Me and My Girl digital programme | Chichester Festival Theatre | Festival 2018

ME AND MY GIRL Books & Lyrics by L Arthur Rose and Douglas Furber Book revised by Stephen Fry with contributions by Mike Ockrent Music by Noel Gay

WELCOME

includes Les Misérables in the West End. Caroline Quentin plays the Duchess of Dene. Her television work includes Men Behaving Badly and Jonathan Creek and her recent stage work includes The Hypocrite (RSC). Caroline also appeared in Les Misérables as a member of the original cast.

DANIEL EVANS AND RACHEL TACKLEY PHOTOGRAPH BY TOBIAS KEY

Welcome to summer and sunshine. And what could be more celebratory than Me and My Girl, the first major musical of our season – filling the Festival Theatre with music, song and dance.

This much-loved musical comedy – one of the very first examples of a British musical – is presented here in a new staging, reuniting our Design Associate Lez Brotherston and choreographer Alistair David, who collaborated with Daniel on Festival 2017’s hit musical Fiddler on the Roof. Gareth Valentine returns to Chichester following his work on Guys and Dolls in 2014, to create brand new arrangements for Noel Gay’s score.

We are delighted to welcome two of our most popular actors, Matt Lucas and Caroline Quentin, to make their debuts at Chichester. Matt, who plays Cockney barrow boy Bill Snibson, is known to a television audience of millions for the hit series Little Britain and his theatre work

If today’s performance inspires you to join in the ‘Lambeth Walk’, head along to Oaklands Park on 7 or 14 July when our Youth Dance Company perform their own version of this popular cockney dance craze – and be prepared to strut yourself!

Do keep up with all our news from behind the scenes during Me and My Girl, by joining us on social media via #MeAndMyGirl and sign up to our podcast channel for exclusive interviews with the company.

Coming next in the Festival Theatre is our second musical in Festival 2018, Flowers for Mrs Harris. Clare Burt, Joanna Riding and Gary Wilmot will be leading the company in this new musical based on the delightful Paul Gallico novella. We do hope you can join us for that too.

Artistic Director Daniel Evans

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Executive Director Rachel Tackley

COMING SOON

Clare Burt Joanna Riding Gary Wilmot

FLOWERS FOR MRS HARRIS Based on the novel by Paul Gallico Book by Rachel Wagstaff Music & Lyrics by Richard Taylor 8 – 29 September #FlowersForMrsHarris

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COMING SOON

K ETS C I T LY FAMI AIL ABLE AV

THE MIDNIGHT GANG

By David Walliams Adapted by Bryony Lavery Music & Lyrics by Joe Stilgoe 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

ME AND MY GIRL Books & Lyrics by L Arthur Rose and Douglas Furber Book revised by Stephen Fry with contributions by Mike Ockrent Music by Noel Gay

THE ENTERTA THE NEW BEDFORD, c.1915 BY WALTER RICHARD SICKERT (1860-1942) MERCER ART GALLERY, HARROGATE, NORTH YORKSHIRE, UK / IMAGE COURTESY OF HARROGATE BOROUGH COUNCIL / BRIDGEMAN IMAGES

AINERS

There are only two British musicals from the 1930s that are ever likely to be revived – Bitter Sweet and Me and My Girl. Noël Coward’s piece had its origins in the work of the Viennese waltz kings and the world of operetta, whereas the show you are seeing tonight has a distinct flavour of one of the British theatre’s most robust strains – the Music Hall. Its composer, Noel Gay, had already written material for such stars of the halls as Gracie Fields and George Formby and knew that the songs that worked best for them had simple, catchy tunes. He also knew that Me and My Girl was going to star Lupino Lane, latest of a great family of performers in this field, so writing songs in the music hall style was clearly a good decision.

The history of the music hall is a fascinating one – a history that lasted from the 1830s (when it was born in pubs) to the 1950s when it could no longer survive the competition of the TV screen. When the industrial revolution changed Britain from an agricultural country to a manufacturing one, working people must have felt a loss of identity. However exploited they had been before the arrival of factories and mines, they did at least know their employer’s name and he knew theirs. But the change in the workplace meant faceless employers and the building of characterless towns with rows of identical streets. In these circumstances, where else to go for warmth and fun but the local?

Pubs have always been at the heart of our social life and we can be sure that regular patrons have always recognised the larger than life characters that raised everyone’s spirits – phrases like, “Fred’s in tonight and he’s always a laugh” or “Sally’s going to give us a song and she’s a caution” must have been heard in every pub in the country. And any astute landlord would soon realise that the presence of Fred or Sally would increase the takings. Put a piano on a platform in the corner, book them on a regular basis and a new branch of the theatre springs to life.

And these untrained but talented performers knew what their public wanted – a realistic but larger than life version of their daily lives. And so we find songs about work and food and drink, songs about courting and meeting the loved one’s family and songs about the shabby genteel who indulged in more airs and graces

than their financial state justified. And songs with the story in the verses, each leading to a repeated chorus that invited the audience to join in.

Many families made a trip to their local music hall every week The popularity of these performances meant that they soon outgrew the space available in the pub, and custom-built halls were built from about the 1850s. By 1865 it was recorded that there were 32 such buildings in London alone and by 1878 there were nearly 80. The law of unintended consequences had an effect on these performances in many ways – efforts to reduce drunkenness led to new laws forbidding LUPINO LANE NOEL GAY PHYLLIS ROBINS, 1940 IMAGE COURTESY OF ALAMY

the sale of alcohol in the same space as the show, hence the introduction of the theatre bar.

So what did a visit to your local hall entail?

The shows were all twice nightly – usually 6.15 for those who came straight from work and 8.45 for those who preferred to go home and have tea first. The evening largely consisted of a succession of solo acts that lasted 10-15 minutes apart from the headlines who would do a longer stint. Unlike revue which became popular later, there was no sense of a company – no opening number, no curtain call at the end.

And the joy of this succession of single acts was that if you were bored by the performer you were watching, you knew that in a few minutes they would be replaced by someone else who might delight you. We often read these days that going to the theatre has become a middle class activity and that its perceived poshness puts audiences off. Interesting then to realise that a huge working class audience felt totally

at ease in these surroundings and many families made a trip to their local music hall every week. And the fact that the performers and the audience were of the same class must have contributed to that sense of belonging.

In a world without TV or radio, there was no scramble to acquire new material all the time.

Audiences who had enjoyed a song on a previous visit were more than happy to hear the same number the next time the act returned.

That meant that some performers had a whole career with very few new songs – Ella Shields, for instance, sang ‘Burlington Bertie from Bow’ from 1915 to her death in 1952.

‘Every performance

by Marie Lloyd is by command of the British public’ And mention of her is a reminder of the phenomenon of the male impersonator. Apart from playing Dame in pantomime, there seems to have been little in the way of female impersonation, but ladies who dressed as men were quite a different matter. The most famous was Vesta Tilley, who wore beautifully stylish suits and appeared as a very fashionable young man singing ‘Burlington Bertie’. (Ella Shields’ number was about someone with the same pretensions but no income.) Tilley was invited to take part in the first Royal Command performance in 1912, but it was noted that during her act, Queen Mary turned her back on the stage as she could not be seen to condone a woman wearing trousers.

One great star who was not invited to appear in the royal performance was Marie Lloyd, probably because her songs were seen as too risqué for royal ears. Her rise was phenomenal: starting her career at the age of 15, she was earning £100 a week a year later - £100 a week in 1885! Like so many of the artistes on the halls, she didn’t have a great voice, but her timing, her spontaneity and her skill at innuendo made her a huge favourite, and many of her songs became classics – MARIE LLOYD IMAGE COURTESY OF ALAMY

‘The Boy I Love is up in the Gallery’ and ‘My old man said follow the van’ are familiar to a great number of people even now. She was constantly up before her betters because of the naughtiness of her songs – her ability to make them sound blameless in court was yet another manifestation of her talent. Like every comedian of that period, she was wary of appearing too far from home: with the exception of Harry Lauder, no Scottish act had any success south of the border, and Cockney comics cut no ice in the Midlands or the North. Marie Lloyd herself was booed in Sheffield, leading to her spirited retort suggesting to the audience where they might put their knives and forks – “and your circular saws!” On the night of the Royal Command performance which had ignored her, she gave a performance, the bills for which said, ‘Every performance by Marie Lloyd is by command of the British public.’ She was admired by such figures as Sarah Bernhardt, Max Beerbohm and T.S. Eliot – the latter wrote, ‘I am thinking of Marie Lloyd who has died only a short time before the writing of this letter.

I have always admired her genius. She was the

greatest music hall artist in England: she was also the most popular. And popularity in her case was not merely evidence of her accomplishment: it was something more than success. It is evidence of the extent to which she represented and expressed that part of the English nation which has perhaps the greatest vitality and interest.’ There are other notable examples of the admiration exponents of high culture had for popular entertainers – witness the enthusiasm expressed by Diaghilev and Nijinsky for Little Tich, the extraordinary 4 foot 6 inches dancer who had a great following.

While the stars made great sums of money and even those down the bill had the security of bookings as much as a year ahead, none of the song writers made a fortune. Before the existence of the Performing Rights Society, there were no royalties – a performer might pay a fiver for a song which then became their property. Understandably some writers aimed to write and sell two or three songs a week to make a decent living. But of course quite a few acts saved themselves even this amount of

GRANVILLE THEATRE OF VARIETIES, WALHAM GREEN IMAGE COURTESY OF GETTY IMAGES

expense by writing their own numbers – for instance Harry Lauder (‘I love a Lassie’), Will Fyffe (‘I belong to Glasgow’), Harry Champion (‘Any old iron’) and the great Gus Elen (‘It’s a great big shame’). They could also augment their earnings by playing in two theatres on the same night. Such was the demand for the big names that it was perfectly possible to appear early on the bill at, say, the Chiswick Empire and then dash by hansom cab to the Chelsea Palace or the Granville, Walham Green to perform the same act, return to the first venue to appear in the second house and end the evening back in Chelsea or Walham Green.

By the 1920s Music Hall had gradually changed its name to Variety but it continued to be popular, although radio and the cinema, particularly after the arrival of the talkies, offered some real competition. And when television came into the home there was a sharp decline. The smaller halls started to present striptease shows, the golden years were seen to be over and one after another the theatres shut up shop.

‘Me And My Girl is as British as seaside piers, pie and mash and pints of mild’ And yet something still remains. More and more pubs have evenings of rock or jazz or stand-up comedy, echoing the way the genre started. And how extraordinary that the fact that the ukulele is gradually replacing the recorder in school music classes has resulted in many teenagers joining the George Formby Appreciation Society. And fascinating to learn that the drama schools that work on this material find today’s young actors love it – it seems that these old songs are in our DNA. So back to Mr Noel Gay and his choice of musical idiom for Me and My Girl. His early successes had included music for popular revues such as Clowns in Clover for Jack Hulbert and Cicely Courtneidge, who had honed her craft as a comedienne in the music hall.

His first musical show in 1931, Hold My Hand, starred Jessie Matthews and Stanley Lupino – the uncle of Lupino Lane, the leading comic music hall performer around whose talents Me and My Girl was to be written.

LEFT: NOEL GAY RIGHT: LAMBETH WALK - SCORE COVER, 1937 IMAGES COURTESY OF NOEL GAY ORGANISATION AND ALAMY

Noel’s prolific output of instantly catchy melodies would go on to include ‘Run Rabbit Run’ for Bud Flanagan and the Crazy Gang, but arguably nothing he subsequently penned outdid Me and My Girl’s best-known number ‘The Lambeth Walk’, which inspired a dance craze and, famously, a Times leader, in October 1938: “While dictators rage and statesmen talk, all Europe dances – to ‘The Lambeth Walk’.”

As Stephen Fry, who revised the book for the 1985 production, put it: ‘Almost uniquely among blockbusting stage musicals of the twentieth century, Me and My Girl owed absolutely nothing to Broadway – its debt is wholly to British music hall... as British as seaside piers, pie and mash and pints of mild.’

Noel Gay was a highly trained musician whose work for C. B. Cochran’s last revue included a song called ‘You’ve Done Something to my Heart’ which could have been written by Rodgers & Hart. So how wise of him to leave such sophistication aside in writing these totally English, utterly delightful songs.

GEORGE HALL

George Hall lectures in the History of Musical Theatre at the Royal Academy of Music. He has worked in many capacities – actor, director, composer, writer and teacher.

A book about his life and experiences, entitled An Untidy Career, has been written by Lolly Susi and published

by Oberon Books.

A NEW LICK OF PAINT If ‘triple threat’ is a term customarily applied, in a theatrical context, to performers who excel at acting, singing and dancing, it could equally well describe Gareth Valentine. Having originally set his heart on an operatic career – he studied singing at the Royal College of Music with the legendary tenor Peter Pears – Valentine found himself ‘completely by accident’ taking a different road into musical direction, and now bestrides the musical theatre world as a pre-eminent musical director, supervisor and arranger.

On Me and My Girl, he’s fulfilling all three roles. As Musical Director, he has (in brief) taught and rehearsed the music with the company and the musicians, and you’ll see him conducting the orchestra at most performances.

As Musical Supervisor, he has over-arching responsibility for the show’s music: in place of a living composer, he is the guardian of the score,

GARETH VALENTINE

charged with presenting it in the best light.

But today he is talking about his role as Musical Arranger – ‘a role quite separate and different altogether’ to that of Musical Supervisor, but perhaps less well understood.

So what, exactly, does a Musical Arranger do – and why does Me and My Girl require new musical arrangements?

‘The arranger takes the score and rearranges it, after discussions with the creative team – in this case director Daniel Evans and choreographer Alistair David’, Gareth says.

‘Number by number, we talk about our ideas and imaginings for staging and choreography, and what the approach should be. Then I go away and draft numbers according to that brief.

‘For example, Daniel may want to take a song which may only be a 16-bar, 30-second tune, a very simple number – and spin that into a four or five-minute production number.’

It’s a process common to almost every new musical staging and one where all the creativity, skill and technique that Gareth has learned over the last 40 years comes into its own; productions on which he has previously worked range from Chichester’s stagings of The Pajama Game and Guys and Dolls to Gareth’s own Strictly Gershwin which he composed for English National Ballet. Crucial to its success is honouring the original composer’s intentions

while serving the needs of the new production.

‘The cardinal rule is that you always use the original tune as the source material,’ Gareth notes. ‘But once the singer has finished singing the song, you can go anywhere you like. First of all, you say “This is how it should go, this is what Noel Gay did”; and once you’ve done that a couple of times, then you can say “This is how it didn’t go” – that’s when the dance or vocal arrangements begin.

‘To quote Daniel, he wanted it done with a new lick of paint. Noel Gay’s music looks back more than it looks forward, to the late 1800s. In our score, we both look back and look forward.

We wanted to push the borders of where we could go; to swing the music a little bit because swing music was in its infancy in the 1930s in England, while in America it was already going full swing by then.

‘Take ‘The Sun Has Got His Hat On’. In that number alone we decided to convey the increasing merriment in the number by having a madrigal, then a bit of swing music, then a bit of opera, a bit of Latin American – you can go anywhere you want with your imagination.’

Gareth’s imagination is ballasted by his staggering variety and depth of musical knowledge, exemplified in a new, story-telling ballet sequence in Act 2.

‘We go to America, so we hear 1930s American music that’s redolent of Gershwin; we go to Paris, so we hear a French waltz played on an accordion; then to Venice, so I wrote a barcarolle, a dance song which is like the swaying of the gondola.

‘In ‘Song of Hareford’,’ he adds, ‘we meet ancestors from different ages, so I wrote a little bit of Elizabethan music, a bit of Stuart music, a bit of Handelian music, a bit of Victorian music, then a Bergamasque which is another ancient dance form. We had a lot of fun.’

While pastiche Gay was not the aim, audiences may well spot contemporaneous

NOEL GAY

musical influences in Gareth’s new arrangements.

‘Some of the music Gay wrote is redolent of the style of Gilbert and Sullivan, and Edward German [composer of Merrie England] and I emulated the style sometimes; in places I’ve actually quite overtly quoted from Sullivan’s Savoy Operas, which any G&S afficionados will be delighted to recognise!’

‘Noel had a gift for writing very strong melodies, ear-worm melodies that the public would pick up in a minute and would stick like a kitten to a blanket’ Gareth offers a few further tip-offs for sharp-eared members of the audience to listen out for: ‘Snatches of music from Mendelssohn’s Bridal March; little bits of Strauss like Die Fledermaus; movie music of the 1930s (as Bill and Sally are movie lovers) – Laurel and Hardy, for example.’

Writers’ and composers’ estates can be fiercely protective of their clients’ work. It

was Noel Gay’s own son Richard Armitage who produced the 1985 revival of Me and My Girl in the revised version by Stephen Fry and Mike Ockrent.

‘Alex Armitage is the grandson of Noel Gay (who was born Reginald Armitage) and now runs the Noel Gay Organisation. Daniel, Alistair and I had extensive meetings with him before we put pen to paper, to ensure he was happy with what we wanted to do. Me and My Girl, for all its success in the 1980s and 1930s, is not a museum piece; it’s not a fly in amber. We’re approaching it in a totally fresh way.’

Nonetheless, Gareth is quick to pay tribute to Gay’s remarkable talent.

‘Like Lionel Bart who came along in the 1960s, Noel had what I call the common touch – a gift for writing very strong melodies, earworm melodies that the public would pick up in a minute and would stick like a kitten to a blanket. Once it’s in your head it’s a bugger to get out. I think Noel Gay was a more modest musician than someone like Gershwin, perhaps, but his gift for writing tunes was second to none.’

Ah yes, those ear-worm melodies. There’s every likelihood that ‘Lambeth Walk’ will be hummed around the streets of Chichester for weeks to come. What is their burr-like quality?

‘They are very simple,’ Gareth offers. ‘If you think of a traditional structure of a song: A, A, B, A. The sun has got his hat on / Hip hip hip hooray / The sun has got his hat on / And he’s coming out today. Noel repeats that same tune with different lyrics: Now we’ll all be happy / Hip hip hip hooray / The sun has got his hat on / And he’s coming out today. That’s A and A. He then does the middle section: He’s been roasting peanuts / Out in Timbuctoo / Now he’s coming back / To do the same to you. That’s part B. Then he goes back to tune A again: So jump into your sunbath / Hip hip hip hooray / The sun has got his hat on / And he’s coming out today.

‘It’s very a simple form. If you look at an A, A, B, A structure of Gershwin or Cole Porter or Stephen Sondheim, they’re much more sophisticated melodically and harmonically (and lyrically because Ira Gershwin and Porter were wonderful, distinguished lyricists). But Noel wrote very simply – look at his World War II

song ‘Run Rabbit Run’. It’s the simplest, most catchy thing. You just have to have that gift.’

Musical arrangements written, there’s a further process to be gone through.

‘Once I’ve finished with it, I write what’s called a “short score” with all the musical lines and figures – it’s a fully comprehensive account of what we’re doing with the score’, Gareth explains. ‘That, in turn, is passed on to the orchestrators – in this case, Doug Besterman, a Broadway orchestrator, and Mark Cumberland, a West End orchestrator. They will take my work and orchestrate it [assign notes to instruments] for our 11-piece band.’

Gareth himself is, of course, bearing the instruments in mind while he is composing.

‘I’m thinking about what the sounds will be while I’m writing, so we pretty much determine what the band will comprise.’

However, the audience will hear more instruments than the two trumpets, trombone, three reeds, drums, percussion, two keyboards and double-bass that comprise the live orchestra.

‘Most of the unusual instruments will be played on the keyboard: things like the ocarina, the recorder, a cathedral organ, a Wurlitzer electric piano, a penny whistle, bagpipes.

Great fun!’

Some people may wonder why, if so many instruments can be replicated on a synthesizer, you need a live band as well.

‘11 synthesizers would sound ghastly,’ Gareth says firmly. ‘It just uses one colour at a time to supplement the band. If you replaced two trumpet players with two trumpets on a synthesizer it would sound awful. They only work when they supplement a band, not when they replace it.’

It only remains to wonder why Gareth – who has a Requiem and a ballet to his name – has yet to compose an original musical himself?

‘To get a musical on takes years and years of pushing. I’ve tried to find collaborators, but you basically have to marry each other; you have to spend hours and hours each day in the same room! So it’s never happened for me.

I did write an original score for Aladdin for Ian McKellen and that was great fun.’

There’s still time.

‘CHITTY CHITTY BA CAST A BUTCHERS OVER SOME CHITTY CHITTY BANG BANG, HAVE (Cast a look over some Cockney rhyming slang, have a laugh, then a 2

1

‘I THINK I’LL GO DOWN TO THE OLD RUB A-DUB-DUB’

‘THIS MORNING HE CALLED ME A DAFT RASPBERRY TART’

3

‘THEY’RE BOTH BROWN BREAD’

4

‘HAVE ANOTHER DRINK, MY OLD CHINA’

5

‘LET’S HAVE A DAME EDNA’ 6

‘WE’LL HAVE TO SPEAK A LA MODE’ 7.‘Steve McQueens’ Jeans 8.‘Worzel Gummidge’ Rummage 9.‘Duke of Kent’ Rent 10.‘Doctor Crippen’ Bread and Dripping 11.‘Lady Godiva’ Fiver 12.‘Manhole cover’ Brother

*

‘COCKNEY RHYMING SLANG’

ANG BANG’* QUIZ! A BUBBLE, THEN A COCOA AND SEE HOW YOU BOBBY MOORE. think and see how you score.)

7

‘MY SKINNY STEVES ARE A BIT TIGHT’ 8

9

‘HAVE A WORZEL IN THAT BOX’ 10

‘FANCY SOME DOCTOR CRIPPEN?’

‘HE’S AFTER MY DUKE OF KENT’ 12

11

‘YOU OWE ME A LADY’

‘I’M WAITING FOR MY MANHOLE COVER’

ANSWERS 1.‘Rub-a-dub’ Pub 2.‘Raspberry tart’ Fart 3.‘Brown Bread’ Dead 4.‘My old china’ (plate) Mate 5.‘Dame Edna Everage’ Beverage/Drink 6.‘A la mode’ Code

ME AND MY GIRL Books & Lyrics by L Arthur Rose and Douglas Furber Book revised by Stephen Fry with contributions by Mike Ockrent Music by Noel Gay

CAST (in order of speaking) Lady Jaqueline Carstone The Hon. Gerald Bolingbroke Lady Battersby Lord Battersby Parchester Maria, Duchess of Dene Sir John Tremayne Charles, The Butler Bill Snibson Sally Smith Footman Maid Chef / Bob Barking Footman / Telegram Boy Lord Damming Lady Diss Lord French The Hon. May Miles Mrs Worthington-Worthington Lady Brighton Sophia Stainsley-Asherton Mrs Anastasia Brown Constable Cockney

Siubhan Harrison Dominic Marsh Jacqui Dubois Matt Harrop Jennie Dale Caroline Quentin Clive Rowe Jak Skelly Matt Lucas Alex Young Oliver Tester Lauren Hall Ryan Pidgen Toyan Thomas-Browne Ronan Burns Victoria Hinde Davide Fienauri Lydia Bannister Natasha Mould Pippa Raine Monica Swayne Charlotte Scott Emile Ruddock Melissa Lowe

Other parts played by members of the Company

The action takes place in the late 1930s in Hampshire and London.

There will be one interval of 20 minutes.

First performance of this production of Me and My Girl at Chichester Festival Theatre, 2 July 2018.

Director Designer Choreographer Musical Supervisor, Musical Director & Musical Arrangements Orchestrators Lighting Designer Sound Designer Video Designer Casting Director Voice and Dialect Coach Costume Supervisor Props Supervisor Hair, Wigs and Make-up Supervisor Associate Sound Designer Assistant Director Assistant Choreographer and Dance Captain Assistant Musical Director Fight Director

Production Manager Company Manager Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager

Daniel Evans Lez Brotherston Alistair David Gareth Valentine Doug Besterman and Mark Cumberland Tim Mitchell Carolyn Downing Andrzej Goulding Charlotte Sutton CDG Charmian Hoare Rachel Dickson Lily Mollgaard Darren Ware Rob Bettle Max Lindsay Victoria Hinde Tamara Saringer Terry King Paul Hennessy Emma Banwell Daniel Gammon Lynsey Fraser Gareth Newcombe Alice Wilson

ORCHESTRA Conductor / Keyboard Keyboard / Accordion Drums Percussion Double Bass Flute / Clarinet / Bass Clarinet / Alto Saxophone Flute / Piccolo / Clarinet / Tenor Saxophone Soprano, Tenor and Baritone Saxophones / Clarinet Trumpet 1 / Flugel Trumpet 2 / Flugel Trombone Orchestral Management

Copyist Keyboard Programmer Additional Rehearsal Pianist

Gareth Valentine Tamara Saringer Allan Cox James Turner Chris Kelly Sarah James David Ruff Harry Cameron-Penny Tom Tait Richard Freeman Jane Salmon Andy Barnwell for Musical Coordination Services Ltd Hotstave Ltd Stuart Andrews Simon Lambert

Scenery built and painted by Rocket Scenery, Andy Latham Scenery & Anna Stamper, Cardiff Theatrical Scenery, Junction Inc. Scenic Drapery & Printing by Prompt Side Theatrical. Stage Engineering by WeldFab Stage Engineering. Automation Hires: Absolute Motion Control. Sound Hires: Autograph Sound. Lighting Hires: Hawthorn. Video Hires: Stage Sound Services.

Effects Hires: Set Up Scenery. Transport by Paul Mathew Transport, Chichester Car & Van. Production Carpenters John Burrows and Jonathan Smith. Production Sound Engineer Jon Sealey. Video Engineer & Programmer Dan Trenchard. Automation Engineers & Programmers Rob Raskovsky and Jamie West. Mechanical & Rigging Engineer MechStage. Assistant Costume Supervisor Hannah Trickett. Costumes made by Robert Allsopp & Associates, Amanda Barrow, Sarah Campbell, Joan Coleman, Mark Costello, Karen Crichton, Nicky James, Chris Kerr, Will Skeet and Hilary Sleiman. Dyeing by Nicola Killeen Textiles.

Hats by Simon Dawes. Wigs Assistant Pav Stalmach. Wigs by The Wig Room Ltd. Assistant Props Supervisor Claire Turner.

Prop Makers Claire Sanderson, Marsha Saunders, Bronia Topley and Paul Hennessy; Hattie Barsby, EJS Logistics, Heron and Driver and Properly Made. With thanks to Les Bubb, Shakespeare’s Globe and 3 Mills Studios.

Rehearsal and production photographs Johan Persson Programme design Davina Chung Programme compiled and edited by Lydia Cassidy and Lucinda Morrison

MUSICAL NUMBERS ACT ONE Overture Orchestra Company A Weekend at Hareford Thinking of No-one But Me Gerald and Jaquie The Family Solicitor Parchester, Duchess, Sir John, Gerald,

Jaquie, Lady Battersby and Lord Battersby Me And My Girl Bill and Sally An English Gentleman Company You Would If You Could Jaquie and Bill Hold My Hand Bill and Sally Take It On The Chin Sally, Farmers and Sir John Preparation “Fugue” Company The Lambeth Walk Bill, Sally, Duchess and Company ACT TWO Entr’acte Orchestra The Sun Has Got His Hat On Gerald and Company Once You Lose Your Heart Sally Song of Hareford Duchess and The Ancestors The Family Solicitor (reprise) Parchester, Bill, Sir John Love Makes The World Go ‘Round Bill, Sir John and Company Leaning On A Lamppost Bill and Company The Hunt Ball Orchestra Finale Company

Supported by the Me and My Girl Commissioning and Patrons Circles: Tricia and Michael Blakstad, Caroline and Malcolm Butler, The Chadha Family, Karen Coburn, Mrs Veronica J Dukes, Steve and Sheila Evans, Mrs Murray Fox, Themy Hamilton, Christopher and Joan Hampson, Eddie and Anne Hazel, Freda James, Roger Keyworth, Mrs Elaine Leaver, Nick and Sue Lutte, Tessa Pascoe, Sir Geoffrey and Lady Pattie, William and Penny Plant, David and Sophie Shalit, Greg and Katherine Slay, Howard M Thompson, Humphrey van der Klught, Bryan Warnett of St. James's Place and all those who wish to remain anonymous.

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BIOGRAPHIES

LYDIA BANNISTER The Hon. May Miles Theatre includes Mary Poppins (Stuttgart); Cats (European tour); Demeter and Tantomile/ Assistant Dance Captain in Cats (RUG/Royal Caribbean Productions); Mimi the Magical Mermaid in Peter Pan (Crewe Lyceum); Aladdin (Yvonne Arnaud, Guildford); Susan Parks in Billy Elliot The Musical (Victoria Palace); Jane Banks in Mary Poppins (Prince Edward Theatre).

Television includes Blue Peter, The Variety Club Awards, BBC Family Prom in the Park.

Trained at Laine Theatre Arts.

RONAN BURNS Lord Damming Theatre includes 42nd Street (Theatre Royal Drury Lane); Mac in Annie Get Your Gun (Sheffield Crucible); Bugsy Malone (Lyric Hammersmith); Sweet Charity (Cadogan Hall); Olivier Awards 2015 and 2016 (ROH).

Trained at Arts Educational Schools and The Dance School of Scotland.

JENNIE DALE Parchester Theatre includes Miss Dinsmore in Singin’ in the Rain and Maggie Jones in 42nd Street (Théâtre du Châtelet Paris); Deb in Elf (Dominion Theatre, Theatre Royal Plymouth and Bord Gáis Theatre Dublin); Mae in The Pajama Game (Shaftesbury Theatre); Washerwoman in The Wind in the Willows (Royal & Derngate Northampton); Hattie Jaques in Carry on Matron - Hackney Empire’s Gay Extravaganza and Broadbean in Jack and the Beanstalk (Hackney Empire); Rosie in Mamma Mia! (UK and international tour); Widow Corney in Oliver!

(Larnaca Festival Cyprus); Sister Act (London Palladium); Gigi (Regent’s Park Open Air Theatre); The Lord of the Rings and The Witches of Eastwick (Theatre Royal Drury Lane);

BACK ROW: MATT HARROP CHARLOTTE SCOTT MONICA SWAYNE DOMINIC MARSH CLIVE ROWE MATT LUCAS ALEX YOUNG CAROLINE QUENTIN JACQUI DUBOIS JENNIE DALE RYAN PIDGEN PIPPA RAINE

Carmen (ROH); Mary Poppins (Prince Edward Theatre); The Likes of Us (Sydmonton Festival); Jerry Springer – The Opera (Cambridge Theatre London); Les Misérables (Palace Theatre); Milkmaid in Oliver! (UK tour and Toronto); Scrooge (Dominion Theatre and UK tour); Summer Holiday (UK tour).

Television includes CBeebies’ Shakespeare, The Snow Queen and Swashbuckle, The Tracey Ullman Show, Midsomer Murders, Victoria Wood’s Midlife Crisis, Victoria Wood: What Larks!

Director for Do You Hear the People Sing?

(Performing Arts Theatre Manila); Director / Choreographer for Little Shop of Horrors and Head of Tap 2012-15 (Millennium Performing Arts School). Jennie is a guest teacher and choreographer at Glendale Theatre Arts School.

JACQUI DUBOIS Lady Battersby Previously at Chichester Nettie Fowler in Carousel (Festival Theatre).

Theatre includes Beginners (Unicorn Theatre); People, Places and Things (National Theatre/West End/USA); Fela! (National Theatre/ USA); Emil and The Detectives (National Theatre); The Lion King, Rent, The Harder They Come (and USA), Fame, The Full Monty, Sophisticated Ladies, All You Need is Love, Children of Eden (all West End); Kate Bush’s Before The Dawn (Hammersmith Apollo); Ghost! (tour); The Amen Corner (Tricycle); Blues in the Night (Chester/Leicester/Hornchurch); Little Shop of Horrors (London Bubble/Leicester); Mary Stuart and Rehab: The Musical (Union); The Realness (Big House); Looking for Obama (Bristol); The Wizard of Oz (Leicester); Anansi Steals the Wind (Talawa); Dr Livingstone I Presume (Riverside Hammersmith);

FRONT ROW: TOYAN THOMAS-BROWNE LYDIA BANNISTER OLIVER TESTER LAUREN HALL RONAN BURNS MELISSA LOWE EMILE RUDDOCK VICTORIA HINDE DAVIDE FIENAURI NATASHA MOULD JAK SKELLY

MATT LUCAS CAROLINE QUENTIN

JFK and Rent (Olympia Dublin); Sweet Lorraine (Oxford); The Boys from Syracuse (Sheffield); The Cabaret of Dr Caligari and Peacemaker (London Bubble); Show Boat (Austria, Klagenfurt).

Television and Film includes Hedda, Bye Bye Inkhead, Pigsty.

Radio includes Tokolosh.

As a vocalist Jacqui has worked with various artists including Kate Bush, Nomad, Puff Daddy, Latoya Jackson, T.S.O.S.F, Jam and Spoon, Bass X, Dance to Trance, Digital Orgasm.

Trained at London Studio Centre.

DAVIDE FIENAURI Lord French Theatre includes Jack Frost in The Snowman (London and UK tour); Hortensio in Kiss Me, Kate (Kilworth House); Carnival Boy in Carousel (London Coliseum); Jeter in Footloose, Morris Delancey in Newsies (Milan); The Canterville Ghost, Maximilien in The Count of Monte Cristo (Italy).

LAUREN HALL Maid Previously at Chichester Peggy Sawyer in 42nd Street (Festival Theatre).

Theatre includes Anna in Pieces of String (Mercury Theatre); Oklahoma! (BBC Proms); Windmill Girl in Mrs Henderson Presents (Royal Alexander Theatre, Toronto); Winnie Tate in Annie Get Your Gun (Sheffield Crucible); Kiss Me, Kate (Les Théâtres de la Ville de Luxembourg); Thoroughly Modern Millie (Kilworth House); Kate/Chutney/Whitney in Legally Blonde (Korea); Annie (UK tour); June and understudied/played Louise in Gypsy (Savoy Theatre); Singin’ in the Rain (UK tour and Tokyu Theatre Orb Japan); Elaine in Loserville (Garrick Theatre and West Yorkshire Playhouse); Francine in Jersey Boys (Prince Edward Theatre); The Showgirl Within (Garrick Theatre); Sharpay Evans in High School Musical 2 (UK tour).

Trained at Arts Educational Schools and Marron Theatre Arts.

SIUBHAN HARRISON Lady Jaqueline Carstone Previously at Chichester Mi Mitti in Pitcairn (Minerva Theatre and Shakespeare’s Globe).

Theatre includes Alithea in The Country Wife, Woman 1 in Working (Southwark Playhouse); Sarah Brown in Guys and Dolls (West End); Helen in All’s Well That Ends Well, Hero in Much Ado About Nothing and Olivia in Twelfth Night (Lamb Players); Valeria in I Call My Brothers (Volta International Festival/Arcola Theatre); Eloise in The Armour (The Langham London); Lorene in From Here to Eternity (Shaftesbury Theatre); Lucy in The Soft of Her Palm and Thea Stangl in In Quest of Conscience (Finborough Theatre); Sally Simpson in Tommy (Prince Edward Theatre); Marina in Earthquakes in London (Headlong/National Theatre); Rizzo in Grease (Piccadilly Theatre); Kana in Rich Isn’t Easy (Tristan Bates Theatre); Sherry Mendez in The Stripper (Queen’s Theatre and UK tour); Claudine in Marguerite (Theatre Royal Haymarket); Miss Chesterfield in Marianne Dreams (Almeida Theatre); Spike in Bad Girls The Musical (West Yorkshire Playhouse); Madonna in We Will Rock You (Dominion Theatre); Factory Girl in Les Misérables (Queen’s Theatre); Michelle in Carmen (UK tour).

Television includes Doctors, The Song of Lunch, The Al Murray Show, Ant and Dec’s Saturday Night Takeaway.

Films include Little Deaths and the shorts Well Prepared, The Man Who Met Himself.

MATT HARROP Lord Battersby Theatre includes Chess (ENO/London Coliseum); My Fair Lady (Teatro di San Carlo, Italy); King Rat in Dick Whittington (New Wimbledon Theatre); Bishop of Digne in Les Misérables (International tour); Mr Smythe in A Christmas Carol (Opera House Blackpool); Martin Cartwright in The Stationmaster (Tristan Bates Theatre); Max in The Sound of Music (Curve Theatre Leicester); Mr Allardyce in Betty Blue Eyes, My Fair Lady, Sunset Boulevard and Oliver! (national tours); Priest in Bare and Owen O’Malley in On the Twentieth Century (Union Theatre); Mr Sowerberry in Oliver! (Louder Than Words Festival); Old Berger in Hair (English Theatre Frankfurt); Riff-Raff in The Rocky

CLIVE ROWE ALEX YOUNG

Horror Show (UK tour); Prince John in Blondel (Pleasance Theatre); Grantaire in Les Misérables (West End); Bamatabois in Les Misérables (Scandinavian tour).

Television includes Quacks, The Basement.

Film includes Les Misérables.

Radio includes Les Misérables 21st Birthday concert.

Recordings include The Postman and the Poet.

VICTORIA HINDE Lady Diss / Dance Captain / Assistant Choreographer Previously at Chichester Mirala/Assistant Choreographer/Dance Captain for Fiddler on the Roof (Festival Theatre).

Theatre includes Dancer in Swing Time and Broadway to Hollywood (UK tours); Assistant Director for Ghost The Musical (Moscow); Ensemble/Assistant Choreographer/Dance Captain for Show Boat (West End and Sheffield Crucible); Ensemble/Resident Director/Assistant Choreographer for Anything Goes (UK tour and Sheffield Crucible); Dancer/Assistant Choreographer in Robbie Williams Swings Both Ways (arena tour); Ensemble/Assistant Choreographer for BBC Proms: Kiss Me, Kate (Royal Albert Hall); Assistant Choreographer/ Dance Captain for Oliver! and My Fair Lady (Sheffield Crucible); Assistant Choreographer/ Dance Captain for The Sound of Music (Regent’s Park Open Air Theatre); The Wizard of Oz (London Palladium); Anything Goes (State Theatre Melbourne Australia); The Boy from Oz (Capital Theatre Sydney Australia); Olga/ Associate Choreographer/Dance Captain for The Bells Are Ringing (Union Theatre London); Lisa in Dirty Dancing (Aldwych Theatre); Carousel (Savoy Theatre); Sinatra at the London Palladium (London Palladium); Aladdin (The Old Vic); Oliver! (Theatre Royal Lincoln); Cha Cha in Grease (UK tour); Dick Whittington (Milton Keynes Theatre); Aladdin (New Victoria Theatre Woking).

Music Videos include Olly Murs Kiss Me, Bryan Adams She’s Only Happy When She’s Dancing and Amr Diab Wayah.

Trained at Laine Theatre Arts.

MELISSA LOWE Cockney Theatre includes Soul Girl in Jesus Christ Superstar (Teatru Astra); The Olivier Awards 2017 (Royal Albert Hall).

Television includes BBC Comic Relief, Disney’s Broadway Hits.

Trained at Arts Educational Schools.

MATT LUCAS Bill Snibson Theatre includes Les Misérables (West End and 25th Anniversary Concert/O2 Arena); Little Britain Live (UK and Australian tours); Taboo (The Venue).

Television includes Moominvalley, Round Planet, Stella, Doctor Who, A Midsummer Night’s Dream, Pompidou, Come Fly With Me, Gavin and Stacey, Neighbours, Kath & Kim, The Wind in the Willows, Casanova, Look Around You, French And Saunders, Little Britain, Randall And Hopkirk (Deceased), Rock Profile, Bang Bang It’s Reeves And Mortimer, Shooting Stars, The Smell Of Reeves And Mortimer. In the US: Galavant, Man Seeking Woman, Fresh Off the Boat, Super Fun Night, Community, Portlandia, Kröd Mändoon and the Flaming Sword of Fire, Little Britain USA. Films include Sherlock Gnomes, A Futile and Stupid Gesture, How to Talk to Girls at Parties, Alice Through the Looking Glass, Paddington, In Secret, The Harry Hill Movie, The Look of Love, Small Apartments, Bridesmaids, Gnomeo and Juliet, Alice In Wonderland, The Infidel, Astroboy, Shaun of the Dead and (forthcoming) Missing Link and Polar.

Audiobook: Great Expectations.

Matt Lucas’s many awards include (with David Walliams) three BAFTAs, two International Emmy Awards, six British Comedy Awards, two RTS Awards and a South Bank Show Award.

His autobiography Little Me is published by Canongate and is now available in paperback and audiobook.

Twitter and Instagram @realmattlucas DOMINIC MARSH The Hon. Gerald Bolingbroke Theatre includes Maximillian Dressler in Clockwork Canaries (Theatre Royal Plymouth); Jean-René in Romantics Anonymous

(Shakespeare’s Globe); Tristan in Tristan & Yseult (Kneehigh/Shakespeare’s Globe, UK, Ireland and USA tours); Sir James Stewart in I am Thomas (Told By an Idiot/National Theatre of Scotland); Macheath in Dead Dog in a Suitcase and Other Love Songs (Kneehigh/UK tour, Manchester Theatre Awards nomination for Best Actor); Roland Cassard in The Umbrellas of Cherbourg (Kneehigh/Gielgud Theatre and Curve Theatre Leicester); Bassanio in The Merchant of Venice (Bury St Edmunds); Fleet in Mimi and the Stalker (Theatre503); The Actor in The Woman in Black (West End); Lucentio in The Taming of the Shrew, Lysander in A Midsummer Night’s Dream, Arviragus in Cymbeline, Curio in Twelfth Night, Tom Tucker in HMS Pinafore, Balthazar in As You Like it and Oh! What a Lovely War (Regent’s Park Open Air Theatre); Prince Charming in Cinderella (Oxford Playhouse); King George III in Longitude (Greenwich Theatre); Jeff Waters in Time’s Up (Shaftesbury Theatre); Richard Danus in The Shell Seekers (UK tour); Simon Bliss in Hay Fever (Haymarket Basingstoke); Jonathan Harker in Dracula (Derby Playhouse); Racing Demon, Absence of War and Murmuring Judges (Birmingham Rep);

The Lion, the Witch and the Wardrobe and Alice in Wonderland (RSC); Harry in Albert Herring (Opera 80).

Television includes The Royals, Coronation Street, DCI Banks, Doctors, Missing, Happy Birthday George!, Without Walls.

Films include Lucky Stiff and the shorts Our Name is Michael Morgan, The Undertow.

NATASHA MOULD Mrs Worthington-Worthington Theatre includes Cha Cha and Assistant Dance Captain for Grease, Hairspray, and Dancer and Dance Captain for Strictly Confidential (UK tours); Annie Get Your Gun (Sheffield Theatres); Martha in Seven Brides for Seven Brothers (Regent’s Park Open Air Theatre); Jemima in Cats (UK tour and London Palladium); Peter Pan (Qdos); Louisa in The Sound of Music (London Palladium); Sharon Percy in Billy Elliot the Musical (Victora Palace).

Television includes Strictly Come Dancing (Assistant Choreographer).

Films include Ballet Shoes.

Trained at Laine Theatre Arts.

LYDIA BANNISTER TOYAN THOMAS-BROWNE MELISSA LOWE OLIVER TESTER PIPPA RAINE DAVIDE FIENAURI MONICA SWAYNE EMILE RUDDOCK VICTORIA HINDE RYAN PIDGEN LAUREN HALL

RYAN PIDGEN Chef / Bob Barking Theatre includes The Wind in the Willows (Palladium); Pete Gavin in Show Boat (New London); Luke in Seven Brides for Seven Brothers (Regent’s Park); Evita (Dominion); Billy Elliot (Victoria Palace); Lend Me A Tenor (Gielgud); Fat Friends the Musical, The Wind in The Willows, Anything Goes, Evita, The Show Must Go On, Santa Claus the Musical, Spirit Of The Dance (UK tours); Revenge of Sherlock Holmes (Hoxton Hall); Hairspray (Leicester Curve); Celtic Journey: Dance Sensation (Churchill Theatre); Peter Pan (Liverpool Empire/ New Wimbledon); Stars Falling, The Good Ol’ Days (Leeds City Varieties).

Television and film includes Ant & Dec’s Saturday Night Takeaway, Miranda, The Bill, EastEnders, Holby City, Al Murray’s Personality Disorder, Reggie Perrin, My Family, A Cloud Upon A Slope, Chatroom.

Recordings: Studio 54, The Queen of New Orleans, Lend Me A Tenor, The Wind in the Willows.

CAROLINE QUENTIN Maria, Duchess of Dene Theatre includes Lady Sarah Hotham in The Hypocrite (Hull Truck/RSC); The Life and Times of Fanny Hill (Bristol Old Vic); Moxie in Relative Values (Theatre Royal Bath/West End); Oh! What a Lovely War (Theatre Royal Stratford East); Hedda in Terrible Advice (Menier Chocolate Factory); Christine Hamilton in Life After Scandal (Hampstead Theatre); Arabella in The London Cuckolds (National Theatre); and the original cast of Les Misérables at the RSC and then at the Palace Theatre, West End. Television includes Dickensian, Doc Martin, Dancing on the Edge, Extreme, Little Crackers, Switch, Dead Boss, Just William, Agatha Christie’s Marple, Blue Murder, Life Begins, Footprints in the Snow, Von Trapped, Blood Strangers, Hot Money, Goodbye, Mr Steadman, Kiss Me Kate, The Innocent, Jonathan Creek, Men Behaving Badly, All or Nothing at All, Mr Bean, Harry Enfield’s Television Programme, This is David Lander.

As a Presenter, A Passage Through India, Cornwall with Caroline Quentin, Caroline Quentin’s National Parks, Restoration Home,

ALEX YOUNG MATT LUCAS CAROLINE QUENTIN CLIVE ROWE

The World’s Most Extraordinary Homes and The One Show.

Films include Love Me Tinder, Party Party.

PIPPA RAINE Lady Brighton Previously at Chichester Lorraine in 42nd Street (Festival Theatre).

West End credits include An American in Paris and Silly Girl in Beauty and the Beast (Dominion Theatre); The Pajama Game (Shaftesbury Theatre); Mitzi in Crazy for You (Novello Theatre); Spamalot (Palace Theatre); Sinatra (London Palladium); Mary Poppins (Prince Edward Theatre and Bristol Hippodrome); Cooper! Jus’ Like That (Garrick Theatre); Fosse (Prince of Wales Theatre); Gad’s Wife in Joseph and the Amazing Technicolor Dreamcoat (Adelphi Theatre). Other theatre includes Singin’ in the Rain (Théâtre du Châtelet Paris); Tess in Crazy for You (Kilworth House); Young Stella in Follies (Royal & Derngate Northampton); West Side Story and Kate Bush in Hot Stuff (Leicester Haymarket); Follies (Royal Festival Hall); On Your Toes (Japan, Royal Festival Hall and Leicester).

Films include Cinderella, The Phantom of the Opera.

CLIVE ROWE Sir John Tremayne Previously at Chichester Gangster Two in Kiss Me, Kate (Festival Theatre and The Old Vic); Christmas Concert with June Whitfield (Festival Theatre).

Theatre includes Blues in the Night, Jack and the Beanstalk, Aladdin, Dick Whittington, Mother Goose and Cinderella (Hackney Empire); Tubb in The Hothouse (Trafalgar Studios); King Darius in The Light Princess, The Dryer/The Bus in Caroline, Or Change, The Villain’s Opera, Money, Candide, Peter Pan, Nicely Nicely Johnson in Guys and Dolls, Mr Snow in Carousel, Fuente Ovejuna and Trackers (National Theatre); One Round in The Ladykillers (Fiery Angel); No Naughty Bits (Hampstead Theatre); Lion in The Wiz (Birmingham Rep and West Yorkshire Playhouse); Harry in Company and Donmar Divas (Donmar Warehouse); Hucklebee in The Fantasticks (Duchess Theatre); Feste in Twelfth Night, Gus in

Gentlemen Prefer Blondes and Thersites in Troilus and Cressida (Regent’s Park Open Air Theatre); Amos Hart in Chicago (Adelphi Theatre); Duke Senior in As You Like It (Wyndham’s Theatre); Melon in Simply Heavenly (Young Vic and Trafalgar Studios); Joe in Sadly Solo Joe (Greenwich Theatre); The Mystery Plays (City of London Festival); Zenobia, Pompey in Measure for Measure and Feste in Twelfth Night (RSC); The Plant in Little Shop of Horrors (Everyman Theatre Cheltenham); Once on This Island (Birmingham Rep); Carmen Jones (The Old Vic); Just So (Tricycle Theatre); The Mystery Plays (Coventry); The School for Scandal (Royal Exchange Theatre); The Boys from Syracuse, Lady Be Good, Twelfth Night and Carmen Jones (Sheffield Crucible).

Television includes Will, So Awkward, The Evermoor Chronicles, The Kennedys, The Fun Police, After the War, All the Small Things, America Voices, Bloodrights, Casualty, Dalziel & Pascoe, Doctor Who, Entertaining Angels Unaware, Networked, Paper Mask, Say It With Music, Tracy Beaker.

Films include Crime Strike, Manderlay.

EMILE RUDDOCK Constable Theatre includes Eat Moe in Five Guys Named Moe (Marble Arch Theatre and Festival Square Theatre Edinburgh); Custus/Kit in Crazy for You (Watermill Theatre); Phillip in Kiss Me, Kate (Opera North tour); Willie Robertson in The Scottsboro Boys (Young Vic and Garrick Theatre); 42nd Street Gala (London Palladium); Pandemonium Drummer in 2012 Olympics Opening Ceremony (London Olympic Stadium).

Television includes National Television Awards, Got to Dance Semi Finals.

CHARLOTTE SCOTT Mrs Anastasia Brown Theatre includes Jellylorum in Cats (international tour); The Last Tango (Phoenix Theatre); Matilda (Cambridge Theatre); Urinetown (St James’ Theatre); Suzy in Pipe Dream (Union Theatre); Singin’ in the Rain (Palace Theatre); Wicked (Apollo Victoria); Jill in Jack and the Beanstalk (Theatre Royal Norwich); The Rocky Horror Show, Assistant Dance Captain for Fame, Footloose and

Jemima in Cats (UK tours); Aladdin (Eastbourne Theatres).

Trained at Mountview Academy of Theatre Arts.

JAK SKELLY Charles, The Butler Theatre includes Tony in West Side Story (Buxton Opera House); The Addams Family: A Musical Comedy (Singapore, UK and Ireland tour); Annie Get Your Gun (Sheffield Crucible); Thoroughly Modern Millie and Diesel in West Side Story (Kilworth House); WhatsOnStage Awards (Prince of Wales Theatre); Hey, Old Friends! (Theatre Royal Drury Lane); The Olivier Awards 2015 (Royal Albert Hall).

Television includes Tonight at the London Palladium, Shakespeare Live.

Radio includes Friday Night is Music Night.

Trained at Arts Educational Schools.

THE COMPANY

MONICA SWAYNE Sophia Stainsley-Asherton Theatre in the UK includes Aladdin (Prince Edward Theatre); Der Rosenkavalier (ROH); Mary Poppins (UK tour). In Australia: Mary Poppins, the Chorus Girl/Young Solange in Follies In Concert, Hodel in Fiddler on the Roof, Jeanie Muldoon in Nice Work If You Can Get It, Anything Goes, Margarita in West Side Story and Dirty Rotten Scoundrels; Wicked (Australasia); Last Man Standing (Melbourne Theatre Company).

Television in Australia includes Neighbours, So You Think You Can Dance.

Studied with Claire Underwood; Ministry of Dance Melbourne Australia, and GMV Studio.

OLIVER TESTER Footman Theatre includes Mamma Mia! and Shrek the Musical (UK tours); Funny Girl (West End); Jackie the Musical (Gardyne Theatre Scotland).

Trained at Bird College of Performing Arts.

TOYAN THOMAS-BROWNE Footman / Telegram Boy Theatre includes Wonderland (UK tour); Moe in Guys and Dolls (Manchester Royal Exchange); The Prince (Arts Theatre); Christmas On Ice (Canada); We Will Rock You (Anthem of the Seas); That Man (London Hippodrome); The Wizard of Oz and Macbeth (Haymarket Theatre Leicester).

Trained at London Studio Centre (Andrew Lloyd Webber Scholarship).

ALEX YOUNG Sally Smith Theatre includes Young Sally in Follies (National Theatre); Carrie Pipperidge in Carousel (ENO/ London Coliseum); Margie in Promises Promises (Southwark Playhouse); Ellie May Chipley in Show Boat (New London Theatre and Sheffield Crucible); Erma in Anything Goes (Sheffield Crucible and UK tour); Brunhilde in I Can’t Sing! (London Palladium) and Liz in High Society (UK tour).

Trained at Royal Academy of Music and King’s College London.

C R E AT I V E T E A M

ANDY BARNWELL Orchestral Manager Previously at Chichester Babes in Arms, Funny Girl, The Music Man, Oklahoma!, Love Story, 42nd Street, She Loves Me, Singin’ In The Rain, Sweeney Todd, Kiss Me, Kate, The Pajama Game, Barnum, Guys and Dolls, Gypsy, A Damsel in Distress, Mack and Mabel, Travels With My Aunt, Half A Sixpence, Caroline, Or Change, Fiddler on the Roof.

Current London productions: The King & I, Tina - The Tina Turner Musical, Strictly Ballroom, Hamilton, Aladdin, Motown The Musical and, recently, The Grinning Man, Caroline, Or Change, Jesus Christ Superstar, Lady Day, Wind in the Willows, An American in Paris, Half A Sixpence, Love’s Labour’s Lost / Much Ado About Nothing, In the Heights, Charlie and the Chocolate Factory, The Last Tango (and tour), Bugsy Malone, Show Boat, Guys and Dolls (and tour), Gypsy, Memphis, Women on the Verge of a Nervous Breakdown, City of Angels, Porgy and Bess, Monty Python Live (mostly) (O2 Arena), A Chorus Line, Kiss Me, Kate, Sweeney Todd, Love Story, Into The Woods, Sister Act (and tour).

Recent regional / UK tours include Dusty, Sunshine on Leith, Shrek (and London), Tango Moderno, Hairspray The Musical (and London),

DANIEL EVANS

Addams Family, On The Town, One Love – The Bob Marley Musical, Funny Girl (and London), The Commitments (and London), Billy Elliot (and London), The Rocky Horror Show (and London), Dirty Rotten Scoundrels (and London), Dance ‘til Dawn (and London), Anything Goes, Spamalot, Dirty Dancing (and London), Singin’ In The Rain (and London), West Side Story, Oliver!, Legally Blonde, South Pacific.

DOUG BESTERMAN Orchestrator Orchestration credits on Broadway include Anastasia, Charlie and the Chocolate Factory, A Bronx Tale, It Shoulda Been You, Bullets Over Broadway (Tony Award nomination), Rocky, On a Clear Day, Sister Act, How to Succeed...

(Tony Award nomination), Elf, Young Frankenstein (Drama Desk Award nomination), Tarzan, Dracula, Thoroughly Modern Millie (Tony and Drama Desk Awards), The Producers (Tony and Drama Desk Awards), Seussical, Music Man (Drama Desk and Tony Award nominations), Fosse (Tony Award), Big (Drama Desk nomination), Damn Yankees (Drama Desk nomination), Gentlemen Prefer Blondes; and additional orchestrations for Aladdin, Annie, Cinderella, and The People in the Picture.

Internationally Young Frankenstein, Charlie and the Chocolate Factory and Guys and Dolls (London); Rocky (Hamburg); Sister Act (London, Hamburg); Der Schuh des Manitu (Berlin).

Film/television includes Mary Poppins Returns (2018), Beauty and the Beast, Hail, Caesar!, Crazy Ex-Girlfriend, Galavant, Peter Pan Live, The Sound of Music Live, Frozen, Winnie the Pooh, Captain America, Nine, The Producers (also music producer), Chicago, Mulan, Anastasia, Pocahontas, Lincoln, Cinderella, Annie, Geppetto, South Pacific, Superstar, Scrubs, Smash, and many awards shows including the Oscars, Tonys, Emmys and Kennedy Center Honors.

Doug has also arranged for many vocalists, including Christine Andreas, Toni Braxton, Sutton Foster, Jane Krakowski, Beyoncé Knowles, Barry Manilow, Mandy Patinkin, Barbra Streisand, and written many arrangements for the Boston Pops Orchestra.

As a composer, scores include the musicals Little Did I Know and The Big One-Oh. His music has also been recorded by singer Christian Bautista, heard in the films The Punisher, Out of Step and Exit Speed, TV shows Summerland and One Life To Live, in concert with the United States Military Academy Concert Band, and in the musical Hats.

ROB BETTLE Associate Sound Designer Previously at Chichester Fiddler on the Roof (Festival Theatre).

Recent work as Sound Designer includes Murder Ballad (Arts Theatre); as Associate Sound Designer Anastasia (Madrid & Stuttgart); The Jungle (Playhouse Theatre); Caroline, Or Change (Hampstead Theatre); War Horse (UK tour); Billy Elliot (UK tour and Circustheater Holland); wonder.land (Théâtre du Châtelet Paris and Palace Theatre Manchester); American Psycho (Almeida Theatre); The Scottsboro Boys (Garrick Theatre and Young Vic); One Man, Two Guv’nors (Theatre Royal Haymarket and tours); as Senior Production Sound Engineer Harry Potter and the Cursed Child (Palace Theatre); Chess (Coliseum); The Moderate Soprano, Mary Stuart (Duke of York’s); Glengary Glen Ross (Playhouse); Junkyard (UK tour); The Way of The World, The Lady from the Sea, Saint

Joan, One Night in Miami, Shakespeare Trilogy, Faith Healer, Teddy Ferrara and Les Liaisons Dangereuses (Donmar Warehouse); The Curious Incident of the Dog in the Night-Time (UK and international tours); A View from the Bridge (Wyndham’s Theatre); Frozen, The Elephant Man and Great Britain (Theatre Royal Haymarket); National Theatre 50 Years On Stage (Olivier Theatre); Consent, The Birthday Party, Hamlet, Nice Fish, Mojo and Chimerica (Harold Pinter Theatre); The Audience (Apollo and Gielgud Theatres); The Laurence Olivier Awards (ROH); NT Live (various productions).

Trained at Bristol Old Vic Theatre School (BA in Professional Stage Management and Technical Theatre).

LEZ BROTHERSTON Designer Also for Festival 2018, Flowers for Mrs Harris.

Previously at Chichester Fiddler on the Roof, Forty Years On, My One and Only, The Schoolmistress (Festival Theatre).

Theatre/Musicals/Opera includes Flowers for Mrs Harris, Show Boat, Pride and Prejudice (Sheffield Crucible); Romantics Anonymous, Twelfth Night, 946 (Kneehigh/Shakespeare’s Globe); Oh! What a Lovely War (Stratford East/ West End); Seminar, Hysteria (Hampstead Theatre); The Rover, The Empress, Much Ado About Nothing (RSC); Long Day’s Journey Into Night, Umbrellas of Cherbourg, The Rise and Fall of Little Voice, Under the Blue Sky (West End); Sister Act (West End, worldwide); Women Beware Women, Really Old Like 45, Playing With Fire (National Theatre); Hedda Gabler, Design for Living, Dancing at Lughnasa (The Old Vic); Duet for One (Almeida and West End); My City, Measure for Measure (Almeida); L’Elisir d’Amore (Glyndebourne).

Dance credits include a long collaboration with Matthew Bourne resulting in The Red Shoes, Sleeping Beauty, Swan Lake, Edward Scissorhands, Dorian Gray, Highland Fling, Cinderella, The Car Man and Play Without Words; Seven Deadly Sins (Royal Ballet); The Soldier’s Tale, Into the Woods (ROH2); The Nutcracker (Scottish Ballet). He designed, co-wrote and co-directed Les Liaisons Dangereuses with Adam Cooper (Japan and Sadler’s Wells); Romeo and Juliet, Swan Lake,

A Christmas Carol, Carmen, Hunchback of Notre Dame, The Brontës, Dracula (Northern Ballet).

Awards include Tony Award 1999 for Swan Lake (AMP); 12 Olivier nominations, winning in 1998 for Cinderella (AMP); UK Theatre Best Design Awards 2016 for Show Boat and Flowers for Mrs Harris (Sheffield Crucible); Critics’ Circle 2018 Ninette de Valois Award for Outstanding Contribution to Dance; 2018 Outer Critics’ Circle Award for The Red Shoes.

Lez is an Associate Artist of Matthew Bourne’s company, New Adventures.

MARK CUMBERLAND Orchestrator Recent work includes The Olivier Awards 2017 & 2018, Magic at the Musicals 2016, 2017 & 2018, Best of Broadway with the Royal Philharmonic Orchestra (Royal Albert Hall); With a Little Bit of Lerner with the Society of London Theatre and BBC Concert Orchestra, The Oliviers in Concert (Royal Festival Hall); 42nd Street – additional musical arrangements (cast recording); Young Frankenstein with Doug Besterman – additional orchestrations (Garrick Theatre); Ruthless – The Musical (Arts Theatre); Allegro (European premiere, Southwark Playhouse); The Smallest Show On Earth, The Commitments (UK tours); Seven Brides for Seven Brothers (Regent’s Park); Guys and Dolls with Larry Blank (Phoenix Theatre & UK tour); Carousel (Arcola); Shrek (UK & Ireland tour).

Television work includes The One Show, ALISTAIR DAVID LEZ BROTHERSTON

The Voice, Tonight at the London Palladium, The Royal Variety Performance, BBC Children in Need.

Mark has also written for many orchestras internationally, including: The Boston Pops Orchestra, The Philly Pops, San Francisco Symphony, The Hallé, Orchestra Sinfonica de Barcelona, BBC Concert Orchestra and The Royal Philharmonic Orchestra.

Mark is a regular contributor to Friday Night is Music Night (BBC Radio 2). Since 2012, he has been co-orchestrator (with Larry Blank) of the annual Laurence Oliver Awards.

Recently Mark was commissioned by the Boston Pops Orchestra to compose short pieces ‘inspired’ by the ringing of mobile phones during concerts. The result was ‘The Ringtone Cycle’, a nano-symphony in four movements.

ALISTAIR DAVID Choreographer Previously at Chichester Fiddler on the Roof (Festival Theatre).

Theatre includes Oklahoma! and Kiss Me, Kate (BBC Proms at Royal Albert Hall); The Book of Mormon (Det Ny Teater Denmark); The Addams Family (Edinburgh Festival Theatre and UK tour); Lunch and The Bow of Ulysses (Trafalgar Studios); Charlotte Olympia SS17 Fashion Show (Sheraton Park Lane Hotel); The Two Noble Kinsmen (RSC); Ghost The Musical and Some Like It Hotter (UK tours); The Life (Arts Ed); Show Boat (New London Theatre and

Sheffield Crucible); My Fair Lady, Anything Goes, The Way of the World, Annie Get Your Gun and Oliver! (Sheffield Crucible); Only the Brave (Wales Millennium Centre); Seven Brides for Seven Brothers and The Sound of Music (Regent’s Park Open Air Theatre); Anything Goes (UK tour and Sheffield Crucible); My Fair Lady (Aarhus Teater Denmark); Tipping the Velvet (Lyric Hammersmith); The Word Goes Round (RWCMD); Seven Wonders of the Whisky World (Done and Dusted Productions/Diageo); A Little Night Music (Yvonne Arnaud Theatre); A Man of No Importance (Salisbury Playhouse); Paper Dolls (Tricycle Theatre); Bull (Sheffield Crucible Studio and Brits Off Broadway); 42nd Street Gala (London Palladium).

Alistair directed and choreographed Robbie Williams’s worldwide concert tour Swings Both Ways.

Television work includes choreography for Channel 4, Nickelodeon and MTV. CAROLYN DOWNING Sound Designer Previously at Chichester Fiddler on the Roof (Festival Theatre).

Theatre includes Summer And Smoke, Carmen Disruption and Blood Wedding (Almeida); Fantastic Follies Of Mrs Rich, Coriolanus, Julius Caesar, Antony and Cleopatra, King John, The Winter’s Tale, Pericles (RSC); House of Bernada Alba, Much Ado About Nothing, To Kill a Mockingbird (Royal Exchange); Les Liaisons Dangereuses (Broadway and Donmar); Fathers and Sons, Dimetos and Absurdia (Donmar); As You Like It, Our Country’s Good, The Motherf***er with the Hat, Dara, Protest Song and Double Feature (National Theatre); Chimerica (Almeida and West End, Olivier Award, Best Sound Design); The Believers, Beautiful Burnout and Love Song (Frantic Assembly); Hope, The Pass, The Low Road and Choir Boy (Royal Court Theatre); The House That Will Not Stand and Handbagged (Tricycle and West End); Angels in America (Headlong); Blue/Orange, Blackta and After Miss Julie (Young Vic); Thérèse Raquin (Theatre Royal Bath); Twelfth Night (Sheffield Crucible); All My Sons (Broadway); Kasimir and Karoline and Fanny och Alexander (Malmö Stadsteater); Tre Kronor (Dramaten Stockholm).

Designs for opera include Benjamin Dernière Nuit (Opera Lyon), How the Whale Became (Royal Opera House), American Lulu (Opera Group), After Dido (ENO).

Exhibitions include Hut 11a: The Bombe Breakthrough (Bletchley Park); So You Say You Want A Revolution? Records & Rebels 1965-70 (V&A), Exhibitionism: The Rolling Stones (Saatchi Gallery), Collider (Science Museum), Louis Vuitton: Series 3. Carolyn has also created sound design elements for Shawn Mendes Illuminate Tour 2017 and Louis Vuitton Ready To Wear Collection shows at The Louis Vuitton Foundation Paris. carolyndowning.co.uk DANIEL EVANS Director Daniel Evans is Artistic Director of Chichester Festival Theatre, where he has directed Quiz, Fiddler on the Roof and Forty Years On. Previously, he was Artistic Director at Sheffield Theatres (2009-16) where he directed An Enemy of the People, Racing Demon, Othello, My Fair Lady, Macbeth, The Full Monty, This Is My Family, Anything Goes, The Sheffield Mysteries, Oliver!, The Effect, Show Boat and Flowers for Mrs Harris. As an actor, he appeared in Company, The Pride, Cloud Nine and The Tempest.

In the West End, he has directed Quiz, Show Boat, The Full Monty and American Buffalo.

As an actor, Daniel’s theatre credits include Henry V, Coriolanus, A Midsummer Night’s Dream, Measure for Measure and Cymbeline (RSC); Cardiff East, Peter Pan, Troilus and Cressida, Candide and The Merchant of Venice (National Theatre); Merrily We Roll Along (Olivier Award) and Grand Hotel (Donmar Warehouse); Ghosts (ETT); Sunday in the Park with George (Olivier Award) and Total Eclipse (Menier Chocolate Factory); Other People, Cleansed, Where Do We Live and 4:48 Psychosis (Royal Court).

Television includes The Passion, Doctor Who, The Virgin Queen, Spooks, Love in a Cold Climate, Great Expectations, Daniel Deronda and To the Ends of the Earth.

Films include Les Misérables.

DOUGLAS FURBER Book and Lyrics Born on 13 May 1885, Douglas Furber’s heart was always in the theatre. At an early age he started writing the words for popular songs of the day, eventually writing more than 1,000 in his lifetime including classics such as ‘The Bells of St. Mary’ and ‘God Send You Back to Me’. His first real breakthrough into the theatre came in 1916 when he wrote the lyrics for the musical Carminetta. In the early 1920s he had a great hit with ‘Limehouse Blues’. Douglas Furber wrote for more than 70 shows including That’s a Good Girl, Toni, Battling Butler, Stand Up and Sing, Nice Goings On, The Southern Maid and Black Velvet. He was also the author of the British films Jack’s the Boy and Soldiers of the King. He was a director of the League of British Dramatists and on the committees of the Performing Rights Society, the Society of Authors, the Royal General Theatre Fund and the Song Writers Guild. Douglas Furber died on 20 February 1961.

NOEL GAY Music Born Reginald Armitage in Wakefield, West Yorkshire, on 15 July 1989, Noel Gay showed a remarkable musical talent from a very early age. At the age of 12 he was assistant organist at Wakefield Cathedral. In 1913 he went to London to study at the Royal College of Music, and later became director of music and organist at St. Anne’s Church in Soho. After four years TAMARA SARINGER GARETH VALENTINE

studying for his MA and Bachelor of Music at Christ’s College, Cambridge, it seemed certain he would eventually settle down to a career in a cathedral or university. After working on the score for a revue, Stop Press, he was asked to write or contribute to several musicals and composed ‘Tondeleyo’, the first song to be synchronized into a British talking picture.

During Noel Gay’s astonishing career, spanning 25 years, he went on to write music for 26 West End shows, 28 movies and 45 “hit” tunes: songs such as ‘Run Rabbit Run’, ‘The King’s Horses’ and ‘The Fleet’s in Port Again’. In 1937 came his best-known musical, Me and My Girl.

He died on 4 March 1954.

ANDRZEJ GOULDING Video Designer Previously at Chichester Sweet Bird of Youth, The Boy in the Striped Pyjamas (Festival Theatre), Pitcairn, Pressure (Minerva Theatre).

Theatre includes The Girl On The Train (West Yorkshire Playhouse); Groundhog Day (Broadway and Old Vic); Frost Nixon and Tribes (Sheffield Crucible); People, Places and Things (West End/National Theatre/St Anne’s Warehouse NYC); Kiss of the Spider Woman (Menier Chocolate Factory); The Suicide and From Morning to Midnight (National Theatre); George’s Marvellous Medicine (Curve Leicester); Rules for Living (ETT); Room (Theatre Royal Stratford East); No’s Knife (Old Vic); Rent (2017 UK tour); Coriolanus (Donmar Warehouse, NT Live); Man to Man (Edinburgh Festival); Into

the Hoods (Peacock Theatre); The Last Mermaid (WMC); Relative Values (West End); Carousel (Opera North and Barbican).

Ballet and Opera includes 1984 (Northern Ballet); La Cenerentola, La Fanciulla del West (Opera North); Silent Night (Minnesota Opera, Philadelphia Opera, North American tour); Hansel and Gretel (Vienna State Opera); The Impresario/Le Rossignol (Santa Fe Opera); Peter Grimes (Grange Park Opera).

Set Design includes Union (Lyceum Theatre); Sane New World (Ruby Wax world tour).

Andrzej was recently nominated for a Drama Desk Award for People, Places and Things, won the 2017 Theatre and Technology Award for Creative Innovation in Video Design for Room and was nominated for the first ever WhatsOnStage Award for Video Design in 2017 for Groundhog Day. His next projects will be designing set and video for The Unreturning (Frantic Assembly), and video design on the West End production of Pressure. agoulding.com CHARMIAN HOARE Voice and Dialect Coach Also for Festival 2018 The Country Wife, Present Laughter. Previously at Chichester Fiddler on the Roof, Forty Years On, Mack & Mabel, A Marvellous Year for Plums, Arsenic and Old Lace, How to Succeed in Business Without Really Trying, Carousel, Babes in Arms, Twelfth Night, The Music Man, Separate Tables, Goodnight Mister Tom and Singin’ in the Rain (Festival Theatre); Quiz, Travels with My Aunt, Educating Rita, Taking Sides, Six Pictures of Lee Miller, In Praise of Love, Love Story and Top Girls (Minerva Theatre).

Recent theatre credits include The Curious Incident of the Dog in the Night-Time (national tour); Translations, The Suicide, The Deep Blue Sea, The Plough and the Stars, Peter Pan, Ugly lies the Bone, Barber Shop Chronicles, Consent, Mosquitoes, St George and the Dragon, Network, Pinocchio, John and The Great Wave (National Theatre); Road (Royal Court Theatre); Frost Nixon (Crucible Sheffield); Playhouse Creatures (New Vic Theatre, Stoke on Trent); Jekyll and Hyde (national tour); Luna Gale

and Rabbit Hole (Hampstead Theatre); The Treatment and Against (Almeida Theatre); Welcome Home Captain Fox! and One Night in Miami (Donmar Warehouse); Abigail’s Party, While The Sun Shines, The Things We Do for Love, Talking Heads and 4000 Miles (Theatre Royal Bath); Perfect Nonsense, Rails, Single Spies, Bold Girls (Theatre by the Lake, Keswick).

TERRY KING Fight Director Terry King has worked extensively as a fight arranger at all the major theatre companies in Britain as well as many operas, musicals, West End shows and television.

Previously at Chichester Neville’s Island, Kiss Me, Kate, Goodnight Mister Tom, The Life and Adventures of Nicholas Nickleby Parts I&II, Pravda, Carousel (Festival Theatre), The Country Wife, The Country Girls, For Services Rendered, Taken at Midnight, The Resistible Rise of Arturo Ui, Canvas, South Downs / The Browning Version, Wallenstein, The Last Cigarette, Macbeth (Minerva Theatre).

For the RSC Coriolanus, Julius Caesar, Macbeth, Othello, Romeo and Juliet, As You Like It, Henry VI Parts 1,2&3, Henry IV Parts 1&2, Hamlet, Pericles, Dunsinane, Cymbeline, Richard II, Richard III. For the National Theatre His Dark Materials, The Murderers, Fool For Love, Edmond, The Duchess of Malfi, King Lear, Elmina’s Kitchen, Scenes From the Big Picture, The White Guard, Three Winters, Henry V. Other theatre includes Porgy and Bess (Glyndebourne), Othello (WNO), Carmen (ENO), Don Carlos (ROH), Billy Elliot The Musical, Oliver, Jerry Springer The Opera, Lord of the Rings The Musical, Spend Spend Spend, Martin Guerre, Chitty Chitty Bang Bang, Zorro The Musical, Dirty Dancing The Musical, Sunny Afternoon, Shakespeare in Love, Fifteen Streets, An Inspector Calls, Festen, On an Average Day, Of Mice and Men, Private Lives, A View from the Bridge.

Television includes The Bill, EastEnders, Casualty, Fell Tiger, A Kind of Innocence, Fatal Inversion, Broken Glass, Scolds Bridal, The Mayor of Casterbridge, Rock Face, Blue Dove, The Widowing of Mrs Holroyd.

MAX LINDSAY Assistant Director Max Lindsay is Resident Assistant Director for Festival 2018 and also Assistant Director on random/generations and The Midnight Gang.

Theatre as Director includes Angry (Southwark Playhouse); Foreign Goods 2 and Broken Gargoyles (Theatre503); Consensual, The Odyssey, Girls Like That, Henry IV, His Dark Materials, The Laramie Project, The Wardrobe, Feathers in the Snow, Great Expectations, The Three Musketeers and Cymbeline (Nuffield Theatre); Someone to Blame (Kings Head Theatre/Nuffield Theatre); Jimmy Jimmy (Omnibus Clapham); The Best Christmas Present In The World (The Playing Field); The Voyage of Lost Dreams (SS Shieldhall). As Associate Director Cargo (regional tour); We Are Here (National Theatre); as Assistant Director Snow White and the Seven Dwarves (Theatre Royal Plymouth); Cargo (Arcola Theatre); The Nutcracker (Nuffield Theatre).

Trained at East 15.

TIM MITCHELL Lighting Designer Previously at Chichester First Light, Travels with My Aunt, The Rehearsal, Way Upstream, Taken at Midnight, Amadeus, Guys and Dolls, Pressure (and Lyceum, Edinburgh), The Resistible Rise of Arturo Ui (and Duchess Theatre), Singin’ in the Rain (and West End).

Theatre includes West Side Story, King Kong (Fugard Theatre Cape Town); The Painkiller (Garrick Theatre); Guys and Dolls (Savoy Theatre and UK tour); The String Quartet’s Guide to Sex and Anxiety, Nativity, The Exorcist (Birmingham Repertory); Hamlet (and Novello), King Lear, King and Country Season (and Barbican), A Christmas Carol, Twelfth Night (RSC); Pressure (Touring Consortium Theatre); Twitstorm, Deny Deny Deny (Park Theatre London); Father Comes Home From the Wars, hang, Speech Debelle Live (Royal Court); Alice’s Adventures in Wonderland, The Crucible (Lyceum Edinburgh); A Room with a View (Theatre Royal and UK tour); Racing Demon, Hobson’s Choice (Theatre Royal Bath); Into the Woods (West Yorkshire Playhouse); Seven Brides for Seven Brothers, Crazy For You, The Sound of Music (Regent’s Park Open Air Theatre).

Opera includes Iolanthe, The Force of Destiny, Fidelio (ENO); Le Vin Herbé, Moses Und Aron, Nabucco, La bohème (Welsh National Opera); The Fall of the House of Usher (San Francisco Opera); Elektra (Opéra de Nice); Die Frau ohne Schatten (Mariinsky Theatre).

In 2015 Tim Mitchell received a Knight of Illumination Award for Taken at Midnight at Chichester Festival Theatre. In 2018 he was nominated for Best Lighting Design at the Fleur Du Cap Awards for King Kong at Fugard Theatre.

L ARTHUR ROSE Book and Lyrics L Arthur Rose (1882 – 1958) began his career as an actor at the end of the 19th century before writing and directing his own productions. He became a successful London dramatist with 88 West End productions during his lifetime. Me and My Girl, for which he cowrote the book and lyrics in 1937, became London’s longest-running musical of the time.

His other notable productions were Twenty to One, The Lady From Edinburgh, It’s Time to Dance, Pretty Peggy, Skittles, The Adams, Fire, The Last Warning and Bandits. L Arthur Rose was one of the founders of the League of British Dramatists and also a prospective candidate for Parliament. He was a member of the Fabian Society and Savage Club, as well as a dramatic critic to the New Clarion in the 1920s. A contemporary described him as ‘erudite, a poet, an aesthetic, and a philosopher’.

TAMARA SARINGER Assistant Musical Director Credits as Musical Director include Priscilla Queen of the Desert (Arts Educational Schools); Mamma Mia! (Cyprus); Heaven on Earth (UK tour); Cult and One Way (The Other Palace); Creatives (Perfect Pitch); The Life (Southwark Playhouse); Vanities (Trafalgar Studios); The Toyboy Diaries and Pollyanna (Tristan Bates Theatre); Savage (Arts Theatre); In Response (St James Theatre); BBC Children in Need Children’s Choir (BBC).

Tamara was resident Musical Director at the Papermill Theatre in Toronto where credits include Rent, Fame, The World Goes Round, Charlie Brown, Annie.

Credits as Associate Musical Director include Beauty and the Beast (S4K, UAE and international tour); Romeo and Juliet (UAE tour); Paradises Lost (Summerworks Festival); Our House (Royal Conservatoire of Scotland).

Credits as composer include Willy’s Bitches (Assembly Edinburgh); Kill, Sister, Kill (Factory Theatre Toronto).

She trained as a classical pianist at the Royal Conservatory of Toronto under the tutelage of Marina Geringas and Susan Hall, and holds a Master’s degree in Musical Theatre (Musical Direction) from the Royal Conservatoire of Scotland. tamarasaringer.com CHARLOTTE SUTTON CDG Casting Director Previously at Chichester The Chalk Garden, random/generations, Present Laughter, The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre), 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 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).

GARETH VALENTINE Musical Supervisor, Musical Director and Musical Arrangements Previously at Chichester Musical Director for Guys and Dolls (and Savoy Theatre/UK tour), The Pajama Game (and Shaftesbury Theatre), Oh, Kay! and My One and Only; Musical Supervisor for Kiss Me, Kate (and Old Vic).

Gareth works extensively as a Musical Director, Musical Supervisor and Arranger.

Recent credits at the National Theatre as Musical Director include Home (Shed) and the National Theatre’s 50th Birthday Gala.

As Musical Director Singin’ in the Rain and 42nd Street (Théâtre du Châtelet Paris), Janie Dee in Divas at the Donmar and Nine (Donmar).

His many West End credits include Chicago (also Gottenburg/Tokyo/Seoul/Madrid/Moscow), The Baker’s Wife, Damn Yankees, Miss Saigon, Into The Woods, Merrily We Roll Along, Kiss Me, Kate, Camelot, Company, 42nd Street, Kiss of the Spiderwoman, Cabaret, Cats.

As Musical Supervisor Ruthless, Wicked, Acorn Antiques, Porgy and Bess, Anything Goes, Crazy For You, My One and Only, Aladdin, Sinatra, Maria Friedman’s Rearranged, End of the Rainbow, The King and I, Gone With The Wind, Tonight’s The Night (all West End).

Regional theatre includes Annie (Sheffield), Oliver! (Toronto/UK Tour).

Concerts include Barbara Cook and Friends, Children Will Listen (Coliseum), Brynfest (Royal Festival Hall with Bryn Terfel) and Sondheim at 80 (Donmar).

He was Musical Supervisor for the Channel 4 series Musicality; and arranged and conducted the music for Strictly Gershwin for English National Ballet, Queensland Ballet and Tulsa Ballet.

His Requiem was recorded on the TER label.

EVENTS

ME AND MY GIRL PRE-SHOW TALK

Thursday 5 July, 5.45pm Director Daniel Evans in conversation with Kate Mosse.

Tickets FREE but booking is essential

LAMBETH WALK

Saturday 7 & Saturday 14 July, 1pm Oaklands Park Inspired by the popular cockney walking dance, watch our Youth Dance Company and adult dance participants perform their own version of this dance craze – and be prepared to strut yourself!

FREE

POST-SHOW TALK

Wednesday 18 July Stay after the performance to ask questions, meet company members and discover more about the play.

FREE

RELAXED PERFORMANCE

Wednesday 25 July, 2.30pm This performance of Me and My Girl welcomes individuals, groups and families with children on the autistic spectrum, with sensory and communication disorders, a learning disability or anyone who would benefit from a more relaxed theatre environment.

Tickets £15 Box Office 01243 781312 cft.org.uk/relaxedperformances

THEATRE DAY

Wednesday 8 August, 11am Join the creative teams and crew for 90 minutes of insight and demonstration into the making of Me and My Girl.

Tickets £5

cft.org.uk/events

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

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 Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Jordan Scurr Duty Engineer DEVELOPMENT Katie Cotton Director of Development Julie Field Friends Administrator Shannon Hay Development Administrator Laura Jackson Head of Individual Giving William Mendelowitz Head of Major Gifts 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

Finance Director & Company Secretary IT Support IT Consultant Management Accountant Finance Assistant (Trainee)

HR Eugenie Konig Emily Oliver

Head of HR Accommodation Administrator (Maternity Leave)

Jenefer Pullinger Liz Thomson

HR Assistant Administrator Accommodation Administrator (Maternity Cover)

LEAP Elspeth Barron Charlie Essex Lauren Grant Hannah Hogg Ella Jarman Richard Knowles Poppy Marples

LEAP Officer Education Apprentice Deputy Director of LEAP Youth Theatre Officer Youth Theatre Apprentice Education Projects Manager Senior Youth Theatre Officer

Louise Rigglesford Community Partnerships Manager Dale Rooks Director of LEAP Emilie Trodd Community Partnerships Apprentice

MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Caroline Aston Audience Insight Manager George Bailey Digital Trainee Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate)

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

Harry Boulter Fran Boxall Helen Campbell Lydia Cassidy

WARDROBE Owen Collick Michaela Duffy Ellie Edwards Jen Elfverson Lottie Higlett Charlotte Innes Fiona McIntosh Naomi Overton Sophie Pring Gabby Salwyn-Smith Suzanne Skelton Sam Sullivan Loz Tait Gina Warnes Maisie Wilkins

Box Office Assistant Box Office Supervisor Deputy Box Office Manager Director of Marketing & Communications

Clare Funnell Marketing Officer 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 Catherine Rankin Box Office Assistant Alice Stride Box Office Assistant 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 Jesse Caie Lighting & Sound Apprentice Alex Castro Sound Technician Dan Clark Stage Crew Rhuari Coe Stage Technician Leonie Commosioung Stage Crew Sarah Crispin Props Maker Emma Jane Douglas Props Maker Lewis Ellingford Stage Crew Maddison English Sound Technician Fuzz Sound Technician Sam Garner-Gibbons Technical Director Luc Gibbons Stage Crew Abbie Gingell Stage Technician Dominic Godfree Stage Crew Maura Fuzz Guthrie Sound Technician Katie Hennessy Props Store Co-ordinator Mike Keniger Head of Sound Andrew Leighton Lighting Technician Karl Meier Head of Stage Andrew Mills Stage Crew Charlotte Neville Head of Props Workshop Chris Perryman Deputy Head of Stage Megan Pickthorne Stage Apprentice Lewis Ramsay Lighting & Sound Apprentice Nathaniel Rhodes Transport &

Logistics Assistant Erin Ridley Assistant Lighting Technician Neil Rose Deputy Head of Sound Ernesto Ruiz-Mateo Stage Crew James Sharples Stage Crew Charlie Smith Sound Technician Graham Taylor Head of Lighting Emma Thomson Sound Technician Mollie Tuttle Lighting Technician Candice Weaver Sound Technician

cft.org.uk/aboutus

WIGS Beau Bambi Brett Sonja Mohren Katie Oropallo Isabella Trevisiol-Duff

Dresser Dresser Dresser Wardrobe Maintenance Dresser Dresser Deputy Head of Wardrobe Dresser Dresser Dresser Deputy Head of Wardrobe Assistant Wardrobe Head of Wardrobe Assistant Wardrobe Wardrobe Maintenance

Deputy Head of Wigs Head of Wigs Wigs Show Person 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, Rachel Benjamin, Bob Bentley, Charlie 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, Elisha Hamilton, 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, Katie Olorenshaw, Isabel Owen, Martyn Pedersen, Kirsty Peterson, Helen Pinn, Barbara Pope, Justine Richardson, Gemma Sangster, Nicholas Southcott, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Chantelle Walker, Rosemary Wheeler, Donna 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 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 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 Heather 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 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 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 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 The Aldama Foundation 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 Lady 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 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 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

PLAY A PART IN OUR FUTURE Celebrate your love of Chichester Festival Theatre and help ensure that future generations can share your passion.

If you are considering leaving us a gift in your Will, please talk to your solicitor or contact our Development Team on 01243 812911. You can also email development.team@cft.org.uk or write to us at Development Team, Chichester Festival Theatre, Oaklands Park, Chichester, West Sussex, PO19 6AP.