Local Hero digital programme | Chichester Festival Theatre | Festival 2022

LOCAL HERO Book by David Greig, Music & Lyrics by Mark Knopfler Based on the Bill Forsyth film

WELCOME

KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN

FESTIVAL 2022

Welcome to this performance. It’s a huge pleasure to bring you this new musical version of Local Hero, with book

by David Greig and music and lyrics by legendary Mark Knopfler, based on Bill Forsyth’s iconic film.

The Royal Lyceum Theatre, Edinburgh – where the great David Greig is Artistic Director – staged a first production of Local Hero in 2019. We’re delighted to offer an entirely new production for Chichester audiences, complete with several new songs.

Mark’s extraordinary versatility is showcased to great effect in the beautiful music he has composed for this score, with influences ranging from rock and jazz to folk and, of course, Celtic music. We hope you’ll enjoy it as much as the company have loved creating it – whether you’re a fan of Bill Forsyth’s beloved film or are coming fresh to this funny and enchanting story.

Talking of the company, we are fortunate to have a superb ensemble.

Among them, Tony Award-winner and Broadway star Gabriel Ebert makes his UK stage debut as Mac; Lillie Flynn, Hilton McRae and Jay Villiers are making welcome returns to our stage; while Paul Higgins makes a long overdue Chichester debut.

Nurturing new British musicals and bringing them to a wider audience is always a joyful challenge; Local Hero joins others including Tim Firth’s This Is My Family, and Richard Taylor and Rachel Wagstaff’s Flowers for Mrs Harris presented in Chichester over the past few years. It will be followed by another brand new British musical: The Famous Five, our co-production with Theatr Clwyd, with music and lyrics by Theo Jamieson and book by Elinor Cook, which will be the final production of Festival 2022 in the Festival Theatre.

We hope to see you again then.

Executive Director Kathy Bourne

cft.org.uk

Artistic Director Daniel Evans

F E S T I VA L 2 0 2 2

Music & Lyrics by Theo Jamieson, Book by Elinor Cook Based on books by Enid Blyton The Famous Five go on a daring mission with the future of the planet at stake!

An exciting and heart-warming treat celebrating adventure, bravery and friendship, directed by Tamara Harvey.

A co-production with Theatr Clwyd

FESTIVAL THEATRE 21 October – 12 November #FamousFive

cft.org.uk

WINTER 2022 - 23

‘NOT TO BE MISSED’ SUNDAY EXPRESS

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THE TIMES

DAILY TELEGRAPH

BROADWAYWORLD.COM

SUNDAY EXPRESS

THE OBSERVER

FINANCIAL TIMES

GIRL FROM THE NORTH COUNTRY Written and directed by Conor McPherson Music and lyrics by Bob Dylan

The double Olivier and Tony Award-winning West End and Broadway hit; an uplifting and universal story of family and love, boldly reimagining the legendary songs of Bob Dylan as you’ve never heard them before.

FESTIVAL THEATRE 24 – 28 January

#GirlFromTheNorthCountry

cft.org.uk

CFYT Celebrates! was a fundraising concert on Sunday 31 July 2022, designed to showcase the very best of the talent it has produced over many years.

But this hugely emotional event – which brought the audience to their feet not once but many times throughout the performance – reminded us of the huge debt we all owe to Chichester Festival Youth Theatre and to the simply extraordinary Dale Rooks who has been the modest and self-deprecating life force behind it.

Through personal testimonies on stage, amazing performances, and filmed commentary from past members, we saw how thousands of young lives have been transformed by their experiences.

We heard how CFYT had given them confidence, self-assurance, friendship, the ability to communicate, and the power

to be their best – while entertaining some 20,000 people every Christmas with their spectacular shows.

These festive events which elsewhere might be simply an excuse for friends and family to buy tickets have become both a tradition and an institution here in our city of Chichester.

Some of those young people have gone on to achieve spectacularly in the world of arts – while others have embraced their transferable skills to become everything from graphic artists to paramedics and teachers of distinction.

But in a closing, unscripted piece of film there was one thing they all wanted to say.

‘Thank you.’ And they said it to one person in particular, Dale Rooks, who I know from personal experience has fought with every fibre of her being for every single person

CELEBRATING

CHICHESTER FESTIVAL YOUTH THEATRE

By Gary Shipton Director and Editor in Chief of Sussex World and the Chichester Observer

who has ever trod the Youth Theatre boards.

The concert itself featured a host of alumni performers. Let me mention a few of the stand-outs.

Bradley Trevethan, Sam O’Hanlon, Megan O’Hanlon, Alice O’Hanlon. There was a sumptuous ‘Somewhere Over The Rainbow’ sung by Polly Maltby and Ella O’Keeffe – who alternated the Dorothy role in The Wizard of Oz in 2019.

Anna Foye’s ‘La Vie En Rose’ brought a tear to the eye such was its emotional power and subtlety while Nick Howard Brown exacted every nuance of humour from his pitch perfect and utterly delightful ‘Reviewing the Situation’ from Oliver! – aided by the enormously talented Katy Ellis on violin.

No wonder Felix Mosse has gone on to enjoy such incredible success given his spine tingling ‘Empty Chairs’ from Les Misérables.

The hosts [CFT Trustees and CFYT alumni] Gi Liley and Holly Mirams carried the show with personality and panache.

But, of course, the one person everyone wanted on stage was Dale herself. She was completely overwhelmed by the standing ovation she received before she had even spoken a word.

“I’ve had the great privilege of working with hundreds, no thousands of young people in the Youth Theatre over the past twenty plus years. You are everywhere. You are in London, you are in cities across the UK, you’re overseas. Some of you are married, some of you have children, and those children are back in the Youth Theatre which is really lovely to come full circle. And of course we must pay tribute to those young people who sadly have passed way too prematurely.

“You are the most extraordinary group of people. Your energy, enthusiasm and positivity is infectious and I am really, really proud of all of you wherever you are.

“The Youth Theatre has gone on an incredible journey. It started in the 1980s in the theatre tent with story-telling sessions.

And here today we have over 750 members and seven satellite locations across the county.

“As Daniel [Evans, Artistic Director] said, we want this programme of work to continue way into the future beyond the next 60 years because it does have great impact and the power to change and transform lives.

“The encouragement and support comes from the top of the theatre, from Daniel and Kathy [Bourne, Executive Director], the Board of Trustees and it filters right the way through the organisation. We are so lucky and grateful we are celebrated in this way.”

She gave a special shout-out to Hannah Hogg, the co-director of the concert and she thanked the anonymous supporters who had offered to double the first £10,000 of donations.

It costs more than £350,000 to run CFYT

each year and there is a plea for as much financial support as possible.

Daniel Evans led the singing of the final song of the show ‘You’ll Never Walk Alone’ from Carousel, which encapsulated everything the Youth Theatre represents.

He said to the audience: “I can’t tell you how inordinately proud we are of our Youth Theatre which make us the envy of many theatres around the country.

“There are also two groups of young people that aren’t represented here today – but they are core to us. The first is a group of young carers – some as young as five – who have serious, sometimes onerous responsibilities looking after their siblings or their parents. They are able to come to the theatre in an inclusive, safe environment and have fun and focus on themselves for a change.

“The second group is young, unaccompanied asylum seekers – who often come from very challenging war-torn areas

around the globe. They are able to learn some new skills, socialise together and be in a safe place and crucially a place that allows them to be themselves.

“We have recently included both Syrian and Ukrainian refugees. Chichester was recently named as the city in the UK that’s taken in more Ukrainian refugees than any other. As a city and a theatre we are openarmed, and we are welcoming people in times of need.”

Everyone in Chichester should share in his pride. The Youth Theatre here is simply the best in class. We salute everyone involved, especially the young people themselves who have, through all their hard work, transformed not just their lives – but all of ours as well.

This review appeared on sussexworld.co.uk on 1 August 2022 and is reprinted with their kind permission.

To donate to the work of CFYT, visit cft.org.uk/birthdayappeal

Former and current members of Chiches reflect on what CFYT means to them.

Lives changed, careers made and a family forged.

Daniel Hill, Theatre Maker and Videographer (CFYT 1998-2003)

I’ve definitely taken lots of transferable skills into my profession.

Commitment and communication are key in the role I do in the ambulance service.

Katie Finch, Paramedic (CFYT 2007-2009)

It was the first time that I saw a creative theatrical process from beginning to end, and what’s brilliant about the Youth Theatre is that it involves its young people in every stage of that. It’s meant that I feel more prepared to do my job as a director. Not only that, the Youth Theatre is a really kind and nurturing environment and I aspire to create that environment in my own rehearsal rooms.

When I was 18, I had quite a difficult experience – my dad passed away and my grandma passed away, and I had a really, really tough time with mental health as a result. And I have never been so grateful to an organisation as I was at that period of time as a family network and support. They put a smile on my face at a time when nothing else really did. I really wouldn’t be where I am today if I didn’t have the support of CFT.

Lucy Betts, Theatre Director (CFYT 1993-2006)

Twyla Doone, Communications Strategist (CFYT 2008-2014)

It’s hard to put into words exactly what impact CFYT has had on my life, because every aspect of what I want to do in my career has come from the passion in theatre that Chichester Festival Youth Theatre gave me.

Caleb Barron, Theatre Writer/Director (CFYT 2009-2017)

It inspired me to make sure that I’m doing something that I’m enthusiastic about every day and that I work really hard to do that.

Olivia Rose, Theatre Maker & Mental Health Co-Ordinator (CFYT 1997-2005)

ster Festival Youth Theatre

Working in a business, you have to sell your work to a client, and you have to present in front of the whole business, you’re putting on a performance. So those skills I learnt at Youth Theatre have been so transferable.

Kassy Bull, Graphic Designer (CFYT 2007-2013)

CURRENT CFYT MEMBERS The thing about CFYT is that you’re celebrated for the things that are different about you and make you unique.

Priya Uddin, aged 19

It’s really improved my confidence – it’s helped me with conversation, it’s helped me with doing stuff I wouldn’t normally expect me to do.

Dominic Lacey, aged 14

The Youth Theatre introduced me to puppetry. I would not be here without Chichester. They were my training for my whole career.

Romina Hytten, pictured with Fred Davis, Actor Puppeteers and winners of a 2022 Laurence Olivier Award as members of the puppetry team on The Life of Pi in the West End (CFYT 2009-16)

It’s about building resilience and growing as a person, not just the acting. I think anybody could benefit from what we do. It could prepare you for anything.

Paige Fitzsimmons, aged 17

It’s for everyone and it’s always a good time. No matter what happens in the session, you will leave with a smiling face.

MJ (Jacinta) McKenzie, aged 14

FOOD AND DRINK Enjoy delicious food and drink at Chichester Festival Theatre.

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.

ENJOY A DRINK BEFORE THE SHOW

GREAT COFFEE IN A GREAT LOCATION

The Minerva Bar & Grill has a great range of local gins and spirits, beers and wines.

A great spot for barista coffee, freshly made sandwiches, delicious cakes and a range of drinks. Our Café on the Park offers indoor and outdoor seating overlooking Oaklands Park and family friendly areas in our spacious foyer.

A contemporary British menu is available in our stylish restaurant, The Brasserie.

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, call 01243 782219 or email dining@cft.org.uk for opening times, reservations, menus and more.

LOCAL HERO Book by David Greig, Music & Lyrics by Mark Knopfler Based on the Bill Forsyth film

In the mid-1970s Shetland was gripped by oil fever. Several huge flnds in the North Sea were flnally ready for exploitation and it was starting to dawn that the UK was on the verge of becoming a major oil producer. Shetland, like Aberdeen, was soon to become the focus of the UK's fiedgling oil industry, and everyone wanted a slice of the action – as these extracts from archive newspaper articles testify.

SUNRISE OVER SULLOM VOE, SHETLAND ISLANDS

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The Herald, 12 June 2005 Drive north from Lerwick, the Shetlandic capital, for a little under 30 miles and the flare stack illuminating the leaden skies announces the source of Shetland’s oil wealth. Here, sprawling over an entire headland like some benign giant, lies Sullom Voe, a £1,175 million industrial complex of immense pipes, valves and giant holding tanks dug into the natural landscape; one of Europe’s largest oil terminals crammed with all the equipment necessary to handle the crude which keeps the world running.

With its flare stack roaring, the complex

DAVID AND

OLIATH appears like an apocalyptic citadel at the ends of a ravaged earth, or some vast futuristic city half buried in the peat – which in a way it is.

Sullom Voe boasts its own airfield, weather station, pollution monitoring and port operation, security guards and power station. At the peak of construction, in November 1980, more than 7,200 people were on the Sullom Voe payroll.

By the time the terminal was opened by the Queen, in May 1981, some 12 million cubic metres of rock and peat had been removed from the land, an entire hill levelled to construct the complex.

[The older generation] suffered the uncertainty and disruption caused by the sudden arrival of thousands of construction workers, known as ‘bears’, from outside the islands, without being able to grasp the opportunities presented.

Concerns grew that Shetland’s language, music and culture generally would disappear.

Tensions between locals and incoming workers inevitably arose, finding their expression in the traditional Saturday night dance at the local community halls, where everyone knew everyone else – or used to.

Shetland’s oil wealth is founded on a pioneering piece of legislation, the Zetland County Council Act 1974, giving the council greater powers than other local authorities (except Orkney which has the Flotta oil terminal) to “plan for and accommodate the development of the oil industry”.

The result was one of the most favourable deals ever agreed to by the industry, a form of local tax in the form of “disturbance payments” which has delivered several hundred million pounds – no one seems entirely sure just how much – into a variety of trust funds that survive to this day. The council funds its many infrastructure, economic and recreational projects, including 12 swimming pools for 22,000 inhabitants, and some of the finest schools provision in Scotland, through the interest earned on the oil money.

Much of the credit goes to Ian Clark, then county clerk – today’s equivalent of chief executive – of Shetland Islands Council, who has gone down in island lore for his achievements. Tony Benn describes him as a “brilliant man”, while the US Consul in Edinburgh at the time, Richard Funkhouser, wrote a memo saying Clark and others had “hornswoggled” – bamboozled or tricked – “some of the biggest multinationals and

most sophisticated leaders in Britain out of terms which would make Scottish Nationalists pale with envy.”

The Shetland Times, 22 May 2009 Mr Clark is credited with taking on the oil giants in the face of government opposition, rejecting an early offer from Shell and eventually landing a highly lucrative deal for the isles, bringing in millions of pounds in harbour dues and displacement payments every year until comparatively recently and allowing the

SULLOM VOE, SHETLAND ISLANDS

community to build up substantial financial reserves and radically transform the standard of living and services available.

In the early 1960s Shetland had one of the highest unemployment rates in Scotland and the ZCC had only 150 staff and very little money, but thanks to the work of Mr Clark – along with politicians including Edward Thomason, George Blance and A.I. Tulloch – the council now employs more than 2,000 people and spends over £100 million a year. To this day the community’s various oil funds, even after taking a battering in the wake of the financial crisis over the past 12 months, are worth almost £400 million.

After leaving Shetland, Mr Clark also oversaw the construction of Britoil’s Glasgow headquarters and was later awarded a CBE. It is thought that the famous movie Local Hero was in part based on his role in playing David to the oil companies’ Goliath. Recently released documents dating from the 1970s suggest that Shell even regarded Mr Clark as more difficult to deal with than Libyan leader, Colonel Muammar Gaddafi.

Sullom Voe became the largest oil port in Europe.

The Scotsman, 18 August 2011 More than half of the United Kingdom’s North Sea oil is in waters off Shetland, and when the oil was first discovered there were fears that the islands would be overwhelmed by a rash of uncoordinated developments, which would do major and lasting damage to the environment and give little lasting benefit to the local population. But the council took the unusual step of promoting private legislation through the UK parliament which gave them harbour authority powers for the whole of their coastline. This enabled them to require the oil companies to share a properly planned terminal in Sullom Voe, which became the largest oil port in Europe. As part of the deal, the companies paid a disturbance payment to the council, based on the throughput of oil. The largest part of this money has been paid into a charitable trust, legally separate from the council, which now has assets in excess of £210 million.

The income is able to finance expenditure of approximately £11m a year.

LERWICK, SHETLAND ISLANDS

This money has been used for a variety of charitable purposes benefiting the community.

There are first-class leisure centres in all the main population settlements, there is exceptionally good care for the elderly, including specially built homes and visiting day carers, which reduces the burden that would otherwise fall on the NHS. There is investment in property to let and in a district heating scheme, both of which yield a return. The trust has also part-funded the excellent Shetland Museum in Lerwick. But perhaps most significant of all is a major investment along with Scottish & Southern Energy in Viking Energy, which has proposals for a large wind farm. Shetland, with its almost constant wind, is well suited to this, with turbines that give much higher availability than further south in Britain. The council, and now the Shetland Charitable Trust which owns the investment in Viking, believes that only by investing in renewable energy itself will the financial benefits accrue to the community.

Los Angeles Times, 3 September 1988 Local writer James Nicolson recalls the time, before the oil came in the 1970s, when most Shetlanders struggled for a living by farming the islands’ grudging landscape or fishing the surrounding gray, unforgiving seas. “The only ones better off were the teacher, the minister and the doctor,” Nicolson recalled. “They had steady jobs, new clothes and a better house.

The rest of us were poor, but happy.”

The windfall radically altered living standards, first bringing electricity, running water and indoor plumbing to the many homes that lacked them, then the modern amenities of television sets, washing machines and new cars.

Roads were improved, new schools were built and more teachers hired as a generation of Shetlanders realized that their children no longer had to leave the islands to seek a better life.

Shetlanders have found that afluence has its price… somewhere amid the new cars and the cash grants, a valuable part of life may have gone forever.

“Shetland now has the best social welfare system in Britain,” noted Jonathan Wills, who edits the islands’ main newspaper, the weekly Shetland Times.

Still, the Shetlanders have found that affluence has its price. While few of them can deny the enormous benefits that oil has brought them, some of them ponder whether, somewhere amid the new cars and the cash grants, a valuable part of life may have gone forever. “When I came here in 1939, it was a very closed, very poor, but a very friendly and happy place,” said William A. Anderson, a retired schoolmaster and a member of the island’s council. “People are still as friendly and hospitable, but I’m not so sure about their happiness. They’ve got a lot more money, but the more money you have, the more you want.”

BRITAIN’S COASTAL COMMUNITIES A

FRIEND OR FOE?

AS IN SO MANY COASTAL TOWNS, THE FISHING COMMUNITY IN BEER, DEVON HAS BEEN IMPACTED

BY QUOTAS AND REGULATIONS PHOTO BY REINER TEGTMEYER

S AND ECONOMIC DEVELOPMENT: The towns and villages dotted along Britain’s coastline have often been defined by their relationship with the natural resources and cultural heritage of their environment. As fishing villages, ports and seaside resorts, these remarkable coastal communities have provided sustenance, travel, transport, defence, tourism and leisure for hundreds of years.

Yet the very essence of these communities, and the heart of what made them unique, has dramatically changed in recent years.

Ports have been subject to pressures from globalisation, deindustrialisation and new technology. Fishing communities have been negatively impacted by fishing rights,

legislation and quotas. And seaside resorts have lost their appeal in the face of changing visitor expectations and increased overseas competition.

With the loss of traditional industries, coastal communities have become disconnected from their past.

ABOVE INSERT: PADSTOW HAS AN EXCELLENT REPUTATION AS A FOOD DESTINATION PHOTO BY ROBERT LINSDELL BELOW INSERT: WITH CELEBRATED KIPPERS, FISH AND CHIPS, AND AWARD-WINNING RESTAURANTS, WHITBY IS MAKING A NAME FOR ITSELF AS A DINING DESTINATION PHOTO BY DAVE HITCHBORNE

With the loss of traditional industries, coastal communities have become disconnected from their past and, in many cases, have lost their identity. In their wake, a litany of acute social and economic problems have arisen, including unemployment, low incomes, low skills and education attainment, high rates of anti-depressant and opioid use, and poor public health and criminal justice outcomes – patterns recently highlighted in the Chief Medical Officer’s Annual Report.

Their precarious economic position has been exacerbated by the impacts of Covid-19: according to government figures, revenue is down by nearly £18 billion across all coastal towns.

Many locals are finding themselves priced out of the housing market by tourists buying second homes.

Towns are abandoned, eerie and ghostly during the out-of-season winter months. Many are blighted by run-down town centres littered with empty, boarded-up premises and charity shops, and the once grand hotels proudly adorning the seafront have been converted into cheap, multi-occupancy housing and drug rehabilitation centres. Evidence of local frustration has been captured in media reports of offensive graffiti targeted at tourists and protests against further tourism development.

These reactions aren’t limited to the UK, similar unrest has been reported in Barcelona, Venice and Dubrovnik.

But it isn’t just the failure of economic development destroying these communities.

Some are victims of their own success, attracting tens of thousands of visitors each year – giving rise to a host of new challenges.

Local shops catering for residents’ needs have been replaced by souvenir and confectionary outlets, restaurants, bistros and art galleries, raising the cost of essential items as businesses cash-in on the tourism boom. Traffic and pedestrian congestion has become commonplace, making everyday living unbearable. And all along the coastline, from

BACKGROUND IMAGE: TURNER CONTEMPORARY, MARGATE. THE GALLERY HAS LED THE ARTISTIC REVIVAL OF A FADING COASTAL TOWN PHOTO BY ACABASHI

Salcombe and Falmouth to North Berwick and Ullapool, many locals are finding themselves priced out of the housing market by tourists buying second homes.

The levelling up agenda and debates around ‘left behind’ communities has largely focused on the plight of Britain’s coastal communities.

But, in doing so, it has resulted in their rich and diverse cultural traditions being overlooked, which are often central to local identity and pride. So, it’s not surprising when efforts to breathe new life into ailing towns and villages focus on a culture-based approach to regeneration. Aldeburgh’s success owes much to its vibrant arts and music scene – something Margate and Folkestone are seeking to emulate.

Tourism has a long history of destroying cultures, commercialising and trivialising them, leading to a loss of their inherent meaning and purpose.

Meanwhile, towns such as Padstow, Whitby and Grimsby enjoy reputations as food destinations; and others, like St. Ives, Teignmouth and Liverpool, have reverted to their origins of attracting artists, and are repositioning themselves as creative centres.

Brighton provides a valuable example of a city that has based its reputation on creativity, and effectively uses culture, largely through tourism, to sustain and grow visitor numbers.

It is well known for its lively cultural scene, with numerous venues and workspaces for musicians, actors and artists to showcase their skills. Combined with the city’s wealth of cultural heritage sites, it’s able to attract a wide range of visitors, whose spending helps to off-set any winter losses.

However, these new economic opportunities also bring serious ramifications.

Tourism has a long history of destroying cultures, commercialising and trivialising them, leading to a loss of their inherent meaning and purpose. Local festivals, ceremonies and customs become products that are bought and sold for profit. They become spectacles to delight tourists, rather than authentically commemorating events of local significance for local people. In addition, if all coastal communities use culture as a means of economic development, it’s highly likely

DR BLIGHTY PAVILION PROJECTION, AN IMMERSIVE INSTALLATION FEATURING SOUNDSCAPES, PROJECTIONS AND THEATRICAL EXPERIENCES FOR BRIGHTON FESTIVAL PHOTO BY DOMINIC ALVES

that all will begin to look and feel the same, offering similar experiences and products.

Such a phenomena is already happening at destinations around the world. Have you arrived somewhere for the first time and thought that you’d been there before? Our coastal communities face a similar fate.

In towns such as Exmouth and Newquay, there is a growing interest in the role of the ‘blue economy’ – the sustainable use of ocean resources for economic growth, and improved livelihoods and jobs – in supporting both regeneration and ‘blue health’, with the idea that having access to an area of water can benefit general well-being.

Upskilling the workforce and building a future talent pipeline in struggling areas can only be supported by broader thinking and long-term policy action.

There are similar opportunities for coastal communities to unlock economic potential through the development of their ocean economies – through offshore renewable energy and sustainable aquaculture. For example, Great Yarmouth’s shallow waters and reliable winds have attracted investment of £11 billion and a further £22 billion for planned projects, generating around 6,000 jobs.

However, upskilling the workforce and building a future talent pipeline in struggling areas can only be supported by broader thinking and long-term policy action. This is particularly true for the renewable energy sector, where there is a national skills shortage.

While there are obvious economic benefits to be derived from offshore renewable energy, concerns have been expressed about the negative impacts on the marine environment.

The industry has been associated with notable disruption during the construction of wind turbines which, together with the noise pollution they create, can result in damage to the seabed and marine life. The physical presence of turbines can also be visually intrusive, blighting cherished seascapes.

So, is the economic development of coastal communities a friend or a foe? A blessing or a burden? On the one hand, it has led to more jobs and better incomes, and left a legacy of a rich built heritage. But it is also responsible for destroying the very sense of place of those communities, their uniqueness.

There is no better time for local communities, local champions and local heroes to fight back to preserve what is dear to them.

SHEELA AGARWAL

is Professor of Tourism Management, Plymouth Business School’s Associate Head for Research and Innovation, and Co-Director of the Centre for Coastal Communities at the University of Plymouth.

SUSTAINABLE AQUACULTURE OFF THE DORSET COAST

My heart’s in the Extracts from Scottish poems and lyrics, chosen by the Local Hero company

Now westlin winds, and slaught’ring guns Bring Autumn’s pleasant weather; The moorcock springs, on whirring wings Amang the blooming heather: Now waving grain, wide o’er the plain Delights the weary farmer, The moon shines bright, as I rove by night, To muse upon my charmer.

Robert Burns, from ‘Song Composed in August’

Let me tell you that I love you, that I Caledonia you’re calling me and now But if I should become a stranger you Caledonia’s been everything I’ve ever From ‘Caledonia’, music and lyrics by Dougie MacLean.

Published by Limetree Arts and Music. (PRS & MCPS, UK; Kobalt Music, ROW).

GLENFINNAN, SCOTTISH HIGHLANDS PHOTO BY J DREVET

Highlands...

O my Luve’s like a red, red rose That’s newly sprung in June; O my Luve’s like the melodie That’s sweetly play’d in tune.

As fair art thou, my bonnie lass, So deep in luve am I; And I will luve thee still, my Dear, Till a’ the seas gang dry.

Robert Burns, from ‘A Red Red Rose’

think about you all the time I’m going home u know that it would make me more than sad r had

My heart’s in the Highlands, my heart is not here, My heart’s in the Highlands, a-chasing the deer; Chasing the wild-deer, and following the roe, My heart’s in the Highlands, wherever I go.

Robert Burns, from ‘My Heart’s in the Highlands’

‘SCOTLAND’ BY JOHN SINGER SARGENT

And tonight the sky would be huge with stars.

Tomorrow there would be the distant islands cut out of sugar paper, or else cloud, the rain in great veils coming in across the water, the earliest tenderest feathering of green on the trees, mibbe autumn laying bare the birches stark white.

There would be blood-red rowan berries, that bold robin eating from my plate again, or – for a week or two in May – the elusive, insistent cuckoo, or else the slow untidy flapping of the flight of the heron, the oil-black cormorant’s disappear-and-dive, shifts of sun, double or even treble rainbows.

The waterfall would be a wide white plume or a thin silver trickle, depending...

There would be bracken’s early unfurling or late summer’s heather pinking and purpling over, there’d be a plague of hairy caterpillars and the last drunken bees.

Liz Lochhead, from ‘Favourite Place’

first published in My Favourite Place (Scottish Book Trust, 2012)

Out in the open country; the light coming in from the North Sea. You’ll never see what I’ll give you Up in the north, growing old under the lights of old Aberdeen.

You’ll never see what I’ll give you...

Jackie Kay, from ‘Old Aberdeen’

published in Darling: New & Selected Poems (Bloodaxe Books, 2007)

Beauty is within grasp Hear the islands call The last mile is upon us I’ll carry you if you fall I know the armour’s heavy now I know the heart is tired It’s beautiful just over The wild mountainside John Douglas from ‘Wild Mountainside’ © BMG Rights Management

HIGHLAND HEATHER PHOTO BY ANDY BELSHAW

Der places oot alang da loch At yöle-girse sweetly fills An smora lukks da drummie-bee Wi da waff at da lang swaar spills Da hedder-ön is da very braeth O da Sooth wind ower da hills.

You donna see da Simmer pass Rose-red wi laamer een; You see a glöd o blue an gold, A glisk o white an green; Onlie da Sooth wind sees an seichs Ta tink at shö is geen.

From ‘Hjalta’ by Vagaland, one of Shetland’s best-known and best-loved poets © Shetland Archives

LOCAL HERO Book by David Greig, Music & Lyrics by Mark Knopfler Based on the Bill Forsyth film CAST (in order of appearance) Gordon Ownie Stella Mac Happer Iain Rhona Lachie Mistress Fraser Pauline Netta Shona Reverend Murdo Ben Viktor

Paul Higgins Ali Craig Lillie Flynn Gabriel Ebert Jay Villiers Murray Fraser Rachael Kendall Brown Craig Hunter Jackie Morrison Julie Cullen Liz Ewing Betty Valencia Rodney Earl Clarke Hilton McRae Joshua Manning

All other roles played by members of the Company.

The story takes place in the coastal village of Ferness in the Scottish Highlands and in Houston, Texas in 1983.

There will be one interval of 20 minutes.

Local Hero is presented in association with Neal Street Productions and Patrick Daly.

First performance of this new production of Local Hero at the Minerva Theatre, Chichester, 8 October 2022.

Originally developed by the Royal Lyceum Theatre Edinburgh and Old Vic Theatre London. The Royal Lyceum, Edinburgh staged a first production of Local Hero 14 March – 4 May 2019.

Director Designer Lighting Designers Sound Designer Musical Director Movement Director Video Designer Music Producer Orchestrator & Arranger Casting Director US Casting

Daniel Evans Frankie Bradshaw Paule Constable with Ryan Day Paul Arditti Richard John Sasha Milavic Davies Ash J Woodward Guy Fletcher Dave Milligan Charlotte Sutton CDG Jim Carnahan CSA

Voice & Dialect Coach Associate Director Associate Musical Director

Charmian Hoare Francesca Murray-Fuentes Alan Berry

Production Manager Costume Supervisors

Ben Arkell Lisa Aitken Laura Rushton Lizzie Frankl for Propworks Zoë Wilson for Propworks Rebecca Rungen

Props Supervisor Associate Props Supervisor Wigs, Hair & Make-Up Company Stage Manager Deputy Stage Manager Assistant Stage Manager

Lou Bann Rob Le Maistre Rose Dayan

Production credits: Set Construction by Theatre Royal Plymouth TR2; Phone Box constructed by Properly Made Ltd; Performer Flying by Freedom Flying; Production Carpenters John Burrows and Graham Wells; Costume makers Academy Costumes and Alison Kirkpatrick; Breakdown Artist Helen Flower; Costume alterations Colette Tulley; Lighting hires by White Light; additional Sound equipment by Autograph Sound; Production Video Engineer Dan Bond; Production Video Design and set up Mogzi Bromley-Morgans; Production Video Programmer Sam Lisher; Video equipment by Stage Sound Services; Transport by Paul Mathew Transport; Rehearsal room Mountview.

With thanks to Brighton MET and Northbrook College; Toby Lord; Dave Simmons at Deadline.

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

Supported by Local Hero Commissioning and Patrons Circles: Ian and Judy Barlow, Ben-Levi Family, Philip Berry, Christina Breene, Patrick and Maggie Burgess, Sheila and Steve Evans, Gary Fairhall, Jennie Halsall, Dennis Harrison, Catherine Headlam, Richard and Rosie Hoare, Dr and Mrs Nick Lutte, Judy Martin-Jenkins, Nita and Peter Mitchell-Heggs, William and Penny Plant, Jackie and Alan Sherling, Greg and Katherine Slay, Patricia Sloane, Christine and Dave Smithers, Howard M Thompson, Bryan Warnett of St James's Place, Ernest Yelf, and all those who wish to remain anonymous.

Sponsored by

#LocalHero ChichesterFestivalTheatre

ChichesterFT

ChichesterTheatre

ChichesterFT

ChichesterFT

MUSICIANS Musical Director / Keyboard Accordian / Keyboard Violin Electric & Acoustic Guitar / Ukulele Electric & Acoustic Guitar Double Bass & Bass Guitar Drums Band Management Assistant Musical Director

Richard John Ian Watson Clodagh Kennedy Lewis Turner Huw Davies Saffron Young Ali Van Ryne David Gallagher Josh Griffith

MUSICAL NUMBERS

ACT ONE A Barrel of Oil Mac and Company Houston, We Have A Problem Mac Welcome to Ferness The Band We’re Going to Make a Killing The Company What A Life Ben Filthy Dirty Rich Gordon and Company Rocks and Water Stella That’d Do Me The Company Big Mac And Gordon The Company I Wonder If I Can Go Home Again Mistress Fraser and Company

ACT TWO Never Felt Better The Company Cheerio Away Ye Go Ben and Stella Filthy Dirty Rich reprise The Company Numbers Stella and Mac In An Ideal World Mac and Gordon Rocks and Water reprise Stella I Wonder If I Can Go Home Again reprise Mac Houston We Have a Problem reprise Mac Going Home (theme) The Band

BIOGRAPHIES

GABRIEL EBERT

RACHAEL KENDALL BROWN Rhona Local Hero is Rachael’s professional theatre debut. Credits whilst training include Jo/Club Singer in Made In Dagenham, Dirty Rotten Scoundrels, Stepmother in Into The Woods, Octavius Caesar in Julius Caesar (Emil Dale Academy); Nancy in Oliver!, Scarecrow in The Wiz (GAMTA).

Trained at Emil Dale Academy (graduated 2022) and Glasgow Academy of Musical Theatre Arts.

RODNEY EARL CLARKE Reverend Murdo Theatre includes Bishop of Digne in Les Misérables (West End); Chief of Police in Kismet, Workman/Rajah Bimmy in On The Town (ENO); Pig in The Enchanted Pig (Young Vic).

Opera and Concerts include Crown in Porgy and Bess (Royal Danish Opera); Pasha Selim in The Abduction From The Seraglio (Opera Di Roma); Jake in Porgy And Bess (Opera de Lyon); Ferryman in Curlew River, title role in Don Giovanni (Birmingham Opera Company); Anastase in Sante (Almeida/Aldeburgh Festival); Ashmodeus in Tobias and The Angel (Young Vic); Mel in The Knot Garden (Music Theatre Wales); Pau Luto in Another America: Fire (Sadler’s Wells); soloist in Crazy For Gershwin, soloist in Simply Gershwin (Royal Festival Hall), Church Parables (Mahogany Opera UK tour) and with The John Wilson Orchestra (Dublin and UK tour).

Television includes Broadway Sounds Prom, Hidden Talent, BBC Proms, Flashmob The Opera.

Recordings include Pictures of Life, Tobias and The Angel, Porgy and Bess, World Cup: Pavane.

Films include The Magic Flute.

ALI CRAIG Ownie Theatre includes Peter in Fibres (Stellar Quines); Jock in Lost At Sea (Perth/Horsecross Arts); Keith in The 306: Dusk (National Theatre of Scotland/Perth Theatre); Big James/John in The James Plays (national tour); James I: The Key Will Keep The Lock, Crichton in James II: Day Of The Innocents, Sandy in James III (NTS/National Theatre); BFG/Dad in The BFG, Talthybius/Polymestor in Hecuba, David/

Connolly in Victoria (Dundee Rep Theatre); Ainsley Binnie in Beautiful Burnout (Frantic Assembly); Macbeth, Mark in 5 Minute Theatre: The Game, The Simple Truth and Unlit, Stewarty in Black Watch (National Theatre of Scotland); Laertes/Rosencrantz in Hamlet (Greenwich Theatre/Rapture); Gordon in Waterproof (Òran Mór).

Television includes Doctors, Armchair Detectives, Trust Me, Outlander, Shetland, River, Black Watch, Seal of Souls, Monarch of the Glen.

Radio includes Keeping Mum, Topaz, McLevy, Immaculate, Black Watch.

Films include Ribbons, May I Kill U?, Outpost: Black Sun, Weekender, Pelican Blood.

Trained at Mountview Academy of Performing Arts.

JULIE CULLEN Pauline Theatre includes The Comedy About A Bank Robbery (West End/UK tour); Wendy Darling in Peter Pan (Qdos); Costa Diadema (Costa Crociere).

Television includes Traces (season 2).

Films include The Princess Switch 3, Sunshine On Leith.

Trained at GAMTA. Twitter @JulieCullen_4 Instagram @julieecullen GABRIEL EBERT Mac Theatre on Broadway includes Mr Wormwood in Matilda The Musical, for which he won a Tony Award for Best Supporting Actor in a Musical; Mister/Ossifer in Pass Over (August Wilson Theater, also off-Broadway/Lincoln Center; Lucille Lortel Award); Alan in Time and the Conways, Stanley in Brief Encounter (Roundabout Theater); Franz in Sunday in the Park With George (Concert Gala, New York City Center); Camille in Thérèse Raquin (Studio 54); Jonathan/Miranda in Casa Valentina (Manhattan Theatre Club).

Off-Broadway theatre credits include Rufus in Gently Down the Stream (Public Theatre); title role in Peer Gynt (Classic Stage Company); Rach in Preludes, Leo in 4000 Miles, for which he won an OBIE Award (Lincoln Center); Jason

in Suicide, Incorporated (Roundabout Underground). Other theatre includes Robin Hood in The Heart of Robin Hood (Winnipeg/ Toronto); Prometheus Bound (American Repertory Theater).

Television includes Dickinson, Mr Mercedes, The Mandalorian, Elementary, The Good Fight, The Instinct, The Blacklist.

Films include News of the World, Jane Wants a Boyfriend, I Am A Seagull, The Immortal Life of Henrietta Lacks.

Trailed at The Juilliard School, New York.

LIZ EWING Netta Theatre includes Weisman’s PA in Follies (National Theatre); Astrid in Séance (The Other Palace); Snow White and the Seven Dwarfs, Fairy Dress Maker in Cinderella (London Palladium); Lady Conway in Mrs Henderson Presents (Noël Coward Theatre); Gypsy (Savoy Theatre); Old Ma Strong in Urinetown (Shaftesbury Apollo); Susan Boyle in I Dreamed A Dream (Michael Harrison Productions); Good Fairy Aurora in Snow White and the Seven CRAIG HUNTER RACHAEL KENDALL BROWN

Dwarfs (Qdos); Shirley in Priscilla: Queen Of The Desert, Mme Thenardier in Les Misérables (Palace Theatre, West End); Mary McGregor in The Prime of Miss Jean Brodie (Theatre of Comedy); Jan in original cast of Grease (Dominion Theatre); Melanie in Redeeming Vices (New End Theatre, Hampstead); Nine (Royal Festival Hall).

Television includes Doctors, The Nest, The Tracy Ullman Show, The Sound of Music – Live, Taggart, Bob Martin.

Films include Gentlemen’s Relish.

Trained at Mountview Academy of Theatre Arts.

LILLIE FLYNN Stella Previously at Chichester, Love Story (Minerva Theatre and Duchess Theatre).

Theatre includes Balladeer in Assassins, Banquo in Macbeth, Helena in A Midsummer Night’s Dream (Watermill Theatre); Olivia in Twelfth Night (Wilton’s Music Hall); Mrs Fox in Fantastic Mr Fox (Nuffield Theatre, Southampton/Lyric Hammersmith); Rasa

in Sunny Afternoon (Harold Pinter Theatre and Hampstead Theatre); Nessa Rose in Wicked (Apollo Victoria); Guardian Angel/Girl in Quadrophenia (Q Theatre Productions); lead vocalist in The Spirit Of Broadway (China tour); The War Of The Worlds (Live Nation).

Films include Alex’s Dream, The Score.

Trained at Webber Douglas/Central School of Speech and Drama.

MURRAY FRASER Iain Theatre includes Gel/Hotel Porter in The Ritual Slaughter of Gorge Mastromas, Perchik in Fiddler on the Roof, Lennox in Macbeth, Alex Holmes in On The Shore Of The Wide World, Sir Andrew Aguecheek in Twelfth Night, Sergei Voynitzev in Platonov, Mr Foresight in Love For Love, Vindici in The Revenger’s Tragedy, Nicky Lancaster in The Vortex (LAMDA).

Television includes Glow and Darkness, When Harry Met Meghan, Victoria, The Loch.

Films include the short Distortions.

Trained at LAMDA.

JULIE CULLEN ALI CRAIG

PAUL HIGGINS Gordon Theatre includes Ross Raymond in This Is Memorial Device (Royal Lyceum Theatre/ Edinburgh International Book Festival); Granville Sharp in The Meaning Of Zong (Bristol Old Vic); Priest/Father in The Doctor, Macduff in Macbeth, Alex in After A Burial (Almeida); Tom Hoffnung in Aristocrats, Canon Chancellor in Temple, Miller in Luise Miller (Donmar Warehouse); Dorn in The Seagull (Lyric Hammersmith); Basil/ Barry in Twilight Song (Park Theatre); Ray in Blackbird, Kent in King Lear (Citizens Theatre); Mark in Hope (Royal Court); Boris in Children Of The Sun, Viktor in The White Guard, James in Paul (National Theatre); Sergeant/Writer in Black Watch (National Theatre of Scotland); Paul in Damascus (Traverse & Tricycle Theatres); Prospero in The Tempest (Tron Theatre); The Duke in Measure For Measure, Oberon/Theseus in A Midsummer Night’s Dream (Globe); The Young Man in Nightsongs (Royal Court); Stuart in Buried Alive (Hampstead Theatre); Hovstad

in An Enemy Of The People (National Theatre/ Ahmanson Theatre LA); title role in Macbeth (English Touring Theatre); Phil McCann in The Slab Boys (Young Vic).

Television includes Slow Horses, The Ipcress File, Beep, Cold Call, Line of Duty, Utopia, The Thick Of It, The Last Enemy, Low Winter Sun, Murder.

Films include Kill, Greed, Apostle, Couple In A Hole, Victor and Abdul, In The Loop, The Red Road, Complicity, Bedrooms and Hallways.

CRAIG HUNTER Lachie Theatre includes Guy in Double Life VR (Leo & Hyde). Theatre credits whilst training include Robert in Company (RCS); Collins in Rent (GAMTA Brickhouse Theatre).

Trained at The Royal Conservatoire of Scotland (2021).

JOSHUA MANNING Viktor Theatre includes Cyrus Budge in By Jeeves (The Old Laundry Theatre); The 306: Dawn (National Theatre of Scotland); Donovan in The End Of Something (The Old Vic); title role in The BFG (Birmingham Rep); King Lot in Merlin (Nuffield Theatre); Oliver in As You Like It (Stafford Festival Shakespeare at Stafford and Ludlow Castles); Sweeney Todd (Manchester Royal Exchange & West Yorkshire Playhouse); Reverend McWhurrie in I Didn’t Always Live Here (Finborough Theatre); The Magistrate (National Theatre); The Deep (Tobacco Factory, Bristol); Danny in Orphans (Trafalgar Studios); Kent in King Lear (Rose Theatre); Rasor in The Provoked Wife (Greenwich Playhouse); Feste in Twelfth Night (Drayton Arms Theatre); Bash (The Landsdown, Bristol); Fleeing The Nest/Coming to Terms (Brunch Plays, Highgate and Hightide Festival).

Television and Films include Doctors, Muppets Most Wanted, Brief Intermission, Intergalactic Kitchen.

Radio includes Natural Histories, Romeo and Juliet; other audio work includes Macbeth, The Fir Tree, Torchwood, Greenborne, Tales From The Tombstone Tavern, Nelly Bly, Quantum, The Lost City, The Art of Ambition.

Trained at the Bristol Old Vic Theatre School.

HILTON McRAE Ben Previously at Chichester, My One and Only (Festival Theatre and West End).

Theatre in the West End includes 1984, End Of The Rainbow (Olivier Award nomination for Best Supporting Actor), Rabbit, Mamma Mia!, Les Misérables, Miss Saigon, Piaf, Les Liaisons Dangereuses (also on Broadway).

Other Theatre includes The Dance Of Death (Bath/Arcola); Uncle Vanya (Almeida); The Cocktail Party (Print Room); The Kreutzer Sonata (The Gate/La MaMa New York); Timon of Athens, Caroline, Or Change (National Theatre); The Danton Affair, Troilus and Cressida, As You Like It, Total Eclipse, Much Ado About Nothing, The Innocent, Antony and Cleopatra, Captain Swing, The Churchill Play, The Merchant of Venice, Factory Birds and Bandits (RSC); The Shadow Factory (Nuffield Southampton); Experimentum Mundi (Edinburgh International Festival); The Oresteia Trilogy (Fisher Centre, New York); Rock ‘n’ Roll (Manchester Library); The Wizard of Oz (Royal Festival Hall); Weapons of Happiness (Finborough); Hamlet (Royal Theatre,

ABOVE: RODNEY EARL CLARKE AND COMPANY JOSHUA MANNING HILTON McRAE

Northampton); The Tempest (Southwark Playhouse); Peer Gynt (Arcola); The Front Page (Donmar); Othello and A Doll’s House (Birmingham Rep); Hedda Gabler (Manchester Royal Exchange); Macbeth (Dundee Rep); LayOff/Yobbo Nowt (7:84).

Television includes The Third Day, Chernobyl, Victoria, Endeavour, New Tricks, Injustice, Zen, Red Riding Trilogy - 1983, The Execution of Gary Glitter, Lewis, Frances Tuesday, Murder City, Baby Father, Serious & Organised, Deacon Brodie, King of Hearts, First Take, To Each His Own, Roll Over Beethoven, Poppyland, Forever Young.

Films include A Private War, Darkest Hour, Denial, The Sense Of An Ending, Macbeth, Far From The Madding Crowd, Mansfield Park, Return Of The Jedi, Secret Rapture, Greystoke, The French Lieutenant’s Woman.

LILLIE FLYNN

JACKIE MORRISON Mistress Fraser Theatre includes The Last Ship (USA and Canada tour); Dirty Dancing (UK tour); Clybourne Park (Rapture Theatre); Sicinius Velutus in Coriolanus (RSC); Amanda in Private Lives, Pygmalion, Hay Fever, Taking Steps (Oldham Coliseum); Abigail’s Party (Curve Theatre); This Is Ceilidh (Speigeltent Edinburgh and London); A Bunch of Amateurs (Watermill Theatre Newbury); Peribanez (Young Vic); Oh What A Lovely War (National Theatre/The Roundhouse); Celaine (Hampstead Theatre); Private Lives (Oldham Coliseum/Harrogate Theatre); Sadly Solo Joe (Greenwich Theatre); After Mrs Rochester (Duke of York’s); What Every Woman Knows and Candida (Stephen Joseph Theatre, Scarborough); Othello (Watermill Theatre/tour of Japan); A Midsummer Night’s Dream (English Shakespeare Company); When We Are Married (Savoy Theatre) ‘Tis Pity She’s A Whore (Derby Playhouse); The Hypochondriac (Leeds Playhouse); The Prime of Miss Jean Brodie (Strand Theatre).

Television includes Romantic Getaway, Love

JACKIE MORRISON JAY VILLIERS PAUL HIGGINS

In Scotland, Black Earth Rising, EastEnders, Doctors, Holby City, Casualty, Coronation Street, Londongrad, Endeavour III, The Commander, Abduction, Midsomer Murders, Ultimate Force, Monarch Of The Glen, Taggart, Doctor Finlay, Head Over Heels.

Radio and Recordings include The Eyes of the Soul, The First Person, The Child, Into Exile, Brigadoon.

BETTY VALENCIA Shona Theatre includes Orphans (National Theatre of Scotland); Cinderella (Perth Theatre); We Came To Dance (Yardheads); Rapunzel: A Hair Braiding Adventure (Macroberts Arts Centre); This Girl Laughs This Girl Cries This Girl Does Nothing

(Stellar Quines/Imaginate); Johnna in August: Osage County (Dundee Rep Theatre).

Films include The Last Bus. Trained at New College Lanarkshire.

JAY VILLIERS Happer Previously at Chichester, Ernest Woolley in The Admirable Crichton, Bernard Nightingale in Arcadia, Mr Rushworth in Mansfield Park (Festival Theatre), Judge Rivlin/David Liddiment in Quiz (Minerva Theatre and Noël Coward Theatre).

Theatre includes Lucifer/Pope in Doctor Faustus (Shakespeare’s Globe); Tom in Skylight (Theatr Clwyd); Thane Lampeter in Accolade (St James’s Theatre); Desmond Curry in The

JAY VILLIERS GABRIEL EBERT ALI CRAIG LIZ EWING JACKIE MORRISON JULIE CULLEN BETTY VALENCIA

Winslow Boy (Old Vic); Judge Brack in Hedda Gabler and Sebastian in In Praise of Love (Royal & Derngate Northampton); Cosmo Duff Gordon in Titanic (MAC Belfast); Oberon in A Midsummer Night’s Dream, Claudius in Hamlet and Benedick in Much Ado About Nothing (Tobacco Factory); Reddin in Gone to Earth (Shared Experience); Tsyganov in Barbarians, Petruchio in The Taming of the Shrew and Richard in Dead Funny (Salisbury); Jerry in Betrayal (Bristol Old Vic); Laertes in Hamlet, Borachio in Much Ado About Nothing and William in As You Like It (Renaissance); Arthur in Ting Tang Mine, Piotr in Fathers and Sons and Laertes in Six Characters in Search of an Author (National Theatre).

Television includes Untitled Michael Douglas

project, Outlander, Responsible Child, New Blood, War and Peace, Father Brown, Mr Selfridge, Lewis, Midsomer Murders, Spooks, Silent Witness, Extras, The Man-Eating Leopard of Rudraprayag, The Government Inspector, Absolute Power, Monsignor Renard, McCallum, The Sculptress, Frontiers, Black Hearts in Battersea, Rumpole, Lipstick On Your Collar, Young Indiana Jones, Miss Marple: They Do It with Mirrors.

Films include Film Stars Don’t Die In Liverpool, The Last Photograph, Birds Like Us, The Sea, The Best Exotic Marigold Hotel, The Lady, The International, Before the Rain, Henry V.

C R E AT I V E T E A M

PAUL ARDITTI Sound Designer Previously at Chichester, Our Generation (also National Theatre), Caroline, Or Change (also on Broadway, Hampstead and West End), This is My Family (Minerva Theatre).

Recent theatre includes La Belle Sauvage, A Midsummer Night’s Dream, Julius Caesar, Young Marx (Bridge Theatre); The Inheritance (Tony nomination 2020/21, Drama Desk Award 2020 and Olivier nomination 2019; Broadway/ Young Vic/West End); After Nora (ITA Amsterdam); The Jungle (Young Vic/West End/New York/San Francisco); Jack Absolute Flies Again, The Crucible, Dick Whittington, Rutherford and Son, Pericles, Beginning, Macbeth, Absolute Hell, Amadeus (Olivier nomination 2017) (all National Theatre).

Other awards and nominations include an Olivier Award for Saint Joan (National

Theatre); Tony, Drama Desk and Olivier Awards for Billy Elliot the Musical (Broadway/West End); Evening Standard Design Award for Festen (Young Vic); and Tony nominations for Mary Stuart and One Man, Two Guvnors on Broadway. www.paularditti.com ALAN BERRY Associate Musical Director Theatre credits as Musical Director include Hairspray (London Coliseum); Come From Away (also UK Musical Supervisor, Phoenix Theatre & Abbey Theatre, Dublin); A Little Princess (Royal Festival Hall); Girl From The North Country (Noël Coward Theatre & Old Vic); Big Fish (The Other Palace); Ghost The Musical (Asia tour); Groundhog Day (Old Vic); The Commitments (Palace Theatre); Matilda The Musical (Cambridge Theatre); Avenue Q (Gielgud & Wyndham’s Theatres); Little Shop

LILLIE FLYNN PAUL HIGGINS DANIEL EVANS GABRIEL EBERT JULIE CULLEN CRAIG HUNTER MURRAY FRASER

of Horrors (Menier Chocolate Factor/Duke of York’s/Ambassadors Theatre).

As Associate Musical Director Shrek (Theatre Royal Drury Lane); Matilda The Musical (RSC Courtyard Theatre); Hairspray (Shaftesbury Theatre); Spamalot (Palace Theatre); Aladdin (Old Vic); Kiss Me, Kate (UK tour).

As Musical Supervisor Bananaman The Musical (Southwark Playhouse).

As Associate Musical Supervisor Girl From The North Country (Public Theatre, New York); Matilda The Musical (South Africa & Asia); Avenue Q (UK tour).

Television includes The Royal Variety Performance, 4 Poofs and a Piano, The Alan Titchmarsh Show, This Morning, The Paul O’Grady Show, Ant ‘n’ Dec’s Saturday Night Takeaway, Daybreak, Children in Need.

Radio includes Olivier Awards Nomination Ceremony, Friday Night Is Music Night,

Loose Ends.

Cast recordings: Matilda The Musical, Girl From The North Country.

FRANKIE BRADSHAW Designer Previously at Chichester The Long Song (Festival Theatre).

Theatre designs include Blues For An Alabama Sky (National/Lyttelton); Mad House (Ambassadors Theatre); Beautiful – The Carole King Musical (Curve Theatre Leicester/Theatre Royal Bath/UK tour); House Of Life (Bush Theatre); Beauty And The Beast (Rose Theatre Kingston); Piaf, Skellig (Nottingham Playhouse); Assembly (Donmar Warehouse); Sweat (West End/Donmar Warehouse); Hamlet (National Theatre Primary Schools tour); Two Trains Running (Royal & Derngate/ETT); Cinderella (Lyric Hammersmith); A Christmas Carol

(Theatr Clwyd); Napoli Brooklyn (UK tour/Park Theatre); Trying It On (UK tour/RSC/Royal Court); Kiss Me Kate, Jerusalem, Nesting, Robin Hood (Watermill Theatre); Cookies (Theatre Royal Haymarket); On The Exhale (Traverse); This Is (ArtsEd); Hansel (Salisbury Playhouse); Brink (Royal Exchange Manchester).

Opera designs includes Macbeth, Idomeneo and Elisabetta (English Touring Opera).

Frankie won The Stage Debut Award 2019 for Best Creative West End Debut alongside director Lynette Linton for Sweat (Gielgud Theatre). She was a Linbury Prize Finalist (2015) and a Jerwood Young Designer (2017), and won the Off West End Award 2016 for Best Set Design for Adding Machine (Finborough Theatre). www.frankiebradshawdesign.com JIM CARNAHAN, CSA US Casting Jim has cast over 150 Broadway shows. His upcoming New York work includes Almost Famous, A Beautiful Noise, Leopoldstadt, Take Me Out and Merrily We Roll Along. Recent FRANCESCA MURRAY-FUENTES MARK KNOPFLER

Broadway: Funny Girl, Plaza Suite, Harry Potter and the Cursed Child, Caroline, Or Change, Moulin Rouge!, Lehman Trilogy, Soldier’s Play, Christmas Carol, Betrayal, Tootsie, All My Sons, Burn This, Kiss Me, Kate, True West, The Ferryman, Head Over Heels, Travesties, Angels in America, 1984, Groundhog Day, Long Day’s Journey Into Night, She Loves Me, Noises Off. Off-Broadway: Little Shop of Horrors, Medea (BAM), Apologia, The Beast in the Jungle, If I Forget, Love Love Love, The Robber Bridegroom, Brooklynite, What’s It All About?

London: Best of Enemies, Deathtrap (Noël Coward); Eureka Day, The 47th, Speed the Plow (Old Vic); Mad House (Ambassadors); Betrayal, Nice Fish (Harold Pinter); Glengarry Glen Ross (Playhouse); Cat on a Hot Tin Roof (Apollo); Angels in America, Red Barn, Motherf**ker with the Hat (National Theatre); Glass Menagerie (Duke of York’s); A Streetcar Named Desire, Scottsboro Boys (Young Vic); The Children’s Hour, La Bête (Comedy).

Television/Film: Ari Aster’s Disappointment Blvd., John Mulaney & The Sack Lunch Bunch, The Seagull, A Home At The End Of The World,

Flicka, Glee (Emmy nomination), Brooklyn, Fantastic Beasts and Where to Find Them (New York casting).

He is a member of the Casting Society of America and a 24-time recipient of the Artios Award for excellence in casting.

PAULE CONSTABLE Lighting Designer Previously at Chichester Half A Sixpence, Three Sisters (Festival Theatre); Barnum (Theatre in the Park); The Meeting, This House, Someone Who’ll Watch Over Me (Minerva Theatre).

Many National Theatre credits include Master Harold And The Boys, The Visit, The Normal Heart, The Ocean At The End Of The Lane (and West End, Olivier Award), Nine Night (and West End), Pinocchio, Follies, Angels In America (and Broadway), Mosquitoes, The Red Barn, The Threepenny Opera, This House, The Curious Incident Of The Dog In The NightTime (Olivier and Tony Awards), War Horse (Tony Award), Waves and His Dark Materials (Olivier Award).

RSC credits include Wolf Hall (also West RICHARD JOHN JOSH GRIFFITH

End/Broadway).

Other credits include The Devil Wears Prada (Chicago); The Glass Menagerie, Cock, The Moderate Soprano (West End); Best Of Enemies, Happy Days, Feast (Young Vic); The Lemon Table (UK tour); ...And Breathe (Almeida); Tenebrae: Lessons Learnt In Darkness (Brighton Festival); The Nico Project (Manchester International Festival); The Cherry Orchard (ITA Amsterdam); Local Hero (Royal Lyceum Edinburgh); The Cripple Of Inishmaan (and Broadway, Michael Grandage Company); How To Hold Your Breath, Clybourne Park, Posh (and West End), Krapp’s Last Tape, The Weir (Royal Court Theatre); Elegy, Teddy Ferrara, Luise Miller, The Chalk Garden (Olivier Award) (Donmar Warehouse); Don Carlos (Sheffield, Olivier Award); Les Misérables (25th Anniversary production, Broadway/international).

Opera productions include The Handmaid’s Tale, Satyagraha (ENO), The Return Of Ulysses, Carmen, Faust, Rigoletto, The Marriage Of Figaro, The Magic Flute, Macbeth (ROH); Nothing, Die Entführung Aus Dem Serail, Die Meistersinger Von Nürnberg, Billy Budd, Giulio

Lemon Table (Salisbury Playhouse/UK tour); Les Misérables (Sondheim Theatre); Palmer Harding Fashion Show (Goodenough College).

Studied Theatre Lighting Design at The Royal Central School of Speech and Drama. www.ryandaylighting.com

Cesare (Glyndebourne); and productions for the Metropolitan Opera, Salzburg Festival, and throughout Europe, North America, Australia and New Zealand.

Dance includes Swan Lake, Romeo and Juliet and The Midnight Bell (Matthew Bourne).

RYAN DAY Associate Lighting Designer Recent credits include Lizard Boy (Hope Mill); Mission, The Ballad Of Corona V (The Big House); Christie Done It (Cockpit Theatre); Rabbit Hole (Union Theatre); I Know I Know I Know (Southwark Playhouse); Wild Onion (Norwich Theatre Royal/UK tour); A Merchant Of Venice (Playground Theatre); Ghost House (The Pit at The Vaults); Urinetown (Embassy Theatre); Dr Faustess (The Cockpit Theatre); Darknet (Union Theatre); Attempts On Her Life (Drayton Arms Theatre); The Bexliest Day Of Our Lives (The Exchange Erith); Primary Steps Recital (Linden Studio at The Royal Ballet School); Anatomy Of A Suicide (Webber Douglas Studio).

Associate/Assistant credits include The RYAN DAY

DANIEL EVANS Director Daniel Evans is Artistic Director of Chichester Festival Theatre, where he has directed Our Generation, South Pacific, This Is My Family, Flowers for Mrs Harris, Me and My Girl, Quiz, Fiddler on the Roof and Forty Years On. His 2021 production of South Pacific played at Sadler’s Wells this summer and is currently on a UK and Ireland tour.

Daniel will leave CFT in April 2023 to take up his new role as Co-Artistic Director of the Royal Shakespeare Company.

Previously, he was Artistic Director at Sheffield Theatres (2009–16) where his productions included An Enemy of the People, Racing Demon, Othello, My Fair Lady, Macbeth, The Full Monty, Anything Goes, The Sheffield Mysteries, Oliver!, The Effect and Show Boat.

As an actor, he appeared there 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 and Chicago Lyric Opera’s 2019 Autumn seasons.

Other directing credits include Esther for Theatr Genedlaethol Cymru and Lovely Evening/ In The Blue for the Young Vic at Theatre503.

As an actor, Daniel Evans’s theatre work includes Henry V, Coriolanus, A Midsummer Night’s Dream, Measure, or Measure, Cymbeline (RSC); Cardiff East, Peter Pan, Troilus and Cressida, Candide, The Merchant of Venice (National Theatre); Merrily We Roll Along (Olivier Award), Grand Hotel (Donmar Warehouse); Ghosts (English Touring Theatre); Sunday in the Park with George (Olivier Award), Total Eclipse (Menier Chocolate Factory); Other People, Cleansed, Where Do We Live, 4:48 Psychosis (Royal Court).

Television includes The Passion, Doctor Who, The Virgin Queen, Spooks, Love in a Cold

Climate, Great Expectations, Daniel Deronda, To the Ends of the Earth.

Films include Les Misérables.

GUY FLETCHER Music Producer Guy has worked on stage and in studio with many world renowned artists such as Cockney Rebel, Tina Turner, Randy Newman, Mick Jagger, Bryan Ferry, Roxy Music, Difford / Tillbrook, Bill Wyman and Vicente Amigo as keyboard player, producer, arranger and musical director. Yet it is with Mark Knopfler and as a member of Dire Straits that Guy has been most involved.

Since 1983, Guy’s technical and musical abilities have been essential to Mark, more recently as producer and engineer for Mark’s albums, film and musical projects. www.guyfletcher.co.uk DAVID GALLAGHER Band Manager West End & London productions include My Neighbour Totoro (RSC/Barbican); Come From Away (Phoenix Theatre); Matilda The Musical (RSC/Cambridge Theatre); Oklahoma! (Young Vic); Spring Awakening (Almeida); 42nd Street (Theatre Royal Drury Lane); Queen Anne (Theatre Royal Haymarket); From Here To Eternity (Shaftesbury Theatre); Girl From The North Country (Noël Coward, Gielgud, Old Vic); Groundhog Day, Future Conditional, The Lorax, A Christmas Carol, The Divide, Fanny and Alexander, The American Clock (all Old Vic).

Regional and UK tours include Identical (Nottingham Playhouse & The Lowry); She Loves Me, Guys and Dolls (Sheffield Crucible); NHS The Musical (Plymouth Theatre Royal); The Wizard of Oz (Leeds Playhouse); Local Hero (Royal Lyceum); Matilda The Musical, Bernadette Peters, Jackie The Musical (national tours); Play Without Words (Sadler’s Wells & national tour).

Other orchestral management work includes various projects with the National Symphony Orchestra, the 2014 and 2015 AMFAR Cinema Against Aids Gala at the Cannes Film Festival and Ridley Scott’s 2010 film Robin Hood.

David was previously music manager at the

National Theatre 2000-2010, working on award-winning productions including My Fair Lady, South Pacific, Anything Goes, Jerry Springer – The Opera, Caroline, Or Change, The History Boys and War Horse; and music manager at the RSC from 2010 -2011, where productions included the premiere of Matilda The Musical.

DAVID GREIG Writer David Greig has been Artistic Director of the Royal Lyceum Theatre in Edinburgh since 2015.

A playwright, screenwriter and theatre director, his original plays and adaptations have been performed at many of the UK’s major theatres, including the Royal Lyceum, Traverse, National Theatre of Scotland, Pitlochry, Royal Court, National Theatre, RSC and West End, as well as on Broadway and internationally.

His award-winning work includes Cover My Tracks (Old Vic); Lanark (Lyceum, Edinburgh International Festival); The Events (Actors Touring Company/Young Vic, Traverse Theatre & Vienna); Glasgow Girls (Citizens Theatre, Glasgow; Off West End award for Best New Musical); The Strange Undoing of Prudencia Hart (Tron Theatre, National Theatre of Scotland); Midsummer (Traverse Theatre, Soho Theatre, Tricycle Theatre, UK & international tours); Dunsinane (RSC at Hampstead Theatre, National Theatre of Scotland); Damascus (Traverse & Tricycle Theatres); Miniskirts of Kabul (Tricycle); The American Pilot (RSC, Soho & Manhattan Theatre Club).

Adaptations include Under Another Sky (Pitlochry Festival Theatre); Touching the Void (West End, Bristol Old Vic, Royal Lyceum & tour); Creditors (Donmar Warehouse, BAM NY); The Suppliant Women (Royal Lyceum, Young Vic & national tour); The Lorax (Old Vic); Charlie and the Chocolate Factory (Theatre Royal Drury Lane, Broadway & Sydney); The Bacchae (Edinburgh International Festival, Lyric Hammersmith); Tintin in Tibet (Barbican, West End & national tour).

CHARMIAN HOARE Voice and Dialect Coach Previously at Chichester The Unfriend, Our Generation, The Taxidermist’s Daughter, South Pacific, 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 Jack Absolute Flies Again, War Horse, The Curious Incident of the Dog in the Night-Time, The Lehman Trilogy, The Barber Shop Chronicles (NT Productions); Our Generation, The Antipodes, Peter Pan, Ugly Lies the Bone, Consent, Angels in America, Pinocchio, Network, John, The Great Wave, Absolute Hell, Translations (National Theatre); Fatal Attraction (UK tour); Singin’ in the Rain (Sadler’s Wells); 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.

RICHARD JOHN Musical Director Theatre credits as Conductor and Musical Director in the UK include Dirty Dancing (Dominion Theatre & Piccadilly Theatre); The Last Ship (Northern Stage/UK tour, Toronto, USA tour); How The Grinch Stole Christmas (UK tour); Falsettos (The Other Palace); Charlie And The

LIZ EWING CRAIG HUNTER JULIE CULLEN MURRAY FRASER JACKIE MORRISON JAY VILLIERS BETTY VALENCIA RACHAEL KENDALL BROWN ALI CRAIG

Chocolate Factory (Associate Conductor, Theatre Royal Drury Lane); Sinatra (London Palladium); Dirty Rotten Scoundrels and Legally Blonde (Savoy Theatre); Desperately Seeking Susan (AMD, Novello Theatre); and numerous engagements in Australia and internationally.

Music Supervision includes Legally Blonde (UK tour and productions in Sydney, Brisbane, Melbourne and Vienna); Dirty Rotten Scoundrels (UK tour); and Supervising Music Director for the West End and European/UK tours of Dirty Dancing.

Composition credits include The Centre, The Adventures of Sinbad the Sailor, The Wind In The Willows (published by The Australian Script Centre); Old Mother Hubbard (Black Swan Press); The Legend of Snow White (Hayman Theatre, Australia); Kiss of the Spider Woman (Sevenoaks Playhouse); Deadly Game (Vienna’s English Theatre); Mrs Warren’s Profession,

The Importance of Being Earnest (English Theatre of Hamburg); The Railway Children (published by Samuel French); The Teddy Bears Picnic (UK tour); Comrade Rockstar (SG Records).

Recordings include composer and producer for Comrade Rockstar (original cast album), composer and conductor for The Railway Children (original cast album), keyboards for Legally Blonde (West End cast recording), vocal arranger for Collabro Stars and Collabro: Act 2 (Sony).

Television includes The Grinch Live (NBC/ Sky Arts) In addition to his work as a Musical Director, Richard is currently Head of Music at the East 15 Acting School (University of Essex).

He received honours degrees in music (piano performance) and music education from the University of Western Australia, winning

numerous awards including the Creative Development Fellowship (Arts Council of Western Australia).

MARK KNOPFLER Music and Lyrics Mark Knopfler, singer-songwriter, record producer and composer, is one of the most successful musicians the UK has ever produced and is often cited as one of the greatest guitarists of all time. He first came to prominence in the 1980s as leader of Dire Straits, who created many of the signature songs of the era including ‘Sultans Of Swing’, ‘Money For Nothing’, ‘Romeo And Juliet’ and ‘Walk Of Life’.

Retreating from the spotlight, Knopfler broke up the band in 1995 and set off on a more modest, yet no less prolific new path as a solo artist. In the ensuing years Knopfler has released nine solo albums of sophisticated rootsy rock and has continued to tour the globe with his band, delighting audiences wherever he goes.

Over the years, Mark has written the music for several films, including Local Hero, Cal, The Princess Bride, Last Exit To Brooklyn, and Wag The Dog, and has played and recorded with a number of artists, including Bob Dylan, Van Morrison, Randy Newman, and the late Chet Atkins.

MEMBERS OF THE COMPANY AND CREATIVE TEAM

Knopfler was made an OBE in 1999 and was given the prestigious Lifetime Achievement Award at the Ivor Novellos in 2012. www.markknopfler.com Twitter @MarkKnopfler Instagram @markknopfler Facebook MarkKnopfler SASHA MILAVIC DAVIES Movement Director As movement director, theatre credits include Twelfth Night, The Merry Wives Of Windsor (Shakespeare’s Globe); Force Majeure, Berberian Sound Studio (Donmar Warehouse); Little Amal – The Walk (Devon) (Good Chance/ Complicité); The Weimar Republic: Germany 1918-1933 (Los Angeles Philharmonic); Shoe Lady, Pity (Royal Court); The Halit Yozgat Murder (Staatstheater Hanover); Our Town (Regent’s Park Open Air Theatre); Touching The Void (Duke of York’s/Bristol Old Vic); The Antipodes (National Theatre); The Writer (Almeida); 8 Minutes (Sadler’s Wells); Until The Lions (Roundhouse/Sadler’s Wells); The Suppliant Women (Young Vic/ATC Theatre/Lyceum Edinburgh); La Bianca Notte (Hamburgische Staatsoper).

As director, theatre credits include Manualen (Royal Danish Theatre); The Language Of Kindness (UK tour); She Ventures And He Wins (Young Vic); Pet Zivota Pretuznog

Milutina, Moja Ti, Constellations (Atelje 212 Beograd Serbia); The Sound And The Fury (Pleasance Edinburgh); The Writer (Almeida); 8 Minutes (Sadler’s Wells); Until The Lions (Roundhouse/Sadler’s Wells); The Suppliant Women (Young Vic/ATC Theatre/Lyceum Edinburgh); La Bianca Notte (Hamburgische Staatsoper); One Side To The Other (Lowry, Salford).

Sasha is Associate Dramaturg at the National Theatre, Associate at Complicite, and a founding member of The Yard Theatre, London. She was awarded the Muci Draškić award for best director in Serbia.

Trained at Ecole Jacques Lecoq.

DAVE MILLIGAN Orchestrator and Arranger Dave is a pianist, composer, arranger and musical director with a fascination for blending musical styles.

He has worked with artists such as Mark Knopfler, Larry Carlton, The McCrary Sisters, Art Farmer, Trilok Gurtu, and Karine Polwart.

His work with some of the folk and Celtic music scene’s brightest artists has earned him a reputation as a hugely adaptable, creative force. An enduring partnership with harpist, singer and composer, Corrina Hewat, launched several influential projects, including The Unusual Suspects: a 22-piece big-band of leading folk and jazz musicians that set the benchmark for the wave of large-scale ensembles that followed.

FRANCESCA MURRAY-FUENTES Associate Director Credits as Director include Love In A Time Of Corona (also as writer: Jermyn Street Theatre); Doggerland (National Youth Theatre Epic Stages); King Lear (Rose Bruford); Ref! (Space 2/regional tour); The Runner (also as writer: Oxford Playhouse/Underbelly Edinburgh Fringe/Theatre Deli); Direct Action Festival (The Bunker Theatre); The Bridge (also as writer: Pegasus Theatre); The Best Pies In London (Shakespeare in Shoreditch); The Sandwich Shop (Theatre Deli); Hansel & Gretel (Trinity Theatre / Woolwich Grand).

As Associate/Assistant Director: Blue/ Orange (Royal and Derngate/Theatre Royal

Bath/Oxford Playhouse); Red Riding Hood Rock ’n’ Roll Panto (Mountview); Mother Courage (Red Ladder); 84 Charing Cross Road (Cambridge Arts Theatre/UK tour); Happiness Engineers (Barbican); Children Of The Night, Every You Every Me, Cinderella (Oxford Playhouse); Into The Woods, The Damned United, The Night Before Christmas, Richard III (Leeds Playhouse).

Francesca is artistic director of Hurricane People, a new multi-disciplinary performance company producing work by creatives and artists from mixed heritage backgrounds. She is an associate artist with Red Ladder, and in 2021 was listed in The Stage 100 for her work as co-founder of Exchange Project.

Trained on the MFA Theatre Directing at Birkbeck. Francesca has previously been Resident Assistant Director at Leeds Playhouse, and Resident Director at Oxford Playhouse.

She is a trustee at Oxford School of Drama, and is a supported director with Artistic Directors of the Future.

CHARLOTTE SUTTON CDG Casting Director Previously at Chichester: The Taxidermist’s Daughter, Doubt, The Long Song, South Pacific (CDG Casting Award nomination), 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 & Mabel (Festival Theatre); Sing Yer Heart Out For The Lads (CDG Casting Award nomination), The Unfriend, Our Generation, Home, 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/West End; CDG Casting Award nomination), Strife (Minerva Theatre).

Theatre credits: Cock (Ambassadors); Best Of Enemies, Fairview (CDG Casting Award nomination), Death Of A Salesman (CDG Casting Award nomination), The Convert, Wild East, Winter, trade, Dutchman (Young Vic); Company (Gielgud; CDG Casting Award nomination); Long Day’s Journey Into Night (Wyndham’s, BAM & LA); Humble Boy, Sheppey, German Skerries

(Orange Tree Theatre); Nell Gwynn (ETT and Globe); The Pitchfork Disney, 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, Queen Coal (Sheffield Crucible); Henry V, Twelfth Night Re-Imagined (Regent’s Park Open Air Theatre); Hedda Gabler, Little Shop Of Horrors (Salisbury Playhouse); Insignificance, Much Ado About Nothing, Jumpy (Theatr Clwyd); wonder.land, The Elephantom, Emil And The Detectives, The Light Princess (National Theatre); One Man, Two Guvnors (Theatre Royal Haymarket/international tour).

ASH J WOODWARD Video Designer Also at Chichester this season and Theatr Clwyd, The Famous Five: A New Musical.

As Video Designer, Theatre includes The 47th, The Divide (Old Vic); Hex (National Theatre); Madam Butterfly, The Beauty Parade (Wales Millennium Centre); Can I Live? (with Fehinti Balogun, COP26 Glasgow); The Cunning Little Vixen (Royal Ballet School at Royal Opera House); God’s Dice (Soho Theatre); Armadillo (The Yard); Merrily (Royal Academy of Music); Molly (Edinburgh Festival); Bletchley Park Hut 11A (Bletchley Park); Harry Potter and The Cursed Child (Palace Theatre London/Lyric Theatre Broadway).

Other work includes Senior Designer for Jess Glynne: Years and Years (UK arena tour); Senior Designer for Ellie Goulding (TV 2018); Animation for Curtain Up: Celebrating 40 Years DANIEL EVANS

of Theatre in London and New York, So You Want a Revolution?: Records and Rebels 1966-1970 (Victoria and Albert Museum); Rolling Stones: Exhibitionism (Saatchi Gallery). www.ashjwoodward.com THE ROYAL LYCEUM THEATRE EDINBURGH Originating Producer The Lyceum is a leading producing theatre in Scotland and one of the United Kingdom’s most prolific theatre companies, dedicated to making innovative, high-quality theatre that draws upon the brilliant talent in Scotland and beyond and develops award-winning work with partners across the globe.

We believe that making and experiencing theatre together is life enhancing and are committed to being a theatre rooted in our community, a truly civic theatre, entertaining, challenging and inspiring the people of Edinburgh and beyond. With Artistic Director David Greig, The Lyceum has continued to seek out new artistic partnerships, casting 100 local citizens in our main stage production of The Hour We Knew Nothing of Each Other and 50 more in The Suppliant Women, the acclaimed production that opened David’s first season.

Through our work with Malthouse Theatre, Melbourne; DOT Theatre, Istanbul; Bristol Old Vic; London Old Vic; Lyric Hammersmith; National Theatre of Scotland; Citizens Theatre; Scottish Dance Theatre; Stellar Quines; Lung Ha; Fuel, and more, we strive to bring Edinburgh to the world, and the world to Edinburgh. www.lyceum.org.uk

EVENTS

LOCAL HERO PRE-SHOW TALK

BACKSTAGE TOUR

POST-SHOW TALK

TOUCH TOURS

Friday 14 October, 6pm Director Daniel Evans in conversation with best-selling author Kate Mosse.

FREE but booking is essential.

Thursday 10 November Stay after the performance to ask questions, meet company members and discover more about the play. Hosted

by CFT Literary Associate Kate Bassett.

FREE

Saturday 12 November, 10.30am Explore behind the scenes at CFT in the latest of our monthly 60-minute tours.

Tickets £8 Friday 18 & Saturday 19 November Our Touch Tours enable blind or visually impaired customers attending the audio-described performances of Local Hero to explore the set, props and costumes. The tours take place 90 minutes before the audio-described performances.

FREE but booking is essential.

cft.org.uk/events

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.

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

COMMUNITY

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 | Family shows and workshops

cft.org.uk/leap

S TA F F

TRUSTEES Alan Brodie Mark Foster Judy Fowler Victoria Illingworth Georgina Liley Rear Admiral John Lippiett CB CBE Harry Matovu KC Mike McCart Holly Mirams Caro Newling OBE Nick Pasricha Philip Shepherd Stephanie Street Tina Webster Susan Wells ASSOCIATES Kate Bassett Charlotte Sutton CDG

Louise Rigglesford Chair

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 Barnes

Development Officer (Corporate & Trusts)

Julie Field Sophie Henstridge-Brown Charlotte Stroud Karen Taylor

Friends Administrator Senior Development Manager Development Manager Development Manager (Individuals)

Joanna Walker

Director of Development

Senior Community & Outreach Manager

Dale Rooks Brodie Ross

Director of LEAP Deputy Director of LEAP (Maternity Cover)

Riley Stroud

Cultural Learning & 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 Box Office Supervisor Helena Jacques-Morton Senior Marketing Officer James Mitchell Box Office Assistant (Casual) James Morgan Box Office Manager Lucinda Morrison Head of Press Rachael Pennell 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

DIRECTORS OFFICE Kathy Bourne Executive Director Daniel Evans Artistic Director Patricia Key PA to the Directors Georgina Rae Director of Planning & Projects Julia Smith Board Support

PRODUCTION Amelia Ferrand-Rook Claire Rundle Joshua Vine Nicky Wingfield Jeremy Woodhouse

FINANCE Alison Baker Sally Cunningham Amanda Hart Krissie Harte Katie Palmer

TECHNICAL James Barnes Stage Crew Steph Bartle Deputy Head of Lighting Finley Bradley Technical Theatre Apprentice Leoni Commosioung Stage Technician Adrien Corcilius Video & AV Technician Sarah Crispin Senior Prop Maker Ross Gardner Stage Crew Sam Garner-Gibbons Technical Director Jack Goodland Stage Crew Fuzz Guthrie Senior Sound Technician Lucy Guyver Production Manager Apprentice

Payroll & Pensions Officer Purchase Ledger Assistant Accounting & Report Analyst Finance Officer Assistant Management Accountant

Simon Parsonage

Finance Director & Company Secretary

Amanda Trodd Protozoon Ltd

Management Accountant IT Consultants

HR Emily Oliver Jenefer Francis Gillian Watkins

Accommodation Co-ordinator HR Officer HR Officer

LEAP Anastasia Alexandru Helena Berry Rob Bloomfield Zoe Ellis Isabelle Elston Lauren Grant Jade Hall Hannah Hogg Shari A. Jessie

Youth & Outreach Trainee Heritage & Archive Co-ordinator Heritage & Archive Assistant LEAP Co-ordinator Community & Outreach Trainee Deputy Director of LEAP (Maternity Leave)

Youth & Outreach Co-ordinator - Musical Theatre Youth & Outreach Manager Creative Therapist

Producer Production Administrator Trainee Producer Production Administrator Producer

Katie Hennessy Props Store Co-ordinator Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Zoe Lyndon-Smith Technical Theatre Apprentice Finlay Macknay Stage Crew Tito Mateo Stage Technican Karl Meier Head of Stage Charlotte Neville Head of Props Workshop Ryan Pantling Sound Technician Stuart Partrick Transport & Logistics Assistant Neil Rose Deputy Head of Sound Joe Samuels Senior Lighting Technician James Sharples Senior Stage Crew & Rigger Graham Taylor Head of Lighting Dominic Turner Stage Crew Emily Williamson Assistant Lighting Technician Linda Mary Wise Sound Technician

cft.org.uk/aboutus

THEATRE MANAGEMENT Janet Bakose Theatre Manager Gill Dixon Duty Manager Ben Geering Head of Customer Operations Karen Hamilton Duty Manager Will McGovern Deputy House Manager Sharon Meier PA to Theatre Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor Goldcrest Guarding Security WARDROBE & WIGS Louise Abusenna Isabelle Brook Shelley Gray Abbie Hart Fran Horler Amy Jeskins Abbie Johns Janette McAlpine Rebecca Rungen Stacie Smith Emily Souch Zena Sweetapple Loz Tait Colette Tulley Grace Upcraft

Assistant Wigs, Hair & Make-Up Dresser Deputy Wigs, Hair & Make-Up Dresser Wardrobe Manager Wardrobe Manager Dresser Dresser Head of Wigs, Hair & Make-Up Assistant Wigs, Hair & Make-Up Assistant Wardrobe Deputy Wigs, Hair & Make-Up Head of Wardrobe Wardrobe Maintenance Dresser

Stage Door: Bob Bentley, Janet Bounds, Judith Bruce-Hay, Caroline Hanton, Keiko Iwamoto, Chris Monkton, Sue Welling Ushers: Miranda Allemand, Judith Anderson, Maria Antoniou, Izzy Arnold, Jacob Atkins, Carolyn Atkinson, Brian Baker, Richard Berry, Emily Biro, Gloria Boakes, Alex Bolger, Dennis Brombley, Judith Bruce-Hay, Louisa Chandler, Jo Clark, Gaye Douglas, Stella Dubock, Amanda Duckworth, Clair Edgell, Olivia Elgood, Lexi Finch, Suzanne Ford, Suzanne France, Jessica Frewin-Smith, Nigel Fullbrook, Barry Gamlin, Charlie Gardiner, Jay Godwin, Anna Grindel, Caroline Hanton, Justine Hargraves, Joseph Harrington, Joanne Heather, Daniel Hill, Marie Innes, Keiko Iwamoto, Flynn Jeffery, Joan Jenkins, Pippa Johnson, Julie Johnstone, Ryan Jones, Jan Jordan, Jon Joshua, Sally Kingsbury, Alexandra Langrish, Maille Lyster, Judith Marsden, Emily McAlpine, Janette McAlpine, Fiona Methven, Chris Monkton, Ella Morgans, Susan Mulkern, Isabel Owen, Martyn Pedersen, Susy Peel, Kirsty Peterson, Helen Pinn, Barbara Pope, Fleur Sarkissian, Nicola Shaw, Janet Showell, Lorraine Stapley, Sophie Stirzaker, Angela Stodd, Christine Tippen, Charlotte Tregear, Andy Trust, Sue Welling, 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

SUPPORT OUR 60TH BIRTHDAY APPEAL Birthdays are for sharing and we are working harder than ever to help everyone join in. Your donation will mean more people can be part of our celebratory Festival 2022 Season.

We’re proud of CFT’s 60-year history of making and sharing stories for all.

So to celebrate our 60th Birthday, we’re doing even more to ensure everyone can get involved – whether that’s through providing bursaries for our Youth Theatre, offering relaxed and dementia-friendly performances, or training our volunteer Buddies to assist isolated people with theatre visits. We’re continuing to offer tickets starting from £10 for our Festival Theatre shows, as well as a full range of audio described, captioned and signed performances.

We need your help to raise £100,000 this year to enable everyone to be part of CFT’s birthday year. However much you choose to donate, your generosity will make a real difference to those most in need.

Make your gift today at cft.org.uk/birthdayappeal or call 01243 812915

Th ank yo u

‘What I really like with Chichester is I feel valued here’ Kathy, Access Member

cft.org.uk/birthdayappeal

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 Sandy and Mark Foster Simon and Luci Eyers Angela and Uri Greenwood Sir Michael and Lady Heller Liz Juniper The family of Patricia Kemp Roger Keyworth Vaughan and Sally Lowe Jonathan and Clare Lubran Selina and David Marks Mrs Sheila Meadows Jerome and Elizabeth O’Hea Graham and Sybil Papworth 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 D'Oyly Carte Charitable Trust Elizabeth, Lady Cowdray's Charity Trust The Foyle Foundation The G D Charitable Trust Hobhouse Charitable Trust The John Coates Charitable Trust The Noël Coward Foundation

The Roddick Foundation The Patricia Routledge Charitable Trust Rotary Club of Chichester Harbour Theatres Trust Wickens Family Foundation FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Judy Addison Smith Mr Brian Baker The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Franciska and Geoffrey Bayliss Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Janet Bounds Pat Bowman Lucy and Simon Brett Nick and Carol Brigstocke Adam and Sarah Broke Therese Brook Jean Campbell Julie Campbell Ian and Jan Carroll Sir Bryan and Lady Carsberg CS and M Chadha Sally Chittleburgh David and Claire Chitty Mr and Mrs Jeremy Chubb 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 Ken and Lin Craig Susan Cressey Deborah Crockford 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 John and Joanna Dunstan Peter Edgeler and Angela Hirst Glyn Edmunds Anthony and Penny Elphick Caroline Elvy 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 Terry Frost Mr Nigel Fullbrook George Galazka Robert and Pirjo Gardiner Wendy and John Gehr Jacqueline and Jonathan Gestetner Marion Gibbs CBE Stephen J Gill 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 Andrew Hine Hania and Paul Hinton Christopher Hoare Dame Denise and Mr David Holt Gill and Tim Howard Pauline and Ian Howat Barbara Howden Richards Richard and Kate Howlett Chris and Lin Hughes John B Hulbert Mike Imms Mrs Raymonde Jay Melanie J Johnson Nina Kaye and Timothy Nathan Rodney Kempster Nigel Kennedy OBE Geoffrey King James and Clare Kirkman Frank and Freda Letch Mrs Jane Lewis Tony and Janet Lindley John and Jenny Lippiett Amanda Lunt Jim and Marilyn Lush Dr and Mrs Nick Lutte Nigel and Julia Maile Sarah Mansell and Tim Bouquet 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 Stephen and Ann Miller Jenifer and John Mitchell David and Di Mitchell Sue and Peter Morgan Roger and Jackie Morris Terence F Moss

Mrs Mary Newby 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 Nick and Jo Pasricha Simon and Margaret Payton Terry and John Pearson Stephen and Annie Pegler Jean Plowright Barbara Pope John Pritchard Trust Brian and Margaret Raincock 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 Dr David Seager 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 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 Tricia Tull 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

Silver Level

CORPORATE PARTNERS Addison Law Criterion Ices

FBG Investment J Leon Group

Jones Avens Oldham Seals Group

The Bell Inn William Liley Financial Services Ltd

Please get in touch for more information: cft.org.uk/supportus | development.team@cft.org.uk | call 01243 812911

TRANSFERRING TO THE WEST END FROM JANUARY 2023

HHHHH ‘Pure comedy gold’ WhatsOnStage

HHHH ‘Impeccable performances’ Daily Telegraph

HHHH ‘A wicked wit: delicious’ The I newspaper

‘The funniest new play by a British dramatist since Alan Ayckbourn was at his peak’ Country Life

Amanda Abbington Frances Barber Reece Shearsmith

THE UNFRIEND A new play by Steven Moffat

Mark Gatiss’s sell-out production of Steven Moffat’s hilarious comedy transfers to the West End for a strictly limited run.

HHHH Sunday Times

HHHH Guardian

CRITERION THEATRE 15 JANUARY – 16 APRIL CRITERION-THEATRE.CO.UK

WINTER 2022-23

Caroline Quentin Rose Quentin

MRS WARREN’S PROFESSION

By George Bernard Shaw Directed by Anthony Banks

Shaw’s acid test of a mother-daughter relationship, played by Caroline Quentin and her real-life daughter Rose Quentin, is one of his wittiest and most provocative plays.

FESTIVAL THEATRE 29 November – 3 December #MrsWarrensProfession

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