MACBETH By William Shakespeare
DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON
WELCOME
Welcome to our final main stage production of Festival 2019, Shakespeare’s Macbeth. The production marks Paul Miller’s directorial debut in his home-town of Chichester. Now Artistic Director of the Orange Tree Theatre, Richmond, he talks of the Festival Theatre as the location of his ‘theatrical upbringing’, seeing many productions here from an early age; so it’s an enormous pleasure to have him directing in the Festival Theatre for the first time. Macbeth also marks the CFT debut of John Simm in the title role and reunites him with Dervla Kirwan, known to many in Chichester for her recent appearance in King Lear with Ian McKellen (2017) and her previous roles in Frankie and Johnny (2014) and Uncle Vanya (2012). She and John recently played husband and wife in Strangers on ITV; John’s many other credits include Hamlet (Sheffield Theatres), Pinter at the Pinter: Six (West End) and TV’s Collateral.
Whether this is your first time seeing Macbeth, or you are rediscovering this great play, we hope you enjoy this production. If you want to learn more about it, don’t miss Paul Miller in conversation with Kate Mosse on 25 September or join the post-show discussion with members of the company on 22 October. For children aged 10 and upwards, there’s a chance to get active in our unarmed stage combat workshop, When The Battle’s Lost and Won, on 26 October.
Executive Director Kathy Bourne
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Artistic Director Daniel Evans
BRANCHING OUT Louise Rigglesford, Community Partnerships Manager, introduces CFT’s work with The Chichester Centre. Almost four years ago, Chichester Festival Theatre’s Learning, Education and Participation (LEAP) team were invited to deliver a series of practical theatre workshops at The Chichester Centre, a low-secure hospital for adults who need rehabilitation and treatment for mental health difficulties. Initially intended to be a one-off series of sessions, these have developed into a core part of the sessions LEAP runs weekly for various groups of all ages and abilities. Working alongside Occupational Therapists from the Centre, we were clear from the outset about the importance of facilitating activities that would enable a sense of belonging and coming together: something that at times can be hard to achieve in a hospital environment. Sessions were offered as an open group with participants coming from a variety of different backgrounds, diagnosis and levels of participation. It was one of the first activities to be offered to clients from across the different wards within the Centre. For the majority of the participants, these sessions were their first foray into the world of theatre. With this in mind, we began by delivering introductory theatre skills sessions and invited the group to a backstage tour of CFT. Due to the nature of the Centre, there was no obligation for participants to attend every session; however, the majority did take part every week. As such, a flexible working style developed, tailored to the needs of the individuals in the room, who commented: “I’ve never really had the chance to take part in something like that before.” “It’s given me a way of expressing myself and a positive activity to focus on.”
“Exploring different aspects of what we can do in the group makes me feel bigger than life itself!” The sessions have helped the participants develop a more positive sense of identity, to feel confident when initiating and sharing new ideas, and to be more comfortable when speaking to others. The skills they have developed are easily translated into a variety of social situations for when they leave hospital, whether at work, going into education or when building relationships with friends and other people in their life. This summer the group performed an original piece called The Tale of the Bamboo Cutter to an audience of invited guests in the Minerva Theatre. The stimulus for the piece came from one member of the group who has a particular interest in Japanese culture and was inspired by the sessions to write a script in their own time and share it with the group. Roma Carter, Senior Occupational Therapist at The Chichester Centre, has been involved in the project from the beginning: “For some individuals, the opportunity to engage in activity-based, creative groups has allowed them to develop and demonstrate a greater degree of concentration, social skills and processing skills that has not always been as evident in the general ward environment. “The performance was a culmination of months of creativity, commitment and energy from a number of service users, and I was so proud to see them perform on the Minerva Theatre stage.” The group have recently named themselves the Three Trees Theatre Company (after the three wards at the centre - Fir, Hazel and Pine), and have identified a shared passion for music. This Autumn we will start work on creating a new piece using this as our stimulus.
LEAP
LEARNING, EDUCATION AND PARTICIPATION Our Learning, Education and Participation department works with people of all ages and abilities, offering opportunities to get involved with CFT beyond the work you see on our stages. A wide range of practical workshops, talks, tours and performances aims to excite and inspire everyone who takes part.
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CHILDREN & YOUNG PEOPLE
Enjoy developing 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
Our work with local schools, colleges and universities is designed to inspire and enrich students’ learning, while the next generation of arts professionals is nurtured through our training and apprenticeships programme. In-school workshops and projects | Work Experience | School Theatre Days
Learn about life behind the scenes, discover more about productions, develop creative skills, socialise and share experiences with others through workshops and community projects for anyone aged 18 +. Get Into It! workshops | Talks and Discussions | Heritage projects | Dementia Friendly activities
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We’re always delighted to welcome our youngest visitors and their grown-ups to the Theatre. Families can explore and have fun with workshops, productions, events and activities. Family Foyle sessions | Little Notes | Fun Palaces | Family workshops
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MACBETH By William Shakespeare
A CERTAIN KIND OF
MADNESS The 19th century English historian, politician and writer Lord Acton (1834-1902) issued a stark warning about the potentially corrupting effects of power in the hands of despots and tyrants: ‘power tends to corrupt, and absolute power corrupts absolutely’. Acton’s words were penned in 1887 in a letter to the historian Mandell Creighton, rebutting Creighton’s assertion that kings and popes should be given the benefit of the doubt and judged differently from other men. Acton, a man of high moral rectitude and with a strong sense of history, was a severe arbiter and for him it was a cardinal error not to expect exemplary standards of behaviour from those holding ultimate power and the highest offices of state. Far from tolerating and excusing derailed and delinquent leaders, Acton would prefer to ‘hang them higher [than common criminals]’. In his judgement, great men whom power has corrupted should pay a heavy price. In A History of Western Philosophy (1946), Bertrand Russell alerted us to the corrupting and intoxicating effects that power can have on the human mind. For Russell, the intoxication of power is a ‘certain kind of madness’ that presents the ‘greatest danger of our time’ with the potential to contribute to ‘vast social disaster’. It comes as no surprise that the Ancient Greeks were alert to the threats posed by leaders’ mental stability and the potentially disruptive effects on society and democracy of leaders’ intoxication with power, success and excess. They offered their own psychological explanation. The most perilous consequence of excess was hybris. Hybris, or as we now refer to it ‘hubris’, is a defect of moral character that
the Greeks dreaded absolutely. For them, the over-confidence, ambition, pride, contempt and arrogance that are the hallmarks of hubristic excess (koros) were followed by ate (a mental deception in the minds of those the Gods are leading to disaster) and the restorative justice served upon mortals who have the temerity to assume god-like powers (administered by the goddess of retribution Némesis). The rich (because they considered themselves above the law) and young men (fuelled by youthful exuberance and recklessness) were particularly at risk from hubris.
The problem of prime ministerial and presidential well-being is compounded by the tendency among heads of government to keep their physical and mental health out of the public gaze. In ancient history, the Persian leader Xerxes was so intoxicated with power that he ordered the Hellespont (a narrow stretch of water that separates Europe and Asia) receive 300 strokes of a whip for defying him when a storm
Illustration (1909) depicting Xerxes' punishment of the Hellespont: the waters were whipped 300 times and shackles dropped into them as a mark of enslavement.
disrupted his attempt to invade Greece. Modern history is replete with examples of tyrannical leaders who showed clear signs of hubris, including Mao, Mussolini, Napoleon, Stalin and, perhaps most notably, Adolph Hitler whose two-volume biography by the noted English social historian, Ian Kershaw, are titled Hubris 1889-1936 and Nemesis 1936-1945.
Macbeth’s earthly aider and abettor is Lady Macbeth. When he vacillates she is firm, when he equivocates she goads him into action. More recently, former Foreign Secretary and co-founder of the Social Democratic Party,
David Owen, in his study of the mental health of political leaders (In Sickness and in Power), has drawn our attention to the social, economic and geopolitical significance of mental health issues among heads of government. It is a grave error to overlook the health of politicians given that their decisions seriously affect the interests of citizens, nations and the world order. However, the problem of prime ministerial and presidential well-being is compounded by the tendency among heads of government to keep their physical and mental health out of the public gaze. In Lord Owen’s analysis, health issues adversely affected historic decisions taken by Anthony Eden in the Suez Crisis, and President John F. Kennedy in the failed invasion of Cuba at the Bay of Pigs. In an attempt to establish a causal link between intoxication with power and ‘aberrant behaviour that has the whiff of mental instability about it’ Owen proposed an acquired personality disorder, ‘hubris syndrome’ which in its most extreme manifestation entails a progressive loss of touch with reality.
President George W. Bush and Prime Minister Tony Blair, 2003. | Prime Minister Margaret Thatcher and Chancellor of the Exchequer Geoffrey Howe, at the Conservative Party Conference, 1980. A decade later the seemingly meek and mild Howe proved to be her nemesis when he delivered a devastating resignation speech on 13 November 1990. By the end of the month her premiership was over. Images courtesy of Alamy
Macbeth’s intoxication with power and subsequent successes (from Glamis to Cawdor, from Cawdor to King), leads him inevitably to a mental self-deception (ate) that reveals itself fully in the calamitously hubristic events of the final act. By the end of the play Macbeth’s blindness is not only moral and emotional, but rational as well. With his increasing isolation and disintegration of his rationality, comes the definitive question, as in Hamlet, ‘who’s there?’ But, if Macbeth is about madness it is also a magical tale of the destructive power of clairvoyance. The play’s psychical foreseeing and supernatural design for Macbeth’s demise prefigure portentous patterns and providential designs, prompting questions of human agency and free will. Are the Three Witches (the Weird Sisters) by their nature unfailing and infallible; is their foreknowing unerring in its accuracy? Even having inhaled the toxic fumes of the soothsayers’ promises of kingly power, Macbeth still has choices: he equivocates almost to the last between reason and passion, between morality and immorality, between
fair and foul. However, he doesn’t act alone. His earthly aider and abettor is Lady Macbeth. When Macbeth vacillates she is firm, when he equivocates she goads him into action. If the Three Witches are the catalysts that kindle Macbeth’s psychological and moral disintegration, Lady Macbeth – ‘from the crown to the toe top-full of direst cruelty’ – is the accelerant that fans the flames. The play shows how hubristic excess and moral deterioration that are the consequences of an intoxication with power do not reside solely in the individual, they are a product of a two-way relationship between a moral protagonist and his colluders and acolytes. In modern times, would the indisputably hubristic President George W. Bush have undertaken the disastrous invasion of Iraq in 2003 without the intoxicant of power and the backing of active colluders – Cheney, Rumsfeld and Wolfowitz among others – and the consent of passive compliers? Bush’s crusade against the ‘axis of evil’ was compounded by the fact that having surrounded himself with an echo chamber
Napoleon Crossing the Alps (Jacques-Louis David, 1800). | Joseph Stalin, General Secretary of the Communist Party of the Soviet Union, 1933. | President John F. Kennedy and former President Dwight Eisenhower meet at Camp David following the failed Bay of Pigs invasion, 1961. | Benito Mussolini, Prime Minister of Italy takes a salute alongside Adolf Hitler, Chancellor of Germany, Munich 1940. | Anthony Eden leaving 10 Downing Street in 1957 following his resignation hastened, in part, by the Suez Crisis. John F Kennedy, Adolf Hitler and Anthony Eden Images courtesy of Alamy
of his own making, and having no truck for countervailing opinions, he became increasingly isolated and detached from the reality of Middle Eastern geopolitics. As history and Shakespeare show us repeatedly, ‘there is a tide in the affairs of men’ wherein hard-to-discern owned and unowned patterns and process are at work. The moral philosopher Mary Midgley reasoned that the hubris–nemesis pairing can be framed in terms of ‘getting what we asked for’ on the basis that bad consequences are not just a matter of chance. Acts that are morally wrong in themselves – such as the unethical pursuit of power, regicide or massacring of ‘firstlings’ – can reasonably be expected to have adverse effects. As such, their outcomes are a sign of what was wrong with the act in the first place. In Midgley’s words ‘hubris calls for nemesis, and in one form or another it’s going to get it, not as a punishment from outside but as the completion of a pattern already started’. Power corrupts and the intoxication with power leads to hubris. Accordingly, Russell’s ‘certain kind of madness’ is an occupational hazard not only for fictional kings, but also for presidents, prime ministers and dictators. Successful leaders intoxicated with power and success who are self-duped into the delusion that they, like Macbeth, ‘bear a charmèd life’ run the risk of their leadership running off the rails and turning dysfunctional and destructive. Among UK political leaders Lord Owen singles out David Lloyd George, Margaret Thatcher and Tony Blair as displaying hubris syndrome; while in the USA, he asserts that George W. Bush and the current incumbent of the White House are judged as having succumbed to the intoxication of power. Interestingly though, because hubris syndrome is an acquired personality disorder or personality change brought on by intoxication with the power of high office, once power is lost the syndrome appears to abate. Hence, if hubris syndrome is to be thought of as an ‘illness’, then it is an illness of position rather than of the person. Macbeth’s psychological deterioration is initiated by his pursuit of power but exacerbated significantly when he achieves the high office of King of Scotland. OPPOSITE: JOHN SIMM DERVLA KIRWAN
Power-intoxicated leaders strain resources and relationships, cultivate mutual feelings of high contempt and slight regard, undermine trust, and promote resentment, scorn and defiance. In leadership, both in politics and business, the noxious blend of recklessness, pride, contempt and arrogance that follow the intoxication with power and success are the hallmarks of hubris. Power-intoxicated leaders strain resources and relationships, cultivate mutual feelings of high contempt and slight regard, undermine trust, and promote resentment, scorn and defiance. Destructive consequences follow, not because there is a direct, provable causal link between the intoxication of power and destructive outcomes, but because there are penalties and costs that someone who behaves hubristically invites and must therefore be committed to accepting. History testifies to the fact that nasty surprises stem from the moral blindness that is the bedfellow of the unethical pursuit and misuse of power. As Macbeth finds out, succumbing to its intoxications comes at a very high price and the lessons, both in history and Shakespeare’s tragedy, are there for all to see. EUGENE SADLER-SMITH
Eugene Sadler-Smith is Professor of Organisational Behaviour at the University of Surrey and author of Hubristic Leadership (2019).
WE LOOK BACK AT SOME OF THE SHAKESPEARES STAGED AT CHICHESTER OVER THE DECADES Twelfth Night 1976 Bill Fraser Tony Robinson Andrew Sachs ANTONY CRICKMAY
Julius Caesar 1977 Charles Kay Gordon Griffin REG WILSON
Antony and Cleopatra 1969 John Clements Margaret Leighton JOHN TIMBERS
As You Like It 1983 Patricia Hodge REG WILSON
The Taming of the Shrew 1972 Anthony Hopkins Joan Plowright JOHN TIMBERS
The Merchant of Venice 1984 Alec Guinness STEPHEN MACMILLAN
Antony and Cleopatra 1985 Denis Quilley Diana Rigg
Romeo and Juliet 2002 Lex Shrapnel Emily Blunt
The Merry Wives of Windsor 1990 Phyllida Law Penelope Keith
Twelfth Night 2007 Patrick Stewart
Henry VIII or All Is True (Shakespeare & John Fletcher) 1991 Keith Michell
Much Ado About Nothing 2016 Edward Bennett Lisa Dillon
Coriolanus 1992 Susannah Harker Kenneth Branagh
King Lear 2017 Ian McKellen
GEORGIA OETKER
JOHN HAYNES
ROBERT WORKMAN
RICHARD HUBERT SMITH
CLIVE BARDA
MANUEL HARLAN
MANUEL HARLAN
MANUEL HARLAN
MACBETH By William Shakespeare CAST (in order of appearance) First Witch Second Witch Third Witch King Duncan / Doctor Malcolm Donalbain / Young Siward Lennox Captain / Murderer / Menteith Ross Angus / Murderer / English Doctor Macbeth Banquo Lady Macbeth Macduff Fleance Porter / Siward Lady Macduff / Gentlewoman Young Macduff
Roseanna Frascona Lauren Grace Leah Gayer Christopher Ravenscroft Beatriz Romilly Nathan Welsh Avital Lvova David Burnett Luyanda Unati Lewis-Nyawo Heider Ali John Simm Stuart Laing Dervla Kirwan Michael Balogun Jacob Blazdell / Harvey McGuinness Harry Peacock Isabel Pollen Matthew O’Shea / Noah Peirson
There will be one interval of 20 minutes. First performance of this production of Macbeth at Chichester Festival Theatre, 21 September 2019.
Supported by Macbeth Commissioning Circle: His Honour Michael Baker, Patrick and Maggie Burgess, Anthony Clark, Steve Evans, George Galazka, Themy Hamilton, Adrianne Hunter-Cook, John and Chrissie Lieurance, David and Elizabeth Miles, Joan and Christopher Hampson, Peter and Nita Mitchell-Heggs, Lindy Riesco, Dr Jeremy Shaw and Dr Linda Shaw OBE, Peter and Lucy Snell, Delphine Star, Howard M Thompson, Humphrey van der Klugt, Bryan Warnett of St. James’s Place, Ernest Yelf and all those who wish to remain anonymous.
Sponsored by
Paul Miller Simon Daw Mark Doubleday Max Pappenheim Tim Reid Angela Gasparetto Rachel Bown-Williams and Ruth Cooper-Brown Serena Hill
Director Designer Lighting Designer Music and Sound Designer Video Designer Movement Director Fight Directors Casting Director
Charmian Hoare Caroline Hughes Sharon Foley Matt George Hana Pascal Keegan
Voice and Dialect Coach Costume Supervisor Props Supervisor Hair, Wigs and Make-Up Supervisor Assistant Director
Paul Hennessy Robin Longley Rebecca James James Goldsworthy Gareth Newcombe Janette McAlpine Tracy Clayton Mia Cunningham-Stockdale Emily McAlpine
Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager Head Chaperone Chaperones
Music recorded at St Matthew’s, Bayswater with thanks to the Revd Will Coleridge. Musicians: Trombones Michaias Berlouis, Isobel Dawes, James Druce, Natasha Strange; Alto Flute: Mina Middleton. Production credits: Scenic items by Bower Woods Production Services; Scenic Artist Luca Crestani; Glass Manufacture and Installation by Demon Designs; Stage Engineering by Weldfab Stage Engineering; Automation by Absolute Motion Control; Video Hires by Stage Sound Services; Lighting Hires by White Light; Production Transport Paul Mathew Transport and Chichester Car & Van; Production Carpenter Jon Barnes; Video Engineer Chris Jackson; Video Programmer Lauren Kunicki; Automation Engineers Rob Raskovsky and Nick Woolley; Automation Programmer Jamie Lawrence; Ladies Costume Makers Elspeth Threadgold and Roslyn Moreton; Costume Tailors Alison Kirkpatrick, Charles Hanrahan, Les Woolford, Roxy Cressy; Assistant Costume Supervisors Ruth Young and Maddy Edis; Costume Dyeing and Breakdown Jenny Mercer; Crowns made by 3DPRINTUK; Costume Hires Academy Costumes and Angels; Props and Furniture by Taylor & Foley; Prop Makers EP Design & Build and CFT Prop Workshop; Weaponry Hire RC-Annie and History in the Making; Rehearsal Room Jerwood Space. With thanks to Anthony Calf, Hal Darling, Sam Garner-Gibbons, Jonathan Hyde, Robin Longley, Karl Meier, Gareth Newcombe, Irfan Shamji, Laura Levis, Olive and Alexander Longley. Rehearsal and production photographs Manuel Harlan Programme design by Davina Chung Programme Associate Fiona Richards
#Macbeth
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BIOGRAPHIES
HEIDER ALI Angus / Murderer / English Doctor Theatre includes Don Felix in Sicilian Courtesan, Al in Loam, Husband/Judge in Machinal, Joe Keller in All My Sons, Professor/Louise/Brother/ Jerry/Brian in Road, Sir Toby Belch in Twelfth Night, Punk/Policeman in London Cuckolds (RWCMD); Corin/Priest/Jacques de Boys in As You Like It, TJ in Black & White, Mahmood in Our Days of Rage, Naz in Talking to Tallman, Jermaine in Talking to Byron, Yusuf in The Block (NYT). Television includes Atlantis. Radio includes Baby Powder and Perfume. Films include Offender, Slippin, Tender, Kidulthood, Aladdin. Trained at Royal Welsh College of Music and Drama (graduated 2019). MICHAEL BALOGUN Macduff Theatre includes Barbershop Chronicles (NT/ national tour); Macbeth (National Theatre); The Dark (Ovalhouse and national tour); People, Places and Things (NT/Headlong national tour); Scuttlers, A Winter’s Tale, Blues for an Alabama Sky, Summerfolk, Off the Ends, A Midsummer Night’s Dream, The Man of Mode, The Theban DERVLA KIRWAN
Plays, King Lear (RADA). Television includes Casualty. Trained at RADA. JACOB BLAZDELL Fleance Previously at Chichester Yeshiva Student in Fiddler on the Roof and Ensemble in Forty Years On (Festival Theatre). He is a member of Chichester Festival Youth Theatre. DAVID BURNETT Captain / Murderer / Menteith Theatre includes The Point of It (RADA Festival); The War of the Worlds – The Immersive Experience (Dotdotdot Theatre Co); Antony and Cleopatra, Julius Caesar, Titus Andronicus (RSC); Britten in Brooklyn (Wilton’s Music Hall); Brave New World (Royal & Derngate Northampton and UK tour); Jefferson’s Garden (Palace Theatre Watford); Faust (Greenwich Theatre and UK tour); Pioneer (Norwich Playhouse); Best Years of Your Life (Nabokov/ Palace Theatre Watford). Television includes Victoria, Manhunt, Endeavour. Films include The Mummy, été, Second
Summer of Love. Trained at Drama Centre (Laurence Olivier Bursary First Prize winner). ROSEANNA FRASCONA First Witch Theatre includes Amina in There is a Field (Theatre503); Anna in Dealing with Clair (Orange Tree Theatre); Somnai (dotdotdot); Salome (National Theatre); Alia in Nahda (Bush Theatre); Nicole/Stacey in No Borders (Theatre503/Oxford Playhouse); Baby Houseman in Dirty Dancing (UK tour); Bianca in The Taming of the Shrew (international tour). Television includes Top Boy, Eat Pretty, The Moonstone. Films include Dead Birds, The New Boy and the shorts Gold Star, Disappearance, The Jump, Our Girl. Trained at LAMDA. LEAH GAYER Third Witch Theatre includes Polly in Alys Always (Bridge Theatre). Television includes Doc Martin. Trained at RADA.
JOHN SIMM
LAUREN GRACE Second Witch Theatre includes #7 in The Wolves (Theatre Royal Stratford East); Audrey in Charlie Sonata (Royal Lyceum Edinburgh); Fudge/Queen Socktopus/Rocky in Simon’s Magical Christmas Socks (Citizens Theatre); Adela in The House of Bernarda Alba, Jean Fordham in August: Osage County, Anya in Life Despite Love, Miranda in The Tempest (RCS). Television includes 209ers. Films include Zero, the shorts Slingshot, 12 Point Kill, Bird. Trained at Royal Conservatoire of Scotland; recipient of BAFTA Scholarship 2016. DERVLA KIRWAN Lady Macbeth Previously at Chichester Goneril in King Lear, Frankie in Frankie and Johnny in the Clair de Lune, Sonya in Uncle Vanya (Minerva Theatre). Theatre includes Jesus Hopped the ‘A’ Train (Young Vic); Mr Foote’s Other Leg (Hampstead Theatre and West End); Exiles and Aristocrats (National Theatre); The Weir (Donmar Warehouse and West End); Betrayal (Donmar Warehouse); An Absolute Turkey (Gielgud Theatre); Hush (Royal Court); A Little Like
HEIDER ALI MICHAEL BALOGUN DAVID BURNETT STUART LAING ISABEL POLLEN
Drowning (Druid Galway); Fathers and Sons (Gate Theatre); The Glass Menagerie (Peacock Theatre); Once A Catholic (Tricycle); Dangerous Corner (Garrick Theatre); Les Liaisons Dangereuses (Bristol Old Vic); A Handful of Stars and Poor Beast in the Rain (Bush Theatre); The Misogynist (Abbey Theatre). Television includes Strangers, Silent Witness, Strike Back, Krypton, Safe House, The Fuse, The Silence, Agatha Christie’s Marple, Material Girl, Moving On, Law and Order UK, True Dare Kiss, Doctor Who, Casanova, 55 Degrees North, Hearts and Bones, Happy Birthday Shakespeare, Randall & Hopkirk, Dalziel & Pascoe, Ballykissangel, Goodnight Sweetheart. Films include Trautmann, Interlude in Prague, Luna, Silent Hours, Entity, Ondine, Dangerous Parking, School for Seduction, December Bride, With or Without You, Pete’s Meteor. STUART LAING Banquo Theatre credits include The Curious Incident of the Dog in the Night-Time (National Theatre/ West End and tour); title role in Macbeth (Mercury Theatre Colchester); Peckham: The Soap Opera (Royal Court); The Doll’s House (Belgrade Theatre Coventry); Miniaturists (Arcola Theatre); Hundreds and Thousands, Billy and the Crab Lady, Food For Thought, The Games Room (Soho Theatre); Love and Money (RADA Festival); The Furies/Land of the Dead (UK tour); Blowing Whistles (Leicester Square Theatre); Drowning on Dry Land (Salisbury Playhouse); Season’s Greetings (Liverpool Playhouse); A Streetcar Named Desire (Theatr Clwyd); Indian Country (Chapter Theatre); Hushabye Mountain (Hampstead Theatre); Kiss of the Spider Woman and Over Here (Leicester Haymarket); Bad Company (Bush Theatre); Loot (Thorndike Theatre). Television includes Vera, Silent Witness, Casualty, Trial and Retribution, Vincent, EastEnders, Spooks, Father Brown, How TV Ruined Your Life, Everytime You Look At Me, The Animator, Doctors, Wire In The Blood, The Inspector Lynley Mysteries, Poirot, The Bill, Burn It, Sex and Lies, Cambridge Spies, Holby City, Bob Martin, In A Land Of Plenty, Bedhead,
Berkeley Square, Strikeforce, In Your Dreams, Kavanagh QC, Poetry of War, Devil’s Advocate, Blood and Peaches, Minder. Films include South West Nine, The Lawless Heart, Butterfly Man, Gaston’s War, The Great Ecstasy of Robert Carmichael, Lie Still, Nine Songs, Strong Language, The Truth Game, Three Steps to Heaven. Trained at Drama Centre London. LUYANDA UNATI LEWIS-NYAWO Ross Previously at Chichester Girlfriend/Older Sister in generations (Minerva Theatre). Theatre includes Prudence in The Convert (Young Vic); Assistant Director for I’ll Take You to Mrs Cole (Pleasance Theatre/Complicite). Television includes Devs, Apple Tree House 3. Trained under South African theatre stalwart Dorothy Ann Gould at Triple Take Studios. In 2015 Luyanda relocated to London to further her training at The Royal Central School of Speech and Drama on the BA (Hons) Collaborative and Devised Theatre Making course developed by Complicité Associate Director Catherine Alexander. AVITAL LVOVA Lennox Theatre includes Isabelle Eberhardt in Isabelle (Volksbühne Basel); Borders (New York Theatre Workshop, Spoleto Festival USA, Adelaide Festival); Games (Gilded Balloon Edinburgh); Angel in Angel (Arcola Theatre); Angel in Angel Tour (59E59 Theaters NYC, Adelaide Festival, Mindelact Cape Verde, Centre of Arts Vitorgan Moscow); Queen Margaret in Richard III (Rosemary Branch Theatre); Lola in Dr Strangelove (Secret Cinema); Rebounding Hail (Lyric Hammersmith/New Diorama); Pistols at Dawn (Kings Head Theatre); Medea in Medea (Alte Feuerwache Berlin); Hell on Earth (Hebbel am Ufer Berlin); Hell on Earth Tour (Dance Umbrella Johannesburg, VIA Festival Maubeuge F, Exit Festival Paris, Kampnagel Hamburg). Television includes Trackers, Doctors. Films include Waiting for the Sea. She has received Best Female Performance nominations from the Off West End Awards (2017) and Prague Fringe Awards (2017), won
ROSEANNA FRASCONA LAUREN GRACE
LEAH GAYER
the Fringe First 2018, the Adelaide Critics’ Circle Awards (2017 & 2018) and the Tom Bennett Comedy Award, King’s Head Theatre (2015). Trained at East 15 Acting School and CSVPA. Avital is part of Actors East, a new studio theatre in East London.
NOAH PEIRSON Young Macduff Previously at Chichester Forty Years On, Beauty and the Beast and Sleeping Beauty (Festival Theatre). He is a member of Chichester Festival Youth Theatre.
HARVEY McGUINNESS Fleance Previously at Chichester Forty Years On (Festival Theatre), The First Bodyguard and ensemble in Grimm Tales (CFYT/Cass Sculpture Foundation). He is a member of Chichester Festival Youth Theatre.
ISABEL POLLEN Lady Macduff / Gentlewoman Theatre includes Laura Jesson in Brief Encounter (Haymarket Cinema and Birmingham Rep); Lady Capulet in Romeo and Juliet (Rose Theatre Bankside); Handmaidens of Death, Mathematics of the Heart (Theatre503); The Observer, An Enemy of the People (National Theatre); A Right Royal Shakespeare (RADA Enterprises); Portia in The Merchant of Venice (Actors from the London Stage); Top Girls (Library Theatre Company); Marina in Pericles (Cardboard Citizens/RSC); Warcrime (Theatre Underground); Bright (Soho Theatre); Jessica in The Merchant of Venice (RSC); Action (Young Vic); Ophelia in Rosencrantz and Guildenstern Are Dead (Arcola Theatre); Isabella in Measure for Measure, Thomasina in Arcadia (Library Theatre Manchester); Helena in All’s Well That Ends Well (Regent’s Park Open Air Theatre). Television includes Law and Order, Holby City, Casualty 1909, Runaway, Soundproof, North and South, Murphy’s Law, Daylight Robbery, Touching Evil II, The Dream Team. Radio includes The Raj Quartet, Mother Teresa in Kilburn. Films include Joan of Arc, I Didn’t Know That, The Observer.
MATTHEW O’SHEA Young Macduff Theatre includes Curio in Twelfth Night and Edmund in The Lion, the Witch and the Wardrobe (The Chichester Players). He is a member of Chichester Festival Youth Theatre. HARRY PEACOCK Porter / Siward Theatre includes The Low Road (Royal Court); The Lady Killers (Gielgud Theatre); Chicken Soup With Barley (Royal Court); The Cherry Orchard (Birmingham Rep); As You Like It (RSC); Henry IV Parts I & II, His Dark Materials, Cyrano De Bergerac (National Theatre); The Recruiting Officer (Lichfield Theatre); Oh What A Lovely War!, As You Like It, Romeo and Juliet (Regent’s Park); The School for Scandal (Derby/Northampton). Television includes High & Dry, Dracula, The Windsors, Murder in Successville, Drunk History, New Tricks, Wire in the Blood, Kingdom, Midsomer Murders, Porridge, We’re Doomed – The Dad’s Army Story, The Living and the Dead, Toast of London, The Kennedys, Up the Women, Bad Education, Starlings, Grandma’s House, The Culshaw and Stephenson Show, Walk on the Wild Side, Doctor Who, Star Stories, Kingdom, Keen Eddie, Jonathan Creek, Band of Brothers. Radio/podcast includes Brian and Roger, Jack & Millie. Films include Far from the Madding Crowd, Gulliver’s Travels, Judas, Valiant, Station Jim, High Adventure.
CHRISTOPHER RAVENSCROFT King Duncan / Doctor Theatre: seasons for the RSC including Banquo in Macbeth, Antonio in The Merchant of Venice, Buckingham in Richard III, Crimes In Hot Countries and the original production of Nicholas Nickleby. Other theatre includes Witness for the Prosecution (County Hall); Humble Boy, The Stepmother, The Promise (Orange Tree Theatre); The Cocktail Party (The Print Room); High Society (The Old Vic); The Notorious Mrs Ebbsmith (Primavera/Jermyn Street Theatre); Storm in a Flower Vase (Arts Theatre); Dances
LUYANDA UNATI LEWIS-NYAWO AVITAL LVOVA HARRY PEACOCK BEATRIZ ROMILLY
of Death (Gate Theatre); Summer and Smoke (Nottingham/West End); The Woman in Black (Fortune Theatre); The Comedy of Errors (Regent’s Park Open Air Theatre); Taking Care of Baby (Hampstead Theatre); Sitting Pretty (Chelsea Centre); Good Grief (Theatre Royal Bath and tour); The Winslow Boy (Bolton Octagon: Best Actor, Manchester Theatre Awards); A Doll’s House (Peter Hall Company); Landslide, Bedroom Farce (West Yorkshire Playhouse); The Talented Mr Ripley (Northampton); People at Sea, The Invention of Love (Salisbury Playhouse); Jumpers, Absurd Person Singular (Birmingham Rep); As You Like It (Sheffield Crucible); The Tempest (Liverpool Playhouse); Broken Glass (New Victoria Theatre Stoke). Television includes Casualty, EastEnders, Doctors, The Ruth Rendell Mysteries, The Shell Seekers, Courtroom, Mile High, Brookside, Midsomer Murders, Holby City, The Hound of the Baskervilles, John Halifax Gentleman, Pericles, Secret Army, The Levels, Twelfth Night, PD James: Mind to Murder, Coronation Street. Films include the recent The Man Who NATHAN WELSH CHRISTOPHER RAVENSCROFT
Knew Infinity, Tom and Thomas, The Football Factory, Henry V. BEATRIZ ROMILLY Malcolm Theatre includes Betty 3 in Collective Rage: A Play in Five Betties (Antic Face/Southwark Playhouse); Beatrice in Much Ado About Nothing (Shakespeare’s Globe); Jacqueline in French Without Tears (ETT/Orange Tree Theatre); After Independence, Pera Palas, Silver Birch House (Arcola Theatre); title role in The Duchess of Malfi (Nottingham Playhouse); Helena in A Midsummer Night’s Dream (Shakespeare’s Globe international tour); Joan la Pucelle in Henry VI Part 1, Eleanor/Duchess of Gloucester in Henry VI Part 2, Lady Grey in Henry VI Part 3, The God of Soho, Doctor Faustus (Shakespeare’s Globe); The Sacred Flame (ETT); The Rover (Hampton Court Palace); The Three Musketeers and the Princess of Spain (ETT/ Traverse Theatre); This Much is True (Theatre503); Bacchafull (Dirty Market Theatre). Television includes War of the Worlds, Shakespeare Uncovered: Othello, Doctors,
NOAH PEIRSON MATTHEW O’SHEA HARVEY McGUINNESS JACOB BLAZDELL
Born With It, Green Green Grass, The Bill. Radio includes After Independence, The Honorary Consul, Credit Card Baby. Films include the shorts Facsimile, Henna Night. Trained at Drama Centre London.
Never Never, The Lakes, Rumpole of the Bailey, Men of the World, Chillers: The Mirror Man, Meat, Cracker, The Locksmith. Films include Everyday, Miranda, 24 Hour Party People, Wonderland, Human Traffic, Boston Kickout.
JOHN SIMM Macbeth Theatre includes Party Time/Celebration (Pinter at the Pinter season, Harold Pinter Theatre); The Homecoming and The Hothouse (Trafalgar Studios); Three Days in the Country (National Theatre); Speaking in Tongues (Duke of York’s); Hamlet (Sheffield Crucible); Elling (Bush/West End, Olivier Awards and Theatregoer’s Choice Awards Best Actor nominations); Danny Rule (Royal Court); Goldhawk Road (Bush). Television includes Cold Courage, Strangers, Trauma, Collateral, Doctor Who, The Catch, Code of a Killer, Intruders, Prey, The Village, Mad Dogs, Exile (BAFTA Best Actor nomination), Skellig, The Devil’s Whore, The Yellow House, Life on Mars (BAFTA Best Actor nomination), Blue/Orange, Sex Traffic, Nero, The Canterbury Tales, State of Play, Crime and Punishment,
NATHAN WELSH Donalbain / Young Siward Theatre includes Romeo in Romeo and Juliet (Shakespeare’s Globe); The Play About My Dad (Jermyn Street Theatre); The Way of the World (Donmar Warehouse); Circa (Work Theatre/The Vaults Theatre); Shylock in The Merchant of Venice, Ronald/Chris in Port, Mark Antony/Eros in Antony and Cleopatra, Dorimant in The Man of Mode, Chebutykin in Three Sisters (LAMDA); Lord of the Flies (Broadway Theatre); Crime of the Century (Chickenshed). Television includes Shetland, Trust Me, Navid and Johnny, Living It. Radio includes The Wall, Vanity Fair. Films include Days, Life Sentence, Much Ado About a Minor Ting. Trained at LAMDA.
ROSEANNA FRASCONA ANGELA GASPARETTO LEAH GAYER LAUREN GRACE
C R E AT I V E T E A M
RACHEL BOWN-WILLIAMS and RUTH COOPER-BROWN Fight Directors Previously at Chichester Plenty and Way Upstream (Festival Theatre), Hedda Tesman and The House They Grew Up In (Minerva Theatre). Theatre credits include Noises Off (Lyric Hammersmith); The Night of the Iguana (Noël Coward Theatre); Wife (Kiln Theatre); Hobson’s Choice (Manchester Royal Exchange); King Hedley II (Theatre Royal Stratford East); Measure for Measure, As You Like It, The Taming of the Shrew, Tartuffe, The Duchess of Malfi, Salome and Snow in Midsummer (RSC); Anna, When We Have Sufficiently Tortured Each Other, Common, Ugly Lies the Bone, Peter Pan, The Threepenny Opera, The James Plays (coproduction with National Theatre of Scotland and Edinburgh International Festival) and Cleansed (National Theatre); HIR (Bush Theatre); All My Sons, A Monster Calls and Woyzeck (The Old Vic); Macbeth, Emilia, Othello, The Secret Theatre, Boudica, Lions and Tigers, Much Ado About Nothing, Twelfth Night, The White PAUL MILLER
Devil, Comus and Imogen (Shakespeare’s Globe); East is East (Northern Stage); My Brilliant Friend (Rose Theatre Kingston); The Boys in the Band and Dead Funny (Vaudeville); The Boys in the Band (Park Theatre and UK tour); Insignificance, Jumpy, My People, All My Sons, Aristocrats and Salt Root and Roe (Theatr Clwyd); The Invisible Hand, A Wolf in Snakeskin Shoes, Paper Dolls and Red Velvet (Tricycle Theatre); The Mentalists (The Old Vic at Wyndham’s); King John (Royal & Derngate and Shakespeare’s Globe); The Merchant of Venice and King Charles III (Almeida). Film includes Heretiks, Genesis, Arthur and Merlin, Howl, The Seasoning House, City Slacker, Cheerful Weather for the Wedding, Deviation, iLL Manors. SIMON DAW Designer Theatre includes 1984 (Northern Ballet); The Worst Witch (Northampton Theatre Royal, UK tour and Vaudeville Theatre); Baskerville (Liverpool Playhouse); The Welcoming Party
(MIF/Theatre-Rites and Ruhrtriennale Festival); World Factory (Metis Arts/Young Vic/Fabrications Festival Lancashire); While the Sun Shines, French Without Tears (and UK tour), Humble Boy, Poison, The Lottery of Love, Sheppey, The Philanderer, Widowers’ Houses, The Widowing of Mrs Holroyd (Orange Tree Theatre); A Dark Night in Dalston (Park Theatre); Material Men (Shobana Jeyasingh Dance Co); Sister Act (Kilworth House); Wonderful Tennessee (Lyceum Sheffield); The Secret Agent (Theatre O, Traverse Theatre/Young Vic and UK tour); Waiting for Godot, The Winter’s Tale, The Daughter-In-Law (Sheffield Crucible); Two, Tanika’s Journey, Double Sentence (Deafinitely Theatre); Democracy (Sheffield Crucible and The Old Vic); The Metamorphosis (Linbury ROH and The Joyce New York); Dead Heavy Fantastic, Lost Monsters (Liverpool Everyman); Romeo and Juliet (Shakespeare’s Globe); Dolls (National Theatre of Scotland); Fast Labour (Hampstead Theatre/West Yorkshire Playhouse); DNA, Baby Girl, The Miracle, The Enchantment (National Theatre); Elling (Bush Theatre and Trafalgar Studios); French Without Tears (ETT); Fragile Land (Hampstead Theatre); Rutherford and Son, Rafts and Dreams, Across Oka (Royal Exchange Manchester); Romeo and Juliet (RSC Stratford/Albery); Relatively Speaking, The Witches, Everyman, Habeas Corpus (Northampton Theatres); Under the Curse, Tragedy: A Tragedy (Gate Theatre); Kebab (Royal Court Upstairs); Bloom (Rambert); The Stepfather (Candoco). Opera includes Owen Wingrave (Aldeburgh Music/Edinburgh International Festival). Installation/performance commissions include The Competition (Shoreditch Town Hall); 3rd Ring Out (UK tour); Wave Structures, Hopefully it Means Nothing, Sea House (Aldeburgh Festival); New Town (site specific/Arches). Simon studied Fine Art at Winchester School of Art and Glasgow School of Art, and Postgrad at Motley Theatre Design Course. simondaw.com MARK DOUBLEDAY Lighting Designer Recent theatre includes While the Sun Shines, Humble Boy, Poison, The Lottery of Love, The
Philanderer, French Without Tears, Widowers’ Houses (Orange Tree); Ballyturk, The Lonesome West, Three Sisters (Tron Theatre); Arabian Nights, Wendy and Peter Pan, Waiting for Godot, Time and the Conways (Royal Lyceum Edinburgh); Waiting for Godot, The Distance, Democracy, The Daughter-in-Law, The Winter’s Tale, Wonderful Tennessee (Sheffield Theatres); Silver Lining (English Touring Theatre); The Welcoming Party (Manchester International Festival); Two Way Mirror (Keswick); The Iris Murders (Hebrides Ensemble); Laurence After Arabia (Hampstead Theatre); Democracy (Old Vic); Elling (Trafalgar Studios); Woman in Mind, A Christmas Carol (Birmingham Rep); The Glass Menagerie (Dundee Rep); Peter Pan (Bristol Old Vic); The Importance of Being Earnest (Nottingham Playhouse); Educating Rita, A View From the Bridge (Liverpool Playhouse); Little Platoons, The Knowledge (Bush Theatre). Recent opera and dance includes Don Giovanni (Nederlandse Reisopera); Stepmother/ Stepfather (DanceEast and UK tour); Suor Angelica, Il tabarro (Opera North); Tenebre (Deutsche Oper am Rhien); Le nozze di Figaro, Tannhäuser (Los Angeles Opera); Hansel and Gretel (Scottish Opera); Tannhäuser (Teatro Real Madrid); The Pirates of Penzance, Iolanthe, Mikado (Gielgud Theatre); Die Schuldigkeit des Ersten Gebots (Wilton’s Music Hall); Lysistrata (New York City Opera/Houston Grand Opera); Die Fledermaus, Orlando Finto Pazzo, Shorts, Six-Pack, Family Matters (Tête à Tête); Le nozze di Figaro (Opera Zuid Netherlands); Manon, Die Fledermaus (English Touring Opera); Ariadne auf Naxos, Albert Herring (Aldeburgh); La fanciulla del West, Norma (Opera Holland Park); Nitro (Royal Opera Linbury Theatre). Trained at LAMDA. markdoubleday.net ANGELA GASPARETTO Movement Director Theatre credits as Movement Director include Blood Knot (Orange Tree), Eden (Hampstead Theatre), The Tempest (Royal Exchange Young Company), Frankenstein (Royal Exchange), Bunny (White Bear & Tristan Bates), Redefining Juliet (Barbican/BBC Four), It Is So Ordered (The Pleasance), Snowflakes (Oxford Playhouse), Wish List (Royal Exchange & Royal
Court), Sizwe Banzi is Dead (Young Vic), A Midsummer Night’s Dream (Almeida Festival & Edinburgh Fringe), Faith, Hope & Charity (Southwark Playhouse), Monteverdi’s Flying Circus (national tour), Emma Thompson Presents: Fair Trade (Latitude, Rich Mix & Edinburgh Fringe), Machinal and They Shoot Horses Don’t They? (Edinburgh Fringe), Circus Solos (Circus Space); as Movement Director/ co-Deviser Home Sweet Home (Nearly There Yet Theatre); as Director/co-Devisor Jon Udry Punches Gravity in the Face (The Church, Circomedia), Life on Wheels (Jacksons Lane); Resident Movement Director for Pied Piper Theatre Company. Video: Movement Director for Love is Easy (music video, McFly). Angela teaches at RADA and Fourth Monkey. Training: MA Movement Directing & Teaching, RCSSD angelagasparetto.com SERENA HILL Casting Director Serena Hill recently returned from Australia where she was Casting Director at the Sydney Theatre Company. Since then she has worked as a freelance Casting Director in the UK; recent credits include Dealing with Clair (Orange Tree
Theatre and English Touring Theatre); The Glass Piano and Youth without God (Coronet Print Room); Valued Friends (The Rose Kingston); and Dirty Crust (Yard Theatre). Prior to living in Australia, Serena was Head of Casting at the National Theatre. CHARMIAN HOARE Voice and Dialect Coach Previously at Chichester Plenty, Me and My Girl, Present Laughter, 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, Singin’ in the Rain (Festival Theatre); This is My Family, The Country Wife, 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 War Horse, The Curious Incident of the Dog in the NightTime (national tours), 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, The Great Wave, The Lehman Trilogy, Peter Gynt (all National Theatre); The Light in the Piazza,
HANA KEEGAN DERVLA KIRWAN ANGELA GASPARETTO PAUL MILLER
(Festival Hall); Company (Gielgud Theatre); Jesus Hopped the ‘A’ Train (Young Vic); The Rubinstein Kiss (Southwark Playhouse); Road (Royal Court); Kiss Me, Kate, Frost/Nixon (Sheffield Crucible); The Pope (Royal and Derngate, Northampton); Luna Gale, Rabbit Hole (Hampstead Theatre); The Treatment, Against (Almeida Theatre); Sweat, Welcome Home Captain Fox!, One Night in Miami (Donmar Warehouse); Abigail’s Party, While the Sun Shines, The Things We Do for Love, Talking Heads, 4000 Miles (Theatre Royal Bath); Perfect Nonsense, Rails, Single Spies, Bold Girls (Theatre by the Lake Keswick). HANA PASCAL KEEGAN Assistant Director Theatre credits as Assistant Director include Jellyfish (National Theatre/Bush Theatre); All My Sons (Old Vic/Headlong); Hurricane Protest Songs (RichMix/RADA Studios); as Director include WoLab Showcase (Theatre N16/Bunker Theatre); Mary Poppins Jr (USA); The Test (CentrE17), Waiting for Lefty (USA). Following a Liberal Arts BA at College of the Atlantic (USA), Hana trained with the Eugene O’Neill Center (USA), Graeae Theatre Company and Young Vic Directors’ Programme. She previously studied Theatre Arts at United World College, an intercultural boarding college in Wales. hanapascal.wordpress.com PAUL MILLER Director Paul Miller is Artistic Director of the Orange Tree Theatre Richmond, where he has directed Terence Rattigan’s While the Sun Shines and French Without Tears (also tour with English Touring Theatre), Jo Clifford’s Losing Venice, Charlotte Jones’s Humble Boy, Bernard Shaw’s Misalliance, The Philanderer and Widowers’ Houses, Lot Vekemans’ Poison, Marivaux’s The Lottery of Love, Somerset Maugham’s Sheppey, Doris Lessing’s Each His Own Wilderness and The Widowing of Mrs Holroyd by DH Lawrence. Between 2009 and 2014 he was an Associate Director at Sheffield Theatres, where his productions included Wonderful Tennessee, The Winter’s Tale, The Daughter-in-Law, Democracy (which transferred to The Old Vic),
Hamlet with John Simm and True West. For the National Theatre he has directed The History Boys (revival for the West End and UK tour), Baby Girl, DNA, The Miracle, The Enchantment, Sing Yer Heart Out for the Lads and The Associate. Other work includes Elling (Trafalgar Studios); The History Boys (Center Theatre Group, LA); Total Eclipse (Menier Chocolate Factory); French Without Tears (ETT); Not the Love I Cry For (Arcola); A Life in the Theatre (Setagaya Public Theatre, Japan); Sugar Sugar, Goldhawk Road, Bad Company, Kingfisher Blue (Bush Theatre); Mercy (Soho); The Marriage of Figaro (English Touring Opera at Hackney Empire); Mean Tears, Accomplices, Mr England (Sheffield Theatres); Honeymoon Suite (Royal Court); Fragile Land (Hampstead); A Penny for a Song (Oxford Stage Company/Whitehall Theatre); Tragedy: A Tragedy (Gate); Hushabye Mountain (ETT/Hampstead); Rosmersholm (Southwark Playhouse); The Robbers (Latchmere). MAX PAPPENHEIM Music and Sound Designer Sound Designs include The Night of the Iguana (Noël Coward Theatre), Dear Uncle, Creditors (Theatre by the Lake), Little Light (Orange Tree), Crooked Dances (RSC), One Night in Miami (Nottingham Playhouse), The Ridiculous Darkness (Gate Theatre), Cuzco, Wink (Theatre503), Treasure Island (Leicester Haymarket), Hogarth’s Progress (Rose Theatre Kingston), A Kettle of Fish (Yard Theatre), One for Sorrow (Royal Court), Blue/Heart (Tobacco Factory/Orange Tree), The Children (Manhattan Theatre Club NYC and Royal Court), Miranda (Opéra Comique), Sex with Strangers (Hampstead Theatre Downstairs), Loot (Park Theatre/Watermill Theatre), A Lovely Sunday for Creve Coeur (Print Room at The Coronet), Waiting for Godot (Sheffield Crucible), My Eyes Went Dark (59E59 New York/Traverse/ Finborough), Toast (national tour/59E59 New York), CommonWealth (Almeida). As Composer/Sound Designer, work includes Amsterdam, Keep On Walking Federico (ATC), Napoli Brooklyn, Caroline’s Kitchen (OTC), The Funeral Director (ETT), The Way of the World (Donmar), A View from the Bridge,
Macbeth (Tobacco Factory), Humble Boy, The Lottery of Love, Sheppey (Orange Tree), Dry Powder, Labyrinth (Hampstead), Cookies (Theatre Royal Haymarket), Miss Julie (Jermyn Street/Theatre by the Lake), Two for the Seesaw (Trafalgar Studios 2), The Cardinal, Roundelay, Three Sisters (Southwark Playhouse), Ophelias Zimmer (Schaubühne Berlin/Royal Court), Jane Wenham: Witch of Walkern (Out of Joint), The Distance (Orange Tree/Sheffield Crucible Studio), Martine (Finborough). Max trained in Radio Drama with the BBC. He is a Visiting Lecturer at RCSSD. TIM REID Video Designer Previously at Chichester FRACKED! (Minerva) and Quiz (Minerva and West End). Theatre, Dance and Opera includes Chaplin|The Tramp (Slovakia National Ballet); Mary Stuart (Almeida and West End); 1984 (Broadway/West End/Almeida/tour, Knights of Illumination Award nomination); Oresteia (Almeida/West End/Shauspiel Stuttgart); The Red Barn (National Theatre); Show Boat (Sheffield Crucible and West End); The Bubbly Black Girl Sheds Her Chameleon Skin (Theatre Royal Stratford East); If You Kiss Me, Kiss Me and La Musica (Young Vic); Blood Wedding
(Dundee Rep/Graeae/Derby Playhouse); Where is Peter Rabbit? (The Old Laundry Theatre and West End); Stemmer (Bergen National Opera); Scale (Scottish Dance Theatre); England in a Pink Blouse (Grid Iron); A Christmas Carol (Royal Lyceum Edinburgh); The Effect, Love Your Soldiers and The History Boys (Sheffield Crucible); Quiz Show and Tree of Knowledge (Traverse Theatre); Biding Time (Remix) and Music Is Torture (Tromolo Productions); Ghost Patrol (Scottish Opera/Music Theatre Wales); Educating Ronnie (High Tide/MacRobert Arts Centre Stirling); Can We Talk About This? (DV8 Physical Theatre); Clockwork (Visible Fictions/ Scottish Opera); Girl X, 99… 100, Peter Pan and Miracle Man (National Theatre of Scotland); Playback (Ankur Productions); The Not-So-Fatal Death of Grandpa Fredo, Bright Black and How to Steal a Diamond (Vox Motus); Treasure Island, One Giant Leap and Arthur (Wee Stories); as Projection Designer Wild Swans (Young Vic/ART). Tim has worked as Head of Video for the National Theatre of Scotland and toured internationally. timreidvideodesign.com
BEATRIZ ROMILLY HARRY PEACOCK AVITAL LVOVA PAUL MILLER MICHAEL BALOGUN HEIDER ALI LUYANDA UNATI LEWIS-NYAWO DAVID BURNETT
EVENTS
MACBETH PRE-SHOW TALK
Wednesday 25 September, 5.45pm Director Paul Miller in conversation with Kate Mosse. FREE but booking is essential.
LITERARY LUNCH WITH DANIEL ROSENTHAL
Friday 11 October, 12noon Daniel Rosenthal discusses with Kate Bassett his new book Dramatic Exchanges: The Lives and Letters of the National Theatre, a fascinating collection of correspondence from the NT’s archives including scribbled notes and witty postcards from the likes of Alan Bennett, Ian McKellen, Helen Mirren and Laurence Olivier. Tickets £35 (includes two-course lunch with wine and coffee)
POST-SHOW TALK
TOUCH TOURS
Friday 25 & Saturday 26 October Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in Macbeth. The tour takes place 90 minutes before the audio-described performances. FREE but booking is essential.
WHEN THE BATTLE’S LOST AND WON
Saturday 26 October, 2pm Steven Pimlott Building Learn how to fight like Macbeth and Macduff in this unarmed stage combat workshop. After learning basic punches, kicks and hair-pulls, you’ll create your own ‘hurly-burly’ in a safe and choreographed fight sequence. Ages 10+ Tickets £5
Tuesday 22 October Stay after the performance to ask questions, meet company members and discover more about the play. FREE
MICHAEL BALOGUN JOHN SIMM
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S TA F F
TRUSTEES Sir William Castell Mr Nicholas Backhouse 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 Charlotte Sutton CDG
Chairman
Literary Associate Casting Associate
BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer DEVELOPMENT David Beal
Head of Individual Giving (Maternity Cover)
Rachel Billsberry-Grass Interim Development Director Eleanor Blackham Memberships Officer Joseph Fellows-Cameron Development Administrator Julie Field Friends Administrator Rosie Hiles Corporate Development Manager Laura Jackson William Mendelowitz Karen Taylor DIRECTORS Kathy Bourne Daniel Evans Patricia Key Georgina Rae Julia Smith
Head of Individual Giving (Maternity Leave) Head of Major Gifts Memberships Officer
Executive Director Artistic Director PA to the Directors Head of Planning & Projects Board Support
FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Will Jupp IT Support Katie Palmer Assistant Management Accountant Simon Parsonage Mark Pollard Paul Sturgeon Amanda Trodd Nicole Yu HR Eugenie Konig Emily Oliver Jenefer Pullinger Gillian Watkins LEAP Isilda Almeida Elspeth Barron Ella Bassett Freddie Dempster Lauren Grant Hannah Hogg
Finance Director & Company Secretary IT Support IT Consultant Management Accountant Finance Assistant (Trainee)
Head of HR Accommodation Coordinator HR & Recruitment Officer HR Administrator
Heritage Manager LEAP Officer Community Trainee Youth & Outreach Trainee Deputy Director of LEAP Youth & Outreach Officer
Richard Knowles Poppy Marples
Education Projects Manager Senior Youth & Outreach Officer
Hannah Millard Education Trainee Louise Rigglesford Community Partnerships Manager Dale Rooks
Director of LEAP
MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Fran Boxall Box Office Administrator (Maternity Cover) Helen Campbell Deputy Box Office Manager Lydia Cassidy Director of Marketing & Communications Hannah Dobson Clare Funnell
Communications Assistant Marketing Officer (Maternity Leave)
Madeleine Harker Box Office Assistant Rebecca Harte Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Marketing Officer James Morgan Box Office Manager Lucinda Morrison Head of Press Kirsty Peterson Box Office Assistant Alice Stride Box Office Assistant Anne-Marie Varberg Box Office Assistant Joshua Vine Box Office Supervisor Claire Walters Box Office Assistant Joanna Wiege Box Office Administrator (Maternity Leave) Jane Wolf Box Office Assistant PRODUCTION Amelia Ferrand-Rook Producer Claire Rundle Production Administrator Eva Sampson Resident Assistant Director Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Dan Armstrong Transport & Logistics Steph Bartle Deputy Head of Lighting Hope Brennan Sound Technician Jon Carter Stage Crew Amy Clayton Stage Apprentice Leoni Commosioung Stage Crew Sarah Crispin Prop Maker Lewis Ellingford Stage Technician Ross Gardner Stage Crew Sam Garner-Gibbons Technical Director Fuzz Sound Technician Katie Hennessy Props Store Co-ordinator Laura Howells Senior Lighting Technician Alex Hunt Stage Technician Ian Jarvis Deputy Head of Stage Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Lighting/Sound Apprentice Lewis Ramsay Assistant Lighting Technician Alex Rees Neil Rose Ernesto Ruiz Joe Samuels James Sharples
Lighting Technician Deputy Head of Sound Stage Crew Lighting Technician Stage Crew
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Tom Smith Graham Taylor Sarah Ware Emily Williamson
Senior Sound Technician Head of Lighting Stage Technician Technical Apprentice
THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Karen Hamilton Front of House Duty Manager Gabriele Hergert Deputy House Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager WARDROBE Natalie Bird Brooke Bowden Michaela Duffy Jessica Griffiths Natasha Hancock Lottie Higlett Amy Jeskins Gabby Selwyn-Smith Emily Souch Sam Sullivan Loz Tait Colette Tulley Hannah Ward Maisie Wilkins
Wardrobe Assistant Deputy Head of Wardrobe Dresser Deputy Head of Wardrobe Deputy Head of Wardrobe Dresser Deputy Head of Wardrobe Dresser Dresser Wardrobe Assistant Head of Wardrobe Wardrobe Maintenance Dresser Dresser
WIGS Beau Bambi Brett Grace Healy Sonja Mohren Natascha Schnieden
Deputy Head of Wigs Wigs Assistant Head of Wigs Wigs Assistant
Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, Bob Bentley, Gloria Boakes, Janet Bounds, Judith Bruce-Hay, Lauren Bunn, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Sophia Cobby, Gaye Douglas, Stella Dubock, Alisha Dyer-Spence, Clair Edgell, George Edwards, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Luc Gibbons, Anna Grindel, Karen Hamilton, Caroline Hanton, Madeline Harker, Joseph Harrington (Trainee), Gillian Hawkins, Joanne Heather, Lottie Higlett, Keiko Iwamoto, Joan Jenkins, Lucy Jenkinson, Pippa Johnson, Ryan Jones, Jan Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Emily McAlpine, Janette McAlpine, Chris Monkton, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Lydia Piper, Barbara Pope, Justine Richardson, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Rosemary Wheeler, Jonathan Wilson (Trainee), James Wisker, Donna Wood, Fleur Wood, Kim Wylam, Jane Yeates We acknowledge the work of those who give so generously of their time as our Volunteer Audio Description Team: Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Sue Hyland, David Phizackerley, Christopher Todd
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
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SUPPORT US
GET INVOLVED As a registered charity, Chichester Festival Theatre needs support from people like you. The generosity and commitment of our members and donors means we can: • Keep creating world-class theatre in the heart of West Sussex • Run our award-winning Youth Theatre and other community projects that inspire and empower • Invest in emerging talent in UK theatre by offering unique career development opportunities There are many ways to support us. Whether you are an individual, a charitable trust or a company, you can get closer to the work we do both on and off the stage. To find out more about opportunities to support CFT, please visit cft.org.uk/supportus, email development.team@cft.org.uk or call 01243 812881.
WAYS OF GIVING If you donate to our Ageless campaign, you will help us bring theatre and live art to the wider community, particularly those at risk of isolation. All donations welcome. As a Friend you will receive priority booking, ticket discounts, Friends events and e-newsletters. Membership £35. Festival Players receive advance priority booking and exclusive events in thanks for your generous support. Membership from £250 (£25 + £225 donation). Benefactors enjoy unique access to CFT, with a bespoke relationship based around the projects you choose to support. Gifts from £3,000. By becoming a Corporate or Principal Partner, businesses can access a host of benefits including advertising, tickets, client entertaining and invitations to exclusive events.
cft.org.uk/supportus
S U P P O R T E R S 2019
INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry Sarah and Tony Bolton George W. Cameron OBE and Madeleine Cameron Wilfred and Jeannette Cass Sir William and Lady Castell CS and M Chadha David and Sonia Churchill John and Pat Clayton 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 Basil Hyman Liz Juniper The family of Patricia Kemp Roger Keyworth 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 Artswork The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Boltini Trust Elizabeth, Lady Cowdray's Charity Trust The Noël Coward Foundation The Roddick Foundation
FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Charles and Clare Alexander Tom Reid and Lindy Ambrose Paul Arman The Earl and Countess of Balfour Matthew Bannister Mr Laurence Barker Mr James and Lady Emma Barnard (The Barness Charity Trust) Franciska and Geoffrey Bayliss 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 Bridget Brooks Peter and Pamela Bulfield Jean Campbell Julie Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Mike Caspan and Viv Wing Warren and Yvonne Chester Sally Chittleburgh David and Claire Chitty Mr and Mrs Jeremy Chubb Denise Clatworthy Annie Colbourne John and Susan Coldstream David and Julie Coldwell The Colles Trust 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 The de Laszlo Foundation Diana Dent Clive and Kate Dilloway Christopher and Madeline Doman Peter and Ruth Doust Peter and Jill Drummond John and Joanna Dunstan Peter Edgeler and Angela Hirst Glyn Edmunds Betty and Ian Elliot Anthony and Penny Elphick Caroline Elvy Sheila Evans Gary Fairhall Brian and Sonia Fieldhouse Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Robert and Pip Foster Jenifer and John Fox Roz Frampton Debbie and Neil Franks Alan and Valerie Frost Terry Frost
Mr Nigel Fullbrook George Galazka Alan and Pat Galer Elizabeth Ganney Robert and Pirjo Gardiner Wendy and John Gehr Jacqueline and Jonathan Gestetner Marion Gibbs CBE Stephen J Gill Dr and Mrs P Golding Julian and Heather Goodhew Robin and Rosemary Gourlay R and R Green Michael and Gillian Greene Reverend David Guest Ros and Alan Haigh Dr Stuart Hall Kathy and Roger Hammond David and Linda Harding David Harrison 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 Dame Denise and Mr David Holt Pauline and Ian Howat Barbara Howden Richards Mike Imms Mrs Raymonde Jay Robert and Sarah Jeans Robert Kaltenborn Nigel Kennedy OBE Anna Christine Kennett Roger Keyworth Jane Kilby Geoffrey King James and Clare Kirkman Mrs Rose Law Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Anthony and Fiona Littlejohn Mr Robert Longmore Colin and Jill Loveless Amanda Lunt Jim and Marilyn Lush Dr and Mrs Nick Lutte Robert Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Sue Marsh Charles and Elisabeth Martin Gerard and Elena McCloskey Tim McDonald 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 James Morgan Sue and Peter Morgan Roger and Jackie Morris
Sara Morton Terence F Moss Mrs Mary Newby Patricia Newton Lady Nixon Pamela and Bruce Noble Margaret and Martin Overington Mr and Mrs Gordon Owen Mrs Glenys Palmer Richard Parkinson and Hamilton McBrien Mr and Mrs S Parvin Alex and Sheila Paterson Simon and Margaret Payton Jean Plowright John Rank The Rees Family Malcolm and Angela Reid Christopher Marek Rencki Adam Rice Sandi Richmond-Swift John and Betsy Rimmer Robin Roads Philip Robinson John and Valerie Robinson Nigel and Viv Robson Ken and Ros Rokison Graham and Maureen Russell Clare Scherer and Jamie O'Meara Mr Christopher Sedgwick John and Tita Shakeshaft Mrs Dale Sheppard-Floyd Jackie and Alan Sherling The Sidlesham Theatre Group Nick Smedley and Kate Jennings Monique and David Smith Simon Smith Christine and Dave Smithers Mr and Mrs Brian Smouha Mrs Barbara Snowden Brian Spiby David and Unni Spiller Elizabeth Stern Barbara Stewart Judy and David Stewart Peter Stoakley Anne Subba-Row Ms Maura Sullivan The Tansy Trust Professor and Mrs Warwick Targett Brian Tesler CBE Harry and Shane Thuillier Mr Robert Timms Alan Tingle Miss Melanie Tipples Peter and Sioned Vos David Wagstaff and Mark Dune Paul and Caroline Ward Ian and Alison Warren Chris and Dorothy Weller Bowen and Rennie Wells Graham and Sue White Barnaby and Casandra Wiener Judith Williams Nick and Tarnia Williams Lulu Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald
‘We are lucky to have a world-class theatre in Chichester with its diverse and imaginative programming. We are proud to support the Theatre and the opportunity to meet the casts and crews is an added bonus.’ Jo and Nick Pasricha, Benefactors & Festival Players
cft.org.uk/supportus
S U P P O R T E R S 2019
PRINCIPAL PARTNERS
Diamond Level Prof E.F Juniper and Mrs Jilly Styles
Oldham Seals Group
Gold Level private wealth
HOLIDAY LETS
Silver Level
CORPORATE PARTNERS LEVEL 1 Bishops Printers Chichester College Criterion Ices Jones Avens
Purchases Bar & Restaurant RL Austen Westminster Abbey
LEVEL 2 Addison Law Behrens Sharp FBG Investment Hennings Wine
Richard & Stella Read The Bell Inn The J Leon Group
Chichester Festival Theatre offers a variety of corporate partnership opportunities to meet your business needs. For further information, please contact us at development.team@cft.org.uk
LEVEL 3 European Office Products Russell & Bromley Mrs Joanna Williams
PRISM CALENDAR GIRLS THE MUSICAL THE LOVELY BONES CHRISTMAS CONCERTS THE GRUFFALO THE WIZARD OF OZ THE SLEEPING BEAUTY SIX THE STRANGE TALE OF CHARLIE CHAPLIN AND STAN LAUREL MY COUSIN RACHEL A MONSTER CALLS OI FROG & FRIENDS! COMEDY, DANCE, MUSIC AND MUCH MORE
Nov 2019 – Feb 2020 cft.org.uk 01243 781312
AGELESS THEATRE FOR LIFE
Our Ageless campaign aims to ensure that theatre and live art remain at the heart of people’s lives, particularly for older people who are at risk of isolation. Donating to Ageless will help us break down barriers, providing life-changing experiences that benefit mind and body. Help us raise £100,000 in order to continue and expand this work.
Supported by Irwin Mitchell
Donate today at cft.org.uk/ageless or call us on 01243 781312
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.