Mona Hammond OBE: Evening of Celebration programme

Simon Annand represented by ArenaPAL Peer Gynt (1990) at the National Theatre

Credits: ©Simon Annand/ArenaPAL

Michael Buffong

Thank you for joining us for an evening of celebration in honour of

Mona Hammond OBE.

This book is a collection of photographs, messages and timelines of Mona’s impact on theatre, film and television. We created this book as a keepsake for Mona Hammond’s family, friends and colleagues.

It is central to note that Talawa would not exist without Mona and her fellow co-founders Yvonne Brewster, Carmen Munroe, and

Inigo Espejel; she was instrumental in pushing forward the Black Theatre movement in the UK.

Mona leaves behind not only an incredible body of work, but also a wealth of people and artists who have been touched by her very presence. It is truly a privilege to facilitate this celebration for Mona Hammond, a trailblazer and one of our finest actors ever.

Mona Hammond’s incredible legacy will continue; she embodies Talawa - ‘mighty and strong’.

It is easy to forget the advantage we have of aiming high when standing on the shoulders of others. It is easy to forget the price paid by those who have forged the path ahead of us.

During her creative life, Mona Hammond offered many of us her shoulders, and cleared many paths, and she did this with such patience and kindness it would be to our great disadvantage to ever forget.

Mona Hammond, one of our elders. One of the few Black British creatives to whom the term ‘one of the first…’ genuinely applies, and RADA is proud to recognise her as one of our ‘firsts’.

JOAN OLIVER –RADA GRADUATE AND RADA’S FIRST DIRECTOR OF EQUITY

©Victoria and Albert Museum, London, King Lear (1994) at the Cochrane Theatre

Anni Domingo

Mona

was a beloved colleague, mentor, advisor, teacher, friend, a wonderful godmother, a loving mother, and grandmother. She was a pioneer, who lit the way for many of us. An amazing actress who could be comic, passionate, fierce, powerful.

When Mona was in the cast you knew that it was going to be something special. Many have rightfully spoken about Mona’s amazing performances on numerous TV shows, but she was also a phenomenal stage actress. I first met Mona in 1972 after watching her awe-inspiring Lady Macbeth in Peter Coe’s Black Macbeth at the Roundhouse theatre. It is a performance I will never forget, for she opened my eyes to what an actress could do with Shakespeare. She spoke with fiery imagination. Her stone-faced exhaustion after the sleep-walk scene was mesmerising. And so, you can imagine my joy when twenty

years later I found myself working with Mona in Macbeth with a predominately black cast, touring the USA.

There were many issues during that tour as we travelled from venue to venues usually hundreds of miles apart, in a small van but Mona made us laugh with her stories. She could be so funny; she had a great sense humour with an infectious laugh. But that did not mean that you could take liberties.

During that tour of Macbeth Mona taught me many things but one that has stayed with me and always will is ‘know your worth and allow no one to disrespect you’.

During the tour we were sometimes hosted by members of the community. I remember us arriving at a university town and the cast being assigned to members of various faculties.

Mona and I were to stay at a beautiful house, just outside the campus, with a lecturer from the English department. Imagine our surprise when we arrived after the show, and we were shown to our shared room with bunk beds, at the top of the house. We looked at each other and Mona said, “Anni what do they think we are, children? I’m a big woman. I’m not sleeping in any bunk bed.”

“I’ll sleep on the top bunk Mona; we’ll sort it out in the morning.”

Later when we went downstairs, she was further angered when we found out that there were at least two other bedrooms, kept for their children, who were away at college.

Back upstairs Mona put the few things she had taken out, back into her case, saying, “In this big house with all those

rooms they think we’re only fit for bunk beds in the attic. Well, I am not staying here, tonight or any night.”

So, in the middle of the night, we silently crept downstairs, left a note thanking them for their hospitality but we did not think that we could trouble them any further. We ordered a taxi, and went off to a hotel, sending the bill to the organisers.

“Don’t ever give anyone the space to disrespect you. We are not riff raff that they must hide away in the attic. Know your worth, you hear me.”

Yes, no one could mess with her. Mona indeed knew her worth. A proud Jamaican, she had dignity, poise, full of grace, a beautiful soul. She was indeed Talawa. Mavis Chin, Mona Hammond, OBE, we love you, we thank you.

AnniDomingo

Dearest Mona, I owe you for helping to launch both mine and my daughter’s respective TV careers in writing/acting. Before I even met you, I was in awe of your reputation and professionalism; wary of that stern no-nonsense Jamaican matriarchy in your acting; but as you became a friend and revealed the private side of Mona, I fell in love with the warmth of your vulnerability.

I will always remember you in the 2000’s, dancing joyously at my family’s New Year’s Eve parties and how each time you gifted us with your overnight stays. You certainly did ‘walk good’ in life. I’m sure Heaven is quaking in your royal presence.

CARMEN HARRIS (LISSELLE KAYLA)

Evening of

‘Mona would always say to me, ‘No matter how old I is, I am always learning.’ Javone even though I am older than you. I am still learning from you.’

Josette Bushell-Mingo

Ihave

come to add to the ocean of gratitude and thanks, love for our – my dear colleague and role modelMona Hammond. Together today, we share some of the most profound and delightful memories – of an actress, activist, mother, friend, who left us in awe of the potential of the actress and the pioneer – whether Mona herself thought so or not.

I had the good fortune to work with the cheeky, wise and resolute actress in 1983 as a new actress myself, in the production of Romeo and Juliet at the Birmingham repertory theatre in 1983 – with Damien Lewis as Romeo and me as Juliet. Directed by Gwenda Hughes...and THE Mona Hammond was my nurse. Imagine...co-founder of Talawa...Eastenders, National theatre, Juliet BRAVO, PLAYBOY OF THE WEST

INDIES, Desmonds, her career was HUGE. We were all a little afraid of her and she did not suffer fools gladly.

I remember getting the role of Juliet and once the delight of being cast past, I was hounded by self-doubt that this black working-class actress could play that role. THE role. All my images were of a white girl with blond hair or the benchmark production, and I became afraid. I was afraid the audience would not accept this black working-class girl in this role.

I remember sitting with Mona and some weeks into rehearsal sharing with her my unease. The reasons why. Mona looked at me – so serious and said YOU are Juliet. That’s it. The audience will believe if you believe in you. She told me ‘’you got the job because you were

the best actress”. She said do the work an actress must do. Study, practice and follow Shakespeare. He will lead you. She said don’t take any notice of what anyone says.

She often winked at me at rehearsals after scenes in the rehearsal room. Her nurse was funny, and loving as was Mona. We had the best days and every night my favourite scenes were always with her on stage and off.

I also remember the first kissing scene. Back then there was no intimacy training – guidelines that now exist to support actors in intimate scenes on stage – kissing being one of them. Intimacy gives integrity and control to the team and especially the actors.

Anyway, the scene with Romeo comes and they kiss for the first time. And Damien could kiss. After the initial awkwardness we got to it. When we showed the work to the cast, the run through I remember Mona laughed and whispered ‘’...LORD girl – now you are Juliet!!’. We giggled so hard.

Mona became a nurse to us all. Chastising us when we did not step up, offering council, reminding us who we were, not just as actors but as black actors. Our lineage and seeing who we were with faith and dedication. And seeing truth - as the nurse does.

Mona is with us and in us. She is the reason we are here. Thank you Mona for everything you are and gave. Your Juliet made it and we all will walk in your steps.

JosetteBushell-Mingo

Mona Hammond had her first major role playing Lady Macbeth at the Roundhouse in the 1970’sthe first British all-Black version of Shakespeare’s play. She was a trailblazer for Black artists and I’m so proud that we’re supporting Talawa to celebrate Mona’s incredible life.

MARCUS DAVEY, CEO AND ARTISTIC DIRECTOR, ROUNDHOUSE

©Robert Aberman – Photographer, Black Jacobins (1986) at Riverside Studio

LINDSEY COULSON

‘I have wonderful memories of Mona it was an honour to work with her on Eastenders but also to be her friend. I learnt so much about life and acting from her, things that I already pass on to the younger generation whenever I can. She had such energy and loved to dance whenever she got the chance and boy could she move!

©Carol Baugh, Blood Wedding Half Moon Theatre

Mona was a true inspiration. As a fellow Jamaican, I am so proud of all that she achieved in her lifetime. She was a trailblazer, a force of energy paving the way in an industry that came with so many challenges as young black woman. You will be missed Mona, More Love, LR

Dearest Mona, I owe you for helping to launch both mine and my daughter’s respective TV careers in writing/acting. Before I even met you, I was in awe of your reputation and professionalism; wary of that stern no-nonsense Jamaican matriarchy in your acting; but as you became a friend and revealed the private side of Mona, I fell in love with the warmth of your vulnerability.

I will always remember you in the 2000’s, dancing joyously at my family’s New Year’s Eve parties and how each time you gifted us with your overnight stays. You certainly did ‘walk good’ in life. I’m sure Heaven is quaking in your royal presence.

CARMEN HARRIS (LISSELLE KAYLA)

©John Haynes represented by Bridgeman’sFuente Ovejuna (1992) at National Theatre

UNITED AGENTS

‘Mona was so warm and kind and taught me so much when I joined Talawa way back when. I found out exactly what ‘talawa’ meant being in her presence!

HAZEL HOLDER

In recognition and celebration of the life and work of Mona Hammond and her vital contribution to the NT, Black Theatre, and the entire UK theatre industry. NATIONAL THEATRE

Film and Television highlights

2016 Bucky (Short) Rita

2013 Run (TV Mini Series) Pam

2012 Whitechapel (TV Series) Voodoo Lady

2011 Little Crackers (TV Series) Neighbour

2011 Death in Paradise (TV Series) Angelique Morel

2001-2011 Holby City (TV Series) Ida Cameron / Maud McMillan / Grace Paterson

2011 Monroe (TV Series) Mrs. Graves

2011 Coriolanus Jamaican Woman

1986-2010 EastEnders (TV Series) Blossom / Blossom Jackson / Midwife

2009 Ladies Who Lunch (Short) Betty

2001-2009 Doctors (TV Series) Mavis Bateman

/ Anastasia Evans / Anne Keenan

2009 May Contain Nuts (TV Movie) Constance Osafo

2009 Burlesque Fairytales Death’s Wife

2008 10,000 BC Old Mother

2008 Fairy Tales (TV Mini Series) Alice

1986-2007 Casualty (TV Series) Carol Gilroy / Millie Benson

2007 New Tricks (TV Series) Betty

2007 Gina’s Laughing Gear (TV Series) Enid

2006 The Slammer (TV Series) Melvin’s Gran

2006 Doctor Who (TV Series) Rita-Anne

2005 Kinky Boots Pat

2005 Imagine Me & You Mrs Edwards

2005 Manderlay Old Wilma

2003-2005 The Crouches (TV Series) Grandma Sylvie Crouch

2004 The Life and Death of Peter Sellers Ruth Attaway / Louise the Maid

2003 A Touch of Frost (TV Series) Mrs Chalmers

2002 Babyfather (TV Series) Millie Pottinger

2002 White Teeth (TV Mini Series) Hortense

2002 Pure Woman Customer

2001 Randall & Hopkirk (Deceased) (TV Series) Margaret Hooper

1993-2001 The Bill (TV Series) Mrs Short / Mrs. Hall

2000 In Defence (TV Series) Glenda Jones

2000 Storm Damage (TV Movie) Agnes

1999 Pig Heart Boy (TV Series)

1999 Sunburn (TV Series) Mrs. Hill

1998 Brothers and Sisters (TV Series) Melanie Leonard

1998 Trial & Retribution (TV Series) Bibi Harrow

1998 Maisie Raine (TV Series) Etta Du Bois

1996 Chef! (TV Series) Auntie Clarice

1996 Porkpie (TV Series) Susu

1989-1994 Desmond’s (TV Series) Aunty Susu

1994 Funky Black Shorts (TV Series short) Stallholder

1993 Screenplay (TV Series) Nana

1992-1993 Us Girls (TV Series) Grandma Pinnock

1991 Pirate Prince (TV Movie) Mamalewa

1989-1991 Making Out (TV Series) Elfrieda

1990 4 Play (TV Series) Bella

1988 Coronation Street (TV Series) Mrs. Armitage

1988 Hard Cases (TV Series) Mrs. Palmer

1985 Past Caring (TV Movie) Doris

1985 Black Silk (TV Series) Marjorie Scott

1985 Juliet Bravo (TV Series) Iris Daniel

1985 Theatre Night (TV Series) Mama BeninPlayboy of the West Indies (1985)

1985 Just Like Mohicans (TV Movie) Shirley

1983 Fords on Water Winston’s Mother

1974-1983 Crown Court (TV Series) Mrs. Freeman / Josephine Barlow

1982 Jangles (TV Series) Mrs. Vincent

1981 Wolcott (TV Mini Series) Mrs. Wolcott

1972-1978 Play for Today (TV Series) Zazie / Dot

1976 The Sweeney (TV Series) Ann Robson

1976 Barney’s Last Battle (TV Movie) Hattie

1975 Second City Firsts (TV Series) Mrs. Jordan - Club Havana

1974 Who Killed Lamb? (TV Movie) Nurse

1970 Special Branch (TV Series) Veronica Williams

1970 Callan (TV Series) Nurse

1969 The Troubleshooters (TV Series) Secretary

1968 Softly Softly (TV Series) Nora

1968 Thirty-Minute Theatre (TV Series) Nurse Barnes

1967 Herostratus Sandy (as Mona Chin)

1964 ITV Play of the Week (TV Series) Carole A Question of Happiness #1: A Question About Hell (1964) ... Carole (as Mona Chin)

Main image (above): The Lamplighter - BBC Archive

From top left, clockwise (below): EastEnders - BBC Archive, - BBC Archive, Baby Father - BBC Archive, The Crouches - BBC Archive, Club Havana - BBC Archive

TRIBUTE

Stephen Bourne

Thebrilliant Mona Hammond. Where do I start? In 1989 I saw her wonderful performance as Lady Bracknell, directed by Yvonne Brewster, in the Black-cast version of Oscar Wilde’s The Importance of Being Earnest. Shortly afterwards, I met the actor Paul Barber in the reception of BBC Broadcasting House. We talked about Mona’s Lady Bracknell and Paul told me that she is ‘our Judi Dench’. I understood what he meant. Mona had the love and respect of Black people in Britain,

especially Black British actors, directors and writers. For them, she could do no wrong. Mona was a towering presence in Black theatre and an inspiration to everyone who worked with her. However, for this tribute, I want to focus on some of her lesser-known acting achievements, mainly in BBC television and radio.

On 4 February 2019, as part of the ForgottenBlackTVDramaseason I had curated for BFI Southbank, we screened

©Richard Hubert Smith - Blood Wedding (1991) at the National Theatre

Trix Worrell’s Channel 4 television drama Just Like Mohicans. Trix had won Channel 4’s Debut ’84 prize for best script with this compelling story. It focussed on a black youth thrown into a conflict of loyalties when he teams up with two white friends and breaks into the home of a feisty black elderly woman. First screened on Channel 4 on 21 March 1985, as far as we could trace, this was its first public showing in almost 35 years. The screening gave everyone in attendance a rare opportunity to see the great Mona Hammond in full flow as Shirley, the woman who confronts the black youth, Barrington, played by Gary Beadle. Once the two white youths run away, the play becomes a two-hander, superbly written by Trix and beautifully acted by the two leads. It was a play that gave Mona an opportunity to take centre-stage as an actress in a television drama, and she is superb.

Mona’s stage work is important and soap fans are aware of her appearances as Blossom Jackson in BBC TV’s EastEnders. However, there was more to

Mona’s career. Much more. I discovered this when I traced her work on BBC television and radio by accessing the BBC’s online resource The BBC Genome Project (genome.ch.bbc.co.uk). This is a brilliant database, and it doesn’t cost a penny to use.

By typing “Mona Hammond” in the search box, 300 programme titles are listed from 1968. Admittedly 168 of those appearances were in EastEnders, but further investigation reveals a BBC career which was much more diverse and fascinating than their flagship soap.

When Mona graduated from the Royal Academy of Dramatic Art, she used her real name for early professional work. So, by entering “Mona Chin” we discover that she made one of her first radio appearances in Brother Man, a play about dissension and bitterness within a strange religious sect in Jamaica. It was written by the Jamaican Sylvia Wynter and broadcast on the BBC’s Home Service on 22 June 1964. For her radio debut, Mona found herself in a great company of African and Caribbean actors then working in Britain: Earl Cameron, Lloyd Reckord, Bloke Modisane, Barbara Assoon, Jumoke Debayo, Leonie Forbes, Charles Hyatt, Pearl Prescod and Horace James. In 1969, as Mona Hammond, she costarred with Horace James and Rudolph Walker in Eldorado West One, also for BBC radio. Sam Selvon had adapted this seven-part series from his famous novel The Lonely Londoners. Recordings of two episodes have survived in the BBC’s archive.

BBC radio plays by Black writers in which Mona was featured continued into the 1970s with Selvon’s HomeSweet

India (1970), The Magic Stick (1971) and The Harvest in Wilderness (1972), Michael Abbensetts’s Sweet Talk (1974) and Home Again (1975), and Mustapha Matura’s Play Mas (1975). There were also occasional appearances in television dramas by Black dramatists including Barry Reckord’s In the Beautiful Caribbean (1972), which was not recorded, and Club Havana (1975), which was recorded and included in my 2019 ForgottenBlackTVDrama season at BFI Southbank. It was recently revived on television again (BBC Four) on 20 July 2022.

The list goes on, but there isn’t time here to highlight everything, except two. In 1996 Mona memorably played the Nurse in Romeo and Juliet for Shakespeare Shorts. Four years later she played Agnes Miller, a ‘mother earth’ figure, in Lennie James’s award-winning and critically acclaimed Storm Damage. The story came from James’s childhood memories. It is a hard-hitting drama, starring Adrian Lester as a young school teacher who finds himself on the receiving end of a threat by an armed youth. He seeks to make sense of the youth’s damaged life

and in doing so he turns to Agnes who opens her house to, in the main, Black working-class youths and children. All of them have been victims in one way or another: the offspring of poverty, drugaddicted parents, inadequate housing and an ineffective education system. StormDamageis a brilliant, emotionallycharged drama, and attempts to show the effects of these very large and damaging forces on young, impressionable people. Storm Damage is the best drama written about the displacement and alienation of Britain’s black workingclass youths since Horace Ove’s 1975 film Pressure. Mona’s portrayal of the matriarchal carer who just tries to ‘hold onto them, until they can hold onto themselves’ was breath-taking. Little wonder that Storm Damage received the Royal Television Society award for Best Television Drama, but it should be see again, not buried in the archives.

Stephen Bourne’s Deep Are the Roots – Trailblazers Who Changed Black British Theatre is available from The History Press.

DOREENE BLACKSTOCK

Likkle and talawa. Thank you, Mona, for all the advice, your energy, determination, inspiration and smiles!

©Victoria and Albert Museum, London, King Lear (1994) at the Cochrane Theatre

A great bright light. If Mona was making an appearance in a production, you knew with huge confidence that tings were going to get interesting. Cheeky, sexy, standout performances, she was able to flip a moment with so much pathos. She broke down so many doors. Her warmth, her strength. May she rest, rest in power.

SHARON

Mona Hammond was an incredible talent both on stage and screen and as a pioneer for Black British artists. The Young Vic is honoured to hold this special night in memory and celebration of a cherished individual whose work and commitment to others leaves a lasting legacy. She will be sorely missed.

KWAME KWEI-ARMAH AND THE YOUNG VIC THEATRE

‘Mona and I shared so many glorious times together. We shared a love for coffees in cosy cafes, lunches by the river, vintage clothes rummaging, running market stalls together, and so many play readings. And endless running of lines for all her TV and film work. Mona impressed me with her desire to be so word perfect that it would leave her free to really dig deep into the character portrayal. My favourite memory is of her running around my flat enacting a moment in preparation for a Lars Von Trier film which involved a gun. We tried so many ways of interpreting those lines that we exhausted ourselves. Such was her dedication. I shall treasure all the stories she told me. And the laughter. Mona loved stories and loved to laugh. She enriched the lives of so many people. Her presence will be sorely missed.’

LINNIE REEDMAN

©Richard Hubert SmithBlood Wedding (1991) at the National Theatre

Talawa Theatre Company

was founded in 1986 by Yvonne Brewster, Carmen Munroe, Mona Hammond and Inigo Espejel, changing at a stroke the theatre landscape of the UK. The company was created in response to the lack of creative opportunities for Black actors and the marginalisation of Black people from cultural processes.

Talawa

Talawa was among the first professional Black theatre companies and rapidly grew to become the leader in its field, a position it has retained. Our purpose is to champion Black Excellence in theatre; to nurture talent in emerging and established artists of African or Caribbean heritage and to tell inspirational and passionate stories, reflecting Black experiences through art.

Today, Talawa is the outstanding Black theatre company and registered charity in the UK, with more than 50 award-winning and awardnominated touring productions from African classics to Oscar Wilde behind it. We have produced more

than 80 productions, presenting the traditional canon of British theatre alongside international work and new plays.

We change the narrative by telling authentic stories that reflect Black British experiences and develop new and diverse audiences to normalise Black storytelling in UK theatre. We provide access and opportunities to the industry, supporting career progression for practitioners of African or Caribbean heritage and we influence policy and practice through partnership working, leadership development, advocacy and training.

Our purpose is as vital today as it was in 1986 and these achievements demonstrate the Company’s continually growing status, influence and contribution to contemporary British theatre and the cultural life of the UK. Through Talawa part of Mona Hammond’s legacy will live on.

Our name, Talawa, comes from a Jamaican patois term and means gutsy and strong.

Yvonne Brewster

was one of the founder members of Talawa theatre company in 1986. She was involved right from the start and was determined for it to succeed. She acted in many of the first productions of the company. This was her way of hitching her colours to the mast. There was her groundbreaking Lady Bracknell, but her slave woman in our second play, An Echo in the Bone (1986), was something that stays with you. The BBC “found” her in King Lear and whisked her away to EastEnders but that’s life.

Mona

Mona was good at giving gifts. She spent hours in junk shops, upmarket emporiums, everywhere to find the perfect “little something” to fit the occasion. She found small, out of the way Chinese restaurants to hide away from prying eyes and devote herself to the matter of eating, which she did with great relish yet still staying as thin as a rake.

Mona was a friend, a colleague and a most honest critic. Walk good girl.

Y. Brewster, "‘Remarkable, revelatory, inspiring’: Yvonne Brewster pays tribute to actor Mona Hammond", The Guardian, 5 July 2022.

Michael Buffong Artistic Director and CEO Carolyn ML Forsyth Executive Director and CEO

A’Ishah Waheed Community Engagement Producer

Basheba Baptiste Community Engagement Assistant

David Gilbert New Work Project Co-ordinator

Louisa Johnstone Finance and Operations Officer

Melise Bicep Freelance Producer and Bid Writer

Samantha Nurse Producer

Sheila Poku-Dabanka Finance and Operations Manager

Sian Carter Marketing and Communications Manager

me lickle but me Talawa

Mona Hammond was one of the greatest British actors of her generation. She forged a career that was not defined by her race while simultaneously helping to redefine what it means to be a Black actor in Britain. Throughout her career she broke new barriers and smashed through galls ceilings, but most importantly she built ladders and structures to help other actors of colour to walk through the doors she broke through, and the scale the heights of the glass ceiling she smashed. I am honoured that RADA played a part in her journey to becoming a great actor and I know she is an inspiration to the new actors that we are training.

MARCUS RYDER, CHAIR OF RADA

©Douglas Jeffery, Victoria and Albert Museum, London, Two Can Play (1984) at Tricycle Theatre

Mona was a wonderful actress and a joy to represent - she was an extraordinary talent, a trailblazer in her field and we are indebted to her for her considerable contribution to, and achievements in the Arts.

DALLAS SMITH, UNITED AGENTS

©Richard MildenhallThe Crucible (1990) at the National Theatre

Everything about Mona was vital. It’s what she brought to performances and to the spaces she’d be in, conversations she held and to life. Mona was also vital to the development of Black British Theatre’s emerging and identity. We were blessed to have her energy to set the tone and carve the path.

MARTINA LAIRD

Thank Yous

Talawa Theatre Company, Suzette Llewellyn and Sam Llewellyn would like to thank the following people and organisations for their support and contributions to the evening of celebration in honour of Mona Hammond OBE.

Young Vic Theatre

Levi Roots National Theatre RADA

Roundhouse  Royal Shakespeare Company United Agents

We would also like to thank the following people for their support in collating the information for the Programme:

BBC Archive Department, Ben Thomas, Black Cultural Archives, Burt Caesar, Carol Baugh photographer, Channel 4 Archive Department, Channel 4 Archive Department, Culture Wise Productions, Ebony Influential channel, Fin Costello photographer, George Padmore Institute Archive Department, Half Moon Theatre’s Communications Department, John Haynes photographer, Michael Sanders, Richard Hubert Smith photographer, Richard Mildenhall photographer, Robert Aberman photographer, Sheila Burnett photographer, Simon Annand photographer, The National Theatre’s Communications Department, Theatre Royal Stratford East’s Communications Department, Theatre Trust, V&A Theatre and Performance Archive.

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