PFT_Summer Season programme 2013

2013 Summer Season

Contents Welcome 01 It’s A Wonderful Life

02

The Steamie

03

Hello, Dolly!

04

Backstage Tours & Talks

10

Active Arts Workshops

12

A Chorus Of Disapproval

14

Festival Shopping

20

Concerts 22 Present Laughter

24

Festival Restaurant

30

Festival Gallery

34

Single Spies

36

Support PFT

42

The John Stewart Society

44

The Festival Circle

45

Friends of PFT

46

PFT Supporters - Friends & Festival Circle Members 47

Dougal Lee in rehearsal

Benefactors, Legacies, Trusts and Foundations

49

Festival Wine Club

50

Other Ways to Support

51

Lady Windermere’s Fan

52

Explorers Garden

58

Two

60

Play Diary

66

Leon Sinden Awards

68

Ensemble Character Matrix 69 Ensemble 2013

70

Biographies 72 PFT Staff 81 Lottery 82 Access All Areas

83

Credits 83 Patrons & Trustees

83

Season 2014

84

Welcome . . .

. . . to the 2013 Summer Season at the Theatre in the Hills!

John Durnin and Choreographer Chris Stuart-Wilson in rehearsal

Most of us will never know what it’s like to live life in the public eye: to be the object of universal scrutiny or adoration, to know that every move we make is being watched, to feel that either disgrace or even greater adulation are always only one decision away. We all may secretly desire our 15 minutes in the spotlight – but celebrity, even in the smallest way, always comes with strings attached . . .

Such is the current preoccupation with the pursuit of fame for its own sake that it seemed only right that our six shows this year should explore, each in its own way, the pressures faced by those living life in the goldfish bowl. In this year’s musical, Hello, Dolly!, the eponymous matchmaker is celebrated and venerated throughout New York, but hides from her many clients and supporters the pain of an empty purse and even emptier bed. By contrast, the hero of Present Laughter, matinée idol Garry Essendine, is short of neither cash nor bedfellows, but the showbiz merry-go-round exacts a very different punishment. In Secret Spies, Guy Burgess and Anthony Blunt become front page news once their secret lives of betrayal and deceit are exposed, whilst in Lady Windermere’s Fan, it’s the threat of exposure, of public humiliation, that rocks the marriage of the high-flying Windermeres. Joining an am dram group may not offer an obvious route to celebrity, but as A Chorus Of Disapproval demonstrates, the big fish/small pond syndrome has its fair share of pitfalls; whilst in the traditional British pub evoked in Two, the figures behind the bar are always the centre of everyone’s attention, in view and on show no matter what . . .

Like many of the characters in this year’s shows, our ensemble of 18 highly skilled actors will spend the six months of the 2013 Summer Season under the watchful gaze of the public, as they bring the rich and varied programme on offer vividly to life. But just as every famous face depends for their success upon a myriad of supporters working feverishly out of sight, so there are many, many others at PFT involved in the creation of this annual festival of theatre whose work is vital, but who don’t enjoy a similarly high profile. So as the 2013 Season unfolds and you get to know our talented ensemble, spare a thought for all those whose work may be unseen and unheard, but who nonetheless help to make sure that the Pitlochry magic, a feature of Scotland’s cultural life for over 60 years, happens once again.

And as always, alongside the six splendid shows in daily repertoire, there are a host of other activities to keep you amused, intrigued and entertained throughout the Season, from Sunday Concerts, Backstage Tours and Post-Show Talks, to the Explorers Garden and the programmes of Active Arts and hiper events. So take your seats and get ready to enjoy everything that this year’s Summer Season has to offer!

John Durnin Chief Executive & Artistic Director

01

Simon Donaldson and Musical Director Jon Beales in rehearsal and Robin Harvey Edwards

Pitlochry Festival Theatre presents the Scottish Première of

Based on the Frank Capra film and the original story by Philip Van Doren Stern, copyright 1944, 1958.

Produced by special arrangement with Samuel French, Inc

Book, Music and Lyrics by Thomas M. Sharkey Original Piano Arrangements by Jack Sharkey Orchestration and Vocal Arrangements by David J. Blackburn

29th November to 22nd December Tickets Now On Sale!

The Herald

The Steamie

The Scotsman

by Tony Roper Music by David Anderson

03

24th Oct to 17th Nov Tickets Now On Sale!

Hello, Dolly!

Book by Michael Stewart Music and lyrics by Jerry Herman Based on the play The Matchmaker by Thornton Wilder

Cast Dolly Levi

Musicians Basienka Blake

Jon Beales

Ernestina Money

Wendy Paver *

Mario Caribe

Policeman

Joseph Mann *

James Gorman

Townsperson

Irene Allan *

Townsperson

Jill Myers *

Paperhanger

Mark Elstob *

Dan Bottomley Simon Donaldson Karen Fishwick

Court Clerk

Alex Scott Fairley *

Jessica Guise

Ambrose Kemper

Simon Donaldson *

Robin Harvey Edwards

Horace Vandergelder Ermengarde Cornelius Hackl

Dougal Lee Jessica Guise * Ben Stock

Dougal Lee Joseph Mann Jill Myers

piano, keyboards, violin double bass drums, percussion saxophone, accordion banjo, guitar, mandolin trumpet, keyboards flute guitar, ukulele clarinet, saxophone trombone, keyboards trumpet

Barnaby Tucker

Dan Bottomley *

Wendy Paver

Minnie Fay

Karen Fishwick *

Ben Stock

keyboards

Greg Wagland

keyboards

Irene Molloy

Martine McMenemy

Mrs. Rose

Jacqueline Dutoit *

Rudolph Reisenweber Stanley Judge

saxophones, accordion

Greg Wagland * Carl Patrick * Robin Harvey Edwards *

All other parts played by members of the cast * eligible for the Leon Sinden Awards

Director: John Durnin

Lighting Designer: Kate Bonney

Set & Costume Designer: Adrian Rees

Sound Designer: Paul Hoolahan

Musical Director & Arranger: Jon Beales

Stage Manager: Elaine Scott

Choreography: Chris Stuart-Wilson

Accent Coach: Lynn Bains Deputy Stage Manager (book): Marianne Forde Assistant Stage Manager: Heather Saunderson

Acts The action takes place in New York and Yonkers over a period of 24 hours one Spring in the early 1890s.

ACT 1 Scene 1 The streets of New York

and Grand Central Station, early morning

Store in Yonkers and

Yonkers Railroad

Station, the same morning Scene 3 Outside and inside

Mrs. Molloy’s Hat Shop, New York, a little later

Hello, Dolly!

Scene 2 Vandergelder’s Feed

Scene 4 The 14th Street

Association Parade,

New York, that afternoon ACT 2 Scene 1 14th Street, New

York and outside the Harmonia Gardens restaurant, that evening

Scene 2 The Harmonia Gardens

Hello, Dolly! is presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, NewYork, 10022

Basienka Blake and Ben Stock in rehearsal

Scene 3 A Courtroom in New

restaurant, a few moments later York, later that evening

Scene 4 Vandergelder’s Feed

Store, Yonkers, the following morning

There will be one interval of 20 minutes between Act 1 and Act 2.

Sponsored by Mrs Rachel Cunningham and dedicated to her children

05

Some of the cast of Hello, Dolly! in rehearsal

Basienka Blake and Ben Stock in rehearsal

Director’s Notes

The 1960s was an era of momentous social and political change in the USA, and Michael Stewart and Jerry Herman’s exuberant musical adaptation of Thornton Wilder’s farce, The Matchmaker (itself based on Johann Nestroy’s 1842 adaptation of Oxenford’s play – are you following this?) contains much of the energy for change that the decade embodied. At its heart is a fantasy pure and simple, a fantasy in which the normal rules are suspended and the world gets turned upside down: store clerks become playboys for a day; true love is found in a moment; miserly half-millionaires are persuaded to become social investors; strong, confident women run the show – and men are grateful to them for it.

Given this celebration of the spirit of misrule, Hello, Dolly! was ideally suited to the era in which it was conceived and in which it enjoyed its greatest success, becoming the first to break My Fair Lady’s record as the longest-running show in Broadway history. Although that record was, in turn, eclipsed by another revolutionary show, Fiddler On The Roof, by the time that the 1964 production finally closed in 1970, Hello, Dolly! had become enthroned in the pantheon of Broadway greats.

In approaching Hello, Dolly! now, we’ve tried to recapture some of that spirit of misrule, of the sense of fantasy, of change being always possible – not just as a memory of the 1960s, but as a reminder that even in the most difficult times, there’s always the chance to seize the moment and make things just a little bit better . . .

John Durnin Director

“A photograph of a summer racecourse in 1890, the picture taken from the stand above a sea of brilliant white parasols and the most wonderful elevated toy railway station from the Jerni collection of children’s toys are my inspiration for the world of Hello, Dolly! I hope you enjoy it!”

Adrian Rees, Set & Costume Designer

Songs ACT 1 Call on Dolly I Put My Hand In It Takes A Woman Put On Your Sunday Clothes Ribbons Down My Back Motherhood March Dancing Before The Parade Passes By ACT 2

Hello, Dolly!

It seems extraordinary that an obscure, all-but-forgotten English play from 1832 – John Oxenford’s A Day Well Spent - should have indirectly supplied the plot for one of the biggest Broadway hits of the 1960s. Perhaps even more surprising was the way that the ultra-capitalist America of 1964 took to its heart its heroine – Dolly Gallagher Levi – when she so openly espoused the redistribution of wealth as one of her guiding principals. But then Hello, Dolly! is no ordinary Broadway show . . .

Elegance Hello, Dolly It Only Takes A Moment So Long, Dearie Finale

“With the choreography in Hello, Dolly!, I am playing on the idea that Dolly arranges everything, including the physical order of the characters around her, so we start with a very abstract and fantastical style which evolves to become more ‘put together’ as Dolly arranges the world by ‘putting her hand in’.”

Chris Stuart-Wilson Choreographer

Costume sketch by Adrian Rees

Did You Know?

• Wardrobe recently completed 86 costume fittings for Hello, Dolly! - in three days!

• Thanks to a grant from The

Foyle Foundation, this is the first PFT production to use a new sound mixing desk and radio microphones!

• “Uncle Sam” was carved from a single block of polystyrene

• Over 60 white parasols, each

one individualised by painting through stencils, appear in this production

07

Jerry Herman an d Carol Channing rehearse for Hello, Dolly! 1964 Š Bettmann/CORBIS

A While With Wilder

by Lynn Bains

THORNTON WILDER:

• American (of course) • 1897-1975 (so firmly planted in the 20th century; old hat) • Brilliant son in a brilliant family (intellectual and middle class) • Oberlin, Princeton, Yale, American Academy in Rome (ditto with knobs on)

• Teacher, professor - University of Chicago and Harvard, among others (no surprises there then)

• Decorated Army Intelligence officer (why not?)

• 7 novels, dozens of plays (busy fella) • 3 Pulitzer Prizes – two for drama, one for fiction, more than Miller or Williams (clever fella)

• 2013 - 75th anniversary of Our Town, one of the world’s most enduring and popular plays (it’s cheap: no set)

• Cover of Time (naturally) Enough to be getting on with. On with the show. Of course not.

Thornton Wilder excelled in virtually everything he turned his hand to, an internationally famous playwright and novelist and - to use a much (over) used word – an American icon.

All the while, throughout his long life, Wilder was writing successful, thoughtful, often challenging novels and stories; turning out dozens of inventive, short and full length plays; teaching; translating; writing librettos for opera; even acting occasionally in productions of his plays; garnering awards, prizes and praise. And notably, he was always challenging himself to create new theatrical forms, to respect and re-imagine the ancient and old and to combine them with a dizzying variety of contemporary ideas to create vital and unique pieces of theatre.

I grew up with Our Town and have directed it four times. It always works. In its time, revolutionary, though seemingly incredibly simpIe.

It is moving and memorable, the quintessential American play. It reminds us that the smallest every day moments in the ‘ordinary’ lives of ‘ordinary’ people should be savoured, for death is round the corner. High philosophy? Hardly. But when young Emily from her grave cries, ‘It goes so fast. We don’t have time to look at one another. . . Oh, Earth, you’re too wonderful for anybody to realize you!’ she speaks for us all. Stunningly simple, it is also profound.

Skin Of Our Teeth, written early in World War II, won a second Pulitzer Prize for Wilder and couldn’t be more different. Brilliant and wildly (Wilderly?) anarchic, it introduces the hapless Antrobus family as they survive everything from Ice Age dinosaurs to plagues of locusts to floods to wars as nations perish and mankind goes about the business of destroying itself. And still they survive, carry on with the mundane business of ‘getting on’ with life, all the while making us laugh.

Hello, Dolly!

Ah, the wonders of the Web. A gentle gallop with Google tells you all you need to know.

Later, just when you think Wilder has finally fallen on his face (less than forty performances of The Merchant Of Yonkers) he transforms this failure into one of Broadway’s most successful and much loved plays, The Matchmaker, thus introducing Dolly Levi who will ‘never go away again.’ He does what he often loves to do, looks back to other past and ancient theatrical forms, and brings their essence to the turn-of-the century streets of New York and Yonkers. Bustles and beaux. Naïve aspirations and monumental meanness. And always a generosity of spirit which is truly heartwarming. Nothing new, and yet again, his re-creation is magical.

Hello, Dolly!, adapted from The Matchmaker, is the icing on the cake. Since it opened in 1964 it has been one of Broadway’s most successful musicals. With a delightful score (Jerry Herman) and clever book (Michael Stewart) it travels again and again around the world, seeking and finding enthusiastic audiences.

So. . . spend a while with Wilder and friends at PFT and I defy you to leave the theatre without, at the least, tapping a foot, humming a tune, wishing secretly that you, too, could dance down the streets of New York. And having a laugh!

Time, well spent, I’d say.

Lynn Bains has been the accent coach on every American play at PFT for almost half a century. Find her full biography on page 76.

09

Kind Hearts And Coronets, 2005

Backstage Tours & Talks

Discover the secrets of the stage this Summer Backstage Tours

Secrets of The Stage – new this year!

Take a Backstage Tour and enjoy an engaging and informative journey behind the scenes.

This is the talk to go to if you want to discover more about all aspects of PFT’s productions, including play selection, auditions, the rehearsal process and set design.

After a short introduction in the auditorium, you’ll visit the Green Room (where cast and crew relax between shows). You’ll see our wig room and actors’ dressing rooms before visiting the wardrobe department (where the stunning costumes you see on stage are created). You’ll then move over to our scene docks and construction workshop- a real eye-opener about the craft and skill involved in building, storing and moving our large scale sets. And, of course, you’ll have the opportunity to step onto the actual PFT stage and see things from an actor’s perspective.

A real treat for lovers of theatre or anyone looking for an insight into the Theatre in the Hills, this entertaining illustrated talk includes short video interviews of theatre professionals talking about life backstage. There will also be a ‘sneak peek’ at the production being built on stage that day.

You’ll discover the history of the theatre and how it’s changed since its early days in a tent, and have the chance to have any questions you might have about our shows answered.

And, to top it all, you’ll enjoy a complimentary Highland pâtisserie or scone and a cup of tea or coffee.

Secrets of The Stage takes place every Friday between 5th July and 11th October.

Price: £7.50 Time: 11.00am-12.30pm

Post Show Talks You’ve just seen the show and you want to know more?

Well, now’s your chance!

Props for Little Shop Of Horrors, 2012

Along the way you’ll learn interesting and unusual facts as well as the truth about a few superstitions - like why you should never whistle on stage or knit in the wings!

The tours run on most Wednesdays between 26th June and 16th October, but do check the diary page in the brochure before you book. Backstage tours are always extremely popular, so don’t leave it to chance – book ahead.

Price: £5.00 Time: 11.00am Please be aware that tours can last up to one and a half hours, and you will be climbing some stairs.

Taking place shortly after curtain down, you’ll go back into the auditorium to meet with PFT’s Artistic Director John Durnin, and some of the cast. This is your chance to ask them anything you like!

Additionally, as a completely different show is on that evening, you’ll get to see a matinée set turn-around – a thrilling experience in itself!

Price: £3.00 Time: Approximately 5 minutes after curtain down.

A Chorus Of Disapproval - 19 Jun Present Laughter - 3 Jul Lady Windermere’s Fan - 24 Jul

Hello, Dolly! - 7 Aug Two - 28 Aug Single Spies - 11 Sep

To book or find out more, contact Box Office: 01796 484626 or visit our website: PitlochryFestivalTheatre.com

11

Loch Morig by David Brown. Learn from the master in one of David Brown’s Digital Photography workshops

Active Arts Workshops

Learn new skills in a stimulating and friendly environment!

From stage fighting and watercolours to digital photography or novel writing, our award-winning Active Arts programme of visual, creative and performance workshops gives you the opportunity to come together with like minded people and get your artistic juices flowing!

This very popular programme offers one or two day workshops for beginners and improvers, giving a perfect balance between trying out new skills and improving techniques, while learning useful ‘tricks of the trade’. With a limit on numbers attending, you are also guaranteed the full attention of our experienced professional tutors.

Active Arts runs all year round, so make sure you pick up a brochure or visit our website for full details of all our workshops or contact Drew Scott, PFT’s Community and Education Director who is always keen to hear any feedback, ideas and suggestions you might have.

Noises Off, 2010

YOUTH ARTS Space Academy FOR AGE 5 AND OVER

From water rockets to UFOs and astronauts to aliens, join us for a week of space age arts & crafts and fun filled, futuristic games and activities.

Check out our special website pages or pick up a SPACE ACADEMY programme for more information!

13

Alex Scott Fairley, Dan Bottomley, Irene Allan and Jessica Guise in rehearsal

A Chorus Of Disapproval

by Alan Ayckbourn

Acts

Guy Jones

Alex Scott Fairley

Dafydd ap Llewellyn

Carl Patrick

Hannah Llewellyn

Irene Allan

Bridget Baines

Wendy Paver *

Mr. Ames

Greg Wagland *

Enid Washbrook

Jill Myers *

Rebecca Huntley-Pike

Jacqueline Dutoit *

Fay Hubbard

Jessica Guise *

Ian Hubbard

Simon Donaldson *

Jarvis Huntley-Pike

Robin Harvey Edwards *

Ted Washbrook

Mark Elstob *

Crispin Usher

Dan Bottomley *

Linda Washbrook

Karen Fishwick *

Raymond

Director: Richard Baron Set & Costume Designer: Frances Collier Lighting Designer: Kate Bonney Musical Direction: Jon Beales Choreography: Chris Stuart-Wilson Fight Director: Raymond Short Stage Manager: Marianne Forde Deputy Stage Manager (book): Maggi Lindsay Assistant Stage Manager: Emma Lang

The action takes place in and around a small theatre in a coastal town in Yorkshire, between the first rehearsal (February) and the first performance (May) of an amateur production of John Gay’s The Beggar’s Opera.

There will be one interval of 20 minutes between Act 1 and Act 2.

Stewart Miller is delighted to sponsor A Chorus Of Disapproval and to dedicate it to his grandchildren: Lindsey, Murray and Catriona Irvine

A Chorus Of Disapproval

Cast

Ben Stock * *eligible for the Leon Sinden Awards

15

Jacqueline Dutoit in rehearsal

Hello, Dolly!

Director’s Notes

It’s also a fascinating chance to observe and reflect on the whole theatrical process and how much effort, thought, anxiety, imagination and team spirit is involved in putting on a show. There’s a moment in Chorus where the hapless but fiercely dedicated director, Daffyd, sits on an empty stage evaluating his fast-disintegrating production and troubled personal life while at the same time reflecting on his passionate belief in the importance of theatre. He comes to the conclusion that although in Britain “if you’re interested in the arts, you get messages of sympathy. Get well soon...”, the play matters far more to him than his various domestic crises and that this proves he really must have serious problems.

To those of us theatre practitioners watching intently from the stalls, this speech suddenly had a special resonance, perhaps provoking in some of us the secret guilty acknowledgement that for us too the play is, above all, the thing.

Richard Baron Director

“There are two main ideas behind the design for A Chorus Of Disapproval - that the drama of real life is just as fascinating and important as the dramas of the stage, and that those dramas haven’t changed at all in the 300 years since The Beggar’s Opera was written.

The set is framed by a beautiful painted landscape, based on those painted by Hogarth in the backgrounds of his society portraits of the 1700s. The real-life action is raised up on a stage . . . on the stage.

The raised platform moves up and down the stage. Its position in the rehearsal scenes indicates of how far back in time we’ve gone.”

Frances Collier, Set & Costume Designer

Costume sketch by Frances Collier

Did You Know?

• This is the first play Ayckbourn wrote on a word processor!

• It’s also the first Ayckbourn play to be turned into a film

• Listen out for horses’ hooves,

created by using a good oldfashioned sound prop – a pair of coconuts!

• Michael Gambon and Imelda Staunton appeared in the London première at the National Theatre in 1985

A Chorus Of Disapproval

As I write these notes we have just had our Chorus of Disapproval “onstage day”; an early rehearsal on the set which affords the actors, creative team and stage management a valuable insight in to how the show might look and work in the theatre well in advance of our technical and dress rehearsals. It’s a great opportunity to problem-solve as entrances and exits, choreography, flying cues and major scene changes are all attempted for the first time without the pressure of knowing that the show is going to open the following day.

17

Alan Ayckbourn Š Rune Hellestad/Corbis

Always Work With Something You Admire

A Chorus Of Disapproval, 1995

A Chorus Of Disapproval had a curious start. I wanted to write a play about an operatic society, heaven knows why. My first idea was to pen something for a large cast, using professional principals and a supporting cast of dozens of amateur singers.

The latter would be seated in the auditorium, to all appearance like members of the audience,

but they would from time to time during the action stand up and sing some linking comment or other like an operatic Greek chorus. I planned to base the play around a presumed production of The Vagabond King. I had read the libretto and I confess it amused me no end, particularly its choreographic stage directions.

Several things conspired to thwart the original idea. The Rudolph Friml Estate, fearing for their play, refused to release the rights. For which I didn’t blame them one bit. Simultaneously, those members of the local Scarborough Operatic Society whom I had approached seemed reluctant to accept anything but leading roles, for which I didn’t blame them either; and finally Equity, the professional actors’ Trade Union, declared the whole idea of including amateurs in this way unacceptable. Which forced me into swift solutions, all of them, it transpired, blessings in disguise.

First I decided to work with an entirely professional company and thus with a much smaller cast; sensible and far more economic. Secondly, to avoid further copyright problems, I found an author who had been

dead so long that he and his relatives no longer cared. Which led me to a musical play I greatly admired and had always wanted to produce, Gay’s The Beggar’s Opera. Which in turn provided the missing piece to the whole venture. Gay’s play had a plot* which echoed almost perfectly the one I intended to write and provided the perfect mirror image on which to build my own dramatic structure.

Moral: always work with something you admire and not with something which you only set out to make fun of. That way you might even manage to raise your game rather than lower it.

Article reprinted with permission from Alan Ayckbourn’s official website www.alanayckbourn.net

*“I don’t think you miss much that much by not knowing The Beggar’s Opera.

So long as one gathers it’s about thieves, prostitutes, pimps, highwaymen and so on.”

Alan Ayckbourn

A Chorus Of Disapproval

by Alan Ayckbourn

19

20

Good Things, 2009

Festival Shopping

Resist everything except temptation!

There’s a growing chorus of approval for PFT’s shops - one located on the main street in Pitlochry at Just The Ticket! and our main Festival shop in the Theatre building - two places packed with all kinds of wonderful gift ideas that you’ll find hard to resist.

There’s stunning glassware, chinaware and pottery, accessories for the home, nostalgic memorabilia, eclectic, affordable art works – many of them by Scottish artists - bags, purses and scarves galore, beautiful jewellery, plus clocks and watches that make perfect, timeless gifts!

And there’s great news for lovers of literature: Just The Ticket! now offers an extensive range of non-fiction books of all kinds such as cookery, biographies, humour, children’s and local books up to 75% off recommended retail prices.

A selective range of vintage prints of Pitlochry and the old theatre building will also be available exlusively from Just The Ticket!

Atholl Rd circa 1890

Loved by locals as well as visitors alike, why not visit one or both of our Festival shops and treat yourself.

“Money is not worth a thing unless it’s spread around” Dolly Levi

21

Summer Concerts & Foyer Events

Best Comedy Songs in the World Mon 27 & Tues 28 May

Jambouree Cabaret Singers Mon 3 & Tues 4 June

Gary West and Wendy Stewart Mon 10 June

Songs for a Summer Evening Tues 11 June

TENORS Un LIMITED

Masters Of The House

ABBA Mania

Ultimate Bowie

Sun 30 June Sun 7 July

Pete Clark & Friends Mon 15 July

Sun 4 August

Sun 11 August

Aly Bain and Phil Cunningham Sun 1 September

The Poozies

Sun 8 September

Jinski

Mon 19 August

Best Of Broadway

North Sea Gas

Royal Scottish National Orchestra

Tues 20 August

Sun 15 September

Ceilidh

Ceilidh

Big Girls Don’t Cry

Tues 16 July

Sun 21st July

One Night Of Queen Sun 28 July

Sun 25 August

Sun 22 September

Fiddlers’ Rally!

Sun 29 September

23

The Poozies (performing on Sunday 8th September at 8.00pm)

Mark Elstob

Present Laughter

by NoĂŤl Coward

Acts

Daphne Stillington

Karen Fishwick *

Miss Erikson

Jacqueline Dutoit *

Fred

Simon Donaldson *

Monica Reed

Jill Myers *

Garry Essendine

Mark Elstob

Liz Essendine

Irene Allan *

Roland Maule

Joseph Mann *

Henry Lyppiatt

Carl Patrick *

Morris Dixon

Dougal Lee *

Joanna Lyppiatt Lady Saltburn

Martine McMenemy * Jacqueline Dutoit * * eligible for the Leon Sinden Awards

Director: John Durnin Set & Costume Designer: Frances Collier Lighting Designer: Kate Bonney Stage Manager: Maggi Lindsay

The action takes place in Garry Essendine’s studio in Belgravia, London, in the early Summer of 1937.

ACT 1

Around 10.30am

ACT 2

Deputy Stage Manager (book): Emma Lang

Scene 1 Midnight, three

Assistant Stage Manager: Heather Saunderson

Scene 2 Around 10.30am, the

days later following morning

Present Laughter

Cast

ACT 3 Around 9.30pm,

a week later There will be a first interval of 15 minutes between Act 1 and Act 2 and a second interval of 10 minutes between Act 2 and Act 3.

25

Irene Allan in rehearsal

Director’s Notes

So when he chose to write what he called a “light comedy” - a suspiciously disingenuous description - about the trials and tribulations of a matinée idol, Coward drew strongly on his personal and professional experiences, even basing many of the characters on his friends, colleagues and the ‘types’ he encountered. But although he created the role of Garry Essendine as a vehicle for himself, Garry isn’t a self-portrait - more a revealing reflection of the pressures and stresses to which Coward himself was subject.

In both Coward and Garry’s worlds, “charm” is a weapon to keep a legion of devoted fans both entertained and at bay; maintaining an artificial public persona is an exhausting necessity of life; fame is an addiction, the cure for which is too terrifying to contemplate; friends – real friends – are few and far between; and all around circle the predators, the stalkers, the obsessives and the star-struck.

During rehearsals, the cast and I noticed again and again how horribly truthful Coward’s understanding of the true nature of celebrity makes this “light comedy”. And prescient, too: for despite its period setting, the celebrity circus it depicts is even more a part of our world than his. At least Coward and Garry had to work hard, brutally hard, for their success. Nowadays, you can become famous for doing – well, absolutely nothing . . .

John Durnin Director

“The set for Present Laughter is very much based on the entrance hall of Eltham Palace, with its gorgeous wood panelling and incredible marquetry. Garry’s room is adorned with images of classical perfection, watched over by the Greek Muses Thalia and Melpomene. This is Garry’s home, rather than his stage, but it does include some nods to his theatrical nature.

The costumes were an absolute dream to design - the 1930s are a hoard of the most wonderful clothes. Liz Essendine’s black dress is based on one owned by Wallace Simpson, and Joanna is heavily influenced by Joan Crawford in the classic 1939 comedy The Women.

Garry draws heavily on Noël Coward himself.”

Frances Collier, Set & Costume Designer Costume sketch by Frances Collier

Did You Know?

• The play’s title comes from

a song in Shakespeare’s Twelfth Night, which urges carpe diem: ‘present mirth hath present laughter’

•PFT’s scenic artists produced

the inset marquetry panels by projecting line drawings on to a canvas, then painting over and between the lines

• Coward starred as Garry

Essendine in the original production in 1942 and again in the 1947 revival

Present Laughter

Coward understood the concept of celebrity like no other British playwright. Beginning his career during the hedonistic 1920s and achieving international recognition during the 1930s, when Hollywood glamour came to dominate popular culture, Coward rubbed shoulders with all of those accorded this new status, from royalty to socialites to film stars. Indeed, by the time he wrote Present Laughter in 1939, Coward had himself become the first celebrity playwright.

27

NoĂŤl Coward in the Far East, 1930

Noël Coward

by Dr Philip Hoare

Noël Coward in Jamaica, 1950s

In the National Portrait Gallery in London is a bronze life mask of Noël Coward. Cast during the London run of Private Lives in 1930, it gives the most accurate sense of the man’s physical presence at the height of his powers. The features are set majesterially: hair scraped back off a high forehead, a blunt nose, tapering eyes, a resolutely stiff upper lip. When I was writing Coward’s biography, I used to stand in front of the sculpture, as if to commune with my subject. What amazed me was that strange sense of aged youth; of someone whose image – and talent – had somehow become almost timeless.

Noël Coward was born 1899, went on stage at the age of six, and remained in the limelight for the rest of his life. Starting as a role model to a disillusioned post-war generation, he became an adept observer of his age. With plays such as Hay Fever, Private Lives, Blithe Spirit; films – In Which We Serve, This Happy Breed, and Brief

It is that talent for reinvention that makes Coward a man for all seasons. The traditionalists fervently support the cosy Coward circa Brief Encounter; wreathed in the nostalgia of the smoke from a steam train; a stalwart reactionary who declared, in 1965, ‘I am England, and England is me’. The revisionists, conversely, champion the once Bright Young Thing as a pre-Angry Young Man; for them Coward’s subtext is to be sought out and ruthlessly brought to the surface. Like the earnest young Roland Maule, the playwright from Uckfield who comes to plague Garry Essendine - Coward’s alter ego in Present Laughter - they exhort to rise above the superficiality: ‘All you do with your talent is to wear dressing gowns and make witty remarks when you might be really helping people, making them think! Making them feel!’

Present Laughter

Encounter – and musicals – Bitter-Sweet, Conversation Piece, Sail Away – he reinvented himself for each decade. John Osborne called Coward ‘his own creation and contribution to this century. Anyone who cannot see that should keep well away from the theatre’.

Only a writer as self-assured as Coward could afford to satirise himself. As Oscar Wilde remarked, the truth is never pure and seldom simple; and Coward, as the achingly self-referential Present Laughter indicated, used his own iconography in a way which no-one had done since Wilde. He commodified ‘Noël Coward’ for his global audience.

Yet he was more than just ‘a talent to amuse’; as Present Laughter confirms, his was a façade backed by a steely, utterly professional commitment - to his public, to his art, and to himself.

Dr Philip Hoare’s biography of Sir Noël Coward is published by the University of Chicago Press. His latest book, Leviathan or, The Whale won the BBC Samuel Johnson Prize for non-fiction in 2009. His new book, The Sea Inside, is published in June by Fourth Estate.

29

30

A Chorus Of Approval!

Feast at the Festival Restaurant this Summer and enjoy plenty of local and fresh produce prepared on the premises by our team of Chefs. Expect honest, tasty and contemporary dishes.

To help set the scene, our chefs have designed a different menu for each play, including some “themed” dishes named after characters or reflecting the setting of that evening’s play.

Our table service is fast, efficient and designed to ensure that you relax, take in of one the best views from a restaurant in Scotland, (according to The Scotsman), soak up the atmosphere and enjoy dinner with friends, family and loved ones. And best of all, we guarantee you won’t miss curtain up!

If the order of the day is to enjoy a matinée or a visit to the Explorers Garden, our Restaurant and Café Bar offers something to suit everyone: from light bites to good value lunches and daily specials all at a reasonable price.

Whatever you order here at PFT this Summer, we aim to ensure it meets with A Chorus Of Approval.

LUNCH is available seven days a week and includes a range of Daily Specials.

DINNER is prepared on the premises and is served from 6.30pm on Monday to Saturday and on Sunday when a concert is scheduled.

2 Courses £21.95 3 Courses £24.95 The Restaurant is very popular, so please make sure you book early!

A Chorus Of Disapproval DINNER MENU Curtain Up

Tomato and Roasted Pepper Soup Cold Smoked Chicken Salad with a mango dressing

Salmon, Haddock and Crab Fishcake

served with a spiced tomato sauce - Guy’s favourite!

Feta Cheese, Olive and Sun Dried Tomato Salad with a balsamic dressing Act 1

Char-grilled Pork Escalope and Mushroom Gravy served with roast potatoes and turnip fondant

Roasted Breast of Gressingham Duck

served with creamed potatoes, roasted carrots, parsnips and a green peppercorn sauce

Grilled Fillet of Cod on a Bed of Spinach with a sweet potato bhaji and lemon sauce

Daffydd’s Mushroom Strudel

served with a white wine sauce and vegetable and saffron cous cous Act 2

Llewellyn’s Lemon Cheesecake Classic Poached Pear Belle Hélène Banoffee Meringue Nests with a chocolate flake

Trio of Scottish Cheeses and Oatcakes Curtain Call Rack of Lamb and Crème Brûlée photographed (and cooked)

by Head Chef Kacper Cwik.

Costume Sketch: Stanley from Hello, Dolly! by Adrian Rees.

Filter Coffee & Chocolate Mints

31

Logierait Inn est. 1710

www.logieraitinn.co.uk

Logierait, Perthshire PH9 0LJ Tel: 01796 482423

rooms by the river Open all day for Lunch, Pre Theatre and Dinner

Lunch special 2/3 course £12.95/£14.95 Live Jazz last Friday of every month “Where will you be two minutes before curtain up”

tel 01796 472777 www.portnacraig.com info@portnacraig.com

Follow us online:

/oldmillinn

@theoldmillinn

Great Food & Drink ~ Live Music Every Weekend ~ Spacious Modern Accommodation ~ Friendly Staff Check out what’s happening at the Old Mill on our Events website - www.oldmillevents.co.uk Indoor & Outdoor Pre-theatre Dining Available Mill Lane, Pitlochry, PH16 5BH | T: 01796 474 020 | E: admin@theoldmillpitlochry.co.uk | www.theoldmillpitlochry.co.uk

Read what others say about us online: Scan to View our Mobile Website

Dine at Victoria’s Restaurant in Pitlochry & discover delicious food, great service & a welcoming atmosphere!

Breakfasts, Morning Coffee & Lunches from 10am

Chic Evening Dining including pre-theatre meals from 5.30pm Call to book on T: 01796 472 670

We look forward to welcoming you to Victoria’s soon!

Victoria’s Restaurant, 45 Atholl Rd, Pitlochry, PH16 5BX l www.victorias-pitlochry.co.uk l E: fiona@victorias-pitlochry.co.uk

Rothiemurchas Cottages by Marion Douglas River Room Solo Exhibition: 30th July - 19th October

Simply the best for high quality and sophisticated fashion.

Well worth a visit!

First for Property and Legal Services in Highland Perthshire Traditional Values ~ Modern Thinking

ELLA’S OF DUNKELD

Partners: Colin Liddell* • Lesley M Gray • Duncan W Thomson *Accredited as a Charity Law Specialist

7 Bridge Street, Dunkeld, Perthshire PH8 0AH

Tel: 01350 727540

Sizes 10-22 • Open Mon to Sat, 10am to 5pm

visit us at www.jandhmitchell.com 51 Atholl Road, Pitlochry • 01796 472606

Greg Wagland in rehearsal

Single Spies

by Alan Bennett

Acts

An Englishman Abroad Coral

Basienka Blake

Burgess

Greg Wagland

Tolya

Dan Bottomley *

Tailor

Dougal Lee

Shop Assistant

Ben Stock *

ACT 1

Set & Costume Designer: Ken Harrison

An Englishman Abroad takes place in Guy Burgess’s flat in Moscow and in London in 1958.

Lighting Designer: Kate Bonney Stage Manager: Elaine Scott

ACT 2

Deputy Stage Manager (book): Heather Saunderson

A Question Of Attribution takes place in Anthony Blunt’s room at the Courtauld Institute and in a corridor at the Palace in the late 1960s.

Assistant Stage Manager: Emma Lang

A Question Of Attribution Blunt

Dougal Lee

Restorer Chubb

Director: Richard Baron

Ben Stock * Greg Wagland

Phillips

Joseph Mann *

Colin

Dan Bottomley *

HMQ

Basienka Blake

Single Spies

Cast

There will be one interval of 20 minutes between Act 1 and Act 2.

Sponsored by Mrs Katharine Liston, in loving memory of Iain Liston

* eligible for the Leon Sinden Awards

37

Dan Bottomley and Ben Stock in rehearsal

Director’s Notes

On close scrutiny, these documents are a fascinating insight into the security service’s attempts to sort out the public from the private, the lethal from the harmless. The files reveal that my relative’s mail was opened, phone calls tapped, meetings bugged; a note that he was going to give a lecture on Hamlet is filed, as is an intercepted letter asking for his views on the poet Shelley; rather more excitingly, it is reported he was once tailed across London by Kim Philby’s legendary interrogator Jim Skardon as he attended a meeting at Communist Party HQ on “the dangers of new automatic devices being used to replace clerical workers”.

With equal weight, it is also recorded that when asked to advise on suitable reading matter for young Communists, he had written that his two year old son adored “Tootles the Train”. Whatever the merits of this sort of surveillance, it revealed to me how difficult it is to prescribe the logic and limits of the efforts to monitor perceived political threats. As the art historian Blunt says to his interrogator Chubb in Alan Bennett’s play, “Both our professions carry the same risks... a barrenness of outlook, a pedantry that verges on the obsessive, a farewell to commonsense...”

Richard Baron Director

“In Single Spies, two main characters are separated by an Iron Curtain (and an interval); Burgess living in expatriate squalor in Moscow, Blunt remaining in London, researching, writing, teaching and running the Courtauld Institute.

I was interested in suggesting what lies behind these two worlds: the institutional corridors, where everything is documented.”

Did You Know?

• For this play, one of our acting ensemble has had to learn to play the harmonium!

• 60 handmade labels are

carefully placed on this set

• Bennett’s interest in spies was

ignited during the period he served in the Intelligence Corps from 1952 to 1954

• Stalin will appear in this

production - 7.5 metres wide and 3 metres high!

Single Spies

In researching this production of Single Spies, I was hugely intrigued to discover that a member of my own family had been a member of the infamous Cambridge Apostles in the 1930s, knew Anthony Blunt and Guy Burgess, and had been subject to M15 surveillance. Indeed, I found out that twelve files of surveillance records on my father’s cousin, a highly respected but openly Marxist academic, had recently been placed in the public domain.

Ken Harrison Set & Costume Designer 39 Costume Sketches

by Ken Harrison

Alan Bennett Š Caroline Penn/CORBIS

Bennett On Blunt & Burgess

By Alan Bennett

Some years ago a stage play of mine, The Old Country, was running in the West End. The central character, Hilary, played by Alec Guinness, was a Foreign Office defector living in Russia. Hilary was generally identified as Philby, though that had not been my intention, the character having much more in common with a different sort of exile, W H Auden. However during the run of The Old Country friends and well-wishers would come round after the performance, often with reminiscences of Philby and his predecessors, Burgess and Maclean.

One of these was Coral Browne who told me of her visit to Russia with the Shakespeare Memorial Theatre in 1958 and the particular incidents that make up An Englishman Abroad.

The picture of the elegant actress and the seedy exile sitting in a dingy Moscow flat through a long afternoon listening again and again to Jack Buchanan singing ‘Who stole my heart away?’ seemed to me funny and sad but it was a few years before I got round to writing it up. It was only when I sent Coral Browne the first draft of the television film that I found she had kept not merely Burgess’ letters, thanking her for running his errands, but also her original notes of his measurements and even his cheque (uncashed and for £6) to treat her and one of her fellow actors to lunch at the Caprice.

The original script of the television film was quite close to the version now presented on the stage. It had no exterior shots because I knew no BBC budget would run to filming in Moscow or some foreign substitute. I introduced the exteriors only when a suitable (and a suitably economic) substitute for Moscow was found in Dundee.

I have put some of my own sentiments into Burgess’ mouth. “I can say I love London. I can say I love England. I can’t say I love my country because I don’t know what that means”, is a fair statement of my own, and I imagine many people’s position. The Falklands War helped me to understand how a fastidious stepping aside from patriotism could be an element in characters as different as Blunt and Burgess.

Certainly in the spy fever that followed the unmasking of Professor Blunt I felt more sympathy with the hunted than the hunters.

I never met Blunt, but though he seems to have been an altogether less likeable character than Burgess he is a more familiar type, at any rate in academic circles. Championed by his pupils he was less favourably regarded by some of his colleagues, who found him

arrogant and opinionated. There are plenty of dons like this, in whom shyness, self-assurance and deep convictions combine to give an uncongenial impression. Housman and Wittgenstein are perhaps the most distinguished examples. In death such characters are invariably filed under the obituarist’s catch-all “Did not suffer fools gladly.”

In the first play it is suggested that Burgess was a spy because he wanted a place where he was alone, and that having a secret supplies this. I believe this to be psychologically true, but there is a sense too that an ironic attitude towards one’s country and a scepticism about one’s heritage is a part of that heritage. And so, by extension, is the decision to betray it. It is irony activated.

I find it hard to drum up any patriotic indignation over either Burgess or Blunt, or even Philby. No-one has ever shown that Burgess did much harm, except to make fools of people in high places.

Because he made jokes, scenes and, most of all, passes, the general consensus is that he was rather silly. Blunt was not silly and there have been attempts to show that his activities had more farreaching consequences, but again he seems to be condemned as much out of pique and because he fooled the Establishment as for anything that he did. It is Philby who is always thought to be the most congenial figure. Clubbable, able to hold his liquor, a good man in a tight corner, he commends himself to his fellow journalists, who have given him a good press. But of all the Cambridge spies he is the only one of whom it can be proved without doubt that he handed over agents to torture and death.

Single Spies

“When sorrows come, they come not single spies, But in battalions.” Hamlet, IV. v

It suits governments to make treachery the crime of crimes, but the world is smaller than it was and to conceal information can be as culpable as to betray it. As I write evidence is emerging of a nuclear accident at Windscale in 1957, the full extent of which was hidden from the public. Were the politicians and civil servants responsible for this less culpable than our Cambridge villains? Because for the spies it can at least be said that they were risking their own skins as well; the politicians were risking someone else’s.

Of course Blunt and Burgess and co had the advantage of us in that they still had illusions. They had somewhere to turn. The trouble with treachery nowadays is that if one does want to betray one’s country there is no one satisfactory to betray it to. If there were, more people would be doing it.

41

Scotsman

White Christmas, 2012

Times

Herald

Support PFT! Without your support, the high quality theatre productions at PFT just wouldn’t be possible! We have to raise £300,000 each and every year in order to sustain the work for which PFT is renowned and we need your support in helping us to reach this goal in 2013.

DID YOU KNOW: Operating as a charity since 1953, PFT has always relied on the generosity of our supporters to sustain the theatre’s various activities and despite generating 85% of its income itself – a superb achievement, unmatched by any other Scottish producing theatre – PFT’s repertoire model and unique programme require very high levels of investment to achieve the standards that our audiences have come to expect.

If just 10% of the Summer Season audience made an annual gift to PFT of £50 our £300,000 target would be achieved! Larger annual donations of £100 and above would of course make an even greater impact, resulting in bigger shows and musicals, larger casts, more gorgeous costumes, even more spectacular settings – in fact all of the attributes that make Pitlochry Festival Theatre play such a special part in so many people’s lives.

Any donation, especially gifted on an annual basis, will help us plan for and ensure that the quality, breadth and sheer magic of PFT is sustained for years to come. At whatever level you can give, your support for Pitlochry Festival Theatre and the work that it produces will be very much appreciated.

Please pick up a donation form from Box Office or contact Annie Hibberd on 01796 484638.

43

The John Stewart Society The John Stewart Society, named in honour of PFT’s founder “. . . the modest and courageous Scot who ventured his fortune to found the theatre”, provides a select group of supporters with an opportunity to make an important contribution to the development of PFT’s reputation for excellence and to help shape its future.

In recognition of their support and commitment (an annual donation from £2500 for a minimum of three years), we offer each John Stewart Society member an invitation to:

• • •

A Chairman’s Lunch (this year, on Sunday 27th October) Two opening night receptions A Sunday talk at the theatre

In addition JSS members receive:

• • • • • •

Free Season ticket for Explorers Garden Access to selected technical and dress rehearsals Reserved seating in our restaurant A quarterly letter from our Chief Executive Exclusive advance notice of upcoming events The option to take up a free PFT Supporter’s Card

If you would like to find out more about joining The John Stewart Society, please contact Annie Hibberd on 01796 484638 or annie.hibberd@pitlochryfestivaltheatre.com.

The John Stewart Society Mr Roy Cotterill Mr William G Douglas and Mrs Julie Douglas Professor Nick Kuenssberg OBE Mr Colin Liddell Mr Iain McGlashan Mrs Barbara E Mills

44

John Stewart

Mr Lionel Mills Mr Norman L Murray Sir Bruce Pattullo Mr David C Pighills Mr Brian W Ritchie Dr Maurice Taylor Mr Alan G Williams

The Festival Circle Over the last two years, through their regular and one-off donations, Festival Circle donors have proudly supported the work of PFT to the tune of over £200,000! We want to encourage those already ‘in the Circle’ to repeat their regular contributions and to invite new supporters to join us in helping to sustain our ability to deliver large cast productions, exquisitely detailed sets and sumptuous costumes. In short: Festival Circle members – your favourite theatre needs YOU!

Each year you donate £50 or more we will:

• • • • •

Send you a personal letter of thanks acknowledging your donation Send a quarterly newsletter keeping you up to date with special PFT news and insights into how your contribution has helped Invite you to two special Supporters’ Receptions in the Summer Season Give you the option of taking up a Supporter’s Card List your names in thanks in our Summer Season programme (unless you choose to give anonymously)

If you are a tax payer, your Festival Circle donation can be eligible for Gift Aid, which further increases the value of your support. Make sure we have your up to date Gift Aid declaration.

To join the Festival Circle this year pick up a mandate at Box Office to set up a single or regular gift. You can email our Funding Manager, Annie Hibberd on annie.hibberd@pitlochryfestivaltheatre.com if you have any queries.

45

My Fair Lady, 2011

Friends of PFT Membership of Friends of PFT is a great way to get involved with all that’s happening at the theatre, especially for those of you who come to the Theatre in the Hills on a regular basis. There are special discounts on tickets, restaurant, café and PFT Shop purchases for each member, as well as invitations to join other PFT supporters at our hugely popular receptions held twice a year in the Summer Season.

As a Friend of PFT you can:

The 39 Steps, 2012

Opt for a PFT Supporter’s Card for discounts and benefits Receive a quarterly newsletter to keep up to date with special PFT news and events Have access to selected technical rehearsals Meet other Friends and Supporters at our PFT Supporter’s Evenings Receive exclusive special offers for selected PFT performances See your name listed in the Summer Season Programme

Friends Annual Membership Fee: £40 per person

PFT Supporter’s Cards

PFT Supporters’ Evenings

As a Festival Circle donor, Friend of PFT or John Stewart Society member, you can now enjoy the exclusive benefits of the PFT Supporter’s Card.

We really look forward to putting Supporters’ faces to names – so with that in mind we’d like to invite you and your guest to attend one of our PFT Supporters’ Evenings in the River Room. Following a splendid three course dinner with wine, enjoy a unique and revealing introduction to the evening’s production from our Artistic Director, John Durnin. After curtain down, stay and meet the cast and crew as they come off stage for a welcome nightcap and enjoy a lively discussion from both sides of the proscenium arch!

Each card holder will enjoy:

46

• • • • • •

• • • •

£2 off tickets all year round (excluding Band 1 and Season Previews) 10% discount on lunches and dinners (excluding drinks) 10% discount at the Theatre Shop and Just The Ticket! on Atholl Road, Pitlochry.

You can book now through Box Office on 01796 484626 (£50 per person for a ticket and dinner; you may bring one guest for an additional £50).

Buy one, get one free entry into Explorers Garden

Hello, Dolly! Friday 21st June, 6.15pm

Ask Box Office for details: 01796 484626 or boxoffice@PitlochryFestivalTheatre.com

Single Spies Friday 16th August, 6.15pm

PFT Supporters Friends and Festival Circle Members (as at 11th April 2013) Mr H C Abram Dr C K Adam Mr R W Adams Miss Helen Addison Mr M Ainger Mrs C D Aitken Mrs J Akester Mr Archie B Alexander Mr Ronald Alexander Mr and Mrs P Allam Mrs Margaret Allen Mr W D Allen Mrs L Amos Mrs M Anand-Verkaik Mr K D Anderson Miss J M Anderson Miss S M Anderson Mr Arthur Andrews Mrs D Antscherl Rev. and Mrs J Archer Mr Alexander W Armstrong Mr A Arnott Mr and Mrs R A Ashall Mr and Mrs S M Astley Mrs Elizabeth Atherton Mr Russell Auld Mr and Mrs R G Aylmer Mrs F Baikie Mrs M Bailey Mr D Baker Mrs C V Baker Mr and Mrs M Ballantine Mrs K Barber Sir Robin and Lady Margaret Barbour Mr and Mrs Richard A Barfield Mrs I Barrie Mrs M Barrows Mrs Joan Bartin Mr P Bassett Dr S Beadle Mrs Dawn Beaumont Mrs S Beck Mrs A Beck Mrs Barbara Beedie Miss Anne Beeson and Mr Stuart K. Swales Mrs Elisabeth Begley Mr and Mrs J R S Bell Catherine Bell

Mr and Mrs A Bellhouse Mr Sam Benson Miss J S Benvie Mrs D Bernard Mr D M Bertram Mrs K Birrell Mr and Mrs Moray Bisset Mr and Mrs Graeme Bissett Mr and Mrs P Black Miss Elizabeth Black Dr John S Blair Mrs M Bone Mrs Davina Booth Dr Dorothy Booth Mr and Mrs R A Boulton Mr and Mrs J Bowden Mrs Mary Bowers Mr and Mrs A G Bowling Mrs Isobel Bowman Dr Pamela J Boxx Miss D I Bradshaw Rev Isobel Brain Ms E K Brand Mr J M Brennan Mr G Bridge Mr and Mrs E Brodie Dr Cindy Brook Mrs H Brooks Miss E M Brown Mr A K Brown Mr J W Brown Mr Derek Brown Mr and Mrs A C Brown Mrs N Brown Mr I Brown Mr and Mrs J O Brown Mrs M Bruce Ms A Buick Mrs A Burdge Mr J M Burnet Mrs G Burnett Mrs E M Burns Mr Richard Burtles Mrs Lydia Busby Miss Pauline E Bush Miss J Butchart Miss G Cadenhead Miss D M Cairns Mrs Dorothy S Cairns Mrs H Calvert Mr J M Cameron

Mr E M Cameron Mr J M Cameron Mr Peter Cameron Miss E E Campbell Mrs T R Campbell Mr Gordon H V Campbell Mr and Mrs John Campkin Mrs S Campsie Dr C B Capper Dr George W Cardno Mrs Jill Carey Mr David P Cargill Dr J H E Carmichael Mr P Carpmael Mrs Marianne Carruthers Dr A J Carter Mrs Margaret Carter Dr R and Dr T Carter Mr Samuel Carter Mr and Mrs Jeffrey Carter Dr and Lady Roger Cartwright Mrs Pat Caswell Mr G W S Cawthorn Mr George Chapman Mr and Mrs William Charity Mrs C Chorley Mr D J Clark Mr J Clark Mr Ron Clark Mr and Mrs Francis Clark Mrs Sheila Clarke Mr B H Clarkson Mrs and Mr T Clayton Mrs N Clemson Mrs N P Cockerill Mr G Coe Dr Joseph Coleiro Mr John Colledge Neil Combe Mrs F Cook Dr and Mrs Ian Cooper Mr R Cotterill Mr and Mrs Coveney Miss Anne Cowan Mrs Julia Coxon Mrs J L Crabb Miss E Craig Mr Alan Craig Miss E Craig Mrs A Crawford Mrs C Crawford Mr Lyle D Crawford CA JP Ms Ann Crew Mrs I W Crichton Mr Norman Crighton Mrs Brenda B Crouch-Smith Mr and Mrs J Cruikshank Mrs Rachel J Cunningham

Miss H J Cunningham Mrs V C Cutler Mr and Mrs S Daldry Mr Ronald Dalglish Miss C Dalling Mr and Mrs C Davie Miss H Davie Mr and Mrs Henry Davie Douglas Dawson Mr and Mrs Ian De Sales La Terriere Mr Kenneth C Deas Mrs Louise Demetriou Mr and Mrs W Dewar Miss F E Dey Mr A F Dick Mr and Mrs P Dickson Mr Gordon Dilworth Miss Janette W Dobson Miss F Donald Miss L Donaldson Miss E M Donaldson Miss Stella Dorey Miss K and Miss A Dow Mrs Janette Dowson Miss A L Duff Mrs Jane Duff Miss M Dunbar Mrs Margaret Duncan Mrs E Duncan Mr and Mrs L R Dunley Mr and Mrs A Dunlop Mr and Mrs John Dunn Mr and Mrs H Dunn Mr and Mrs C C Dunphie Mr John Durnin Mr G D Dykes Mrs Judith Margaret Easton Mr G S Edgar Mr T Edgar Mr and Mrs G Edwards Miss K D Elder Mr Bryan Ellen Ms Shirley Emery Mrs M Erskine Mrs N Evans Dr and Mrs Keith Evans Mr T C G Fairbairn Robert Fairley Mr and Mrs B W Farnell Mr Alastair J Farrer Mrs Isobel Fenton Mrs Henrietta Fergusson Mr M Fillingham Mrs A Finlay Mr and Mrs Harry W Fisher Mrs L M Flannigan Mrs M Fleck

Mrs C B Flint Mr James F Flint Mr James Flitter Mrs H Forehand Mr John Forgie Dr James W Forrester Miss A T H Forrester Mr and Mrs David Fotheringham Miss M Fotheringham Mrs J C Fowler Dr and Mrs A Fraser Mr and Mrs K W Fraser Mrs M E Fraser Mrs R Fraser Mr and Mrs D Fraser Mr Andrew Frater Mr and Mrs Jeremy Freedman Mr Peter Freeman Miss Jennifer Frost Mr J Fry Dr G Fulcher Mr and Mrs M F Funston Miss J Fyfe Mr Graham Fyffe Mr and Mrs Robert Galloway Mr and Mrs J Galloway Mr and Mrs Eric Galt Mr and Mrs Andrew Gammell Mr Brian Gardner Miss E M Gavin Mrs E Gibb Mr and Mrs J N Gibson Mrs Shirley Gilchrist The Right Honourable Lord Gill Mr Edward Gillan Mr A Gillespie Mr James S Goldie Miss N Gordon Mr Iain A Gow Mr and Mrs P Grace Miss F Graham Mrs Nora Graham Miss C Graham Major R Graham Miss Lorna Grant Mrs Marjorie Grant Mrs June Gray Prof and Mrs Peter Gray Mrs S M Green Mr M Greene Mrs N Grewar Mr Michael F Grey Mr Gordon Grieve Mr G Grossart Mr and Mrs R B Gunkel

Mrs J A Gunn Mr A S Haig Dr Mary B Hall Rev R T Halliday Mr and Mrs A Hammond Prof and Mrs Ronald Harden Miss Shirley-Anne Hardy Mrs Harper Mr J Harrington Mr and Mrs Richard Hartley Mrs F M Havenga Mrs C Haviland Mrs E Hay Mr D K Helm Mrs Sara J Hemsley Dr William A Henderson Mr and Mrs J S Henderson Mrs E Heron Mr M Hewitt Dr D Hicks Mr David Hirst Mr John Hodge Mr and Mrs Blackwood S Hodge Mr Ian Hogarth Dr Estelle Holligan Mr and Mrs A Holmes Mr and Mrs David M Homewood Mr F G Hood Mr and Mrs Allan Hood Mr James Houston Mrs P I Howard Prof and Mrs J G R Howie Mr Peter Howie Prof and Mrs J G R Howie Mr M R Howlett Mr A C R Howman Mr and Mrs David Hudson Mr G and W Huggins Mrs Hughes Dr J K Hulbert Ms Lorna Hutchison Ms Janette Hutson Mr James Inglis Mrs K Inglis Mr and Mrs D Innes Mr M J Jackson Mrs and Mr M Jackson Mrs G James Miss E B Jamieson Mrs M Jarvis Mr H Jenkins Mr and Mrs Frank Jobson Mrs Vera Johnstone Mr and Mrs John Johnstone Mr D S Jones

47

Cont. PFT Supporters

48

Mr Peter J R Jowitt Mr and Mrs N Kennedy Mrs M P Kilpatrick Mr J A King Mr and Mrs A King Dr and Mrs J D Kinloch Miss Helen Kirkwood Miss C Kitchin Prof and Mrs Nick Kuenssberg Mr and Mrs P A Laing Ms Peggy Latter Mr John Lawrie Miss W Lawrie Ms H Learmonth Mrs Lillias Leitch Mr and Mrs R Lindley Mr G Lindsay Mrs Isobel J Lingwood Mrs K Liston Mr J N Lithgow Mrs Marie E Livesey Dr M Livingstone Mrs Fiona Lock Lt Col Norman N Lockhart Mrs Irene R Logan Mr and Mrs M J Long Mr G Love Miss Evelyn G Luke Mrs M MacAndrew Mrs A J MacAulay Mrs M Macaulay Miss Trixi Macaulay Mrs Elizabeth MacBride Miss Pamela H MacCallum Mrs R M MacDonald Mrs E MacDonald Mr T Macdonald Mr R G MacFarlane Mr and Mrs Roy MacIntosh Mrs Jenny MacIntyre Mr and Mrs W K Maciver Mrs Renate MacKay Mrs P MacKenzie Dr Hugh MacKenzie Mr and Mrs I MacKinlay Mr H Mackintosh Miss Margaret MacLeod Dr H MacLeod Miss Jean Macnab Miss Carolyn MacPherson Mrs Antonia Malcolm Mrs M Mailer Mr E J H Mallinson Mr and Mrs A F Maltman Mr Mapleson Miss Jean Marley Mr and Mrs A Marsahll Mr and Mrs D Marshall Mr Ian L Marshall Mr and Mrs J Marshall Mr and Mrs H Martin

Mr and Mrs P Martin Miss Angela Mathers Mrs J A Mathieson Mrs S Matthews Ms Ruth Matthews Mr R J Maxwell Miss Christina Maxwell Mrs G May Mr and Mrs A S Mayer Mrs Dorothy McAllister Mrs J McCall Mrs M McCallum Mrs F McCann Ms Claire McConnell Mr Iain Mcconnell Mrs D P McCosh Miss M E McDougall Dr P J M McEwan Mr John McFarlane Mrs Mary E McGillivray Miss Lorna McGowan Mrs A McIntosh Mr and Mrs M McIver Mr and Mrs A McKechnie Mr D R Mckellar Mr Duncan McKinlay Mrs G McKinna Miss Dorothy McKinna Mrs M McKinstray Mr and Mrs D McLauchlan Mrs Elizabeth M McLay Mrs I McLean Mr and Mrs Derek McLeod Mr and Mrs Graham McNicol Miss E McSkimming Mrs Jan Meggat Mr and Mrs R M Meldrum Mr S Mellanby Dr Elaine Melrose Mrs C Melville Cox Mr James D Menzies Mr and Mrs N Merchant Mrs A Merry Mrs Metcalfe Mr and Mrs Robert Middleton Mrs S J Millar Mr and Mrs James Millar Mr Stewart M Miller Miss D M N Miller Mrs C M Miller Mrs Wendy Miller Mr John K Miller Mr David Miller Mr and Mrs Lionel Mills Miss Claire A M Milne Mrs Margot Minto Mr and Mrs John F Mitchell Mr James H F Mitchell Mr R J Mitchell Mrs Alison Mitchell

Ms Sandra Mitchell Mr J F Moffat Mr and Mrs A Morris Mr J W Morrison Mr Kenneth Morrison Mr J W Morrison Mr David J Mortimore Miss I Morton Mrs I Moss Mrs Jeanette F Mudie Miss Sheila Muir Mrs Dorothy Muir Dr B Muir Miss Yvonne E Munro Mr James M Murdoch Mrs Betteane Mure Mrs Jean Murray Mr Ian R Murray Miss G Nankivell Mr and Mrs A Newport Miss Audrey Nixon Miss Sally North Miss A Oakden Mr and Mrs F R Ogden Mr Brian and Dr Moira Ogilvie Miss E Ogilvy-Wedderburn Mrs M Ogston Miss E Oliver Mr and Mrs G M Orr Dr Kirsten Oswald Mr Nigel Parker Mrs D Paterson Miss M Paterson Mr C R G Paul Mrs P Payne Mr G G Pearson Mr J R Pearson Mrs Moira Perritt Mr David Perry Mr David Perry Mrs A Persson Miss Dorothy Peterson Ms Anne F Philip Miss Veronica Pinney Dr P R Pinnock Mrs June Pirnie Mrs Margaret E Platt Mr and Mrs David Plum Mr and Mrs G Pont Mr R Potts Mrs J Pour-Reza Mr Andrew Power Mr and Mrs D L Prebble Mrs Eileen Prentice Dr Ian and Mrs Sheila Preston Mrs V Provan Mr R Pugh Mrs M Pullar Mr Peter John Pumphrey Mrs Shelia Purdie

Ms Margery Ramsay Mrs M Rattray Mr Michael Reekie Sir and Lady William Reid Mrs J A Rennie Mrs E W Reville The Rey Family Mrs Joan Richardson Mr Ian and Miss Margaret Robert Mrs Margaret Roberts Mrs A L M Robertson Mr Eric Robertson Mrs Frances Robertson Mr and Mrs J S Robertson Mrs M Robertson Mr and Mrs Keith Robinson Miss Diana Robison Ms Dot Rodger Mrs Kathleen Rogers Mr and Mrs S Rose Mrs J Rose-Miller Miss Marjory M Ross Mr and Mrs Iain Ross Mr S A Ross Mrs K M Ross Mr and Mrs M J Roth Mr R M Rowan Mr R Roy Mr and Mrs Royle Mrs J Roynon-Jones Mr Gordon G Ruffle Mrs C Russell Col and Mrs C J F Russell Mrs J A Saunders Mr Brian Scanlan Christine Schmitt-Mackinnon Ms Lauralin Scott Mrs Patricia Scott Mr W M Scott Mr R M Scott Miss M Scott Mr Jeffrey Screeton Mr and Mrs David Scruton Mr A F S Seale Mrs Joan Seath Mr and Mrs L Seddon Rev and Mrs W Shannon Mrs Eileen Sheldon Mr and Mrs D Shepherd Mrs D Sheriffs Mr Garth Shone Mr D A Sillito Mrs C Simms Mrs R Simpson Mr W A Sinclair Mr N Sinclair Mrs Kathleen Sinclair Mr Derek Skelhon Mr Alastair Sligh Mrs Barbara Smith

Mrs C Smith Dr G H Smith Dr and Mrs Peter Smith Prof and Mrs R A Smith Sir Robert Smith CBE Mrs V Smith Mrs Winifred Soutter Dr Hilda Spear Mr Henry Speirs Mr and Mrs W Spence Mrs K B Spurgin Mr John Steel Miss Katherine Steel Dr and Mrs William M Steele Mrs Doris Stewart Mr and Mrs Charles Stewart Mr I C Stewart Mr Robert D Stewart Mrs P C Stewart Mrs J A Stewart Miss A A Stewart Miss N C Stewart Alastair Stewart Mrs J A Stewart Mrs D Stogdon Mrs Margaret Stone Mrs Michelle Stott Mrs Helen T Strachan Mrs Janet Straub Mr P Stuart Miss Jane Stuart Brown Miss Jean F Sutherland Mr and Mrs Hamish Swan Mrs Janet Swan Mrs Anne Sweetman Miss Margaret H Taggart Mr Alan Tarr Miss M Taylor Mr and Mrs Gordon Taylor Mr J Taylor Mrs H Taylor Lady Tedder Miss R E Teggart Miss J W Templeton Mr and Mrs M Thomson Mr Peter I M Thomson Mrs Margaret Thomson Miss E Thomson Miss Irenie Thomson Miss K I M Thornton Mr and Mrs J Thouless Dr Hilary Tillett Dr and Mrs Alan S Tricker Mr C Trueland Miss P Tully Mr and Mrs Roger Turnbull Mrs M Tyrrell Rev Geoffrey H Underwood Mr P Uphill Dr and Mrs J M Urquhart

Mr Robin and Mrs Barbara Vaughan Mrs Yvonne Vincent Miss J Wake Ms Joyce Wake Mrs Sandra Walker Mrs Eleanor Walker Mr James Walker Mr Thomas Walker Mrs M Wallace Mr and Mrs Neville Wallace Mr and Mrs Richard Waller Reverend and Mrs J Watson Miss Yvonne Watson Mr and Mrs Ian Watson Mrs E Watt Mrs Evelyn Watt Mrs Helen Watt Dr A E Weatherhead Mr D Webb Mrs H Webb P C Webb Mrs Isobel F Weighton-Smith Mr and Mrs Mike Weir Mr and Mrs Alex Welch Miss Moira A West Miss R A Whalley Mr John Whitehead Dr Thomas A Whitelaw Miss Elizabeth G Whitelaw Mrs F Whittaker Lesley Whitwood Mrs Linda Whyte Mr James Wilcox Mr and Mrs E G Wilkowski Mr and Mrs Frank Will Brenda Williams Mr A G Williams Mr R Williamson Mr Michael G Williamson JP DL Mr R Williamson Mr and Mrs A Wilson Miss Alison H Wilson Mr W O Wilson Mr Sandy Wilson Mr J Wilson Mrs Susan M Wompra Mr and Mrs M Wooderson Mrs and Mr Joan Wooding Mr Eric Wright Linda Wright Mr and Mrs D Yorston Mr and Mrs H K Young Mr and Mrs J Young Mrs Joan Young Mr and Mrs Yule

Benefactors, Legacies, Trusts and Foundations Carole and Tony Newport Mr Peter Pejacsevich Alastair Sligh Dr W M and Mrs J B Steele Mrs I W Stewart Alex and Margaret Welch Tony and Betty Whetstone Roy Wilson General Manager 1961 – 1995

Star Players Mrs June and Mr Archie Bennett Mr W Gavin Douglas Miss Isobel G MacKenzie

Gold Benefactors Mr Ian Brown and Ms Nikki Axford Miss Ann and Miss Elizabeth Boyd Mr Gordon and Mrs Evelyn Hallewell Lawson and Betty Heron Mr Blackwood and Mrs Elma Hodge Mrs Katharine Liston Mr and Mrs W K Maciver Mr and Mrs Duncan Mackintosh Jowitt Mr Stewart M and Mrs Margaret M M Miller Mr Norman and Mrs Pam Murray Mr C David Pighills Derek and Janice Reid David and Irene Shepherd Alan William Siddall Mr Alan G Williams Sir Ian Wood

We are also grateful for legacies received from: Chimneys, 2006

Silver Benefactors

Benefactors

Richard and Marelyn Aylmer Anne R H Beeson and Stuart K Swales Mavis and Fergus McGregor Fleming Michael and Katriona Funston Elizabeth MacBride Roger and Myra Turnbull Lord and Lady Vallance

Dr Pam Boxx Mr Alan Craig Ian and Alena Dunn Mr Barrie and Mrs Joan Farnell Michael and Katriona Funston Mr and Mrs N H Gill Sir Matthew Goodwin Mrs Mary Hall, Kirkcaldy, Fife Walt Hopkins Martyn James Margaret MacLeod David B Marshall Mrs Elizabeth N Marshall

Mrs Shirley James Miss Christina Forbes Joyce James Heaney Miss Isobel G MacKenzie Mr George Pate Mrs Robina Ripley

Trusts and Foundations A Sinclair Henderson Charitable Trust The Brown Forbes Memorial Fund The Cruden Foundation The Dunard Fund The Foyle Foundation The Northwood Charitable Trust The Robertson Trust The Sir Maxwell Harper Gow Charitable Trust

We would also like to say thank you for the numerous generous donations from our Supporters who have chosen to remain anonymous

49

Festival Wine Club Launched almost a year ago, membership of PFT’s wine club is automatic when you purchase your first case – there is no joining fee!

In addition to special seasonal offers, members receive invitations to exclusive events and free advice on cellaring, buying and selling wine. See page 29 of our Summer brochure for more details or visit our website. In addition, and perhaps more importantly, in return for every case you buy, Pitlochry Festival Theatre will receive £10 from Corney & Barrow – so you get great wine and help raise much needed funds for your and Scotland’s favourite theatre.

Arsenic And Old Lace, 2012

Other Ways to Support Dedication Plaques Summer Lightning, 2006

You may have noticed the array of Gold, Silver and Bronze plaques on the wooden panels along the balcony in the heart of the Café Bar. These have been dedicated by our kind patrons, both past and present, who have cherished their visits to Pitlochry Festival Theatre over the years. If you would like to remember someone who has had ‘many happy years of theatre visits’ or celebrate a special anniversary in this way, you can ask at Box Office for more information.

Play Dedication Scheme

Dear Brutus, 2012

After a tremendous response for sponsors for plays in the 2013 Summer Season, we are offering this opportunity again, for the Christmas Production – It’s A Wonderful Life - as well as for each of the productions in 2014. If you would like to give your support to a favourite play, please register your interest as soon as possible. We shall not only let you know immediately when the final list of 2014 productions has been decided, but will proudly publish that support – with your special dedication – wherever the play is promoted: the brochure, website, posters, programmes – even the individual play menus. Contact Annie Hibberd on 01796 484638 or by email annie.hibberd@pitlochryfestivaltheatre.com.

Save Our Car Park!

Severe weather conditions and the many thousands of visits to White Christmas, Winter Words and the early Spring concerts took a real toll on our customer car park. Work has recently taken place to repair numerous potholes and cracks in the tarmac. We are currently assessing longer term options to ensure that it is looking its best, safe and fully functional for years to come. If you would like to help us achieve this goal, why not donate to the Save Our Car Park! fund. Pick up a form at Box Office or contact Annie Hibberd on 01796 484638 or by email: annie.hibberd@pitlochryfestivaltheatre.com.

An Ideal Husband, 2010

51

Simon Donaldson and Jessica Guise in rehearsal

Lady Windermere’s Fan

by Oscar Wilde

Acts

Lady Windermere

Jessica Guise

Director: Richard Baron

Parker

Greg Wagland *

Set & Costume Designer: Adrian Rees

Lord Darlington

Simon Donaldson

The Duchess of Berwick

Jacqueline Dutoit *

Lady Agatha Carlisle Lord Windermere

Karen Fishwick * Alex Scott Fairley

Mr. Dumby

Mark Elstob *

Lady Plymdale

Irene Allan *

Lady Stutfield

Wendy Paver *

Mrs. Cowper-Cowper

Martine McMenemy *

Lady Jedburgh

Jill Myers *

Mr. Hopper Lord Augustus Lorton

Dougal Lee *

Cecil Graham

Ben Stock *

Mrs. Erlynne

Basienka Blake

Lord Paisley

Dan Bottomley *

Rosalie

Stage Manager: Elaine Scott Deputy Stage Manager (book): Maggi Lindsay

ACT 1 The Morning Room in Lord Windermere’s house in Carlton House Terrace, Tuesday, 5.00pm ACT 2

Assistant Stage Manager: Emma Lang

The Drawing Room in Lord Windermere’s house, Tuesday evening

Sponsored by Ken and Ginnie Maciver

ACT 3

Sponsored by Joseph Mann * The Kuenssberg Charitable Foundation

Robin Harvey Edwards *

Sir James Royston

Lighting Designer: Kate Bonney

The action takes place in London in the early 1890s over a period of 24 hours

Lady Windermere’s Fan

Cast

Lord Darlington’s rooms, later that night ACT 4 The Morning Room at Lord Windermere’s house, Wednesday, 1.30pm There will be one interval of 20 minutes between Act 2 and Act 3.

Wendy Paver * All other parts played by members of the cast * eligible for the Leon Sinden Awards

53

Alex Scott Fairley in rehearsal

Director’s Notes

Wilde’s avant garde fascination with the actor/audience relationship achieved famous expression in his curtain speech on the first night of Lady Windermere’s Fan, when he congratulated the audience “on the success of your performance, which persuades me to think you think almost as highly of the play as I do myself.” And his philosophical conviction that “Artists are the future” encouraged him to pursue his forward-thinking belief in women’s liberation by playing with and subverting a highly conservative and well-trodden theatrical form; the French boulevard drama.

By using the outward conventions of these popular plays, Wilde was able to hold up a mirror to his fashionable audience and thoroughly challenge the dogma on which the revengeful, patriarchal morality of London society was based. As Wilde shrewdly noted, “Delightful work may be produced under farcical conditions, and in work of this kind the artist in England is allowed very great freedom.” By 1893 the reviewer of Lady Windermere in the Athenaeum had finally got it about right when he perceived: “Mr. Wilde shows himself a revolutionary and an iconoclast.”

“I searched for images of motherhood to inspire the designs for the home of Lord and Lady Windermere, but depictions of a much earthier, salacious nature for the rooms of Lord Darlington.”

Did You Know?

• There are many famous Oscar Wilde quotes which have emanated from this play – “We are all in the gutter, but some of us are looking at the stars”, being one of the most recognisable

• It’s perhaps no coincidence that Wilde was staying in the Lake District when he started to write this play!

• A musical theatre version of

the play was created by Noël Coward in 1954, under the title After The Ball

Lady Windermere’s Fan

Oscar Wilde’s wit and comic genius have always been acknowledged but often grudgingly or with an undercurrent of disparagement. The early critics hardly knew how to take him and failed to grasp the subtlety and modernity of his work. “As far as I can ascertain”, mocked George Bernard Shaw, “I am the only person in London who cannot sit down and write an Oscar Wilde play at will.” According to Shaw, Wilde was the only “thorough playwright” because “he plays with everything: with wit, with philosophy, with drama, with actors and audience, with the whole theatre.”

Adrian Rees, Set & Costume Designer

Richard Baron Director

55

Costume Sketches by Adrian Rees

Oscar Wilde © Bettmann/CORBIS

A Play About A Good Woman “I will have no one in my house about whom there is any scandal.” Lady Windermere (Act 1) In four years of intense creativity Oscar Wilde completed four great comedies – Lady Windermere’s Fan (1892), A Woman Of No Importance (1893), An Ideal Husband and The Importance Of Being Earnest (both 1895) – and both the French (1893) and the English (1894) versions of Salome. With lavish and star-filled productions at the St James’ and the Haymarket Theatres in London, the comedies secured Wilde’s standing as the greatest wit and leading social commentator of his age, just as his personal reputation was about to be destroyed in the courts.

Lady Windermere’s Fan is the earliest and the most biting of Wilde’s comedies: a bitter and angry tone, as well as deep, heartfelt emotions, breakthrough the play’s studied patina of social respectability and clever sayings, drawing-room wit and ballroom intrigues. In a play set in an elite London society, populated by indulged, leisured aristocrats and clever, rising politicians, Wilde undertakes a bold critique of social hypocrisy and this ‘game of marriage’ by mapping, paralleling and dissecting a series of matches, courtships and seductions. He admits that marriage might be a meeting of minds, a shared affection or even a romantic love-match; but he also recognises that it can be a rather more public negotiation of money, position and reputation within a closed and insular society of show and affectation.

The young, naïvely puritan Lady Windermere is convinced that her husband is conducting an affair with the intriguing Mrs Erlynne. Lord Windermere is certainly sponsoring Mrs Erlynne’s reintroduction to society, including inviting her to his wife’s birthday celebration in their home, but the reason for this support is a more dangerous secret than an affair: Mrs Erlynne’s past ties her inextricably to Lady Windermere and she is using that information to blackmail Lord Windermere. Fears about her husband’s straying affections, a series of misunderstandings and panicked decisions jeopardise Lady Windermere’s reputation – exposing her to louche Lord Darlington’s seduction plot – before the truth about Mrs Erlynne is revealed in an unique act of social sacrifice and moral agency. Lady

Windermere may be the play’s eponymous heroine but Wilde’s subtitle, ‘A Play about a Good Woman’, puts Mrs Erlynne, her past and her choices centre stage. Society – represented on stage by the Duchess of Berwick but also embodied by the audience itself – is both fascinated and repelled by Mrs Erlynne. She is a ‘wicked’ woman with a chequered past and she has transgressed. She abandoned her infant daughter for a lover and has had numerous relationships since then. She is blackmailing Lord Windermere and courting the Duchess of Berwick’s rich if ‘disreputable’ brother. But Mrs Erlynne is also a rich, flawed, human creation with a degree of insight, self-awareness and social understanding that is unmatched by Wilde’s other characters. In a world of strict social codes, conventions, traditions and rules, Wilde ascribes to Mrs Erlynne a unique degree of agency, power and perspective won from being an outsider and being able to see through the masks, tricks and pretence of society. Despite its hypocrisy, the security of being in society is, for Wilde, a potent draw and a tangible benefit. By accepting charges of immortality, Mrs Erlynne surrenders any hope of returning to polite society and condemns herself to exile in order to save Lady Windermere’s reputation and family life.

Lady Windermere’s Fan

by Adrienne Scullion

Lady Windermere’s Fan is a play with many of the pleasures of Wilde’s gilded stagecraft clearly on show. In it are to be found two of his best-known aphorisms: in Act One the rakish Lord Darlington proposes that he ‘can resist everything except temptation’; whilst in Act Three he muses in more melancholic vein that ‘we are all in the gutter, but some of us are looking at the stars’. But alongside the wit and the humour, Lady Windermere’s Fan is a challenging play of wisdom and moral daring. There is no cathartic moment of shared disclosure or mutual celebration. Instead, characters collude to keep close secrets and censor the truth. But nonetheless change is effected as Lady Windermere – and with her the audience – adapt, forgive and compromise. At the play’s end, the Windermeres’ marriage endures but it does so rather bleakly and only because of the sacrifice of Wilde’s flawed good woman.

Adrienne Scullion teaches in the School of Culture and Creative Arts at the University of Glasgow.

57

Meconopsis ludlowii, a species new to science

A four star VisitScotland attraction, Explorers is 10 years old in 2013!

Located adjacent to Pitlochry Festival Theatre, Explorers spans six woodland acres and is divided into different continents, each of which features plants, trees and shrubs discovered by Scottish Plant Hunters.

Bio Diversity Project

What’s On This Summer

Julia Corden, Explorers Garden Manager, and the Explorers volunteers have been extremely busy over the past few months progressing a Bio Diversity Project which will see the general grounds and car parks of PFT gradually turning into a haven for insects, bumble bees and other small wildlife. Grassy areas will be over-seeded in November 2013 with Yellow Rattle (pictured), a beautiful parasitic plant which latches on to grass, limiting its growth so that it retains its nutrients for longer.

This in turn will attract insect and bumble bee populations and establish a subsequent growth in the local bird population, both Yellow Rattle in size and diversity.

WALKS • WORKSHOPS • EXHIBITIONS • TOURS

Eventually, special ‘Bug Hotels’ will be placed around the PFT campus, providing a safe home for the insect population to take shelter in bad weather and to encourage propagation of species.

The Biodiversity Project could not have been completed without a grant from The Brown Forbes Trust, Perth and Kinross Community Environment Challenge and Biodiversity Tayside.

All in all, it’s an important, exciting and innovative venture. Look out for news of further developments and updates!

Join us in June (dates to be confirmed) as Explorers launches a short series of guided walks in search of Bats, Swifts and Bumble Bees.

Log on to explorersgarden.com for updates.

India’s Hidden Treasures is a photographic exhibition - sponsored by Scottish Rock Garden Club - which features over 50 rare and unusual botanical, and landscape images captured during Julia Corden’s recent plant hunting expedition to the remote North East Corner of India this year.

Julia specifically explored high alpine passes in search of new and rare species, in particular Meconopsis and Primulas as well as discovering plants not seen since the 1940s when the famous plant hunters, Sherrif and Ludlow, were last in this area of The Himalayas.

Celebrating 80 years of The Scottish Rock Garden Club: 1933 – 2013 This exhibition features a range of photographic images taken by members of the group. SRGC was initially formed by a group of enthusiasts, and has grown to be Scotland’s largest horticultural society.

Both exhibitions are on display in the David Douglas Pavilion until 3rd November. Entrance is free to anyone with Explorers entry.

Back by popular demand, Birchcraft and Willow Weaving workshops will once again take place this September. See page 35 of the Summer brochure for full details of these workshops and weekly Guided Garden Tours - a wonderful way in which to bring the garden to life!

59

Martine McMenemy in rehearsal

Two

by Jim Cartwright

Cast

Act Carl Patrick

Landlady

Martine McMenemy All other parts played by the cast

Director: Ken Alexander Set & Costume Designer: Charles Cusick Smith Lighting Designer: Kate Bonney

The action takes place during one night in a pub in the north of England over 20 years ago.

There will be one interval of 20 minutes between Act 1 and Act 2.

Stage Manager: Elaine Scott Deputy Stage Manager (book): Marianne Forde

Two

Landlord

Assistant Stage Manager: Heather Saunderson

61

Carl Patrick in rehearsal

Director’s Notes Pubs, churches and theatres all have things in common. They are places we go to share, celebrate and reflect; places we go to seek solace, deal with our fears or search for reassurance; places where we can be challenged, instructed and enlightened; places where we can experience collective gatherings, intimate communion or total isolation.

Since it was first performed in 1989 a lot of the neighbourhood pubs that are represented by the play have gone into decline or disappeared altogether. Recently I have spent quite a bit of time working in Liverpool, and travelling out from the city centre you see many old Public Houses that are now under-used or lying boarded up and empty - or occasionally transformed into slick, contemporary clubs, gastro-pubs or cut-price drink until you drop bars. Reflecting on this as we began to develop the production, we hit upon the notion that places like churches, theatres and pubs always have a particular atmosphere, whether they are busy or quiet – and even when they are empty there is a sense of energy left behind by the people who have used the buildings over the years. This led us to the idea of those voices, impressions and experiences coming to life out of an old abandoned pub, as it reflected back to us the lives and stories that had been witnessed by it – the comedy, the tragedy, the joy, the pain.

We hope you enjoy your night out at our Local.

Ken Alexander Director

Two

In his play, Jim Cartwright explores all of this through the lives of the Landlord and Landlady of a northern English Pub and their many and varied customers. Apart from the economy of having two actors play all of the characters, through a kind of two-person prism he is able to show the many and complex facets of the human condition.

Costume sketches by Charles Cusick Smith

“A bar that has the ghostly presence of the customers whose sad , lonely and in some cases tortured lives are reflected in a the image of shattered pub mirror” Charles Cusick Smith, Set & Costume Designer

Did You Know?

• Jim Cartwright’s work has been translated into over 35 languages

•His plays are on both school •

and university curriculums

He remains true to his roots and lives in Lancashire, where he was born

•The set is designed to fit

into the back of a box-sided transit van!

63

Jim Cartwright Š Trevor Leighton / National Portrait Gallery, London

The Work Of Jim Cartwright The critic Michael Billington called him “British theatre’s most exciting discovery of the 1980s”. He is also one of the most successful.

According to the man himself, “every night somewhere in the world someone is buying a ticket for a Jim Cartwright play”.

where Cartwright was born in 1958. This time, as we know from this season’s Pitlochry Festival Theatre production, the playwright gave two actors the challenge of playing 14 characters in a northern English pub.

This son of a Lancashire factory worker is part of a tradition of northen English writers that includes Shelagh Delaney, Willy Russell and John Godber. Like them, he focuses on working-class characters, juxtaposes the bleak and the comic and revels in a love of language, both demotic and poetic. And like them, he tempers his warts-andall portrayals of ordinary people with humour, compassion and political understanding.

Next, he was turning his hand to a musical. Eight Miles High (1991), was a return to the hippy days of the summer of love and featured the songs of Jimi Hendrix, Janis Joplin and Joni Mitchell. A production at the Reykjavik City Theatre in Iceland broke box-office records and ran for a year. It was far from being Cartwright’s only international success: his plays have been translated into 30 languages.

Cartwright, though, stands out in his willingness to play with theatrical form. His debut play Road, first seen at London’s Royal Court in 1986, took the audience on an episodic state-of-thenation tour of an unlovely Lancastrian street in the company of the hard-drinking narrator Scullery. One minute, it’d be a stream-ofconsciousness monologue, the next, it was a scene of heightened drama. The Sunday Times called it “a northern Under Milk Wood, high on pills and booze”.

If that play was unnusually structured, his next one was even more so. Bed, which opened at London’s National Theatre in 1989, offerered us the surreal vision of seven elderly people lying alongside each other in a huge bed and trying to get to sleep. “Its insights into the twilight world of old age are remarkable,” said City Limits, not something you expect of a playwright who was only just into his 30s.

Two (originally known as To) appeared in the same year at the Octagon Theatre in Bolton, the nearest large town to Farnworth

Two

by Mark Fisher

He is most famous for The Rise and Fall of Little Voice, the 1992 ugly-duckling story about a shy girl from a troubled background who has an incredible gift for mimicing the vocal talents of the great torch singers. Cartwright wrote the central part for Jane Horrocks, who had appeared in a production of Road. After her hit West End run, she reprised the role in the movie version alongside Brenda Blethyn and Michael Caine. Like so much of his work, it showed a character struggling to find her true identity in the face of repressive social circumstances.

Subsequent plays include I Licked a Slag’s Deoderant, Prize Night, Hard Fruit and, his most recent, A Christmas Fair. That’s in addition to television work such as Vacuuming Completely Nude in Paradise and Johnny Shakespeare, and not forgetting his 2008 novel Supermarket Supermodel, described by one critic as “a rollicking, sexy, pacy yarn”.

MARK FISHER is a freelance writer, editor and theatre critic. He is the author of The Edinburgh Fringe Survival Guide (Methuen Drama).

65

PLAY DIARY Matinée 2.00pm

Evening 8.00pm

MAY

Evening 8.00pm

FRI

5

Present Laughter

FRI

24

Hello, Dolly!

SAT

6

Single Spies

SAT

25

Hello, Dolly!

Hello, Dolly!

MON

8

A Chorus Of Disapproval

Hello, Dolly!

THUR 30

A Chorus Of Disapproval A Chorus Of Disapproval

TUE

9

Hello, Dolly!

FRI

WED

10

Present Laughter

31

Hello, Dolly!

JUNE SAT

1

THUR 6 FRI SAT

8

Hello, Dolly!

THUR 11

Single Spies

Hello, Dolly!

A Chorus Of Disapproval

FRI

12

Hello, Dolly!

Present Laughter

Present Laughter

SAT

13

A Chorus Of Disapproval

A Chorus Of Disapproval

THUR 18

Present Laughter

Hello, Dolly!

FRI

19

Single Spies

Single Spies

SAT

20

Hello, Dolly!

MON

22

7

THUR 13 FRI

14

SAT

15

A Chorus Of Disapproval Present Laughter

Present Laughter Lady Windermere's Fan

Lady Windermere's Fan Single Spies

A Chorus Of Disapproval Hello, Dolly!

Present Laughter

TUE

23

Lady Windermere's Fan

24

Single Spies

MON

17

Single Spies

WED

TUE

18

Hello, Dolly!

THUR 25

A Chorus Of Disapproval

WED

19

FRI

26

Hello, Dolly!

Present Laughter

A Chorus Of Disapproval Present Laughter

THUR 20

Lady Windermere's Fan

Single Spies

SAT

27

29

Single Spies

Lady Windermere's Fan

FRI

21

Hello, Dolly!

MON

SAT

22

A Chorus Of Disapproval

TUE

30

Present Laughter

MON

24

Hello, Dolly!

WED

31

Hello, Dolly!

TUE

25

A Chorus Of Disapproval

AUGUST

WED

26

Present Laughter

A Chorus Of Disapproval Single Spies

THUR 27

Present Laughter

Present Laughter

THUR

1

Single Spies

FRI

2

A Chorus Of Disapproval

FRI

28

A Chorus Of Disapproval

SAT

3

SAT

29

Hello, Dolly!

MON

5

Single Spies

TUE

6

Hello, Dolly!

WED

7

A Chorus Of Disapproval

Single Spies

JULY 66

Matinée 2.00pm

Hello, Dolly!

Hello, Dolly!

Lady Windermere's Fan

MON

1

Single Spies

TUE

2

Present Laughter

THUR 8

Lady Windermere's Fan

Hello, Dolly!

FRI

9

Present Laughter

A Chorus Of Disapproval

SAT

10

WED

3

Present Laughter

THUR 4

BOX OFFICE: 01796 484626

A Chorus Of Disapproval Single Spies

“The stylistic equivalent of a West End producing theatre set against a picture-postcard backdrop of rolling Perthshire hills” The Herald

Matinée 2.00pm

Evening 8.00pm

Matinée 2.00pm

Evening 8.00pm

MON

12

Hello, Dolly!

TUE

17

Lady Windermere's Fan

TUE

13

A Chorus Of Disapproval

WED

18

Lady Windermere's Fan

Single Spies

WED

14

Hello, Dolly!

Present Laughter

A Chorus Of Disapproval Lady Windermere's Fan

THUR 15

THUR 19

Present Laughter

FRI

20

Hello, Dolly!

FRI

16

Single Spies

SAT

21

SAT

17

Hello, Dolly!

MON

23

Single Spies

WED

21

Two

TUE

24

Present Laughter

Lady Windermere's Fan

WED

25

Hello, Dolly!

THUR 22

Lady Windermere's Fan Two

A Chorus Of Disapproval Two

Present Laughter

FRI

23

A Chorus Of Disapproval

THUR 26

SAT

24

Hello, Dolly!

FRI

27

Two

MON

26

Present Laughter

SAT

28

A Chorus Of Disapproval

TUE

27

Two

MON

30

WED

28

Two

Hello, Dolly!

Lady Windermere's Fan

A Chorus Of Disapproval

OCTOBER

THUR 29

Single Spies

FRI

30

Single Spies

SAT

31

Lady Windermere's Fan

Present Laughter

SEPTEMBER

Hello, Dolly!

Single Spies

Lady Windermere's Fan

Lady Windermere's Fan

TUE

1

Hello, Dolly!

WED

2

Hello, Dolly!

Present Laughter

Single Spies

THUR

3

FRI

4

A Chorus Of Disapproval Single Spies

MON

2

Hello, Dolly!

SAT

5

Lady Windermere's Fan

TUE

3

A Chorus Of Disapproval

MON

7

Two

A Chorus Of Disapproval

WED

4

A Chorus Of Disapproval Two

TUE

8

Two

THUR

5

Present Laughter

Single Spies

WED

9

Two

Hello, Dolly!

FRI

6

Lady Windermere's Fan

THUR 10

Hello, Dolly!

Lady Windermere's Fan

SAT

7

Present Laughter

FRI

Hello, Dolly!

11

Single Spies

MON

9

Two

SAT

12

TUE

10

Single Spies

MON

14

A Chorus Of Disapproval Present Laughter Hello, Dolly!

WED

11

Single Spies

A Chorus Of Disapproval

TUE

15

Present Laughter

THUR 12

Hello, Dolly!

Lady Windermere's Fan

WED

16

Present Laughter

Two

Hello, Dolly!

A Chorus Of Disapproval

FRI

13

Present Laughter

THUR 17

SAT

14

Hello, Dolly!

FRI

18

Lady Windermere's Fan

MON

16

A Chorus Of Disapproval

SAT

19

Hello, Dolly!

Two

pitlochryfestivaltheatre.com

Single Spies

67

The Leon Sinden Awards

YOUR VOTE COUNTS! Vote for the Best Actor & Actress in a Supporting Role in the 19th Leon Sinden Awards.

These awards, unique to PFT, continue to be a very popular way for our audiences to acknowledge and appreciate an outstanding performance by members of the PFT ensemble.

These awards remain a testimony to Leon Sinden and to the repertoire system itself, in that the only criteria is that the actor must be in a supporting role (indicated by a * against the actor’s name in the programme cast list for each show and against the characters’ names on the matrix on the right) and that no-one can win the award more than twice!

Emily Altneu in Dear Brutus

Dougal Lee in Communicating Doors Leon Sinden and 2012 winners

Voting is easy!

Winners 2012

Just pick up and complete a voting card from the Box Office or Festival Shop and post it in the special box located in the foyer.

Last year’s winner of Best Supporting Actress was Emily Altneu for her portrayal of Margaret in Dear Brutus. Dougal Lee picked up the award for Best Supporting Actor for his performance as Reece, in Communicating Doors.

The winners are announced and presented with their awards on stage at the end of the final performance of the Season, which this year, will be Saturday 19th October.

68 Leon Sinden in Storm In A Teacup, 1981

More about Leon Sinden With the curtain drawn on the last performance of An Ideal Husband in the 1994 season, Leon Sinden bade a fond farewell to performing at Pitlochry Festival Theatre. So strong was his bond with the theatre where he spent “the happiest engagements of his career”, Leon decided he must continue such a successful association and so inaugurated the annual awards for Best Actor and Actress in a Supporting Role.

Hello, Dolly!

A Chorus Of Disapproval

Present Laughter

Irene Allan

Townsperson*

Hannah Llewellyn

Liz Essendine*

Basienka Blake

Dolly Levi

Dan Bottomley

Barnaby Tucker*

Crispin Usher*

Simon Donaldson

Ambrose Kemper*

Ian Hubbard*

Fred*

Lord Darlington

Jacqueline Dutoit

Mrs Rose*

Rebecca Huntley-Pike*

Miss Erikson* & Lady Saltburn*

The Duchess of Berwick*

Mark Elstob

Paperhanger*

Ted Washbrook*

Garry Essendine

Mr Dumby*

Single Spies

Lady Windermere’s Fan Lady Plymdale*

Coral & HMQ

Mrs Erlynne

Tolya* & Colin*

Lord Paisley*

Lady Agatha Carlisle*

Karen Fishwick

Minnie Fay*

Jessica Guise

Ermengarde*

Fay Hubbard*

Lady Windermere

Judge*

Jarvis Huntley-Pike*

Lord Augustus Lorton*

Robin Harvey Edwards

Linda Washbrook* Daphne Stillington*

Horace Vandergelder

Morris Dixon*

Blunt & Tailor

Sir James Royston*

Joseph Mann

Policeman*

Roland Maule*

Phillips*

Mr Hopper*

Martine McMenemy

Irene Molloy

Joanna Lyppiatt*

Mrs. Cowper -Cowper* Lady Jedburgh*

Dougal Lee

Townsperson*

Enid Washbrook*

Monica Reed*

Stanley*

Dafydd ap Llewellyn

Henry Lyppiatt*

Ernestina Money*

Bridget Baines*

Lady Stutfield* & Rosalie*

Alex Scott Fairley

Court Clerk*

Guy Jones

Lord Windermere

Ben Stock

Cornelius Hackl

Raymond*

Shop Assistant* & Restorer*

Cecil Graham *

Greg Wagland

Rudolph Reisenweber*

Mr Ames*

Burgess & Chubb

Parker *

Jill Myers Carl Patrick Wendy Paver

Two

Landlady

Landlord

69

SUMMER SEASON 2013 ENSEMBLE Carl Patrick, Irene Allan, Joseph Mann, Dougal Lee, Basienka Blake, Jill Myers, Wendy Paver, Karen Fishwick, Mark Elstob, Martine McMenemy,

Greg Wagland, Jessica Guise, Alex Scott Fairley, Ben Stock, Simon Donaldson, Jacqueline Dutoit, Dan Bottomley, Robin Harvey Edwards

Ensemble Biographies Irene Allan 2ND PFT SEASON Irene Allan trained at Queen Margaret College, Edinburgh. Since then she has worked around the UK with companies which include National Theatre of Scotland, National Theatre (London), Royal Lyceum Theatre (Edinburgh), Belgrade Theatre (Coventry), Dogstar Theatre (Inverness), Communicado Theatre (Edinburgh) and the BBC. Three years ago she won a bursary award from the Federation of Scottish Theatre which allowed her to work as an Assistant Director to Ed Robson of Cumbernauld Theatre on their production of A Christmas Carol. Her more recent work includes The Chelsea Belladonna (Square Peg Productions - in collaboration with Stellar Quines) with an outdoor tour of Scotland’s finest gardens and Iron for Firebrand Theatre Company which toured the beautiful Scottish Borders and culminated with a week’s performance at The Traverse in Edinburgh.

72

Her first Summer Season at Pitlochry Festival Theatre was in 2009. She returned again in 2010 for Pitlochry’s first Christmas show, Cinderella.

She’s chuffed to bits to be back and is looking forward to many a hike up Ben Vrackie!

Baskienka Blake 1ST PFT SEASON Basienka’s West End, international and UK national touring credits include Ursula in Sweet Charity, Maria Elena in Buddy, Conchita in Copacabana, Suzanne in Don’t Dress For Dinner, the Grand High Witch in The Witches, Charlotte in Charlotte’s Web, Bathsheba in Far From The Madding Crowd, Juliet in Romeo And Juliet in New York and an extensive US tour, and, more recently, Fraulein Kost in Cabaret and Vivien in Dirty Dancing in the West End, and Isabella in Venezia and Natasha in Rough Crossing in Venice and Vienna respectively!

Regional credits in the UK include seasons at the Glasgow Citizens, Edinburgh Royal Lyceum, and Theatr Clwyd and include playing roles as varied as Sally Bowles in Cabaret, Muriel in Animal Farm, Jacinta in Serious Money, Anna in Old Times, Guinevere in Merlin, Marguerite in Four Horsemen Of The Apocalypse, Belinda in Noises Off, Adele in Leave Him To Heaven and Cruella DeVil in 101 Dalmatians. Extensive screen credits include guest starring and featured roles in Robin Hood, Titanic, Inspector Morse, London’s Burning, King And Castle, Rides, Caroline in all six episodes of Frank Stubbs, Timebusters, The Knock, Get Real, The Vice, Small Potatoes, Lunar Girl, A Good Thief, Clocking Off, Second Coming, The Royal, Doctors, Don’t Stop Dreaming, Carrie And Barry, Chopratown, and Erika Okur in a two episode Casualty special.

Dan Bottomley 1ST PFT SEASON Dan grew up in Halifax, West Yorkshire. He trained in London and graduated from the Academy of Live and Recorded Arts (ALRA) in 2012. Whilst training he made his first trip to Scotland in two new pieces of writing on the Edinburgh Festival Fringe 2011: Lethal Injection and Foursome.

In his final year he competed for the prestigious BBC Radio Carleton Hobbs Bursary award and received a special commendation. Theatre credits since graduating include Laertes in the Young Shakespeare Company’s touring production of Hamlet, Love Thy Brother (Courtyard Theatre) and Line Up (Greenwich Theatre).

Simon Donaldson 1ST PFT SEASON Simon was born in Reading but grew up in the Scottish Borders. He trained at the Royal Conservatoire of Scotland.

Recent theatre credits include: Tam O’Shanter, Zlata’s Diary (Communicado), The Not So Fatal Death Of Grandpa Fredo (Vox Motus), Jason And The Argonauts, Big Baby, Into The Dark, The Curse Of The Demeter (Visible Fictions), Don Quixote (Theatre Modo), Elf Analysis, Turbo Folk, 200, The Ching Room (Oran Mor), Fly (Liverpool Everyman), The 27 Club (Forever 27) and The Tempest (Creation Theatre Co.)

Simon won the Carleton Hobbs Award for Radio whilst at drama school.

He has worked extensively in Radio drama over the years with many BBC credits including; Paul Temple, A Firm Hand, Sullom Voe, McLevy, The Pearl, Rebus, Maigret, The Heart Of Midlothian, Almost Blue, The Gowk Storm, Dr Korczak’s Example, Westway, The Great Escape, Book At Bedtime and the I-dent for BBC Radio 4 extra.

Film credits include: Outpost: Black Sun, No More Shall We Part and Sunsets And Silhouettes.

Simon has toured the USA with Jason And The Argonauts, and performed on Broadway and at The Sydney Opera House.

Jacqueline Dutoit 9TH PFT SEASON In a career spanning over 30 years, Jacqueline’s worked repeatedly with some of the UK’s leading theatre companies - most notably the Royal National Theatre - and specialises in outdoor productions, especially Shakespeare.

Favourite PFT appearances include: Ruella (Communicating Doors), Mrs Coade (Dear Brutus), Cara Bossi (Sleeping Beauty), Mrs Pearce (My Fair Lady), Miss Skillon (See How They Run!), Ivana Deville (Cinderella), Mrs Clackett (Noises Off), Grace (Bus Stop), Miriam (Snake In The Grass), Ariadne Utterword (Heartbreak House), Lady Rumpers (Habeas

Corpus), Gertred (Hamlet: The Actors’ Cut), Esther (Dolly West’s Kitchen) and Barbara (Things We Do For Love).

Favourite roles elsewhere include: Mrs Lyons (Blood Brothers), Maureen (Stags And Hens), Titania (A Midsummer Night’s Dream), Beppi (Stallerhof – nominated Best Actress, Manchester Evening News Theatre Awards) Audrey (As You Like It), Jocasta (Oedipus), Julia & Cariola (Duchess Of Malfi), and Mary Warren (The Crucible).

Television includes: The Bill, Dalziel And Pascoe, London’s Burning, Down To Earth, Maisie Raine and Cyderdelics.

In 2006 she won the Leon Sinden award for Lady Caroline (A Woman Of No Importance), and in 2010 she participated in the Winter Words Festival with Queen Victoria in the Highlands.

Last seen at PFT as Martha Watson in White Christmas, she’s delighted to be back.

Mark Elstob 1ST PFT SEASON Mark was born and raised in Sunderland and trained at the Central School of Speech and Drama in London.

Theatre work includes Rattle Of A Simple Man, The Master And Margarita, Venus And Adonis, Twelfth Night, Romeo in Romeo And Juliet, Prince Hal in Henry IV Part One, D’Artagnan in The Three Musketeers, A Midsummer Night’s Dream, Measure For Measure, An Ideal Husband at the Old Vic, Hamlet (both directed by Sir Peter Hall), Salome (directed by

Steven Berkoff), Noises Off, The Importance Of Being Earnest, Neville’s Island, Charley’s Aunt, The Power Of Yes at the National Theatre, The Browning Version and South Downs in the West End and Lend Me A Tenor in Vienna. He also toured Ireland during 2011, playing both title roles in Hamlet and Macbeth.

He is very happy to be making his debut at the Pitlochry Festival Theatre. On TV and film, Mark’s appearances include A Hazard Of Hearts, The Monk, Lady Jane (directed by Trevor Nunn), Eastenders, The Black Candle, The Bill, Peak Practice, Zeus in Gory Greek Gods and Emmerdale, playing the regular role of Andrew Fraser. Mark is a regular reader of Talking Books for the RNIB and other audiobooks.

Karen Fishwick 1ST PFT SEASON Karen is from Glasgow and is delighted to join the cast and crew, marking her first Pitlochry Festival Theatre experience. Karen trained at Motherwell College, graduating as Performing Arts Student of the Year and Degree Student of the Year in 2011 with a First Class BA(Hons) in Acting.

Theatre credits include; The Overcoat (Pleasance, Edinburgh Festival; Ryhmäteatteri, Helsinki and Pleasance, London), Hansel And Gretel (Carnegie Hall), Cinderella (Adam Smith Theatre), Elegies For Angels, Punks And Raging Queens (Tron Theatre), Rent, Bare, 13 Objects and Blood Wedding (Motherwell College).

TV and film credits include; Irn Bru Pinkbomb Advert (MTP), Secret Dude Society (BBC/ Comedy Unit), James Kirk’s Comedy Blaps (Channel 4/ Comedy Unit), The Double Life Of Morton Coyle (Comedy Unit), Checkout, Only The Best Need Apply, Delilah (Up Next Studios), Tides And Telegrams music video (The Winter Tradition, Shootback Productions).

Raised by musical parents, Karen quickly followed in their footsteps and took up the cornet aged eight. Teaching herself piano along the way, Karen has since played with a vast array of ensembles – from brass groups to progressive rock bands at festivals.

She would like to thank her family for all their (lifts to rehearsal) love and support along the way.

Jessica Guise 1ST PFT SEASON Jessica originally hails from Northamptonshire and trained at the Bristol Old Vic Theatre School, graduating in 2010. Acting credits Include: Henry V (Theatre Delicatessen), King Lear (The Rose Bankside), Parkway Dreams (Eastern Angles Workshop), Writers Bloc Festival (Old Red Lion), Night of January 16th (White Bear), Dying City (The Cockpit), Wuthering Heights (Aberystwyth Arts Centre), The Man With The Flower In His Mouth (Metta Theatre), The Country Wife (Bristol Old Vic), The Crucible (Bristol Old Vic), Casualty (BBC),

The Beaux’ Stratagem (BOVTS), Hamlet (The Old Fire Station, Oxford) and Arcadia (Edinburgh Festival). Before training as an actress, Jessica studied Classical Archaeology and Ancient History at Oxford University.

Robin Harvey Edwards 9TH PFT SEASON Although born in Co. Durham, Robin is of Scottish descent and has been a practising Scotsman from an early age. Since training on the post-graduate course at Webber-Douglas he has appeared in all sorts of malarkey from Paris to Aberdeen via the West End of London Town.

As always he is tickled tartan to be back in Pitlochry. Over the course of the previous eight seasons he has appeared in 33 productions here. Last year he played Mr Mushnik in Little Shop Of Horrors, Sir Johnstone Kentley in Rope, Lob in Dear Brutus and Officer Brophy in Arsenic And Old Lace.

When not acting he has had illustrations and cartoons published, compiled a volume of plays for children and edited a number of foodie-type books. His Bagpipe Teacher continues to gibber softly in a darkened room.

73

Dougal Lee

Joseph Mann

12TH PFT SEASON

2ND PFT SEASON

Back again! and, as ever, a pleasure. Dougal this year clocks up his fiftieth professional production (Lady Windermere’s Fan) on the PFT stage; and the ironies are that he has never before appeared in anything by Oscar Wilde, and that Sir Royston Strong is a nonspeaking role.

Elsewhere he has quite enough to do, no doubt making up for the welcome taciturnity of Ezekiel Foster in the phenomenally successful White Christmas this December past.

He played Doctor Wicksteed in Habeas Corpus in 2008 and welcomes the chance to return to Alan Bennett in Single Spies; and in 2003 he appeared as the waiter Rudolph in Thornton Wilder’s The Matchmaker (the play upon which Hello, Dolly! is based) in which Horace Vandergelder was played by the late, great Martyn James.

74

Last year Dougal had great fun not falling to his death as Richard Hannay in The 39 Steps; he aged 40 years in Communicating Doors; found one of his favourite ever roles as Will Dearth in Dear Brutus; and was enormously attractive as the Frankenstein’s Monsterinspired Jonathan in Arsenic And Old Lace. PFT has, over the years, afforded him as broad a range of work as any actor could wish for, and an audience of generosity and patience (not to say impeccable taste!) for which he is immensely grateful.

Joseph was born and raised in Chester, and trained as an actor musician at Rose Bruford College.

Previous PFT productions include Little Shop Of Horrors (Audrey II puppeteer), Rope (Raglan), and Dear Brutus (John Purdie).

Other recent theatre credits include: Mother Goose (Perth Theatre), Oh What A Lovely War UK Tour (Blackeyed Theatre), Wallace Hartley in Unsinkable (Theatre In The Quarter), Giovanni in The White Devil, Jack Hunter in The Rose Tattoo (The Rose Theatre), Morales in Carmen (Leicester Square Theatre), Ron Strong’s Magical Gymnasium Bexley Tour (Theatre Jemilda) and Herod in Jesus Christ Superstar (Tip Top Productions).

He has also performed and musically directed with Pants On Fire Theatre in their multiaward-winning 2010 production of Ovid’s Metamorphoses, winning both the Carol Tambour Best of Edinburgh Award and the WhatsOnStage Editor’s Choice Award.

Following last Summer’s Season and a Christmas in Perth, he is delighted to be cementing his Scottish roots with his return to Pitlochry. www.josephmannactor.com

Martine McMenemy 2ND PFT SEASON Motherwell lass, Martine trained at Guildford School of Acting, where she was awarded the 2007 One Year Principal’s Award.

Having just finished White Christmas at PFT, Martine was no sooner unpacked in London before once again packing up to return home to the Theatre in the Hills for the 2013 Season.

Previous credits at PFT: White Christmas, An Ideal Husband, Kiss Me, Kate, Nana, plus a brief stint in Bus Stop at 24hrs notice (which sums up the thrill of repertory theatre!)

Other theatre credits: Fiddler On The Roof (UK Tour), Swallow Your Pride (Torbay Festival), Jack And The Beanstalk (Mansfield Palace Theatre, Bath Theatre Royal, Motherwell Civic Theatre).

Additionally, as a Voice Over Artist, Martine can be heard on various radio commercials.

Martine is thrilled to be back with her PFT family and once again playing such challenging roles. She is also delighted to be back within commuting distance of her non-PFT family and her much-loved nephews and nieces (of which she has many!). She is looking forward to another wonderful Season at PFT.

Jill Myers 1ST PFT SEASON Originally from Grimsby, North Lincolnshire, Jill trained at Mountview Theatre School.

Jill’s career started in the first National Tour of the Olivier Award winning Return To The Forbidden Planet. She has toured the UK extensively and played many of the top regional theatres around the country.

Theatre includes Yerma for Manchester Royal Exchange, Water Babies for Northern Broadsides, Geordie Sinatra for Stephen Joseph Theatre, Much Ado About Nothing for Ludlow Festival, Threepenny Opera for Theatre Clwyd, Brassed Off, Sweet Charity, Up N Under, Annie, The Sound Of Music, Oliver!, Rasputin, Bit Of A Blow, Peter Pan, William Tell and Fiddler On The Roof.

TV includes Emmerdale, Coronation Street, Mount Pleasant, One In A Million, The End Of The Week Show, Ant N Dec’s Saturday Night Takeaway, and a ‘clown’ special filmed in Moscow with SlavaPlounin of Slava’sSnowshow fame.

Her street theatre work for the world renowned Natural Theatre Company has taken her around the world appearing unexpectedly on street corners in Germany, France, Belgium, Macedonia, Portugal, Romania, Japan, Norway, Denmark, Greece and at the World Expo in Shanghai, China. Most recently Jill lead street theatre teams in the London Olympics and Paralympics.

Carl Patrick

Wendy Paver

1ST PFT SEASON

1ST PFT Season

Carl is from a wee village in Yorkshire called Boston Spa. He trained at GSA, and since leaving has enjoyed a very successful career. He has appeared in many commercials both in the UK and abroad including campaigns for Sony Playstation, Duracell, McCain Oven Chips and The Co-Op. Over the last 10 years Carl has collaborated on many projects with Fevered Sleep and enjoyed that immensely. He has also been in numerous theatre productions around the UK and worked in Scotland many times including twice at Dundee Rep but never before at Pitlochry and he looks forward to it very much.

Some of Carl’s favourite jobs over the years have been: 2013, Steve in Liar Liar, Unicorn Theatre, Blanche McIntyre; 2012, The Boss/Carlson in Of Mice And Men, Watermill Theatre Newbury; 2011,The Man, And The Rain Falls Down, Tour/Young Vic, Fevered Sleep; 2011, Stanley in Full Firearms, a film by Emily Wardill; 2010, Benny Southstreet in Guys And Dolls, Kilworth House Theatre; 2009, Terry The Twister in All The Fun Of The Fair, No 1 tour, Nikolai Foster; 2008, Frank in Sunshine On Leith, Dundee Repertory, James Brining; 2001, Spend Spend Spend, Jeremy Sams; 2000, Buggins, Half A Sixpence, WYP, Jude Kelly.

Born in Kent and raised in Sussex, Wendy trained at Rose Bruford College of Speech and Drama on the Actor Musician course, graduating in 2005.

Theatre credits include: Barge Woman in Wind In The Willows (Brewhouse, Taunton) The Cat in Dick Whittington (Gatehouse, Stafford) Buddy vs The Killer (Grand, Wolverhampton), Alma/Dorinda Morrell in The Young Ones (Queens Theatre, Hornchurch), Choir in Anthems (Royal Albert Hall), Fairy in Jack & The Beanstalk (Theatre at the Mill, Newtownabbey), Mildred in The Mysterie Of Maria Marten and Courtesan in A Funny Thing Happened On The Way To The Forum (Queens Theatre, Hornchurch), Babs u/s Donna and Brenda in Dreamboats & Petticoats (Savoy & Playhouse Theatres, West End & UK Tour), Mary Lou Sokoloff, Shirley, u/s Vi Petty & Maria Elena in Buddy - The Buddy Holly Story (Duchess Theatre, West End & UK Tour), Choir in Chess (Royal Albert Hall), Navigation Officer in Return To The Forbidden Planet (Basingstoke Haymarket and UK Tour).

Wendy also plays drums in the all girl 50s rock and roll band The Daisy Chains.

Wendy is thrilled to be making her Pitlochry debut and can’t wait to take in the beautiful surroundings.

For more about Wendy go to: www.access-uk.com

Alex Scott-Fairley 1ST PFT SEASON Alex was born in Surrey, where he still lives, when not in Vienna with his partner, and gained a first in English and Latin at Jesus College, Oxford.

His most recent theatre credits include Mother Goose, Beauty And The Beast (Millfield Theatre, London), The Merry Wives Of Windsor, Two Gentlemen Of Verona (Guildford Shakespeare Company), Blood Brothers (Phoenix Theatre, London), Flahooley!, Mexican Hayride (Sadlers Wells), Doctor Faustus (Creation Theatre, Oxford), Enjoy! (York Theatre Royal), The Tempest (Winchester Theatre Royal), Barefoot In The Park, A Bedful Of Foreigners, Charley’s Aunt (Sidmouth Pavilion Theatre), The Way To Keep Him (Bath International Festival/ Artifice), The Gruffalo (USA National Tour), An Inspector Calls (Vienna International Theatre) and A Capital Affair (Vienna English Theatre).

He has also worked extensively as a puppeteer, most recently on Room On The Broom (UK National Tour), Midnight (Peacock Theatre, London) and Pigeon Party! (USA/Canada National Tour). His theatre translation work includes Der Grüffelo for Junges Theater, Bonn.

He could not be more delighted to be a part of the 2013 season!

Ben Stock 1ST PFT SEASON Ben was born in Bristol and trained at the Guildford School Of Acting.

West End Theatre: Dame Edna, The Spectacle, Grease, Over My Shoulder and Chitty Chitty Bang Bang. On tour he played Lumiere in Disney’s Beauty And The Beast, Teddy Shapiro in Sophie Tucker’s One Night Stand and Dan in Joseph.

He has worked in many regional theatres including Perth, Oldham, Sonning, Frankfurt, Oxford, Watford, Greenwich and The West Yorkshire Playhouse in shows such as Annie, Stepping Out, Charley’s Aunt, French Without Tears, Salad Days, Tomfoolery, Anyone Can Whistle, La Cage Aux Folles, Alice In Wonderland and as Nöel Coward in Nöel And Gertie.

He also appeared at The Edinburgh Fringe in Murder Mystery Musical.

Ben is a regular panto performer and has spent the last four Christmas seasons playing Ugly Sister for Qdos in Wolverhampton, Hastings, High Wycombe and Bradford.

He has also worked extensively in Music Hall.

As Musical Director Ben’s credits include Baby, Bye Bye, Birdie (GSA), Gay’s The Word (Finborough/Jay Records), David Benson’s Christmas Party (Salisbury Playhouse), Over My Shoulder (West End/ Jay Records) and Salad Days (Greenwich). Albums Include

75

Caroline Sheen’s Raise The Curtain and Stephen De Martin’s The Boy Next Door (Simg Records).

Greg Wagland 1ST PFT SEASON

76

Greg was born in Oxford in 1964.

He trained at Guildford School of Acting, after four years of keen participation in student drama at St. Andrews University, in productions such as Macbeth and John Byrne’s Slab Boys Trilogy (Foundation Theatre) at the Edinburgh Festival. Theatre appearances include: The Importance Of Being Earnest and Candida (Yvonne Arnaud, Guildford), God Of Carnage (Theatre Royal, Bath), Rebecca, Around The World In Eighty Days, Taking Steps (Lakeside Theatre, Keswick), Romeo And Juliet (Middle Temple Hall), That Face (Duke of York’s Theatre), Rodelinda And Simon Boccanegra (Glyndebourne Opera). He has also appeared in numerous productions for Eastern Angles, Ipswich, including The Way We Live Now, Mansfield Park And Ride, The Ghost Of The Old Rep and A Song Of Provence. Recent appearances include Suddenly At Home (Vienna English Theatre) and Sketches by Boz (Common Ground Theatre, Suffolk). Greg also narrates audiobooks, working with the charities RNIB and Calibre, and also Random House, Isis and Magpie Audio, for whom he recently recorded Marx and Engels’ The Communist Manifesto and Conan Doyle’s The Adventures Of Sherlock

Holmes. He is delighted to be appearing in the Pitlochry 2013 Summer Season.

Creative Team Biographies Ken Alexander DIRECTOR Ken Alexander is delighted to be back at Pitlochry Festival Theatre where his previous work includes Dr. Angelus, Outlying Islands, Good Things, The Grapes Of Wrath, Passing Places, Bus Stop, Stepping Out and Whisky Galore – A Musical!. Recent work includes Ladies Day and A Nightmare On Lime Street (Royal Court Theatre, Liverpool), the première of Clinton The Musical (King’s Head Theatre, London), Hormonal Housewives (2013 National Tour), and Dick Whittington (Plymouth Theatre Royal).

He has been Artistic Director at the Byre Theatre, St. Andrews and Perth Theatre, where he directed the premières of Parking Lot In Pittsburgh and A Sense Of Justice, Scottish premières of Peace Child (Winner of the DK Thomson Award for Services to the Community), Into The Woods, A Passionate Woman, Master Class and The Secret Garden, and new productions of Cat On A Hot Tin Roof, Oliver!, Romeo And Juliet, Macbeth, Mary Queen Of Scots Got Her Head Chopped Off, Tally’s Blood and Bondagers.

Ken was recently appointed as the first Artistic Director of

Liverpool’s Royal Court Theatre, where he will direct the stage premiere of Laurel and Hardy’s Sons Of The Desert and the première of The Hitchhiker’s Guide To Fazakerley by Fred Lawless later in the year.

Lynn Bains ACCENT COACH Lynn has been accent coach for every American play at Pitlochry Festival Theatre for almost a quarter of a century and is delighted to be back this season for Hello, Dolly!

Plays at Pitlochry include The Sly Fox, Arsenic And Old Lace, The Little Foxes, Death Of A Salesman, All My Sons, Hunting Stuart, On Golden Pond, Long Day’s Journey Into Night, The Sunshine Boys, A Streetcar Named Desire, Summer Is Come, The Matchmaker, Double Indemnity, Lend Me A Tenor, To Kill A Mockingbird, The Grapes Of Wrath, The Philadelphia Story, Taking Sides, Kiss Me, Kate, Bus Stop, Little Shop Of Horrors and most recently the delightful White Christmas. In addition, she works regularly at The Royal Lyceum, Dundee Rep (last season, Steel Magnolias) and Perth Theatre (most recently Death Of A Salesman, Someone Who’ll Watch Over Me, Moonlight And Magnolia and The Odd Couple).

She has worked as an actor and acting teacher, writer and director, since she moved to Scotland from the USA over thirty five years ago. She was a founder of Stellar Quines Theatre Company and directed its first production, Night Sky.

After 15 years as Head of Acting at Queen Margaret University, Lynn retired from full time teaching to pursue her freelance career. Since then, she has directed and taught acting at Ohio Northern University and has been much in demand for acting and American accent workshops in Scotland, England and Wales with community and amateur companies, youth theatres, schools and professional theatres including The Citizens Theatre, The Royal Lyceum and PFT. She teaches regularly at MGA Musical Theatre Academy in Edinburgh.

Richard Baron DIRECTOR Richard is a graduate of St. Andrews University and a former Scottish Arts Council Trainee Director at the Royal Lyceum, Edinburgh, Scottish Arts Council Associate Director of Dundee Rep and Associate Director of Nottingham Playhouse.

Notable productions include: Iron (Firebrand Theatre Company), three national tours of The 39 Steps, a UK tour of his Nottingham Playhouse production of Cat On A Hot Tin Roof (nominated for four Manchester Evening News Theatre Awards), his Scottish Theatre Award-winning, TMA Award and Whatsonstage Award-nominated production of Look Back In Anger (Edinburgh Lyceum and Theatre Royal, Bath), starring David Tennant and TMA Award-winning and nominated productions of The Glass Menagerie and Long Day’s

Journey Into Night at Dundee Rep. Richard’s previous Pitlochry productions include: The 39 Steps, Privates On Parade, See How They Run!, An Ideal Husband, The Servant o’ Twa Maisters, The Prime Of Miss Jean Brodie, Heartbreak House, Arcadia, Taking Sides, The Flouers o’ Edinburgh, Summer Lightning, Kind Hearts And Coronets, The Weir, Man And Superman, Arsenic And Old Lace, Great Expectations, A Streetcar Named Desire and a TMA Award-winning production of Amadeus.

Jon Beales MUSICAL DIRECTOR Since 1992 Jon has worked as a musician primarily in theatre in over 150 productions. He has helped develop the musical theatre strand at Pitlochry over the last 4 years, most recently as musical supervisor for last year’s Little Shop Of Horrors.

Other musical theatre credits include: Into The Woods, The Secret Garden, Whistle Down The Wind, Honk! (Byre Theatre, St. Andrews); Flora The Red Menace, Sweeney Todd, Sunshine On Leith (Dundee Rep); Guys And Dolls (Royal Lyceum, Edinburgh); The Sundowe (Eden Court, Inverness) and Oliver!

(Perth Rep).

As a composer: Damascus, Solemn Mass For A Full Moon In Summer, The Speculator (Traverse); A Doll’s House, The Elephant Man (Dundee Rep); Mary Rose, Dear Brutus, A Midsummer Night’s Dream

(Nottingham Playhouse); The Home-Made Child (Lung Ha’s Theatre Co.); The Grapes Of Wrath (7:84); The Glass Menagerie, Bondagers, Mary Queen of Scots Got Her Head Chopped Off (Byre Theatre).

As a performer: Master Class (Byre Theatre); Laurel & Hardy, Vanity Fair (Royal Lyceum) and Jane Eyre (Perth Rep).

Other recent productions include: A Christmas Carol (National Theatre of Scotland); Tam O’Shanter (Communicado); The Tempest, She Town, The Snow Queen (Dundee Rep) and Iron, White Rose (Firebrand).

Previous productions for Pitlochry Festival Theatre include: Great Expectations, Outlying Islands, Kiss Me, Kate, The Ladykillers, Whisky Galore - A Musical!, A Streetcar Named Desire, The 39 Steps, My Fair Lady, Privates On Parade and The Admirable Crichton.

Kate Bonney LIGHTING DESIGNER Kate first came to work with Pitlochry Festival Theatre as a junior member of the technical team in 2003. She left in 2007 to pursue a design career and returned in 2011 as Associate Lighting Designer. Now, ten years since first crossing the threshold, Kate is delighted to have been appointed Lighting Designer for the 2013 Season.

Recent credits include White Rose and Iron for Firebrand; Sleeping Beauty and White Christmas for Pitlochry Festival

Theatre; Stones In His Pockets for the Tron; The Importance Of Being Earnest for The Lyric Belfast; Barflies for Grid Iron; Hamlet, Court Of Miracles, Prom Night and Twelfth Night for Scottish Youth Theatre; The Man Who Lived Twice for Birds of Paradise; Transform Dumfries, Transform Aberdeen, 99...100 and Nothing To See Here for National Theatre of Scotland; Jock And The Beanstalk and One Giant Leap for Wee Stories; Proof and Death Of A Salesman for Perth Theatre.

For the last three years, Kate has been Associate Lighting Designer for the Enchanted Forest event at Faskally and this year she is excited to be heading up the lighting design for the event.

Mario Caribe DOUBLE BASS Since moving to Scotland from his native Brazil in 1996 Mario has finished his Masters in Jazz Composition and immersed himself in the Scottish music scene. Having played and recorded with many of the leading jazz musicians in the UK as well as Europe and the US he is also deeply involved in education having helped to form a whole generation of Jazz players from Scotland by teaching at the RCS, Napier University & Edinburgh College to name a few. Mario launched his second CD, Hands On, in 2010 and performed in more than twenty others as a sideman.

Frances Collier DESIGNER Frances is a slightly geeky Theatre Designer, which means she gets paid to find out about random and interesting things, do lots of drawing and make stupidly detailed models.

Frances graduated from Birmingham City University in 2008 with a degree in Theatre Design (MA Hons) and the Live Nation Event Design Student of the Year Award (2008).

Whilst there, she designed two sculptures for Download Festival 2007.

As a freelance designer she’s worked for Deeside Musical Society, the Aberdeen Students’ Show, Theatre Modo, Live Wire Productions, Portrait of Our Time, Oldham Theatre Workshop, Techfest Aberdeen and is known for making larger than life pantomime animals. She’s worked for The Birmingham Opera Company (Idomeneo 2008 and Othello 2009), the Birmingham School of Acting (Winter 2008-Spring 2009) and The Mac (Pinnochio 2006).

Her film design work includes Isobel’s Last Day by Johnathan P. Gibbins, and Whistle My Lad directed by Julian Nicholson.

At Pitlochry Festival Theatre she’s styled literally millions of wigs; made the BIG hats for My Fair Lady; been a Dresser for the Summer Seasons 2009, 2010, Whisky Galore - A Musical!

2011, and Cinderella 2010.

In 2012 she designed Rope

77

and Communicating Doors, and this year will design A Chorus of Disapproval and Present Laughter.

Charles Cusick Smith

Recently: Cider With Rosie (Cheltenham).

DESIGNER

Productions for Pitlochry: The Matchmaker, Passing Places, Heartbreak House, Outlying Islands, Life Of Stuff, Bus Stop, Nana, Dr. Angelus and Little Shop Of Horrors.

Charles Cusick Smith was born in Glasgow, and studied at Glasgow School of Art and Post Graduate at The Slade. Awarded for his designs in the UK, T.M.A. Best Designer 1993 and the Evening News Award Best Designer 1986.

Internationally Charles has designed many operas and ballets including: Giselle for the Greek National Ballet, Romeo And Juliet, The Nutcracker, Cavalleria Rusticana, Pagliacci, Giselle and Three Musketeers in Estonia; in Germany: Nabucco, Aida, Don Carlos, The Wall, Otello, Der Rosenkavalier, Cavalleria Rusticana, Pagliaccii; in Hong Kong: Il Trovotore and Spartacus; in Toulouse, France: Casse-Noisette and Alice In Wonderland and Giselle for English National Ballet.

European premières: Follies, Pacific Overtures and Sweeney Todd (Best Production 1990 T.M.A.). Ladies Night for the pop band Boyzone’s Something Else Tour and Rock Around The Dock (Granada TV).

78

Waltzdream, My Fair Lady, The 39 Steps and Woman On The Verge Of A Nervous Breakdown and Rigoletto.

Co-design of musicals include: Oklahoma, Dusty, Hot Stuff, Heavenly Bodies, West Side Story, Slice Of Saturday At Night, Chicago, Rock Hard, Hold Tight It’s 60s Night, Company, In The Midnight Hour, Cliff The Musical. Co-Designs in Germany: Spamalot, Hello,Dolly!, A

John Durnin DIRECTOR After graduating from Oxford in 1982, John began his theatre career as a stage manager, before winning an Arts Council bursary to train as a director under the late Howard Lloyd-Lewis at Manchester’s Library Theatre Company.

Remaining at the Library as Assistant Director until 1987, he then spent two years as Associate Director of the Everyman Theatre, Cheltenham and a year working as a freelance director with Coventry Belgrade, Chichester Festival Theatre, London’s Albany Empire and numerous drama schools.

John was appointed Artistic Director of the Northcott Theatre, Exeter in 1991 and over the next seven years he directed over 40 productions for the company and developed a major community participation programme. In 1995, he created the Northcott’s acclaimed Shakespeare In The Gardens event in the grounds of the city’s Rougemont Castle, which quickly grew into the largest open-air Shakespeare event in the UK outwith London.

In 1998, his growing interest in community arts, performance training and site-specific production led him to become Artistic Director first of Theatre Venture in London and then of Gatton Community Theatre in Surrey, whilst continuing to work as a freelance director, tutor and writer.

John joined the Festival Theatre as Artistic Director in 2003 and has since directed the PFT productions of Engaged, The Shop At Sly Corner, To Kill A Mockingbird, Treasure Island, Chimneys, Hamlet: The Actors’ Cut, Snake In The Grass, The Philadelphia Story, Wild Honey, What Every Woman Knows, The Life Of Stuff, Kiss Me, Kate, Nana, Cinderella, My Fair Lady, Trelawny Of The ‘Wells’, Sleeping Beauty, Little Shop Of Horrors, Communicating Doors, Dear Brutus and White Christmas.

Ken Harrison DESIGNER Trained at Motley Theatre Design Course.

Designs for Pitlochry include The Little Foxes, The Magistrate, Travels With My Aunt, Amadeus, Double Indemnity, Kind Hearts And Coronets, Summer Lightning, Man Of The Moment, The Flouers o’ Edinburgh, Habeas Corpus, Whisky Galore – A Musical!, The Prime Of Miss Jean Brodie, An Ideal Husband, Privates On Parade, Sleeping Beauty and Arsenic and Old Lace.

Past work includes designs for Riverside Studios, Lyric Theatre,

Belfast; Druid Theatre, Galway; Watford Palace Theatre; York Theatre Royal; Unicorn Theatre; Mercury Theatre, Colchester; Dundee Rep; King’s Glasgow and Northcott Theatre, Exeter.

Designs for national tours include The 39 Steps, The Ladykillers, Time And The Conways, Mindgame and Stepping Out. Recent work includes Cinderella, The Snow Queen, The Lion, The Witch And The Wardrobe, Trumpets And Raspberries (Royal Lyceum, Edinburgh); Death Of A Salesman, Jane Eyre (Perth Theatre); The Tempest and Our Man In Havana (Nottingham Playhouse).

James Gorman MUSICIAN James is delighted to be back at PFT after playing in White Christmas, 2012.

James enjoys a varied career on both drums and percussion with performance highlights including: Divided City; Beauty And The Beast; The Wizard Of Oz (Citizens Theatre); Carousel; Company; The Who’s Tommy; Sunday In The Park With George; Wasted Love; Spring Awakening; Jerry Springer The Opera; Rocket Science (One Academy Productions); Jack And The Beanstalk (Horsecross Theatre); Honk! (Royal and Derngate); plus studio recordings for E4’s Skins (Season 6); BBC Children In Need, 2010 and 2011; Scottish Variety Awards, 2012 and Marylyn (Citizens Theatre).

Paul Hoolahan

Adrian Rees

SOUND DESIGNER

DESIGNER

Paul has been specialising in Sound Production and Design in the creative industries for over a decade. Prior to joining the design team at PFT, he worked on a variety of productions ranging from music concerts and tours to theatre shows and corporate events.

His past theatre credits include the award-winning shows Sunshine On Leith and Sweeney Todd for Dundee Rep Theatre and UK touring productions such as The Music Of Dirty Dancing and comedian Brian Conley’s Best of. . . 2009 tour.

Alongside his work in Theatre he is regularly contracted to major Scottish events such as Glasgow International Jazz Festival, T in the Park, Celtic Connections and Glasgow International Comedy Festival.

Paul’s touring experience is not limited to the UK and in the past few years he has worked in Europe and the USA including: Tonder Folk Festival, Denmark; Interceltique Festival, Lorient, France and Milwaukee Irish Festival to name a few.

In 2010 he joined the production team for the award-winning Tiree Music Festival as Technical & Production Manager for the event, which, in 2012, was awarded the title of Scotland’s Best Small Festival. Paul will also be Production Manager for the Tiree Festival 2013 as well as a brand new event on the neighbouring island of Barra.

Adrian studied theatre design at the Wimbledon School of Art. He was Head of Design at the Belgrade Theatre in Coventry for seven years, where he designed more than sixty productions, including The Coventry Mystery Plays in the Cathedral Ruins and Catherine Cookson’s The Fifteen Steps.

Adrian designed the costumes for Bob Carlton’s Return To The Forbidden Planet at The Cambridge Theatre, which won the Olivier Award for Best Musical in 1990.

Adrian has worked extensively at Leicester Haymarket Theatre, designing The Sound Of Music, A View From The Bridge, The Rink, The Importance Of Being Ernest, Sunday In The Park With George, Hot Stuff, and Dolly West’s Kitchen.

He also designed the Trackers Of Oxyrhynchus at the West Yorkshire Playhouse, The Cherry Orchard at York Theatre Royal, Fame for the National tours and in London, 125th Street at the Shaftsbury Theatre, Jailhouse Rock at the Piccadilly Theatre and Buddy at The Duchess Theatre and the 50th Anniversary UK tour of Buddy in 2009. Adrian recently designed the production of Round The Horne – Unseen And Uncut, directed by Richard Baron at Brighton Theatre Royal which subsequently toured the UK. For PFT, Adrian has designed set and costumes for White Christmas, Dear Brutus, The

Admirable Crichton, To Kill A Mockingbird, Treasure Island, The Grapes Of Wrath, Taking Sides, Wild Honey, Arcadia, Cinderella, See How They Run! and My Fair Lady and sets for the Winslow Boy, The Hollow, The Queen Of Spades, The Shop At Sly Corner, Chimneys and Snake In The Grass.

Chris Stuart-Wilson CHOREOGRAPHER Chris graduated with Honours in Medical Anatomy before starting a career in choreography.

Having acquired awards for Latin American Dance at a young age, he has since moved into the commercial and theatrical dance world embracing everything from Bollywood to Vogueing and Flashmobs to Flashdance. He is delighted to be returning to PFT for his fifth season.

Chris teaches a wide range of classes at all levels at Dance Base, RCS and National Dance Agency. His work in Outreach includes working with individuals with Additional Support Needs, stroke rehabilitation and dance therapy for dementia sufferers.

He is also the face of the Get Scotland Dancing campaign which has involved performing and getting crowds dancing at many events throughout the country.

Choreography credits include: PFT Seasons 2008, 2010-2012 and the recent finger tapping White Christmas, Hedz for cBBC, Oh What A Lovely War!, Winters Tale and A Chorus Of Disapproval for QMU, Aladdin for

RCS, Cinderella, Mother Goose and Sleeping Beauty at the Byre, Return To Forbidden Planet, Sound Of Music, Fame, Beauty And The Beast, Footloose, All Shook Up, Boogie Nights, Copacabana, Thoroughly Modern Millie, Bat Boy, West Side Story, Zombie Prom, We Will Rock You, The Boyfriend, Hot Mikado, Calamity Jane, Seussical, Godspell, Hair, Guys And Dolls, Bard In The Botanics 2003/04 as well as various fashion shows including London Fashion Week 2004 and Wella 2005.

Chris’ comedy dance duo, Kitsch Kats, continues to be a popular addition to the international burlesque and variety network.

For more information, please look at www.chrisjswilson.com

Jim Cartwright PLAYWRIGHT Jim Cartwright’s plays are consistently performed around the world and have won numerous awards. They have been translated into over 35 languages.

His first play, Road, opened at The Royal Court in 1986, and was subsequently revived that same year and again in 1987, before being taken on a nationwide tour. Road won the Samuel Beckett Award, Drama Magazine’s Best New Play Award, The Plays and Players Award and The George Devine Award. In 1988, Road was produced by the Lincoln Centre, New York. Road is now considered a modern classic.

Other works include: Bed (Royal National Theatre, 1989); Two (Octagon Theatre 1989, The

79

80

Young Vic, London, 1990, winner of The Manchester Evening News Best New Play Award); Eight Miles High (Octagon Theatre, Bolton 1991, Theatre Royal, Bristol, 1994 and revived there again in 1995, nominated for the TMA best musical award.

In 1997 a production of the play at the Reykjavik City Theatre, Iceland, ran for a year, breaking box office records) and The Rise And Fall Of Little Voice (Royal National Theatre, 1992 and at the Aldwych Theatre in London’s West End, later that year). The production was nominated for six Olivier Awards, was winner of The Evening Standard Award for best comedy in 1992 and the Olivier Award for best comedy in 1993. It opened on Broadway in 1995. Jim made his directorial debut with Road at the Royal Exchange Theatre in 1995. He also wrote and directed I Licked A Slag’s Deodorant for the Royal Court at the Ambassador’s Theatre, in London’s West End (1996), Prize Night for the Royal Exchange Theatre (1999) and Hard Fruit for the Royal Court Theatre (2000). Jim’s radio work includes: Bath (BBC 1987).

His television work includes: Road (BBC 1987 winner of the Golden Nymph Award for best film); Vroom (Channel 4, 1988, selected as centrepiece at the London Film Festival); Wedded (BBC, 1990), and June (BBC 1990). Jim produced and wrote Village (Channel 4, 1996), two films Strumpet and Vacuuming Completely Nude In Paradise (BBC1, 2001) both directed by Danny Boyle, Johnny Shakespeare (BBC 2008),

written and directed by Jim and winner of two Royal Television Society Awards. 2011, wrote and directed King Of The Teds, for SKY television, starring Brenda Blethyn, Alison Steadman and Sir Tom Jones.

but it was the controversial The Vortex (1924) that proved to be the breakthrough. With its overt references to drugs and adultery, it made his name as both actor and playwright in the West End and on Broadway.

His first Novel Supermarket Supermodel was published July 2008.

Noël seemed to epitomize the spirit of the frenzied 1920s and a string of successful plays ensued – Hay Fever (1925), Fallen Angels (1925) and Easy Virtue (1926), as well as several intimate revues for which he wrote words and music.

Jim has been made an Honorary Doctor of the University of Bolton, and his old school Harper Green, have named a building in his honour.

Jim’s play’s are published in England by Methuen and have been constantly in print since 1986. Many of his works are set texts for A level and University courses.

Noël Coward (1899-1973) PLAYWRIGHT Noël Peirce Coward was born on 16th December 1899 in Teddington, Middlesex, England to Arthur Coward (sometime piano salesman) and Violet (soon to become the archetypal ‘stage mother’).

He made his professional stage debut as Prince Mussel in The Goldfish at the age of twelve, which led to many child actor appearances in the next few years.

He played the character of Slightly in Peter Pan – which later caused critic Kenneth Tynan to remark: “Forty years ago he was Slightly in Peter Pan and you might say that he has been wholly in Peter Pan ever since.”

Several of his own early plays reached the London stage briefly

The momentum continued into the 1930s. Private Lives (1930) saw him appearing with a childhood friend, Gertrude (‘Gertie’) Lawrence and that partnership continued professionally with Tonight At 8.30 (1936).

Writer, actor, director, songwriter and writer of verse, essays and autobiographies, he was called by close friends ‘The Master’, a title of which he was secretly proud.

As World War II broke out he had two plays waiting to be produced – This Happy Breed and Present Laughter – but they would have to wait until 1943. Meanwhile, there was Blithe Spirit (1941), a subversive comedy that ran longer than the war.

‘Noël’s War’ was an active one… troop concerts at home and overseas… touring in plays… producing classic films such as In Which We Serve and Brief Encounter… and acting as an unofficial spy for the Foreign Office!

The post-war years saw his star in temporary eclipse. Austerity Britain – the London critics determined – was out of tune with the brittle Coward wit. His plays enjoyed only modest success but Noël responded by ‘re-inventing’ himself as a cabaret and TV star, particularly in America. In 1955 he played a sell out cabaret season at the Desert Inn, Las Vegas.

He left the UK in the mid-1950s and settled in Jamaica and Switzerland.

In the early 1960s critical opinion in Britain turned yet again. He was now demonstrably ‘our greatest living playwright’. ‘Dad’s Renaissance’ – as Noël gleefully dubbed it – was under way and has never faltered since. He and his work are today more popular – and on a worldwide scale – than ever before.

Late in his career he was lauded for his roles in a number of films including Our Man In Havana (1959) and The Italian Job (1968).

In 1970 came the long overdue knighthood. In 1973 he died peacefully and was buried in his beloved Jamaica.

PFT Staff SENIOR MANAGEMENT TEAM John Durnin Chief Executive

& Artistic Director Mark Da Vanzo Deputy Chief Executive Derek Allan Commercial Director Steve Carlin Head of Production

& Resources Blackwood Hodge Head of Finance

WAITING STAFF Kristella Farrar-Ogilvie Katie Mckinlay Erin Millar Annie Millar Sandra Steel Emma Johnstone Nikki Kennedy Connor Powell Dean Maskell

Waitress Waitress Waitress Waitress Waitress Waitress Waitress Waiter Waiter

ADMINISTRATION Fran Norris General Manager:

Administration & Communication Annie Hibberd General Manager:

Funding & Events Peter MacIntosh IT Manager

COFFEE BAR STAFF Beth Wright Coffee Bar Assistant Jane Mclaren Coffee Bar Assistant Margaret Davidson Coffee

Bar Assistant Betty Haden Coffee Bar Assistant Helen Oliver Coffee Bar Assistant Alison Drummond Coffee Bar Assistant

COMMUNITY & EDUCATION Drew Scott Community

& Education Director Gary Graham Community

& Education Assistant

BAR STAFF Paul Neil Janet Hobson David Neville Gwen Beaton

Bar/Wine Waiter Bar/Wine Waiter Bar/Wine Waiter Bar/Wine Waiter

FINANCE Trixi Macaulay Claire Webster

FRONT OF HOUSE Margaret Pirnie Theatre Manager Julius Cardew Deputy

Theatre Manager Douglas Anderson Duty Manager Gary Graham FOH Assistant Jenny Allison Usher Ann Garden Usher Ann McBay Usher Rosemary McCulloch Usher Jenny Park Usher Loretta Rodney Usher Glenda Rudd Usher Kath Sanderson Usher Michelle Stott Usher Mairi Walker Usher Muriel Battison Shop Assistant Jane Kyd Shop Assistant Linda Mitchell Shop Assistant June Ross Shop Assistant Helen Williamson Stage Door Receptionist Atholl Davidson Stage Door Keeper Val Farrar Stage Door Keeper Eileen Graham Cleaner Dean Maskell Cleaner/FOH Dayman Helen Melville Cleaner David Shankland Deputy Head Cleaner Fatma Phillips Cleaner Bill Bright Car Park Attendant Norman Braidwood Audio Describer Margaret Gillies Audio Describer

Finance Manager Finance Officer

MARKETING & SALES Giles Conisbee Head of Sales

& Marketing Jan Harrison Marketing Assistant Trish O’Grady Graphic Designer Shana Young Graphic Designer Jennie Sime Deputy Box

Office Manager Dave Campbell Box Office Assistant Mike Edwards Box Office Assistant Alec Drummond Box Office Assistant Lesley Meldrum Box Office Assistant Euan McIntosh Customer

Services Manager CATERING John Anderson Bryan Ogilvie

KITCHEN STAFF Kacper Cwik James Farrar Marek Lazarewicz Artur Grzech Morag Thorne Steven Mckinlay Ally Mckinlay

Catering Manager Assistant Catering Manager Head Chef Chef Chef Chef Kitchen Porter Kitchen Porter Kitchen Porter

Peggy Latter Trixi Macaulay Ian Moyes Linda Moyes Jessie Pryde Lesley Whitwood Isobel Wilson Benita Wylie PRODUCTION Pete Appleby Roger Sutton Nick Trueman Claire Webster

Audio Describer Audio Describer Audio Describer Audio Describer Audio Describer Audio Describer Audio Describer Audio Describer Technical Manager Workshop Manager Company Manager Production Assistant

TECHNICAL Dave Freeburn Senior Stage Technician Paul Murphy Stage Technician Alasdair Head Technical Assistant David Brown Technical Assistant Dave Chipperfield Dayman Lindsay Crawford Dayman LIGHTING AND SOUND Laura McNiven Head of Lighting

and Sound Jonathan Towers Deputy Head of

Lighting and Sound Jade Hepburn Lighting and

Sound Assistant Ben Meyer Lighting and

Sound Assistant WORKSHOP Grahame Scott Boyd Barr Sam Roelandts Larry Emerson Pete Ramsden

Master Carpenter Carpenter Carpenter Freelance Carpenter Freelance Carpenter

PRODUCTION ART Suzi Potts Marianne Pritchard Alison Drane Ashleigh Blair WARDROBE Julie Carlin Iona Eterman

Ayla Fergus Sheila Napier Gary Brown April Nash

Production Artist Production Artist Production Artist Production Artist

Wardrobe Supervisor Deputy Wardrobe Supervisor Assistant Cutter Dresser Dresser Wardrobe Assistant

STAGE MANAGEMENT Elaine Scott Stage Manager Marianne Forde Deputy Stage Manager Maggi Lindsay Deputy Stage Manager Heather Saunderson Assistant

Stage Manager Emma Lang Assistant Stage Manager

PLACEMENTS/VOLUNTEERS Rosemary Sims Production Art Alison Andersen Stage Management EXPLORERS Julia Corden Garden Manager Steuart Hanson Groundsman Pam Blanks Volunteer Ray Blanks Volunteer Linda Boyd Volunteer Lynn Brawley Volunteer Margaret Carrie Volunteer Harvey Carruthers Volunteer Gina Charleson Volunteer Sandy Charleson Volunteer Mike Cheesewright Volunteer Pat David Volunteer Alastair Dickson Volunteer Elaine Edwards Volunteer Helen Evans Volunteer Sheena Forsythe Volunteer Norah Gibson Volunteer Judith Gray Volunteer Mary Henderson Volunteer Rosemary Hobbs Volunteer Jean Igo Volunteer Jocelyn Jenner Volunteer Susan Leather Volunteer Kathleen MacDonald Volunteer Alan Maxwell Volunteer Linda McAdam Volunteer Jackie McCranor Volunteer Judy McCranor Volunteer Rosemary McCulloch Volunteer Heather McRobbie Volunteer Antony Pleasance Volunteer Elke Pleasance Volunteer Sandy Pywell Volunteer Wal Pywell Volunteer Loretta Reynolds Volunteer Barbara Rombaut Volunteer Glenda Rudd Volunteer Pam Sim Volunteer Ian Sim Volunteer Bill Struthers Volunteer Gordon Struthers Volunteer Margaret Struthers Volunteer Margaret Viner Volunteer Neville Wallace Volunteer Val Wallace Volunteer Norman Wilson Volunteer Jim Young Volunteer Katie Young Volunteer

81

2013 Lottery

A great way of supporting your favourite theatre!

We’d like to thank everyone who bought a ticket for our annual lottery draw last year.

By buying a lottery ticket you are contributing to the continuation of this wonderful Theatre - with the added bonus of the chance to win some fantastic prizes.

We would therefore like to invite you to purchase a lottery ticket (£5) from a member of our friendly Box Office team in 2013.

First Prize:

Win £2,000 cash Second Prize A two night stay at the Atholl Palace Hotel (dinner, bed and breakfast) and theatre tickets for two.

Third Prize A whole case of Dewar’s 12 year old single malt whisky, kindly donated by Dewar’s World Of Whisky at Aberfeldy distillery.

Kiss Me, Kate, 2010

Credits

Access All Areas

parking is reserved • Disabled near the main entrance. users can access • Wheelchair all facilities. A courtesy

wheelchair can also be booked in advance. There are four spaces for wheelchair users in the auditorium.

those with impaired • For hearing, an induction loop

•

is available. Personal sound amplifiers are also available and can be booked in advance.

For visually impaired visitors, we have an audio description service which can be provided for any performance as long as Box Office are given prior notice.

for visually impaired • Also visitors, we endeavour to

arrange touch tours before a performance (subject to availability).

dogs, hearing dogs and • Guide dogs for the disabled are very welcome. Please advise the Box Office in advance if you’re bringing your dog.

Bathstore, Perth Fishers Hotel, Pitlochry Pitlochry Community Hospital Keith Donaldson, Sets In Motion Pitlochry Leisure Centre Sandy Batchelor Duncan Hughie, Blair Antiques Lyceum Theatre Perth Theatre Dundee Rep Perth Trophy Shop Mr Martin Macleod Blair Castle Scottish Co-operative Alison Grieve, Safetray Products Ltd Walkers Shortbread Ltd Adam Ainslie. Scottish Antique and Art Centre, Abernyte Fiona Marchbank Gavin Courtnell, Huddersfield Cloth Sunspell, Luxury Basics, crafted in England since 1860 Gillie McNab The Railway Farm James Teague, The Empty Box Company Pete Rochford, Sculptor Salmoni Gordons Catering Hire Blairgowrie Macnabs Solicitors Fonab Castle

Photography by Douglas McBride www.douglasmcbride.com Thank you to all who have kindly donated various pieces of clothing, fabric and haberdashery to our Wardrobe Department.

We’d like to thank Carol MacGill for her flower displays arranged in the theatre foyer.

Hello, Dolly!

Original production directed and choreographed by Gower Champion.

Produced for the Broadway Stage by David Merrick and Champion-Five, Inc.

A Chorus Of Disapproval

First produced at the Stephen Joseph Theatre in Round, Scarborough, on 22 May, 1984.

Present Laughter

First presented at the Grand Theatre, Blackpool by HM Tennent Ltd and John C Wilson on 20 September 1942 (25 weeks’ tour) subsequently in London at the Haymarket Theatre on 29 April 1943 (38 performances).

CHIEF EXECUTIVE & ARTISTIC DIRECTOR John Durnin

HONORARY PATRONS:

Brigadier Melville S Jameson CBE Dr Russell A Leather Mr Magnus Linklater Mr Norman L Murray Sir John Shaw CBE FRSE The Lady Vallance of Tummel, JP Ms Fiona Kennedy DDL Mrs June Bennett

COMPANY SECRETARIES & LAW AGENTS J & H Mitchell WS

AUDITORS

FourM Chartered Accountants

BANKERS

Bank of Scotland

BOARD OF TRUSTEES

Mr Colin Liddell (Chairman) Mrs Anne Boyd (Vice Chairman) Mr Hamish Buchan Mr Jeff Carter Cllr Barbara Vaughan OBE Cllr Kate Howie Cllr John Kellas Prof Nick Kuenssberg OBE Mr Gary Love Miss Mary Marquis MBE Mr David Mitchell Ms Gail Pallin Ms Heather Stuart Dr Maurice Taylor Mr Malcolm Wood

Present Laughter © NC Aventales AG 1942 Copyright agent: Alan Brodie Representation Ltd www.alanbrodie.com

Registered Office: Pitlochry Festival Theatre, Pitlochry, PH16 5DR Pitlochry Festival Theatre is a Company Limited by Guarantee Registered in Scotland Number SC029243 at the above address.

Single Spies

Scottish Charity Number SC013055

Single Spies, a double bill of An Englishman Abroad and A Question Of Attribution, was first performed at the Royal National Theatre, London on 1 December 1988.

Two

Copywright Agent for the play: A.J. Literary Associates LLP.

Explorers: The Scottish Plant Hunters Garden is a Company Limited by Guarantee Registered In Scotland Number SC220330 at the above address.

Explorers Charity Number SC031804 Administration Telephone: 01796 484600 Fax: 01796 484616 Box Office: 01796 484626 boxoffice@PitlochryFestivalTheatre.com Websites: www.PitlochryFestivalTheatre.com www.explorersgarden.com

83

Under Consideration for

Summer Season 2014 Jekyll And Hyde - The Musical

by Leslie Bricusse & Frank Wildhorn

Whisky Kisses

by Euan Martin, Dave Smith & James Bryce

Perfect Days

by Liz Lochhead

The Admirable Crichton

by J. M. Barrie

Lament For A Maker

a new adaptation of the novel by Michael Innes

Yellow On The Broom

by Anne Downie, adapted from the novel by Betsy Whyte

The Hypochondriac

by Molière, adapted by Victor Carin

When I Was A Girl I Used To Scream And Shout

by Sharman MacDonald

Passing Places

by Stephen Greenhorn

84

Karen Fishwick in rehearsal