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A BUSKER AND A DREAMER IN THE MUSICAL THE WORLD FELL IN THE LOVE

Adam Spiegel and Robert Bartner present The New Wolsey Theatre, Ipswich and Queen’s Theatre, Hornchurch production of

Book by Enda Walsh Music & Lyrics by Glen Hansard & Markéta Irglová Based On The Motion Picture Written and Directed by John Carney Performed by arrangement with Music Theatre International (Europe) Limited

Original Production Concept John Tiffany. Orchestrations by Martin Lowe. Originally Produced on Broadway by Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo, Brian Carmody, Michael G. Wilson. Orin Wolf, The Shubert Organization, Robert Cole, Executive Producer in association with New York Theatre Workshop Once was originally produced Off-Broadway at the New York Theatre Workshop in December 2011, Jim Nicola, Artistic Director, William Russo, Managing Director. Once was originally developed at the American Repertory Theater, Cambridge, Massachusetts, in April 2011. Diane Paulus, Artistic Director, Diane Borger, Producer.

STARRING

DANIEL HEALY and EMMA LUCIA DAN BOTTOMLEY MATTHEW BURNS ELLEN CHIVERS ROSALIND FORD LLOYD GORMAN DAVID HEYWOOD SAMUEL MARTIN PETER PEVERLEY SUSANNAH VAN DEN BERG JAMES WILLIAM-PATTISON EMMA FRASER SEÁN KEANY HANNA KHOGALI CONOR MCFARLANE

Projection Designer Peter Hazelwood Lighting Designer Mark Dymock Casting Director Debbie O’brien Sound Designer James Cook Choreographer Francesca Jaynes Set And Costume Designer Libby Watson Musical Supervisor Ben Goddard Director Peter Rowe

For more information, please visit:

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onceuktour

P

A FOLK TALE N

ot long before the stage adaptation of Once opened in New York in 2011, composer Glen Hansard was getting nervous. He wanted to make sure the stage version would capture the spirit of the film and its music, and decided there was only one way to show the new Guy and Girl, Steve Kazee and Cristin Milioti, what lay at the heart of the music he and Markéta Irglová had written.

He took them to an Irish pub on Manhattan’s 5th Street, invited a group of musicians and singers, locked the doors and, after a few whiskeys, treated Kazee and Milioti to a ‘trad sesh’ - a night of Irish folk songs, traditional and modern, where people play whatever tunes they want, and others join in when they know it.

The night out clearly worked. Once became a huge success both on Broadway and in the UK, and its folkinspired music still sounds a world apart from most musical theatre. Stomping dances, close, keening harmonies and restless fiddles - the show’s music is all about the inheritance of Irish folk, and the culture that goes with it.

Hansard not only grew up in Dublin, but spent his teens busking around the city just as we find Guy at the beginning of the show. He met Markéta Irglová in her native Czech Republic and they became friends, writing and performing music that drew on Hansard’s Irish roots. Together, theycomposed most of the songs feverishly while filming on the Dublin streets that were so familiar to Hansard.

But their music isn’t straightforwardly Irish folk, not in the traditional sense anyway no harps and tin whistles for a start.

Instead, it combines classic elements with a more modern sound, which has been called indie folk, or indie rock, or folk

rock... there are as many labels as there are songs. What’s more important is the place it’s born out of, and the culture it’s rooted in.

It has a sound that’s both contemporary and timeless, inheriting some aspects of Irish folk directly - the bank manager’s hilarious ballad ‘Abandoned in Bandon’, or the chilling beauty of the harmonies in the a cappella reprise of ‘Gold’ - and some indirectly, via the long and winding route that the music has travelled over the past century.

After all, most modern music has its roots in Celtic folk, even if in a roundabout way.

As Irish people emigrated in huge numbers to America from the 17th century onwards, the traditions of their music merged with genres like gospel and blues from African-American communities until we ended up with new styles. Country and rock ‘n’ roll, which came to dominate the charts for decades, were direct descendants of the folk traditions, and in turn billowed out into so many of the musical genres we have today. Those styles in turn influenced the Irish diaspora, which echoed back into contemporary music in Ireland.

Irish folk had a popular resurgence in the 60s with bands like the Dubliners in Europe and the Clancy Brothers in America. They represented the archetype of traditional Irish folk, and became the sound of contemporary Ireland in many ways. But music evolves like humanity does, and folk is no exception. Irish folk started absorbing other popular genres of music and spreading its roots to new legions of listeners. Therewas Enya combining Celtic folk with a new age sensibility; Shane MacGowan and the Pogues, who tinged folk traditions with a

raw, punk edge; and Van Morrison, whose music sits at a crossing point between many forms - R&B, soul, jazz, transcendentalism - with Irish folk always echoing in the background.

It’s always been a dialogue, an unceasing conversation between cultures, that’s still chattering away today. Whether with his band the Frames, playing solo, or writing and touring with Irglová, Hansard himself became emblematic of a new breed of balladeers voicing the spirit of modern Ireland and spreading it out into the world.

But it’s in the music of Once that Hansard and Irglová come closest to a traditional folk feel. Onstage, the music is played and sung by an ensemble of actormusicians in a way that’s designed to be intimate and immediate.

Nothing fancier is needed than a guitar or a piano or a fiddle - and a strong pair of lungs.

You only need to look at Hansard and Irglová’s performance of ‘Falling Slowly’ at the 2008 Oscars to hear how moving and compelling that sound is: the two of them sit onstage, acoustic and unplugged, amid all the colossal fanfare of the ceremony, and they turn the 3,500-seat Kodak Theater into a trad sesh in some tiny pub.

The same thing happens at every performance of Once: when the music is in full swing, suddenly it’s as if we’re in the local, a few whiskeys down, with the doors locked and the music singing straight into your soul, just as Irish folk music has done for so many hundreds of years.

Markéta Irglová and Glen Hansard rising quickly from folk heroes (right) to Oscar winners of Best Original Song for ‘Falling Slowly’ (below) Shutterstock.com

FROM SCREEN TO STAGE “ Traditionally, the great musicals were based on plays, but the thing is we ran out of plays and we had to find something else to base them on.”

Margo Lion, lead producer of Hairspray on Broadway

A

It is a little-known fact that the iconic film Casablanca was adapted by Warner Brothers from the unstaged play Everybody Comes to Rick’s...even Ingrid Bergman, who as recently as 1974 told an interviewer: “Adapted from a play? Casablanca? I don’t think so.”

Warner Brothers courtesy RGA

ctors have always been adept at crossing over from the screen to the stage, whether it’s Hollywood A-listers from the movies or television legends on the small screen. From Jake Gyllenhaal to Benedict Cumberbatch, those who ply their craft in the world of performance have frequently maintained simultaneous careers across varying media.

So why should it be any different for writers and composers? Why should there be a latent snobbery that attempts to decree that playwrights cannot write for TV, or film composers should not be creating stage musicals? The truth is, increasingly, that the lines are being blurred. Mike Bartlett, for instance, wrote both King Charles III for the stage and Doctor Foster on the telly. Guy Chambers and Robbie Williams, one of this country’s leading songwriting partnerships and the duo responsible for Robbie’s hits ‘Angels’, ‘Millennium’ and ‘Let Me Entertain You’, recently unveiled their new stage musical at the RSC, an adaptation of the David Walliams story The Boy in the Dress.

When cinema first began, it was borrowing from the theatre all the time, not least because there was a handy repertoire of material for the movies to plunder and make their own. Film-makers even lifted the language of the playhouse for its mechanisms, giving us ‘screenplays’ and ‘the three-act structure’.

In fact, it was the ancient Greeks who first codified that structure, with Aristotle arguing that every story should have a beginning, middle and end. By the time

the movies came along, it was standard practice for stage dramas and comedies to play out in three acts, and luminaries such as Wilde, Shaw and Ibsen all used the structure. It was only natural that the new cinematic medium should pick it up for its own ways of storytelling.

As for the content of the early talkies, many simply pointed movie cameras at existing stage productions of plays and let them roll. While this was good for budgets, saving money by using preexisting sets, it sometimes made for stodgy, dialogue-heavy films that failed to win over punters at the box office.

Those that fared best were the ones that took their original source material and adapted them - often brilliantly - to take into account the strengths and weaknesses of the different medium.

Among the early winners of Oscars for Best Picture were adaptations of stage plays, including Grand Hotel (1932), Cavalcade (1933), You Can’t Take It With You (1938) and Casablanca (1943).

Two-way traffic

Theatre has continued to supply fantastic raw material for the movies. Some of the greatest films ever made started life on a theatre stage, among them The Sound of Music, A Man for All Seasons and Amadeus. However, as the stock of movies has grown over the decades, so a market has developed for taking material in the opposite direction: from screen to stage.

You can see why the idea might be appealing to a theatre producer. When

you’re targeting audiences who have to decide where to spend their hard-earned ticket money, the attractions of a known ‘product’ from the world of cinema might be enough to swing the sale in your favour. As Jed Bernstein, president of the League of American Theatres and Producers, puts it: “If it’s based on a title I know, I’m going to feel a little more confident that I’m going to like it.”

Many of the films that have made the transition in this way are much-loved favourites, pulling in people who might not otherwise be willing to try the theatre with the appeal of a ‘live’ version of a story they adored at the pictures.

The most straightforward of these adaptations have simply taken an existing movie and turned it into a play.

Recent examples on British stages have included The Graduate, The Full Monty and Twelve Angry Men, although the latter actually began life as a television play in 1954 before being filmed by Sidney Lumet in the gripping 1957 version, starring Henry Fonda. More elaborate in its adaptation as a stage play was The 39 Steps, which was reworked as a madcap comedy caper using a cast of just four before running for nine successful years in the West End.

Film versus stage: the sultry moves at one of the ‘dirty dancing’ parties Left: Vestron Pictures courtesy RGA Right: Nigel Norrington / ArenaPAL

Thank you for the music

But the most popular genre by far for stage adaptation is the movie-to-musical show. These fall into two varieties: non-musical films adapted as stage musicals, and movie musicals developed directly into theatre productions.

Some of the former - particularly those that employed culturally relevant soundtracks to create a period feel - have been adapted as musicals using existing songs from their period. An Officer and a Gentleman, for instance, borrows hits from the 1980s to create its stage score, while Dirty Dancing taps into an adoring fan base of the original film but develops it for the new medium by inserting additional songs from the era. The Bodyguard, meanwhile, uses the back catalogue of Whitney Houston to help tell the story in which she starred on film alongside Kevin Costner.

Rather more unusually, Once takes the music that appeared in the 2007 film and expands the score to make a full-blown stage show. Writers Glen Hansard and Markéta Irglová’s brilliant concept of weaving original songs into the movie pays off, if anything, even more successfully when the entire story

becomes a musical, performed live by the characters.

Other creators have taken non-musical movies and written entirely new scores for their stage incarnations. Early versions tended to disguise their film origins Applause was the title of an adaptation of All About Eve, while Some Like It Hot re-emerged as a show called Sugar - but the idea of retaining a successful movie’s brand recognition among audiences has become much more usual in recent years.

The list is vast. Remember these films that were subsequently adapted as musicals?

The Adventures of Priscilla, Queen of the Desert; Big; Big Fish; Billy Elliot; Breakfast at Tiffany’s; Catch Me if You Can; Dirty Rotten Scoundrels; Elf; Fame; Footloose; From Here to Eternity; Ghost; Groundhog Day; Hairspray; Kinky Boots; Legally Blonde; Little Shop of Horrors; Love Story; Made in Dagenham; An Officer and a Gentlemen; Saturday Night Fever; The Wedding Singer; 9 to 5... And soon the West End will be able to add Back to the Future and Pretty Woman to that list - the first using a combination of 80s hits and new material, the second with a new score by Bryan Adams and Jim Vallance.

Occasionally, these musicals take a less direct route to the stage. Take, for

example, the Gary Barlow-composed show Calendar Girls. It began life as a film co-scripted by Tim Firth, then became a straight play before being reimagined by its author as a musical, initially entitled The Girls for its West End run. Firth told The Stage newspaper: “When I originally thought about making a stage version of the film, the thought of a musical came into my head, but I couldn’t work out where the music would be. The play taught me where the music would go. The play found it for me.”

With nice symmetry, among those films that were converted into stage musicals, there are plenty of examples that have since been remade as musical movies Hairspray, Little Shop of Horrors and The Producers, to name but three.

As for straightforward stage adaptations of movie musicals, there’s a long history of this kind of thing going on, dating back at least as far as the 1944 Judy Garland movie Meet Me in St Louis, which was staged in 1960 and again in 1989. Other examples include 42nd Street, An American in Paris, Calamity Jane, Chitty Chitty Bang Bang, Gigi, High Society, Mary Poppins, Seven Brides for Seven Brothers, Singin’ in the Rain, The Wizard of Oz, Thoroughly Modern Millie, Top Hat and White Christmas. Two of the most successful movie musicals of recent years, La La Land and The Greatest Showman, are both rumoured to be heading for the theatre, while Moulin Rouge! is already there on Broadway and making its way London-wards in 2021.

have achieved the same cult status as the films that spawned them.

Andrew Lloyd Webber, meanwhile, has often turned to cinema for inspiration.

Shows of his that are based on nonmusical films include Sunset Boulevard, Whistle Down the Wind and School of Rock. Even that doyen of musical theatre, Stephen Sondheim, has not been averse to basing work on a movie - A Little Night Music is an adaptation of the Ingmar Bergman film Smiles of a Summer Night.

And perhaps the biggest name in cinema, Disney, has spotted the potential of its vast catalogue to be reworked on the musical stage. Beginning with Beauty and the Beast in 1994, it has adapted a stack of its animated features into stage shows, including the most successful musical ever produced, The Lion King. Others to have graced playhouses around the world include Tarzan, The Little Mermaid, Aladdin and now Frozen.

It’s fair to say that not every musical adaptation of a movie enjoys the same success as some of these iconic shows.

As producers are always ready to tell you, if anybody really knew what was going to be a hit, they’d all be millionaires. But at least with a known title, an engaging story and some half- decent tunes - like Once there’s always a chance of hitting the jackpot.

If it’s good enough for them...

Adapting a musical stage show from an existing film is a method that has not escaped some of the biggest names in musicals creation. Mel Brooks did it with the aforementioned The Producers, adapting his own non-musical movie as a stage musical before pulling off the same trick with Young Frankenstein. Both shows

órd Scannán na hÉireann, Raidió Teilifís Éireann (RTÉ), Samson Films courtesy RGA

Cast

Daniel Healy

Guy:

Emma Lucia

Girl:

Dan Bottomley

Billy:

Eamon:

Matthew Burns

Reza:

Ellen Chivers

Rosalind Ford

Ex-Girlfriend: Svec:

Emcee:

Bank Manager: Da:

Baruska:

Andrej, Cover Guy, Assistant MD and Dance Captain: Onstage Swing:

Lloyd Gorman

David Heywood

Samuel Martin

Peter Peverley

Susannah van den Berg James William-Pattison

Emma Fraser

Onstage Swing and Cover Guy:

Seán Keany

Onstage Swing and Cover Girl: Hanna Khogali Onstage Swing:

Conor McFarlane

All other parts are played by the members of the Company.

Book by

Enda Walsh Music & Lyrics by

Glen Hansard & Markéta Irglová

Based On The Motion Picture Written and Directed by

John Carney

For more information, please visit:

www.oncethemusicalonstage.com oncethemusicaluk

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onceuktour

Creative Team Musical Director:

Ben Goddard

Lighting Designer:

Mark Dymock

Sound Designer:

James Cook

Francesca Jaynes

Choreographer:

Roisin Carty

Dialect Coach:

Set and Costume Designer: Projection Designer:

Costume Supervisor:

Libby Watson

Peter Hazelwood

Caroline Hannam

Casting Director:

Debbie O’Brien

Production Team Company Stage Manager: Deputy Stage Manager: Assistant Stage Manager:

Lindah Balfour Katie Newton

Benjamin Mason-Foster

Technical Assistant Stage Manager: Head of Sound:

Deputy Head of Sound:

Oliver William Walker Nick Newman

Lucy Taylor

Sound No.3 and Guitar Technician:

Mhairi Howison

Deputy Head of Lighting:

Mark Robinson

Head of Lighting:

Head of Wardrobe:

Kate Hoare

Caroline Heppell

Audio Description written by: Michael Achtman

Audio Description narrated by: Conor McFarlane Original Production Concept John Tiffany

Performed by arrangement with Music Theatre International (Europe) Limited

Orchestrations by Martin Lowe. Originally Produced on Broadway

by Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo, Brian Carmody, Michael G. Wilson, Orin Wold, The Shubert Organisation, Robert Cole, Executive Producer in association with New York Theatre Workshop Once was originally produced Off-Broadway at the New York Theatre Workshop in December 2011, Jim Nicola, Artistic Director, William Russo, Managing Director Once was originally developed at the American Repertory Theatre, Cambridge, Massachusetts, in April 2011, Diane Paulus, Artistic Director, Diane Borger, Producer.

DANIEL HEALY GUY

West End credits include: critically praised performance as Young Paul McCartney in Backbeat (Duke of York’s), which originally opened at the Glasgow Citizen’s Theatre and was also performed in Toronto and Los Angeles, and Eamon and understudy Guy for both Arthur Darvill and Ronan Keating in ONCE (Phoenix Theatre).

Regional theatre includes: Guy in the regional premiere of Once at the New Wolsey Theatre in 2018; Peter Pan in Peter Pan (Edinburgh Kings); Roll over Beethoven (Queens Theatre, Hornchurch) and Young Lennon in Lennon (Liverpool Royal Court).

Television credits include: Chewin’ the Fat and The Karen Dunbar Show (BBC), Taggart (ITV) and River City (BBC Scotland).

In 2016, Healy signed a publishing deal with Concord Music Publishing and whose artist roster includes Mark Ronson, Marylin Manson, George Harrison and Andrew Lloyd Webber.

Since 2014, he has been playing guitar and touring with Ronan Keating in his live band. He also co-wrote six songs on Ronan’s 2016 album, Time of My Life. The album reached no. 2 on the UK album charts and included Healy’s co-written single “Breathe”, which topped the BBC Radio 2 Playlist. @danhealymusic www.danhealymusic.com www.behindthebeatband.com

EMMA LUCIA GIRL

Training: Mountview Academy of Theatre Arts, where she was awarded the Laurence Olivier Bursary and graduated with a First-Class BA (Hons).

Emma made her professional debut as Marilyn in Beautiful – the Carole King Musical (national tour), where she also understudied and played both Cynthia and Carole.

Credits include: Beautiful - the Carole King Musical (national tour); The Throwaways (The Other Palace/ Workshop); Saint George and the Dragon (NT Studio/Workshop), directed by Lyndsey Turner; Connections 2018 (NT Studio/ Workshop); Everybody’s Talking About Jamie (Demo Recording) and Our Season’s End (Workshop/ Arts Theatre).

Emma reprises the role of Girl in Once, following the original run at the New Wolsey, Ipswich, and Queen’s Theatre, Hornchurch.

ELLEN CHIVERS REZA

Training: Arts Educational Schools London.

Theatre credits include: Swallows & Amazons (York Theatre Royal); Robin Hood and the Revolting Peasants (UK Tour); The Merchant of Venice for Sh*tfaced Shakespeare (Leicester Square Theatre); Treasure Island (New Vic Theatre Stoke); Vicki and Pat in Fuerteventura (Self-penned/ Theatre503 & Brighton Fringe); Second Star to the Right (Royal & Derngate Northampton); Royal Hunter (Self-penned/Camden People’s Theatre); Robin Hood (Southwark Playhouse); Raising Agents and One of Each (Mikron Theatre UK Tour); The Canterbury Tales (Southwark Playhouse & UK Tour); The Snail and the Whale (The Other Palace, Tall Stories); Macbeth (Pleasance Theatre & UK Tour); Where’s Vietnam? (West Yorkshire Playhouse).

Screen credits include: Educational Short Film as ‘Miss Jones’ (Silversun Media); the interactive video game Contradiction (Pneuma Films).

Commercials: Maltesers Truffles – Too Good to Give (Familia Films); Friction Free Shaving ‘Shoga’ (Spectrecom Films); Xercise4Less Comedy Video (Motus TV); Ambrosia ‘This is Pudding’ (Bare Films); Canesten – The Naked Truth (Partizan films).

SUSANNAH VAN DEN BERG BARUSKA

Training: Rose Bruford College of Theatre and Performance.

Theatre includes: Bert Healy and cover Miss Hannigan in Annie (UK tour); Rubella in Cinderella (New Wolsey Theatre); Oranges and Elephants (Hoxton Hall); Moonfleet, A Man of No Importance and Can’t Buy Me Love (Salisbury Playhouse); the Queen of Hearts in Alice in Winterland (Rose Theatre, Kingston); Sister Mary Patrick in Sister Act (UK and international tour); Diana of Dobson’s (New Victoria, Newcastle); I Love Paris (Orange Tree, Richmond); Oliver!, Martin Guerre and Spend Spend Spend! (Watermill Theatre, Newbury); Business As Usual (Everyman Theatre, Cheltenham); Sweeney Todd: the Demon Barber of Fleet Street (English National Opera); Mother Abbess in The Sound of Music (Curve Theatre, Leicester); Fruma Sarah in Fiddler on the Roof (UK tour); Mother Courage and Her Children (Library Theatre, Manchester); Cinderella and Aladdin (City Varieties, Leeds); The Lion, the Witch and the Wardrobe (Kensington Gardens); Chess (Princess of Wales Theatre, Toronto); The Comedy of Errors (Stafford Shakespeare Festival); Guys and Dolls (Ipswich Wolsey, Theatr Clwyd and Salisbury Playhouse); Animal Farm (West Yorkshire Playhouse); Sleeping Beauty and Pinocchio (Theatre Royal Margate); Man of La Mancha (Edinburgh Lyceum); Amadeus (Wilton’s Music Hall) and Pirelli in John Doyle’s Sweeney Todd: the Demon Barber of Fleet Street (UK tour).

TV includes: Gigglebiz (BBC). @SusannahvdB

LLOYD GORMAN SVEC

Training: Rose Bruford College of Theatre and Performance.

Theatre credits include: One Man, Two Guvnors (New Wolsey Theatre/ Nuffield, Southampton); The Hired Man (Queen’s Theatre, Hornchurch/ Hull Truck/ Oldham Coliseum); Once (New Wolsey Theatre/ Queen’s Theatre, Hornchurch); The Jungle Book (Royal & Derngate, Northampton/UK tour); Worst Wedding Ever (Salisbury Playhouse/ UK tour); Sunny Afternoon (Harold Pinter Theatre, West End); Nicobobinus (DumbWise/UK tour); Saturday Night (Arts Theatre, West End); Our House (New Wolsey Theatre/ UK tour); The Story Giant (Shanty Theatre Company/UK tour); Faust (Greenwich Theatre); Anyone Can Whistle (Jermyn Street Theatre); Pinocchio (Tolmen Centre, Cornwall); The Wonderful Wizard of Oz, Sweeney Todd: the Demon Barber of Fleet Street, Romeo and Juliet, David Copperfield, White Nights, The Nose and Harmless (Octagon Theatre, Bolton); Fewer Emergencies (Deptford Albany); Grimethorpe Race (Arcola) and Treasure Island (UK tour).

SAMUEL MARTIN

BANK MANAGER Training: Rose Bruford College of Theatre and Performance.

Other theatrical credits include: Isaac in The Hired Man (UK tour); The Snow Queen and Her Winter Wonderland (Blackfriars Priory); the Bank Manager in Once (New Wolsey Theatre, Ipswich, and Queen’s Theatre, Hornchurch); An Ideal Husband (Vaudeville Theatre and Bath Theatre Royal); Electra (DumbWise Theatre Company, the Bunker); The Threepenny Opera and A Christmas Carol (Bolton Octagon); The Taming of the Shrew (Shakespeare’s Globe); A Better Man (Young Vic); Rebecca (UK tour/Kneehigh); Birdsong (UK tour); Dandy Dick (UK tour); A Man of No Importance, The Recruiting Officer and Jack and the Beanstalk (Salisbury Playhouse); The Kissing Dance (Jermyn Street); Puss in Boots (Derby Theatre); St Finnegen’s Elbow and Dial M for Murgatroyd (Eastern Angles); A Rat’s Tale, The Story Giant and Salty Socks of Dunkirk (Shanty Theatre Company); Macbeth and Beauty and the Beast (Fairgame) and When the Lights Went Out (Stroud Theatre).

JAMES WILLIAM PATTISON ANDREJ ASSISTANT MD/ DANCE CAPTAIN

Training: Mountview Academy of Theatre Arts as an actor musician.

Theatre credits include: Griff and Ched in Eye of the Storm (UK tour); Linus in Little Bits of Light (National Theatre Workshop); Harry in The Hired Man (UK tour); Jack in Jack and the Beanstalk (Queen’s Theatre, Hornchurch); Andrej in Once (New Wolsey Theatre, Ipswich, and Queen’s Theatre, Hornchurch); Shipyard Worker/swing/ musician in The Last Ship (UK tour and Princess of Wales Theatre, Toronto); Jamie in My Fair Lady (the Mill at Sonning); Will in The State of Things (Brockley Jack Theatre); Orlando in As You Like It (Mountview); Abraham in The Nativity (Mountview) and General Haig in Oh What a Lovely War (Mountview). @jameswpattison

DAN BOTTOMLEY BILLY

Training: Academy of Live and Recorded Arts (ALRA).

Theatre includes: Ched, Griff and Walt in Eye of the Storm (Theatr na nÓg/Hong Kong and UK tour); Jemmy/Robin in Moll Flanders (Mercury Theatre, Colchester); The Demon Headmaster (BEAM Festival, 2018/Theatre Royal Stratford East); Oberon’s Cure (Rude Mechanicals Theatre Co); Sleeping Beauty and Aladdin (City Varieties Music Hall); The Ladykillers, Hello, Dolly! and Single Spies (Pitlochry Festival Theatre); Ugly Sister in Cinderella (Theatr Clwyd Cymru); Pinocchio (Hiccup/ Derby Theatre and Leicester Curve); Rudy in The Ballad of Rudy (Goblin) and Hamlet (Young Shakespeare Co).

Audio drama includes: Scarecrow in The Wizard of Oz, Torchwood: the Conspiracy, Vienna and The New Adventure of Bernice Summerfield (Big Finish). Video game voice credits include: BAFTA Awardwinning series Divinity: Original Sin 1 and 2, Ryse: Son of Rome and Seven: the Days Long Gone.

Composing and writing credits include: the original musical plays The House of Usher (Hope Theatre); Grimms’ Fairy Tales (White Bear) and Off West End Theatre Award- nominated Peter and the Wolf (Goblin/ national tour). Sound design includes: A Skull in Connemara (Oldham Coliseum); Fox and Talk Radio (Old Red Lion), for which he was nominated for an Off West End Theatre award.

Screen credits include: Mike Leigh’s feature film Peterloo. @DanBottomley www.danbottomley.co.uk

MATTHEW BURNS EAMON

Training: Academy of Live and Recording Arts (ALRA).

Theatre: The Curious Case of Benjamin Button (Southwark Playhouse); The Scarecrow’s Wedding (Leicester Square Theatre); Treasure Island and The Wind in the Willows (New Vic Theatre); Romeo and Juliet and Macbeth (Oddsocks UK Tour); Faction (Damn Cheek UK Tour); Aladdin (Stafford Gatehouse); The Jungle Book (Sixteenfeet Productions); Buddy Holly & the Cricketers (UK tour); Robin Hood and the Babes in the Wood (Leeds Cities Varieties) and Henry V, Hamlet and Romeo and Juliet (Pendley Shakespeare Festival).

TV/film: The Capture (BBC); Hanna season two (Amazon Prime Studios); Born on This Day (Channel 4); Money (Loaded Productions) and Absent (dreakthinkspeak).

DAVID HEYWOOD EMCEE

Training: Rose Bruford College of Theatre and Performance - BA (hons) Actor Musicianship.

Theatre credits include: Jackson and understudy Claude/Woof/Margaret Meade in Hair (UK tour); Scarecrow in The Wonderful Wizard of Oz (Macron Stadium, Bolton); Arthur in Maggie May (Liverpool Royal Court); Steve in Summer Holiday (Octagon Theatre, Bolton); Mordred in Sleeping Beauty - the Rock ‘n’ Roll Panto (Theatr Clwyd); Clem ‘Dare Devil’ Beckett in Dare Devil Rides to Jarama (UK tour); musician in Cinderella (Lawrence Batley Theatre, Huddersfield); Lumière in Beauty and the Beast (UAE tour); Ben Gunn in Treasure Island (Birmingham Old Rep); Bosun in Return to the Forbidden Planet (25th anniversary UK tour and Daegu Opera House, South Korea); King Rat in Dick Whittington - the Rock ‘n’ Roll Panto (City Varieties Music Hall); Lanky Len in What the Ladybird Heard (international tour); Charles Bishop in Privates on the Parade (Theatre Royal Brighton) and Bert in The Matchgirls (Red Ladder Theatre).

Other credits include: James Walker in Peterloo (Thin Man Films).

Commercials: Rock DJ in Tesco Mobile ‘Rock Parrot’ advert and World War II Soldier in Ancestry advert. @DHeyw00d

ROSALIND FORD

EX-GIRLFRIEND Training: Stretton School of Dance and Drama and has a degree in French and Italian from the University of Edinburgh.

Theatre credits include: Cellist in Daddy Long Legs (Barn Theatre, Cirencester); Elowen Keene in The Curious Case of Benjamin Button (Southwark Playhouse); Zebra in Just So (Barn Theatre, Cirencester); The Little Mermaid (UK tour); Oranges and Elephants (Hoxton Hall); Mother Courage and Her Children (Southwark Playhouse); These Trees Are Made of Blood (Arcola Theatre); Vampire Hospital Waiting Room and Apocalypse Cruise Ship Love Affair (Gilded Balloon, Edinburgh/Above the Arts, London); Sard Traven and Boostak Are Dead and The Fear (Theatre N16); The 25th Annual Putnam County Spelling Bee (Assembly Roxy, Edinburgh); Rent (Churchill Theatre, Edinburgh) and The Drowsy Chaperone and You’re a Good Man, Charlie Brown (Edinburgh Festival Fringe).

PETER PEVERLEY DA

Training: Newcastle Collage Theatre: Three years with the RSC long ensemble performing in Stratford, London and New York. Plays with the RSC included Romeo & Juliet, As You Like It, Hamlet and The Morte D’Arthur. Fifteen years with the Northern Stage ensemble based at the old Newcastle Playhouse Theatre appearing in many productions including Animal Farm, A Clockwork Orange and 1984, touring nationally and internationally.

Other theatre includes: Once the Musical, Our Blue Heaven and Midsummer Songs (New Wolsey Theatre, Ipswich); Beyond the End of the Road, which won the Journal culture award for best performance (November Club); The Tempest (Improbable/Northern Stage); Snow White and the Seven Dwarfs, Dick Whittington, Cinderella, Peter Pan, Goldilocks and the Three Bears (all for Qdos, Newcastle Theatre Royal); Cinderella and Jack and the Beanstalk (Leeds City Varieties); The Lion, the Witch, and the Wardrobe (360 Productions); The Venetian Twins (Bolton Octagon); The Firework Makers Daughter (Sheffield Crucible); Cabaret (Live Theatre).

Pete is well known in the North East for his one man show about club comedian Bobby Thompson. He is also a singer songwriter, performing regularly on the local scene.

TV credits include: Byker Grove (BBC/ Zenith); Emmerdale, YTV, Harry, Spender and The Parable (BBC); The Bobby Thompson Story and Show People (Planet North).

Film: Detective Harrigan (Tall tree Productions

EMMA FRASER

ONSTAGE SWING Training: Mountview Academy of Theatre Arts on the Postgraduate Diploma in Musical Theatre course and has a Bachelor of Music (First Degree) from University of Surrey.

Theatre credits include: Ensemble/ Klezmer musician in Rags (Hope Mill Theatre); ensemble in Camelot (London Palladium); Wendy-Jo/first- cover Rusty in Footloose (Peacock Theatre and UK and international tour); Navigation Officer in Return to the Forbidden Planet (Upstairs at the Gatehouse); Fairy Alfalfa in Jack and the Beanstalk and Posy in Beauty and the Beast (Corn Exchange, Newbury); Genie in Aladdin (Theatre Clwyd); Cerberus Sister/Pam in The Vaudevillains (Les Enfants Terribles, 2016 Edinburgh Festival Fringe); various roles in Beauty and the Beast (S4K international Dubai tour); Leader of the Pack (Waterloo East Theatre) and Miss Grimsby in Brass (NYMT original cast, Leeds City Varieties). @thefraserem

HANNA KHOGALI

ONSTAGE SWING Training: Hanna recently graduated from Guildhall School of Acting.

Theatre credits include: Swallows and Amazons (York Theatre Royal); Moll Flanders (Mercury Theatre); Rags (Hope Mill); Good Fit (Southwark Playhouse); The Lost Ones (The Bush); The Collection (The Wallace Collection); Broken Wings (The Other Palace) and Daisy Pulls It Off (Charing Cross).

CONOR MCFARLANE

ONSTAGE SWING

SEÁN KEANY

ONSTAGE SWING

Training: Conor is a graduate of the Royal Academy of Music, having previously studied at the University of Edinburgh.

Recent credits include: Peter Murray/ Sergeant Major in Jimmy Ellis: Home Again (Blunt Fringe, Titanic Belfast); Man with the Handkerchief/Officer Darling in Queen of the Mist (Charing Cross Theatre and Jack Studio Theatre, London); Man 1 in The World Goes ‘Round (The MAC, Belfast); #Blessed by Martha Pothen (Sands Films); Leon Czolgosz in Assassins (Pleasance, London); David Posner in The History Boys (the Playhouse, Derry); Schroeder in You’re a Good Man, Charlie Brown (Edinburgh Festival Fringe); Bazzard in The Mystery of Edwin Drood (Pleasance, Edinburgh) and Nanki Po in The Mikado (Assembly Roxy).

Training: The Irish College of Music Theatre and American College Dublin.

Theatre credits include: Casanova in The Choir of Man (Sydney Opera House/ Australian national tour, 2019); Perchik in Fiddler on the Roof, Joseph Cable in South Pacific and Curly in Oklahoma! (National Concert Hall, Dublin); Jason in A Grand Night for Singing (Keith C and Elaine Johnson Wold Performing Arts Center); Encore! (Bord Gáis Energy Theatre) and Ernst Ludwig in Cabaret (Helix, Dublin).

Other work includes: Queen of Roses and London Never Dies (London Cabaret Club); Dúlamán: Voice of the Celts (Germany National Tour 2018) and finalist in Das Supertalent in 2017 (Germany’s Got Talent).

@ConorMcFarlane

@seankeany @TheNewSeanKeany

PETER ROWE

LIBBY WATSON

Peter is the artistic director of the New Wolsey Theatre, Ipswich, where he has directed over 40 productions, many of them using an ensemble of actormusicians, and including a number of world premieres.

After training at the Thorndike Theatre, Peter became the artistic director for the Southampton-based Solent People’s Theatre and then for the London Bubble Theatre Company, touring London in a big-top tent. He has also been artistic director for the Gateway Theatre, Chester, and the Liverpool Everyman, while freelance work has included productions for regional theatres and touring companies up and down the country. He has directed Boyband and Return to the Forbidden Planet both in the West End and on national tours.

He has written 10 record-breaking Christmas shows, which are currently being produced annually at the New Wolsey Theatre, artsdepot and Leeds City Varieties. His musical about Ellie Greenwich, Leader of the Pack, and 20th Century Boy, a musical inspired by the life of Marc Bolan, have played at the New Wolsey and on two major national tours. He has also written an original play for actormusicians, Midsummer Songs, with music

by Ben Goddard, produced at the New Wolsey in 2014.

Libby trained at Bristol Old Vic Theatre School and has a first-class BA (hons) in Theatre Design from Wimbledon School of Art. She has designed extensively in the UK and abroad. Libby designed the premiere of Katori Hall’s The Mountaintop in the West End, which was the winner of the 2011 Olivier Award for Best Play.

Recent design credits include: Toast by Nigel Slater (West End and UK tour); Doctor Faustus (Sam Wanamaker Theatre); Trolle and Helt Privat (Kilden Theatre, Norway); The Philanthropist (Trafalgar Studios, West End); A Midsummer Night’s Dream, directed by Sir Trevor Nunn (New Wolsey Theatre); Daisy Pulls It Off (Park Theatre); Peter Pan (Misi Producciones, Bogota, Colombia); Fences (West End and Theatre Royal Bath); One Man, Two Guvnors and Guys and Dolls (Wolsey Theatre); Les Femmes savantes and The Miser (Belgrade Theatre); Rudy’s Rare Records (Birmingham Rep and Hackney Empire); Propoganda Swing (Belgrade and Nottingham Playhouse); Frankie and Johnny in the Clair de Lune (Chichester Festival Theatre); The History Boys (UK tour); Play Mas (Orange Tree); Feed the Beast and Hysteria (Birmingham Rep); the UK tour of Mustapha Matura’s Three Sisters; Gem of the Ocean, Blues for Mr Charlie, Radio Golf and The War Next Door (Tricycle Theatre); One Monkey Don’t Stop No Show (Sheffield Crucible and UK tour); Blonde Bombshells of 1943 (Hampstead Theatre and UK tour) and Blest Be the Tie and What’s in the Cat (Royal Court).

Upcoming credits include: Romeo and Juliet at the Globe.

DIRECTOR

SET AND COSTUME DESIGNER

BEN GODDARD

FRANCESCA JAYNES

Ben has musically directed countless shows in the UK and around the world. For the last 18 years, Ben has been working as musical director for the New Wolsey Theatre actor-muso company on productions including Once, One Man, Two Guvnors, Oxy and the Morons, Our Blue Heaven, Mods and Rox, Little Shop of Horrors and many rock ‘n’ roll pantos.

As a composer, he wrote the music for Midsummer Songs, seen in 2014 at the NWT. He has also written music for plays at Nottingham Playhouse; a score for a musical version of The Two Gentlemen of Verona, which had a successful run in Seoul, Korea; an original score for Macbeth for the Gale Theatre in Barbados, and arranged music for many other productions nationwide.

He orchestrated and supervised the national tours of Tom, a new musical about the life of Tom Jones, and Jackie - the Musical; and MD’d Made in Dagenham and The Hired Man for the Queen’s Theatre, Hornchurch. Ben is also a musical director for EastEnders and regularly enjoys playing piano in the Queen Vic. Acting highlights in a 20-year career include: Jerry Lee Lewis in Million Dollar Quartet (West End and US tour); Judas in Jesus Christ Superstar (UK tour); John Kelly in The Beautiful Game (Cambridge Theatre, West End) and Joe Gillis in Sunset Boulevard (Comedy Theatre, West End).

Francesca has worked extensively in theatre, film and television as a choreographer and movement director.

Productions in rep include: Sweet Charity, Guys and Dolls, It’s a Wonderful Life, Little Shop of Horrors, Blues in the Night, Sugar and Our House. Other theatre credits include: The Day After Tomorrow, After Life and The Threepenny Opera (National Theatre); The Pirates of Penzance (ENO); Kafka’s Dick (Bath Theatre Royal) and Stephen Fry’s Cinderella (Old Vic).

Francesca has worked with Tim Burton on Charlie and the Chocolate Factory, Sweeney Todd: the Demon Barber of Fleet Street, Dark Shadows, Alice in Wonderland, Miss Peregrine’s Home for Peculiar Children and Dumbo.

She collaborated with Steven Spielberg, devising movement concepts for Jude Law and the robots in his film AI Artificial Intelligence, and with Mike Leigh on Vera Drake and Topsy-Turvy (for which she was nominated for Best Choreography in a Film by the American Choreography Awards).

Other films include: Great Expectations, One Day, X-Men: First Class, The Duchess, De-Lovely, The Da Vinci Code, Prince of Persia: the Sands of Time, The Picture of Dorian Gray, Me and Orson Welles, Clash of the Titans, Gulliver’s Travels, Austenland, The Look of Love, Avengers: Age of Ultron, Gravity, Muppets Most Wanted, The Invisible Woman, Our Kind of Traitor and, most recently, Black Widow.

MUSICAL SUPERVISOR

CHOREOGRAPHER

MARK DYMOCK

LIGHTING DESIGNER Credits include: One Man, Two Guvnors, Grandma Saves the Day!, Kiss Me Quickstep, Once and Rope (New Wolsey); The Wisdom Club (Theatre Royal Bury St Edmunds); Soldier On (the Other Palace and Canadian Stage); Ken (Terry Johnson - Hampstead); Revenants (Pleasance/ Kenwright); All’s Well That Ends Well, Measure for Measure, Alice in Wonderland and Love’s Labour’s Lost (GSC); Dell Computers gala (Buenos Aires); Kiss Me Quickstep, Haunting Julia, Roll Over Beethoven, Don’t Look Now (Off West End Theatre Award-nominated for Best Lighting Design), Return to the Forbidden Planet, Godspell, The Merchant of Venice, Can’t Pay? Won’t Pay!, They’re Playing Our Song, Jack and the Beanstalk, Cinderella, Ladies Down Under and The Woman Who Cooked Her Husband (Queen’s Theatre); Cathy (Soho Theatre); East (Brighton Theatre Royal and Festival); Sleeping Beauty and Aladdin (Evolution); Northanger Abbey (Bury St Edmunds Theatre Royal tour); Clybourne Park (regional premiere tour); Return to the Forbidden Planet (25th anniversary tour); Cathy (Cardboard Citizens tour); Betty Blue Eyes (regional premiere tour); Michael Morpurgo’s Butterfly Lion (Kenwright national tour); Snow White, Peter Pan, Wind in the Willows, James and the Giant Peach, Noises Off, Friend or Foe, The History Boys and The Hired Man (Mercury Theatre); House and Garden, Alice in Wonderland, Peter Pan, Pinocchio, Arabian Nights, Treasure Island and The Wind in the Willows (Watermill); Miss Meena and the Masala Queens, The Deranged Marriage, MummyJi Presents, Break the Floorboards and Happy Birthday Sunita (Rifco Arts and Watford Palace); Walking the Chains

(Bristol Temple Meads Passenger Shed); The Full Monty, The Best Little Whorehouse in Texas and Oliver!

(Bermuda City Hall); working with Willy Russell on Educating Rita and Breezeblock Park (Liverpool Playhouse); Shirley Valentine (Royal Court, Liverpool) and Farm Boy, The Hired Man and Kissing Sid James (59E59 Theaters, New York).

JAMES COOK

DEBBIE O’BRIEN

James won Best Sound Design at the Pantomime Awards in 2019. James has recently sound-designed: Aladdin - the Rock ‘n’ Roll Panto (New Wolsey); One Man, Two Guvnors (New Wolsey and Nuffield, Southampton); The Dickens Girls (British Youth Music Theatre); The Addams Family (Ipswich Operatic); Little Shop of Horrors (London Studio Centre); Grandma Saves the Day! (Wolsey Theatre); Kiss Me Quickstep (Queen’s Theatre/UK tour); Jack and the Beanstalk (Derby Arena/Little Wolf Entertainment); Once - the Musical (New Wolsey Theatre/touring); Legally Blonde (London Studio Centre); Our Blue Heaven (New Wolsey Theatre); Up ‘n’ Under (Fingersmiths/UK tour, 2018); Beauty and the Beast (Queen’s Theatre, Hornchurch); Oxy and the Morons (New Wolsey Theatre); Arthur Pita: the World’s Greatest Show (touring); Joseph and the Amazing Technicolor Dreamcoat (Youth Theatre Productionz) and Dirty Rotten Scoundrels (Ipswich Operatic).

James has also worked as sound number one on Anita and Me (UK tour, 2017); Made in Dagenham (New Wolsey, Hornchurch); Jackie - the Musical (UK tour, 2016); The Sword in the Stone - the Rock ‘n’ Roll Panto (New Wolsey Theatre); Sweet Charity (New Wolsey Theatre); Dick Whittington - the Rock ‘n’ Roll Panto (New Wolsey Theatre); Midsummer Songs (New Wolsey Theatre); Beauty and the Beast - the Rock ‘n’ Roll Panto (New Wolsey Theatre) and Into the Woods (Gallery Players).

West End/UK tours include: American Idiot, Thriller Live, Dirty Dancing, Knights of the Rose, 20th Century Boy, The Knowledge, Close to You: Bacharach Reimagined, Priscilla Queen of the Desert, Sinatra, Our House, Starlight Express, Mum’s the Word, Jackie - the Musical, I Was a Rat!, Grease, The Snowman, Flashdance, The King and I, Show Boat, Dancing in the Streets, The Rat Pack: Live From Las Vegas, Daisy Pulls It Off, The Harder They Come, Chitty Chitty Bang Bang, Saturday Night Fever, Fame, Peter Pan, The Pirates of Penzance, Smokey Joe’s Cafe, The Rocky Horror Show, Doctor in the House, What a Feeling, A Chorus Line and A Tribute to the Blues Brothers.

Children’s casting includes: Annie, Avalanche, Kinky Boots, The Bodyguard, Caroline, or Change, Show Boat, Medea and The Sound of Music.

Regional and international productions include: Hugh Jackman - the Show, Cruel Intentions, Friends - the Musical Parody, Starlight Express, Once, We’ll Live and Die in These Towns, The Noise Boys, Kinky Boots, Million Dollar Quartet, Jersey Boys, Rock of Ages, Priscilla Queen of the Desert and The Choir of Man (all for NCL), Room, The Bubbly Black Girl Sheds Her Chameleon Skin, Oxy and the Morons, The Last 5 Years, Five Guys Named Moe, The BFG, Midsummer Songs, Noises Off, Hairspray, It’s a Wonderful Life, Little Shop of Horrors, Blues in the Night, South Pacific, My Fair Lady, Me and My Girl, Guys and Dolls, Crazy for You, Oklahoma!, Amadeus, Romeo and Juliet, The Comedy of Errors, The Merry Wives of Windsor, Twelfth Night and Only You Can Save Mankind.

Recorded media includes: Waybuloo, Grandpa in My Pocket, What’s Your News? and Planet Cook.

SOUND DESIGNER

CASTING DIRECTOR

ADAM SPIEGEL PRODUCER

Over the past 25 years, Adam Spiegel has produced extensively in London’s West End as well as various tours throughout the UK and internationally. Adam recently took over as producer of the world’s longestrunning show, The Mousetrap (St Martin’s Theatre), upholding its prestigious legacy within the West End. In 2020, Adam will be co- producing the revival of Hairspray at the London Coliseum.

West End credits include: Motown - the Musical (Shaftesbury Theatre); The Last Tango (Phoenix Theatre); Hairspray (Shaftesbury Theatre); Fame (Aldwych Theatre and Shaftesbury Theatre); Sister Act (London Palladium); Saturday Night Fever (Apollo Victoria); High School Musical - Live on Stage! (Hammersmith Apollo); Midnight Tango (Aldwych Theatre, Phoenix Theatre); Dance ‘Til Dawn (Aldwych Theatre); Love Story (Duchess Theatre); Crazy for You (Novello Theatre); The Mysteries (Queen’s Theatre) and Birdy (Comedy Theatre).

UK touring credits include: Motown - the Musical (2018– 2020); Fat Friends - the Musical (2017); Tango Moderno (2017); Shirley Valentine (2017); The Mousetrap 60th anniversary tour (2012–2016); To Kill a Mockingbird (2014 and 2015); Love Me Tender (2015); The Producers (2015); Fame; Saturday Night Fever; The Last Tango (2015–2016); Dance ‘Til Dawn (2014 and 2015); Midnight Tango (2011, 2012 and 2013); Strictly Come Dancing Live; High School Musical - Live on Stage!; High School Musical 2; the Creole Choir of Cuba; The Mysteries; Lady Salsa and Five Guys Named Moe.

International touring credits include: Saturday Night Fever (Australasian and Scandinavian tours); Fame (Scandinavian and US tours) and the Creole Choir of Cuba (worldwide).

Other theatre credits include: To Kill a Mockingbird (Barbican Theatre); Amadeus (Wilton’s Music Hall, London); Lady Salsa (Pleasance Theatre) and Promises, Promises (Sheffield Theatres).

Adam produced the annual Laurence Olivier Awards for the Society of London Theatre for five years, running from 2004 to 2008. Adam has also previously acted as an arts consultant for both The Sunday Times and Tate Britain.

ROBERT BARTNER PRODUCER

Robert Bartner, alone and together with his partner Norman Tulchin, has been producing, co-producing and investing in entertainment properties in the West End, on Broadway and on tour in the UK and the US since 2006. Robert has led their company Tulchin Bartner Productions’ larger producing efforts, including Dreamgirls, Show Boat, Dirty Rotten Scoundrels and Legally Blonde (Olivier Award) in the West End, and Boeing Boeing (Tony Award) and Guys and Dolls on Broadway.

He has directed the company’s involvement in the Olivier Award-winning productions of The Ferryman, Sunny Afternoon, King Charles III, The Book of Mormon, Chimerica, Gypsy, Merrily We Roll Along, Sweeney Todd: the Demon Barber of Fleet Street, Long Day’s Journey Into Night, Clybourne Park, The Mountaintop, La Cage aux Folles and Guys and Dolls, and the Tony Awardwinning productions of A Raisin in the Sun, Porgy and Bess, La Cage aux Folles, Memphis, The Norman Conquests and Company.

Robert is currently represented in the West End by Come From Away (Olivier Award) and on Broadway by To Kill a Mockingbird, The Ferryman (Tony Award) and Come From Away.

Upcoming: Moulin Rouge!

THE NEW WOLSEY THEATRE, IPSWICH PRODUCER

The New Wolsey Theatre, based in Ipswich, combines its own productions with visiting theatre, music, comedy, circus and dance to create a programme that is entertaining, challenging, inspiring and accessible to all.

It has a national reputation for musical work using an ensemble of actor-musicians, and notable productions have included actormusician adaptations of Our House, The Threepenny Opera, Guys and Dolls and Sweet Charity.

It is also leading on the development of new musicals and has staged a number of world premieres including It’s A Wonderful Life, Mods and Rox, Miss Nightingale, 20th Century Boy, Midsummer Songs, Oxy and the Morons and Our Blue Heaven. Most recently it co-produced the brand new British musical The Season with Royal and Derngate Northampton which was received enthusiastically by both audiences and critics.

It is a leader in the campaign to open up mainstream theatre for D/deaf and disabled people both on and off the stage. The New Wolsey Theatre is the central hub for the award-winning Ramps on the Moon initiative, a consortium of six regional theatres working together to create and tour large scale popular productions with inclusion at their core. Its own production under this banner – the Who’s Tommy, won the UK Theatre award in 2017 for Best Touring Production.

It has also won the TMA award for Most Welcoming Theatre, been nominated as Regional Theatre of the Year and won regional awards from Norfolk and Suffolk Tourism and Suffolk Carbon Charter.

Artistic Director: Peter Rowe Chief Executive: Sarah Holmes

QUEEN’S THEATRE, HORNCHURCH PRODUCER

Queen’s Theatre Hornchurch is a vibrant regional theatre with a rich heritage, working in Outer East London, Essex and beyond, which celebrated its 65th birthday in 2018.

As the cultural hub of the region, over 220,000 people enjoy the programme each year, including the best in home grown theatre, visiting live entertainment and inspiring Learning and Participation projects. Behind the scenes, sets and costumes are lovingly created on-site by a highly skilled carpentry workshop, scenic artists, prop makers and wardrobe team.

Audiences are guaranteed a warm welcome from a three year winner of UK Theatre’s Most Welcoming Theatre (2016 – 2018).

Since the 2016 appointment of Douglas Rintoul as Artistic Director, productions have included the record breaking regional premiere of Priscilla, Queen of the Desert, and critically acclaimed regional premieres of musicals Made in Dagenham and Once, both co-produced with the New Wolsey Ipswich. Queen’s Theatre Hornchurch has commissioned and world premiered an adaptation of The Invisible Man by Clem Garritty and Abi by Atiha Sen Gupta, coproduced with Derby Theatre. New site specific work has been created for families - Twas the Night for Christmas being performed at the National Trust’s Rainham Hall and Sparky the Elf and the Secret Toyshop in Romford Mall Shopping Centre.

In 2017/18, Queen’s Theatre Hornchurch productions were seen on tour by more than 40,000 people. Arthur Miller’s The Crucible, co-produced with Selladoor Productions, undertook a five-month, 12-date international tour seen by an audience of 35,231. A landmark revival of Diane Samuel’s Kindertransport was produced in an innovative international partnership with Les Theatre de la Ville de Luxembourg before touring. In autumn 2018, Mike Leigh’s Abigail’s Party was co-produced with theatres, enjoyed by 18,419 people, across Hornchurch, Derby, Salisbury and Luxembourg.

For more information, please visit: www.queens-theatre.co.uk @QueensTheatreH

PRODUCTION CREDITS Producer Producer Producer Producer General Manager / Managing Director Production Manager / Managing Director Head of Business Affairs Head of Sales and Marketing Head of Touring Associate General Manager Associate General Manager Production Coordinator Production Assistant Press & PR Marketing Accountant Insurance Scenic Construction and Painting Lighting Equipment supplied by Sound Equipment supplied by Health and Safety Consultant Production Haulage Props Buyer Production Sound Production Electrics Lighting Programmer

Adam Spiegel Robert Bartner New Wolsey Theatre Queen’s Theatre Hornchurch Emma Stace Rich Blacksell Bob Eady Demian McAdam Jamie Clark Anna Paschali Meg Price Katie Seeley Caitlin O’Reilly Mark Senior PR Dressing Room 5 Moore Kingston Smith Israel, Gordon & Co Visualscene Hawthorn Orbital Chris Luscombe for Production Safety Ltd Paul Mathew Transport Ltd Celia Strainge Ken Hampton Laurence Russell Tom Mulliner

THANK YOU

West Side Distribution; Anthea Conradie; Arts Admin; Studio Hire; Scott Cameron for SC Relics; Sam Jeffs

For more information, please visit:

www.oncethemusicalonstage.com oncethemusicaluk

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For more information, please visit:

www.oncethemusicalonstage.com oncethemusicaluk

oncethemusical1

onceuktour