South Pacific digital programme | Chichester Festival Theatre | Festival 2021

Rodgers & Hammerstein’s

SOUTH PACIFIC

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

WELCOME

A very warm welcome to South Pacific and the opening production of Festival 2021.

It has been nine months since a company of actors gathered together to tell an audience a story in this theatre.

It is with a deep sense of relief, gratitude and joy that we are able to do so today.

We are so proud that the work of our dedicated theatre-makers – onstage and off – can finally be shared with our returning audiences as our Theatres come back to life.

Rodgers & Hammerstein’s South Pacific was originally scheduled for Festival 2020. As the conversation between members of the creative team and actors in this programme indicates, the events of the past 16 months have brought many of this classic musical’s themes into even more pertinent focus.

It’s a joy that we’ve been able to retain so many of our outstanding cast members.

Among our wonderful creative team also making welcome returns are choreographer and movement director Ann Yee (Caroline, Or Change ), designer Peter McKintosh (Shadowlands, Guys and Dolls) and musical supervisor Nigel Lilley (Oklahoma! ).

Looking ahead, Suhayla El-Bushra’s new adaptation of Andrea Levy’s great novel, The Long Song, follows South Pacific into the Festival Theatre; while Zoe Cooper’s new play The Flock joins Martin McDonagh’s The Beauty Queen of Leenane (in a co-production with the Lyric Hammersmith) and David Storey’s Home in the Minerva.

All these plays – each with a director new to CFT at the helm – engage in varying ways with the differences that divide us: from racial prejudice to warring families, social mores and conflicting beliefs; and whether tolerance and understanding can bring us together.

We are delighted to have you back with us, and hope you enjoy South Pacific.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

LEAP

Our Learning, Education and Participation (LEAP) programme is a beacon of excellence and inspiration to our local audience, providing

ACTORS & CREATIVES INSIGHT

A new pilot project from the LEAP team, Actors and Creatives Insight, is delivering creative learning experiences to students in local schools through interactive and lively workshops, giving them an insight into different areas of the arts.

A public call-out to professionals from any discipline of the arts in the local area received an enthusiastic response from 20 talented artists. Between them, they will be leading over 100 workshops during the summer term at primary and secondary schools across the region, from Lancing to Hampshire.

The project was the brainchild of actor Edward Bennett, who appeared at Chichester Festival Theatre as Benedick in Much Ado

About Nothing and Berowne in Love’s Labour’s Lost in 2016. Edward, who now lives near Chichester, is himself delivering a number of workshops, which respond to curriculum needs – from Shakespeare for English students to directing techniques.

Other workshops on offer include technical, movement, mask, physical theatre and composing.

The project has been enabled by the government’s Culture Recovery Fund grant, helping CFT transition back to full activity, employ freelance artists and maintain our commitment to the community. We intend to evaluate and develop the project for the future.

‘I could see the confidence in the pupils building throughout the session.

They learnt vital teamwork skills and their wellbeing was significantly affected in a positive way’.

Teacher, The Academy Selsey

‘I learnt how to apply knowledge and skills from theatre to multiple real-life scenarios and roles’.

Year 10 student, Felpham Community College

COMMUNITY

opportunities for over 62,000 people throughout the year. We create and deliver practical workshops, projects and special events for everyone,

regardless of age, culture and social background, ensuring all are given an opportunity to be engaged and excited by the arts.

KEEPING YOUNG CARERS CONNECTED

Young Carers Connect is CFT’s major project to help reconnect young carers in West Sussex with vital support services, their education, fellow young carers, and creative activities.

Every day, more than 6,000 young caregivers in West Sussex under the age of 18 take on substantial responsibilities. Covid-19 left many isolated and unable to access support or their schoolwork because they couldn’t afford a computer or internet access.

After a successful fundraising appeal, CFT has now distributed 300 laptops to young carers most in need, through their schools and The West Sussex Young Carers service.

Young Carers Connect also provides internet

access, a programme of online arts activities to entertain and inspire, and safely connects young carers with each other. Free bursaries are also available to any young carer aged 5-25 in West Sussex to join their local Chichester Festival Youth Theatre group (run in nine locations across the county).

Young Carers Connect has been made possible by the generous support of The G D Charitable Trust and many private donors. To find out more, please visit cft.org.uk/young-carers-connect

‘We cannot thank CFT and all of their kind donors enough for this amazing offer.

12 of our families will be able to access online learning at home and will be able to complete all of their homework. Being part of the Young Carers Connect project also enables them to take part in virtual creative activities with CFT. What an amazing project.’

Andrew Strong, Headteacher, Portfield Primary Academy

cft.org.uk/leap

FOOD AND DRINK Enjoy delicious food and drink at our welcoming café and restaurant. Whether you’re having a meal before the show, simply relaxing with a coffee or powering up using our free Wi-Fi, we can’t wait to welcome you.

DINE BEFORE THE SHOW

GREAT COFFEE IN A GREAT LOCATION

Enjoy a contemporary British menu featuring local and seasonal ingredients, a selection of excellent wines and top-notch service in our stylish and award-winning restaurant The Brasserie – the closest restaurant to the Theatre.

A great spot for barista coffee, freshly made sandwiches, delicious cakes and a range of drinks. Our newly revamped Café on the Park is now open with extra outdoor seating overlooking Oaklands Park and new family friendly areas in our spacious foyer.

★★★★★

‘This was the first time the restaurant had opened after lockdown. The staff obviously delighted to be back, and the food excellent’.

Richard B, via Bookatable 2020

Open Monday to Friday from 10am and from 9am on Saturday so ParkRunners can stop by for much needed refreshment.

Visit cft.org.uk/eat for opening times, reservations, menus and more.

Rodgers & Hammerstein’s

SOUTH PACIFIC Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener

RUBBING THE CONN

WIRES CLE

NECTING

EAN

South Pacific was originally programmed for 2020. One year on, and two weeks into rehearsals, we sat down with director Daniel Evans, choreographer and movement director Ann Yee, and actors Julian Ovenden, Gina Beck and Joanna Ampil to discover how they were approaching this new production.

How does it feel to be rehearsing a show again?

DE Having to make the show within Covid guidelines is a singular challenge. Everyone is doing daily testing; Ann is choreographing people in masks. Singing in visors means the actors can hear themselves very loudly but sound to us as though they’re in a booth. But I’m really proud of how the whole team has dealt with it. Making theatre again is possible!

GB Apart from the circumstances, which aren’t ideal, it is a little bit – for me – like a rebirth.

It’s obvious how much I’ve missed it.

JA I was performing Cats in South Korea, and to constantly work throughout the pandemic was really a blessing. You never take it for granted any more. We had to adjust things to the new normal, with audiences and performers wearing masks, so this is not new to me now.

Have the events of the past year led you to approach South Pacific in a different way than you would have done a year ago?

JO Some of the really important themes in the show – racism, globalism versus nationalism, isolation, gender, the idea of what home is – have all become front page news over the past 16 months.

DE The events of the last year have brought many of the challenges and themes into greater focus, both in a way that’s pertinent and perhaps that requires us to be even more careful in our navigation of some of the material. Firstly, Black Lives Matter as a movement was obviously accelerated and amplified because of what happened in Minneapolis; so historic issues around race

DANIEL EVANS ANN YEE

and racial injustice have become part of everyday public discourse. And then the direct correlation between what Donald Trump named coronavirus, and the rise of anti-Asian hate crimes against people of Chinese origin. So yes, while we’re setting the piece in its period, it’s important that we also recognise that we’re making the work for today.

AY I feel less like it’s changed my approach than it’s made room for my approach. When Daniel initially approached me, I was very vocal about the conversations we needed to have, and he was very open in saying ‘I want that conversation’. I feel like there’s a tremendous contingent of artists who have been trying to shift the dialogue, be a part of and in charge of that space for a long time. It’s still not enough, but at least we’re starting.

DE A lot of public discourse at the moment, mainly because of the influence of certain international leaders, encourages division which – particularly in the realm of social media platforms – brings about a very binary debate.

So when you have a piece like this which is full of contradictions and complications, it’s important that we bring those complications to the fore as much as possible.

JO I think great drama exists in paradox. This piece is beautifully constructed because Nellie, the heroine of the show, who sings some of the

GINA BECK JULIAN OVENDEN

most gorgeous music ever written, turns out to be a racist. My character, Emile, seems to espouse an enlightened view of race but he also runs a plantation. So how do you deal with that?

DE In Joe Cable, we have an educated, privileged Princeton graduate who, due to the pressure of his conservative heritage and the history of his country’s racist marriage laws, decides that he can’t marry the person he falls in love with because she’s Tonkinese. The piece is asking us to deal with the complications and contradictions within and without us. That goes directly against what the public, political discourse is encouraging with its binary right or wrong. That’s one of the reasons I think this piece has a place specifically at this moment.

GB Nellie is a very interesting character for me.

It’s a hard pill to swallow that she has such a significant flaw. But it’s about understanding that she’s never been educated to think anything different – it’s so deeply ingrained that she can’t even choose love over this feeling of hatred and fear.

JA We’re constantly experimenting and exploring. Bloody Mary was one of those roles I never thought I could play. But Daniel convinced me that it was going to be seen with a different perspective, and that the piece is more relevant than ever.

AY I feel strongly that it’s not the characters, per se, that’s the problem. It’s the way the characters have been interpreted historically.

What’s important is that the lens that has been put on these characters needs to be shifted.

DE Regarding Mary, going back to James Michener’s original book, you realise that at the heart of one of the stories is a mother who is prepared to do anything – sell anything – to ensure a better future for her daughter.

That became the driving force for Bloody Mary’s character.

One of the very first conversations I had with Ann was about Liat, who doesn’t speak very much text. We were aware of the tropes JOANNA AMPIL

of other works, where a younger, Asian female is portrayed as a coy, wordless character who lacks narrative agency. So without giving too much away, Ann had this brilliant idea that perhaps Liat’s language is not the language of words, it’s a physical language.

For me at least, the piece is also significantly about class and gender. In Act One, you have the men singing ‘Nothing Like a Dame’ and the women singing ‘Wash That Man Right Outa My Hair’. In the Act Two Thanksgiving Follies, the finale is a double drag act: male and female. Again, it feels like this is part of the theme of cultural difference which is explored deeply within this piece.

How does Rodgers & Hammerstein’s glorious score mesh with these themes?

DE While we’re not changing a single word or note of what R&H wrote, we’re rearranging some of the orchestrations. I hope we are refreshing the material – rubbing the connecting wires clean so they can spark.

GB In our first scene, Julian and I sing three different songs which are repeated throughout the show. Nigel [Lilley, musical supervisor] explained that Nellie only uses a very narrow range of notes in the beginning. The musical writing about our own thoughts and experiences is very contained; it’s only when she feels this love she’s never felt before that the arc and range of the songs becomes much more dramatic, expressive and heightened.

JO One of the great joys of good musicals, and this is a masterpiece, is that the music gives a level of consciousness that isn’t afforded in a play. You have another depth, another texture.

So you can be saying something but the music will be telling you something else. There have

been some very fine productions that are faithful to the text and the period; but I think Daniel and Ann and Nigel want to do something different, not for difference’s sake, but there is another South Pacific that exists for 2021.

JA Giving voice to the ones who were not heard before, which is great.

DE I think we should recognise that at the time, Rodgers & Hammerstein were both politically active. People told them to cut ‘You’ve Got To Be Carefully Taught’; Hammerstein refused, and Michener agreed with him. So I think they were probably going as far as they could for a populist, Broadway theatre. And after the 72 intervening years, we have a duty to go further, because our worlds are different to theirs, thankfully. Though unfortunately, some things haven’t changed enough.

Ultimately what do you hope audiences take from this production?

JA Awareness. And to talk about it as they leave the theatre.

JO As much as I want everyone to be humming the tunes and hopefully be moved by the whole endeavour – especially after the 27,000 Covid tests we’ll have done by that first preview! – part of being moved, hopefully, is that the world has changed and wherever you come from, we have a responsibility to call things out. What’s important, who’s important?

GB What choices do I make?

AY I would like them to be refreshed and renewed. And I would like them to be able to look into a mirror and see things they couldn’t see before but also to see a way to embrace that, live with it and make it better. That’s a lot to ask from a piece but you say ‘hope’.

DE We can give them the glories of this score and the drama of this story, and also the

challenge of the politics behind both. I think it’s the sign of great work that it can withstand new centuries and new decades, and can be reinterpreted and refreshed. Constantly in rehearsals, I’m finding lyrics or situations that I feel are directly speaking to now. Emile has a line where he says ‘I know what you’re against.

What are you for?’. I hope the meeting of this piece with this particular time will be fruitful.

Visit cft.org.uk/south-pacific to read an account of the rise in anti-Asian hate crime by writer and journalist Zing Tsjeng.

RODGERS & HAMMER In South Pacific: Paradise Rewritten, Jim Lovensheimer explores the historical context of Rodgers & Hammerstein’s writing and their own political involvement. This article is drawn from his book.

Before the lyricist Oscar Hammerstein and composer Richard Rodgers joined forces on their first musical Oklahoma! in 1943, earlier works by each man reveal that, even before their collaboration, both were unafraid of political and social topics. Hammerstein’s serious treatment of racism in Show Boat, for instance, is virtually unprecedented in the musical theatre of the time, while the political satire of Rodgers and Hart’s I’d Rather Be Right is light-hearted, if sometimes biting.

RICHARD RODGERS OSCAR HAMMERSTEIN II

Such onstage topicality, in addition to offstage comments and activities, occasionally brought both men to the edge of political safety before, during and after World War II and into the Cold War era.

Hammerstein’s political activity began in earnest during his sojourn in Hollywood from 1935. In June 1936, he became a founding member and executive council member of a new group that called itself the Hollywood League against Nazism (informally shortened to the Hollywood Anti-Nazi League), which was founded in part to raise consciousness about the growing threat posed to the free world, and to the United States in particular,

by Hitler and the Third Reich.

The League was also a reaction to the

RSTEIN: IN CONTEXT organized Nazi sympathisers and Aryan supremacists who became active all over the United States as soon as Hitler came to power in 1933. These groups produced vast amounts of written and broadcast propaganda accusing Jews of being communists, communist sympathizers, and/or threats to the physical and moral wellbeing of white Americans. A document pertaining to the influx of Nazi thought and activity in the US among Hammerstein’s papers noted: ‘The American Labor Party, with a strong anti-Semitic, antiNegro, anti-communist program... is preparing to drill as many men as possible for future enlistment into the National Guard. The purpose being the establishment of a group of trained ‘storm troopers’ who can fight

should the occasion arise.’

Hammerstein became head of the cultural commission for the League and organized broadcasts, newspaper articles, and short informational films about the menacing threat posed by the Nazi regime. Within six months, the cultural commission was broadened to create an “interracial commission”, which Hammerstein also chaired, to “combat racial intolerance and thus combat Nazism, which uses intolerance to attain power”.

Despite his political activism, Hammerstein was unhappy in Hollywood and moved back to New York in autumn 1938. In August 1939, around the time the Soviet Union and Germany signed the Nazi-Soviet Pact (outraging many Western liberals), Hammerstein withdrew

from the League – by then known as the Hollywood Peace Forum and closely scrutinized by the FBI. Anti-Semitism informed much of the anti-communist fervour of the late 1930s and early 1940s, the residual effect of which eventually reached Hammerstein.

“You do not protect rights by abrogating them.”

In 1953, four years after the opening of South Pacific, when he sought to renew his passport, Hammerstein was told that the Passport Division of the Department of State had information “that reflected on his loyalty to the United States”. In order to be given an unlimited passport – he was approved for only a six-month passport – he would have to write and file a personal statement refuting the charges against him and demonstrating his loyalty. At first enraged, Hammerstein eventually wrote the document. One of the statements he wrote in his rebuttal resonates as powerfully HOLLYWOOD ANTI-NAZI LEAGUE FLIER, 1936

in the early twenty-first century as it did in the mid-twentieth: “You do not protect rights by abrogating them.”

Richard Rodgers described 1932’s The Phantom President, his third film project with lyricist Lorenz Hart, as “a satirical musical concerned with political skulduggery during a presidential campaign”. Its dismissive reception was shared by their next film with socially satirical content: Hallelujah, I’m a Bum, which dealt with homeless victims of the Depression who lived in Central Park. After the success of Jumbo and On Your Toes, however, Babes in Arms (1937) marked their return to politically and socially sensitive subject matter.

Unlike the 1939 film of Babes in Arms which retained only two songs and none of the script, or the drastically rewritten 1959 version, the original show is described by Andrea Most (in her book Making Americans) as revealing “a sensibility deeply informed by the cultural, political, and theatrical events of the decade” through a story about the children of unemployed vaudeville performers. “The group believes in equal opportunity, regardless of race, religion, or ethnicity, and in hard work as the ticket to success... [The show] makes open statements about black civil rights... [and the] community is defined most overtly by its respect for diversity and tolerance of difference.”

Despite problematic representations of the African American characters in the show, who “appear as performers in stereotyped roles that are enclosed within the world of the stage”, Babes in Arms demonstrates what Most defined as “a uniquely American theatrical form which demands that the American musical, and implicitly America itself, live up to the ideals of liberal capitalism”. Those ideals were important to Rodgers and Hart, who went on to collaborate with George S. Kaufman and Moss Hart on another stage satire called I’d Rather Be Right, which took on the sitting president.

Rodgers has insisted that all four writers “were ardently pro-FDR”, but they saw great comic potential in the varied and sometimes controversial programs of the Roosevelt administration. Although the New Deal offered many targets for satire, few of which were overlooked by the writers, the result was

a spoof that was good-natured, sympathetic, and always within the creators’ liberal social consciences. Rodgers later commented that “every song was written to express some viewpoint on major topics of the day.”

South Pacific (1949) was Rodgers and Hammerstein’s fourth Broadway musical (following Oklahoma!, Carousel and Allegro), and it was the first to contain any kind of overt political message. Hammerstein remained politically active while writing these shows with Rodgers. Although he left the Anti-Nazi League in Hollywood, for instance, he became active in the wartime Writers’ War Board, which attacked domestic social conditions that its members viewed as antithetical to the ideals that Americans were fighting, and dying, to preserve. As a passage from a WWB annual report makes clear: “Throughout 1944 the Board’s basic function has continued to be the fulfilment of requests for all kinds of writing required to win the war. The Board has also continued to concern itself with the nature of the Japanese and German enemy, and with the rising tide of prejudice against racial, religious, and other groups here at home.”

Much of the social transformation he sought was not accomplished until after his death.

Other WWB articles among Hammerstein’s papers state unequivocally that US citizens harbouring racial prejudice against other Americans are enemies of the United States.

Hammerstein’s drafts and sketches for 2.4 of South Pacific, in which the characters climactically confront their racial intolerance, are especially reminiscent of these equations of American bigotry with the attitudes of the enemy. Indeed, much of what Hammerstein and others wrote for the WWB is noticeably similar in content, and sometimes in phrasing, to Hammerstein’s preliminary versions of this powerful scene, thus indicating the lingering effect of the WWB on Hammerstein’s first post-war work.

From the late 1940s until the end of his life, Hammerstein was a member of the NAACP [National Association for the Advancement of Colored People] and active on its board of directors, as well as several organizations which all reflected his vision of internationalism.

He died only eleven years after South Pacific opened, and much of the social transformation he sought with his work and his life was not accomplished until after his death. For instance, he never lived to see the passage of the Civil Rights Act or the Voting Rights Act, although his pleas for tolerance in South Pacific anticipated these events and are perhaps even more powerful when considered, or reconsidered, in relationship to them. That its entreaty for racial tolerance is still necessary suggests that it will retain its dramatic relevance for years to come.

Jim Lovensheimer’s South Pacific: Paradise Rewritten (2010) is published by Oxford University Press. Extracts reproduced with permission.

The following quotes are taken from James A. Michener’s Pulitzer Prize-winning novel, Tales of the South Pacific, which was based on the stories he collected while stationed with American troops on Espiritu Santo in the New Hebrides (now Vanuatu), on their way to join the fight against the Japanese forces during World War II.

..

Pacific. e South h t t u o b ll you a could te t I wish I he way i cific. T a P h t u o o of c ral the S e specks ou about t y i n l i l f e n t i ward could . The fully to ss ocean I wish I ng grace he endle i T d d . o inner s n a w s n ray, a d ut palm p n s actually o c o o t C n i . s oke d island tell you waves br we calle I could on which h p s u i w s f I e e . n. R ind the iption the ocea sing beh nd descr i o r y e n b o o y m l love full imeless, le, the lagoons, g, the t ing jung n t i a t e i w a s w e e Th about th waiting. and the , s e o n a c vol ng. ve waiti repetiti

e existenc t their u o h g u o r Th eign and of a for e g d e e h ed on t e, perch ng jungl e forbiddi h t of the edge d right on men live , n ss ocea e l t n . e s l n e r nditio tense co y l h g i h in rifying imes ter t e m o s s It wa l hunger he menta t e e s o to me t ced for experien n e m ds. t a th he islan hip in t s n o i n a p com

e hut The sun rose. Th began to became humid. We hear the sweat. We could in little metal expanding n always crackles. New me in, but ra thought it was Then you it was the sun. g to be knew it was goin a hot day. nal. ing for Guadalca w Caledonia wait iting wa al You rotted on Ne ad ay on Gu twenty pounds aw d te ea sw u yo Then . for Bougainville nning sores from me. Malaria. Ru ti e th at ck si blisters that We were all ed with little ug go ts pi m Ar their heavy sweating. d open sores on l holes. Some ha al sm ft le d an broke le rot. wrists. The jung

PHOTOS OFTHE US NAVY, ESPIRITU SANTO, 1940s

Rodgers & Hammerstein’s

SOUTH PACIFIC Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener

CAST Ensign Nellie Forbush Emile de Becque Bloody Mary Lt Joseph Cable Seabee Luther Billis Liat Captain George William Brackett Commander William Harbison Professor Stewpot Lead Nurse / Radio Operator Marcel, Bloody Mary’s Assistant / Seabee Juanito P Edora Henry / Seabee Reginald Leone Ensign Dinah Murphy Ensign Cora MacRae Ensign Janet MacGregor Lt J.G Bessie May Sue Ellie Yaeger Ensign Marie Louise Brown Ensign Lillian Keir / Dance Captain Ensign Margaret Brooke / Onstage Swing Ensign Mary-Grace Mahoney / Onstage Swing Yeoman Herbert Quayle Seabee Eugene O’Brien / Lt Buzz Adams Seabee Billy Belmont Sergeant Thomas Hassinger / Seabee Walter Quayle Seabee Buckley Johnson Sergeant Leon Francis Johnson / Seabee Victor Price Seabee John Paul Jones Seabee Raymond Thompson Jr. / Onstage Swing Seabee Marco Messina / Onstage Swing Seabee Jim Rose / Onstage Swing Children Jerome Ngana

Gina Beck Julian Ovenden Joanna Ampil Rob Houchen Keir Charles Sera Maehara David Birrell Adrian Grove Danny Collins Carl Au Rachel Jayne Picar Iroy Abesamis Shailan Gohil Kate Playdon Melissa Nettleford Bobbie Chambers Rosanna Bates Amanda Lindgren Clancy Ryan Lindsay Atherton Charlotte Coggin Zack Guest Pierce Rogan James Wilkinson-Jones Matthew Maddison Taylor Bradshaw Cameron Bernard Jones Leslie Garcia Bowman Oliver Edward Sergio Giacomelli Charlie Waddell

Archer Brandon / David Ngara-O’Dwyer / Alexander Quinlan Ellie Chung / Lana Lakha / Kami Lieu

Director Set and Costume Designer Choreographer and Movement Director Musical Supervisor Musical Director New Orchestration Original Broadway Orchestration Lighting Designer Sound Designer Video Designer Additional Arrangements and Happy Talk Orchestrations Casting Director Additional Children’s Casting Voice and Dialect Coach Costume Supervisor Props Supervisor Hair, Wigs & Make-Up Assistant Director Associate Choreographer Associate Choreographer Assistant Musical Director Assistant Costume Supervisor Military Advisor

Charmian Hoare Yvonne Milnes Robin Morgan Carole Hancock Bobby Brook Michael Jagger Michela Meazza Jon Laird Rosemary Elliott-Dancs Brigadier (Retired) Nicky Moffat CBE

Production Manager Company Manager Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager / Book Cover Assistant Stage Manager Cover Covid Officer House Parents Chaperones

Tutors

Daniel Evans Peter McKintosh Ann Yee Nigel Lilley Cat Beveridge David Cullen Robert Russell Bennett Howard Harrison Paul Groothuis Gillian Tan Theo Jamieson Charlotte Sutton CDG Verity Naughton CDG

Ben Arkell Suzi Blakey Matt Watkins Andrew Reed Isobel Eagle-Wilsher Maikel Bellanco Emily Williamson Emma McKie

Charlotte Morling, Laura Morling Ella Bassett, Jennifer Beadle, Tracy Clayton Mia Cunningham-Stockdale, Ellie Edwards, Emily McAlpine Janette McAlpine (Head Chaperone), Rebecca Stuckey Anna Pope, Stuart Morris

The story takes place in the South Pacific during World War II. There will be one interval of 20 minutes.

ORCHESTRA Musical Director Keyboard 3 / Assistant Musical Director Keyboard 1 Keyboard 2 / Deputy Conductor Double Bass Percussion and Drums Violin Viola Cello Harp Flute / Piccolo / Alto Saxophone and Ethnic Flutes Clarinet and Tenor Saxophone Bassoon French Horn Trumpet Trombone Orchestral Management

Music Technology Copyist Assistant Musical Director (cover)

Cat Beveridge Jon Laird Dan Jackson Jill Farrow Nicki Davenport Matt French Kathryn James Rachel Steadman Llinos Richards Cecilia de Maria Sue Phipps Duncan Ashby Lully Bathurst Richard Bayliss Fraser Tannock James Adams

Andy Barnwell for Musical Co-ordination Services Ltd Phij Adams and Lucy Baker-Swinburn Thomas Duchan Brendan McCormack

First performance of this new production of South Pacific at Chichester Festival Theatre, 5 July 2021.

South Pacific is presented by arrangement with Concord Theatricals Ltd on behalf of The Rodgers & Hammerstein Organization www.concordtheatricals.co.uk The videotaping or making of electronic or other audio and/or visual recordings or streams of this production is strictly prohibited, a violation of United Kingdom Copyright, Designs and Patents Act 1988 and an actionable offence.

Chichester Festival Theatre would like to thank the following companies for their long-standing commitment to South Pacific during the last year, honouring contracts despite the circumstances presented by the pandemic. We are extremely grateful for their support: Set-Up (Scenery); Absolute Motion Control; Bower Wood Production Services; Freedom Flying; Michael Whiteley; Richard Nutbourne Scenic Studio.

Assistants to the Designer Ben Davies, Katie Unsworth-Murray, Jack Valentine; Costume makers Jane Grimshaw, Jane Temple, Amanda Barrow, Anne Nichols, Mark Costello, Phil Reynolds, Pat Farmer, Robbie Gordon; Hat Maker Mark Wheeler; Pilot Helmet Maker Robert Allsopp; Costume Hires Angels Costumiers; Dyeing Nicola Killeen Textiles; Alterations and breaking down Helen Flower, Colette Tulley; Prop Makers Aaron Merriman, Caroline Perry; Prop Scenic Artist Sarah Crane; Props transport Edwin Shirley Transport; Wigs by HUM Studio; Lighting hires Encore Lighting; Sound hires Creative Technologies; Transport Paul Mathew Transport; Production Carpenters Steve Bush, Jon Barnes; AV Programmer Luigi Sardi; AV Technician Dan Bond; Copyist James Humphries; Singing lessons Mark Meylan; RADA work placement Dylan Marsh; Rehearsal room Jerwood Space; Casting Assistant Monica Siyanga.

Thank you to RB Health & Safety Solutions, Executive Carriage Group, RADA & RADA Video Department for the loan of a media server, Regent’s Park Open Air Theatre, Erik Paulson. With special thanks to Ted Chapin, John Lippiett.

This production was made in strict accordance with government Covid-safe guidelines.

Rehearsal and production photographs by Johan Persson Programme Associate Fiona Richards Programme design by Davina Chung

MUSICAL NUMBERS ACT ONE Prologue Dites-Moi A Cockeyed Optimist Twin Soliloquies Some Enchanted Evening Finaletto Bloody Mary There is Nothin’ Like a Dame Bali Ha’i Cable Hears Bali Ha’i My Girl Back Home I’m Gonna Wash That Man Right Outa My Hair Some Enchanted Evening (Reprise) I’m in Love with a Wonderful Guy Bali Ha’i (Reprise) Younger Than Springtime I’m in Love with a Wonderful Guy (Reprise) This is How it Feels Emile’s Encore Finale ACT TWO Opening Happy Talk Younger than Springtime (Reprise) Honey Bun You’ve Got to be Carefully Taught This Nearly Was Mine Communication Discontinued Dites Moi (Reprise)

Ngana, Jerome Nellie Nellie, Emile Emile Ngana, Jerome Marines, Seabees Marines, Seabees Bloody Mary, Billis Cable Nellie, Cable Nellie, Ensigns Nellie, Emile Nellie, Ensigns Islanders Cable Nellie, Emile Nellie, Emile Emile Emile

Bloody Mary Cable Nellie, Billis, Seabees, Ensigns Emile, Cable Emile Nellie Nellie, Emile, Ngana, Jerome

Supported by the South Pacific Commissioning and Patron Circles: Chris Bourne, Rosalind Bowen, Patrick and Maggie Burgess, Caroline and Malcolm Butler, CS and M Chadha, Anthony Clark, Karen Coburn, Veronica J Dukes, Steve and Sheila Evans, Gary Fairhall, Themy Hamilton, Anne and Eddie Hazel, Jammy Hoare, Colin and Gay Kaye, Roger Keyworth, John and Chrissie Lieurance, Vaughan and Sally Lowe, Dr and Mrs Nick and Sue Lutte, Maggi and Roger Marshall, Caroline Nelson, Peter and Sally Nicholson, William and Penny Plant, Lindy Riesco, David and Sophie Shalit, Katherine and Greg Slay, Peter and Lucy Snell, Strange/Sayers Families, Howard M Thompson, Humphrey van der Klugt, Bryan Warnett of St James’s Place, Ian and Alison Warren, Ernest Yelf and all those who wish to remain anonymous.

Sponsored by

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ChichesterFT

BIOGRAPHIES

IROY ABESAMIS Marcel, Bloody Mary’s Assistant / Seabee Juanito P Edora Theatre includes The King and I (UK and international tour); Miss Saigon (UK and international tour). He was part of the opening team of Hong Kong Disneyland and spent over ten years performing in Festival of the Lion King and Mickey and the Wondrous Book.

Trained at Philippine High School for the Arts and the University of the PhilippinesDiliman.

Instagram @_iroyabesamis JOANNA AMPIL Bloody Mary Theatre includes Grizabella in Cats (UK, European, Middle East, Asian, 40th Anniversary tours); Mary Magdalene in Jesus Christ Superstar in Concert (Japan); Jenna in Waitress GINA BECK

(Manila); Defying Gravity (Sydney); The Sound of Musicals (UK tour); Francesca Johnson in The Bridges of Madison County (Manila); Nellie Forbush in South Pacific in Concert (Manila); West End Women (UK tour); Maria in The Sound of Music (Manila); Thanh in The Real Love (Los Angeles premiere); Blue Fairy in Pinocchio (Singapore); Christmas Eve in Avenue Q (Noël Coward Theatre/Gielgud Theatre); Maria in West Side Story (Manila); Heidi in Sing! (Union Theatre); June in Musical of Musicals (Sound Theatre); Mimi in Rent (European tour); Sheila Franklin in Hair (Gate Theatre); Fantine in Les Misérables (Palace Theatre/Queen’s Theatre/Windsor Castle concert); Eponine in Les Misérables (Palace Theatre/Odyssey Arena concert); Mary Magdalene in Jesus Christ Superstar (Lyceum Theatre); Kim in Miss Saigon (Theatre Royal Drury Lane / Australian premiere/UK tour premiere/10th Anniversary performance).

Television: Call Me Tita, Maalaala Mo Kaya’s ‘Kadena’, Ang Babae Sa Septic Tank 3, Broken News, Mummy Autopsy, The Quest.

Film: One Day, Ang Larawan ‘The Portrait’ (Best Actress - Metro Manila Film Festival, Star Awards, Gawad Pasado, Luna, Gawad Tangi, Guillermo Award, Urduja, Gawad Urian).

Recordings: Miss Saigon (The Complete Symphonic Recording), Jesus Christ Superstar (1996 London Revival Cast), Ang Larawan (original soundtrack), The Postman and the Poet (Concept Cast), Joanna Ampil (JAY Records), Try Love (Sony Music), Joanna Ampil (VIVA Records). www.JoannaAmpil.com Instagram @JoAmpil Facebook Joanna Ampil Twitter @JoannaAmpil

JULIAN OVENDEN

LINDSAY ATHERTON Ensign Margaret Brooke / Onstage Swing Previously at Chichester Virginia in Oklahoma!

(Festival Theatre).

Theatre includes Dance Captain in Berlin Berlin (European tour); Young Carlotta in Follies (National Theatre); Flashdance (international tour); Tammy in Hairspray (UK tour); Starlight Express (Bochum Germany); Cats (London Palladium/Blackpool Winter Gardens); Zelda Zanders in Singin’ in the Rain (Upstairs At The Gatehouse); Golda Linska in Korczak (Rose Theatre Kingston); The Olivier Awards (Theatre Royal Drury Lane); Kerry Ellis In Concert (London Palladium).

Radio includes Friday Night Is Music Night.

Films include the short Post H. Trained at Dance School of Scotland and ArtsEd London.

CARL AU Stewpot Theatre includes High Fidelity (The Turbine Theatre); Bobby Willis in Cilla The Musical (UK tour); Ostrich Boys (Belgrade B2 Theatre); Bright Phoenix (Liverpool Everyman); Joe Pesci in Jersey Boys (Prince Edward Theatre); Bells Are Ringing (Union Theatre); The Fantasticks (Duchess Theatre); Dance: Radio (DryWrite, York Theatre Royal, The Roundhouse London); A Christmas Carol (Birmingham Repertory Theatre); Sleeping Beauty (Oxford Playhouse); High School Musical (Hammersmith Apollo); Robin Hood & Babes in The Wood (Pavilion, Bournemouth); Pendragon (UK and Japanese tour with NYMT).

Concerts include Barbara Cook and Friends (London Coliseum); Good Thing Going (Cadogan Hall).

Television includes Waterloo Road,

The Lost Sitcoms: Till Death Us Do Part, Doctors, Casualty.

Carl was a featured dancer at the 2009 Brit Awards, and a contestant for Let’s Dance for Comic Relief. He was a winner at The Merseyside Singer of the Year, and the winner of the inaugural Stephen Sondheim Prize for Student Performer of the Year.

ROSANNA BATES Lt J.G. Bessie May Sue Ellie Yaeger Theatre includes Jess in A Christmas Carol (The Old Vic, 2018 and 2020); Factory Worker in Les Misérables The Staged Concert (Gielgud Theatre); Young Emily in Follies (National Theatre revival); Swallow/Cheryl Stoat in The Wind in the Willows (London Palladium); Chitty Chitty Bang Bang (West Yorkshire Playhouse and national tour); Liza in Seven Brides for Seven Brothers (Regent’s Park Open Air

ARCHER BRANDON ELLIE CHUNG KAMI LIEU DAVID NGARA-O’DWYER ALEXANDER QUINLAN LANA LAKHA

Theatre); Lisa in Mamma Mia! (Novello Theatre); Les Misérables (Queen’s Theatre); title role in Cinderella (Lighthouse Theatre Poole); The Three Phantoms (China tour); The Olivier Awards (Theatre Royal Drury Lane).

Radio includes Friday Night is Music Night (BBC Radio 2).

Trained at ArtsEd. GINA BECK Ensign Nellie Forbush Theatre includes Miss Honey in Matilda (Cambridge Theatre/West End); Magnolia in Show Boat (West End/Sheffield Theatres); Glinda in Wicked (Apollo Victoria/US tour); Christine Daae in The Phantom of the Opera (Her Majesty’s Theatre); Cosette in Les Misérables (Queen’s Theatre); The Elf Who was Scared of Christmas (Charing Cross Theatre); I Love You You’re Perfect Now Change (Arts JOANNA AMPIL

Theatre); Jacques Brel is Alive and Living in Paris (Charing Cross Theatre); Bathsheba in Far From the Madding Crowd (Watermill Theatre); Letitia in The Belle’s Stratagem (Southwark Playhouse); Maria in The Sound of Music (Malaysia); Wendy Darling in Peter Pan (Birmingham Rep); Kate Hardcastle in The Kissing Dance (Jermyn Street Theatre); Rebecca in Imagine This (Theatre Royal Plymouth).

Opera includes Lolo in The Merry Widow (Carl Rosa Opera); Chorus in Madama Butterfly (Opera Holland Park); Chorus in Ruddigore (The Gilbert & Sullivan Co).

Television includes Doctors, The Return of Sherlock Holmes, The Crust.

Films include Les Misérables.

Twitter @gina_beck

DAVID BIRRELL Captain George William Brackett Theatre includes The Whip, A Museum In Baghdad, King John, The Venetian Twins, Love’s Labour’s Lost, Moby Dick, The Tempest, Murder in the Cathedral, Hamlet, Columbus, Romeo and Juliet (RSC); Describe The Night (Hampstead Theatre); The Shadow Factory (NST City, Southampton); The Threepenny Opera, Talking Heads, Educating Rita (Bolton Octagon/Derby Theatre); The Wind in the Willows (Theatre Royal Plymouth and tour); The War Has Not Yet Started (Drum Theatre, Plymouth); An Enemy of the People (Best Supporting Actor, Manchester Theatre Awards), The Family Way, Journey’s End (Best Supporting Actor, Manchester Theatre Awards), all at Bolton Octagon; The Death of King Arthur Sam Wanamaker Playhouse); Peter Pan, A Midsummer Night’s Dream, Ragtime KEIR CHARLES AND COMPANY

(Regent’s Park); The Last Days of Troy (Royal Exchange/Shakespeare’s Globe); Sweeney Todd (Best Actor nominee, Manchester Theatre Awards; Best Performance in a Musical nominee, UK Theatre Awards: Leeds Playhouse/ Royal Exchange/WNO); A Little Night Music (Guildford/West End); Company (Sheffield Crucible); Passion, Grand Hotel (Donmar); Sweeney Todd (Best Performance in a Musical, UK Theatre Awards; Best Actor, Scottish Critics’ Awards: Dundee Rep/National Theatre of Scotland); The Secret Garden, Hapgood, Peter Pan (Birmingham Rep/Leeds Playhouse); The Real Thing (Salisbury Playhouse); Spamalot (original West End cast); Henry V (Propeller); Oh! What A Lovely War (National Theatre).

Television includes Silent Witness, Vera, Holy Flying Circus, Midsomer Murders, Buried, Angels, The Royal.

Radio includes numerous plays and

readings for BBC Radio 3 and 4.

Trained at Bristol Old Vic Theatre School.

LESLIE GARCIA BOWMAN Seabee John Paul Jones Theatre includes Charles Lee in original London cast of Hamilton (Victoria Palace); Assistant Dance Captain in Thriller Live (Lyric); Snowboy in West Side Story (Royal Exchange Manchester); West End Heroes (Dominion); Snow White and the Seven Dwarves (Richmond); Sleeping Beauty (Aylesbury Waterside Theatre).

Television and film includes High Strung: Free Dance, Ant & Dec’s Saturday Night Takeaway, A League of Their Own. Trained at Laine Theatre Arts.

Instagram @lesliegbowman Twitter @lesliegbowman

TAYLOR BRADSHAW Seabee Buckley Johnson Theatre includes Eddie in Mamma Mia! (Novello Theatre). Credits whilst training include Newsies, Once On This Island, Up Next (National Theatre), The Olivier Awards (Royal Albert Hall).

Trained at ArtsEd (graduated in 2019).

ARCHER BRANDON Jerome Theatre includes Child/Tree in Shoe Lady (Royal Court).

Television includes Hold the Sunset, Parental Guidance pilot.

Film: Bloomberg Climate Exchange Radio: Child/Tree in Shoe Lady.

Archer trains at Take Flight Academy of Performing Arts and attends school in London.

BOBBIE CHAMBERS Ensign Janet MacGregor Theatre includes Deb in Ordinary Days (The Theatre Café).

Credits whilst training include Kate in The Wild Party, Mrs Woods in Legally Blonde (ArtsEd); Let’s Face the Music, BBC Proms: On the Town, The Olivier Awards (Royal Albert Hall).

Trained at ArtsEd. KEIR CHARLES Seabee Luther Billis Previously at Chichester Chris Tarrant in Quiz (Minerva Theatre and West End; Olivier Award nomination).

Theatre includes The Lottery of Love (Orange Tree Theatre); A Christmas Carol (Noël Coward Theatre); Arden of Faversham, The Roaring Girl, The White Devil, The Merchant of Venice, The Taming of the Shrew, The Tragedy ROB HOUCHEN

of Thomas Hobbes (RSC); Mydidae (DryWrite/ Soho Theatre and Trafalgar Studios); Silly Kings (National Theatre of Wales); The Winter’s Tale (Sheffield Crucible); In a Garden, Red Light Winter (Theatre Royal Bath); Kursk (Sydney Opera House and Young Vic); Grand Guignol (The Drum Theatre); Elling (The Bush/Trafalgar Studios); On the Piste (Birmingham Rep); Pool (No Water) (Frantic Assembly); Incomplete and random acts of kindness (Royal Court); Baal (Young Vic); Romeo and Juliet (Liverpool Playhouse); Cadalac Ranch (Soho Theatre); Eye Contact (Riverside Studios); Keepers (Hampstead Theatre); Sunday in the Park with George (National Theatre); Oliver! (UK tour).

Television includes Back to Life, Stephen, Silent Witness, Flesh and Blood, The Salisbury Poisonings, Flack, Quiz, The End of the F***ing World, A Confession, Giri/Haji, Breeders, Casualty, Comic Relief Actually, The Moorside

Project, Doctors, Drifters, Quick Cuts, Watson & Oliver, Kate and William, EastEnders, Fear of Fanny, Green Wing, Holby City, HG Wells, Our Hidden Lives, The Bill, Silent But Deadly, Attachments, Ed Stone is Dead, Band of Brothers.

Radio includes Someone Dangerous, Pandemic, Intent to Supply.

Films include Horrible Histories The Movie, Dead in a Week (Or Your Money Back), Man Up, Across the River, Kursk, Black Pond, Love Actually, High Heels and Low Lifes.

Trained at Central School of Speech and Drama.

ELLIE CHUNG Ngana Ellie takes courses at Sylvia Young Theatre School in London. This is her professional stage debut.

SERA MAEHARA

CHARLOTTE COGGIN Ensign Mary-Grace Mahoney / Onstage Swing Theatre includes Remembering the Oscars (Remembering Icons); Guys and Dolls (Crucible Theatre); Bodyguard (UK tour and Vienna); Rip It Up the 70s, Liat in South Pacific in Concert, Grease (UK tour); Mamma Mia! (Royal Caribbean Productions).

She was a dancer in Passenger’s Remember to Forget; Self Esteem’s In Time and Eurovision music videos; as well as at the Brit Awards After Party (O2 Arena).

Films include Princess Switch 3: Romancing the Star.

Trained at Urdang Academy.

Instagram @charlottecoggin Twitter @charlotte_cog

DANNY COLLINS Professor Theatre includes Mercutio in Romeo and Juliet, Early Adventures, The Car Man, George Monroe in Edward Scissorhands, Sleeping Beauty, Prentice in Play Without Words, Fritz in Nutcracker!, Cinderella, Swan Lake (New Adventures); Sweet Charity (Nottingham Playhouse); Amos Scudder in Barnum (Menier Chocolate Factory); Frank Shultz in Show Boat (New London Theatre); 42nd Street (Théâtre du Châtelet, Paris); Dr Jekyll in Jekyll and Hyde (The Old Vic, National Dance Award nomination for best performance); Martini in Drunk (Bridewell Theatre); Sinatra (UK tour); The Wizard of Oz (Southampton Mayflower); On the Town (London Coliseum, Théâtre du Châtelet, Paris).

Television includes Curfew, Oklahoma!, Kiss Me Kate, Matthew Bourne’s Christmas.

DAVID BIRRELL | ADRIAN GROVE

Film includes Mungojerrie in Cats.

Trained at Millennium Performing Arts.

OLIVER EDWARD Seabee Raymond Thompson Jr. / Onstage Swing Theatre while training includes Rum Tum Tugger in Cats and Ragtime (ArtsEd); The Pirate Queen (London Coliseum); The Olivier Awards 2019 (Royal Albert Hall); Chita Rivera: Live in London (Club 11 London); Hairspray (Landestheater Linz).

Trained at ArtsEd (graduated 2021).

SERGIO GIACOMELLI Seabee Marco Messina / Onstage Swing Theatre includes Indio in West Side Story (Royal Exchange); Wicked (West End); Alternate Older Billy in Billy Elliot the Musical (West End); Pepe in West Side Story the Show (UK and

international tour); Carmen (Royal Albert Hall); Cinderella (Theatre Royal Nottingham); Aladdin (Royal Theatre Northampton); Swan Lake (English National Ballet/Royal Albert Hall); soloists roles in Amoroso, A Pair of Wings, Please?, Sirens and Rhapsody (Dancecyprus); Cicatrice (Sadler’s Wells).

Television and film includes Gulliver’s Travels, The One Show, Pineapple Dance Studios, The X Factor.

Trained at the English National Ballet School (Rudolf Nureyev Foundation Scholarship).

SHAILAN GOHIL Henry / Seabee Reginald Leone Theatre includes Mamma Mia! (Novello Theatre); Dick Whittington (Mayflower Theatre).

Trained at Bird College.

ADRIAN GROVE Commander William Harbison Theatre includes Follies, Medea, Bent (staged reading), Wonder.land (National Theatre); Blue Remembered Hills (Northern Stage); Stepping Out, The Night Before Christmas, A Little of What You Fancy, Robin Hood (Salisbury Playhouse); Merrily We Roll Along (Theatr Clwyd); Cats (Kilworth House); Danger: Memory (Jermyn Street); Dying Breed (Bristol Theatre Royal); A Month in the Country (Tobacco Factory).

Television includes 24: Live Another Day, Hollyoaks, Casualty, Doctors.

Radio includes The Archers, Romeo and Juliet, Julius Caesar, A Midsummer Night’s Dream, The Deep Blue Sea, Robinson Crusoe, The Admiral Crichton, Falco Poseidon’s Gold, Rodaguna and Ambridge Extra.

Films include Golden Years, The Flying Scotsman, Baar Baar Dekho.

Adrian has recorded multiple audiobooks, and has appeared many times on the BBC Proms at the Royal Albert Hall, including the Rodgers & Hammerstein Prom and My Fair Lady Prom.

Trained at Bristol Old Vic. ZACK GUEST Yeoman Herbert Quale Theatre credits whilst training include Kynaston in Nell Gwynn, Nuttall/Metcalf/Sutcliffe in Betty

Blue Eyes, Sky Masterson in Guys and Dolls; Magic at the Musicals (Magic FM/Royal Albert Hall); West Side Story (BBC Proms/Royal Albert Hall).

Trained at Mountview Academy of Theatre Arts (graduated 2020 First Class BA Hons).

Instagram @zack___guest Twitter @_zackguest ROB HOUCHEN Lt Joseph Cable Theatre includes Rob Houchen in Concert (Cadogan Hall); Jimmy Powers/Dr Mandril in City of Angels (Garrick Theatre); Marius in Les Misérables In Concert (Gielgud Theatre and Japan); Fabrizio in The Light in the Piazza (Royal Festival Hall/LA Opera/Lyric Opera Chicago); Eugene in Eugenius! (The Other Palace); title role in Candide (The Grange Festival); Young Gibran in Broken Wings (Haymarket Theatre); title role in Candide In Concert (Cadogan Hall); Frederick Fleet in Titanic The Musical (Charing Cross Theatre); Godspell In Concert (Lyric Theatre); Marius in Les Misérables (Queen’s Theatre); The 12 Tenors (German tour).

Television includes West Side Stories: The Making of a Classic, The Sound of Musicals, The Olivier Awards.

Recordings include Les Misérables: The Staged Concert and his own EPs RH and Within Reach.

Trained at Guildford School of Acting.

CAMERON BERNARD JONES Sergeant Leon Francis Johnson / Seabee Victor Price Theatre includes Craig Turner in TINA: The Tina Turner Musical (Aldwych Theatre); Melvin Franklin in Motown The Musical (Shaftesbury Theatre); Undertaker in Porgy and Bess (Royal Danish Opera; Spoleto Festival, USA); Gilbert in Hairspray (Bühne Baden, Austria); Charlie in Show Boat (Landestheater Linz, Austria); Jupiter in Out Of This World (Ye Olde Rose & Crown Theatre, Walthamstow).

Other credits include Turn Up! London (Cadogan Hall virtual concert); The Barn Presents: The Music of Amies & Clements (Barn Theatre Cirencester virtual concert); former bass singer of British a cappella group

The Magnets; co-host/co-producer of the podcast Two Scoops; voice/host of the podcast Cancelled.

Trained at Northwestern University – Bienen School of Music. www.cameronbernardjones.com Instagram @cbjarts Twitter @cbjarts LANA LAKHA Ngana Theatre includes Mustardseed in A Midsummer Night’s Dream (Shake Festival) and numerous variety shows at the Hackney Empire.

Lana attends the Anna Fiorentini Theatre & Film School. She won Fiorentini’s Got Talent 2019 for a solo vocal performance.

KAMI LIEU Ngana Theatre includes Royal Child in The King and I (London Palladium).

Kami trains with British Theatre Academy and Balliamo Dance Academy.

AMANDA LINDGREN Ensign Marie Louise Brown Theatre includes Cabaret (Gothenburg Opera House); The King and I and Miss Saigon (UK tours); We Will Rock You (CPH); Spring Awakening (Stockholm).

Trained at Base23 Stockholm.

MATTHEW MADDISON Sergeant Thomas Hassinger / Seabee Walter Quayle Theatre credits include The King and I (Curve Theatre/UK tour); The Olivier Awards, Let’s Face the Music (Royal Albert Hall).

Credits whilst training include Legally Blonde, The Wild Party.

Trained at ArtsEd (graduated 2020).

Instagram @mattmaddison_ Twitter @mattmaddison_ SERA MAEHARA Liat Sera Maehara trained in classical ballet and worked with contemporary dance company Roussewaltz in Tokyo from 2014-19, where she danced for various choreographers from

the United States, United Kingdom and Germany, and won first prize for her solo dance piece in 2018. Sera obtained a master’s degree in Choreography at University of Bedfordshire in 2020.

Currently a freelance artist in London, Sera is a junior associate artist at Fabula Collective and has worked with Will Tuckett, Travis Clausen-Knight, James Pett, Adrian Look, Julia Cheng and other leading choreographers.

MELISSA NETTLEFORD Ensign Cora MacRae Theatre includes Ali in Mamma Mia! (Novello Theatre); Spirit of the Ring/Empress Tai Chi and Dance Captain in Aladdin (Broadway Theatre Catford); Dynamite in Hairspray (UK tour); On the Town (Regent’s Park Open Air Theatre); The Lion King (Lyceum Theatre); Rocky Das Musical, The Lion King (Hamburg); Mamma Mia! (Stuttgart); Dance Captain for The Rocky Horror Show (European tour); We Will Rock You (Zurich/ Vienna); Joseph (UK tour).

Television includes All Star Musicals.

Trained at Bird College.

DAVID NGARA-O’DWYER Jerome Television includes Wonderoos.

Film includes If I Go Down To The Woods Today, Blonde. Purple, and Grave.

David trains with Montage Theatre Arts.

JULIAN OVENDEN Emile de Becque Theatre includes All About Eve (Noël Coward Theatre); The Treatment (Almeida Theatre); My Night with Reg (Donmar Warehouse/Apollo Theatre); Show Boat (Lincoln Centre, NYC); Grand Hotel, Merrily We Roll Along (Donmar Warehouse); Sunday in the Park with George (Théâtre du Châtelet, Paris); Finding Neverland (Curve Theatre, Leicester); Death Takes a Holiday (Roundabout, New York); Marguerite (Theatre Royal Haymarket); Butley (The Booth Theatre); A Woman of No Importance (Theatre Royal Haymarket); King Lear (RSC).

Television includes Bridgerton, Avenue 5, Adult Material, The Crown, Knightfall, Major Crimes, Family Guy, The Sound of Music Live!, Person of Interest, The Assets, Downton Abbey,

LINDSAY ATHERTON RACHEL JAYNE PICAR AMANDA LINDGREN BOBBIE CHAMBERS ROSANNA BATES | OLIVER EDWARD CHARLOTTE COGGIN | KATE PLAYDON MELISSA NETTLEFORD | JAMES WILKINSON-JONES LESLIE GARCIA BOWMAN TAYLOR BRADSHAW CHARLIE WADDELL | CLANCY RYAN | SERGIO GIACOMELLI MATTHEW MADDISON CLANCY RYAN JAMES WILKINSON-JONES MICHELA MEAZZA

CARL AU DANNY COLLINS | GINA BECK ZACK GUEST | LESLIE GARCIA BOWMAN KEIR CHARLES SHAILAN GOHIL CAMERON BERNARD JONES | IROY ABESAMIS AMANDA LINDGREN PIERCE ROGAN TAYLOR BRADSHAW | SERA MAEHARA

Cosmos, Sunday in the Park with George, Smash, Midsomer Murders, Any Human Heart, Foyle’s War, Cashmere Mafia, Charmed, Related, Poirot, Laws of Chance, A Christmas Carol The Musical, The Royal, The Forsyte Saga, Come Together.

Films include Made In Italy, Surviving Christmas with the Relatives, The Confessions, The Colony, Allies, 1st Night.

Concert appearances worldwide including Carnegie Hall, Sydney Opera House and The Royal Albert Hall; and recordings including If You Stay (Universal), Be My Love (Warners), Rogers and Hammerstein (Warners) and Together at a Distance with Sierra Boggess.

Instagram @julianovenden Twitter @julianovenden RACHEL JAYNE PICAR Lead Nurse / Radio Operator Theatre includes On Stage Swing/Dance Captain/Children’s Captain for The King and I (London Palladium, UK and international tour); You’ll Never Walk Alone (West End Unites); Guys and Dolls (Royal Festival Hall); Sleeping Beauty (London Lewis Ballet).

Television and film includes The King and I, The Brit Awards.

Cast recordings include The King and I. Trained at London Studio Centre.

KATE PLAYDON Ensign Dinah Murphy Theatre includes Mimi in Guys and Dolls (Sheffield Crucible); Lettie Lutz in The Greatest Showman (Du Arena, Abu Dhabi); Miss Dinsmore in Singin’ in the Rain (Adelphi Theatre); Blue Fairy in Pinocchio (Hertford Theatre); Diva in Drags & Divas (Arts Theatre Leicester Square); Mitzi in Rapunzel (Hertford Theatre); Sue in Fatbusters The Musical (St Giles Church, Tottenham Court Road); Brie in Cinderella (Lichfield Garrick); A Christmas Carol for Great Ormond Street Hospital (London Contemporary Theatre).

Television and film includes Liverpool Nativity, Better Things.

Recordings include Jog On The Musical (cast recording).

Trained at Liverpool Institute of Performing Arts and Doreen Bird College.

ALEXANDER QUINLAN Jerome Theatre includes Childling in Avalanche: A Love Story (Barbican Theatre).

Television includes Top Boy S3.

Currently training with Natalie Grady on drama and accent. Prior to 2020/1, Alexander trained at Tomorrow’s Talent Theatre School, Act First Drama School and Essex Dance Theatre.

PIERCE ROGAN Seabee Eugene O’Brien / Lt Buzz Adams Previously at Chichester Nachum/Yussel in Fiddler on the Roof (Festival Theatre).

Theatre credits include Miss Saigon (UK & EU Tour).

Credits whilst training include Isidor Straus in Titanic, Jack Robinson in Lady Be Good.

Trained at ArtsEd. CLANCY RYAN Ensign Lillian Keir / Dance Captain Theatre includes The Boy in the Dress (RSC); Kiss Me, Kate (Sheffield Crucible); Olivier Awards Ceremony 2017.

Credits whilst training include Top Hat, Bullets Over Broadway, A Gentleman’s Guide to Love and Murder and Arms and the Man. Radio includes Friday Night is Music Night.

Trained at ArtsEd. CHARLIE WADDELL Seabee Jim Rose / Onstage Swing Theatre includes Street Chorus in Bernstein’s Mass (Southbank Centre).

Credits while training include Arthur Kipps in Kipps: The Half a Sixpence Musical, Mr Mistoffeles in Cats, Michel in The Truth, Joe Underhill in Reasons to Run and Ladislav Sipos in She Loves Me (ArtsEd).

Television includes Pitch Battle Semi Finals and Live Finals.

Trained at ArtsEd (graduated 2021).

JAMES WILKINSON-JONES Seabee Billy Belmont Theatre while training includes Robbie in The Wedding Singer and Dance Captain/Mr Maxwell in Kipps: The Half a Sixpence Musical (ArtsEd).

Trained at ArtsEd (graduated 2021).

C R E AT I V E T E A M

DANIEL EVANS

RODGERS AND HAMMERSTEIN Music, Book & Lyrics After long and highly distinguished careers with other collaborators, Richard Rodgers (composer) and Oscar Hammerstein II (librettist/lyricist) joined forces to create the most consistently fruitful and successful partnership in the American musical theatre.

Prior to his work with Hammerstein, Richard Rodgers (1902-1979) collaborated with lyricist Lorenz Hart on a series of musical comedies.

Prolific on Broadway, in London and in Hollywood from the 1920s into the early 1940s, Rodgers & Hart wrote more than 40 shows and film scores, including On Your Toes, Babes in Arms, The Boys from Syracuse, I Married An Angel and Pal Joey.

Throughout the same era Oscar Hammerstein II (1895-1960) collaborated with composers such as Rudolf Friml, Sigmund Romberg and Vincent Youmans on operetta classics including The Desert Song, Rose-Marie and The New Moon. With Jerome Kern he wrote Show Boat, the 1927 operetta that changed the course of modern musical theatre. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones in 1943.

Oklahoma!, the first Rodgers & Hammerstein musical, represented a unique fusion of Rodgers’ musical comedy and Hammerstein’s operetta. It was followed by Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song and The Sound of Music. Rodgers & Hammerstein wrote one musical specifically for the big screen, State Fair, and one for television, Cinderella. Collectively, their musicals earned 42 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and two Emmy Awards.

After Hammerstein’s death in 1960, Rodgers continued to write for the Broadway stage; No Strings earned him two Tony Awards for music and lyrics, and was followed by Do I Hear A Waltz?, Two By Two, Rex and I Remember Mama. He died on 30 December 1979, less than eight months after his last musical opened on Broadway. In 1990, Broadway’s 46th Street Theatre was renamed ‘The Richard Rodgers Theatre’ in his honour.

In 1998 Rodgers & Hammerstein were cited by Time Magazine and CBS News as among the 20 most influential artists of the 20th century. Their Centennials, in 1995 and 2002 respectively, were celebrated worldwide.

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

Current/past London productions include Hairspray The Musical, Pretty Woman, Dear Evan Hansen, & Juliet, Jesus Christ Superstar, Evita, Hamilton, Aladdin, Tina - The Tina Turner Musical, Sweet Charity, Caroline, Or Change, Little Shop of Horrors, Strictly Ballroom, Lady Day, Wind in the Willows, An American in Paris, On The Town, Half A Sixpence, Love’s Labour’s Lost/Much Ado About Nothing, In the Heights, Charlie and the Chocolate Factory, Bugsy Malone, Show Boat, Guys and Dolls (and tour), Gypsy, Memphis, Women on the Verge of a Nervous Breakdown, City of Angels, Porgy and Bess, Monty Python Live (mostly) (O2 Arena), A Chorus Line, Kiss Me, Kate, Sweeney Todd, Love Story, Into the Woods, Sister Act (and tour).

Current/past regional/UK tours include The King and I, Motown The Musical, The Rocky Horror Show, Shrek, Funny Girl, The Commitments, Billy Elliot, Dirty Rotten Scoundrels, Dirty Dancing, Singin’ In The Rain, Spamalot, West Side Story (all also in London), Dusty, Sunshine on Leith, Addams Family, One Love The Bob Marley Musical, Anything Goes, Oliver!, Legally Blonde, South Pacific.

CAT BEVERIDGE Musical Director Previously at Chichester onstage piano for Hedda Tesman (Minerva Theatre), keyboard for The Wizard of Oz (Festival Theatre).

Theatre credits include MD for Little Shop of Horrors (Regent’s Park Open Air Theatre);

Associate MD for Gypsy (Manchester Royal Exchange), The Light in the Piazza (Opera North Orchestra/Royal Festival Hall), An American in Paris (Dominion), Committee (Donmar Warehouse); Assistant Conductor for Street Scene (Opera North), Oklahoma! (Grange Park Opera); Cover MD for Les Misérables (Queen’s Theatre), Matilda (RSC/Cambridge), The Phantom of the Opera (UK tour).

Orchestral work includes Suor Angelica, Salome, Der Rosenkavalier, L’elisir d’amore, La fanciulla del West, Ariadne auf Naxos, The Minotaur, Die Zauberflöte, The Tempest (ROH); Magical Night, La Serva Padrona (Linbury Studio); Harry Potter and the Philosopher’s Stone Live in Concert (NSO/Saudi Arabia); Kiss Me, Kate, La fanciulla del West, From Paris with Love (Opera North); Sunset Boulevard, Idomeneo (ENO); Le nozze di Figaro, Così fan tutte, La Rondine (Opera Holland Park).

Recording includes Ariadne auf Naxos ANN YEE

(Scottish Chamber Orchestra); Miss Saigon London cast recording 2014.

She has given recitals at the National Theatre, Cheltenham Literary Festival, Beaulieu Festival, Deloitte Festival/ROH, Crush Room and Linbury Studio, Arts Club London, Wigmore Hall, St John’s Smith Square, Opera Galleria, Grange Park Opera, Opera Holland Park, Mid Wales Opera, Theatre Royal Bury St Edmunds, Raffles Hotel Singapore, Somerset House.

Trained at the Royal Opera (Jette Parker Young Artists Programme), English National Opera; Associate Artist Welsh National Opera, Royal College of Music and Royal Northern College of Music.

BOBBY BROOK Assistant Director Previously at Chichester Associate Director for Pinocchio (CFYT/Festival Theatre).

Bobby is the co-founder of Cloakroom Theatre, whose production Sex With Robots and Other Devices at the King’s Head Theatre won The Adrian Pagan Award and the Live Theatre Live Lab Bursary 2017. In 2014 she was awarded a BBC Performing Arts Fund Fellowship. She is an Artistic Associate of the National Youth Theatre and an Education Associate for Shared Experience.

Directing credits include Hello Dolly!

(London College of Music); Spamalot, Company (Stanwix Theatre, University of Cumbria); Bold Girls (Theatre By The Lake); The Acedian Pirates, It Never Ends (Theatre503); Bold As Brass (Duke of Clarence); Animal Farm and The Book of Everything (Harrogate Theatre); DeoxyriboNucleic Acid (National Theatre GINA BECK PETER McKINTOSH

Connections); Lily (Theatre503 Futures) and short plays and devised pieces for Theatre503, Tristan Bates Theatre, The Pleasance, Miniaturists and Bits of Obits.

Associate credits include Beauty and The Beast (Theatre By The Lake); As You Like It (Shared Experience/national tour); Land of Our Fathers (national tour); My Mother Said I Never Should (St James Theatre); Henceforward (Stephen Joseph Theatre/national tour).

Assistant credits include After The Dance, As You Like It (Theatre By The Lake); The Life of Stuff (Theatre503); Land of Our Fathers and A Handful of Stars (Theatre503 and Trafalgar Studios); My Mother Said I Never Should and Bus (West Yorkshire Playhouse); The Laramie Project, Krapp’s Last Tape and The Zoo Story (Harrogate Theatre).

Bobby has also worked on short and feature films for Channel Four, Shoot Productions and Queer as Film.

DAVID CULLEN New Orchestration David Cullen studied composition at the Royal Academy of Music in the 1960s with Richard Rodney Bennett. Subsequently he has worked as a keyboard player, composer, record producer and arranger. He is best known as the orchestrator of musicals in London and New York, particularly those of Andrew Lloyd Webber including Cats, Starlight Express, Song and Dance, Aspects of Love, Sunset Boulevard, By Jeeves, Whistle Down the Wind, Beautiful Game, The Phantom of the Opera, The Woman in White and Love Never Dies. He received the New York Drama Desk Award for his orchestrations of The Phantom of the Opera, and was Tony-nominated for Aspects of Love and for re-orchestrations of Tchaikovsky’s Swan Lake. Other orchestrations include Abbacadabra, Children of Eden, Shogun the Musical, Stepping Out, Edna – The Spectacle, Schikaneder; the London revivals CAT BEVERIDGE NIGEL LILLEY

of Can-Can, The Baker’s Wife, Carmen Jones, Parade; The Wizard of Oz; the Disney productions of Geppetto and Cinderella; the recent London production of Company ; and the 2019 Chichester production of Oklahoma!

He has composed music for several UK television series including Relative Strangers, Surgical Spirit and The Bretts, and provided orchestrations for the films of The Phantom of the Opera and Cats.

DANIEL EVANS Director Daniel Evans is Artistic Director of Chichester Festival Theatre, where he has directed This Is My Family, Flowers for Mrs Harris, Me and My Girl, Quiz, Fiddler on the Roof and Forty Years On. Previously, he was Artistic Director at Sheffield Theatres (2009-16) where he directed An Enemy of the People, Racing Demon, Othello, My Fair Lady, Macbeth, The Full Monty, This Is

My Family, Anything Goes, The Sheffield Mysteries, Oliver!, The Effect, Show Boat and Flowers for Mrs Harris. As an actor, he appeared in Company, The Pride, Cloud Nine and The Tempest.

In the West End, he has directed Quiz, Show Boat, The Full Monty and American Buffalo. In 2019, he directed The Light in The Piazza at London’s Royal Festival Hall and as part of LA Opera’s 2019 Autumn season.

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

(Royal Court).

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

Films include Les Misérables.

PAUL GROOTHUIS Sound Designer Previously at Chichester Amadeus, Guys and Dolls, Gypsy, Neville’s Island, The Pajama Game, Private Lives, Kiss Me, Kate, Sweeney Todd (Olivier nomination), Rosencrantz and Guildenstern Are Dead (all also West End), A Damsel in Distress, Mack and Mabel, Young Chekhov Trilogy, Travels with My Aunt, Ross, Sweet Bird of Youth, Oklahoma!

Paul trained as a Stage Manager at Central School of Speech and Drama. He was awarded Live magazine’s Sound Designer of the Year Award for Oklahoma! and Oh! What a Lovely

War at the National Theatre, where he was a member of the Sound Department from 19842003. He is Creative Associate at Matthew Bourne’s New Adventures Company.

His designs include The Silver Tassie, Filthy Business, Chariots of Fire, Rabbit Hole, Romeo and Juliet, Bent, Everybody’s Talking About Jamie, Show Boat, The King and I, Anything Goes, His Dark Materials, The Coast of Utopia, My Fair Lady (NT and Drury Lane), Guys and Dolls, Sunday in the Park with George, Candide and The Wind in the Willows.

Recent sound designs include Matthew Bourne’s Nutcracker!, Dorian Gray, The Car Man, Edward Scissorhands, Highland Fling, Cinderella, Sleeping Beauty, The Red Shoes, Romeo and Juliet and The Midnight Bell; Oliver!

(London Palladium, Theatre Royal Drury Lane and UK tour); Mary Poppins (UK and North American tours, Holland and Germany); The Boy in the Dress (RSC); and Magic Goes SERA MAEHARA AND COMPANY

Wrong (UK tour & West End).

HOWARD HARRISON Lighting Designer Previously at Chichester Shadowlands, Mack and Mabel, A Damsel in Distress, An Ideal Husband, The Music Man, The Way of the World, Neville’s Island, The Circle (Festival Theatre); Macbeth (also West End, Olivier Award for Best Lighting Design), Love Story, The Pajama Game (Minerva Theatre).

For the Donmar Warehouse, City of Angels (also West End; Olivier Award for Best Lighting Design), Measure for Measure, The Resistible Rise of Arturo Ui, Saint Joan (also broadcast in partnership with NT Live), Anna Christie (Knight of Illumination Award), Tales From Hollywood, To The Green Fields Beyond, The Fix, Guys and Dolls, Privates on Parade, The Vortex.

Other theatre includes Ravens: Spassky vs Fischer (Hampstead Theatre); King Hedley

(Stratford East); Blithe Spirit (also West End), Stones in his Pockets, God of Carnage (Theatre Royal Bath); An Ideal Husband, The Importance of Being Earnest (Vaudeville); The Gronholm Method, The Lie, The Truth (Menier); Rosencrantz and Guildenstern are Dead (Old Vic and NT Live); Mamma Mia! (worldwide); The Wind in the Willows (Palladium); Impossible!

(Noël Coward); Mary Poppins (Prince Edward/ New Amsterdam, NY); Ragtime (Piccadilly); The Witches of Eastwick (Drury Lane); Cat on a Hot Tin Roof (Lyric); Private Lives (NT); Neville’s Island (Duke of York’s); The Pajama Game (Shaftesbury); Dirty Rotten Scoundrels (Savoy); Harvey (Haymarket).

Dance includes Nutcracker!, Edward Scissorhands (Matthew Bourne); Swan Lake (Shanghai Ballet and ENB at the Royal Albert Hall); Hamlet (Shanghai Ballet); Strictly Gershwin (Queensland Ballet and Tulsa Ballet).

Opera includes The Barber of Seville (Lyric KEIR CHARLES

Chicago); Nabucco, The Makropulos Case (Metropolitan NY).

CHARMIAN HOARE Voice and Dialect Coach Previously at Chichester Macbeth, Me and My Girl, Fiddler on the Roof, Quiz, Plenty, This is My Family, Present Laughter and The Country Wife.

Recent theatre credits include War Horse, The Curious Incident of the Dog in the NightTime, The Lehman Trilogy, The Barber Shop Chronicles (NT Productions); The Antipodes, Peter Pan, Ugly Lies the Bone, Consent, Angels in America, Pinocchio, Network, John, The Great Wave, Absolute Hell, Translations (National Theatre); Company (Gielgud Theatre); The Canterville Ghost (Unicorn Theatre); The Comeback (Noël Coward Theatre); Walden (Harold Pinter Theatre); Road (Royal Court); Kiss Me, Kate and Frost Nixon (Sheffield Crucible); The Rubinstein Kiss (Southwark

Playhouse); Jesus Hopped the A Train, (Young Vic); Sweat, Welcome Home Captain Fox, One Night in Miami (Donmar Warehouse); Uncle Vanya, Blue Door, Abigail’s Party (Theatre Royal, Bath); The Pope (Royal & Derngate Northampton); The Light in the Piazza (Royal Festival Hall).

Trained at Central School of Speech and Drama.

MICHAEL JAGGER Associate Choreographer Michael Jagger is an internationally recognized Lindy Hop performer and instructor, who performs and teaches internationally. He is a former member of The Jumpin' JiveCats in Colorado and of Ryan Francois’ dance company in Los Angeles.

Credits include multiple tours of the Broadway musical Swing!, Jazz at Lincoln Center, The Kennedy Center, and debuting

his Lindy Hop dance company, Syncopated City, at Jacob’s Pillow.

THEO JAMIESON Additional Arrangements Theo Jamieson is a Composer, Lyricist, Musical Director and Pianist.

Musical Direction/Supervision for theatre includes Everybody’s Talking About Jamie (Apollo Theatre/UK tour), The Wild Party (The Other Palace), Funny Girl (Savoy Theatre), High Society (Old Vic), Here Lies Love and Treasure Island (National Theatre), Putting It Together (St James).

He has created orchestrations/ arrangements for Maria Friedman, Adam Guettel and Willemijn Verkaik in concert, and a new orchestration for Michael-John LaChiusa’s The Wild Party. He was the piano soloist in the Opera North orchestra for The Light in the Piazza at the Southbank Centre.

As a composer he has created U.Me: The Musical for BBC World Service and has developed musicals at the National Theatre and Theatre Royal Stratford East. His classical compositions have been performed by the St Paul’s Sinfonia and members of the English National Ballet Orchestra.

Awards include the John Halford prize for piano composition, the 2019 Stiles and Drewe prize for Best New Song.

In 2020 Theo was made an Associate of the Royal Academy of Music.

NIGEL LILLEY Musical Supervisor Previously at Chichester Musical Supervisor, Musical Director and Dance Arrangements for Oklahoma!, Musical Director for Caroline, Or Change (Minerva Theatre, also Hampstead Theatre, West End & Broadway).

Musical Director credits include Follies

(National Theatre, including revival); Fun Home (Young Vic); The Go-Between (West End); Charlie and the Chocolate Factory (Theatre Royal Drury Lane); My Fair Lady, Company (Sheffield Crucible); Ragtime (Regent’s Park Open Air Theatre); Spring Awakening (European premiere, Lyric & Novello); La Cage Aux Folles (Menier Chocolate Factory & Playhouse); Piaf (Donmar Warehouse & Vaudeville); Lauren Kennedy in Concert (Menier Chocolate Factory); Les Misérables (conducting the Bournemouth Symphony Orchestra); The Bacchae (National Theatre of Scotland & Edinburgh International Festival); Acorn Antiques (UK tour).

Musical Supervisor credits include Looking A Lot Like Christmas (Donmar Warehouse); Romantics Anonymous (Shakespeare’s Globe/ Bristol Old Vic); Guys and Dolls, Sweet Charity (Royal Exchange); Chaplin The Musical (European tour); Bend It Like Beckham (Phoenix Theatre); A Wolf in Snakeskin Shoes (Tricycle

Theatre); Anything Goes (Sheffield Crucible & UK tour); That Day We Sang (Manchester Royal Exchange & Manchester International Festival); Paper Dolls (Tricycle Theatre); The Umbrellas of Cherbourg (Curve Leicester & West End); Sweet Charity (Menier Chocolate Factory & Theatre Royal Haymarket).

Other credits include Sinatra at the London Palladium, Les Misérables (Denmark); Maury Yeston’s December Songs (UK premiere, Greenwich Theatre); Philip Quast at the Donmar (Divas season); Pacific Overtures (Donmar).

Television includes Gentleman Jack, Victoria, That Day We Sang, Victoria Wood’s Christmas Special, Up The Women, 2008 Royal Variety Performance (conducting La Cage aux Folles), Musicality.

PETER McKINTOSH Designer Previous work at Chichester includes Shadowlands, The Deep Blue Sea, Guys and Dolls, Love Story.

Peter is a Tony and Olivier-nominated designer, whose awards include Olivier Award for Best Costume Design for Crazy for You (Regent’s Park & West End).

Theatre includes Twelve Angry Men (Tokyo); Funny Girl, Guys and Dolls (Marigny, Paris); 42nd Street (Châtelet, Paris); The Winslow Boy (Old Vic and New York); A Day in the Death of Joe Egg, The Wind in the Willows, Guys and Dolls, Dirty Rotten Scoundrels, My Night With Reg, Hay Fever, Fiddler on the Roof, Another Country, Entertaining Mr Sloane, The Dumb Waiter, Viva Forever!, Noises Off, Love Story, Donkeys’ Years, The Birthday Party, Butley

(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, Boston Marriage (Donmar Warehouse); Waste, Cloud Nine, Knot of the Heart, The Turn of the Screw, Romance, House of Games (Almeida); On the Town, The Sound of Music, Hello, Dolly!

(Regent’s Park).

Opera includes: Hansel and Gretel (Regent’s Park); The Handmaid’s Tale (Royal Danish & Canadian Operas, ENO); The Marriage of Figaro (ENO).

Peter is a founding member of FreelancersMakeTheatreWork.

MICHELA MEAZZA Associate Choreographer Credits as Movement Director include Hedda Gabler (Sherman Theatre, Cardiff), The Starry Messenger (Wyndham’s Theatre), The Phlebotomist (Hampstead Theatre), Murder Ballad (Arts Theatre), Cymbeline (Globe Theatre), Boa (Trafalgar Studios); as Associate Movement Director, Julie (National Theatre), The El Train (Hoxton Hall), Orpheus and Eurydice (Old Vic Tunnels).

As a performer for Matthew Bourne’s New Adventures, where she is also an Associate

Dance Practitioner: The Red Shoes, Swan Lake, Cinderella, Dorian Gray, Edward Scissorhands, Play Without Words, Nutcracker, The Car Man. Other stage work includes Electric Hotel (Fuel); Really Old, Like Forty Five (National Theatre); Pictures from an Exhibition (Young Vic).

Michela has choreographed for music videos and short films by emerging artists.

She was nominated for Best Contemporary Dancer at the Critics’ Circle Awards 2012.

Brigadier (Retired) NICKY MOFFAT CBE Military Advisor Nicky Moffat’s first career spanned 27 years in the Armed Forces, serving both in the Field Army and in strategy, policy and finance roles in Army Headquarters and the Ministry of Defence. As a private secretary, she worked at the heart of Government, supporting the Secretary of State for Defence during operations in Iraq, Afghanistan, Sierra Leone and Cumbria, attending Cabinet Office briefings with the Secretary of State throughout the ‘Foot and Mouth’ crisis. She also fulfilled a range of ‘command’ roles as a Training Company Commander, Training Regiment Commander and Director of her specialism. In her final leadership role, as a brigadier, she led some 4,500 soldiers within the Army’s personnel and finance function.

In 2012, Nicky left the Army to set up What Good Leadership Looks Like. She now helps companies develop their people and make transformative and sustainable improvements in leadership and culture. She also supports executive teams and individuals as a leadership and career coach.

In 2018, Nicky made her TV debut as a military advisor to the BBC living history series, Secret Agent Selection: WW2, now streaming on Netflix as Churchill’s Secret Agents: the New Recruits. Her role included the on-screen assessment and training of the ‘new recruits’ using the wartime syllabus of the Special Operations Executive (SOE). More recently, Nicky was part of a small creative team for English National Opera’s production of Benjamin Britten’s War Requiem.

VERITY NAUGHTON Additional Children’s Casting Previously at Chichester Casting Director for The Midnight Gang (Festival Theatre).

Theatre includes, as Children’s Casting Director Frozen The Musical (Theatre Royal Drury Lane), The Prince of Egypt (Dominion Theatre), School of Rock The Musical (UK tour), Leopoldstadt (Wyndham’s Theatre), Rare Earth Mettle, Shoe Lady and KILL (Royal Court Theatre), Hansel and Gretel (Regent’s Park Open Air Theatre), The Hunt (Almeida Theatre), Small Island (National Theatre), To Kill a Mockingbird (UK tour), The Ferryman (Royal Court Theatre and Gielgud Theatre), Frozen (Haymarket Theatre); as Casting Director Twelfth Night, The Country Wife and Kiki’s Delivery Service (Southwark Playhouse), Spring Awakening (Hope Mill Theatre), all-female Posh (Pleasance Theatre), If We Had Some More Cocaine I Could Show You How I Love You (Old Red Lion Theatre).

Television includes, Riviera, Counterpart, Berlin Station (Casting Associate); Pursuit of Love (Young Persons Casting).

Films include Death to 2020 (Casting Associate); Peter Pan and Wendy (UK Children’s Casting Associate); Enola Holmes, Radioactive, Farming (Children’s Casting); Mash (Casting Director); Fantastic Beasts: The Crimes of Grindelwald (Children’s Casting Associate); Nativity 3! – Dude Where’s My Donkey?

(Children’s Casting Assistant). www.vjncasting.com CHARLOTTE SUTTON CDG Casting Director Previously at Chichester Crave, Sing Yer Heart Out for the Lads (CDG Casting Award nomination), 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 and 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 (CDG Casting Award nomination), 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); 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).

GILLIAN TAN Video Designer Gillian is a multi-disciplinary designer, working across lighting and video for various theatrical, immersive and interactive experiences.

Theatre credits include Aisha and Abhaya (Royal Ballet/Rambert); Majestique (Skråen); The Song Project – Is In Our Blood (Royal Court Theatre); 4.48 Psychosis (revival, Lyric Hammersmith/Royal Opera House); La Soirée (Aldwych Theatre/Southbank Centre/Skråen); Coraline (Barbican Theatre/Royal Opera House); Tamburlaine (Arcola Theatre); Invisible Treasure (Ovalhouse Theatre); Who Do We Think We Are (Southwark Playhouse); Crocodiles (Royal Exchange, Manchester).

She is also a member of the Somerset House Exchange and is the Head of Video at RADA.

ANN YEE Choreographer and Movement Director Previously at Chichester Caroline, Or Change (also Hampstead, West End and Broadway).

Recent directing credits include As You Like It (Public Works Dallas/Dallas Theater Center).

Theatre includes La Bohème (Göteborg Opera, Sweden); Oklahoma! (Oregon Shakespeare Festival); Life After (Old Globe, San Diego); The American Clock (Old Vic); War Requiem (ENO); Sunday in the Park with George (Hudson Theater, Broadway); The Taming of the Shrew (Public Theatre in the Park, NY); Queen Anne, Titus Andronicus (RSC); Mackie Messer (Salzburg Festival); Shakespeare Trilogy (Donmar at Kings Cross and St Ann’s Warehouse, New York); Berenice, Philadelphia, Here I Come! and The 25th Annual Putnam County Spelling Bee (Donmar Warehouse); Anita and Me (Birmingham Rep and Stratford East); Ah, Wilderness!, After Miss Julie (Young Vic); How to Hold Your Breath, Birdland and Oxford Street (Royal Court); Thérèse Raquin (Theatre

Royal Bath); Mr Burns (Almeida Theatre); Urinetown (St James’ Theatre and Apollo Theatre); Julie, Blurred Lines, She Stoops to Conquer and The Comedy of Errors (National Theatre); Care (co-devised, NT Studio); The Commitments (Palace Theatre); Wozzeck (ENO); The Country Wife, Sex, Chips & Rock’n’Roll (Royal Exchange Manchester); The Color Purple, Torch Song Trilogy (Menier Chocolate Factory); The Duchess of Malfi (Old Vic); God of Soho (Globe); King Lear (RSC/Roundhouse/NY).

Films include A Bigger Splash, PPE: Off the Page.

Trained at Boston Conservatoire of Music, Harvard Summer Dance Center and Ohio State University.

C F T AT H O M E

Rodgers & Hammerstein’s

SOUTH PACIFIC STREAM For audiences who would prefer to watch our work from home or simply aren’t able to travel to Chichester this year, we are streaming our production of Rodgers & Hammerstein’s South Pacific globally. The performance being streamed will be recorded live in front of an audience at the Festival Theatre in July. The same performance will be broadcast on each of the following stream dates.

Your ticket will be valid for 24 hours from the selected date and from the point you start to watch. Streamed performances can be viewed in a web browser on your computer, tablet or mobile phone, via Google Chromecast, on Apple or Android TVs and on Amazon Fire TV. All performances will have the option for closed captions in English.

Wednesday 4 August 2.30pm BST Monday 9 August 7.30pm BST Saturday 14 August 2.30pm BST Wednesday 18 August 2.30pm BST

Performances on 21, 26, 31 August and 3 September are available with audio description.

Saturday 21 August 2.30pm BST

Book tickets at cft.org.uk/cft-at-home

Thursday 26 August 7.30pm BST Tuesday 31 August 7.30pm BST Friday 3 September 7.30pm BST

cft.org.uk/cft-at-home

EVENTS

Rodgers & Hammerstein’s

SOUTH PACIFIC PRE-SHOW TALK

Monday 12 July, 5.45pm Hear from director Daniel Evans in conversation with Kate Mosse.

FREE, but booking is essential

THEATRE DAYS

Wednesday 4 & Thursday 26 August, 11am Enjoy 90 minutes of insight, demonstration and discussion on the making of a production with the creative team and technical crew. Ages 12+ Tickets £5

Aged 16 –30? r £5 Get tickets fo

PROLOGUE MEETS: SOUTH PACIFIC

SOME ENCHANTED EVENING

PLEASE NOTE NEW DATE Saturday 21 August, 6pm Join us on Oaklands Park for an uplifting celebration of Rodgers & Hammerstein, performed by choirs from across West Sussex.

FREE

DEMENTIA FRIENDLY PERFORMANCE

Wednesday 1 September, 2.30pm This performance will feature minor adjustments to sound and lighting levels, as we welcome individuals living with dementia, as well as their friends, families and carers. Staff will be on hand to ensure a welcoming atmosphere. cft.org.uk/dementiafriendly Tickets £15

Tuesday 17 August Join us after the performance in the Minerva Bar & Grill for an opportunity to meet other Prologue members and some of the cast and creative team.

FREE, but booking is essential

POST-SHOW TALK

Thursday 19 August Stay in your seat after the performance to ask questions, meet company members and learn more about the production.

FREE

cft.org.uk/events

S TA F F

TRUSTEES Sir William Castell Mr Alan Brodie Ms Judy Fowler Ms Victoria Illingworth Ms Georgina Liley Rear Admiral John Lippiett CB CBE Mr Harry Matovu QC Mr Mike McCart Ms Holly Mirams Mr Nick Pasricha Mr Philip Shepherd Ms Stephanie Street Ms Tina Webster Mrs Susan Wells ASSOCIATES Kate Bassett Anna Ledwich Charlotte Sutton CDG

Chairman

MARKETING, COMMUNICATIONS, DIGITAL & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Head of Marketing (Maternity Leave)

Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate)

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Front of House Duty Manager Ben Geering House Manager Karen Hamilton Front of House Duty Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Joshua Vine Front of House Duty Manager Gabriele Williams Deputy House Manager

(Maternity Leave)

Helen Campbell Lydia Cassidy

Caper & Berry Proclean Cleaning Ltd Vespasian Security

Deputy Box Office Manager Director of Marketing & Communications

Lorna Holmes Box Office Assistant Helena Jacques-Morton Senior Marketing Officer

Literary Associate Writer-in-Residence Casting Associate

James Morgan Lucinda Morrison Kirsty Peterson Jennifer Thompson

Box Office Manager Head of Press Box Office Assistant Social Media & Digital Marketing Officer

BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer

Anne-Marie Varberg Joshua Vine Julia Walter Claire Walters Vanessa Walters

Box Office Assistant Box Office Supervisor Creative Digital Producer Box Office Assistant Head of Marketing (Maternity Cover)

DEVELOPMENT Jessey Butcher

Joanna Wiege Jane Wolf

Box Office Administrator Box Office Assistant

Julie Field Rosie Hiles

Development Officer (Corporate & Trusts) Friends Administrator Senior Development Manager (Corporate & Trusts)

Karen Taylor Development Officer (Individuals) Joanna Walker Director of Development Carolyn Warne Senior Development Manager (Individuals) 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

Amanda Trodd Protozoon Ltd HR Emily Oliver Jenefer Pullinger

Gillian Watkins

Finance Director & Company Secretary Management Accountant IT Consultants

Accommodation Coordinator HR & Recruitment Officer (Maternity Leave) HR Officer

LEAP Elspeth Barron Freddie Dempster Lauren Grant Hannah Hogg Richard Knowles Poppy Marples

LEAP Officer Youth & Outreach Trainee Deputy Director of LEAP Youth & Outreach Officer Education Projects Manager Senior Youth & Outreach Officer

Louise Rigglesford

Senior Community & Outreach Manager

Dale Rooks

PRODUCTION Stephen Bailey Resident Assistant Director Amelia Ferrand-Rook Producer Claire Rundle Production Administrator Nicky Wingfield Production Administrator Jeremy Woodhouse Producer TECHNICAL Dan Armstrong Jake Barinov Steph Bartle Graham Burgess Jesse Caie

Transport & Logistics Stage Crew Deputy Head of Lighting No 1 Sound Automation Technician & Operator

Ben Coates Stage Crew Leonie Commosioung Stage Technician Adrien Corcilius Video & AV Technician Lewis Ellingford Stage Technician Sam Garner-Gibbons Technical Director Jack Goodland Stage Crew Maura (Fuzz) Guthrie Sound Technician Katie Hennessy Props Store Co-ordinator Jack Hobbins Stage Crew Laura Howells Lighting Programmer Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Zoe Lyndon-Smith Technical Theatre Apprentice Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Lighting Technician Tom Robinson Senior Stage

& Construction Technician Neil Rose Ernesto Ruiz Joe Samuels James Sharples Graham Taylor Dominic Turner Emily Williamson Linda Mary Wise

Deputy Head of Sound Stage Crew Lighting Technician Senior Stage Crew & Rigger Head of Lighting Stage Crew Technical Theatre Apprentice Sound Technician

Director of LEAP

cft.org.uk/aboutus

Catering Cleaning Contractor Security

WARDROBE & WIGS Brooke Bowden Wardrobe Assistant Tobias Dane Dresser Emma Davidson Wardrobe Assistant Emillie Fuller Assistant Wigs Jessica Griffiths Wardrobe Manager Kamilia Anna Harchi Assistant Wigs Fran Horler Wardrobe Manager Dee Howland Deputy Wigs Kirsty Lloyd Deputy Wigs Kendal Love Deputy Wigs Hannah Sargent Dresser Gabrielle Selwyn-Smith Dresser Stacie Smith Assistant Wigs Emily Souch Dresser Loz Tait Head of Wardrobe & Wigs Colette Tulley Wardrobe Maintenance Maisie Wilkins Dresser Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Sarah Hammett, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Lucy Anderson, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, Bob Bentley, Gloria Boakes, Judith Bruce-Hay, Julia Butterworth, Louisa Chandler, Helen Chown, Jo Clark, Gaye Douglas, Stella Dubock, Clair Edgell, George Edwards, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Anna Grindel, Karen Hamilton, Caroline Hanton, Justine Hargraves, Joseph Harrington (Trainee), Gillian Hawkins, Joanne Heather, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Pippa Johnson, Ryan Jones, Jan Jordan, Jon Joshua, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Emily McAlpine, Janette McAlpine, Chris Monkton, Susan Mulkern, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Barbara Pope, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Joshua Vine, Rosemary Wheeler, Jonathan Wilson (Trainee), James Wisker, Donna Wood, Kim Wylam, Jane Yeates Front of House Hosts: Ian Bevan, Dennis Brombley, Amanda Duckworth, Lexi Finch, Daniel Hill, Maille Lyster, Judith Marsden, Samantha Marshall, Fiona Methven, Fleur Sarkissian 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 Festival 2021 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

BE PART OF YOUR THEATRE Community is central to everything we do at Chichester Festival Theatre and has been from the very beginning.

Throughout 2020, whilst our doors were closed, we kept connected with our audiences, supporters and vulnerable members of our community – ensuring people continued to experience the joy of creativity and live performance.

Chichester Festival Theatre is a registered charity and every penny generated by our supporters goes towards creating exceptional work on stage and involving over 60,000 people each year in our award-winning Learning, Education and Participation programme. Whether it’s working with local groups and communities to share the joy of live art or collaborating with

a new generation of theatremakers and emerging artists to create diverse, ground-breaking work, there is something for everyone; and our work feels more vital now than ever.

There are a variety of ways for you to be a part of your Theatre and its future.

Whether you are looking for priority booking, want to support our education and community work or to follow our latest production from page to stage, there is a place for you at CFT. We would not be here without the support of our community. Please join us, and be part of something amazing.

Visit cft.org.uk/support-us to find out how you can be more involved.

‘There are some wonderful benefits for being a member. The Supporters’ events are marvellous: exclusive dinners with the cast, platform events.

They last all season long. Even the pandemic didn’t stop CFT! When the theatre re-opens I am really looking forward to South Pacific, it’s my favourite musical and I can’t wait to see it.’

Gary Fairhall, Festival Player

cft.org.uk/support-us

S U P P O R T E R S 2021

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 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 Christine and Dave Smithers David and Alexandra Soskin Alan and Jackie Stannah Oliver Stocken CBE Howard Thompson Peter and Wendy Usborne The Webster Family Community Fund TRUSTS AND FOUNDATIONS Andrew Lloyd Webber Foundation The Arthur Williams Charitable Trust Artswork The Arts Society, Chichester 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 Noël Coward Foundation Theatres Trust Wickens Family Foundation

FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Paul Arman 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 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 Denise Clatworthy David and Julie Coldwell Mr & Mrs Barry Colgate Mr Charles Collingwood and Miss Judy Bennett Michael and Jill Cook Freda Cooper Brian and Claire Cox Susan Cressey Jonathan and Sue Cunnison Rowena and Andrew Daniels Jennie Davies The de Laszlo Foundation Yvonne and John Dean Clive and Kate Dilloway Peter and Ruth Doust Peter and Ruth Doust Peter and Jill Drummond Peter Edgeler and Angela Hirst Glyn Edmunds Anthony and Penny Elphick Sheila Evans Gary Fairhall Lady Finch Colin and Carole Fisher Beryl Fleming Karin and Jorge Florencio 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 Dennis and Joan Harrison Roger and Tina Harrison David Harrison Robert and Suzette Hayes Hania and Paul Hinton Christopher Hoare Pauline and Ian Howat Barbara Howden Richards Richard and Kate Howlett Mrs Raymonde Jay Robert Kaltenborn Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Anna Christine Kennett James and Clare Kirkman Frank and Freda Letch Mrs Jane Lewis John and Jenny Lippiett Amanda Lunt Jim and Marilyn Lush Dr and Mrs Nick Lutte Sarah Mansell and Tim Bouquet Jeremy and Caroline Marriage Sue Marsh Adrian Marsh and Maggie Stoker 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 Jenifer and John Mitchell David and Di Mitchell Gerald Monaghan Nick & Pat Moore Sue and Peter Morgan Roger and Jackie Morris 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 Graham and Sybil Papworth Richard Parkinson and Hamilton McBrien Alex and Sheila Paterson Simon and Margaret Payton Terry and John Pearson Stephen & Annie Pegler Jean Plowright The Sidlesham Theatre Group

Brian & Margaret Raincock John Rank David Rees The Rees Family Adam Rice John and Betsy Rimmer Robin Roads 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 David and Linda Skuse Monique and David Smith Simon Smith Mr and Mrs Brian Smouha David & Unni Spiller Mel and Marilyn Stein Elizabeth Stern Barbara Stewart Peter Stoakley Anne Subba-Row Professor and Mrs Warwick Targett Harry and Shane Thuillier Mr Robert Timms Miss Melanie Tipples Peter and Sioned Vos David Wagstaff and Mark Dune Ian and Alison Warren Brett Weaver and Linda Smith Chris and Dorothy Weller Bowen and Rennie Wells Judith Williams Angela Williams Lulu Williams Nick and Tarnia Williams 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 2021

PRINCIPAL PARTNERS Platinum Partner Prof E.F Juniper and Mrs Jilly Styles

Gold Level

HOLIDAY LETS

Silver Level

CORPORATE PARTNERS Addison Law Behrens Sharp Chichester College

Criterion Ices FBG Investment J Leon Group

Joanna Williams Jones Avens Oldham Seals Group

The Bell Inn 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 812911

C O R P O R AT E PA R T N E R S H I P S

BUSINESS & THE ARTS: A REWARDING PARTNERSHIP Through our tailor-made corporate packages, we support businesses to raise their profile, highlight products and services, fulfil social responsibility objectives, entertain clients and engage staff. A partnership with Chichester Festival Theatre places a business centre stage and is the perfect way to align with excellence whilst supporting a flagship theatre and local arts charity.

We proudly work with companies across sectors nationally and locally, and this season we are delighted to partner with R.L. Austen, an independent, family-run jewellers based in the heart of Chichester.

Having been a Corporate Partner for 18 years, R.L. Austen have this year renewed their support as Platinum Level Principal Partners and sole sponsors of South Pacific for the very first time – illustrating the mutually rewarding benefits that can grow from a trusted corporate partnership.

‘We are incredibly proud to be working even more closely with the Theatre this season and are excited to collaborate with such a hugely popular, hardworking establishment which does so much for the community. We are thrilled to be aligning our brand alongside a classic, heart-warming musical and look forward to sharing in the success and future of Chichester Festival Theatre.’

Mandy Sargeant, Managing Director, R.L. Austen

cft.org.uk/support-us