CRAVE By Sarah Kane
KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN
WELCOME
It’s always a pleasure to welcome audiences to the Festival Theatre, but it’s with particular joy that we welcome you to this new production of Sarah Kane’s Crave. Originally scheduled for the Spiegeltent, Crave is now being performed in our socially distanced main auditorium and streamed live to global audiences. So, whether you’re watching in the auditorium in Chichester, or from your home via the live stream, wherever in the world you may be – we are glad to have you with us. We’re delighted that Tinuke Craig, who gave us such a memorable production of random/generations in 2018, is back in Chichester to direct. She has assembled an outstanding cast:
Erin Doherty, Alfred Enoch and Wendy Kweh are all making their Chichester debuts, while Jonathan Slinger makes a long-awaited return. Along with a superb design and creative team, we welcome them all. After seven long months of our Theatre being dark and empty, it is truly wonderful to be hearing again that familiar announcement: ‘Please take your seats: the performance is about to begin’.
Executive Director Kathy Bourne
cft.org.uk
Artistic Director Daniel Evans
Sarah Kane Playwright Sarah Kane was born in 1971 and died in 1999. She wrote five plays and one screenplay. Despite initial critical hostility and outrage, her plays are now regarded as modern classics and have had hundreds of productions around the world. Her first play, Blasted, was produced at the Royal Court Theatre in 1995. Its innovative dramatic structure and uncompromising treatment of rape and the atrocities of war were too much for the critics and drew howls of derision from broadsheet and tabloid alike. Not since Howard Brenton’s Romans in Britain had there been such a theatrical scandal, but not all reaction was negative, with support and admiration for the play coming from (among others) Edward Bond, Harold Pinter and Caryl Churchill. Sarah Kane’s second play, Phaedra’s Love (produced at the Gate Theatre, London, in May 1996) and her third, Cleansed (which opened in the Royal Court Theatre’s temporary home, the Duke of York’s, in May 1998) received similarly unappreciative reviews in the UK, but elsewhere, especially in Europe, the plays’ structural innovations, non-naturalism and dark humour were highly acclaimed. Her screenplay, Skin (produced by Channel Four/British Screen, directed by Vincent O’Connell) was first televised in June 1997. Like her plays, it was not without controversy: originally scheduled to be shown in the early evening, it was moved back at the last minute to 11.35pm due to television executives’ concerns about its explicit depictions of racism and violence. Crave, her fourth play, a Paines Plough and Bright Limited production, previewed at the Chelsea Centre Theatre, London, in August 1998, before touring to the Traverse Theatre (as part of the Edinburgh Festival), the Royal Court Theatre in London, then Berlin, Dublin and Copenhagen. The tide was beginning to turn: Crave’s poetry and experimental form received rave reviews at home and abroad. Sarah Kane’s final play, 4.48 Psychosis, premiered at the Royal Court Theatre in June 2000. Its unique form and the honesty and success with which it communicates the experience of suicidal despair have made it one of her most praised and performed works. All plays are published by Methuen Drama.
CRAVE By Sarah Kane
COMING SOON
SHIFT BARELY METHODICAL TROUPE RETURN TO CHICHESTER
★★★★★
‘Jaw-droppingly magnificent’ Stage
★★★★
‘Mesmerising’ Guardian
Barely Methodical Troupe’s sold-out production Bromance in the Spiegeltent last year drew gasps, thrills and rave reviews from audiences of all ages; don’t miss this new chance to catch this remarkable and ground-breaking company. Shift explores shifting perceptions and realities through power-based acrobatics, mixing show-stopping circus tricks with the emotional punch of theatre. Winners of 2013 Circus Maximus Award; 2014 Total Theatre & Jackson’s Lane Award for Circus. Ages 8+
26 – 28 NOVEMBER FESTIVAL THEATRE TICKETS FROM £10 cft.org.uk
A DEEPER CONNECTION CFT Artistic Director Daniel Evans recalls working with Sarah Kane
I happened to be working at the RSC in Stratford in 1995 when Sarah Kane’s first play Blasted exploded onto London’s theatrical landscape and changed it irrevocably. Despite the furore it caused, mainly due to a reactionary response from a tabloid critic, I treasured a cutting from a broadsheet newspaper where the playwright Edward Bond defended the play, calling it the most exciting production on the London stage.
She got excited one afternoon and wanted to make a rare change to the text: a comma was to become a full stop. Later that year, I got to meet Sarah briefly for the first time during a workshop in Newcastle, where the RSC took an annual residency. The late, great Cis Berry led a workshop based on Sarah’s short film, Skin – a brutal and tender cautionary tale about an anorexic skin-headed fascist who’s forced to confront his racism in the most visceral way.
The writing was astoundingly taut. Sarah’s ability to weaponise gallows humour to surprise and horrify hooked me. So, when I was sent the script of her latest play, Cleansed, in the winter of 1997, I couldn’t read it fast enough. I devoured it between a matinee and an evening performance of Peter Pan at the National Theatre and knew immediately I wanted nothing more than to be in it. It’s a quick but gruelling read. Set in what we assume is some sort of concentration camp where the leading character attempts to save her twin brother’s life by swapping places with him, the play plummets us into the depths of the pain of love and the potential for salvation through love – a recurring theme in Kane’s work. I treasure the moments – despite our oh-too-cold rehearsal room in South London, huddled around portable red heaters – where Sarah would point-blank refuse to reveal to the actors the meaning of any line, favouring instead to allow us to discover it for ourselves. She got excited one afternoon and wanted to make a rare change to the text: a comma was to become a full stop. And sure enough, the meaning completely changed. I cherish the research trip we made together to the Maudsley Hospital. Robin, my character, heard voices – probably the reason
LEFT SARAH KANE, 1998 IMAGE COURTESY OF JANE BOWN / THE OBSERVER ABOVE KELLY REILLY AND NEIL DUDGEON IN BLASTED AT THE ROYAL COURT IMAGE COURTESY OF TRISTRAM KENTON
undergoing redevelopment, the leading actress injured her back. With no understudies, we feared the run would be cut short. But not a bit of it. Sarah knew the lines, had a quick rehearsal and went on. Her acting was raw, real. In fact, she wasn’t acting. The play received mixed reviews. Following Blasted, the increased and intense public scrutiny was perhaps inevitable. We were even booed one night at the curtain call – a phenomenon I considered something of an achievement. After all, this was polite England.
Crave’s meaning is a gradual revelation and its form and musicality an essential component of that unfolding. for his incarceration – and we met the patients on the wards and discussed schizophrenia and psychosis on the way back to her flat nearby where we shared buttered toast. There was little small talk – and there were certainly moments when I felt intimidated by Sarah’s quicksilver brain. She was disarmingly wellread; her references spanned classical literature, pop culture and scientific study.
We were even booed one night at the curtain call – a phenomenon I considered something of an achievement. After all, this was polite England. We even got to act together. In the final week of the run at the Duke of York’s Theatre, where the Royal Court had taken residence while its Sloane Square building was
It was clear from reading Blasted and acting in Cleansed that Sarah’s playwrighting was on a trajectory. She was obviously interested in form, as that Leeds hotel room explosion in Blasted demonstrated. Her second play, Phaedra’s Love, was an explosion of language and imagery, epitomised by some of the most vivid and challenging stage directions ever written. But in Cleansed, she was already beginning to distil her craft. Her dialogue became spare and, at times, elliptical. So, when Crave emerged in 1998, her talent as a poet of the theatre shone through. Written mostly during a spell in New York, Sarah initially released the play under a pseudonym, Marie Kelvedon. A conscious desire, perhaps, to be appraised free of the baggage of her previous work and reputation. Here were even fewer words, even less information. No conventional character names and no obviously linear narrative. The play is a decisive move away from realism towards the abstract, the poetic. The work is heavily influenced by T. S. Eliot’s The Waste Land. In fact, it’s peppered with quotes and references to that great work – and even employs its technique of intertextual quoting of songs and Biblical verses.
SUZAN SYLVESTER AND MARTIN MARQUEZ IN CLEANSED AT THE ROYAL COURT IMAGE COURTESY OF TRISTRAM KENTON
The play’s meaning is a gradual revelation and its form and musicality an essential component of that unfolding. And here again is the constant refrain in Sarah’s work: the longing for a deep connection with another person. Yes, the devastating possibility of the failure of love. But, also, the desire to believe in its potential salvation. Given our enforced isolation and atomisation of late, I’m curious to discover what the play might reveal about our human need for contact. By the time we were back at the Royal Court rehearsing Sarah’s next play, she had died. Aged 28. The mistake people make with 4.48 Psychosis is to assume it’s a suicide note. It’s nothing of the kind. The danger with such an assumption is that it engenders a kind of sanctity – as if the text were holy, part of an untouchable canon. Sarah, I suspect, would have loathed this. Even in its exploration of psychosis and its treatment, that gallows humour sings out. I treasure many memories of that production: performing it for a cohort of psychiatrists where they analysed the play
as if it were their patient etherised on a table; taking it on tour to Germany where they revere Sarah’s work (her death was marked, reportedly, by a minute’s silence on German radio); and, most treasured of all, the very first preview in the Theatre Upstairs. The Court at that time had a policy of inviting writers to first performances. That night, Harold Pinter, Antonia Fraser, Mark Ravenhill, Joe Penhall and others heard the play for the first time. At the end of the production, we opened the real windows of the theatre and, as it was summer, the warm breeze came rushing into the space and we could hear the real-life Sloane Square traffic beneath, which honked away without a care for plays, playwrights and players. No one applauded – at least not for a while. We bowed in silence. For Sarah, the rest was silence. But, thankfully, her compact and powerful body of work lives on and the world catches up with it.
DANIEL EVANS, JO McINNES AND MADELEINE POTTER IN 4.48 PSYCHOSIS AT THE ROYAL COURT IMAGE COURTESY OF TRISTRAM KENTON
Let the day perish in which I was born Let the blackness of night terrify it Let the stars of its dawn be dark. CRAVE
Let the day perish wherein I was born, and the night in which it was said, There is a man child conceived. Let that day be darkness; let not God regard it from above, neither let the light shine upon it. JOB 3:3
I crossed two rivers and wept by one.
By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
CRAVE
By the waters of Leman I sat down and wept... T.S. ELIOT, THE WASTELAND
PSALM 137
“What is that noise?”
The wind under the door.
“What is that noise now? What is the wind doing?”
Nothing again nothing.
“Do you know nothing? Do you see nothing? Do you remember nothing?” T.S. ELIOT, THE WASTELAND
I am terrified by this dark thing That sleeps in me; All day I feel its soft, feathery turnings, its malignity. SYLVIA PLATH, ARIEL
What hurts you, blesses you. Darkness is your candle. RUMI
I have heard the key Turn in the door once and turn once only We think of the key, each in his prison T.S. ELIOT, THE WASTELAND
Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that. MARTIN LUTHER KING JR.
We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light. PLATO
I think it’s very healthy to spend time alone. You need to know how to be alone and not be defined by another person.
Freedom is the possibility of isolation. You are free if you can withdraw from people, not having to seek them out for the sake of money, company, love, glory or curiosity, none of which can thrive in silence and solitude. If you can’t live alone, you were born a slave. FERNANDO PESSOA, THE BOOK OF DISQUIET
OSCAR WILDE
How can I be substantial if I do not cast a shadow? I must have a dark side also if I am to be whole. CARL JUNG
The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up Alone, condemned, moments, and deserted, as those who are about to the rest is dark. diewasarea luxury alone, there in it, JEANETTE WINTERSON
Someone I loved once gave me a box full of darkness. It took me years to understand that this too, was a gift. MARY OLIVER
an isolation full of sublimity; a freedom which the attached can never know. VIRGINIA WOOLF, MRS. DALLOWAY
Without great solitude, no serious work is possible. PABLO PICASSO
By night, love, tie your heart to mine, and the two together in their sleep will defeat the darkness. PABLO NERUDA, 100 LOVE SONNETS
DESIGNER ALEX LOWDE GIVES US AN INSIGHT INTO HIS APPROACH TO THIS PRODUCTION OF
CRAVE “Crave was initially programmed to be staged in the Spiegeltent. The move into the Festival Theatre due to Covid-19 meant reconfiguring the stage design to accommodate a two-metre distance between the actors. The delineation of the space, combined with our interest in creating a physical resistance for the actors to work against, led us towards creating a kinetic element within the stage design.”
“Rather than a wholl y static environment, we wa nted a space that echoes the voice of the characters as they co nsider whether to move forward or backwards from their past life ex periences – exploring the motio n of the characters’ material bodies and the forces and energ y associated with them.”
h share elements of their “The characters in Crave eac ess but it’s always past lives and inner consciousn s. The clothing uou big fragmentary and slightly am the softness and en we bet sion aims to capture a ten against the harsh fragility of their human bodies y’ they inhabit.” emotional landscape of the ‘cit video to capture Crave’s “It felt important that we use ieve an emotional intensity of focus and to ach Theatre. We have four proximity within the Festival ge which allows Ravi sta cameras mounted onto the d element of each Deepres to generate a live fee d some pre-recorded character. We have also create abstracted having content that will appear more mation.” ani ital been processed using dig
“I always start by sitting down with the director and sketching whilst we work through the text; I usually draw several different versions but it’s often the very first idea that you return to within a design. You then make a ‘sketch mod el’ which basically turns a two-dimensional sket ch into a three-dimensional form. It allows you and the director and theatre staff to explore how the design works in 3D.”
CRAVE By Sarah Kane CAST C B M A
Erin Doherty Alfred Enoch Wendy Kweh Jonathan Slinger
Sarah Kane’s play, Crave was commissioned by Paines Plough and first presented by Paines Plough with Bright Ltd at the Traverse Theatre, Edinburgh on 13 August 1998 and subsequently at the Royal Court Theatre Upstairs, London on 8 September 1998. First performance of this production of Crave at Chichester Festival Theatre, 29 October 2020.
Director Designer Lighting Designer Film Designer Composer and Sound Designer Movement Director Casting Director Production Manager Company Stage Manager Deputy Stage Manager Design Associate Video Co-ordinator Head of Wardrobe Video Programmer Production Video Engineer Lighting Programmer Live Stream
Tinuke Craig Alex Lowde Joshua Pharo Ravi Deepres Anna Clock Jenny Ogilvie Charlotte Sutton CDG Sam Garner-Gibbons Felix Dunning Anna Sheard Colin Falconer Luke Unsworth Loz Tait Mollie Tuttle Dan Trenchard Laura Howells The Umbrella Rooms
Production credits: Set by Illusion Design and Construct; Additional lighting by SLX; Video equipment by Stage Sound Services; Conveyor belts by Canning Conveyors; Revolve by The Revolving Stage Company; Animation by Steven Spencer. With thanks to Kyle Ross, Rosie Sansom, Molly Small, Daniel Ward, Simon Kane, Mel Kenyon, Simon Ash, Davina Shah, Stella McCusker-Deliocado, Kirsten Wright, Day Macaskill, Sarah MacCormick, Sally Long-Innes, Kat Oliver, Shane Collins and The Old Vic Theatre. Photography by Marc Brenner Programme design by Davina Chung Programme Associate Fiona Richards Supported by the Crave Commissioning Circle: Mrs Veronica J Dukes, John and Chrissie Lieurance, Nick and Sue Lutte, Bryan Warnett of St. James’s Place and all those who wish to remain anonymous.
Sponsored by
BIOGRAPHIES
ERIN DOHERTY C Theatre includes Wolfie (Theatre 503); The Divide (Old Vic/Edinburgh International Festival); Belle in A Christmas Carol (Old Vic); Rachel in My Name Is Rachel Corrie (Young Vic); Junkyard (Headlong/Bristol Old Vic/Theatr Clwyd/Rose Kingston); Wish List (Royal Exchange/Royal Court: Manchester Theatre Award for Best Actress in a Studio Production); Who Cares (The Lowry, Salford); Laura in The Glass Menagerie (UK tour); Pink Mist (Bristol Old Vic). Television includes Unprecedented: Central Hill, Princess Anne in The Crown series 3 & 4 (SAG Award for Outstanding Performance by an Ensemble), Les Misérables, Call The Midwife. Films include Rebel Ridge. Erin received a Broadcasting Press Guild Awards nomination for Breakthrough Artist 2020 and is a Newport Beach Festival Breakthrough Artist 2019. She won the Stephen ERIN DOHERTY ALFRED ENOCH
Sondheim Society Student Performer of the Year 2015; in 2018 she was named an Evening Standard Rising Star and a Screen International Star of Tomorrow. Trained at Guildford School of Acting and Bristol Old Vic Theatre School. ALFRED ENOCH B Theatre includes Tree (Young Vic); Red (Wyndham’s Theatre and NT LIve); Edgar in King Lear (Royal Exchange, Manchester); Titus Lartius in Coriolanus (Donmar Warehouse); Philotus in Timon of Athens, Antigone (National Theatre); Happy New (Trafalgar Studios); Dinner (Edinburgh Fringe); The Ballad of Salomon Pavey (NYT). Television includes Foundation, Trust Me 2, Troy, How To Get Away With Murder, Sherlock, Mount Pleasant. Films include Tigers, Medida Provisoria and
Dean Thomas in seven Harry Potter movies: The Deathly Harrows 1&2, The Half Blood Prince, The Order of the Phoenix, The Goblet of Fire, The Prisoner of Azkaban, The Chamber of Secrets and The Philosopher’s Stone. WENDY KWEH M Theatre includes The Welkin, Top Girls, The Oresteia (National Theatre); Dark Night of the Soul (Shakespeare’s Globe); A Kettle of Fish (The Yard); Big Aftermath of a Small Disclosure (Summerhall, Edinburgh); Describe the Night (Hampstead); Julius Caesar (The Bridge); Snow in Midsummer (RSC); Sugar Coated Bullets of the Bourgeoisie (HighTide Festival); Boy (Almeida Theatre); You For Me For You (Royal Court); Image of an Unknown Young Woman (Gate Theatre); Chimerica (West End); Moonwalking in Chinatown (Soho Theatre). Television includes Silent Witness, You, WENDY KWEH JONATHAN SLINGER
Me and the Apocalypse, EastEnders, Holby City, Coronation Street, Casualty, Murder City, The Year of the Tiger, The Crooked Man, The Bill, Doctors. Radio includes Lights, Camera, Kidnap!, Demolition Man, Words and Music, Bare Branches, Boom, Westway. Films include Hot Hot Hot, The Blue Mansion. Trained at RADA. JONATHAN SLINGER A Previously at Chichester Bernard in Yes, Prime Minister (Festival Theatre, also West End). Extensive roles for the RSC include Hamlet, Parolles in All’s Well That Ends Well, Prospero in The Tempest, Dr Pinch in The Comedy of Errors, Malvolio in Twelfth Night, Lenny in The Homecoming, Macbeth, The Gods Weep (also Hampstead), Richard III and Richard II
(Evening Standard Award Best Actor nomination), Henry VI Parts 1, 2 & 3, Henry IV Parts 1 & 2, Henry V, The American Pilot, Puck in A Midsummer Night’s Dream. Other theatre includes Buddy & Irwin in City of Angels, Willie Wonka in Charlie and the Chocolate Factory, Lockstock in Urinetown (West End); Absolute Hell, Power, The Duchess of Malfi, The Coast of Utopia, Widowers’ Houses (National Theatre); WENDY KWEH JONATHAN SLINGER
Fanny and Alexander (Old Vic); Trouble in Mind (Print Room); Plastic (Ustinov Studio, Bath); Astrov in Uncle Vanya (Young Vic); Bones (Live Theatre Newcastle/Hampstead); Medea (Queen’s Theatre); As You Like It, Dreaming (Royal Exchange); The Winter’s Tale, The Maid’s Tragedy (Shakespeare’s Globe). Television includes The Salisbury Poisonings, I May Destroy You, Kiri, Nelson
In His Own Words, Playing Ball, Doctors, The Adventures of Daniel, Vexed, Paradox, The Bill, Krod Mandoon, Hunter, Hustle, A Touch of Frost, Little Dorrit, Ladies and Gentlemen, The Genius of Beethoven, To The Ends of the Earth, Rosemary & Thyme, Midsomer Murders, Foyle’s War, Murder in Surburbia, Cold Feet, Out of Hours, Stick With Me Kid. Films include The Taking, Harmony, ERIN DOHERTY ALFRED ENOCH
A Knight’s Tale, Forgive and Forget, Spring Awakening. Trained at RADA.
C R E AT I V E T E A M
ANNA CLOCK Composer and Sound Designer Anna Clock is a composer, sound designer and cellist working across theatre, film, radio and installation. Theatre work includes The Effect (English Theatre Frankfurt); Earthquakes in London (Guildhall School of Music & Drama); Easy (Blue Elephant); I Wanna Be Yours (Paines Plough/ Tamasha, UK tour & Bush Theatre); Not F**kin’ Sorry, Shuck ‘n’ Jive, Soft Animals, Fabric (Soho Theatre); Groove, Looking Forward (BAC); Admin (Vault Festival, Live Collision & Dublin Fringe Festival); Anguis (sound design, Edinburgh Festival); SummerFest (sound design, NYT/ Bunker Theatre); Armadillo (The Yard); Fatty Fat Fat (Canada Water Theatre/Roundhouse/ Edinburgh Festival & tour); Trace (Old Diorama Arts Theatre); The Love of the Nightingale, The Lower Depths (Fourth Monkey); Mary and Maria (Camden People’s Theatre); The Butterfly Lion (composer and MD, Barn Theatre); Miss Fortunate, Work Bitch (Vault Festival); Twelfth Night (composer and MD, Southwark Playhouse); Finding Fessbender (Edinburgh & Vault Festival); Punk Rock, Pomona (Mountview/New Diorama); Bury The Dead (Finborough); Songlines (sound design, HighTide & DugOutTheatre, Edinburgh TINUKE CRAIG
& Aldeburgh Festivals, UK tour, The Mix Walthamstow); Spun (Arcola Theatre); They Sailed Away (Southwark Playhouse); This Is A Blizzard (Waltham Forest Festival/Barbican Lab); Uncensored (sound design, Theatre Royal Haymarket); [Blank] (Orange Tree/Lyric Hammersmith). As a composer and instrumentalist they have written for the RTE Contempo quartet, Tonnta, New Dublin Voices, Kirkos Ensemble, Node Ensemble, Dulciana, Gamelan Nua and their own groups Low Tide and Téada Orchestra. Their album Celestial is available for download. Trained at Trinity College Dublin, Royal Irish Academy of Music and Central School of Speech and Drama. annaclock.com TINUKE CRAIG Director Previously at Chichester random/generations (Minerva Theatre). Productions include Hamlet for young audiences (National Theatre tour); Cinderella (Lyric Hammersmith); Vassa (Almeida); Cinderella (Lyric Hammersmith); The Color Purple (Leicester Curve/Birmingham Hippodrome); I Call My Brothers (Gate Theatre);
and dirty butterfly (Young Vic). Tinuke was the Gate Theatre’s Associate Director from 2015-2016. In 2014 she was the winner of the Genesis Future Director Award. She trained as a director at LAMDA. RAVI DEEPRES Film Designer Film design for theatre, dance and opera includes extensive work with Wayne McGregor including Genus (National Ballet of Canada/Paris Opera House), Atomos (Random Dance, also filmed for BBC Four), Raven Girl, Woolf Works, Qualia (Royal Opera House), Eden/Eden (Atlanta Ballet), Entity, Nemesis (Sadler’s Wells) and Dido and Aeneas (La Scala Milan); Deloitte Ignite Festival 2014, Quartett, Legacy, Inside Out (Royal Opera House); Josephine & I (Bush Theatre/Public Theatre NY); MitoSys (Shobana Jeyasingh Dance); Raj Packet (New National Theatre, Tokyo); Turandot (Edinburgh Festival/Tokyo). Photographic, film and video installations include The Brit Awards 2016; The Gain Line (Rugby Art Gallery and Museum, ICIA Bath and Leicester Phoenix); The Voice and the Lens (IKON Gallery); Perspectives (Birmingham Cathedral); Union (The Public, West Bromwich); Pure Cinema (PM Gallery London/ JONATHAN SLINGER WENDY KWEH ALFRED ENOCH
Wolverhampton Art Gallery); a behind-thescenes film for Welsh National Opera; Michael Clark, Monologue; Patriots (Guangzhou Photography Festival); One Love: The Football Art Prize (The Lowry, Salford); Museum (Museum of Lost Heritage); Runner (Dance City/ Tyneside Cinema); A Tale of 22 (ICA/Worcester Art Gallery); Tremor (Channel 4); Only A Game (Impressions Gallery); Spectator Sport, Broken Channel (Cornerhouse); Tyneside Journey (Newcastle Quayside); Still Moving (Southbank). He was the lead artist for ITV Creates, a project to reinterpret and animate the ITV logo by 52 creatives. ravideepres.com ALEX LOWDE Designer Previously at Chichester random/generations (Minerva Theatre). Designs include The Contingency Plan (Donmar); Blindness and Seeing (RSC); Werther (Stadttheatre Bremen); La clemenza di Tito (Theatre an der Wien); Victory Condition (Residenz Theater); Flood (Hong Kong Youth Arts Federation); Romeo and Juliet (The Globe); All My Sons, August Osage County, She Town, A Doll’s House, The Elephant Man (Dundee Rep); The Color Purple (Leicester Curve/Birmingham
Hippodrome); The Fall of The Master Builder, Enjoy (West Yorkshire Playhouse); Persuasion (Manchester Royal Exchange); Pygmalion (Headlong/West Yorkshire Playhouse); Dutchmen, One for the Road/Victoria Station, Tobias and The Angel (Young Vic); Three Sisters (Lyric Belfast); Stinkfoot, Lines (The Yard); Greek - costume (BAM/Scottish Opera); Fröken Julie (Aarhus Theatre); Krapp’s Last Tape (Sheffield Theatres); Edward II - costume (National Theatre); Rigoletto (Wexford Opera); ’Tis Pity She’s A Whore (Wanamaker Playhouse); Excursions of Mr Broucek (Opera North/Scottish Opera); Linda - costume (Royal Court); The Lion’s Face, The Gentle Giant, The Nose (ROH2); The Marriage of Figaro (Lyceum); Blake Diptych (Laban Dance/Southbank Centre); While You Lie (Traverse); Machinal, Game - costume (Almeida); Takin’ Over the Asylum (Lyceum/ ERIN DOHERTY WENDY KWEH ALFRED ENOCH JONATHAN SLINGER
Citizens); Body of an American (The Gate). Alex read Drama at Hull University before training in design at Motley. JENNY OGILVIE Movement Director Previously at Chichester Plenty (Festival Theatre). As Movement Director, theatre work includes Rutherford and Son, Love and Information (Sheffield Crucible); Midsummer (National Theatre of Scotland); Absolute Hell (also Associate Director, National Theatre); B (Royal Court); A Midsummer Night’s Dream (Young Vic); P’yongyang, Somersaults, The Soft of her Palm (Finborough Theatre). Work as Director includes The Burning Fiery Furnace (Scottish Opera); Dr Angelus (Finborough Theatre).
Movement direction in opera includes The Marriage of Figaro (English National Opera and Wuppertal Opera House); Orlando (world première, Vienna State Opera); Greek (Opera Ventures at Edinburgh International Festival, Scottish Opera and BAM, New York); The Turn of the Screw (ENO/Regent’s Park Open Air Theatre); La traviata (Longborough Festival Opera); A Midsummer Night’s Dream (Aldeburgh Festival); Lucia di Lammermoor (Buxton International Festival). JOSHUA PHARO Lighting Designer Previously at Chichester, random/generations (Minerva Theatre). Recent credits include Cinderella (Lyric Hammersmith); Vassa (Almeida); Trust, The Ridiculous Darkness (Gate Theatre); JONATHAN SLINGER WENDY KWEH ALFRED ENOCH
The Color Purple (Leicester Curve/Birmingham Hippodrome); Endless (Theatre Royal, Plymouth); Going Through (The Bush); The Shape of Pain (BAC); Noughts & Crosses (Pilot Theatre);The Wolves (Stratford East); Othello, Macbeth (Lyric Hammersmith/HOME Manchester); 100:UnEarth (WildWorks); Double Vision (Wales Millenium Centre); Hearty (Yard Theatre); The ClaIM (UK tour); La Tragédie de Carmen (ROH and Wilton’s Music Hall); Frau Welt (Hackney Showroom); Cosminc Scallies (Royal Exchange and Graeae); How I Hacked My Way Into Space (UnLimited Theatre tour); Bullish (Milk Presents); The Shape of Pain and We’re Stuck! (China Plate Theatre); Counting Sheep, Burning Doors (Belarus Free Theatre); Bodies (Royal Court Theatre); Nest (Brighton and Take Off Festivals); How My Light is Spent (Royal Exchange); The Bear & The Proposal,
The Trial Parallel, A Streetcar Named Desire and Parallel (Young Vic); Scarlett (Hampstead and Theatr Clywd); Years of Sunlight (Theatre503); The Twits (Leicester Curve); Removal Men (The Yard Theatre, Knight of Illumination Award nomination); Broken Biscuits (Paines Plough); Contractions (Sheffield Crucible); Julie (Northern Stage); Giving (Hampstead); Iphigenia Quartet, In the Night Time (Before The Sun Rises) and Medea (Gate Theatre); The Rolling Stone (Orange Tree Theatre); The Glass Menagerie (Video Designer, Nuffield Theatre); The Merchant of Venice, Wuthering Heights and Consensual (Ambassadors Theatre); The Crocodile (Manchester International Festival); One Arm THE COMPANY
(Southwark Playhouse); Beckett Season (Old Red Lion); I’d Rather Goya Robbed Me of My Sleep and No Place Like Home (The Gate). joshuapharo.com CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Sing Yer Heart Out for the Lads, Oklahoma!, Plenty, Shadowlands, 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 (Festival Theatre); The Butterfly Lion, 8 Hotels, The Deep Blue Sea, 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 Fairview, Death of a Salesman (CDG Casting Award nomination), The Convert, Wild East, Winter, trade and Dutchman (Young Vic); Company (Gielgud: CDG Casting Award nomination); 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); A Pacifist’s Guide to the War on Cancer, wonder.land, The Elephantom, Emil and the Detectives and The Light Princess (National Theatre); 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).
S TA F F
LEAP
TRUSTEES Sir William Castell
Chairman
Mollie Tuttle
Elspeth Barron
LEAP Officer
Emily Williamson
Video Programmer Technical Theatre Apprentice
Mr Alan Brodie
Freddie Dempster
Ms Judy Fowler
Lauren Grant
Deputy Director of LEAP
THEATRE MANAGEMENT
Hannah Hogg
Youth & Outreach Officer
Janet Bakose
Ms Odile Griffith
Vice Chair
Ms Victoria Illingworth
Richard Knowles
Ms Georgina Liley Rear Admiral John Lippiett CB CBE
Poppy Marples
Mr Harry Matovu QC
Hannah Millard
Mr Mike McCart Ms Holly Mirams
Louise Rigglesford
Mr Nick Pasricha
Dale Rooks
Youth & Outreach Trainee
Education Projects Manager Senior Youth & Outreach Officer Education Trainee Senior Community & Outreach Manager Director of LEAP
Mr Philip Shepherd Ms Stephanie Street
MARKETING, PRESS & SALES
Ms Tina Webster
Carole Alexandre
Mrs Susan Wells
Josh Allan
Distribution Officer Box Office Assistant
Caroline Aston ASSOCIATES
Gill Dixon
Theatre Manager Front of House Duty Manager
Ben Geering Karen Hamilton
House Manager Front of House Duty Manager
Will McGovern
Assistant House Manager
Sharon Meier Joshua Vine
PA to Theatre Manager Front of House Duty Manager
Gabriele Williams
Deputy House Manager (Maternity Leave)
WARDROBE & WIGS Loz Tait
Head of Wardrobe
Audience Insight Manager Stage Door: Bob Bentley, Janet Bounds,
Becky Batten
Head of Marketing
Kate Bassett
Literary Associate
Jenny Bettger
Box Office Supervisor
Charlotte Sutton CDG
Casting Associate
Jessica Blake-Lobb Marketing Manager (Corporate)
Caroline Hanton, Keiko Iwamoto, Chris Monkton
Helen Campbell
Jacob Atkins, Carolyn Atkinson, Brian Baker,
BUILDING & SITE SERVICES Chris Edwards Lez Gardiner Daren Rowland Graeme Smith
Maintenance Engineer Duty Engineer Facilities Manager Duty Engineer
DEVELOPMENT David Beal Eleanor Blackham
Interim Deputy Director of Development Memberships Officer
Deputy Box Office Manager
Lydia Cassidy
Director of Marketing & Communications
Hannah Dobson
Communications Assistant
Judith Bruce-Hay, Sarah Hammett, Ushers: Miranda Allemand, Maria Antoniou, Bob Bentley, Gloria Boakes, Janet Bounds, Judith Bruce-Hay, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark,
Maddie Harker
Box Office Assistant
Gaye Douglas, Stella Dubock, Alisha Dyer-Spence,
Rebecca Harte
Box Office Assistant
Clair Edgell, George Edwards, Suzanne Ford,
Lorna Holmes
Box Office Assistant
Jessica Frewin-Smith, Nigel Fullbrook,
Helena Jacques-Morton James Morgan
Marketing Officer Box Office Manager
Lucinda Morrison
Head of Press
Barry Gamlin, Charlie Gardiner, Luc Gibbons, Anna Grindel, Karen Hamilton, Caroline Hanton, Madeline Harker, Joseph Harrington (Trainee),
Kirsty Peterson
Box Office Assistant
Gillian Hawkins, Joanne Heather, Lottie Higlett,
Alice Stride
Box Office Assistant
Paige Holdsworth, Keiko Iwamoto, Flynn Jeffery,
Rosie Hiles Corporate Development Manager
Anne-Marie Varberg
Box Office Assistant
Joan Jenkins, Lucy Jenkinson, Pippa Johnson,
Laura Jackson
Head of Individual Giving Memberships Officer
Fran Boxall Julie Field
Karen Taylor Joanna Walker
Development Administrator Friends Administrator
Director of Development
Joshua Vine
Box Office Supervisor
Ryan Jones, Jan Jordan, Jon Joshua,
Claire Walters
Box Office Assistant
Sally Kingsbury, Alexandra Langrish,
Joanna Wiege
Box Office Administrator
Jane Wolf
Box Office Assistant
Valerie Leggate, Emily McAlpine, Janette McAlpine, Chris Monkton, Susan Mulkern, Georgie Mullen, Isabel Owen, Martyn Pedersen,
PRODUCTION
DIRECTORS Kathy Bourne
Executive Director
Daniel Evans
Artistic Director
Patricia Key Georgina Rae Julia Smith
PA to the Directors Head of Planning & Projects Board Support
Susy Peel, Kirsty Peterson, Helen Pinn, Lydia Piper,
Stephen Bailey
Resident Assistant Director
Amelia Ferrand-Rook Helen Pack
Lorraine Stapley, Sophie Stirzaker, Angela Stodd,
Production Trainee
Kerry Strong, Christine Tippen, Charlotte Tregear,
Claire Rundle
Production Administrator
Andy Trust (Trainee), Joshua Vine,
Nicky Wingfield
Production Administrator
Rosemary Wheeler, Jonathan Wilson (Trainee),
Jeremy Woodhouse
Producer
FINANCE Payroll & Pensions Officer
Krissie Harte
Finance Officer
TECHNICAL Steph Bartle
Deputy Head of Lighting
IT Support
Adrien Corcilius
Video & AV Technician
Katie Palmer Assistant Management Accountant
Lewis Ellingford
Stage Technician
Simon Parsonage
Katie Hennessy
Mark Pollard
Finance Director & Company Secretary IT Support
Paul Sturgeon
IT Consultant
Amanda Trodd
Management Accountant
HR Emily Oliver Jenefer Pullinger Gillian Watkins
James Wisker, Donna Wood, Fleur Wood, Kim Wylam, Jane Yeates
Alison Baker Will Jupp
Barbara Pope, Justine Richardson,
Producer
Accommodation Coordinator HR & Recruitment Officer (Maternity Leave) HR Officer
Sam Garner-Gibbons Laura Howells Mike Keniger Karl Meier
Technical Director Props Store Co-ordinator Lighting Programmer Head of Sound Head of Stage
Lewis Ramsay
Assistant Lighting Technician
Tom Robinson
Senior Stage & Construction Technician
Neil Rose James SharplesÂ
Deputy Head of Sound Senior Stage Crew & Rigger
Graham Taylor
Head of Lighting
Dan Trenchard
Production Video Engineer
cft.org.uk/aboutus
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 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 Autumn 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
As a registered charity, never before has Chichester Festival Theatre been so reliant on the generosity of our supporters. We are grateful to each and every donor, sponsor and member who has stood by us during this difficult year and allowed us to continue sharing the power of live art with our communities – we could not have done it without you. As we look forward to the future, there are a variety of ways you can get involved and show support for Chichester Festival Theatre.
HOW YOU CAN HELP You can create an immediate difference by making an online donation to support the theatre: cft.org.uk/support-us/makea-donation
By supporting individual shows, Commissioning and Patrons Circle members can follow a production from ‘page to stage’ and receive exclusive behind-the-scenes access and detailed insights into the creative process. Membership from £800 (£100 minimum plus £700+ donation).
Join the Friends scheme and benefit from priority booking, discounts and special events. Membership from £35 As a Festival Player, you will receive advance priority booking and exclusive events as thanks for your generous support. Membership from £250 (£75 minimum plus £175+ donation).
Benefactors enjoy unique access to CFT, with a bespoke relationship based around the projects you support. Gifts from £3,000 For businesses, a Corporate Partnership is the perfect way to support a local Theatre whilst benefiting from increased profile, branding, advertising, hospitality, exclusive events and tickets.
Please get in touch for more information: cft.org.uk/support-us | development.team@cft.org.uk | call 01243 812881
cft.org.uk/supportus
S U P P O R T E R S 202 0
INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry George W. Cameron OBE and Madeleine Cameron Sir William and Lady Castell David and Sonia Churchill John and Pat Clayton John and Susan Coldstream Clive and Frances Coward Yvonne and John Dean Jim Douglas George and Natasha Duffield Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Sir Michael and Lady Heller 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 Graham and Sybil Papworth Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE David and Sophie Shalit Simon and Melanie Shaw Greg and Katherine Slay David and Alexandra Soskin Alan and Jackie Stannah Oliver Stocken CBE Peter and Wendy Usborne TRUSTS AND FOUNDATIONS Andrew Lloyd Webber Foundation Artswork The Arthur Williams Charitable Trust The Bateman Family Charitable Trust The Chartered Accountants’ Livery Charity Chichester District Council Elizabeth, Lady Cowdray’s Charity Trust The G D Charitable Trust The John Coates Charitable Trust The Noël Coward Foundation The Roddick Foundation Wickens Family Foundation
FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Tom Reid and Lindy Ambrose Paul Arman His Honour Michael Baker and Edna Baker Mr Brian Baker The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Franciska and Geoffrey Bayliss Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Sarah Mansell and Tim Bouquet Janet Bounds Pat Bowman Lucy and Simon Brett Nick and Carol Brigstocke Therese Brook Peter and Pamela Bulfield Jean Campbell Julie Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg Sally Chittleburgh David and Claire Chitty Mr and Mrs Jeremy Chubb Denise Clatworthy Annie Colbourne David and Julie Coldwell Mr & Mrs Barry Colgate The Colles Trust Mr Charles Collingwood and Miss Judy Bennett Michael and Jill Cook Freda Cooper Brian and Claire Cox Susan Cressey Deborah Crockford Jonathan and Sue Cunnison Rowena and Andrew Daniels Jennie Davies The de Laszlo Foundation 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 Anthony and Penny Elphick Sheila Evans Gary Fairhall Brian and Sonia Fieldhouse Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio Jane Fogg Robert and Pip Foster Jenifer and John Fox Debbie and Neil Franks Terry Frost Mr Nigel Fullbrook George Galazka Alan and Pat Galer
Robert and Pirjo Gardiner Wendy and John Gehr Marion Gibbs CBE Stephen J Gill Olwen Gillmore Mr and Mrs Paul Goswell Robin and Rosemary Gourlay R and R Green Reverend David Guest Ros and Alan Haigh Dr Stuart Hall 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 Maria and David Johnson Robert Kaltenborn Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Anna Christine Kennett Geoffrey King James and Clare Kirkman Elaine Leaver Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Anthony and Fiona Littlejohn Amanda Lunt Jim and Marilyn Lush Dr and Mrs Nick Lutte Robert Macnaughtan Nigel and Julia Maile Jeremy and Caroline Marriage Adrian Marsh and Maggie Stoker Sue Marsh Charles and Elisabeth Martin Trevor & Lynne Matthews John and Sally-Ann McCormack Tim McDonald Jill and Douglas McGregor James and Anne McMeehan Roberts Andrew McVittie Mrs Michael Melluish Celia Merrick Diana Midmer David and Di Mitchell Jenifer and John Mitchell Gerald Monaghan Nick & Pat Moore Sue and Peter Morgan Roger and Jackie Morris Sara Morton Terence F Moss Mrs Mary Newby Patricia Newton Bob and Maureen Niddrie Pamela and Bruce Noble Eileen Norris
Jacquie Ogilvie Margaret and Martin Overington Mr and Mrs Gordon Owen Richard Parkinson and Hamilton McBrien Alex and Sheila Paterson Simon and Margaret Payton Terry and John Pearson Stephen & Annie Pegler Jean Plowright John Pritchard Trust Brian & Margaret Raincock John Rank David Rees The Rees Family Malcolm and Angela Reid Adam Rice Sandi Richmond-Swift John and Betsy Rimmer Robin Roads John and Valerie Robinson Philip 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 David and Linda Skuse Simon Smith Monique and David Smith Christine and Dave Smithers Mr and Mrs Brian Smouha David & Unni Spiller Mel and Marilyn Stein Elizabeth Stern Barbara Stewart Judy and David Stewart Peter Stoakley Anne Subba-Row Ms Maura Sullivan Professor and Mrs Warwick Targett Patricia Tatspaugh 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 Brett Weaver and Linda Smith Chris and Dorothy Weller Bowen and Rennie Wells Judith Williams Angela Williams Lulu Williams Mrs Honor Woods David and Vivienne Woolf Angela Wormald And all those who wish to remain anonymous
‘Chichester Festival Theatre enriches lives with its work both on and off stage. It is a privilege to be connected in a small way with this inspirational and generous-hearted institution, especially at such a challenging time for everyone in the Arts.’ John and Susan Coldstream, Benefactors and Festival Players
cft.org.uk/supportus
S U P P O R T E R S 202 0
PRINCIPAL PARTNERS
Diamond Level Prof E.F Juniper and Mrs Jilly Styles
Gold Level
HOLIDAY LETS
Silver Level
W E A LT H S O L U T I O N S
CORPORATE PARTNERS Addison Law Behrens Sharp The Bell Inn
Bishops Printers Chichester College FBG Investment
Joanna Williams The J Leon Group Jones Avens
Westminster Abbey William Liley Financial Services Ltd
Please get in touch for more information: cft.org.uk/support-us | development.team@cft.org.uk | call 01243 812881
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.
COMMUNITY
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
FAMILIES
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
cft.org.uk/leap
WHAT ARE YOU DOING AFTER THE SHOW? Join us in The Brasserie & Bar for relaxed drinks or late night bites. Serving a contemporary British menu featuring local and seasonal ingredients, small plates, sharing boards and delicious desserts in warm and inviting surroundings, Caper & Berry’s friendly team can’t wait to welcome you this evening. You can find us on the ground floor of the Minerva Theatre. The Bar offers an excellent choice of wines, a wide range of local ales and lagers and spirits. We will serve you at your table and last orders will be called at 9.30pm. BOOK YOUR TABLE To reserve a table for pre- or post-show dinner or drinks, visit cft.org.uk/dining, call 01243 782219 or email dining@cft.org.uk