COCK By Mike Bartlett
WELCOME
We’re also delighted that Kate Hewitt is making her directorial debut in Chichester with this production. Winner of the JMK Young Director Award and the inaugural RTST Director Award 2016, she was named as one of Variety’s ‘10 Brits to Watch in 2017’.
Welcome to Cock, the first major revival of Mike Bartlett’s provocative, funny and searing exploration of the complexity of contemporary relationships.
DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY
When it premiered at the Royal Court (and then off-Broadway) in 2009, it won an Olivier Award; and Mike has since talked of his amazement at ‘the investment people had in the play watching it. It’s everything a writer could want - that you connect and people take the play out with them, and think about it in their lives.’ ‘Thinking about it in their lives’ is exactly what we hope our audiences will experience from all the plays you see here, whether classic or modern. As one of our most exciting contemporary writers for stage and screen - from King Charles III to Doctor Foster and Press - we are thrilled to be adding Mike to the roster of illustrious dramatists whose plays we’re presenting in the Minerva this season.
The cast comprises three of our brightest younger actors - Isabella Laughland, Matthew Needham and Luke Thallon. They are joined by Simon Chandler, making a welcome return to the Minerva after 2017’s The Stepmother. There’s a great chance to hear from Mike Bartlett in depth when he’s in Late Night conversation with Kate Mosse after the performance on 16 October; while on 27 October, Professor Simon Barker from the University of Chichester will lead a panel discussion on contemporary representation of gender and sexuality on stage. We hope you can join us for those events, and that you enjoy this performance.
Artistic Director Daniel Evans
cft.org.uk
Executive Director Rachel Tackley
COMING SOON
THE MIDNIGHT GANG By David Walliams Adapted by Bryony Lavery Music & Lyrics by Joe Stilgoe This inventive tale of fun, friendship and kindness is directed by Dale Rooks (Running Wild). Jennie Dale returns to play Matron following her acclaimed performance as Parchester in Me and My Girl.
WORLD PREMIERE 13 October – 3 November #TheMidnightGang
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TH E CAFÉ & THE FOYLE TERRACE The Café in the Festival Theatre is open daily from 10am serving freshly made sandwiches, soup, cakes and pastries. Enjoy our barista coffee or choose from a range of hot and cold drinks including wines and beers. The Café is light and airy and offers al fresco seating and free Wi-Fi. The Bar and The Foyle Terrace in the Festival Theatre are open 90 minutes before the show and both serve a selection of locally produced spirits, beers, lagers and wine by the glass or the bottle. The Foyle Terrace also serves pizzas, quiches, jacket potatoes and salads before the show.
The Brasserie in the Minerva Theatre is open for pre-show dining in new stylish and elegant surroundings. The restaurant serves a contemporary British menu using local and seasonal ingredients as well as an excellent choice of wines. Open 12.30pm - 2.30pm on matinee days and from 5.30pm for evening performances.
Enjoy either a main meal or one of our lighter food options before or after the show in the Minerva Bar & Grill upstairs, which offers a more relaxed atmosphere. Open 90 minutes before matinee performances, from 5pm for evening performances, during the interval and post-show.
RESERVATIONS
To reserve a table in the Brasserie or Minerva Bar & Grill visit cft.org.uk/dining for online reservations. Alternatively please call 01243 782219 or email dining@cft.org.uk
COCK By Mike Bartlett
THE GAMES PEOPLE PLAY Suppose someone said, “Shall we play a game?”: would that sound (a) fun or (b) threatening? Does it even have to be one or the other? Could it be, say, tempting too? Mike Bartlett’s Olivier Award-winning domestic drama Cock startlingly combines the entertaining, the frisky and the verbally lacerating, centering on a character named John who can’t decide between two lovers: one male, one female. And it is very much ‘game on’, as Bartlett himself remarks, mulling on CFT’s new production and what inspired him to write Cock in the late Noughties, when he was just 29. “I was on an international playwrights’ exchange organised by the Royal Court Theatre,” he recollects. “I was staying in the ‘Zona Rosa’ as they call it – the gay district in Mexico City – and I got really fascinated by the fact that they still do bullfighting in Mexico and, albeit illegally, cockfighting. I saw someone showing the cock around the community before a fight, and I went to see a bullfight. I became fascinated by the different energy of blood sports and by our attendance at these rituals, in these ritualistic environments where it is the simplest thing – people gathered round a space where something happens. So,” he explains, “the play was written in that moment, in this burst of energy. I just started writing the dialogue of the first scene, and the form emerged with the metaphor of the cockfight and bullfight clearly in my mind, and the feeling that it should be like the bouts of a fight, totally stripped of anything unnecessary.” In his script there are no traditional scene headings, only a thin line drawn across the page between the said bouts. The opening stage direction succinctly jettisons the clutter of conventional naturalistic scenery – “no props, no furniture” – and it stipulates the MIKE BARTLETT
dialogue should be accompanied by “no mime”. Thus, for instance, when a dinner-party guest says, “Pass the wine”, the performers don’t enact those words. Bartlett, thereby, goes markedly beyond Hamlet’s famous, gesticulation-moderating Advice to the Players: “Nor do not saw the air too much with your hand... suit the action to the word, the word to the action.” Cock’s radically minimalistic specifications are, Bartlett says, “sort of deliberately provocative on my part.”
‘It’s hard to be sure where the line lies between truth, deception and self-deception’ With ready good humour, he recognises that it may sound as if the play is esoterically avant-garde (as well as inducing box-office blushes in some, due to its four-letter title). However, this is a dramatist who also knows his classics, having becoming intrigued by acting at Abingdon School, near his hometown of Oxford, and having gone on to study English and Theatre at the University of Leeds. His list of acknowledged literary ‘influences’ ranges from Shakespeare, Chekhov and Brecht to Pinter, Caryl Churchill, debbie tucker green and Tony Kushner, although he underlines that imitating is never part of his creative impulse. “I don’t think, ‘I’ll do my version of that’” he says, “I mostly think, ‘There’s no way on earth I could ever write anything like that. I should just stop trying’.” In any case, with Cock, it is not a matter of being categorically avant-garde
as opposed to vintage old-school, or esoteric to the exclusion of popular appeal. His joint course at Leeds encouraged him to bridge that gap. One reviewer, at Cock’s debut, suggested that its coupling of comedy and ferocity was like Alan Ayckbourn-meets-Mark Ravenhill (of Shopping and F**king), or one might think Noël Coward’s Design for Living crossed with John Osborne’s Look Back in Anger. The indecisive John is, arguably, a contemporary variation on Hamlet, if you regard Cock as the tragicomedy of a man who can’t make up his mind, and love triangles are an archetypal component in dramatic conflicts, ancient and modern. What is most surprising, Bartlett observes, MATTHEW NEEDHAM
is that the piece’s stripped-down aesthetic, in practice, makes it accessible, “in fact weirdly easy to understand, not difficult to enjoy and positively funny, hopefully.” Writing Cock, he says, taught him, as a young dramatist, that if you really sharpen the characters’ dialogue – how their brains work, what they want, and what’s stopping them getting what they want – the drama all becomes extraordinarily clear. He has gone on to win renown for stage and screen dramas, not least his recent country house-cum-state of the nation play Albion; his neo-Shakespearean verse drama King Charles III which transferred from the West End to Broadway; and his
LUKE THALLON REBECCA MALTBY KATE HEWITT
modern-day, Medea-inspired TV series Doctor Foster. Right now, his brand new series Press is airing on BBC1, depicting the hectic newspaper industry. Bartlett additionally points out that Cock and his bruising office drama Bull (a four-hander which transferred from Sheffield’s Crucible Theatre to the Young Vic in 2015) can be thought of as “companion pieces”: both simultaneously inspired by his Mexico trip; closely akin in their aesthetic; and having punning titles. To cut back to the topic of accessibility and clarity for a moment, it should be said that Cock’s propless, mimeless minimalism is, at points, deliberately discombobulating. One
teasing game being played with the audience is that they have to puzzle over quite what is in hand as tête-à-têtes jump-cut through time. Perhaps Bartlett’s play wryly challenges definitions of what is ‘explicit’ as well, being physically far more demure than your typical, romping bedroom farce yet coupling that with some ‘in yer face’ language. Further games with time are being played Act by Act as John’s gay and heterosexual romances – which his lovers wish didn’t overlap – are structurally segregated during the first half of the play, before becoming increasingly meshed. Meanwhile, Cock’s characters aren’t simplistically straightforward either, of course.
The difficulty of understanding others is a leitmotif running through their exchanges. Flip sides are a feature of all their personalities; reiterated words accrue shifting connotations. It’s hard to be sure where the line lies between truth, deception and self-deception, between tact and tactics.
‘It was created in such a burst of energy. The rhythm is vital’ John isn’t even sure who he is anymore. His crisis is that, having happily come out as gay years ago at uni, he finds himself overwhelmingly attracted to a woman for the first time in his life, and he starts to question his sexual orientation as a result. His long-standing boyfriend is scandalised, dismissing the idea of a bisexual or polyamorous John as an incomprehensible, incoherent anomaly, almost a non-person. Indeed, the boyfriend and the girlfriend – whilst each bridging orthodox notions of femininity and masculinity in some aspects of their own behaviour – want John to firmly decide: either (i) gay or (ii) straight. John resists that, though, struggling to articulate a more complicated, morphing sense of identity and ultimately an understanding of love beyond the binary and even beyond gender. “The debate has moved in some ways over the last decade,” Bartlett says. “When I wrote this play, I knew a few friends who identified as straight but who’d had a relationship with someone of the same gender, and the other way round. It altered their identity, but they were very reticent about it, very keen to adhere to one identity or the other. This wasn’t being massively spoken about then, though it was beginning to be.” In the play, John firstly asks which label he should pick relating to his identity, and then why he needs to pick a label at all. “There are some really good answers to why identifying as a group is, or can be a very important thing to do,” Bartlett emphasises. “But, notwithstanding that political impulse, the play is asking what the cost is to you
personally. I suppose that is the play’s contradiction, and that’s why it’s a play, not an essay presenting a solution.” He acknowledges that the terminology which we have, as a society, to talk about different sexualities has, of late, become more wide-ranging and the idea of sexual fluidity is quite commonplace in certain circles now. Yet he feels that the play is still or is, indeed, even more topical in 2018. “If you’d asked me ten years ago where we’d be today,” he says, “I’d have thought we’d be, generally, much further forward in attitudes towards homosexuality and different sexualities. You still barely see samesex couples walking down the street holding hands, except in small districts of cities. Perhaps polarisation is leading to a sort of stasis, a stand-off. I very much feel that, as a country, something seems to have stalled, which is a shame, and the upshot is there is still a lot of work to do.” He describes how he was at CFT’s first rehearsal with pen at the ready to update as required, only to find it wasn’t necessary. He ended up, rather, re-instituting details from his original version, taking out some small adjustments that were made during Cock’s premieres in London and stateside. “So I’ve sort of done the opposite of updating,” he says. “And that’s because what I’ve discovered with this play, more than with anything else I’ve written, is that it really resists rewrites. It was created in such a burst of energy. The rhythm, though it’s a challenge for the actors, is vital. If you are on that rhythm, suddenly it all connects and makes sense.” The use of unconventional punctuation in Bartlett’s script is striking, especially the omission of full stops and sometimes even commas in certain exchanges. This reflects Bartlett’s fine ear for the flow of today’s English vernacular, and it wittily conveys the furious pace of flaming rows and the blur of smitten blathering – as well as perhaps, more poetically, just hinting that that many things are less segregated, more fluid that we have tended to think. He seems to have an almost musical sense of pauses too, his aforementioned opening stage direction stating: “Blank space between speeches in the dialogue indicates a silence
ISABELLA LAUGHLAND SIMON CHANDLER GUY HOARE MATTHEW NEEDHAM LUKE THALLON
equal to the length of the space.” Interestingly, Bartlett mentions in passing that, in one US production, the actors chose to use British accents because John’s hesitations inspired more sympathy if he was English, not American. “John’s hesitations spring from an excess of love and desire not to hurt anybody,” Bartlett stresses. “I’d say the play is, in fact, about love, about an excess of love, though there are all the underlying questions about sexuality and labels. And, though there is sex in the play, it’s not really a play about sex. I think,” he concludes, “really the emotional and narrative drive is love, LUKE THALLON ISABELLA LAUGHLAND MATTHEW NEEDHAM SIMON CHANDLER ISABELLA LAUGHLAND MATTHEW NEEDHAM
someone falling in love and – as so many of us have – genuinely having feelings for two people at the same time. And that just leads to a sadness as life hasn’t found out a way of resolving that.” KATE BASSETT
Kate Bassett is Literary Associate at Chichester Festival Theatre, a script consultant and dramaturg. Her book In Two Minds: A Biography of Jonathan Miller is published by Oberon. As an arts journalist specialising in theatre, she has written for the Times, Telegraph and Independent on Sunday as well as hosting platform talks at the Barbican, National Theatre and British Library.
REBECCA MALTBY
COCK By Mike Bartlett
CAST (in order of appearance) John M W F
Luke Thallon Matthew Needham Isabella Laughland Simon Chandler
There is no interval. Cock was first performed at the Royal Court Jerwood Theatre Upstairs, London on 13 November 2009. First performance of this new production at the Minerva Theatre, Chichester, 28 September 2018.
Kate Hewitt Georgia Lowe Guy Hoare Giles Thomas Charlotte Sutton CDG
Director Designer Lighting Designer Sound Designer Casting Director
Fiona Parker Monique Touko
Costume Supervisor Assistant Director
Ben Arkell Sally Hughes Rebecca Maltby James Humby
Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager
Set built by Custom Aspect; Scenic Artist Chelsey Gord; Production Carpenters Steve Bush, Tom Humphrey and Jon Barnes; Pneumatics by MechStage; Transport by Paul Mathew Transport.
Rehearsal and production photographs The Other Richard Programme compiled and edited by Lydia Cassidy and Lucinda Morrison Programme design Davina Chung
Supported by the Cock Commissioning Circle: Ben-Levi Family, Philip Berry, Mrs Veronica J Dukes, Mike and Jane Elliott, Sheila and Steve Evans, Mrs Sophie Gooley, Roger and Maggi Marshall, John and Caroline Nelson, Jon and Ann Shapiro, Strange/ Sayers Family, Bryan Warnett of St. James's Place, Ian Warren and all those who wish to remain anonymous.
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BIOGRAPHIES
SIMON CHANDLER F Previously at Chichester Joe Marryott in Cavalcade (Festival Theatre); Mr Bennett in The Stepmother and Mr Ardsley in For Services Rendered (Minerva Theatre). Theatre includes Wild Honey (Hampstead Theatre); Red Velvet (Tricycle Theatre, Garrick Theatre and New York); The Letter of Last Resort (Traverse Theatre); The Bomb Season and Women Power & Politics Season (Tricycle Theatre); Persuasion (Salisbury Playhouse); Cause Célèbre (The Old Vic); All Mouth (Menier Chocolate Factory); One Flew Over the Cuckoo’s Nest and Democracy (Wyndhams); King Lear (RSC); The Clandestine Marriage (Queens Theatre). Television includes Carnage, Call the Midwife, Casualty, The Crown, Wallander, Mr Selfridge, The Bletchley Circle, Silk, The Politician’s Husband, Vera, The Shadow Line, Identity, Midsomer Murders, Consuming Passion, A Place of Execution, My Family, The Taming of the Shrew, Foyle’s War, Inspector Lynley, Judge John Deed, Murder Rooms, Teachers. SIMON CHANDLER
ISABELLA LAUGHLAND
Films include The Corrupted, 55 Steps, The Theory of Everything, Mr Turner, The Iron Lady, The King’s Speech, Penelope, Perfume, Stoned, The Rising, The Commissioner, The Man Who Knew Too Little, Incognito. ISABELLA LAUGHLAND W Previously at Chichester Cordelia in King Lear (Minerva Theatre 2013 and BAM New York). Theatre includes Izzy in BU21 (Trafalgar Studios); A Further Education (Hampstead Theatre); Elizabeth Bennett in Pride and Prejudice (Sheffield Crucible); Isabella Reynolds in The Same Deep Water As Me (Donmar Warehouse); Viv in Hard Feelings (Finborough); Summer in The Last of the Haussmans and Lisa in Greenland (National Theatre); Michelle in Wanderlust (Royal Court Theatre, Evening Standard Milton Shulman Award for Outstanding Newcomer nomination); Max in Out of Me (National Youth Theatre). Television includes Chimerica, Lewis, In Deep, Coming Up: Henry, Black Mirror, The Hollow Crown: Richard II, Without You, Syncing,
The Inbetweeners. Films include Slaughterhouse Rulez, Film Stars Don’t Die in Liverpool, Chubby Funny, Urban Hymn, Now is Good, Harry Potter and the Deathly Hallows, Harry Potter and the Half Blood Prince. MATTHEW NEEDHAM M Previously at Chichester Noah in The Grapes of Wrath (Festival Theatre); Wally in Bingo (Minerva Theatre). Theatre includes John Buchanan in Summer and Smoke, Perry/Stockton/Harrington in The Twilight Zone and Simon in The Treatment (Almeida); Benedick in Much Ado About Nothing, Iachimo in Imogen, Antipholus of Ephesus in The Comedy of Errors, Saturninus in Titus Andronicus and Rafe in The Knight of the Burning Pestle (Shakespeare’s Globe); Hotspur/ Mowbray/Shadow in Richard II and Henry IV Parts I&II, Duke Caraffa in Love’s Sacrifice, Pilia Borgia in The Jew of Malta, Candide in Candide and Lucius in Titus Andronicus (RSC); Captain David Collins/Robert Sideaway in Our MATTHEW NEEDHAM
LUKE THALLON
Country’s Good (Out of Joint); Emperor Nero in Britannicus (Wilton’s Music Hall, Ian Charleson Award nomination); Griff/Brandon/Nurse Mostmen in There Is A War (National Theatre); Mark in Shades (Royal Court Theatre). Television includes Chernobyl, Endeavour, The Hollow Crown: Richard III & Henry VI Part I, Monroe, Sherlock. Films include The Ritual, Stutterer. LUKE THALLON John Theatre includes Young Walter in The Inheritance (Young Vic); Joey in Misalliance (Orange Tree Theatre); Gabriel in Albion (Almeida Theatre, Evening Standard Award nomination). Luke can next be seen in The Room and Family Voices for the ‘Pinter at the Pinter’ season in the West End. Films include The Favourite. Luke trained at Guildhall where he was awarded the National Theatre’s Michael Bryant Award 2017 and the Society of London Theatre’s Laurence Olivier Bursary Prize 2016.
C R E AT I V E T E A M
MIKE BARTLETT Writer Plays for the theatre include: Albion, Game (Almeida), Wild (Hampstead Theatre), King Charles III (Almeida Theatre/Wyndham’s Theatre/Music Box Theatre, New York), An Intervention (Paines Plough/Watford), Bull (Sheffield Theatres/Off Broadway/Young Vic), Medea (Headlong/Glasgow Citizens/Watford/ Warwick), Chariots of Fire (Hampstead Theatre/ Gielgud Theatre), 13 (National Theatre), Decade (co-writer, Headlong), Earthquakes in London (Headlong/National Theatre), Love, Love, Love (Paines Plough/Plymouth Theatre Royal/Royal Court/Roundabout Theatre Company, New York), Cock, Contractions, My Child (Royal Court Theatre), Artefacts (Bush Theatre/Nabokov). Plays for radio: King Charles III, Cock, Heart, The Core, Family Man, Love Contract (BBC Radio 4), The Steps, Not Talking (BBC Radio 3). As Director: Medea (Headlong /Glasgow Citizens/ Watford/Warwick), Honest (Theatre Royal Northampton). Television includes: Press (Lookout Point/ KATE HEWITT
Deep Indigo Productions/BBC), Trauma (ITV), King Charles III (Drama Republic/BBC), Doctor Foster (Drama Republic/BBC), The Town (Big Talk Productions). At the 2015 Olivier Awards King Charles III won Best New Play and Bull won Outstanding Achievement in an Affiliate Theatre. Love, Love, Love won Best New Play in the 2011 UK Theatre Awards and Cock won an Olivier Award in 2010 for Outstanding Achievement in an Affiliate Theatre. KATE HEWITT Director Theatre includes Midsummer (National Theatre of Scotland/Edinburgh International Festival 2018); Frost/Nixon and Tribes (Sheffield Theatres); Ice Road (Jacobs Wells Baths Bristol); Kiki’s Delivery Service (Southwark Playhouse); Romeo and Juliet (Ambassador’s Theatre); Tomcat (Southwark Playhouse); Portrait (Edinburgh Festival and UK tour); Far Away (Young Vic); and a staged reading of Comment is Free by James Fritz. Future work includes
Jesus Hopped The A Train (Young Vic 2019). As Associate Director Yerma (Young Vic and The Armory Theater, New York); One Love: The Bob Marley Musical (Birmingham Rep); Charlie and the Chocolate Factory (Theatre Royal Drury Lane); Medea (Headlong UK tour); Electra (Gate and Latitude Festival). As Assistant Director Wild Swans (Young Vic and ART Boston USA); Clybourne Park (Wyndham’s and Royal Court); Through a Glass Darkly (Almeida); Breathing Irregular (Gate). Kate is a winner of the JMK Young Director Award and the inaugural RTST Director Award 2016. Kate has two years’ Lecoq physical theatre training from LISPA, a BA (Hons) in Drama and Theatre Arts from Goldsmiths University London. GUY HOARE Lighting Designer Theatre includes Julie, The Deep Blue Sea, Here We Go and Strange Interlude (National Theatre); One for Sorrow, NSFW and In Basildon (Royal Court); Winter, Wings, A Doll’s House, World Factory and Far Away (Young Vic); Clarence Darrow (The Old Vic); Roots, Serenading Louie and Be Near Me (Donmar Warehouse); Little Revolution, A Delicate Balance and Waste (Almeida); The Father and Othello (West End); Peter Pan (National Theatre of Scotland); Sleeping Beauty (Citizens Glasgow); Macbeth and As You Like It (West Yorkshire Playhouse); Amadeus (Sheffield Crucible); A Christmas Carol (Birmingham Rep); Kes (Liverpool Playhouse); A Streetcar Named Desire (Theatr Clwyd); King Lear and Rutherford & Son (Northern Broadsides); Going Dark (Sound & Fury); The Reluctant Fundamentalist (National Youth Theatre). Designs for dance include Havana Rakatan and Vamos Cuba! (Sadler’s Wells), Mischief (Theatre Rites); and pieces for Rafael Bonachela, Christopher Bruce, Theo Clinkard, Dan Daw, Laïla Diallo & Mélanie Demers, Robin Dingemans, Shobana Jeyasingh, Akram Khan, Henri Oguike, Alexander Whitley, and Ben Wright; he designed the lighting for Arthur Pita’s Metamorphosis (ROH and New York) and Mark Bruce’s Dracula (Wilton’s Music Hall), both winners of the Southbank Award for Dance; also Spring, Sigma, Meta and 4x4 (Gandini Juggling).
Musicals include Grease (Curve Leicester); White Christmas and Annie (West Yorkshire Playhouse); Assassins (Sheffield Crucible); Aspects of Love and The Witches of Eastwick (UK tours). Opera credits include The Firework-Maker’s Daughter (ROH); Jakob Lenz (ENO); American Lulu (Bregenz Festival); and the Olivier Awardwinning King Priam and Paul Bunyan (English Touring Opera). GEORGIA LOWE Designer Designs include Queens of the Coal Age and The Night Watch (Royal Exchange); An Octoroon (National Theatre and Orange Tree Theatre); A Streetcar Named Desire (Nuffield Theatre); Kiss Me (Trafalgar Studios and Hampstead Theatre); Death of a Salesman (Royal & Derngate and tour); Othello (Tobacco Factory and tour); The Twits (Curve Theatre Leicester); The Man with the Hammer (Theatre Royal Plymouth); In the Night Time (Before the Sun Rises) (Gate Theatre); Re: Home (Yard Theatre); Yen (Royal Court Theatre and Royal Exchange); Pomona (National Theatre, Royal Exchange and Orange Tree Theatre); Four Fridas (Greenwich+Docklands Festival); Defect (Arts Educational Schools); These Trees are Made of Blood (Southwark Playhouse/Arcola); Need a Little Help (Tangled Feet/Half Moon Theatre); Far Away (Young Vic); Bluebeard’s Castle (Opera de Oviedo); Last Words You’ll Hear (Almeida Theatre/Latitude Festival); Alarms and Excursions (Chipping Norton Theatre); The Mystae (Hampstead Theatre Downstairs); Cuckoo (Unicorn Theatre); Unscorched (Finborough Theatre); Fog (Finborough Theatre, Park Theatre and tour). Georgia was a Linbury Prize for Stage Design Finalist and was Trainee Designer for the RSC (2011-12). CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Flowers for Mrs Harris, Me and My Girl, The Chalk Garden, Present Laughter, The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre), Copenhagen, The Meeting, random/generations,
Quiz, The Stepmother, The House They Grew Up In, Caroline, Or Change, Strife (Minerva Theatre). Theatre credits Winter, trade and Dutchman (Young Vic); Long Day’s Journey into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey and German Skerries (Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork Disney and Killer (Shoreditch Town Hall); My Brilliant Friend (Rose Theatre Kingston); Annie Get Your Gun, Flowers for Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot and Queen Coal (Sheffield Crucible); Henry V and Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler and Little Shop of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing and Jumpy (Theatr Clwyd); Goodnight Mister Tom (Duke of York’s and tour); A Pacifist’s Guide to the War on Cancer, wonder.land, Emil and the Detectives and The Light Princess (National Theatre); The Rise and Shine of Comrade Fiasco, I’d Rather MATTHEW NEEDHAM KATE HEWITT LUKE THALLON
Goya Robbed Me... and Gruesome Playground Injuries (Gate Theatre); Albion (Bush); The Elephantom (New London Theatre and National Theatre); Our Big Land (New Wolsey Theatre, Ipswich and tour); Forever House (Drum Theatre, Plymouth); One Man, Two Guvnors (Theatre Royal Haymarket and international tour); Desire Under the Elms (Lyric Hammersmith); Run! A Sports Day Musical (Polka Theatre); Shivered (Southwark Playhouse); Island (National Theatre and tour) and Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York). GILES THOMAS Sound Designer Composer and Sound Design credits include Wait Until Dark (UK tour); Handbagged (Theatre by the Lake); Death of a Salesman (Royal and Derngate); How My Light is Spent (Royal Exchange); Othello (Tobacco Factory); Wish
List, Yen (Royal Exchange and Royal Court); Contractions (Sheffield Theatres); Correspondence, Sparks (Old Red Lion); I See You, Wolf from the Door, Primetime, Mint, Pigeons, Death Tax, The President Has Come to See You (Royal Court); Pomona (National Theatre, Royal Exchange Theatre and Orange Tree Theatre, Offie Awards Best Sound Designer nomination); The Titanic Orchestra, This Will End Badly, Allie (Edinburgh); Little Malcolm and His Struggle Against the Eunuchs (Southwark Playhouse); Outside Mullingar (Theatre Royal Bath); Back Down (Birmingham Rep); Lie with Me (Talawa); The Sound of Yellow (Young Vic). Sound Design credits include The Almighty Sometimes (Royal Exchange); Hijabi Monologues (Bush Theatre); Disco Pigs (Trafalgar Studios and Irish Rep Theatre NY); The Ugly One, A Dark Night In Dalston (Park Theatre); DYL (Old Red Lion); What Shadows (Birmingham Rep and Park Theatre); They Drink LUKE THALLON ISABELLA LAUGHLAND
it in the Congo (Almeida); The Sugar-Coated Bullets of the Bourgeoisie (Arcola/HighTide Festival); The Snow Queen (Nuffield Theatre and Royal & Derngate); Orson’s Shadow, Superior Donuts (Southwark Playhouse); Betrayal (I Fagiolini/UK tour); A Harlem Dream (Young Vic); Khandan (Birmingham Rep and Royal Court); Three Men in a Boat (Original Theatre Company/ UK tour); King John (Union Theatre); It’s About Time (Nabokov Theatre Company/Hampstead Theatre); Shoot/Get Treasure/Repeat (Royal Court, Gate Theatre, Out of Joint, Paines Plough and National Theatre); House of Agnes (Paines Plough). Associate Sound Designer on Ma Rainey’s Black Bottom (National Theatre); Henry IV (Donmar Warehouse and tour); Henry V (Michael Grandage Company/West End); 1984 (West End and UK tour).
MONIQUE TOUKO Assistant Director Credits as Director include Love (Old Vic); A Legacy (Katzpace); Whole Foods (Old Red Lion); Soon in the 4ciable Future (Canal Café Theatre); Green Matter (Wimbledon College of Art); Like Yesterday (Young Vic); The Place Where We Lived (Aldeburgh/HighTide); See You at the End (Theatre503); The Sting (Arcola); ReAct Project Performance (Royal Court Theatre); Birth Festival: Your Stories (Abooo Theatre/Royal Exchange); Come Closer (Talawa/Royal Exchange); Animal Farm (Ziferblat Café Manchester); A Number (University of Manchester). As Assistant Director On the Exhale (Traverse Theatre); Yellowman (Young Vic); Kanye the First (HighTide tour); ALT Showcase (Southwark Playhouse); B!RTH Festival (Royal Exchange); Wishlist (Royal Exchange and Royal Court); Grandfathers (NT Connections/ Oval House Theatre). She has also worked as an Assistant MONIQUE TOUKO
Producer/Casting Assistant for Franklyn Lane Film Productions, and Runner for Bullion Productions and BBC Writersroom and BBC Asian Network. Studied at the University of Manchester and trained at the Young Vic (Boris Karloff Assistant Directors Programme, Fresh Direction Replay Project, Introduction to Directing and Mentorship); Artistic Directors Leadership Programme/Leaders of Tomorrow; Company Three/Making Theatre with Young People; Royal Exchange Manchester (Regional Theatre Young Directors Scheme Award Winner, Observer Mondays).
EVENTS
COCK PRE-SHOW TALK
POST-SHOW TALK
LATE WITH KATE & MIKE BARTLETT
PLAY POWER: COCK
Wednesday 3 October, 6pm Director Kate Hewitt in conversation with Kate Mosse. FREE but booking is essential.
Tuesday 16 October, Post-Show From Doctor Foster to King Charles III, writer Mike Bartlett talks to Kate Mosse about his celebrated dramas for stage and screen. FREE
Thursday 25 October Stay after the performance to ask questions, meet company members and discover more about the play. FREE Saturday 27 October, 12noon In partnership with the University of Chichester, this panel discussion led by Professor Simon Barker explores contemporary representation of gender and sexuality on stage. FREE but booking is essential
cft.org.uk/events
S TA F F
TRUSTEES Sir William Castell Mr Nicholas Backhouse Mr Nigel Bennett Mr Alan Brodie Ms Jill Green Ms Odile Griffith Mrs Shelagh Legrave OBE Rear Admiral John Lippiett CB CBE Mr Mike McCart Mr Harry Matovu QC Mrs Denise Patterson Ms Stephanie Street Mrs Patricia Tull Ms Tina Webster Mrs Susan Wells ASSOCIATES Kate Bassett Lez Brotherston Charlotte Sutton CDG
Chairman
Literary Associate Design Associate Casting Associate
BUILDING & SITE SERVICES Dan Armstrong Transport & Logistics Assistant Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager DEVELOPMENT Eleanor Blackham Memberships Officer Katie Cotton Director of Development Julie Field Friends Administrator Laura Jackson Head of Individual Giving Rosie Hiles Corporate Development Manager William Mendelowitz Head of Major Gifts Tabitha Moore Development Administrator Karen Taylor Memberships Officer DIRECTORS Daniel Evans Rachel Tackley Patricia Key Georgina Rae
Artistic Director Executive Director PA to the Directors Head of Planning & Projects
FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Katie Palmer Assistant Management Accountant Simon Parsonage Mark Pollard Paul Sturgeon Amanda Trodd Nicole Yu HR Eugenie Konig Emily Oliver Jenefer Pullinger Gillian Watkins
Finance Director & Company Secretary IT Support IT Consultant Management Accountant Finance Assistant (Trainee)
Head of HR Accommodation Administrator (Maternity Leave) HR & Recruitment Officer HR Administrator
LEAP Isilda Almeida Events & Heritage Manager Elspeth Barron LEAP Officer Mia Cunningham-Stockdale Youth Theatre Apprentice Lauren Grant Hannah Hogg Richard Knowles
Deputy Director of LEAP Youth Theatre Officer Education Projects Manager
Poppy Marples
Senior Youth Theatre Officer
Louise Rigglesford Community Partnerships Manager Dale Rooks Director of LEAP Fin Ross-Russell Education Trainee Beth Sedgwick Community Partnerships Trainee MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Caroline Aston Audience Insight Manager George Bailey Digital Marketing Officer Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Harry Boulter Fran Boxall Helen Campbell Lydia Cassidy
Box Office Assistant Box Office Supervisor Deputy Box Office Manager Director of Marketing & Communications
Gemma Clark Box Office Assistant Clare Funnell Marketing Officer Madeline Harker Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Communications Assistant Arti Joshi Box Office Assistant James Morgan Box Office Manager Lucinda Morrison Head of Press Joshua Vine Box Office Assistant Claire Walters Box Office Assistant Joanna Wiege Box Office Administrator Jane Wolf Box Office Assistant PRODUCTION Amelia Ferrand-Rook Producer Max Lindsay Resident Assistant Director Claire Rundle Production Administrator Jacob Thomas Production Trainee Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Jason Addison ALD Lumière Trainee Steph Bartle Deputy Head of Lighting Alex Castro Sound Technician Amy Clayton Stage Apprentice Rhuari Coe Stage Technician Leonie Commosioung Stage Crew Sarah Crispin Props Maker Lewis Ellingford Stage Crew Fuzz Sound Technician Sam Garner-Gibbons Technical Director Abbie Gingell Stage Technician Dominic Godfree Stage Crew Katie Hennessy Props Store Co-ordinator Laura Howells Senior Lighting Technician Mike Keniger Head of Sound Andrew Leighton Lighting Technician Karl Meier Head of Stage Andrew Mills Stage Crew Charlotte Neville Head of Props Workshop Ryan Pantling Lighting and Sound Apprentice Chris Perryman Deputy Head of Stage Megan Pickthorne Stage Apprentice Lewis Ramsay Lighting & Sound Apprentice Erin Ridley Assistant Lighting Technician Alys Robinson Stage Crew Marise Rose Props Maker
cft.org.uk/aboutus
Neil Rose Ernesto Ruiz-Mateo James Sharples Graham Taylor Mollie Tuttle
Deputy Head of Sound Stage Crew Stage Crew Head of Lighting Lighting Technician
THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Gabriele Hergert Deputy House Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager WARDROBE Michaela Duffy Ellie Edwards Fiona McIntosh Naomi Overton Gabby Salwyn-Smith Suzanne Skelton Sam Sullivan Loz Tait Colette Tulley Gina Warnes Maisie Wilkins WIGS Beau Bambi Brett Sonja Mohren Isabella Trevisiol-Duff
Dresser Dresser Deputy Head of Wardrobe Dresser Dresser Deputy Head of Wardrobe Assistant Wardrobe Head of Wardrobe Wardrobe Maintenance Assistant Wardrobe Dresser
Deputy Head of Wigs Head of Wigs Deputy Head of Wigs
Stage Door: Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Mia Kelly, Chris Monkton, Susan Welling (Supervisor) Ushers: Miranda Allemand, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Bob Bentley, Gloria Boakes, Janet Bounds, Judith Bruce-Hay, Lauren Bunn, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Sophia Cobby, Freya Cooper, Gaye Douglas, Stella Dubock, Alisha Dyer-Spence, Clair Edgell, Suzanne Ford, Jade Francis-Clark, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Luc Gibbons, Anna Grindel, Karen Hamilton, Caroline Hanton, Madeline Harker, Joseph Harrington (Trainee), Fred Harris, Gillian Hawkins, Joanne Heather, Gordon Hemming, Lottie Higlett, Stephanie Horn, Keiko Iwamoto, Pippa Johnson, Ryan Jones, Jan Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Janette McAlpine, Margaret Minty, Chris Monkton, Chloe Mulkern, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen, Kirsty Peterson, Helen Pinn, Barbara Pope, Justine Richardson, Nicholas Southcott, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Chantelle Walker, Rosemary Wheeler, Donna Wood, Fleur Wood, Kim Wylam, Jane Yeates Volunteer Audio Describers: Robert Dunn, Geraldine Firmston, Suzanne France, Sue Hyland (Co-ordinator), David Phizackerley, Christopher Todd We acknowledge the financial assistance received from Chichester City Council in respect of signed performances and the work of those who give so generously of their time as our Volunteer Audio Description Team.
ACCESS AND CAR PARKING
Wheelchair users 16 wheelchair spaces are available on two levels in the Festival Theatre, with accessible lifts either side of the auditorium. Two wheelchair spaces are available in the Minerva Theatre. Hearing impaired Free Sennheiser listening units are available for all performances or switch your hearing aid to ‘T’ to use the induction loop in both theatres. Signed performances are British Sign Language interpreted for people who are D/deaf or hard of hearing. Stagetext Captioned performances display text on a screen for D/deaf or hearing impaired patrons. Audio-described performances offer live narration over discreet headphones for people who are blind or visually impaired. Touch Tours enable blind or visually impaired people to explore the set before audio described performances. Free but booking is essential. Dementia-Friendly Theatre All Box Office and Front of House staff have attended a Dementia Friends Information Session, and can be identified by the blue pin on their uniform.
Assistance dogs are welcome; please let us know when booking as space is limited. Parking for disabled patrons Blue Badge holders can park anywhere in Northgate Car Park free of charge. There are 9 non-reservable spaces close to the Theatre entrance. Car Parking Northgate Car Park is an 836-space pay and display car park (free after 8pm). On matinee days it can be very busy; please consider alternative car parks in Chichester. chichester.gov.uk/mipermit If you have access requirements or want to book tickets with an access discount, please join the Access List. For more information and to register, visit cft.org.uk/access, call the Box Office on 01243 781312 or email access@cft.org.uk
Large-print version of this programme available on request from the House Manager or access@cft.org.uk Large-print and audio CD versions of the Festival Season brochure are available on request from access@cft.org.uk For more access information, call 01243 781312 or visit cft.org.uk/access
cft.org.uk/visitus
SUPPORT US
COME CLOSER Did you know that Chichester Festival Theatre is a registered charity? And that you can play an essential role and get more involved in what we do? The generosity and commitment of our supporters, whether their donation is large or small, has helped us achieve our reputation as ‘the jewel in the crown of regional theatres’ (Daily Telegraph). Here are some of the ways you can support the Theatre to maintain our world-class standards, extend our dedicated community and education work, and inspire the future generation of performers, theatre-makers and audiences. In return, we’ll give you a range of benefits to bring you closer to our work. As a Friend of Chichester Festival Theatre, for just £35 a year you’ll receive priority booking, ticket discounts and special events. Visit cft.org.uk/friends for further details.
Our Festival Players are a community of theatre-loving individuals who receive advance priority booking, the opportunity to meet Artistic and Creative teams and invitations to exclusive events throughout the season. You can become a member from £250 a year. Benefactors enjoy an especially close relationship with the Theatre, gaining unique insight into the creative process. Gifts support all areas of our work, from our award-winning Youth Theatre to the Playwrights’ Fund and Trainee programmes. Bespoke communications throughout the year from a personal contact at Chichester Festival Theatre keep you in touch with the impact of your gift. We’d love to tell you more about the ways you can support us. Please contact the Development Team on development.team@cft.org.uk or call 01243 812908.
cft.org.uk/supportus
S U P P O R T E R S 2018
INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry Sarah and Tony Bolton George W. Cameron OBE and Madeleine Cameron Wilfred and Jeannette Cass Sir William and Lady Castell John and Pat Clayton CMC Professional Services Clive and Frances Coward Jim Douglas Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Steve and Sheila Evans Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Sir Michael and Lady Heller Mr and Mrs Christopher Hogbin Basil Hyman Liz Juniper The family of Patricia Kemp Roger Keyworth Alan and Virginia Lovell Jonathan and Clare Lubran Selina and David Marks Mrs Sheila Meadows Jerome and Elizabeth O'Hea Philip and Gail Owen Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE Lady Sainsbury of Turville David and Sophie Shalit Jon and Ann Shapiro Simon and Melanie Shaw Greg and Katherine Slay David and Alexandra Soskin David and Unni Spiller Alan and Jackie Stannah Howard M Thompson Nicholas and Francesca Tingley Peter and Wendy Usborne Bryan Warnett of St. James's Place Ernest Yelf Lord and Lady Young TRUSTS AND FOUNDATIONS The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Boltini Trust Elizabeth, Lady Cowdray's Charity Trust The Eranda Rothschild Foundation The Noël Coward Foundation The Roddick Foundation
FESTIVAL PLAYERS Dr Cheryl Adams CBE Charles and Clare Alexander Tom Reid and Lindy Ambrose Paul Arman Mr Brian Baker Matthew Bannister Mr Laurence Barker Mr James and Lady Emma Barnard Julian and Elizabeth Bishop Martin Blackburn Mike and Alison Blakely Sarah and Tony Bolton Tim Bouquet and Sarah Mansell Pat Bowman Lucy and Simon Brett Adam and Sarah Broke Mrs Susie Brookes Bridget Brooks Peter and Pamela Bulfield Jean Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Warren and Yvonne Chester Julien Chilcott-Monk Sally Chittleburgh David and Claire Chitty Denise Clatworthy Annie Colbourne John and Susan Coldstream David and Julie Coldwell Cecilia Cole Mr Charles Collingwood and Miss Judy Bennett Michael and Jill Cook Brian and Claire Cox Susan Cressey Deborah Crockford Rowena and Andrew Daniels Jennie Davies Yvonne and John Dean Diana Dent Clive and Kate Dilloway Christopher and Madeline Doman Peter and Ruth Doust Peter and Jill Drummond John and Joanna Dunstan Peter Edgeler and Angela Hirst Betty and Ian Elliot Anthony and Penny Elphick Caroline Elvy Sheila Evans Brian and Sonia Fieldhouse Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Robert and Pip Foster Roz Frampton Debbie and Neil Franks Alan and Valerie Frost Mr Nigel Fullbrook George Galazka Elizabeth Ganney Robert and Pirjo Gardiner Wendy and John Gehr
Jacqueline and Jonathan Gestetner Marion Gibbs CBE Stephen J Gill John and Sue Godfrey Dr and Mrs P Golding Julian and Heather Goodhew Robin and Rosemary Gourlay R and R Green Michael and Gillian Greene Reverend David Guest Ros and Alan Haigh Dr Stuart Hall Kathy and Roger Hammond Anthony Harding David and Linda Harding Dennis and Joan Harrison Roger and Tina Harrison Robert and Suzette Hayes Mrs Joanne Hillier Andrew Hine Christopher Hoare Malcolm and Mary Hogg Michael Holdsworth Pauline and Ian Howat Barbara Howden Richards Joyce Hytner Mrs Raymonde Jay Robert and Sarah Jeans Mrs Pamela Johnson Robert Kaltenborn Nigel Kennedy OBE Anna Christine Kennett Roger Keyworth John and Jane Kilby James and Clare Kirkman Mrs Rose Law Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Anthony and Fiona Littlejohn Mr Robert Longmore Colin and Jill Loveless Amanda Lunt Dr and Mrs Nick Lutte Robert Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Charles and Elisabeth Martin Gerard and Elena McCloskey Tim McDonald Mick and Betty McGovern Jill and Douglas McGregor James and Anne McMeehan Roberts Mrs Michael Melluish Celia Merrick Diana Midmer David and Elizabeth Miles David and Di Mitchell Jenifer and John Mitchell Gerald Monaghan Sue and Peter Morgan Roger and Jackie Morris Sara Morton Terence F Moss Mrs Mary Newby Patricia Newton
Lady Nixon Margaret and Martin Overington Mr and Mrs Gordon Owen Mrs Glenys Palmer Richard Parkinson and Hamilton McBrien Alex and Sheila Paterson Simon and Margaret Payton Jean Plowright Maggie Pollock Tim Randall and John Murphy John Rank Malcolm and Angela Reid Christopher Marek Rencki Sandi Richmond-Swift John and Betsy Rimmer Robin Roads Philip Robinson John and Valerie Robinson Nigel and Viv Robson Ken and Ros Rokison Mr and Mrs Rooney Mark and Susan Ross Nigel and Jackie Scandrett Clare Scherer and Jamie O'Meara The Tansy Trust The Colles Trust Mr Christopher Sedgwick John and Tita Shakeshaft Mrs Dale Sheppard-Floyd Jackie and Alan Sherling Nick Smedley and Kate Jennings Monique and David Smith Christine and Dave Smithers Mr and Mrs Brian Smouha Mrs Barbara Snowden Paul and Marie Stacey Elizabeth Stern Barbara Stewart Judy and David Stewart Peter Stoakley Rodney and Sara Stone Anne Subba-Row Ms Maura Sullivan Brian Tesler CBE Harry and Shane Thuillier Mr Robert Timms Alan Tingle Peter and Sioned Vos Steve and Margaret Wadman David Wagstaff and Mark Dune Phil and Claire Wake Paul and Caroline Ward Ian and Alison Warren Chris and Dorothy Weller Bowen and Rennie Wells Graham and Sue White Barnaby and Casandra Wiener Judith Williams Nick and Tarnia Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald And all those who wish to remain anonymous
‘I am very proud to be associated with Chichester Festival Theatre. To be able to give extra support to such consistently fine work gives me a great sense of engagement with the life of the Theatre.’ John Shakeshaft, CFT Supporter
cft.org.uk/supportus
S U P P O R T E R S 2018
PRINCIPAL PARTNERS
Diamond Level Prof E.F Juniper and Mrs Jilly Styles
Oldham Seals Group
Gold Level
HOLIDAY LETS
Silver Level
CORPORATE PARTNERS LEVEL 1 Chichester College Criterion Ices Jones Avens Purchases Bar & Restaurant RL Austen Thesis Asset Management
LEVEL 2 Addison Law Behrens Sharp Hennings Wine Merchants Perry Property Advisors Richard & Stella Read The Bell Inn The J Leon Group
LEVEL 3 Dinamiks European Office Products Russell & Bromley Ten Chichester Bed & Breakfast Mrs Joanna Williams
Chichester Festival Theatre offers a variety of corporate partnerships to meet your business needs. For further information, please contact us at development.team@cft.org.uk
LEAP
LEARNING, EDUCATION AND PARTICIPATION The Learning, Education and Participation Department creates a year-round programme of practical workshops, talks, tours, performances and much more. With opportunities for all ages and abilities we aim to excite and inspire every person that engages with us.
COMMUNITY
CHILDREN & YOUNG PEOPLE
Develop artistic, personal and social skills through our workshops, projects, productions and award-winning Youth Theatre for young people of all abilities. Chichester Festival Youth Theatre | Holiday Activities | Arts Award
EDUCATION
Working with local schools to enrich students’ learning, our training and apprenticeships programme enables us to grow the next generation of arts professionals. Playboxes | Technical Tasters | Creative Careers Day | Work Experience
Learn more about theatre, develop performance skills, discover how productions are made and share experiences with others through our workshops and community projects. Talks and Discussions | Community Theatre Days | Adult Classes
FAMILIES
Take part in Family Friendly talks, tours and workshops designed to complement our Festival programme. Storytelling | Theatre Tours | Toddler Classes
cft.org.uk/leap