SHADOWLANDS By William Nicholson
DANIEL EVANS AND KATHY BOURNE PHOTOGRAPH BY JOHAN PERSSON
WELCOME
Welcome to Shadowlands. It is a great pleasure to be presenting this new production of William Nicholson’s muchloved play, which began life as a television drama in 1985 before becoming an award-winning stage success on both sides of the Atlantic, and then a notable feature film in 1993. William is Sussexborn and still lives in the county; watch out for his forthcoming film Hope Gap, which began life as The Retreat from Moscow in the Minerva Theatre in 1999. We are also delighted to welcome Hugh Bonneville back to the Festival Theatre. One of the UK’s most treasured actors, whose screen work includes Downton Abbey, W1A and Paddington, Hugh’s performance in Ibsen’s An Enemy of the People in Festival 2016 was rightly acclaimed; we are thrilled he is back in his local Theatre to play C.S. Lewis. Liz White makes an equally welcome Chichester debut as Joy Gresham;
a familiar face to TV audiences for series such as Life on Mars, Ackley Bridge and The Halcyon, her extensive theatre work includes Electra at the Old Vic, and Port and A Woman Killed with Kindness at the National Theatre. Hugh and Liz lead a distinguished cast, directed by Rachel Kavanaugh. Rachel’s versatility has been seen to great effect at Chichester where she’s helmed shows as various as Half A Sixpence, Single Spies and The Winslow Boy. C.S. Lewis remains one of Britain’s most widely read authors; on 3 May, members of the Chichester Festival Youth Theatre will be reading poems and extracts from his work in the Festival Theatre Foyer and you can listen for free. Following Shadowlands into the Festival Theatre will be David Hare’s explosive drama Plenty, with Rachael Stirling and Rory Keenan leading the cast in Kate Hewitt’s new production. We hope you’ll return for that, and that you enjoy today’s performance.
Executive Director Kathy Bourne
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Artistic Director Daniel Evans
COMING SOON
Rachael Stirling Rory Keenan
PLENTY By David Hare Kate Hewitt directs Rachael Stirling as Susan Traherne, a former secret agent who battles for her own body and mind as Britain loses its role in the world, in a post-war ‘land of plenty’. She is joined by Rory Keenan as Raymond Brock.
7 – 29 June #Plenty
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Josie Lawrence Hyoie O’Grady Amara Okereke
OKLAHOMA! Music by Richard Rodgers Book & Lyrics by Oscar Hammerstein II Based on the play Green Grow the Lilacs by Lynn Riggs Original choreography by Agnes de Mille Directed by Jeremy Sams, a love-struck crew of spirited ranchers lead us through the glorious score of this exuberant musical, from Oh, What A Beautiful Mornin’ to the show-stopper Oklahoma.
15 July – 7 September #OklahomaMusical
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SHADOWLANDS By William Nicholson
FINDING JOY
Clive Staples Lewis (known to his friends as Jack) was one of the intellectual giants of the 20th century and arguably one of the most influential writers of his day. He wrote more than 30 books, allowing him to reach a vast audience, and his work continues to attract thousands of new readers. He’s perhaps bestknown as the author of the Narnia Chronicles, which began with The Lion, the Witch and the Wardrobe – some readers remain unaware that the seven books are a Christian allegory framed as children’s stories. Both as a Christian apologist and a children’s author, Lewis achieved best-seller status. To this day he’s seen as the champion of a conservative religious outlook that many may find uncongenial. For his entire professional life, however, he was a university teacher, first at Oxford and then, as a professor, at Cambridge. He lectured on medieval and Renaissance literature. The Discarded Image, based on his lectures about how medieval humanity viewed the world, is perhaps his best book: it tells of medieval astronomy, philosophy and reading.
His Oxford History of English Literature in the 16th Century is one of the most readable works of literary scholarship ever written.
Behind the story of how C.S. Lewis became a Christian, lay buried heartbreak. There was always a slight disconnect between Lewis the scholar and Lewis the popular evangelist. Behind the story of how he became a Christian – which he described in his autobiography, Surprised by Joy – lay buried heartbreak. The loss of his mother through cancer when he was only nine forced him and his brother Warnie into a state of emotional arrest. His bereaved father sent the two boys from Northern Ireland to English boarding schools, which made things worse.
LEFT: C.S. LEWIS, 1919 IMAGE COURTESY OF ALAMY ABOVE: WARREN (BROTHER), ALBERT (FATHER), AND C.S. LEWIS, c.1908.
Lewis himself, as a young soldier who had been wounded in the First World War, then entered into a relationship with a much older woman, Janie Moore, whom he called ‘Mother’ though she was his mistress. It was a deep, affectionate love, but Lewis’s male cronies liked to quote the line from Othello, ‘O cursed fate that gave thee to the Moor[e]’, when he cut short beery discussions about Beowulf to return to her hearth. His conversion to Christianity brought an end to the physical side of their relationship
and caused Janie great anguish. ‘Enjoy your blood-feast!’ she would shout, in her Irish voice, from the window of the bedroom they still shared, as he crept out to Holy Communion. After Janie died, he imagined he would live a bachelor existence with Warnie. His brother’s way of coping with their childhood traumas was to have become an advanced alcoholic, consuming more than a bottle of whisky a day. Then came a fan letter from an American admirer, Joy Davidman, and the surprising last phase of Lewis’s life. Joy was escaping,
C.S. LEWIS AND JOY DAVIDMAN SITTING IN THE KILNS GARDEN, 1958 IMAGE BY PERMISSION OF THE MARION E. WADE CENTER, WHEATON COLLEGE, WHEATON, IL
with her two small sons, from an abusive marriage in the United States. She had lately converted to Christianity, inspired by Lewis’s books. His bachelor friends were appalled by her – she seemed to them abrasive, loud- and foul-mouthed, utterly charmless. In 1956 Lewis, 17 years her senior, offered her civil marriage as a way of obtaining a British passport, but it had become obvious that they wanted to be together as husband and wife. Lewis by then was famous as the upholder of completely traditional Christian values. The Church of England had strict marriage rules. Had it not, as recently as 1936, sacked the King (Edward VIII) for marrying an American divorcee in defiance of the Church’s rule of monogamy? Lewis implored the Bishop of Oxford to change the rules for him, and allow him to marry Joy in a religious ceremony. The Bishop told him it was not in his gift to change the laws of Christ. It was a crisis of faith for Lewis. By now Joy had been diagnosed with advanced cancer, and her two boys were about to undergo the nightmare that had engulfed the childhood of the two Lewis boys all those years ago. Lewis did manage to persuade a clergyman to marry them and he and Joy exchanged vows at her hospital bedside. Thereafter he undertook to adopt her sons, David and Douglas Gresham.
It’s out of all this rich, and highly dramatic, material that William Nicholson wrote Shadowlands. I find the play extremely moving and what struck me, as the biographer of Lewis who knew many of his friends in real life, was that in a weird way it is authentic. Some of the details have changed. Much of the atmosphere has changed. But there is something true here.
The tearful, broken Lewis we meet in the play is the same man who wrote one of the best short books on bereavement, A Grief Observed. It’s a play partly about childhood grief – Lewis’s grief for his own mother, and the repetition of the tragedy in his wife’s death. It’s about the beautiful thing that occurs when we lose certainties. To this day Lewis is regarded as something approaching a saint by a certain type of conservative Christian. In Shadowlands, as in real life, all those bluff certainties, expressed so breezily in Mere Christianity, come tumbling down like a house of cards. The God he found it so easy to explain in short radio talks had allowed the two women he loved the most – his mother and his wife – to die in agony, causing their children, in both cases, a lifetime of trauma. The tearful, broken Lewis we meet in the play is the same man who wrote one of the best short books on bereavement known to most of us, A Grief Observed. Lewis deserves his best-seller status because, in so many of his books, he touched the heart of his readers. William Nicholson’s play is also compellingly focused on matters of life and death, which are central to all of us, regardless of our feelings about Lewis or religion. A.N. WILSON
A.N. Wilson is an award-winning novelist, biographer and columnist. He is the author of C.S. Lewis: A Biography.
C.S. LEWIS, TIME MAGAZINE, 1947
THE LIFE AND WORKS OF
C.S. LEWIS
1898 Clive Staples Lewis born on 29 November in Belfast, to Albert (1863-1929) and Florence (1862-1908). His brother, Warnie, was born three years earlier. 1908 After his mother’s death, sent to the Wynyard School in Watford. 1910 Enrolled as a boarding student at Campbell College, Belfast. Left after two months due to respiratory problems. 1911 Enrolled at Cherbourg House near Malvern College. Abandoned his Christian faith. 1916 First read George MacDonald’s Phantastes, which powerfully ‘baptised his imagination’ with a deep sense of the holy. Received a scholarship to University College, Oxford. 1917 Following commission as an officer in the 3rd Battalion, Somerset Light Infantry, he reached the front line of the Somme on his 19th birthday. 1918 Wounded at the Battle of Arras. Discharged from the army. 1919 ‘Death in Battle’ included in the February issue of Reveille, which also had poems by Siegfried Sassoon, Robert Graves and Hilaire Belloc. From 1919 to 1924 he resumed studies at Oxford, gaining Firsts in Honour Moderations, Greats and English.
1925 Appointed English Fellow of Magdalen College, Oxford, where he taught English Language and Literature for 29 years. 1931 After a long talk on Christianity with J.R.R. Tolkien (a devout Catholic), Lewis said of events the following day, ‘When we set out [by motorcycle to Whipsnade Zoo] I did not believe that Jesus Christ was the Son of God, and when we reached the zoo I did’. 1933 Convened a circle of literary friends (including Tolkien and Warnie) dubbed ‘The Inklings’. For the next 16 years they met regularly in his favourite pub, The Eagle and Child, or in his rooms at Magdalen College. 1935 Approached about writing The Oxford History of English Literature in the 16th Century. Published in 1954, it became a classic. 1937 Received the Gollancz Memorial Prize for Literature in recognition of The Allegory of Love (a study in medieval tradition). 1942 The Screwtape Letters (dedicated to J.R.R. Tolkien) published: a satirical novel about a senior demon mentoring his nephew in human temptation. 1950 The first book in The Chronicles of Narnia, The Lion, the Witch and the Wardrobe, published. 1951 Lost the election for Professor of Poetry at Oxford to Cecil Day Lewis. Declined the offer of a CBE, to avoid association with any political issues. 1952 Mere Christianity published, adapted from Lewis’s BBC radio wartime broadcasts. In September he met Joy Davidman Gresham. 1954 Became Chair of Medieval and Renaissance Literature at Cambridge and gave his inaugural lecture on his 56th birthday. 1955 Elected an Honorary Fellow of Magdalen College, Oxford, and a Fellow of the British Academy. Surprised by Joy published – a partial autobiography, it describes his conversion to Christianity. 1956 Received the Carnegie Medal for the final book in the Narnia series, The Last Battle. In April, he and Joy had a civil marriage, granting her British citizenship. In December, a Church of England marriage was performed at her hospital bedside. 1958 Elected an Honorary Fellow of University College, Oxford. 1960 In April, following the return of Joy’s cancer, they holidayed in Greece. Joy died on 13 July in Oxford at the age of 45. 1961 A Grief Observed (the inspiration for Shadowlands) published under the pseudonym N.W. Clerk. It was republished posthumously in 1963 under Lewis’s own name. 1963
C.S. Lewis was diagnosed with renal failure and died a week before his 65th birthday. He’s buried at Holy Trinity Church, Oxford. His brother Warnie died in 1973 and is buried in the same grave. In 2013, on the 50th anniversary of his death, he was honoured with a memorial in Poets’ Corner, Westminster Abbey.
JOY
THE WOMAN WHO CAPTIVATED C.S. LEWIS
Helen Joy Davidman (1915-60) is best known today as the wife of C.S. Lewis, the feisty but wounded American-born Joy Gresham of Shadowlands fame. But the real Joy, as she was always called, was a successful writer in her own right – far more accomplished, brilliant, manipulative and complicated than history remembers. Born on the lower east side of Manhattan to eastern European Jewish immigrants, Joy was raised in a comfortable middle-class Bronx neighbourhood by parents who had worked hard to escape the poverty-riddled tenements of their youth. JOY DAVIDMAN, c.1951 IMAGE COURTESY OF ALAMY
Desperate to assimilate, the Davidmans held their children – Joy and her younger brother, Howard – to exacting standards. Her father, Joseph, demanded academic perfection, while her mother, Jeannette, emphasised outward appearances, grooming Joy meticulously and criticising her harshly for gaining weight in adolescence. Though IQ tests proved her a genius, Joy was a sickly child, unpopular at school and unhappy at home. Reading widely and voraciously from an early age, she had a passion for fantasies, especially ones by George MacDonald, a celebrated Victorian minister who filled his children’s fiction with Christian imagery. In literature, the three-dimensional world ‘bored’ her. In life though, despite what she later recognised as a ‘cocksure’ persona, she had a poetic temperament that sensed spiritual reality. But for Joy, coming of age in depression-ravaged America during the years of disillusionment between the wars, God did not exist. Joy graduated from high school at age 14 and enrolled in Hunter College, New York where she had the freedom and guidance to nurture her love for writing poetry and prose. It was during her final semester, in 1934, that Joy watched, horrified, as a classmate leapt from a rooftop to her death. The girl was a starving orphan, her family devastated by the depression. The trauma set Joy on a path of disillusionment with capitalism and preoccupation with communism. Her poetry had become a form of political activism. In 1938, she became a card-carrying member of the Communist Party USA. By then she’d earned a masters degree in literature from Columbia University and begun teaching English in New York City high schools: a job she despised. Her poetry was being published in prestigious national journals including Poetry magazine and the Marxist New Masses. Her first book, Letter to a Comrade (1938), was honoured with a Yale Younger Poets prize. Joy’s literary career took off from there. By age 25, she’d published a novel, Anya, done a Hollywood stint on MGM’s Young Screenwriters programme, and joined the editorial staff of New Masses, remaining loyal
to the Party despite a mass exodus following the Hitler-Stalin Pact. She taught poetry at the Jefferson School, a Marxist adult education institute affiliated with the Party, and participated in symposiums and ceremonies alongside the most significant American cultural figures of the day. Running in her circle of comrades was a dapper, folk-singing, pulp fiction writer called Bill Gresham, an American veteran of the Spanish Civil War. Bill nursed deep psychological battle wounds: anxiety, paranoia, nightmares and alcoholism. He had a history of suicide attempts. Still, Joy was drawn to his charm, intelligence and sense of humour. The couple married in 1942 and moved from Manhattan to the suburbs shortly after the birth of their son, David, in 1944. A second son, Douglas, followed 20 months later. Consumed by motherhood, isolated in the country, Joy drifted from the Party.
Lewis was one of the few people who could trounce Joy in debate. She could out-argue him too. She desperately missed the intellectual and creative stimulation of New York City and felt trapped by norms that confined her to homemaking. Bill’s drinking and depression accelerated. Financial troubles followed. One day, he disappeared. Terrified that he may have taken his life, Joy fell to her knees in prayer. When her husband returned safely two days later, she believed in God – though what that meant she didn’t yet know. Together, she and Bill began a methodical process of religious study. The works of C.S. Lewis influenced them towards Christianity. But trouble was far from over. In the late 1940s and early 50s, the Greshams’ financial situation became desperate and Bill repeatedly relapsed into heavy drinking. Joy battled to reclaim some semblance of a career but her second novel, Weeping Bay, was poorly received.
Seeking spiritual guidance, Joy and Bill wrote together to C.S. Lewis in 1949. He replied, and the threesome corresponded briefly until Bill lost interest. The ‘pen-friendship’ between Joy and Jack, as Lewis was known to friends, intensified in substance and frequency. He was one of the few people who could trounce Joy in debate, an experience she relished. Joy could out-argue him, too, and he greatly respected her mind. The relationship, emotionally and intellectually satisfying, heightened Joy’s awareness of Bill’s shortcomings. She began to fantasise about Jack and commenced a series of passionate sonnets expressing not only her desire for him, but also her determination to win his love. In 1952, Joy left her boys with Bill and a cousin, Renee, who was living with them, and sailed to England. During her five-month visit, she fell deeper in love with Jack (he did not return her affection), while Bill began an affair with Renee. Joy returned home to a shattered marriage. She gathered David and Douglas and returned to England, this time for good. It took several more years and a diagnosis of Joy’s terminal cancer, in 1956, for Jack to come around. By then, she’d become a treasured companion, beloved friend and trusted editor. Till We Have Faces, a retelling of Cupid and Psyche – a story that had long haunted them both – was born of their creative collaboration. When Joy told him that the Home Office may not continue to renew her papers, Jack, unable to bear the thought of her leaving England, agreed to a civil union. Months later, when cancer was discovered throughout her body, he finally admitted to himself and the world that he had fallen in love. A miraculous remission gave them three blissful years of marriage, out of which developed two of Lewis’s classic books, The Four Loves and A Grief Observed. Joy Lewis died in Oxford in July 1960, at the age of 45. ABIGAIL SANTAMARIA
Abigail Santamaria is the author of Joy: Poet, Seeker and the Woman Who Captivated C.S. Lewis, and is founding co-partner of Biography by Design.
SHADOWLANDS By William Nicholson CAST C.S. Lewis (Jack) Major W.H. Lewis (Warnie), his brother Professor Christopher Riley Reverend Harry Harrington Alan Gregg / Doctor Dr Maurice Oakley / Priest Joy Gresham Douglas Gresham, her son Registrar / Nurse Waitress / Clerk
Hugh Bonneville Andrew Havill Timothy Watson Emilio Doorgasingh Beruce Khan Giles Coram Liz White Ruari Finnegan / Eddie Martin Sally Cheng Lauren Hall
Other parts played by members of the Company
The play takes place in Oxford in the 1950s. There will be one interval of 20 minutes. Originally presented at The Theatre Royal, Plymouth, 5 October 1989, the play was first presented in London at The Queen’s Theatre, 23 October 1989 by Brian Eastman and Armada Productions in association with The Theatre Royal, Plymouth by arrangement with Stoll Moss Theatres Limited. First performance of this new production at Chichester Festival Theatre, 26 April 2019.
Rachel Kavanaugh Peter McKintosh Howard Harrison Catherine Jayes Fergus O’Hare Georgina Lamb Charlotte Sutton CDG
Director Designer Lighting Designer Music Sound Designer Movement Director Casting Director
Penny Dyer Nick Trumble Binnie Bowerman Lizzie Frankl Darren Ware Matt Hassall
Voice and Dialect Coaches Costume Supervisor Props Supervisor Hair, Wigs & Make-up Supervisor Assistant Director
Production Manager Ben Arkell Company Stage Manager Lou Bann Deputy Stage Manager Helen Fletcher Assistant Stage Manager Laura Levis Assistant Stage Manager Megan Pickthorne Head Chaperone Janette McAlpine Chaperones Becky Stuckey Emily McAlpine Production credits: Set and Scenery fabricated by Set-up (Scenery); Transport by Paul Mathew Transport; Automation by Absolute Motion Control; Lighting hires White Light and PRG; Sound hires Stage Sound Services; Production Carpenters Tom Humphrey and Steve Bush; Costumes by Cosprop; Props team Emma Banwell, Gina Bianco, Amy Hawthorne and CFT Props; Wigs by The Wig Room; Assistants to the Designer Alice Halifax, Alfie Heywood; Rehearsal room The American International Church. Thanks to: Anne Chesher, Magdalen College Library; James Goldsworthy, ASM Work Placement. Rehearsal and production photographs Manuel Harlan Programme design by Davina Chung Programme Associate Fiona Richards Supported by the Shadowlands Commissioning and Patrons Circles: Philip Berry, Caroline and Malcolm Butler, Mrs Veronica J Dukes, Steve Evans, Mrs Liz Fox, Mr and Mrs Peter Henshaw, Freda James, Vaughan and Sally Lowe, Mrs Jane Marsden, Peter and Nita Mitchell-Heggs, John and Caroline Nelson, Peter and Lucy Snell, Delphine Star, Howard M Thompson, Charmian Webber and all those who wish to remain anonymous.
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BIOGRAPHIES
HUGH BONNEVILLE C.S. Lewis Previously at Chichester Dr Stockmann in An Enemy of the People (Festival Theatre), Julian Field in The Handyman (Minerva Theatre and tour). Theatre includes seasons with the National Theatre, including School for Wives, Yerma, Entertaining Strangers, Juno and the Paycock, School for Scandal and The Devil’s Disciple. For the RSC The Two Gentlemen of Verona, The Alchemist, ‘Tis Pity She’s a Whore, The Virtuoso, Amphibians, Hamlet. Other theatre includes Habeas Corpus (Donmar Warehouse); My Night with Reg (Criterion and Playhouse); Us and Them (Hampstead); Cloaca (Old Vic); and seasons at Regent’s Park, Colchester and Leicester Haymarket. Television includes Downton Abbey THE COMPANY
(Golden Globe nomination, two Emmy nominations), Twenty Twelve and W1A (three BAFTA nominations for Best Male Performance in a Comedy), The Cazalets, Take a Girl Like You, Armadillo, Daniel Deronda, The Commander, The Gathering Storm, Love Again, The Robinsons, The Vicar of Dibley, Freezing, Rev, Getting On, Mr Stink, Galavant, Diary of a Nobody, Tsunami – The Aftermath, Miss Austen Regrets, Five Days, Hunter, Hear the Silence, Doctor Who, The Hollow Crown: Henry IV. Films include Downton Abbey, Paddington, Paddington 2, Mary Shelley’s Frankenstein, Notting Hill, Mansfield Park, Stage Beauty, Asylum, Scenes of a Sexual Nature, Man to Man, From Time to Time, Glorious 39, Burke & Hare, Third Star, Shanghai, The Monuments Men, Iris (BAFTA nomination for Best Supporting Actor), French Film (Monte Carlo Film Festival Best Actor Award), Viceroy’s
House, Breathe and The Corrupted. Hugh is a patron of the National Youth Theatre of Great Britain, National Youth Arts Trust, Scene & Heard, Primary Shakespeare Company and the South Downs National Park Trust. He was a member of the National Youth Theatre and studied Theology at Cambridge. SALLY CHENG Registrar / Nurse Theatre credits include Macbeth (Watermill Theatre); A Christmas Carol and Twelfth Night (RSC); Love’s Labour’s Lost and Robin Hood (Guildford Shakespeare Company); Footprints on the Moon (Finborough Theatre); The Emperor and the Nightingale (Theatre by the Lake); Singin’ in the Rain (Octagon Theatre Bolton/ Salisbury Playhouse/New Vic Theatre). Trained at Guildford School of Acting.
GILES CORAM Dr Maurice Oakley / Priest Previously at Chichester Harold in An Ideal Husband (Festival Theatre). Theatre includes Mike in The Memory of Water (School House Productions); Torvald Helmer in A Doll’s House (Alma Theatre); Single Spies (CFT/Birmingham Rep UK tour); Paul in Hands Up for Jonny Wilkinson’s Right Boot (Live Wire Theatre Productions); Pierre in La Rondine (Iford Arts); Lieutenant Tim Young in Just the Way It Is, Patrick Fenton in The Supper Party and Romeo in Romeo and Juliet (tours); Jon Price in Heads Bodies Legs (Camden People’s Theatre and The Space); Christopher Wren in The Mousetrap (West End); Hamlet in Hamlet, Matt Galloway in The Laramie Project, The Pardoner in The Canterbury Tales, Tom Sergeant in Skylight and Ploughman in Death and the Ploughman (Arts Ed); Ben in Peep Show
HUGH BONNEVILLE SALLY CHENG GILES CORAM
(Atrium Theatre Company/RWMCD); Vitellozzo in Lucrezia Borgia (Upstairs at the Gatehouse). Television includes The Spanish Princess, Break Up of the Bands, The Deafening Silence, Crazy Love, Good Times Rolled. Films include Isabelle and the shorts Hello Sunshine, The Unknown, Culpabilite, It’s Beginning to Hurt, Impertinence of the Heart, Ambience View, The Memory of Water. Trained at Arts Educational Schools London. EMILIO DOORGASINGH Reverend Harry Harrington Previously at Chichester Present Laughter (Festival Theatre). Theatre includes Much Ado About Nothing (Shakespeare’s Globe); The Kite Runner (Playhouse and Wyndham’s Theatre, also Nottingham Playhouse, Liverpool Playhouse and UK tours; Best Actor Eastern Eye Arts, Culture and Theatre Awards); The American Wife (Park Theatre); Boy (Almeida Theatre); Merchant of Vembley (Cockpit Theatre, OFFIES Best Performance nomination); Romeo and Juliet, The Merry Wives of Windsor and The Wind in the Willows (Chester); Dara (Lyttelton/National Theatre); Venice Preserv’d, Spectator’s Guild, Wanted! Robin Hood and Arabian Nights (Manchester Library Theatre); Festa (Young Vic); Baghdad Wedding (Soho Theatre); Salt Meets Wound (Theatre 503); How Many Miles To Basra? (West Yorkshire Playhouse); Angels Among the Trees (Nottingham Playhouse); A Midsummer Night’s Dream (Harold Pinter Theatre); Rose Rage (Theatre Royal Haymarket); Twelfth Night, The Comedy of Errors and Henry V (Propeller UK and international tours); Change of Heart (New End Theatre); The Ramayana (Olivier/National Theatre); Dial ‘M’ for Murder (English Theatre Frankfurt). Television includes Four Weddings And A Funeral, Departure, Midsomer Murders, Unforgotten, The Royals, Game of Thrones, Case Histories 2, Come Follow Me, Doctors, Jo, 90210, EastEnders, Spooks, Silent Witness, 10 Days to War, Path to 9/11, Hannibal, Rebus, The Bill, Agatha Christie’s Marple, Agony, David – The Bible, Uncle Jack and Cleopatra’s Mummy. Radio includes Turbulence, Book at Bedtime: The Ministry of Utmost Happiness,
Midnight’s Children, Tommies (series 7), Siege, Baghdad Wedding. Films include RED2, Gangsters Gamblers Geezers, Awakened, Apostle Peter and the Last Supper, Camilla Through the Looking Glass, Pimp, Extraordinary Rendition, Kingdom of Heaven. RUARI FINNEGAN Douglas Gresham Theatre includes Lost Boy in Peter Pan (Hawth Theatre); Curly in Peter Pan (Attenborough Centre). Television includes Endeavour. Ruari is a drama scholar at Christ’s Hospital School. He has trained at Act One Beginners Drama School and the Hawth Youth Theatre. Ruari was the winner of the Dial Industries Cup, Alexander Academy Cup and Dickens Cup drama awards at the 2018 East Grinstead Music and Arts Festival. LAUREN HALL Waitress / Clerk Previously at Chichester Me and My Girl and Peggy Sawyer in 42nd Street (Festival Theatre). Theatre includes Anna in Pieces of String (Mercury Theatre, Colchester); Oklahoma! (BBC Proms); 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); 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. ANDREW HAVILL Major W.H. Lewis (Warnie) Theatre includes Sir Gilbert Wedgecroft in Waste, John Stonehouse in This House (National Theatre); Peter Walker in Wonderland, Lord Mountbatten in Drawing the Line, George Scully
in Farewell to the Theatre (Hampstead); Antipholus of Syracuse in The Comedy of Errors (Shakespeare’s Globe); Ford in The Merry Wives of Windsor (Shakespeare’s Globe and Michael Schimmel Center NY); Noises Off, The Lady in the Van (Birmingham Rep); Ring Round the Moon (Playhouse Theatre); Arsenic and Old Lace, The Importance of Being Earnest (Theatre Royal Bath and tour); Candida (Oxford Stage Company); The Madness of George Dubya (Arts Theatre); Taking Steps (Derby Playhouse); Private Lives, Virtual Reality (Stephen Joseph Theatre Scarborough); The Woman in Black (Fortune Theatre); A Woman of No Importance, A Midsummer Night’s Dream, Two Shakespearean Actors, The Comedy of Errors, Richard II, Much Ado About Nothing, A Clockwork Orange, Orphans and Hamlet (RSC). Television includes Trust, Victoria, The Frankenstein Chronicles, The Last Post, The Witness for the Prosecution, Vera, Call the Midwife, The Coroner, Virtuoso, Partners in Crime, Life in Squares, Spotless, Father Brown, Lightfields, Sherlock, Midsomer Murders, Into The Storm, Spooks, Poirot, Daphne, EMILIO DOORGASINGH
LAUREN HALL
Doctor Who, The Impressionists, Casanova, Island at War, Elizabeth David, Aristocrats, Wives and Daughters, Heat of the Sun, A Dance to the Music of Time. Films include Downton Abbey, The King, Lyrebird, Gold, The Children Act, My Cousin Rachel, Dad’s Army, The Imitation Game, Cloud Atlas, Hyde Park on Hudson, The Iron Lady, The Awakening, The King’s Speech, Sylvia, The Heart of Me, The Broken, Nicholas Nickleby. BERUCE KHAN Alan Gregg / Doctor Theatre includes John Forster in A Christmas Carol and Feste in Twelfth Night (RSC); Oliver in As You Like It and Nym/Burgundy in Henry V (Regent’s Park Open Air Theatre); Shaz in Combustion (Tara Arts); Mo Bazzradeen in Gary Tank Commander (The SSE Hydro); Horatio/ Laertes in Hamlet (Shakespeare’s Globe international tour); Tybalt in Romeo and Juliet, What You Will: Pop Up Shakespeare and Bates/ York in Henry V (Shakespeare’s Globe); Papandiek in The Madness of George III (Apollo West End); Akthar in The History Boys (Theatre
Royal Bath, West Yorkshire Playhouse and UK tour); Hat in The Black Album (National Theatre). Television includes Shakespeare Uncovered. Trained at RADA. EDDIE MARTIN Douglas Gresham Theatre includes John in Fun Home (Young Vic); Dick Whittington and Beauty and the Beast (LP Creatives). Television includes Blindboy Undestroys the World, The Floogals (animation). Eddie’s training is at Young Actors Group and A2 Arts Academy. TIMOTHY WATSON Professor Christopher Riley Theatre includes The Winslow Boy (UK tour); The Beaux’ Stratagem (National Theatre); Old Money (Hampstead); An Inspector Calls (Novello/Wyndham’s/Garrick Theatre); The Woman in Black (Fortune Theatre/UK tour); Plague Over England (Finborough Theatre); Whipping It Up, Bedroom Farce, The Shell Seekers, An Old Man’s Love (UK tours); ANDREW HAVILL
The Madras House, The Return of the Prodigal, Three Sisters 2, Adam Bede (Orange Tree); The Madness of George III (West Yorkshire Playhouse/Birmingham Rep); A Midsummer Night’s Dream, Troilus and Cressida (Regent’s Park Open Air Theatre); The Merchant of Venice (US tour/ACTER); The Life of Galileo (Almeida); The Rivals (Walnut Street Theatre Philadelphia/ Derby Playhouse); Sinners and Saints (Croydon Warehouse); Saturday, Sunday, Monday, The Recruiting Officer (Birmingham Rep); Dearest Ivor (Sonning); The Soldier’s Tale (Chester); Charley’s Aunt (Southampton); Another Country, Kiss of the Spiderwoman, The Elephant Man (Northampton). Television includes Call the Midwife, Against the Law, The Frankenstein Chronicles, Arthur & George, Midsomer Murders, Jonathan Strange & Mr Norrell, Mr Selfridge, The Lady’s Not for Burning, The Old Curiosity Shop, Man and Boy, The Bretts, Footballers’ Wives, Soldier Soldier, Peak Practice, Casualty, Virtual Murder, Backup, Chillers, EastEnders and Tales of the Black Death. Extensive radio credits include The Archers,
Pan Book of Horrors, House of Ghosts, Words and Music, Austerlitz, The Spy, Wives and Daughters, The Incomparable Witness, When We Are Married, Petrella, Maigret, Precious Bane, Julie and the Prince, Falco, Mapping the Soul, Return of the Native, A Dance to the Music of Time, Daughters of Venice, The Return of the Prodigal. Films include Silent Hours, Age of Heroes, The Tenth Man, Stealing Heaven, The Plot to Kill Hitler. Trained at Central School of Speech and Drama. LIZ WHITE Joy Gresham Theatre includes Carol/Valerie in Road and Plasticine (Royal Court Theatre); Chrysothemis in Electra (Old Vic); Christine Keats/Anne Dickinson in Port and Anne Frankford in A Woman Killed With Kindness (National Theatre); Ruth in Beyond the Horizon and Heavenly Critchfield in Spring Storm (National Theatre and Northampton); Masha in Dying for It (Almeida); Project E: An Explosion (BACS); BERUCE KHAN TIMOTHY WATSON
References to Salvador Dali Make Me Hot (Arcola Theatre); The Woman Who Walked Into Doors (Stephen Joseph Theatre, National Student Drama Festival Best Individual Performance Award). Television includes Brexit: The Uncivil War, Ackley Bridge, The Halcyon, Call the Midwife, Grantchester, Our Zoo, From There to Here, The Line of Duty, Doctor Who Christmas Special, The Preston Passion, The Crimson Petal and the White, Garrow’s Law, A Short Stay in Switzerland, Miss Marple: A Pocketful of Rye, The Fixer, The Empresses’ New Clothes, Vincent, The Street, Life on Mars, A Thing Called Love, Angels Hell, Blue Murder, Teachers, Green Wing, Ultimate Force, A&E, Auf Wiedersehen Pet, Hidden City. Films include Pride, U Want Me 2 Kill Him?, Wild Bill, The Woman in Black, New Town Killers, Franklyn, Vera Drake.
LIZ WHITE EDDIE MARTIN
RUARI FINNEGAN
C R E AT I V E T E A M
PENNY DYER Voice and Dialect Coach Most recently at Chichester, This House, Strife, Gypsy, Frankie and Johnny in the Clair de Lune, Taken at Midnight, Kiss Me, Kate and The Resistible Rise of Arturo Ui. Theatre includes Groundhog Day, The Caretaker, Other Desert Cities, Sweet Bird of Youth, Kiss Me, Kate (The Old Vic); Who’s Afraid of Virginia Woolf, Gypsy, The Ruling Class, Good People, The Commitments (West End); How to Succeed in Business Without Really Trying (Broadway); Follies, The Red Barn, Husbands and Sons, This House (National Theatre); Linda, Circle Mirror Transformation (Royal Court); Teddy Ferrara (Donmar); Labyrinth (Hampstead). Television includes The Rack Pack, Marvellous, Cilla, Tommy Cooper, The Girl, Mrs Biggs, Downton Abbey, The Deal. Film includes On Chesil Beach, My Cousin Rachel, The Danish Girl, Florence Foster Jenkins, Testament of Youth, Pride, Philomena, Nowhere Boy, The Queen, The Damned United, Elizabeth.
RACHEL KAVANAUGH
GEORGINA LAMB
HOWARD HARRISON Lighting Designer Previously at Chichester A Damsel in Distress, Mack & Mabel, An Ideal Husband, Neville’s Island, The Music Man, The Circle, Twelfth Night, Love Story, Macbeth, The Pajama Game, The Way of the World. Current and recent theatre includes Mamma Mia! (worldwide), Mary Poppins (Broadway), The Wind in the Willows, The Importance of Being Earnest, Impossible, Harvey, Neville’s Island, The Pajama Game, Dirty Rotten Scoundrels, Viva Forever!, Loserville, Abigail’s Party, Relatively Speaking, Backbeat, Butley, Glengarry Glen Ross, Love Story, Guys and Dolls, Ragtime, The Witches of Eastwick, Oleanna, Donkeys’ Years, Heroes (all West End); Macbeth (Broadway); Rag Time, Rock ‘n’ Roll (Royal Court/Broadway); Measure for Measure, The Resistible Rise of Arturo Ui, Saint Joan, City of Angels, Anna Christie, Creditors (NY), Tales from Hollywood (all Donmar Warehouse); Rosencrantz and Guildenstern are Dead, The Playboy of the Western World, Inherit the Wind, Complicit (The Old Vic).
Other theatre includes An Ideal Husband (Vaudeville Theatre); The Gronholm Method, The Lie, The Truth, Dinner with Sadam, Abigail’s Party (Menier Chocolate Factory); Stones in His Pocket (Rose Theatre Kingston/Theatre Royal Bath); God of Carnage (Theatre Royal Bath); Earthquakes in London (National Theatre); Oliver!, Me and My Girl (Sheffield Crucible); King Lear (Liverpool/Young Vic). Opera and Ballet includes Strictly Gershwin (Queensland Ballet/Shanghai Ballet/Tulsa Ballet); The Barber of Seville (Lyric Opera Chicago); Die Fledermaus (WNO); Matthew Bourne’s Nutcracker! and Edward Scissorhands (Sadler’s Wells, UK/US tours); Strictly Gershwin, Romeo and Juliet, Swan Lake (English National Ballet at Royal Albert Hall). Howard has twice been awarded the Olivier Award for Best Lighting Designer: in 2008 for the Chichester production of Macbeth and again in 2015. In 2012 he received the Knight of Illumination Award for his work on Anna Christie at the Donmar. He has been nominated twice for Broadway’s Tony Awards.
CATHERINE JAYES
MATT HASSALL Assistant Director Credits as Director include Mixtape, The Factory and We Were Told There Was Dancing (all for the Royal Exchange; the latter nominated as Production of the Year in the Manchester Evening News Awards); The Ballad of Rudy (New Wolsey Theatre); Belonging (Hope Mill Theatre); I Forget Your Name (Take Back Theatre); The Burnley Buggers Ball (Inkbrew Productions, tour); The Little Things (Bolton Octagon Theatre, tour); Don’t Tell The Kids (Contact Theatre); In My Bed (24:7 Theatre Festival, Manchester Theatre Awards Best Production nomination). As Associate Director Queens of the Coal Age (Royal Exchange and New Vic); Nothing and Brink (Royal Exchange). As Assistant Director All I Want is One Night (Royal Exchange). Matt is a theatre director and practitioner who is originally from Manchester and now based in London. He is a Resident Director at the Almeida Theatre and from 2014 – 2018 was Director of the Royal Exchange’s Young Company, which won The Stage Awards School of the Year in 2018. He has also worked as an
Acting Tutor at Mountview Academy of Theatre Arts and is an Associate Artist of the National Youth Theatre. CATHERINE JAYES Music Previously at Chichester Composer The Chalk Garden, An Ideal Husband and Musical Director Oklahoma! (Festival Theatre). As Composer credits include A Christmas Carol (RSC 2017/18); Jefferson’s Garden (Palace Theatre Watford); Far From the Madding Crowd (Watermill Newbury); Sleeping Beauty, Notes to Future Self, The Cherry Orchard, His Dark Materials, Hapgood, Uncle Vanya (Birmingham Rep); The Mandate (National Theatre); The Changeling, Macbeth, Cymbeline, The Duchess of Malfi (Cheek by Jowl); The Letter (Wyndham’s Theatre); Arcadia (Bristol Old Vic); Great Expectations (RSC); A Midsummer Night’s Dream, The Comedy of Errors, Troilus and Cressida, The Merry Wives of Windsor and many more productions at Regent’s Park Open Air Theatre. As Musical Director credits include The Color Purple (Bernard Jacobs, Broadway and US tour 2017/18); Merrily We Roll Along (Menier Chocolate Factory and Harold Pinter Theatre); LIZ WHITE
PETER McKINTOSH
She Loves Me, The Color Purple, Road Show, Torch Song Trilogy (Menier Chocolate Factory); Gypsy, High Society, Fiddler on the Roof (West Yorkshire Playhouse); Guys and Dolls, Sweet Charity (Sheffield Crucible), and many productions at Regent’s Park Open Air Theatre including The Pirates of Penzance, Kiss Me, Kate, High Society, The Boys From Syracuse (Olivier Award for Best Musical Production) and The Boy Friend. As Music Supervisor/Arranger for actor/ musicians Assassins (Watermill and Nottingham 2019); Crazy for You (Watermill and tour 2017/18); The History Boys (tour 2014/15); Calamity Jane (Watermill and UK tour); Animal Farm (WYP); Merrily We Roll Along, Irma la Douce, Carmen (Watermill Newbury); Amadeus (Wilton’s Music Hall); Candide (Liverpool Everyman). Recordings include The Card, The Color Purple. Films include Stoker, Charlie and the Chocolate Factory, De-Lovely. Catherine is an associate director of Cheek by Jowl.
RACHEL KAVANAUGH Director Previously at Chichester Single Spies (Chichester Festival Theatre/Birmingham Rep/ UK tour), Half A Sixpence (and Noël Coward Theatre), An Ideal Husband, The Way of the World, The Music Man, A Small Family Business (Festival Theatre) and Love Story (Minerva Theatre, Duchess Theatre West End and Walnut Street Theatre Philadelphia; Olivier nomination for Best New Musical). Theatre includes A Christmas Carol, Alice in Wonderland and The Merry Wives of Windsor (RSC); The Wind in the Willows (London Palladium and UK tour); The Winslow Boy (Chichester and UK tour); Oklahoma! (Royal Albert Hall/BBC Proms); Seven Brides for Seven Brothers (Olivier Award nomination for Best Musical Revival), The Sound of Music (Olivier Award nomination for Best Musical Revival, WhatsOnStage award for Best Musical Revival), The Taming of the Shrew, Cymbeline, As You Like It, Much Ado About Nothing, Twelfth Night, Love’s Labour’s Lost, A Midsummer Night’s Dream (all Regent’s Park Open Air Theatre); Hope Place (Liverpool Everyman); The Rivals, Arcadia (Bristol Old Vic); Oklahoma! (UK tour). As Artistic Director of Birmingham Repertory Theatre for five years, her productions included Arthur & George, Notes to Future Self, His Dark Materials, The Cherry Orchard, Peter Pan – A Musical Adventure, Uncle Vanya, The Madness of George III and Arcadia. GEORGINA LAMB Movement Director Previously at Chichester Movement Director for The Midnight Gang (Festival Theatre); The Witches, Macbeth (and West End, BAM New York and Broadway), Six Characters in Search of an Author (CFT/Headlong and West End, Sydney) (Minerva Theatre). Choreographer for Grimm Tales (Cass Sculpture Foundation), A Christmas Carol (Festival Theatre). Theatre includes Richard III (Headlong); Genesis Inc (Hampstead); Frozen, Chimerica, Much Ado About Nothing (West End); Kiss of the Spider Woman, The White Devil (Menier Chocolate Factory); A Christmas Carol, Titus Andronicus, Roaring Girl, Romeo and Juliet (RSC); Babette’s Feast (The Print Room);
Sweeney Todd (Barrow Street Theatre New York, Lucille Lortel Award nomination for Best Choreographer); Running Wild (Regent’s Park/ CFT tour); Sleeping Beauty (Watermill Theatre); Twelfth Night, Othello, The Comedy of Errors, Holy Warriors, Doctor Faustus, The Frontline (Shakespeare’s Globe); Wit, Too Clever By Half (Royal Exchange); East is East, Precious Little Talent (Trafalgar Studios); Every Last Trick, The Duchess of Malfi, The Talented Mr Ripley (Royal & Derngate); The Ritual Slaughter of Gorge Mastromas (Royal Court); Cinderella: The Midnight Princess, The Three Musketeers (Rose Kingston); Bottle Neck (HighTide); The Lion, the Witch and the Wardrobe (Kensington Palace); Dream Story, Electra, Lulu (The Gate); A Midsummer Night’s Dream, Paradise Lost (Headlong); The Game of Love and Chance (Salisbury Playhouse); Macbeth (Regent’s Park); Gambling (also co-Director, Soho Theatre); King Lear (Headlong/Liverpool Everyman, Young Vic); Far from the Madding Crowd (ETT). Television and film includes True Stories, Once Upon a Time, Hansel and Gretel, Macbeth. PETER McKINTOSH Designer Previously at Chichester Guys and Dolls, Antony and Cleopatra, Just So (Festival Theatre); Another Country, Uncle Vanya, Love Story, The Scarlet Letter, Pal Joey (Minerva Theatre). Theatre credits include Guys and Dolls (Théâtre Marigny); 42nd Street (Théâtre du Châtelet Paris); The Winslow Boy (Old Vic and New York); Kirikou et Karaba (Paris); Macbeth (Globe); The Wind in the Willows, The Importance of Being Earnest, Guys and Dolls, Dirty Rotten Scoundrels, My Night With Reg, Hay Fever, Fiddler on the Roof, Another Country, Prick Up Your Ears, Entertaining Mr Sloane, The Dumb Waiter, Viva Forever!, Noises Off, Love Story, Donkeys’ Years, Educating Rita/Shirley Valentine, The Birthday Party, Butley, Relatively Speaking (West End); The 39 Steps (London, New York and worldwide; Tony nominations for Best Scenic and Best Costume Design); Our Country’s Good, The Doctor’s Dilemma, Widowers’ Houses, Honk! (National Theatre); Alice in Wonderland, Pericles, King John, The Merry Wives of Windsor, Brand (RSC); Saint Nicholas, Measure for Measure, The York
Realist, The Resistible Rise of Arturo Ui, Splendour, My Night With Reg, Luise Miller, Serenading Louie, Be Near Me, The Chalk Garden, John Gabriel Borkman, The Cryptogram, The Boston Marriage (Donmar); Waste, Cloud Nine, Knot of the Heart, The Turn of the Screw, Romance, The House of Games (Almeida); Crazy for You (Olivier Award for Best Costume Design), On the Town, Seven Brides for Seven Brothers, The Sound of Music, Hello, Dolly! (Regent’s Park Open Air Theatre). Opera credits include The Handmaid’s Tale (Royal Danish Opera and Canadian Opera); The Marriage of Figaro (English National Opera); Love Counts, The Silent Twins (Almeida Theatre). WILLIAM NICHOLSON Writer William Nicholson’s plays for television include Shadowlands and Life Story, both of which won BAFTA Best Television Drama awards, Sweet You Are and The March. He later adapted Shadowlands for the stage, winning the Evening Standard Award for Best Play in the West End and being nominated for a Tony Award on ANDREW HAVILL
HUGH BONNEVILLE
LIZ WHITE
its subsequent Broadway run. His screenplay for the film version in 1993 was nominated for an Oscar. His stage plays also include Map of the Heart, Katherine Howard, The Retreat from Moscow (premiered at Chichester in 1999 before going to Broadway, where the production received three Tony nominations), Crash and, most recently, the revised book and new songs for the musical King Kong at Cape Town’s Fugard Theatre. Other film credits include Sarafina, Nell, First Knight, Grey Owl, Gladiator (as co-writer, for which he received a second Oscar nomination), Elizabeth: The Golden Age, Les Misérables, Mandela: Long Walk to Freedom, Unbroken and Everest. He has written and directed his own films Firelight and the forthcoming Hope Gap. His novels for older children include two sequences of fantasy novels: The Wind Singer (Smarties Prize Gold Award, Blue Peter Book of the Year Award), Slaves of the Mastery and Firesong, and The Noble Warriors trilogy: Seeker, Jango and Norman; and Rich and Mad. His novels for adults are The Society of Others,
The Trial of True Love, The Secret Intensity of Everyday Life, All the Hopeful Lovers, The Golden Hour, Motherland, Reckless, The Lovers of Amherst and Adventures in Modern Marriage. William Nicholson was born and lives in Sussex with his family. FERGUS O’HARE Sound Designer Previously at Chichester First Light, Way Upstream, The Rehearsal, Someone Who’ll Watch Over Me, An Ideal Husband, King Lear, Another Country, Uncle Vanya, The Syndicate, My One and Only, The Coffee House and Electra (Drama Desk nominee). Theatre includes over 250 shows for theatre companies including the National Theatre, RSC, Old Vic and West End. Most recently Don Quixote, A Christmas Carol, The Rover and Volpone (RSC); King John and The Wars of the Roses (Rose); The Winslow Boy (Chichester and UK tour); Soul (Northampton/Hackney); Closer (Donmar); Educating Rita (Liverpool Playhouse); Reasons To Be Happy, The Wasp and Tiger Country (Hampstead); Dancing at Lughnasa, Punk Rock and Pentecost (Lyric Belfast; Irish Times Award nominee); The Massive Tragedy of Madame Bovary, Juno and the Paycock, Twelfth Night and Hope Place (Liverpool Playhouse/Everyman); Hay Fever, Kafka’s Dick, The Things We Do For Love and Pygmalion (Theatre Royal Bath); Daytona (Haymarket); Relative Values (Pinter); Passion Play (Duke of York’s); Macbeth (Barrymore Theater NYC; Drama Desk nominee and Broadway World Award); The Winslow Boy (Old Vic/Roundabout); No Quarter (Royal Court); Sound Score Designer for the 2012 London Paralympics Games Opening Ceremony (Olympic Park Stratford). Other work includes, in the US, Hecuba, King Lear, The Seagull (BAM); Noises Off! (Brooks Atkinson); The Shape of Things (Promenade); A Day in the Death of Joe Egg (Roundabout); An Enemy of the People (Ahmanson); Rabbit (59E59); Electra (Barrymore, Drama Desk nominee); Macbeth (Barrymore, Drama Desk nominee); King Lear (Brooklyn Academy of Music); and in Europe, Street Scene (Théâtre du Châtelet Paris and Gran Teatre del Liceu Barcelona).
CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Flowers for Mrs Harris, Me and My Girl, The Chalk Garden, Present Laughter, The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (and UK tour) (Festival Theatre), This Is My Family, The Watsons, Cock, Copenhagen, The Meeting, random/generations, Quiz, The Stepmother, The House They Grew Up In, Caroline, Or Change (also Hampstead and West End; CDG Casting Award nomination), Strife (Minerva Theatre). Theatre credits Company (Gielgud); The Convert, Wild East, 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, The Elephantom, 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); 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); Bunny (Underbelly Edinburgh Festival, Soho and 59E59 New York). NICK TRUMBLE Voice and Dialect Coach Previously at Chichester Sweet Bird of Youth, The House They Grew Up In. Theatre includes Sweet Charity (Donmar Warehouse); The Price (Wyndham’s); Funny Girl (Savoy/Menier/UK tour); Hobson’s Choice (Vaudeville/UK tour); Aladdin (Prince Edward);
The Lion King (Lyceum); The Book Of Mormon (Prince of Wales); This House (UK tour); Dusty The Musical (UK tour); The Grönholm Method and She Loves Me (Menier Chocolate Factory); Orpheus Descending, The Great Gatsby and Insignificance (Theatre Clwyd); A View From the Bridge (Tobacco Factory, Bristol); Farragut North (Southwark Playhouse). Film includes Mary Queen of Scots, HUGH BONNEVILLE
Bohemian Rhapsody, The Secret Garden, The Showreel. Television includes The Crown (seasons two and three), Grantchester (series four), The Spanish Princess, Call the Midwife (series six), Hospital People. Nick has a Master’s degree in Voice Studies from the Royal Central School of Speech and Drama.
EVENTS
SHADOWLANDS PRE-SHOW TALK
C.S. LEWIS CORNERS
Tuesday 30 April, 5.45pm Director Rachel Kavanaugh in conversation with CFT Literary Associate Kate Bassett. FREE but booking is essential.
POST-SHOW TALK
Friday 3 May, 6.15pm Festival Theatre Foyer Look out for CFYT members as they read poems and extracts from the work of C.S. Lewis. FREE
Tuesday 21 May Stay after the performance to ask questions, meet company members and discover more about the play. FREE
TOUCH TOUR
Friday 24 & Saturday 25 May Our Touch Tours enable blind or visually impaired audience members to explore the set, props and costumes used in Shadowlands. The tour takes place 90 minutes before the audiodescribed performances. FREE but booking is essential.
cft.org.uk/events
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 Rachel Billsberry-Grass Interim Development Director Eleanor Blackham Memberships Officer Julie Field Friends Administrator Rosie Hiles Corporate Development Manager Laura Jackson Head of Individual Giving William Mendelowitz Head of Major Gifts Tabitha Moore Development Administrator Karen Taylor Memberships Officer DIRECTORS Kathy Bourne Daniel Evans Patricia Key Georgina Rae Julia Smith
Executive Director Artistic Director PA to the Directors Head of Planning & Projects Board Support
FINANCE Alison Baker Payroll & Pensions Officer Krissie Harte Finance Officer Katie Palmer Assistant Management Accountant Simon Parsonage Mark Pollard Paul Sturgeon Amanda Trodd Nicole Yu HR Eugenie Konig Emily Oliver Jenefer Pullinger Gillian Watkins
Finance Director & Company Secretary IT Support IT Consultant Management Accountant Finance Assistant (Trainee)
Head of HR Accommodation Administrator HR & Recruitment Officer HR Administrator
LEAP Isilda Almeida Heritage Manager Elspeth Barron LEAP Officer Mia Cunningham-Stockdale Youth Theatre Apprentice Lauren Grant Deputy Director of LEAP Hannah Hogg Youth & Outreach Officer Richard Knowles Education Projects Manager Poppy Marples Senior Youth & Outreach Officer Louise Rigglesford Community Partnerships Manager
Dale Rooks Director of LEAP Fin Ross Russell Education Trainee Beth Sedgwick Community Partnerships Trainee MARKETING, PRESS & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager George Bailey Digital Marketing Officer Becky Batten Senior Marketing Manager Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Harry Boulter Box Office Assistant Fran Boxall Box Office Supervisor Helen Campbell Deputy Box Office Manager Lydia Cassidy Director of Marketing & Communications Clare Funnell Marketing Officer Madeleine Harker Box Office Assistant Lorna Holmes Box Office Assistant Helena Jacques-Morton Communications Assistant James Morgan Lucinda Morrison Kirsty Peterson Joshua Vine Claire Walters Joanna Wiege Jane Wolf
Box Office Manager Head of Press Box Office Assistant Box Office Assistant Box Office Assistant Box Office Administrator Box Office Assistant
PRODUCTION Amelia Ferrand-Rook Claire Rundle Jacob Thomas Nicky Wingfield Jeremy Woodhouse
Producer Production Administrator Production Trainee Production Administrator 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 Ethan Duffy Stage Crew Lewis Ellingford Stage Technician Ross Gardner Stage Crew Sam Garner-Gibbons Technical Director Abbie Gingell Stage & Automation Technician Fuzz Sound Technician Emma Harry Stage Crew Katie Hennessy Props Store Co-ordinator Laura Howells Senior Lighting Technician Mike Keniger Head of Sound Andrew Leighton Lighting Technician Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Lighting/Sound Apprentice Lewis Ramsay Assistant Lighting Technician Alex Rees Neil Rose Ernesto Ruiz James Sharples Charlie Smith Tom Smith Adam Thomas Steer Graham Taylor Sarah Ware Flynn White
Lighting Technician Deputy Head of Sound Stage Crew Stage Crew No 1 Sound Technician Senior Sound Technician Sound Technician Head of Lighting Stage Crew Stage Crew
cft.org.uk/aboutus
THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Gabriele Hergert Deputy House Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager WARDROBE Brooke Bowden Michaela Duffy Ellie Edwards Jessica Griffiths Natasha Hancock Lottie Higlett Gabby Salwyn-Smith Sam Sullivan Loz Tait Collette Tulley Hannah Ward Maisie Wilkins
Dresser Dresser Wardrobe Assistant Deputy Head of Wardrobe Deputy Head of Wardrobe Dresser Dresser Wardrobe Assistant Head of Wardrobe Wardrobe Maintenance Dresser Dresser
WIGS Beau Bambi Brett Hayley Kharsa Sonja Mohren Natascha Schnieden
Deputy Head of Wigs Deputy Head of Wigs 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, Ella Bassett, 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, Stephanie Horn, Keiko Iwamoto, Joan Jenkins, Lucy Jenkinson, Pippa Johnson, Ryan Jones, Jan Jordan, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Jamie Loake, Emily McAlpine, Janette McAlpine, Chris Monkton, Chloe Mulkern, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Lydia Piper, Barbara Pope, Justine Richardson, Nicholas Southcott, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Chantelle Walker, 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
cft.org.uk/visitus
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 David and Sonia Churchill John and Pat Clayton CMC Professional Services Clive and Frances Coward Jim Douglas Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Steve and Sheila Evans Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Sir Michael and Lady Heller Mr and Mrs Christopher Hogbin Basil Hyman Liz Juniper The family of Patricia Kemp Roger Keyworth 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 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 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, 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
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. Donate today at cft.org.uk/ageless or call us on 01243 781312
Supported by Irwin Mitchell