By John Patrick Shanley
KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN
WELCOME
Welcome to Chichester Festival Theatre and a brand new production to herald 2022. It is somewhat unusual to be welcoming you to a new production originated by CFT outside the Festival season, so it is with especial pleasure that we bring you Doubt: A Parable. We are thrilled that Lia Williams is directing John Patrick Shanley’s Pulitzer Prize and Tony Award-winning play. Shakespeare may have said that ‘a sad tale’s best for winter’ but we believe a thoroughly compelling drama is just what we all need: particularly one which is so pertinent to our times. As Lia says in this programme, the play proposes ‘that we should live comfortably with uncertainty and that should be our strength.’ An outstanding actor herself, as well as a BAFTA-nominated director, Lia has assembled a superb cast. We’re delighted that Monica Dolan – whose BAFTA and Olivier Award-winning work includes
TV’s W1A, Appropriate Adult and A Very English Scandal and on stage, Talking Heads and All About Eve – and Sam Spruell, whose work ranges from Doctor Who, The North Water and Small Axe on screen to Iago in Othello at Shakespeare’s Globe, are appearing on the Festival Theatre stage. The quartet is completed by Jessica Rhodes and Rebecca Scroggs, and we warmly welcome all four of them, alongside Lia’s distinguished creative team. There are two more plays to come in our Spring season – West End comedy The Play What I Wrote and Michael Morpurgo’s moving Private Peaceful – before we greet the opening of Festival 2022 and the start of our 60th anniversary celebrations. Don’t miss Kate Mosse’s thrilling Gothic mystery The Taxidermist’s Daughter and our co-production with the National Theatre, Our Generation, an extraordinary portrait of 12 teenagers written by Alecky Blythe. Thank you for joining us today, and we hope you enjoy this performance.
Executive Director Kathy Bourne
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Artistic Director Daniel Evans
F E S T I VA L 2 0 2 2
THE TAXIDERMIST’S DAUGHTER Adapted for the stage by Kate Mosse based on her internationally best-selling novel, this thrilling Gothic mystery – a story of retribution and justice – is set in and around historic Chichester. Directed by Róisin McBrinn.
FESTIVAL THEATRE 8 – 30 April #TaxidermistsDaughter
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F E S T I VA L 2 0 2 2
ON SALE NOW
60th Anniversary season opening productions
OUR GENERATION Alecky Blythe’s engrossing new verbatim play tells the stories of a generation. Often too extraordinary to be fiction, Daniel Evans directs this funny and moving play in a co-production with the National Theatre.
MINERVA THEATRE 22 April – 14 May #OurGeneration
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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 revamped Café on the Park offers extra indoor and outdoor seating overlooking Oaklands Park and new family friendly areas in our spacious foyer.
Open for Festival Theatre performances: matinees from 12pm and evening shows from 5pm. Also available for private hires and functions.
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.
By John Patrick Shanley
WHAT IS DOUBT? John Patrick Shanley introduces his play What’s under a play? What holds it up? You might as well ask what’s under me? On what am I built? There’s something silent under every person and under every play. There is something unsaid under any given society as well. There’s a symptom apparent in America right now. It’s evident in political talk shows, in entertainment coverage, in artistic criticism of every kind, in religious discussion. We are living in a courtroom culture. We were living in a celebrity culture, but that’s dead. Now we’re only interested in celebrities if they’re in court. We are living in a culture of extreme advocacy, of confrontation, of judgment, and of verdict. Discussion has given way to debate. Communication has become a contest of wills. Public talking has become obnoxious and insincere. Why? Maybe it’s because deep down under the chatter we have come to a place where we know that we don’t know... anything. But nobody’s willing to say that.
It is Doubt (so often experienced initially as weakness) that changes things. Let me ask you. Have you ever held a position in an argument past the point of comfort? Have you ever defended a way of life you were on the verge of exhausting? Have you ever given service to a creed you no longer utterly believed? Have you ever told a girl you loved her and felt the faint nausea of eroding conviction? I have. That’s an interesting moment. For a playwright, it’s the beginning of an idea. I saw a piece of real estate on THE BRONX, NEW YORK, 1960s
which I might build a play, a play that sat on something silent in my life and in my time. I started with a title: Doubt. What is Doubt? Each of us is like a planet. There’s the crust, which seems eternal. We are confident about who we are. If you ask, we can readily describe our current state. I know my answers to so many questions, as do you. What was your father like? Do you believe in God? Who’s your best friend? What do you want? Your answers are your current topography, seemingly permanent, but deceptively so. Because under that face of easy response, there is another You. And this wordless Being moves just as the instant moves; it presses upward without explanation, fluid and wordless, until the resisting consciousness has no choice but to give way. It is Doubt (so often experienced initially as weakness) that changes things. When a man feels unsteady, when he falters, when hard-won knowledge evaporates before his eyes, he’s on the verge of growth. The subtle or violent reconciliation of the outer person and the inner core often seems at first like a mistake, like you’ve gone the wrong way and you’re lost. But this is just emotion longing for the familiar. Life happens when the tectonic power of your speechless soul breaks through the dead habits of the mind. Doubt is nothing less than an opportunity to re-enter the Present. The play. I’ve set my story in 1964, when not just me but the whole world seemed to be going through some kind of vast puberty. The old ways were still dominant in behaviour, dress, morality, world view, but what had been organic expression had become a dead mask. I was in a Catholic church school in the Bronx, run by the Sisters of Charity. These women dressed in black, believed in Hell, obeyed their male counterparts, and educated us. The faith, which held us together, went beyond the
precincts of religion. It was a shared dream we agreed to call Reality. We didn’t know it, but we had a deal, a social contract. We would all believe the same thing. We would all believe. Looking back, it seems to me, in those schools at that time, we were an ageless unity. We were all adults, and we were all children. We had, like many animals, flocked together for warmth and safety. As a result, we were terribly vulnerable to anyone who chose to hunt us. When trust is the order of the day, predators are free to plunder. And plunder they did. As the ever widening Church scandals reveal, the hunters had a field day. And the shepherds, so invested in the sacrifice, sacrificed actual good for perceived virtue.
We've got to learn to live with a full measure of uncertainty. I have never forgotten the lessons of that era, nor learned them well enough. I still long for a shared certainty, an assumption of
safety, the reassurance of believing that others know better than me what’s for the best. But I have been led by the bitter necessities of an interesting life to value that age-old practice of the wise: Doubt. There is an uneasy time when belief has begun to slip but hypocrisy has yet to take hold, when the consciousness is disturbed but not yet altered. It is the most dangerous, important, and ongoing experience of life. The beginning of change is the moment of Doubt. It is that crucial moment when I renew my humanity or become a lie. Doubt requires more courage than conviction does, and more energy; because conviction is a resting place and doubt is infinite – it is a passionate exercise. You may come out of my play uncertain. You may want to be sure. Look down on that feeling. We’ve got to learn to live with a full measure of uncertainty. There is no last word. That’s the silence under the chatter of our time. JOHN PATRICK SHANLEY
Copyright © 2005. Reproduced by permission of the author and Dramatists Play Service, Inc.
THIS PAGE: SISTERS OF CHARITY OF ST VINCENT DE PAUL, NEW YORK, 1960s OPPOSITE: THE MARCH ON WASHINGTON DC, 1963 PHOTO @ LEONARD FREED MAGNUM PHOTOS SISTERS OF CHARITY, HARLEM MARCH FOR CIVIL RIGHTS, NEW YORK 1965
LIVING This production of Doubt: A Parable was originally programmed for March 2021 but delayed due to lockdown. One year on, we asked director Lia Williams and designer Joanna Scotcher to reflect on their creative partnership and design choices. Have you worked together before? JS We hadn’t worked together before we started on this production but due to the everextending nature of creative projects at the moment, we’ve actually covered two projects in the last year and a half – all done remotely. LW We met in the Royal Opera House foyer. Jo was doing a show there and I instantly felt DOUBT IDEAS DECK IMAGES COURTESY OF JOANNA SCOTCHER
WITH
drawn to her as an artist. She has a fantastic ability to interpret text as well having brave and bold artistic ideas. JS It’s really interesting to work with Lia because there’s an open, creative playfulness in the way she approaches performance which, as a designer, is a refreshing, liberating position to be allowed. You can use your muscles properly. Doubt is set in the Bronx in the 1960s; what has been your approach to the design? LW We decided to take an expressionistic approach, to keep a taut line between the actors. The play sets itself very strongly in its period in the first few moments, and the
UNCERTAINTY sound design and the few props on set will do the same. Beyond that, we didn’t want to do anything that would get in the way of the story and the acting. JS The expressionistic approach was intentional because there’s a sense of faith falling into a place of doubt and it was more about creating a canvas for that psychological journey. What Lia instinctively homed in on was that actually it’s the space between the characters that we’re trying to illustrate. It’s a creative investigation into the human condition of faith – how fragile, how strong it is; which is fascinating because that human connection, to faith and people, feels fleeting and precious now because we’re all in a deficit of those experiences.
We were really inspired by John Patrick Shanley’s Preface to the play. There’s a particular quote: ‘This wordless Being moves just as the instant moves; it presses upward without explanation, fluid and wordless, until the resisting consciousness has no choice but to give way.’ It’s the tension where a force is trying to move through something brittle. That really informed this hard, slate, unyielding infrastructure that is also really fragile and personal. That’s what we’re trying to create in the mise-en-scène. LW I’m always very keen on two things with theatre – they seem obvious but often they’re not: to honour the writer and to honour the audience. I wanted to offer up the best
possible environment for the audience to lean forward in their seats, and be pulled into this journey, which isn’t necessarily a comfortable one. We’re asking them to formulate their own ideas about the play.
The rest of the set is turned at 45 degrees to that symbol of faith; it should feel almost accusatory, turning out towards the audience. It’s at odds with that beautiful symbol – like the conflicts apparent in the script.
How did the nature of the Chichester stage and auditorium inform your thinking?
LW The endlessly fascinating and totally prescient thing about the play is that we all, every day of our lives, seek for certainty. We think it will make us feel comfortable and safe. And it’s the one thing we don’t have, on a second to second basis, but we still keep searching for it. I suppose the message of the play is that we should live comfortably with uncertainty and that should be our strength. That’s what we’ve tried to create in the relationships and in the lines of the set. It’s interesting to talk about the set as an emotion and I think that’s what Jo’s created and what I really love about it.
LW I think the design Jo has created answers to the epic quality of the play, which is asking big, human questions about who we are and what we believe in, which are as relevant today as they ever have been, perhaps more so. At the same time, the set also responds to the intimacy of the play and its world in a way that I hadn’t quite anticipated. JS It felt very important to have an establishing image when the audience walks in. The symbol of a cross is actually the absence of a cross; it’s the light that comes through the void that’s left by taking out that symbol. You could almost overlook it, but it’s beautiful, because faith is beautiful – it’s very appealing and very important to so many people. The tragedy of this story is that when faith is lost it’s so earthshaking – it’s the loss of something so certain. We’ve all found ourselves, in different degrees, experiencing a sense of that over the last few years. ABOVE: DOUBT MODEL BOX AND IDEAS DECK IMAGES COURTESY OF JOANNA SCOTCHER
What will the lighting design, and music and sound contribute? LW Our lighting designer, Paul Keogan, has the same emotional response to a text as Jo does, and so do Melanie Pappenheim and Giles Perring, the composers and sound designers. Giles lives in Jura and records real sounds – real wind, real crows, real rain; there’s something so visceral about that. Melanie
has one of the purest voices I’ve ever heard and she’s recording some singing for us: a beautiful soft, vulnerable human voice cutting through this monolithic church environment. JS The way Paul lights is expressionistic so his work should underpin the nature of the holistic design beautifully. Exactly as Lia says, it’s under-shadowing the creep of doubt; it’s why the thrusting nature of the set is so important because it’s about the earth shifting underneath us. How have you researched the religious dress? LW I’m absolutely knocked out by how authentic the costumes are. I’ve done 30 years of acting and it’s very rare that you look at a costume as anything other than a costume. Jo and her team have this drive for authenticity and detail which has such grace and finesse to it. The actors instantly feel like the clothes belong to them which doesn’t always happen, I can tell you! JS What’s been really delightful is that our costume supervisor, Sydney Florence, has been in direct contact with the Sisters of Charity in New York; each of the sisters made their own habit when they came to the convent, helped BELOW: HABIT SKETCH IMAGE COURTESY OF SISTERS OF CHARITY, NEW YORK
by another sister. We’ve received the most beautiful hand-drawn sketches from one of the elder members of the sisterhood who’s answered our questions about where pleats sat, how things were constructed, where seams were. To have that level of input from them has given us, as Lia says, such a sense of integrity and truth about those personal elements. It’s given us the freedom for the brushstroke of the more expressionistic canvas for those details to sit on. I’m hoping the tension between those two visual elements will help the audience to go on the same liminal journey.
By John Patrick Shanley
CAST Sister Aloysius Beauvier Sister James Mrs Muller Father Brendan Flynn
Monica Dolan Jessica Rhodes Rebecca Scroggs Sam Spruell
The play’s setting is St Nicholas, a Catholic church and school in the Bronx, New York, 1964. There is no interval.
Doubt was originally produced by the Manhattan Theatre Club on 23 November 2004. It was originally produced on Broadway by Carol Shorenstein Hays, MTC Productions, Roger Berlind and Scott Rudin on 31 March 2005. First performance of this production of Doubt at Chichester Festival Theatre, 22 January 2022.
Lia Williams Joanna Scotcher Paul Keoghan Melanie Pappenheim Giles Perring Charlotte Sutton
Director Designer Lighting Designer Composer and Sound Designer Composer and Sound Designer Casting Director
William Conacher Joe Lichtenstein Camille Etchart Sydney Florence Sharon Foley Susanna Peretz Olamide Ajisafe
Dialect Coach Associate Director Associate Designer Costume Supervisor Props Supervisor Wig, Hair and Make-Up Designer Assistant Director
Ben Arkell Felix Dunning Anna Hunscott Eleanor Butcher
Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager A special thank you to The Sisters of Charity of New York.
Production credits: Set and Scenery by Set Up Scenery Ltd; Production Carpenters Jon Barnes and Steve Bush; Tree supplied by the Goodwood Estate; Costume maker Jane Colquhoun; Milliner Hannah Trickett; Prop Makers Taylor & Foley PropMakers, Charlotte Neville; Lighting hires White Light; Transport by Paul Mathew Transport; Rehearsal room Jerwood Space. With thanks to Sara Malik, Rowan Pashley, Watts, J. Wippell & Co, Angus Wright. Rehearsal and production photographs by Johan Persson Programme Associate Fiona Richards Programme design by Davina Chung
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BIOGRAPHIES
MONICA DOLAN Sister Aloysius Beauvier Theatre includes Talking Heads: The Shrine (The Bridge); Toni in Appropriate, Anne/Georgina in The Same Deep Water As Me (Donmar Warehouse); Karen in All About Eve (Noël Coward Theatre: Olivier Award for Best Supporting Actress); The B*easts (which she also wrote), Chalet Lines (Bush Theatre); Plaques & Tangles, Mrs Twit in The Twits, Birth Of A Nation, The Glory Of Living (Royal Court Theatre); Regan in King Lear, Masha in The Seagull, Katherina in The Taming Of The Shrew, Hermia in A Midsummer Night’s Dream (RSC); title role in Jane Eyre (Shared Experience tour and West End); Hay Fever (Triumph Proscenium); Lady Macbeth in Macbeth MONICA DOLAN
(Out of Joint); title role in Mary Stuart (Nuffield Theatre Southampton); Kate Hardcastle in She Stoops To Conquer, Hannah More/Peg Woffington in A Laughing Matter (National Theatre/Out of Joint); Sliding With Suzanne (Royal Court/Out of Joint); The Walls (National Theatre); The Glass Menagerie (Royal Lyceum Theatre). Television includes My Name Is Leon, The Thief His Wife And The Canoe, Talking Heads: The Shrine, Unprecedented: Kat and Zaccy, Black Mirror: Smithereens, A Very English Scandal (BAFTA Best Supporting Actress nomination), Vanity Fair, The Silkworm, W1A, Inside No 9, Catastrophe, The Witness For The Prosecution, Neil Gaiman’s Likely Stories, The Casual Vacancy, Wolf Hall, The Escape Artist,
Complicit, Call The Midwife, Coming Up: Spoof Or Die, Appropriate Adult (BAFTA Best Supporting Actress Award), U Be Dead, Excluded, Inspector Banks, Occupation, Midsomer Murders, The History Of Mr Polly, Poirot, The Commander, Wallis & Edward. Films include Typist Artist Pirate King, Cyrano, The Dig, Days of the Bagnold Summer, Rialto, Official Secrets, Eye In The Sky, Pride, The Falling, Alpha Papa, Sightseers, The Arbor, Never Let Me Go, Within The Whirlwind, King Lear.
JESSICA RHODES
JESSICA RHODES Sister James Jessica made her stage debut as Dani in The Sugar Syndrome (Orange Tree Theatre: Off-West End Offie Award 2021 for Lead Performance in a Play and The Stage Debut Award nominee 2020). Theatre whilst training includes Little Red Riding Hood in Into The Woods, Bridget in Linda, Don Juan Comes Back From The War, title role in Medea (RADA). Opera includes La Bohème (Scottish Opera). Television includes Casualty. Films include Artemis Fowl. Jessica was a Carleton Hobbs Award nominee. Trained at RADA.
REBECCA SCROGGS Mrs Muller Theatre includes Nikolai in Ravens: Spassky vs Fischer (Hampstead Theatre); Vanessa/Josie in Steel (Sheffield Crucible); Rose Cruickshank in What Shadows (Birmingham Rep); Maya in The Suicide, Elenor Duplay in Danton’s Death (National Theatre); Beverly in One Monkey Don’t Stop No Show (Eclipse Theatre/Tricycle Theatre); Helena in A Midsummer Night’s Dream (Filter/ Lyric Hammersmith); Marianne/Mizzi in Dream Story (Gate Theatre); Anna in Doris Day, Jay in Fatal Light (Clean Break); Chi Chi in Detaining Justice (Tricycle Theatre); Masha in Three Sisters, St Monica/Loretta in The Last Days Of Judas Iscariot (RADA). Television includes Before We Die, Grace, REBECCA SCROGGS
Flack 1&2, Scarborough, Alex Rider, Queens of Mystery, Casualty, Holby City, EastEnders, Plenty More Fish, Death in Paradise, Battle Of The Apemen. Radio includes Cardboard Heart. Films include Awakened Dreams and the short Hard To Lose. SAM SPRUELL Father Flynn Theatre includes Iago in Othello (Shakespeare’s Globe); Mark in Shopping And F**king (Lyric Hammersmith); Jim/Tom in Clybourne Park (Royal Court); Mick in The Caretaker (Theatre Royal Bath); Cedric in Grand Slam (King’s Head); Pornography (Tricycle Theatre); Wilby in Sus (Young Vic); Ananias in The Alchemist,
Bellarmine in The Life Of Galileo (National Theatre); Edward Bond’s Lear (Sheffield Crucible); Roderigo in Othello (Royal Exchange Manchester). Television includes The Amazing Mr Blunden, Doctor Who, The North Water, Small Axe, Liar 2, I Am Nicola, The Bastard Executioner, Catastrophe, Cardinal Burns, The Last Ship, May Day, Eternal Law, The Runaway, Luther, Foyle’s War, The Fixer, Spooks VI, City Of Vice, Holby Blue, Silent Witness, Ghost Squad, Rosemary & Thyme, Spooks III, POW. Films include The Hanging Sun, Connemara, Locked Down, The Informer, Outlaw King, The World Or Nothing, Valerian And The City Of A Thousand Planets, Morgan, Sand Castle, The Lady In The Van, Legend, Taken 3, SAM SPRUELL
Child 44, Good People, Starred Up, Sixteen, The Counsellor, Company Of Heroes, Snow White And The Huntsman, Sex & Drugs & Rock & Roll, Defiance, The Hurt Locker, Elizabeth: The Golden Age, Venus, London To Brighton, To Kill A King, K19: The Widowmaker, and the short Original Villain.
C R E AT I V E T E A M
OLAMIDE AJISAFE Assistant Director Olamide’s theatre credits include Co-Director for debbie tucker green’s a profoundly affectionate, passionate devotion to someone (-noun) (Warwick Arts Centre); Theatre Workshop Facilitator at Camp Bob at Kanuga USA; Head of Drama at The Latymer School; and assisting the Director of Production at Out of Joint. Television and radio includes Broadcast Assistant for BBC Radio 1; Production Coordinator for The Black Filmmakers Curriculum (BBC Radio 1Xtra/Netflix); Floor runner for The Capture (NBC) and RuPaul’s Drag Race UK: The Podcast (BBC Sounds); Production Runner for Funny Festival Live (BBC 2); Runner for Domino’s Dough to Door (Radical Media), Man Like Mobeen (Tiger Aspect) and The Rap Game (BBC Three). Studied at University of Warwick.
LIA WILLIAMS
WILLIAM CONACHER Dialect Coach Previously at Chichester Hobson’s Choice, Pravda, The Recruiting Officer, The Man Who Came to Dinner, Semi-Detached, The Front Page (Festival Theatre), Hock & Soda Water, In Celebration, A Spell of Cold Weather, Aristocrats, The Blue Room, The Sea, The King of Prussia (Minerva Theatre). Theatre includes The Visit, She Stoops to Conquer (National Theatre); The Starry Messenger, Skylight (Wyndham’s); All About Eve (Noël Coward Theatre); The Inheritance (Young Vic); Unreachable (Royal Court); The Audience (Apollo Theatre/Schoenfeld Theater NYC); Les Liaisons Dangereuses (Booth Theatre); Billy Elliot The Musical (Victoria Palace/Imperial Theatre NYC); The Producers (Theatre Royal Drury Lane); King Hedley II (Tricycle); Crazyblackmuthafuckinself (Royal Court Upstairs); The Two Character Play (Hampstead Theatre). Television includes The Crown, Foundation, Dracula, Cursed, Gangs of London, Victoria,
Peaky Blinders, The Enfield Haunting, Happy Valley. Films include Spencer, No Time to Die, A Boy Called Christmas, Misbehaviour, Bohemian Rhapsody, A Private War, A Prayer Before Dawn, Mary Queen of Scots, Dunkirk, Anthropoid, Demolition, Triple Nine, Hunger Games: Mockingjay, Queen of the Desert, In the Heart of the Sea, St Vincent De Van Nuys, A Little Chaos, The Railway Man, Only God Forgives, Cloud Atlas, Extremely Loud and Incredibly Close, Nowhere Boy, The Reader. PAUL KEOGAN Lighting Designer Recent lighting designs include Walls And Windows, Citysong, Last Orders At The Dockside, Katie Roche (Abbey Theatre Dublin); The Naked Hand, Double Cross, Here Comes The Night (Lyric Theatre Belfast); Happy Days, Blood In The Dirt, Postcards From The Ledge (Landmark Productions); The Visiting Hour (film), Hamlet, The Snapper (Gate Theatre Dublin); I Think We Are Alone (Frantic Assembly tour); JOHN PATRICK SHANLEY JOANNA SCOTCHER
Cyprus Avenue (Abbey Theatre, MAC Belfast, Public Theater NY, Royal Court); Love Love Love, The Plough And The Stars (Lyric Hammersmith); The Caretaker (Bristol Old Vic); The Gaul, A Short History Of Tractors In Ukrainian (Hull Truck); Far Away (Corcadorca Theatre Company); The Miser (Theatre Royal Bath and Garrick Theatre); The Hudsucker Proxy (Nuffield Theatre/Liverpool Everyman). Set and Lighting designs include The Treaty, Duck Duck Goose (Fishamble, Dublin); Return of Ulysses (Opera Collective Ireland); Shirley Valentine (Lyric Theatre Belfast and Millennium Forum). Lighting designs for opera include Fidelio, Elektra, 20 Shots Of Opera (film), Aida, The Marriage of Figaro (Irish National Opera); The Gondoliers, Utopia Ltd (Scottish Opera, D’Oyly Carte Opera, State Opera South Australia). Lighting designs for dance include Sama, Flight (Rambert); Lost, Giselle (Ballet Ireland); No Man’s Land (English National Ballet and Queensland Ballet).
JOE LICHTENSTEIN Associate Director Directing credits include Beginning (National Theatre production at Theatre Royal Bath and Queen’s Theatre Hornchurch); A Taste of Joy! (site specific); Cornermen (The Pleasance, New Diorama and VAULT Festival); Smoke of Home (Clifford’s Tower York, Bloomsbury Theatre and Landesbühnen Sachsen); A Matter of Life and Death (Old Red Lion). Associate Director credits include Pinter at the Pinter Season (West End); Beginning (National Theatre, West End); A View from the Bridge (Broadway); Of Mice and Men; The Glass Menagerie (Bolton Octagon); Brassed Off! (York Theatre Royal). Joe Lichtenstein is a director and fine artist. He is a graduate of the National Theatre Studio’s Directors Course.
JESSICA RHODES SAM SPRUELL MONICA DOLAN
MELANIE PAPPENHEIM Composer and Sound Designer Melanie Pappenheim is a singer, performer and recording artist. She has worked with many contemporary composers including Jocelyn Pook, Graham Fitkin, Damon Albarn and Brian Eno; and has appeared at the National Theatre, the Young Vic, the ENO and in several premieres at the Royal Opera House’s Linbury Studio including the award-winning solo work A Ring A Lamp A Thing by playwright Caryl Churchill and composer Orlando Gough. Other works she has co-created include Hearing Voices by Jocelyn Pook, performed at the Queen Elizabeth Hall with the BBC Concert Orchestra and broadcast live on BBC Radio 3. Melanie has composed music for BBC radio drama, regularly collaborates on soundtracks for theatre productions and has created several site-specific sound installations and gallery performances. Her voice can be heard on many film and television soundtracks including Eyes Wide Shut, Gangs of New York, Doctor Who, Silent Witness and, most recently, The Crown.
SUSANNA PERETZ Wigs, Hair and Make-Up Designer Previously at Chichester The Long Song, Plenty (Festival Theatre), Hedda Tesman (Minerva Theatre). Theatre includes Noises Off (Garrick Theatre); The Lion, The Witch and the Wardrobe, A Midsummer Night’s Dream, A Very Very Very Dark Matter, Julius Caesar (Bridge Theatre); Death of a Salesman, Wings (Young Vic); Ghost Stories, Bugsy Malone, Tipping the Velvet, City of Glass, Jubilee (Lyric Hammersmith); Peter Pan (Regent’s Park); The Last Ship (UK tour); Pity, Prudes, Gun Dog, Girls and Boys, Road, How To Hold Your Breath, Linda, Birdland, Hangmen (also West End) (Royal Court); Everybody’s Talking About Jamie, Don Juan in Soho, The Exorcist (West End); Machinal, The Game, Mr Burns, Medea, The Treatment, Carmen Disruption, Mary Stuart (also West End), Oresteia (also Trafalgar Studios), Hamlet (also West End), The Duchess of Malfi (Almeida); Rosencrantz and Guildenstern are Dead (Old Vic); The Grinning Man (Bristol Old
Vic/Trafalgar Studios); The Humans (BAM, NY); The Way of the World, The Prime of Miss Jean Brodie, Teddy Ferrara (Donmar Warehouse); Witness for the Prosecution (London Court House). Opera includes A Midsummer Night’s Dream (Aldeburgh Festival); Alice in Wonderland, Where the Wild Things Are, Dark Mirror, Curlew River (Barbican/US tour); The Illuminated Heart (Lincoln Centre, NY); Greek (Scottish Opera). Film and TV includes Hamlet, Prisoners of Paradise, The Show, Electric Dreams, In The Dark Half, His Heavy Heart, Jimmy’s End, Showpieces and Skeletons (BAFTA nominee and Michael Powell Award-winner). susannaperetzfx.com GILES PERRING Composer and Sound Designer Giles Perring is a musician, composer, sound and cross media artist. He lives and works on the Isle of Jura in Scotland. His work ranges from art and sound installations, like his World Organ project through composition and
OLAMIDE AJISAFE JOE LICHTENSTEIN SAM SPRUELL MONICA DOLAN
performance, to work for theatre and film. He has collaborated with Melanie Pappenheim for over two decades, via their first encounter in contemporary choir The Shout. He first worked with Lia Williams, in conjunction with Melanie, for the Arcola production of The Lady from the Sea (2008). Other theatre and drama credits include The Lady from the Sea (BBC Radio 3), The Tin Drum (BBC Radio 4) and Frank McGuinness’s The Matchbox (directed by Lia Williams, Liverpool Everyman and London Tricycle). Giles’ composition commissions include La Folea Salisbury, The Tall Ships Stavanger, Diamond Dance, a Jerwood Commission and Covent Garden Festival. His sound and installation work includes joint shows at Wapping Project (collaborating with Susie Honeyman) with Jock MacFadyen, Antony Gormley and Iain Sinclair, P0esis Berlin with John Cayley and Exposure with Andy Metcalf. His own performance work notably features his ongoing series The Exchange. Alongside this work, Giles maintains a croft on Jura and is an active community artist.
Outstanding Costume Design and Outstanding Set Design); European Olympic Games, Baku 2015 – Capturing the Flame Ceremony (Baku); Arabian Nights (Birmingham Rep/Coney); A Harlem Dream (BirdGang/Dance Umbrella/ Young Vic); Antigone (Pilot Theatre/Theatre Royal Stratford East); Pests (Clean Break/Royal Exchange/Royal Court); Hopelessly Devoted (Paines Plough); Billy the Girl (Soho Theatre/ Clean Break); Silly Kings (National Theatre of Wales/Cardiff Castle); Once Upon a Christmas, Above and Beyond (Look Left Look Right/site specific with Covent Garden & Corinthia Hotel respectively); Imaginary Menagerie (Les Enfants Terribles); House of Cards (Kensington Palace/ Coney); Epidemic, Platform (Old Vic Tunnels/Old Vic New Voices); House Party (Channel 4 Arts Commission/ACME TV); All That is Solid Melts into Air (NT Watch This Space/Tangled Feet Productions/Greenwich International Festival); Young Pretender (Nabokov Theatre); Counted (Roundhouse/Look Left Look Right); The Caravan (Look Left Look Right/Royal Court/UK tour). joannascotcher.com
JOANNA SCOTCHER Designer Previously at Chichester Sing Yer Heart Out For The Lads (Spiegeltent). Theatre includes The Tragedy of Macbeth (Almeida Theatre, Costume Design); Current Rising (Royal Opera House); Women Beware Women (Shakespeare’s Globe Sam Wanamaker Playhouse); Love Love Love (Lyric Hammersmith); Robot Boy (Bochum Schauspielhaus/Theatre Rites); Emilia (Vaudeville Theatre/Shakespeare’s Globe: Olivier Award Best Costume Design); Mother Courage (Royal Exchange Theatre/Headlong); The Village (Theatre Royal Stratford East); Winter, Two Endless Moments (Young Vic); Katie Roche (Abbey Theatre Dublin); Boys Will Be Boys (Bush Theatre/Headlong); Cuttin’ It (Young Vic/Royal Court/Birmingham Rep/ Sheffield Theatres/Yard Theatre); The Rolling Stone, Anna Karenina (Royal Exchange/West Yorkshire Playhouse); The Railway Children (National Railway Museum/King’s Cross Theatre: WhatsOnStage Award Best Set Designer, National Dora Award nominations
JOHN PATRICK SHANLEY Writer John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received
both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing. CHARLOTTE SUTTON CDG Casting Director Previously at Chichester The Long Song, South Pacific, Crave, 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); Home, The Flock, 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); Sing Yer Heart Out for the Lads (Spiegeltent: CDG Casting Award nomination). Theatre credits Best of Enemies, 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).
LIA WILLIAMS Director Lia Williams was BAFTA-nominated for her short film The Stronger, which won Best Short Film at Raindance; other short films include Feathers (highly commended at The London Film Festival), Dog Alone for Sky Arts TV and Samovar, currently being edited. She also made a feature documentary, Nanobozhung, for which she spent the best part of a year working with the indigenous Batchewana tribe near Lake Superior, Canada. Other directing credits include The Matchbox by Frank McGuinness (Liverpool Playhouse/Tricycle Theatre), which won Best Play at Off West End Awards, and Ashes to Ashes as part of the Harold Pinter Season in the West End with Paapa Essiedu and Kate O’Flynn. A multi award-winning actor, her recent theatre roles include The Night of the Iguana (Noël Coward Theatre); The Prime of Miss Jean Brodie (Donmar Warehouse: Evening Standard Best Actress Award nomination); The Oresteia (Olivier Best Actress Award nomination) and Mary Stuart (Almeida and West End); The Father (Theatre Royal Bath); A Streetcar Named Desire (Gate Theatre, Dublin: Irish Times Theatre Award for Best Actress); Old Times (Harold Pinter Theatre); Arcadia (Ethel Barrymore Theater, New York); Earthquakes in London, The Hothouse (National Theatre). Her extensive screen work includes Wallis Simpson in The Crown, The Capture, Britney, His Dark Materials, Kiri, The Silkworm, The Missing, Doc Martin and May 33rd (nominated for Best Actress at BAFTA and RTS Awards).
LEAP
LEARNING, EDUCATION AND PARTICIPATION Our Learning, Education and Participation department works with people of all ages and abilities, offering opportunities to get involved with CFT beyond the work you see on our stages. A wide range of practical workshops, talks, tours and performances aims to excite and inspire everyone who takes part.
COMMUNITY
CHILDREN & YOUNG PEOPLE
Enjoy developing artistic, personal and social skills through our workshops, projects, productions and award-winning Youth Theatre for young people of all abilities. Chichester Festival Youth Theatre | Holiday Activities | Arts Award
EDUCATION
Our work with local schools, colleges and universities is designed to inspire and enrich students’ learning, while the next generation of arts professionals is nurtured through our training and apprenticeships programme. In-school workshops and projects | Work Experience | School Theatre Days
Learn about life behind the scenes, discover more about productions, develop creative skills, socialise and share experiences with others through workshops and community projects for anyone aged 18 +. Get Into It! workshops | Talks and Discussions | Heritage projects | Dementia Friendly activities
FAMILIES
We’re always delighted to welcome our youngest visitors and their grown-ups to the Theatre. Families can explore and have fun with workshops, productions, events and activities. Free Family Fun | Little Notes | Fun Palaces | Family workshops
cft.org.uk/leap
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
Jade Hall Chairman
Mr Philip Shepherd Ms Stephanie Street Ms Tina Webster Mrs Susan Wells ASSOCIATES Kate Bassett Charlotte Sutton CDG
Literary Associate Casting Associate
BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer DEVELOPMENT Jessey Butcher Julie Field Karen Taylor Joanna Walker Megan Wilson DIRECTORS OFFICE Kathy Bourne Daniel Evans Elspeth Barron Patricia Key Georgina Rae Julia Smith FINANCE Alison Baker Krissie Harte Katie Palmer Simon Parsonage Amanda Trodd Protozoon Ltd HR Emily Oliver Jenefer Pullinger Gillian Watkins LEAP Anastasia Alexandru Helena Berry Rob Bloomfield Zoe Ellis Isabelle Elston Lauren Grant
Development Officer (Corporate & Trusts) Friends Administrator Development Officer (Individuals) Director of Development Events Officer
Executive Director Artistic Director Projects Co-ordinator PA to the Directors Head of Planning & Projects Board Support
Payroll & Pensions Officer Finance Officer Assistant Management Accountant Finance Director & Company Secretary Management Accountant IT Consultants
Accommodation Co-ordinator HR Officer HR Officer
Youth & Outreach Trainee Heritage & Archive Co-ordinator Heritage & Archive Assistant LEAP Co-ordinator Community & Outreach Trainee
Youth & Outreach Co-ordinator - Musical Theatre
Hannah Hogg Richard Knowles Louise Rigglesford
Youth & Outreach Manager Education Projects Manager Senior Community & Outreach Manager
Dale Rooks Brodie Ross
Director of LEAP Deputy Director of LEAP (Maternity Cover)
Riley Stroud
Education Apprentice
MARKETING, COMMUNICATIONS, DIGITAL & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Head of Marketing Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Helen Campbell Lydia Cassidy
Deputy Box Office Manager Director of Marketing & Communications
Lorna Holmes Helena Jacques-Morton
Box Office Supervisor Senior Marketing Officer
James Mitchell James Morgan Lucinda Morrison Rachael Pennell
Box Office Assistant (Casual) Box Office Manager Head of Press Marketing and Press Assistant
Kirsty Peterson Catherine Rankin Jenny Thompson
Box Office Assistant Box Office Assistant (Casual) Social Media & Digital Marketing Officer
Emilie Trodd Julia Walter Claire Walters Joanna Wiege Jane Wolf
Box Office Assistant (Casual) Creative Digital Producer Box Office Assistant Box Office Administrator Box Office Assistant
PRODUCTION Amelia Ferrand-Rook Claire Rundle Joshua Vine Nicky Wingfield Jeremy Woodhouse TECHNICAL Steph Bartle Adrien Corcilius Lewis Ellingford Sam Garner-Gibbons Lucy Guyver Katie Hennessy Mike Keniger Andrew Leighton Zoe Lyndon-Smith Karl Meier Tom Robinson Neil Rose James Sharples Graham Taylor
Producer Production Administrator Trainee Producer Production Administrator Producer
Deputy Head of Lighting Video & AV Technician Stage Technician Technical Director Production Manager Apprentice Props Store Co-ordinator Head of Sound Senior Lighting Technician Technical Theatre Apprentice Head of Stage Senior Stage & Construction Technician Deputy Head of Sound Senior Stage Crew & Rigger Head of Lighting
Deputy Director of LEAP (Maternity Leave)
cft.org.uk/aboutus
THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Duty Manager Ben Geering House Manager Karen Hamilton Duty Manager Will McGovern Assistant House Manager Sharon Meier PA to Theatre Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor Vespasian Security Security Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Caroline Hanton, Keiko Iwamoto, Chris Monkton Ushers: Miranda Allemand, Maria Antoniou, Jacob Atkins, Carolyn Atkinson, Brian Baker, Bob Bentley, Gloria Boakes, Dennis Brombley, Judith Bruce-Hay, Louisa Chandler, Helen Chown, Jo Clark, Gaye Douglas, Stella Dubock, Amanda Duckworth, Clair Edgell, George Edwards, Lexi Finch, Suzanne Ford, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Anna Grindel, Caroline Hanton, Justine Hargraves, Joseph Harrington (Trainee), Joanne Heather, Daniel Hill, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Pippa Johnson, Ryan Jones, Jan Jordan, Jon Joshua, Sally Kingsbury, Alexandra Langrish, Valerie Leggate, Maille Lyster, Judith Marsden, Samantha Marshall, Emily McAlpine, Janette McAlpine, Fiona Methven, Chris Monkton, Susan Mulkern, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Barbara Pope, Fleur Sarkissian, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Kerry Strong, Christine Tippen, Charlotte Tregear, Andy Trust (Trainee), Rosemary Wheeler, Jonathan Wilson (Trainee), James Wisker, Donna Wood, Kim Wylam, Jane Yeates We acknowledge the work of those who give so generously of their time as our Volunteer Audio Description Team: Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Richard Frost, David Phizackerley, Christopher Todd
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! Gary Fairhall, Festival Player
cft.org.uk/support-us
S U P P O R T E R S 2022
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 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 Bondi Foundation 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 Judy Addison Smith Paul Arman The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Mrs Margaret Baumber Franciska and Geoffrey Bayliss Lucy Berry Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Janet Bounds Pat Bowman Lucy and Simon Brett Adam and Sarah Broke 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 and 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 Jill Drummond John and Joanna Dunstan 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 Jane Fogg Robert and Pip Foster Jenifer and John Fox Debbie and Neil Franks Terry Frost Mr Nigel Fullbrook George Galazka Alan and Pat Galer Robert and Pirjo Gardiner
Wendy and John Gehr Jacqueline and Jonathan Gestetner 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 Rowland and Caroline Hardwick Dennis and Joan Harrison Roger and Tina Harrison David Harrison Robert and Suzette Hayes Hania and Paul Hinton Christopher Hoare Dame Denise and Mr David Holt Pauline and Ian Howat Barbara Howden Richards Richard and Kate Howlett John B Hulbert Mike Imms Mrs Raymonde Jay Melanie J Johnson Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Anna Christine Kennett Geoffrey King 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 Nigel and Julia Maile Sarah Mansell and Tim Bouquet Jeremy and Caroline Marriage Sue Marsh Adrian Marsh and Maggie Stoker Charles and Elisabeth Martin Trevor and Lynne Matthews John and Sally-Ann McCormack Tim McDonald Jill and Douglas McGregor James and Anne McMeehan Roberts Andrew McVittie Mrs Michael Melluish Celia Merrick Diana Midmer Jenifer and John Mitchell David and Di Mitchell Nick and Pat Moore Sue and Peter Morgan Roger and Jackie Morris Terence F Moss Mrs Mary Newby Patricia Newton Bob and Maureen Niddrie Lady Nixon
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 and Annie Pegler Jean Plowright The Sidlesham Theatre Group Brian and Margaret Raincock John Rank David Rees The Rees Family Tom Reid and Lindy Ambrose 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 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 and 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 Alan and Helen Todd Peter and Sioned Vos David Wagstaff and Mark Dunne 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 David and Vivienne Woolf Angela Wormald And all those who wish to remain anonymous
‘Chichester Festival Theatre enriches lives with its work both on and off stage. It is a privilege to be connected in a small way with this inspirational and generous-hearted institution, especially at such a challenging time for everyone in the Arts.’ John and Susan Coldstream, Benefactors and Festival Players
cft.org.uk/supportus
S U P P O R T E R S 2022
PRINCIPAL PARTNERS Platinum Partner Prof E.F Juniper and Mrs Jilly Styles
Gold Level
HOLIDAY LETS
Silver Level
CORPORATE PARTNERS Addison Law Behrens Sharp Bishops Printers Ltd
Chichester College Criterion Ices FBG Investment
J Leon Group Joanna Williams Jones Avens
Oldham Seals Group The Bell Inn
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
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
PLAY YOUR PART IN OUR FUTURE If you have enjoyed your visit to Chichester Festival Theatre, please consider supporting us. Leaving a gift in your Will, no matter how small, helps CFT inspire communities for generations to come. To find out more about remembering CFT in your Will, please visit cft.org.uk/legacies or call 01243 812911
Th ank yo u We strongly advise you seek professional advice when drafting a new Will or updating an existing one. This ensures you receive confidential guidance and your Will is tailored to your particular circumstances Registered Charity No 1088552