stage for the second time. Since graduating from RADA in 2016, George has worked extensively on stage and in film. He finished filming Doctor Who earlier this year and a career highlight was becoming a member of the Liverpool Everyman Rep company in 2017 & 2018.

George has performed at the Royal Court previously in HomeBaked, and is honoured to be a part of Boys From The Blackstuff.

Helen trained at LAMDA. Her theatre credits include: Bingo Star, The Scousetrap, Boys From The Blackstuff and Haunted Scouse (Royal Court Theatre Liverpool) Offered Up (Liverpool Royal Court Studio), Love Liverpool, A Christmas Carol (Liverpool Playhouse Theatre) Merry Christmas, Carol (Royal Court Liverpool Studio) My Fairfield Lady (Royal Court Liverpool); The Last Testament of Lillian Billoca (Hull Truck Theatre) The Star (The Liverpool Playhouse Theatre); Father O’Flaherty Save Our Souls (Royal Court Liverpool); Mam I’m

Dominic Carter

‘Ere (Royal Court Liverpool) ; The Sunshine Boys (Epstein Theatre;/Life in

Molloy/Marley/Landlord/Catholic/ Priest/ Policeman

The Last 5 Years (Life in Theatre Productions); The Gatekeeper (The

Hello I’m Dominic, I will happily be donning a few different hats in Boys from the Blackstuff. I have been an actor for over twenty years and worked on a wide variety of projects, but not many hit home like this

Theatre Productions); Word:Play Tour (Box of Tricks Theatre Company); Royal Exchange Theatre); Dead Heavy Fantastic (Liverpool Everyman) ; No Wise Men (Liverpool Playhouse); Hatch (Bolton Octogon/24:7 Theatre Festival); Dad’s Army Marches On (Calibre Productions Tour); Once Upon a Time at the Adelphi (Liverpool Playhouse); The Flint

Street Nativity (Liverpool Playhouse) Top Girls (Royal Court Theatre one. Like a lot of you here, I grew up knowing these characters like family London 50th Anniversary performance); The Honest Whore (William and I’m delighted to be a part of recreating their stories.

Poel Prize; The Globe Theatre; London).

TV and Film: Ozzy in Going Off Big Time (Feature film); Janos Slynt in Game of Thrones (HBO); DC Hooch in Coronation Street (ITV); The Responder (BBC); Around the World in 80 Days (BBC); Crossfire (BBC); Friday Night Dinner (Channel 4); The Children Act (Feature film); Endeavour (ITV); The Irregulars (Netflix); Casualty (BBC); Together (Feature film); Moving On (BBC); Bed Bugs (Channel 4); Murdered for Being Different (BBC); How Many Miles to Bagra?

(BBC); Charlie Noades RIP (Feature film); Guilt (HBO); The Case (BBC); Drop Dead Gorgeous (BBC); Eyes Down (BBC); Holby City (BBC); My Family (BBC); Derailed (BBC); Black Books (Channel 4);

TV Credits include: G’wed (ITV) Ruby Speaking (BBC Television),The Last Testament of Lillian Billoca (BBC Television); Wallander (Left Bank Pictures); Doctors (BBC Television);Beaten (Coastal Productions);Judge John Deed (BBC Television); A470 (S4C) Film: Through the Dunes (Empire Street Productions), 96 Ways to Say I Love You (Daisy Aitkens and Georgia Moffet) I hope everyone enjoys the show.

The Message (Channel 4); Swing (Feature film); Doctors (BBC); Dream Team (Sky); Dalziel and Pascoe (ITV); (Sky); Dockers (Channel 4); Merseybeat (BBC); No Bananas (BBC); Pie in the Sky (BBC);.

Soldier Soldier (ITV); The Bill (ITV).

Theatre: Macbeth (Tricycle Theatre London);. The Chance. Shopping and Fucking (Prime Cut Productions Belfast);. The Dumb Waiter (Lee

Aron Julius Loggo

Strasbourg institute Los Angeles);. From Bombay to Santa Fe (Arcola theatre);. It’s Now or Never (Chester Gateway);. The Channel 4

I’m Aron Julius, I graduated from RADA in 2019 and I was born and raised

Sitcom Festival (Riverside Studios London);. Blue Remembered Hills

in Toxteth, Liverpool.

Edinburgh Festival); Chalk and Talk (Edinburgh festival); If There Was a Time (FMBM Unity Theatre); Training: RADA

Its great to be back! My professional career started right here, 14 years ago with Willy Russell’s Our Day Out, Dir.Bob Eaton and couldn’t be happier to be at the Royal Court once again.

My theatre credits include, Northern Broadsides production of Quality

Stage Credits include: Witness for the Prosecution (London County

Street & As You Like It, Dir. Laurie Sansom, A Christmas Carol &

Hall), The Twilight Zone (Ambassadors Theatre West End), This

Love Liverpool, Dir. Gemma Bodinetz.A Raisin In The Sun, Dir. Dawn

House (Chichester and Garrick Theatre West End), Reasons To Be

Walton, Choir Boy, Dir. Dominic Cooke.

Happy (Hampstead Theatre), Richard III (Trafalgar Studios), King

TV credits include Death In Paradise (BBC), Moving On BBC, DCI Banks (ITV), Puppy Love (BBC).

Film credits include Death On The Nile directed by Kenneth Branagh.

Lear (Chichester and BAM, New York), This House (National Theatre), Travelling Light (National Theatre), Women Beware Women (National Theatre) Television Credits include: Queens of Mystery, Grace, Casualty,

Credits whilst training include Othello, A Midsummer Night’s Dream,

London Kills, Father Brown, Midsomer Murders, Bugsplat!, No

The Last Days Of Judas Iscariot, Romeo And Juliet, Linda and Into

Offence, Silent Witness, Phoneshop, Doctors, Law & Order UK,

The Woods.

The Bill, Lewis, Being Human Film Credits include: Property of The State, Deadly Descent, The Domino Effect

Nathan McMullen

Trained at The Guildhall School of Music & Drama

Chrissie

Jamie Peacock

Nathan trained at The Manchester School of Theatre

Moss/Clerk 2/Redundant Worker 2/Protestant Reverend

Theatre credits Include: Wagatha Christie: Rooney v Vardy (Ambassadors Theatre); My Tiller - Vicar’s Daughter, Squirrel Killer (RSC); Our Lady Of Blundellsands (Everyman): Hushabye Mountain (Hope Mill Theatre): Love Liverpool (Playhouse): Blood Knot (Orange

Jamie is beyond thrilled to be back at his home, here at Liverpool’s

Tree): The Big I Am (Everyman): A Clockwork Orange (Everyman):,

Royal Court. This will be his first ever main stage show at this venue and

Paint Your Wagon (Everyman): Down the Dock Road (Liverpool’s

what better show to start with than this sensational production. His first

Royal Court); The Hudsucker Proxy (Playhouse): Darkness at the Sun

professional debut began in the very same building back in 2019 for

Court (Slunglow); Jack And The Beanstalk (West Yorkshire Playhouse)

Masquerade in the Royal Court Studio, where he also was working in

and The Worm Collector (West Yorkshire Playhouse).

the Box office and Front of House alongside working as an actor. Talk

TV credits include: Doctor Who Christmas Special and Casualty (BBC); The Driver (BBC / Red Productions); Misfits Series 4 & 5 (E4 / Clerkenwell Films) and Shameless (Channel 4 Productions).

about coming full circle. Born and raised in Liverpool, Jamie knows how special it is to be able to perform in a theatre that is built for the great people of this city, especially to tell the story of the Boys From The Blackstuff. A story that is deeply rooted into the culture of Liverpool.

Film credits include: Rose (Mini Productions); Headless (37

Jamie can’t wait to tell that story to his very own. He would also like to

Adventures); The Circle Of Trust (Rankin Films); Kelly + Victor (Hot

dedicate this show to all of the incredible staff at the Royal Court, Jamie’s

Property Films) and Coronation Street: A Knights Tale (TV).

family and friends who have taken him in and looked after him for the past 5 years since he started working there. Thank you, for it all.

Lauren O’Neil Angie/Jean//Lawton/ /Student/ Lollipop Lady

Stage Credits include: Stocking Fillers (Liverpool’s Royal Court) The Incident Room (Old Fruit Jar Productions) Grass (Perception Theatre) X (Everyman Theatre) Twelfth Night (Old Fruit Jar Productions) Masquerade (Liverpool’s Royal Court) Woyzeck (Old Fruit Jar Productions)

I am absolutely made up to get another chance to be part of this

Film Credits: Sad Man Smiling (The PurpleDoor)

incredible play here at home. I love this city! When I was asked to do

Radio Credits: A Parlour Full of Noise (Liverpool Community Radio FM

a workshop for the play back in 2019, my mum was beyond excited.

She grew up in Liverpool 8 and Boys from the Blackstuff was hugely important to her, as to so many. I wish more than anything that she was still here to be able to see the show, I know she would have loved every second. For you, Andrea Rogers.

106.7) Jamie trained at the Liverpool Institute for Performing Arts (2022)

Cast Biographies

What an honour it is to play Yosser. In This City, with these people, for our people. In a play that screams as loudly today as it did in 1982.

Philip Whitchurch

Scouse Shakespeare.

George

Giz A Job!

Theatre credits include:

Bx

In London’s West End: Ghost Stories, Billy Elliot (also on Broadway), The Changing Room and An Inspector Calls Theatre includes: Till the Stars Come Down and Summerfolk and

Mark Womack

Women of Troy for The National. A Life of Galileo, Boris Godunov

Dixie

and The Orphan of Zhao for the RSC; King Lear at the Royal Exchange for Talawa; The Heresy of Love, As You Like It, The Broken Heart and The Changeling at Shakespeare’s Globe; Dark Road at the Royal

Mark’s TV and film credits include:

Lyceum, Edinburgh; Our Country’s Good for The Original Theatre

Route Irish directed by Ken Loach, Babylon , Anne, Tin Star, and

Company; A Christmas Carol at West Yorkshire Playhouse; Tis Pity

most recently The Responder for BBC1. Other favourites of his are

She’s a Whore at the Young Vic; View from the Bridge at The Queens;

Hillsborough written by Jimmy McGovern, Under the Skin, The

A Month in the Country at the Watford; and Knickers and Othello at

Runaway, Murphy’s Law and Liverpool 1.

the Lyric, Hammersmith TV Credits Include:

He also starts shooting series two of The Responder shortly.

Theatre credits include:

The Responder, Grantchester (season seven), SilentWitness,

Romeo and Juliet and A View from the Bridge (Royal Exchange);

Taggart, Waking the Dead, Rocketman, My Hero, TheVicar of

The Lodger (Royal Exchange and Hampstead Theatre); Hamlet and

Dibley, The Last Detective, The Gift, Sharpe, The Bill , Scully, GBH

Julius Caesar ( Birmingham Rep); the first UK tour of Clybourne

Film Credits Include Peterloo, The Doorman, Einstein and Eddington, Beowulf & Grendel and The English Patient

Park by Bruce Norris and Fast Food by Abi Morgan (Royal Exchange) directed by Marriane Eliot. This will be his third appearance at the Royal Court.

I’m very excited about this show, and to get back on the Royal Court stage. The script is brilliant as are the cast and the whole team behind it. I feel very privileged to be able to share this story with a Liverpool audience.

Barry Sloane Yosser Born and raised in Garston, Liverpool. Barry has worked extensively in Film, TV and Theatre in both the UK and The United States.

On stage he originated the role of Troy Whitworth in Jez Butterworth’s critically acclaimed play Jerusalem in the West End and on Broadway, starred in Blood Brothers and will be playing John Lennon in the upcoming Two Of Us, a play which he has co-written.

On screen he can currently be seen in Passenger and Litvinenko as well as the upcoming The Sandman for Netflix.

In the U.S. he has starred in many shows including Six, Longmire, The Whispers and Revenge.

He is also known for performing the role of Captain John Price in the Call Of Duty: Modern Warfare franchise.

Snowdrop’ in The Scouse Sleeping Beauty, ‘Sally’ in Mam I’m ‘Ere, ‘Snow White’ in The Scouse Snow White, ‘Cinderella’ in The Scouse

Kieran Foster Understudy Kieran is a former member of the Royal Court Youth Theatre where he performed his first ever theatre performance in Twisted Christmas

Cinderella, ‘Mary’ in The Scouse Nativity, ‘Faryl’ in Golden Oldies, ‘Blue Girl’ in Shout the Mod Musical (Liverpool’s Royal Court) and ‘Eve’ in Adam and Eve & Steve (King’s Head Theatre) TV Credits include; ‘Gemma’ in Channel 4’s Hollyoaks and ‘Contestant’ in ITV’s Grease Is The Word.

Tales in the studio. He also was cast in his first professional role in the Royal Court studio in one of the new writing plays Hey Bunny, Get Loose, since then he has been a part of the front of house team at the Royal Court so the theatre has played a big part in his acting career and personal life and he is thrilled to be a part of this production and tell this fantastic story in front of his family and friends!

Theatre credits include: Twisted Christmas Tales (Royal Court Liverpool), Hey Bunny, Get Loose (Royal Court Liverpool), The Circle (Nwoko arts, Site Specific), The Wind in the Willows (Storyhouselive)

Liam Tobin Understudy Previous work at the Royal Court: The Scouse Dick Whittington, Scouse Jack & The Beanstalk, The Scousetrap, Mam I’m ‘Ere, The Scouse Sleeping Beauty, Homebaked, Selection Box, Pete Price is

Film/TV: Matopulas (Sinseeya films), Ryan Can’t Read (Slick Films),

Dead, Lost in Colomendy, The Menlove Avenue Murder Mystery

Time (BBC).

and Slappers & Slapheads.

Other Theatre includes: Lights On, Lights Off (Shakeshpeare North); Miracle On 34th Street (Liverpool Playhouse), Sweeney Todd (Liverpool Everyman), Benny (Gilded Balloon Edinburgh Fringe), Paint Your Wagon, A Clockwork Orange, The Big I Am, Fiddler on the

Liam Powell-Berry Understudy Liam is an actor currently working in both TV and Theatre.

Roof, Conquest of the South Pole, The Sum, Romeo & Juliet (Liverpool Everyman Rep Company), The Hobbit (Dukes Lancaster), Hamlet (Clwyd Theatr Cymru), Clybourne Park, When the Rain Stops Falling (Unity Liverpool/Said & Done), A View From The Bridge (Liverpool Playhouse), One Flew Over the Cuckoo’s Nest, Brief

Theatre credits include Crave (Shakespeare North Playhouse), The

Encounter, Dead Funny (Torch Theatre), A Midsummer Night’s

Comeback Special (Epstein Theatre), A Number (The Everyman

Dream & She Stoops To Conquer (Torch Theatre/Mappa Mundi),

Theatre) and Fear and Misery of the Third Reich (Liverpool Bombed

Cider With Rosie & The Merchant of Venice (Theatre Royal Bury St.

out Church).

Edmonds), Gods Official (West Yorkshire Playhouse) and, a European

Television credits include Liverpool Narcos (Sky) and Moving On

tour of Pygmalion (American Drama Group).

Screen work includes Then & Now, Hollyoaks, Emmerdale,

(BBC One).

Being from Liverpool, Liam is thrilled to be part of this company and to tell such an important story of Liverpool’s history.

Hayley Sheen Understudy Hi, I’m Hayley and I’m delighted to be part of this wonderful adaptation of the iconic Boys From The Blackstuff. I most recently played Alice in The Scouse Dick Whittington here at The Royal Court. My other Theatre Credits include: ‘Shannon’ in A Greasy Spoon, ‘Fairy

Coronation Street, The Royal, Heartbeat, The Cops, Seeing Red, The Second Coming and the feature film Al’s Lads.

Company Biographies

Alan Bleasdale Writer

days of Rupert Murdoch - opened to huge praise at the Almeida before transferring to the West End in September 2017, where it played in the theatre next door to James’ other new play – political romantic comedy Labour of Love - creating theatre history. Labour of Love went on

Alan Bleasdale was born in Liverpool and, apart from three years

to win an Olivier Award, and Ink transferred to Manhattan Theatre Club

teaching in the Gilbert and Ellice Islands, has always lived on Merseyside.

on Broadway and was nominated for six Tony Awards. His play Privacy

Since leaving teaching in 1975, he has written two novels, a feature film,

about data surveillance culture premiered at the Donmar Warehouse in

numerous short stories, eleven stage plays, six television plays and eight

2014 before moving to the Public Theater in New York, starring Daniel

television series.

Radcliffe. His first musical, Finding Neverland, ran for 18 months on

His best known work includes: Boys From the Blackstuff, Scully,

Broadway in 2015 before touring the U.S.

G.B.H., Are You Lonesome Tonight?, Having A Ball, Jake’s

James received an OBE in 2020 for ‘services to drama and young

Progress, The Muscle Market, The Monocled Mutineer, No

people’.

Surrender and The Sinking of the Laconia.

James Graham Writer

Kate Wasserberg Director Kate is the Artistic Director of Theatr Clwyd.

James Graham is a playwright and screenwriter.

She was formerly the Artistic Director of Stockroom where she directed

His screen work includes Sherwood, which aired on BBC One in

Alice in Wonderland, The Glee Club, Close Quarters, and Rita, Sue

2022 to rave reviews, and will return for a second series. James also

and Bob, Too.

wrote Quiz (ITV and AMC) in 2020, directed by Stephen Frears, which was one of the most watched UK television dramas of the year; and Brexit: An Uncivil War , which garnered huge public attention and critical acclaim in 2019. It was broadcast on Channel 4 and HBO, starring Benedict Cumberbatch, and was nominated for an Emmy for Outstanding Television Movie, and a BAFTA for Single Drama. His feature film X+Y was selected for the Toronto International Film Festival in 2014.

James’s breakout play This House premiered at the National Theatre’s Cottesloe Theatre in September 2012 and transferred to the Olivier in 2013 where it enjoyed a sell-out run. It garnered critical acclaim and a huge amount of interest and admiration from current and former MPs for his rendition of life in the House of Commons. The play went on to have an Olivier-nominated sell-out revival in the West End in 2017 and it

She was the founding Artistic Director of The Other Room in Cardiff, where she directed Blasted, The Dying of Today, Play/Silence, Sand and Seanmhair. The Other Room is the winner of the Stage Newspaper Awards Fringe Theatre of the Year 2016.

Freelance work includes,The Rise and Fall of Little Voice, Insignificance and All My Sons (Theatr Clwyd), Barnbow Canaries (West Yorkshire Playhouse), Ten Weeks (Paines Plough/RWCMD), The Knowledge (Dirty Protest at the Royal Court) and Last Christmas (Edinburgh Festival).

As Associate Director of Theatr Clwyd, Kate directed Aristocrats, Salt, Root and Roe, Glengarry Glen Ross, Roots, Gaslight, Dancing at Lughnasa, Pieces (also Brits Off Broadway, New York), The Glass

was chosen by popular vote as the best play of the 2010’s for the major

Menagerie and A History of Falling Things (also Sherman Cymru).

theatre publisher Methuen.

As Associate Director of the Finborough Theatre, London, she directed

His latest play Dear England told the story of the manager of the

Mirror Teeth, The Man (national tour), Sons of York, Little Madam,

England Football team, Gareth Southgate and his transformation of

The Representative, I Wish to Die Singing and The New Morality.

the team. After a sold out run at the National Theatre the play, starring

Kate is the joint editor (with playwright Tim Price) of Contemporary

Joseph Fiennes and directed by Rupert Goold will transfer to the West

Welsh Plays, published by Methuen. In the Wales Theatre Awards she

End.

has won Best Director for Blasted and Best Production for The Dying

Best of Enemies, about the political debates between Gore Vidal and

of Today.

William F. Buckley Jr., opened at the Young Vic in 2021, and is currently playing on the West End. It has been nominated for an Olivier for Best New Play, and won a Critics’ Circle Theatre Award.

His new musical, Tammy Faye , with music from Elton John and lyrics from Jake Shears, opened at the Almeida in 2022. Ink - about the early

Lauren Dickson

Ian Scott

Associate Director

Lighting Designer

After 7 years in London, Lauren is thrilled to be back home and working

Trained at Mountview.

on this incredible retelling of Boys From The Blackstuff. This is Lauren’s

Productions for the Royal Court include:

first time working on a show at the Royal Court and she is made up her

Scouse Pacific, Maggie May, The Miracle of Great Homer Street,

Nan and Grandad will get to see this one!

The Royal, The Scouse Nativity, Lonesome West, Down The Dock

Training: LJMU Drama, Mountview Academy of Theatre Arts, Young

Road and in co-production with Lodestar and the Liverpool Shakespeare

Everyman and Playhouse Directors

Festival; Macbeth and A Midsummer Night’s Dream.

Credits: Resident Director 2021-2023 Cabaret (West End) Assistant Director One Jewish Boy (Trafalgar Studios) Bugsy Malone (New Wimbledon Theatre)

Other theatre credits include: Much Ado About Nothing (Sheffield Crucible and Ramps On The Moon); ¡Carpa!, The Hooley and Xanadu (Giffords Circus); By The Waters of Liverpool (Pulse Records); Up ‘n’ Under and Frozen (fingersmiths); Reasons To Be Cheerful,

Director: Belly Up and Lucy Light (Vault Festival) Revolt. She Said.

Peeling and Blasted (Graeae); Duet for One (Birmingham Rep; Lee

Revolt Again. (Everyman Theatre) Hummingbird (Camden Fringe) No

Dean & Daniel Schumann); A Skull in Connemara and All My Sons

One Will Tell Me How To Start a Revolution (Mountview) Lover,

(Nottingham Playhouse); Marco Polo and Messiah (Bergen National

Whore or Handmaiden? (Seven Dials Playhouse).

Opera); Fish Eye (Theatre Alibi); The Solid Life of Sugar Water

Amy Jane Cook Designer

(Graeae; Theatre Royal, Plymouth; National Theatre); Owen Wingrave and Where The Wild Things Are (Aldeburgh Festival); Fawlty Towers Live (Roslyn Packer Theatre, Sydney); Flat Stanley (Polka; West Yorkshire Playhouse); The Drummer Boy of Waterloo and The Happy

Amy has been working in performance design for over a decade. In this time, she has created set and costume for shows both in the UK and internationally.

Prince (Jubilee Opera); The 39 Steps (Criterion Theatre); Our Friends Up North (Northern Stage); The Joke, The Summer House and The Victorian in the Wall (Will Adamsdale; Fuel); My Name is… (Tamasha); Oh! What a Lovely War and Frogs (National Theatre); Curlew River

Theatre credits include:

(White Light Festival, New York; UCLA Berkeley; St. Giles, Barbican);

Ride (Curve, Southwark Playhouse, Charing Cross); The Swell (Orange

Animal Farm (West Yorkshire Playhouse) and Observe The Sons Of

Tree); Protest (Northern Stage, Fuel); The Suspicions Of Mr

Ulster Marching Towards The Somme (Abbey Theatre, Dublin).

Whicher (Watermill); The Importance Of Being Earnest (Watermill); Wolf Cub (Hampstead); All My Sons (Queen’s); Baskerville

Rachael Nanyonjo

(Mercury); The Season (Royal & Derngate, New Wolsley); Jellyfish

Movement Director

(National, The Bush); The Rise And Fall Of Little Voice (Clywd); You Stupid Darkness (Plymouth Drum); Absurd Person Singular (Watford Palace); The Funeral Director (Southwark Playhouse); Lava

Rachael is a Choreographer, Movement Director and Director working

(Nottingham Playhouse); Anna Karenina (Guildhall); Barbarians

across theatre, film and TV.

(Guildhall); Our Blue Heaven (New Wolsey); Never Lost At Home

Education: BA Honours in Dance Studies Roehampton University &

(New Wolsey); Not Talking (Arcola); And Insignificance (Langham

Masters in choreography from Middlesex University.

Place).

Choreography and Movement direction for theatre:

Amy has been nominated for a total of four Off West End Awards for

Uncle Vanya (Theater Dortmund); Misty (Trafalgar Studios West End

Best Set Design and was the winner of Best Design at the Wales Theatre

& The Shed New York); The P Word (Olivier Award Winner of Best

Awards 2017 for Constellation Street (The Other Room).

Production in an Affiliate Theatre, Bush Theatre); Dumbledore is so Gay (Southwark Playhouse Borough); The Tempest for The Globe Theatre; The White Card for Northern Stage & UK tour; Purple Snowflakes and Titty Wanks at the Abbey Theatre and Royal Court London; Trouble in Mind at the National Theatre; Changing Destiny (Young Vic Main Space), In a Word and American Dream at the Clare Young Vic; The Death of a Black Man and Either at Hampstead Theatre; Pigeon English for Bristol School of Acting; Cinderella at

Nottingham Playhouse; Spine on UK tour; Great Expectations for the National Youth Theatre at Southwark Playhouse; Two Trains Running for ETT at Royal and Derngate; Does My Bomb Look Big in This for

production and developmental work.

As well as being a freelance choreographer/ movement director Jocelyn

Soho Theatre and Tara Arts; Babylon Beyond Borders at the Bush

is also the founder and creative director of dance/ theatre events

Theatre; Macbeth at the Orange Tree Theatre; The Jumper Factory

company The Jam London.

for The Young Vic and Bristol Old Vic; Sleeping Beauty at Theatre Royal Stratford East; Shebeen at Nottingham Playhouse and Theatre Royal

Dyfan Jones

Stratford East; Bernstein’s MASS at the Royal Festival Hall / Southbank

Composer & Sound Designer

Centre; Twilight at the Gate Theatre; The Divide and Cover My Tracks at the Old Vic. Choreography for TV and film: Pact of Lies (BBC & Sister productions); Love at First Sight (Netflix); CBeebies: Christmas in Storyland and Pirates (Netflix).

As a director: Recognition for Talawa Theatre, Recognition for 45North Ltd and Ellie Keel Productions; Bobsleigh for Old Vic Monologues; An Alternative Musical at the National Theatre; Assata – at the Young Vic, for Young Vic fresh direction; and 2:1 for Kansaze Dance Theatre at Rich Mix.

Dyfan trained at Kingston University and The Guildhall School of Music and Drama. He has over 30 years of experience working as a Composer, Musical Director and Sound Designer.

Theatre includes: The Glee Club, A View from Islington North, All That Fall (Out of Joint), Sydney & the Old Girl (Park Theatre), Comedy of Errors, The Provoked Wife (RSC), GALWAD (Collective Cymru), Close Quarters (Out of Joint/Sheffield Theatres), Shakespeare in Love (Theatre Royal Bath & on tour), Amedee, Treasure Island (Birmingham Rep), Travels with my Aunt (Glasgow Citizens), Barnbow

As an associate director: Newsies (Disney & Runaway Entertainment)

Canaries (West Yorkshire Playhouse), Love & Money (Waking Exploits),

Troubadour Theatre; Moonlight / Night School at the Pinter

Before I Leave (National Theatre of Wales), Crouch, Touch, Pause,

Theatre). As assistant director: The Stepmother Caroline or Change at

Engage (National Theatre of Wales/Out of Joint), The Rise and Fall

Chichester Festival Theatre.

of Little Voice, Insignificance, Cyrano de Bergerac, My People,

Jocelyn Prah Associate Movement Director

Little Shop of Horrors, All My Sons, Mimosa, Not About Heroes, Portrait of the Artist as a Young Dog, Season’s Greetings, Sky Hawk, Rape of the Fair Country, Humbug!, A Feast of Festive Fun, Flora’s War, Thinking Out Loud, Tall Tales, Festen, Great

Jocelyn is delighted to be joining the creative team for Boys from the Blackstuff.

After graduating from London Studio Centre, Jocelyn worked predominantly in dance and musical theatre on many shows including Man of La Mancha (English National Opera, London Coliseum), The Beggar’s Opera (Théâtre des Bouffes du Nord, Paris and International

Expectations, Yesterday, Twilight Tales, Drowned Out, Measure for Measure, A Midsummer Night’s Dream, A Toy Epic, Grapes of Wrath, Tales from Europe, Tales from Small Nations, To Kill a Mockingbird, Song of the Earth, Abigail’s Party, Hosts of Rebecca, The Way It Was, Home Front, Oh What a Lovely War (Theatr Clwyd), Hoof (Theatr Iolo), Robin Hood, Cinderella, Sleeping Beauty (Newport Riverfront), Contractions (Iain Goosey/Chapter), Still Life (Mappa Mundi), Seanmhair, Play, Silence, Blasted, A Good

Tour), Dick Whittington (Birmingham Hippodrome), Ishq The Musical

Clean Heart (The Other Room), The Elves and the Showmaker, The

(Sadlers Wells), before pursuing the more dramatic string to her bow

Ugly Duckling, The Magic Porridge Pot, The Snow Tiger, Corina

on plays including Peter Pan Reimagined (Birmingham Rep Theatre),

Pavlova, A Family Affair, Say it with Flowers (Sherman Cymru), Jack

Magic Goes Wrong (UK Tour), Elegies for Angels, Punks and

and the Beanstalk (Stafford Gatehouse Theatre), The Chalk Circle,

Raging Queens (Fringe).

Merched Caerdydd, Now Sadwrn o Hyd, Nyrsys, Macbeth, Nansi, Blodeuwedd, Pridd, Spring Awakening, House of America, The

When not performing in live theatre Jocelyn can also be found in TV/film,

Caretaker, Esther (Theatr Genedlaethol Cymru), Cider With Rosie,

credits include The Last Leg (Channel 4), Never Mind The Buzzcocks

Cyrano, Skylight (Theatre West Glamorgan), Indian Country (Sgript

(BBC), When I Was Invisible (Progress Film Company), Moulin Rouge

Cymru).

(Channel 4). Film includes: The Crown (Netflix), The Schoolboy (Little

Film, Television and other work includes: GALWAD (Feature Film - Sky

Hurricane Productions), Who Sees the Son, and Remembrance.

Arts), We Stand Together (Children’s Commissioner for Wales), Boj & Buddies (Bait), Vivienne Westwood Autumn/Winter 2019 (London

Jocelyn has also had the joy of choreographing across genres with

Fashion Week), The Hammer Song, The Magic Flute, The Humming

productions including Angry Salmon (Bridewell theatre, London and

Chorus, Madame Butterfly (WNO), Colour Blocks, Caru Canu,

Theatre Royal Plymouth), The Sweet Science of Bruising (Young

Teithiau Twm, Caru Canu a Stori, Llanargollen (Twt/S4C), Soli and

Actors Theatre London), rehearsal choreographer / movement director Peter Pan Goes Wrong (UK tour and West End) and Assistant directing on productions including Magic Goes Wrong (West end)

Mo (CITV/S4C/Al Jazeera), Cwm Teg (Dinamo Productions for S4C), Abadas (Cbeebies), Dragon’s Eye, Children in Need, Close to You, Wales Yesterday, A Christmas in Clay, Belonging, Just Up Your Street, The Indian Doctor, Voices, Save Our World (BBC), Teulu

Snow White pantomime (Kenneth More Theatre). Jocelyn works

(Boomerang), Iechyd Da!, 31/12/99 (Bracan), Cloud Babies (S4C),

extensively with British Youth Music Theatre as choreographer on

Pobol y Cwm (BBC), Jara, Pam Fi Duw?, Bydd yn Wrol (HTV/Carlton).

Kate Harvey Associate Sound Designer

(Liverpool’s Royal Court in association with DaDaFest & Unlimited); The Dream Team and VR Family (Liverpool’s Royal Court Youth Theatre); Macbeth and A Midsummer Night’s Dream (Liverpool Shakespeare Festival); Scouse: A Comedy Of Terrors (Dome Liverpool); Judy & Liza

A list of sound credits include:

(National Tour); YNWA (Alterean Productions, international tour); The Big

Corporate/Outdoor : Labour, Conservative, NUT, TUC and many more

I Am (Liverpool Everyman); Celtic The Musical (Alterean Productions,

conferences. Various exhibitions. Symphony in the Park (Hoghton Tower) Liverpool Theatre Festival (Bill Elms Productions).

TV: Stan James World Match Dartsplay (Sky Sports), Strictly Ballroom (ITV), Danny La Rue (BBC), Spirit of Shankly (Granada DVD).

Cruises : P&O World Cruises, Island Cruises, Celebrity.

Arena : Hot Ice (Stageworks Worldwide Productions); You’ll Never Walk Alone (Alterean Media and Liverpool FC).

Music: The Christians, Chesney Hawkes, Sinita, Slade, Bad Manners, Toyah, Limahl, Cream UK Tour, Petula Clarke, Bobby Crush, East 17, Liberty X, Jane McDonald, Coldplay.

Comedy: Jason Manford, Peter Kay, Roy Walker, Norman Wisdom, Jim Bowen, Brian Conley, Brendan O’Carroll, Paddy McGuiness.

Live Theatre: Aladdin and Sleeping Beauty (King Georges Hall, Blackburn); Mystique (Stageworks); Original TV Comedians (Blackpool Opera House); Paul Zerdin (Paradise Room Blackpool); Flags (Manchester Exchange); Mam I’m ’Ere (Life in Theatre); Eight Miles High, Council Depot Blues, Bouncers, Night Collar, Our Day Out, Shirley Valentine, Reds and Blues, Lennon, Noises Off, Canoeing for Beginners, Lost Soul, Golden Oldies, The Royal, Scouse Nativity, Girls Don’t Play Guitars (Royal Court Liverpool); Twopence To Cross The Mersey and By The Waters of Liverpool (Pulse Records); Shout! (Max Emmerson Productions); Out of Order and It Runs In The Family (Ray Cooney Comedy Company); Bang Bang (A production for John Cleese at Mercury Theatre, Colchester); Omnibus (Unity Theatre); Judy & Liza National Tour (Produced by Royal Court Liverpool); A Midsummer Nights Dream (Filter Theatre Company/Lyric Hammersmith); Grimm Tales (Dukes Theatre Lancaster).

Jamie Jenkin Video Designer Jamie is the in-house graphic and video designer at Liverpool’s Royal Court.

Starting as marketing assistant at the theatre in 2005, he has been part of the Royal Court since it’s rebirth as a theatre in 2006. He now designs artwork for all Royal Court productions alongside working on video content for the Royal Court stage and beyond.

Video Designs for Theatre include: A Thong For Europe, Willy Russell’s Our Day Out - The Musical, A Fistful Of Collars, Lennon, Ladies Day, Hitchhikers Guide to Fazakerley, Ladies Night, Canoeing for Beginners, The Scouse Nativity, Father O’Flaherty Saves Our Souls, A Miracle On Great Homer Street, Home, Going Halves, The Royal, The Scouse Cinderella, My Fairfield Lady, Bingo Star, Two Of Us, Royal Court Selection Box, Macca & Beth, The Scouse Sleeping Beauty, The Menlove Avenue Murder Mystery, The Scousetrap, The Scouse Jack & The Beanstalk and Girls Don’t Play Guitars (Liverpool’s Royal Court); Masquerade, Knee Deep In Promises, Hey Bunny Get Loose, Stocking Fillers and Cosmic (Liverpool’s Royal Court Studio); Cured

Pavilion Theatre Glasgow and SEC Glasgow); Something About George (Something About Productions, Liverpool Philharmonic Hall and national tour); The Salford Docker (Salford Community Theatre, Lighthouse Salford); Our Country’s Good (Hope St Theatre); and Peter Pan (Storyhouse Chester). Jamie was also Sound Designer on Hey Bunny Get Loose, Offered Up, Stocking Fillers and Cosmic (Liverpool’s Royal Court Studio) and Our Country’s Good (Hope St Theatre)

Rachel Bown-Williams

Marie Jones

Fight Director

Wardrobe Supervisor

RC-ANNIE Ltd, established in 2005 by Rachel Bown-Williams and Ruth

Marie studied fashion and then moved on to theatre costume

Cooper-Brown, is the UK’s leading Dramatic Violence and Intimacy

interpretation at Mabel Fletcher College. Marie’s work as a freelance

Company.

costumier has included costumes for Oldham Coliseum, The Royal

Credits include: Great Expectations (Royal Exchange Manchester);

Exchange, West Yorkshire Playhouse, Jimmy McGovern’s film Liam,

The Pillowman (Duke of York Theatre); The Empress, Julius

Beyond Friendship for Mersey Television and the many pantomime

Caesar, Richard III, Henry VI: Rebellion, The Wars of the Roses,

dames who have appeared on the Everyman stage.

King John, Measure for Measure, The Taming of the Shrew,

She has worked extensively at the Liverpool Everyman and Playhouse

Tartuffe, The Duchess of Malfi (Royal Shakespeare Company); A Midsummer Nights Dream, The Tempest, Hakawatis, Midsummer Mechanicals, I, Joan, Henry VIII, Romeo and Juliet, Macbeth, Emilia, Othello, Boudica, Lions and Tigers, Much Ado About Nothing, Twelfth Night (Shakespeare’s Globe); Linck & Mülhahn, ‘Night Mother (Hampstead Theatre); Noises Off (Theatre Royal Bath/West End); Oklahoma (Young Vic/West End); Newsies (Wesley Troubadour); Baghdaddy (Royal Court Theatre); James IV (Raw Material/Edinburgh Festival Theatre); Never Have I Ever; Crazy for You, The Taxidermist’s Daughter, Plenty (Chichester Festival Theatre); As You Like It (CBBC and Shakespeare’s Globe); The Scandal at Mayerling (Scottish Ballet); Theodora (Royal Opera House); The Father and the Assassin, The Welkin, Three Sisters, Anna, When We Have Sufficiently Tortured Each Other, Peter Pan, The Threepenny Opera, The James Plays (co-production with National Theatre of Scotland/Edinburgh International Festival) and Cleansed (National Theatre); Persuasion (Rose Theatre Kingston); To Kill A Mockingbird (West End).

and has recently been employed as full time Wardrobe Supervisor at the Royal Court. Most recently Marie’s work at the Everyman and Playhouse has included: Much Ado About Nothing, The Electric Hills, The Flint Street Nativity, The Tempest, Unprotected, Billy Liar, Who’s Afraid of Virginia Woolfe, Urban Legend, Fly, Breezeblock Park, The Entertainer, Still Life And The Astonished Heart, Ma Rainey’s Black Bottom, The Anniversary, Dr Faustus, The May Queen, Cruel Sea and All My Sons.

Marie’s other credits include: Brick Up The Mersey Tunnels, Lost Soul, Good Golly Miss Molly, Stags and Hens - The Remix, On The Ledge, Misery, Eight Miles High, Council Depot Blues, Night Collar, Dirty Dusting, Shirley Valentine, Our Day Out - The Musical, The Salon, Funny Money, Merry Ding Dong, A Fistul Of Collars, Lucky Numbers, Lennon, Scouse Pacific, You’ll Never Walk Alone, Little Scouse on the Prairie, Reds And Blues - The Musical, Ladies Day, Bouncers, Scouse Of The Antarctic, Pharaoh ‘Cross The Mersey and Down The Dock Road for Royal Court Liverpool, Brouhaha International Street Festival, Working Class Hero on the recent Imagine DVD, Costume Supervisor for many shows at LIPA, The Splash Project at MYPT and Twopence To Cross The Mersey at the Liverpool Empire.

Royal Court Staff Executive Producer Kevin Fearon Chief Executive Gillian Miller Head of Finance & Administration Gary O’Connor Creative Producer Jess Bolger Head of Marketing Iain Christie Executive Chef David Assall Finance Officer Alison Ward Graphic Designer & Brand Manager Jamie Jenkin Assistant Producer Clare Carlucci Marketing Manager Kofi Ohene-Djan Workshop Manager John Kavanagh Social Media Officer Clara Mbirimi Head of Technical & Production Sean Gannon Resident Stage Manager Andrew Lock Scenic Art Manager Jen Baron Chief LX Jamie Haining Box Office & Sales Manager Lauren Macauley Assistant Box Office Manager Laura Lees Head of Theatre Engagement Miriam Mussa HR & Wellness Officer Maria Schumann Participation Project(s) Manager Uma Ramanathan Costume Supervisor Marie Jones Finance Administrator Izzie Litwin Venue Administrator Phil McLoughlin Production Assistant Stephen Petit Youth Theatre Leader Zain Salim Youth Theatre Coordinator Vannessa Park Later Life Coordinator Jay McWinen Assistant Producer - Talent Development Harvey Robinson Daytime Technician Gary Currin Studio Technician Phil Dickinson LX Technician Martyn Case HR & Payroll Administrator Abishek Devadas Box Office Assistants Erica Drummond, Finn Goulden-Jennings, Carl Lees, Scarlet Lees, Amelia Maguire, Anna Miller, Joe Morris, Pat O’Neill, Susan Segar, and Angela Simms Fire Officer Sven Key Stage Door Allan Dodd & John Evans

Kitchen Head Chefs Kyle Wardale, Daniel Awotwi Chefs Thomas Alexander, Daniel Ambrose, Billie Chisam, Jay Quinn, Josh Eglin, Harrison Mclaughlin, Jake Stephenson, Jack While and Nick Watson Kitchen Porters Hezekiah Abramson, Ryan Charnock, Debbie Chisam, Louise Dodd, Luke Dunn, Jackie Kirton, Harry Lawlor and Ellis McNeil Front of House House Manager Kathryn Heffron Assistant Manager Kathy Hutson Supervisors Megan Franey and Calum Norbury Bar Supervisor Joe Woods Courtyard Manager Paul Imrie Assistant Courtyard Manager Aimee Kelly Front of House Staff Hebron Abraha, Beth Baccino, Nicola Barnes, Hazel Bawden, Jacob Bee, Salem Blata, Cameron Brown, Natalie Brown, Colette Burgess, Denise Byrne, Louis CarneySmith, Abbie Caskie, Madeline Cooper, Azize Dia, Paige Dunne, Holly Evans, Kieran Foster, Charlotte Freyne, Bethany Fry, Michael Hall, Michael Hardy, Jennifer Heffron, Lauren Heywood, Aisling Jenkin, Leighton Jenkins, Callum Johnstone, Dylan Jones, Jake Jones, Oliver Kelly, Elizabeth Kendrick, Charlotte Kendrick Jones, Abbie Kenworthy, Raia Kiernan, Cherry Kim, Takunda Kudzunga, Julia Kustosz, Phil Lyne, Amelia Maguire, Sam Massen, Amy McCutcheon, Faye McCutcheon, Phil McLoughlin, Eve Mobey, Alison Myers, Brea O’Donnell, Matthew O’Keefe, Joseph O’Neil, Kayleigh Oulton, Jamie Peacock, Jake Pendleton, Emma Phythian, Simone Reddington, Declan Redmond, Sally Robinson, Katie Sherman, Charis Stead, Millie Tucker, Annie Wardale, Leah WhittyMassey, Amy Wright and Hannah Wright Courtyard Staff Jordan Barkley, Challen Bellamey, Macy Burns, Sinead CullenBarret, Stephen Dixon, Faith Dawson, Olivia Harrison, Bradley Richards, Chloe Thorpe, Millie Quayle, Keira Tann and Jasmin Ward Cleaners Cleaning Supervisor: Debbie Chisam, Billie Chisam and Joanne Kinsella And a big thank you to all of our security staff for their hard work throughout the year.