A Cast Pantomime Directed by Kully Thiarai Written by Joel Horwood and Morgan Lloyd Malcolm With additional material by Fine Time Fontayne #CastCinderella
Merry Christmas from
Since opening our doors on the 6 September this year, our first three months has seen over 18,000 become a part of our Cast Of Thousands and enjoy performances in our new venue - throughout this Christmas period that's set to more than double. Whether it be to see dance, Shakespeare, music gigs, or our monthly comedy nights, to take part in workshops, celebrate the jazz scene in the town or enjoy productions from local companies, even just to sit and enjoy a bite to eat in our beautiful Café-bar, the people of Doncaster have supported us throughout our opening months and it has been phenomenal. Now, at this festive time of year and the most colourful period in theatreland, we present our first ever pantomime made in and celebrating Doncaster to cap an incredible opening season. Cinderella, as we all know, is one of the most popular pantos performed throughout the country. But in this version we’ve given it a Doncaster twist. Produced in house by the team at Cast, and directed by our Director Kully Thiarai, Cinderella continues our trend of producing high quality theatre with a local feel. Written by Joel Horwood and Morgan Lloyd Malcolm, this version of Cinderella was originally performed at The Lyric, Hammersmith London in 2012. With additional material by South Yorkshire’s own Fine Time Fontayne, given up to date and local references… keep an eye out for Mother Cusworth and the Pick-a-Princess Ball at Brodsworth Hall. For those who saw our opening production The Glee Club, you might recognise some of the 2
Cast • Cinderella
...our first ever pantomime made in and celebrating Doncaster to cap an incredible opening season cast from that production in this show - although this time they wear considerably more clothes! We hope you enjoy our first ever pantomime here at Cast and stay around for an ice cream or drink afterwards, or maybe to take part in our fabulous 59 Minutes to Save Christmas. Keep an eye out for our new Spring 2014 brochure and all the goodies we’ll have in there and we look forward to seeing you in the new year. Merry Christmas and a Happy New Year from all the team at Cast.
Kully Thiarai
Director of Cast and Cinderella
There are universal themes of good triumphing over bad, of love and friendship, of magic and wishes coming true
Kully Thiarai shares the secrets of creating Christmas pantomime magic. Why is the story of Cinderella such an enduring favourite? Cinderella is a classic rags to riches story – told in different ways across the world where a young girl who, treated badly by her family, gets to marry her Prince Charming. There are universal themes of good triumphing over bad, of love and friendship, of magic and wishes coming true . How have you given the panto a Doncaster flavour? There are lots of references to Doncaster places and people that audiences will instantly recognise: the prince is Prince Brodsworth and Mother Cusworth is the fairy godmother. Can you tell us about some of Cinderella’s cast and why you chose them? We were looking for strong actor/musicians and have a great company of performers who bring great skill and humour to their characters. They include Brett who plays Buttons and Russell and Tony as the Ugly Sisters who will be familiar to our Doncaster audiences as they were also in our production of The Glee Club that opened Cast in September.
This is your first time directing a panto: what has been the biggest challenge? I’ve had to understand the history and traditions of pantomimes and recognise that the form is quite specific; the roles, the arc of the story and the set pieces like the slosh scene. It’s fascinating. What have the rehearsals been like? Rehearsals have been great. It’s a privilege to work with such talented performers and creative team. We’ve had lots of fun trying to work out ways in which to engage, surprise and entertain our audiences to make them laugh and cry! We hope we succeeded. How have the last three months since Cast opened been for you? It’s been brilliant. Hard work but great that Cast has been welcomed by the public in the way that it has been. People have been coming back and others are discovering their new performance venue for the first time. Next season’s programme is as diverse as this one. We have big plans and there’s lot to look forward to it.
How have you made the story appealing to both young and old? Cinderella is such a family story and naturally appeals to everyone. There are silly jokes and slapstick comedy, wordplay and innuendo and of course lots of chances to sing along, shout, boo and join in the fun whatever your age. Cast • Cinderella
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Getting to Know the Ugly Sisters Cinderella’s Ugly Sisters Rubella and Salmonella tell us why the prince is bound to be dazzled by their beauty at the ball. Which of you two is the prettiest sister? Rubella: Well, that’s obviously me, Rubella. Salmonella: If you look at Rubella, you can see that she’s the oldest. So by virtue of beauty before age, I am the most beautiful. Why are you so mean to Cinderella? R: She’s always interfering. I mean, we wanted to go to this ball, and she wants to go too. But if she goes, she’ll scare everybody off with her ugly face. S: It’s only for pretty people. What beauty routine are you following to look your best for the ball? R: I bought some Polyfilla. S: What I do before I go out is eat a lot, because I need a lot of energy to project my charisma. R: If you lose Salmonella at a party, you’ll find her at the buffet table. S: I like pork pie mixed with fish ‘n’ chips and a Coopland’s bap. Savoury food gives you carbohydrates, so you’ve got more energy to go for longer. R: I’m also buying some nice gowns to wear. S: Her gowns look as though when they poured her into her dress, they forgot to say when. I’m the one with the charisma... and the natural perfume that comes from eating so many savoury products.
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Why do you think the prince will pick you out of all the other girls? R: We look more feminine than all the other women. S: And we know how to dress well. We’ve got that style that you find in Italians, where if you put an English person next to them, they look very dowdy. If you put Cinderella next to us, she almost disappears, whereas we come forward in a glow of beauty. R: And if you put Salmonella next to an Italian, she just eats the pasta and pizza. Has your mum given you any tips on how to charm an eligible bachelor? R: She gave me a tip for the St Leger, but that’s about all. S: The tip she gave me was, best foot forward, chest out, shoulders back and breathe all over them. R: Chin up... all three of them. What are you asking Santa for this Christmas? R: Not a lot. Harrods, maybe. S: I’m asking Santa for beauty to last forever, and for age to never get me. So far, I’ve put age at arm’s length, and I’m hoping that I’ll live forever. R: I’d like Santa to fill my stockings.
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Why did Rudolph cross the road? Because he was tied to the chicken!
What's worse Rudolph with than a runny nose?
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Spring Season Highlights
As we finish our opening season here at Cast we move into our second season by bringing in local, national and international artists. Jacqui Dankworth Friday 24 January, 7.30pm
Pinocchio
Saturday 15 February, 12noon and 5pm
Weightless I Flexer and Sandiland Tuesday 18 February, 7.30pm
Stephen K Amos
Thursday 20 February, 7.30pm
The Lock In featuring live music from the Demon Barbers Friday 21 February, 7.30pm
Bouncers I John Godber Company Thu 27 February – Sat 1 March, 7.30pm, Saturday matinee 4pm
The Sound of Music
Wednesday 5 – Saturday 8 March, 7.15pm Saturday matinee, 2.15pm
Sing Something Simple Wed 12 – Fri 14 March, 7.45pm, Thursday matinee 1.30pm
Three Little Pigs I Northern Ballet Saturday 29 March, 12.15pm and 3pm
An adult evening with Billy Pearce Wednesday 9 April, 7.30pm
Charlie and Lola's Best Bestest Play Wednesday 23 April, 11am, 1.30pm and 4pm Thursday 24 April, 11am and 1.30pm
Breakin' Convention
Sat 10 May, free events throughout the afternoon, main space 7.30pm
A Taste of Honey I Hull Truck Tue 13 May – Sat 17 May, 7.30pm, Saturday matinee 2pm
The Sooty Show
Saturday 24 May, 11.30am and 3pm Cast • Cinderella
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A
Story
Once upon a There was a girl named Cinderella, who dreamed of going to the ball although in the beginning, She wasn’t called that, and there wasn’t a ball at all. The story that we know as ‘Cinderella’ has been told for thousands of years, and no-one remembers who first invented the tale of a kind and beautiful girl who is mistreated by her family but ends up marrying a prince. You won’t find any glass slippers, fairy godmothers or pumpkins in the oldest versions, but the story is still familiar in many ways. More than two thousand years ago, there was Rhodopis, a Greek slave girl who married the Pharaoh after the god Horus, in the shape of an eagle, dropped her slipper into his lap. In ancient China, a magical fish spirit gave poor Yeh-Shen a beautiful dress to wear to the New Year celebrations. Similar stories were told across Asia and Europe, changing over time and from place to place. In 1697 the French author Marie-Catherine Le Jumel de Barneville, the Countess d’Aulnoy, published a fairytale called ‘Finette Cendron’ – or ‘Cunning Cinders’ in English – which featured a kind fairy godmother and magical ballgowns. But in this story, Cinders’ cruel family are her actual mother and sisters, and the middle of the tale has her climbing a magic tree to discover an ogre’s castle, an adventure that sounds more like ‘Jack and the Beanstalk’ to us today! The same year, Charles Perrault published ‘Cendrillon’, although, like the Countess, Perrault was writing to amuse an audience of fashionable ladies and gentlemen rather than 6
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time... Similar stories were told across Asia and Europe, changing over time and from place to place children. He came up with the pumpkin that transforms into a golden carriage, as well as changing the slipper that Cinderella loses from fur to glass. His story became the inspiration for most modern Cinderellas, but for many years after, people across Europe still told each other different versions. In the Grimm brothers’ collection of fairy stories from 1812, Aschenputtel (Cinderella’s German name) has no fairy godmother, but is helped by a magical tree growing on her mother’s grave and by two Heaven-sent doves. Her slippers are made of gold instead of glass, and at the end of the tale the Ugly Sisters suffer a gory punishment for their meanness. The first recorded Cinderella pantomime was at the Theatre Royal on London’s Drury Lane in 1804, as part of a performance billed as the ‘New Grand Allegorical Pantomime Spectacle’. Although pantomimes had already been around for centuries, the stories they told used to be a mix of tales from ancient Greece and Rome, spiced up with whatever was currently
in the news. One of the most popular parts would be the ‘Harlequinade’, a mimed section starring the characters Harlequin and Columbine, with fast-paced chase scenes and lots of slapstick comedy. But as fairy tales became more popular in the 18th and 19th centuries, stories such as ‘Aladdin’ and ‘Goldilocks and the Three Bears’ replaced Harlequin. Cinderella captured the imagination of audiences young and old and more than 90 versions were staged in the 1800s alone. After the famous clown Joseph Grimaldi played Cinderella’s stepmother in an 1820 staging, it became traditional to include a Dame. And the roles of Prince Charming and Dandini were often played by female 'principal boys’, offering Victorian and Edwardian audiences a rare glimpse of a pretty actress’s legs. With its beautiful heroine, charming Prince, characters to make you laugh and ones you love to hate, magical transformations and happy ending, it’s easy to see why audiences never grow tired of this oldest of fairytales.
The first recorded Cinderella pantomime was at the Theatre Royal on London’s Drury Lane in 1804 Cast • Cinderella
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Welcome to the Ball!
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Get creative w Bring the Fairy Godmother to life with a touch of magic and a sprinkling of colour
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with Cinderella During Act two join in with Buttons in our Cinderella Sing Along Bend both your knees Wiggle your bum too Hold your nose Here it goes You’re going to sneeze Achoo! Achoo! Wave to the left Wave to the right Turn to someone next to you And give them a fright Boo! The Fairy Godmother has made a glass slipper for Cinderella. Follow the clues below to help Cinderella find her glass slipper. ’s glass Cinderella lumn a co slipper is as a bird that also h Cinderella ’s glass slipper is not in first colum the n ’s glass Cinderella in a row o ls a is r e slipp pkin with a pum
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Thursday 5 – Tuesday 31 December 2013 Originally produced by the Lyric Hammersmith. First presented at the Lyric Hammersmith on 24 November 2012
Act one
Act two
In Doncaster’s crumbling Hardup Hall, Cinderella slaves away cleaning up after her mean stepmother, Baroness Fiendella, and her two ugly and argumentative stepsisters, Rubella and Salmonella. Only her kind nature and her best friend Buttons can cheer her up. But Fairy Godmother Mother Cusworth has a plan. She asks Buttons to look after something important – and he needs your help to stop it getting into the wrong hands. It’s the night of the ‘Pick a Princess Ball’, when Prince Brodsworth must choose a bride to stop South Yorkshire falling into ruin and decay. Cinderella would love to go, but instead Fiendella sends her to the forest to collect wood. Disguised as his right-hand-man Dandini, the Prince sees her and, enchanted, gives her an invite to the ball. But Fiendella and the Ugly Sisters are still being nasty, and as they prepare for their big night out, it seems that Cinderella’s dreams of meeting the Prince again are in tatters... until Mother Cusworth works her magic!
At the ‘Pick a Princess Ball’, Fiendella, Rubella and Salmonella have their sights set on the Prince, who only has eyes for Cinderella. Romance is in the air, but when the clock strikes midnight Cinderella has to go, accidentally leaving her glass slipper behind. As the Prince visits every house in the land in search of his princess, the Ugly Sisters and their mother try to trick him into choosing them instead. Luckily, the Fairy Godmother and Buttons are still on Cinderella’s side – we know that everyone lives happily ever after, but how do they get there?
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Cast
Brett Lee Roberts Elizabeth Marsh Kate Robson-Stuart Russell Richardson Sara Sadeghi Tony Bell Victoria Hamnett Directed by Written by and Additional material by Ali Allen
Buttons Fiendella Mother Cusworth and Dandini Rubella Cinderella Salmonella Prince Brodsworth Kully Thiarai Joel Horwood Morgan Lloyd Malcolm Fine Time Fontayne Designer
Production team Alastair West Lighting Designer Alex McDonald Costume Maker Becky Graham Wardrobe Supervisor Ben Harrison Sound Designer Brian Perkins Company Stage Manager Catherine Lewis Deputy Stage Manager Gary Sparkes Technical Supervisor Matthew Bugg Musical Director Marise Rose Costume Maker Michael Cook Assistant Stage Manager Michelle Roberts Wardrobe Mistress Ryan Harston Trainee Director and Choreographer Selina Nightingale Costume Maker Sheryl Tatteshall Costume Maker Simon Moloney Sound Designer Stephanie Pasiewicz Scenic Artist Stuart West Head of Production Tom Scutt Horse and Carriage Designer Wayne Martin Costume Maker
Dancers Abbi Watkinson Alannah White Alice Jones Alix Young Annelise Murphy Anya Keane Bailee Cumming Chantay Clark-Gomes Daniela Torres Darcy Boucher Faith Watt Harriet Prestwich Harrison Boucher Katie Rytchalov Louis Smith Megan Jones Megan Panton Mollie Nunns Olivia Holden Tamea Clark-Gomes
Chorus Charlotte Jeffery Chorus Shannon McCluskey Chorus
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The cast Brett Lee Roberts
Buttons (the nicest boy in the kingdom and Cinderella’s best friend) Brett trained at the Birmingham School of Acting and graduated with a first class honours degree. He was nominated for the Laurence Olivier Bursary Award, named as ‘One to Watch’ by The Stage. Brett also appeared as Colin in Cast’s production of The Glee Club. Theatre credits: The Rise and Fall of Little Voice (Sheringham Little Theatre), Much Ado About Nothing (Sheringham Little Theatre), Dick Whittington (Pavilion Theatre, Gorleston), Should Love Hurt This Much? (Bolton Octagon), Drop Out (Oldham Coliseum), Cinderella (Hertford Theatre) The Boy in The Photograph (NWPlaywrights/Zion Arts Centre) and Re:Play Festival (Library Theatre Company/ The Lowry). Brett is also the founder of Target Theatre Company and was Director of their first production ‘The Deliverance of Sanctuary’ which premiered at the arts depot, London in October 2012
Elizabeth Marsh
Baroness Fiendella Dastardly Short House of Hardup (Cinderella’s horrible Step Mother and the scariest person in the whole of South Yorkshire) Elizabeth has performed at the National Theatre, in the West End, in film and television, and at theatres all around the country. She recently finished filming The Falling for BBC Films and before that took part in the new touring production of Phantom of the Opera, playing Madame Giry. Her eclectic career has included many an outrageous woman, of which Fiendella in this production of Cinderella is a prime example. In real life she is much nicer, honestly! Favourite roles include: Marquise de Merteuil in Les Liaisons Dangereuses, Eleanor in Dead Funny, Myra Yerkes in Road Show, Mary in Merrily We Roll Along, Betty in Blonde Bombshells of 1943, Beverly in Abigail’s Party, Miss Hannigan in Annie, Ymma in Silence, Jenny in The Threepenny Opera, Yitzak in Hedwig and the Angry Inch, Annie Wilkes in Misery, Rose in Brighton Rock, Jean Rice in The Entertainer, both Florinda and Rapunzel in Into the Woods and Fabia in Twelfth Night.
Kate Robson-Stuart
Mother Cusworth and Dandini (our fairy Godmother and the Prince’s sidekick) Kate trained at Guildford School of Acting. She also completed an MA (Hons) in English Literature and Music at Glasgow University. Theatre credits: LV in Little Voice (Queen's Theatre, Hornchurch), Principal Singer/ Violinist in Strictly Confidential (BBC UK Tour), Teena in Satin and Steel, Antonia in Can’t Pay Won’t Pay, Nerissa in The Merchant Of Venice (Queen’s Theatre, Hornchurch), Black Pawn in Chess (UK tour and Toronto), Mel in Camp Horror (Cut to the Chase), Witch two in Macbeth, chorus in Ajax (Riverside Studios), title role in Cinderella (King’s Theatre, Glasgow), Dawn in The Best Little Whorehouse in Texas (Landor Theatre), Princess Tamara in Jack and The Beanstalk (Inverness), Hero in Much Ado About Nothing (English Theatre of Venice), Virginia in The Pyjama Game (Union Theatre), rehearsed readings of new writing (Citizen’s Theatre, Glasgow) and Busker (Like it Is Productions). Kate recently co-wrote her first play - From where I'm standing - which debuted at the Underbelly, Edinburgh Festival 2013 to widespread critical acclaim. 14
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Matthew Bugg
Musical Director and onstage Musician Matthew recently wrote and produced Miss Nightingale receiving rave reviews, touring the UK twice including the West End. Miss Nightingale comes to Cast in April 2014. Theatre credits: Volcano, Three Men In a Boat, The Secret of Sherlock Holmes (West End), Kindertansport, Go Back for Murder, The Handyman, Barefoot in the Park, Murder on the Nile, Alarms and Excursions, Star Quality, Verdict, Lark Rise to Candleford, Quartet, The Hound of the Baskervilles, My Brilliant Divorce, Northanger Abbey, Jamaica Inn, Angelina Ballerina (UK Tours). The Father, (The Belgrade, Coventry) The League of Youth, All Quiet on the Western Front, To Reach the Clouds, Because It’s There, The Mill on the Floss, Wonderful Tennessee, Polygraph(Nottingham Playhouse), The Invention of Love, Barbarians, Secret Rapture (Salisbury Playhouse), Vanity Fair (Northcott, Exeter), Northanger Abbey, Amadeus (Theatre Royal York), A Family Affair, Double Indemnity, The Glass Menagerie (New Wolsey, Ipswich), Rumpelstiltskin, Great Expectations, Duck! (Unicorn Theatre), A Perfect Ganesh and The True Life Fiction of Mata Hari (Palace, Watford).
Russell Richardson
Rubella Dreadfulla Thick Head of Hardup (the smelliest girl in the whole of Doncaster!) Russell comes back to Cast after playing Bant in Cast’s opening production of The Glee Club and will be touring next year with Northern Broadsides. Theatre credits: The Enough Project (DepArts/Lowry Theatre), The Wind in the Willows (WYP), Deathtrap (Oldham), Romeo and Juliet, Comedians, A Midsummer Nights Dream, Ghosts (Bolton), Much Ado About Nothing/Hercules (Chester), Cinderella (Victoria, Halifax), Waiting For Godot (Garrick, Lichfield), Singin’ In The Rain (London Palladium), Bouncers (Birmingham), Aladdin, Babes In The Wood (Gracie Fields), Mr Cinders (Kings Head, London), Pied Piper (Sherman, Cardiff), Babes In Arms, Midsummer Night’s Dream, The Winter’s Tale (Regents Park), Canterbury Tales (Theatre by the Lake, Keswick) and The Miracle Tour (Everyman, Cheltenham). Television credits: Coronation Street, Doctors, Two Pints Of Lager and A Packet Of Crisps, Brookside, Holby City, Family Affairs, Murder In Mind, Dalziel & Pascoe, Hollyoaks, Bugs, Drop The Dead Donkey, Pork Pie, London’s Burning, The Bill, Poirot. Film credits: Scent (Screen Yorkshire – BAFTA nominated), Doggin’ Around (Aerial Productions).
Sara Sadeghi
Cinderella (Our beautiful Princess to be... we hope) Based in Manchester, Sara graduated from The Arden School of Theatre. Theatre credits: All Our Daughters (New Vic, Stoke), Songs from the Bridgewater Canal (The Lowry) and The Incredible Journey (Esk Valley Tour). She was runner up in the BBC Norman Beaton Fellowship and went on to make appearances on Radio 4. Most recently, she made her television debut in Coronation Street. Her interest in new writing has led her to work on projects with the Royal Exchange Theatre, Bolton Octagon and the Library Theatre Company. This is Sara's first appearance in a pantomime and she is delighted to be working at Cast. Cast • Cinderella
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The cast Tony Bell
Salmonella Desparella Fat House of Hardup (the ugliest girl in the whole of Doncaster) Tony comes back to Cast after playing Walt in Cast’s opening production of The Glee Club. Tony’s theatre credits include: 39 Steps (UK tour), A Christmas Carol (Middle Temple Hall), Oh The Humanity (Soho Theatre/ Northern Stage), The Winter’s Tale, Henry V, Richard III, The Comedy of Errors, Midsummer Night’s Dream (Propeller/ World Tour), The Grapes of Wrath (Chichester Festival Theatre), Treasure Island, A Man for all Seasons (Haymarket Theatre), The English Game (Headlong), The Conservatory (Old Red Lion), Don Quixote (West Yorkshire Playhouse), Twelfth Night, Taming of the Shrew (Old Vic, RSC, BAM New York), The Bee (Soho Theatre/ Tokyo), Breakfast with Jonny Wilkinson (Chocolate Factory), Midsummer Night’s Dream (Comedy Theatre/ BAM NY), Red Demon (Tokyo Nodamap), Ghostward (Almeida Theatre), Bouncers (Hull Truck). TV credits include: Prisoners’ Wives, Midsomer Murders, Holby City, Trail of Guilt, Trial and Retribution, The Bill. Peak Practice, Coronation Street, Doctors.
Victoria Hamnett
Prince Brodsworth of Charming Hall (The handsome Prince and Cinderella’s husband to be) Victoria trained at Rose Bruford College and gained a BA (Hons) in Actor-Musicianship. Theatre credits : Richard III (Changeling Theatre Company), A Christmas Carol (TNT), Animal Farm (Theatre Clwyd), Skellig (Birmingham Stage Company/New Victory Theatre NYC), Pride and Prejudice (Bath, Theatre Royal), Buddy (Milton Morrisey) and Jack and the Beanstalk (Forest Forge Theatre Company). Victoria’s film credits include: LOL series for Lime pictures and Flowers by Jack Tew which was nominated for the RTS drama award. She has also recorded several radio plays for BBC school Radio.
#aCastOf1000s Over the last few weeks we have been working with over 20 local young dancers and actors from across Doncaster, who have become an integral part of our production. We caught up with two of them to see what it’s like being part of Cast’s very first Pantomime.
Charlotte Jeffery
Shannon McCluskey
“I’m thrilled to be part of Cinderella, it’s my first panto and I can’t wait to perform in the new theatre. It’s going to be an exciting time!”
“I’m from down the road in Mexborough – so to be taking part in Cast’s first ever panto is brilliant. Especially with this being the first professional production I’ve been part of in Doncaster”.
Ensemble
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Ensemble
Production team Kully Thiarai
Joel Horwood
Morgan Lloyd Malcolm
Kully took up post as Director of Cast in 2012 and has been responsible for the artistic and strategic vision for the new venue. Prior to that she was an Independent Theatre Director and Arts Consultant for several years undertaking a diverse range of creative and cultural projects.
Joel is a member of the Secret Theatre ensemble at The Lyric Hammersmith.
Morgan is a playwright and comedy writer. Her play Belongings was produced at the Hampstead Theatre and Trafalgar Studios in 2011 to universal critical acclaim and was shortlisted for The Charles Wintour Most Promising Playwright Award.
Director
Writer
Theatre credits: Mikey the Pikey (National Tour), Food (The Imaginary Body), Stoopud F*cken Animals (Traverse), Is Everyone OK? (Nabokov), I Caught Crabs In Walberswick (Eastern Angles), The Count of Monte Cristo (West Kully has previously led Contact Theatre, Yorkshire Playhouse), I Í Peterborough Manchester, Leicester Haymarket (Eastern Angles), The Planet And Stuff Theatre, Theatre Writing Partnership, (Polka and Tonic Theatre), The Little and Red Ladder Theatre Company, Leeds Mermaid (Bristol Old Vic). as Artistic Director and CEO. She has extensive experience of commissioning, Panto credits: Jack and The Beanstalk producing and directing work nationally (2009, Lyric Hammersmith), Dick Whittington (2010, Lyric Hammermith), and internationally. Aladdin (2011, Lyric Hammersmith), She has been involved in the performing Cinderella (2012, Lyric Hammermith). arts for over 20 years working in theatre, television and radio. Her theatre Radio credits: Ok Computer (Radio 4). directing credits include Obama The Mamba by Kevin Fegan, (nominated for two Manchester Theatre Awards – Best Play and Best Actor 2012), Mandala, a large scale outdoor arts spectacular for the Cultural Olympiad, As The World Tipped by Wired Aerial Theatre, which opened the Sydney Festival in 2012, Soul Exchange (NTW10), created with the communities of Butetown, Cardiff as part of the launch year for National Theatre Wales, and Digital Tea Dance for Bangor University. Other productions include: Do We Ever See Grace? by Noel Greig, Salaam – devised show with young Muslim men, Beautiful Thing by Jonathan Harvey, Bogus Woman by Kay Adshead (London, UK, Australia, New York), The Fortune Club and Unsuitable Girls by Dolly Dhingra (London, Leicester), Oscar Wilde’s The Happy Prince, Athol Fugard’s Master Harold and the Boys, Captured Live!, West Side Story, The Witches, Bollywood Jane, Plague of Innocence and Death of a Salesman.
Writer
Theatre credits: Epidemic and Platforms for the Old Vic and new commissions for Clean Break and Firehouse Productions. In 2013 she was chosen as a member of the Soho Six (Soho Theatre). She has co-written several acclaimed immersive stage plays with Katie Lyons, produced by Look Left Look Right, including You Once Said Yes, Above and Beyond, The Many Whoops of Whoops Town and Once Upon a Christmas. She was part of the writing team for the Lyric Hammersmith's last three pantomimes, Dick Whittington (2010), Aladdin (2011), Cinderella (2012) and in 2013 wrote (solo) the Bolton Octagon's Christmas play, Robin Hood. Her television credits include E4’s School of Comedy, CBBC’s Hotel Trubble (with writing trio, the Trippplicate) and an original TV treatment commissioned by Little Brother Productions.
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Production team Fine Time Fontayne Writer
Fine Time’s recent credits include playing Jack Steele in John Godber’s world premiere of Jack Steele and Family at The Crucible Theatre, Sheffield and joined Sandra Hunt in Fast Woman. Theatre credits: Jack and the Beanstalk, Cinderella, Dick Whittington, Sleeping Beauty, Mother Goose, Aladdin and Cleaning Windows (Oldham Coliseum Theatre), Love Labours Lost, Hamlet, Othello, Romeo and Juliet, King John, The Merry Wives of Windsor and Antony and Cleopatra (Northern Broadsides), Amphitryon in Hercules and Dogberry in Much Ado About Nothing (Chester Performs), Medea, Brassed Off, Lucky Chance and One Big Blow (York Theatre Royal), Can’t Pay Won’t Pay (New Vic Theatre, Newcastle-under-Lyme), A Midsummer Night's Dream (The Swan, Worcester), Family Values (Bristol Old Vic), Derby Day (Octagon Theatre, Bolton), The Merchant of Venice and The True Story of The Sinking of The Titanic (Crucible, Sheffield), Noises Off and Jack and the Beanstalk (The Everyman Theatre, Cheltenham). Television credits: Eric and Ernie, Doctors, Born and Bred, Casualty, Degrees of Error, A Little Bit of Lippy, Can't Stop Me Dreaming, Mr Wroe's Virgins and Eastenders.
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CAST • Cinderella
Ali Allen
Set and Costume Designer Ali’s work has extended over a wide variety of areas including carnival, sculpture, pantomime, opera, ballet and outdoor theatre projects. Her work in carnival has taken her to Trinidad and Brooklyn, and she has designed for theatre in Singapore, Moscow and Berlin. Musical credits: Chicago, Chess and Hairspray (Aberystwyth Arts Centre). Theatre credits: Madame Butterfly, Wuthering Heights and Dracula (Northern Ballet). Ali has designed fifteen shows for Red Ladder Theatre Company including Where’s Vietnam?, Riot, Rebellion and Bloody Insurrection, Sex, Docks and Rock ‘n’ Roll and Big Society. As well as for Pilot Theatre in Rumblefish, Bloodtide, The Twits, Fungus the Bogeyman and Lord of the Flies. Other credits include: Bollywood Jane (Leicester Haymarket), Kes and Brassed Off (Lawrence Batley Theatre Huddersfield), Look Back in Anger (Harrogate Theatre), Camel Station with Trevor Griffiths, and The Little Mermaid (Dundee Rep). Ali designed the “Rock and Roll Panto’s" at the City Varieties in Leeds for the past two years and is delighted to be working at Cast on their first and brilliant panto!
Stuart West
Head of Production Stuart is Head of Production at Cast, he was previously Head of Lighting and Sound at Royal and Derngate in Northampton, he also worked at Milton Keynes Theatre during the first two years of its opening. Lighting design credits: The Importance of Being Earnest, The Musical (Theatre Royal Windsor and Bill Kenwright Ltd), The Producers - SWMTC (Theatre Royal Windsor), Nation’s Best Am Dram, First Round Performances (Sky Arts HD at Royal and Derngate), Future Fund Gala, Wangley Wood Music Festival, Knitwits (Royal and Derngate Northampton), Dancer’s In Need – BBC Radio Northampton (Wicksteed Park), The Wizard of Oz (Spinney Hill Theatre, Northampton), Girls Behind (National Tour, Goodnights Entertainment) and Snow White (Tunbridge Wells). Production work credits: The Glee Club (Cast), This Morning, ITV Studios, Crackers, The World Famous Man of the Moment directed by Alan Ayckbourn and The Way of the World (Royal and Derngate, Northampton), Perfect, National Tour 05/06, Motionhouse Dance Company and Who Wants to be a Millionaire Live.
Ryan Harston
Alistair West
Ben Harrison
Simon Moloney
Starting in contemporary and modern dance, Ryan changed course in 2002 when he went on to work with one of the most established break dance crews in the UK.
Alastair graduated from Bretton Hall in 2004 with a degree in Performance Design and Production where he specialised in lighting design.
Between 2002 and 2007 Ben was Head of Sound at Leicester’s Haymarket Theatre where he designed: West Side Story, The Lion the Witch and the Wardrobe, Hot Stuff - the Christmas Edition, Macbeth, An Illustrious Corpse, Beautiful Thing, The Fortune Club, East, Divine, The Bogus Woman (also Adelaide and New York), The Good Woman of Schezuan, Pacific Overtures, The Happy Prince and The Wizard of Oz.
As a Sound Designer Simon’s work incudes: Stephen Berkoff's East and Greek, The Happy Prince and The Cripple of Inishmaan (Leicester Theatre Trust) and Ghost Boy (20 Stories High UK Tour).
Trainee Director and Choreographer
Ryan has since received numerous awards and travelled the world working with well-known artists such as Sean Paul, Kelis and Chris Brown. Ryan was recently invited to New York to work alongside choreographers Kwikstep and Rokafella (Full Circle Productions). Ryan is now back in the UK directing for an award winning arts company and divides his time, judging, creating and hosting events around the UK working in affiliation with such companies as Hip Hop International, Wired Ariel Theatre and Breaking Cycles.
Lighting Designer
Starting his career working for Sheffield Theatres Lighting Department, he has since moved on to work for RSC and various touring musical productions. He is currently Chief Electrician at Northern Ballet. Design credits include: Giselle, I Got Rhythm, Ugly Duckling, Three little Pigs, Christmas Carol all for Northern Ballet. Project One, Luminous Junc·ture for Choreographer Kenneth Tindall. Puzzle Women for Dead Ernest, The Indian Boy RSC Cube Season and La Ronde for Bolt
Sound Designer
Other sound designs include: Cabaret, Scrooge, Soul Sister, Dreamboats and Petticoats and The Country Girl (West End and UK Tours), Carnaby Street, High Society, Blood Brothers, Joseph and his Amazing Technicolor Dreamcoat, Dr Dolittle, Jekyll and Hyde, Tommy, Save The Last Dance For Me, The Boy Friend, Half A Sixpence, The Roy Orbison Story, This Is Elvis, Laughter In The Rain, Rock and Roll Heaven and The Concert They Never Gave (UK Tours), Starlight Express and Evita (International Tours), Whistle Down The Wind (UK and American Tours), Dancing In The Streets (West End and International Tours), Tom, Dick and Harry and Wolfboy (West End), Hedda Gabler (Northampton Royal), The Prodigals (Coventry Belgrade and Edinburgh Fringe).
Sound Designer
As an Associate Designer Simon’s work includes: The Lady Killers (Geilgud and UK Tour). What The Butler Saw (Vaudeville), Ben Hur (West Berkshire Playhouse), Piaf (Leicester Theatre Trust), Obama the Mamba (Artbuilding Projects), Scrooge, Evita, Dreamboats and Petticoats, Cabaret, Joseph and his Technicolor Dreamcoat, Save the Last Dance for Me, Starlight Express (Bill Kenwrights Ltd), The King and I, High Society (Music and Lyrics) and Hotstuff (Leicester Theatre Trust).
CAST • Cinderella
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Cast • Cinderella
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Cast • Cinderella
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Cast • Cinderella
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CAST • Cinderella
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