THE NARCISSIST A new play by Christopher Shinn
WELCOME
KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN
FESTIVAL 2022
Christopher Shinn’s new play The Narcissist was one of the productions originally scheduled for Festival 2020; so we’re delighted to be finally welcoming you to this performance. (Our particular thanks if you’re among those members of our audience who’ve patiently kept their tickets for two years.) The play is set in the autumn of 2017 and while the setting, action and characters all remain the same as in the 2020 version, Chris has revised the play for this 2022 world premiere. But, even though he describes it now as ‘a kind of history play’, one of its central questions – can politics do any good? – has never seemed so pertinent. Many of Chris’s plays have premiered in the UK and we’re thrilled to present this witty, intimate and thought-provoking take on personal and political communication for the first time in Chichester.
The director Josh Seymour makes a very welcome Chichester debut, as do actors Harry Lloyd and Claire Skinner who lead an excellent cast. Claire’s scheduled debut in early 2021 was also a casualty of the pandemic – a reminder of how much we lost during that period, and how glad we are that audiences are returning for the uniquely stimulating experience of live performance. While summer may be drawing to a close, there are three more productions still to come in our 60th anniversary season: the musicals Local Hero and The Famous Five, and a new production of Alan Ayckbourn’s dazzling black comedy Woman in Mind, with the incomparable Jenna Russell in an unforgettable portrait of a woman on the edge of reality. We hope to see you again soon, and that you enjoy this performance.
Executive Director Kathy Bourne
cft.org.uk
Artistic Director Daniel Evans
F E S T I VA L 2 0 2 2
Jenna Russell
WOMAN IN MIND By Alan Ayckbourn Olivier Award winner Jenna Russell stars in Alan Ayckbourn’s dazzling black comedy, taking us on a dizzying journey through the looking glass into a woman’s mind. Anna Mackmin directs.
FESTIVAL THEATRE 23 September – 15 October #WomanInMind
cft.org.uk
F E S T I VA L 2 0 2 2
LOCAL HERO Book by David Greig, Music & Lyrics by Mark Knopfler Based on the Bill Forsyth film CFT Artistic Director Daniel Evans directs a new musical version of this funny and enchanting story, featuring new songs by the legendary Mark Knopfler (formerly of Dire Straits).
MINERVA THEATRE 8 October – 19 November #LocalHero
cft.org.uk
LEARNING ON THE JOB Apprenticeships and Traineeships are an important feature of CFT’s work, not least because they support the training of the next generation of theatre makers and provide vital access routes into the creative industry.
WITHIN THE LAST SIX YEARS: • 10 Technical Theatre and two Education apprentices and trainees have successfully graduated from CFT and are all now working professionally in the industry. • 12 Trainees and 42 Young Practitioners have trained in our LEAP department, with 89% opting for careers in the arts. • Over 200 work experience opportunities have been offered to school students. • In 2021, an alumni apprentice, Jesse Caie, won the Association of British Theatre Technicians (ABTT) Award for Emerging Excellence. • We have also partnered for three years with the Association of Professional Lighting
LEAP YOUNG PRACTITIONERS – KATE POTTER
Designers (ALPD) to launch Lumiere: an early career development programme to offer professionals working in theatrical lighting a six-month placement at CFT, followed by six months with a freelance theatre lighting designer. CURRENTLY: • We have a new Creative Learning and Participation Officer Apprenticeship (level 3); a Creative Venue Technician Apprenticeship (level 3); and a Creative Industries Production Manager Apprenticeship (level 7) which we believe to be the first of its kind in theatre. • We also have one Trainee Producer; one Youth & Community Trainee, one Youth & Outreach Trainee and six young people undertaking the annual Young Practitioners Training programme.
CFT APPRENTICES RYAN PANTLING & AMY CLAYTON
Lucy Guyver is Creative Industries Production Manager Apprentice: a two-year MA-equivalent course at CFT in partnership with Chichester College I did a degree in technical theatre and stage management at RADA. I wanted to go into production management, but didn’t have enough experience. So this apprenticeship, for this very specific job, was exactly what I needed. The production manager oversees all the physical and technical aspects of getting a production ready for the stage, making sure the set is built and every department has the time they need to create the vision on stage. You have to keep everyone happy! Budgets and scheduling are the other key aspects. CFT has given me opportunities to be mentored by professionals. I’ve achieved a West End credit as Assistant Production Manager on Cock at the Ambassador’s Theatre, which came through their production manager, Ben Arkell, who works regularly
at CFT; next, I’m going to help him on the South Pacific tour. The apprenticeship is 80% working at CFT, 20% college work or self-training. Alongside this is a lot of coursework, building up to my end-point assessment for which I have to complete a big project and give a presentation on why I did it the way I did, and present my portfolio. This course is unique; it’s the first in the country. I genuinely don’t know where I would be if I hadn’t found it. To be a good production manager, you need a lot of experience; it’s hard to get into and it’s still a very male-dominated field, although the number of women is growing. Without this apprenticeship, I doubt I would still be considering it as a career. It’s been pretty life-changing.
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.
FOOD AND DRINK BEFORE THE SHOW
GREAT COFFEE IN A GREAT LOCATION
The Minerva Bar & Grill has a relaxed light menu with 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.
For more formal dining, 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.
THE NARCISSIST A new play by Christopher Shinn
NOMINATING PRE The US presidential primaries and caucuses are held in the various states, Washington DC, and territories of the United States as a key part of the process of nominating candidates for election to the office of president of the United States. PRESIDENTIAL PRIMARY HISTORY The US constitution doesn’t even mention political parties. Nor does it provide a method for choosing presidential candidates. It was not that the Founding Fathers did not anticipate
political parties as they had known them in England would come along; they simply were not keen to seemingly sanction party politics and its many inherent ills by recognising it in the nation’s constitution. In fact, the first confirmed official presidential primary was not held until 1920 in New Hampshire. Until then, presidential candidates were nominated solely by elite and influential party officials without any input from the American people. By the late 1800s, however, social activists of the Progressive
and caucuses start in late January or early February and are staggered state-by-state to end by mid-June before the general election in November. The state primaries or caucuses are not direct elections. Rather than choosing a specific person to run for president, they determine the number of delegates each party’s national convention will receive from their respective state. These delegates then select their party’s presidential nominee at the party’s national nominating convention.
Primaries provide a nationwide stage for the free and open exchange of all ideas and opinions.
ESIDENTS Era began to object to the lack of transparency and public involvement in the political process. Thus, today’s system of state primary elections evolved as a way to give the people more power in the presidential nomination process. Today, some states only hold primaries, some only hold caucuses and others hold a combination of both. In some states, the primaries and caucuses are held separately by each party, while other states hold ‘open’ primaries or caucuses in which members of all parties are allowed to participate. The primaries
After the 2016 presidential election, when Democratic Party candidate Hillary Clinton won the nomination over popular challenger Bernie Sanders, many rank-and-file Democrats argued that the party’s often-controversial ‘superdelegate’ system circumvented, at least to an extent, the intent of the primary election process. Whether the Democratic Party leaders will decide to retain the superdelegate system or not remains to be seen. Now, on to why the presidential primaries are important. GET TO KNOW THE CANDIDATES First, primary election campaigns are the main way voters get to know about all the candidates. After the national conventions, voters hear mainly about the platforms of exactly two candidates – one Republican and one Democrat. During the primaries, however, voters get to hear from several Republican and Democratic candidates, plus the candidates of third parties. As media coverage focuses on the voters of each state during primary season, all the candidates are more likely to get some coverage. The primaries provide a nationwide stage for the free and open exchange of all ideas and opinions – the foundation of the American form of participatory democracy.
PLATFORM BUILDING Secondly, the primaries play a key role in shaping the final platforms of the major candidates in the November election. Let’s say a weaker candidate drops out of the race during the final weeks of the primaries. If that candidate succeeded in winning a substantial number of votes during the primaries, there is a very good chance that some aspects of his or her platform will be adopted by the party’s chosen presidential candidate.
The interest generated moves many first-time voters to register and go to the polls.
TOP: DEMOCRATIC NATIONAL CONVENTION, 2016 PHOTO COURTESY OF ABC/IDA MAE ASTUTE BOTTOM: PRIMARY BALLOTS IN MASSACHUSETTS
PUBLIC PARTICIPATION Finally, and perhaps most importantly, the primary elections provide yet another avenue through which Americans can take part in the process of choosing their own leaders. The interest generated moves many first-time voters to register and go to the polls. Indeed, in the 2016 presidential election cycle, more than 57.6 million people, or 28.5% of all estimated eligible voters, voted in the Republican and Democratic presidential primaries – just slightly less than
REPUBLICAN NATIONAL CONVENTION, 2016 PHOTO COURTESTY OF ABC/IDA MAE ASTUTE
the all-time record of 30.4% set in 2008 – according to a report by the Pew Research Center. While some states have dropped their presidential primary elections due to cost or other factors, the primaries continue to be a vital and important part of America’s democratic process. This is an edited version of an article by Robert Longley, first published on ThoughtCo (thoughtco.com), 27 July 2021.
WHY DOES HAVE AN ADDICTION
Claire Rudy Foster gives a firs
In America, the shortest distance between two problems is a prescription. For many of us, pills were the beginning of a lifelong problem with opioids – ironically, the prescription is the catalyst for an illness that no medicine can cure. I would like to say that my own opioid addiction was acquired in a glamorous way, like in the movies. I would like to say that I am an exception to the rule. However, I am not. I was given my first opioid painkillers by an oral surgeon in scrubs as a follow-up to having my wisdom teeth removed. The surgeon was the head of his department at the hospital where my father was a budget administrator. I was given the red-carpet treatment, which included a guarantee that I would not feel any pain while four molars were rooted out of my gums.
They gave me a bottle full of opioid painkillers, with unlimited refills. The pills tasted like talc and instead of dulling the pain that radiated from my jaw, they simply made me apathetic. I took them as prescribed and noticed that within three days, my stomach felt as though I had swallowed a helium balloon. I wasn’t hungry, and I didn’t need to sleep. Looking in the mirror, my pupils were black ponds that soaked up light. I felt as if I was becoming a poppy plant that could live off a diet of air and sunshine. I was 17 years old. Within six months, I was experiencing a full-blown addiction that I was powerless to understand or control. Three weeks after my eighteenth birthday, I overdosed on opioids for the first time. My heart stopped. I should have died, but I didn’t. I survived
S THE USA N OPIOID PROBLEM?
st-hand account of an epidemic
five more years of this disease before finding relief from the constant, grinding misery of active addiction. It took a further three years to learn what was wrong with me and finally put a name to the uncontrollable, illogical pattern that governed my life. Diagnostic criteria call this pattern ‘substance use disorder’. I call it absolute hell.
Along with breathing and body temperature, pain was deemed to prove the existence of life.
In the United States, when you visit a doctor’s office, you’re shown a diagram of faces that run the gamut from ecstatic to despondent. Every time I go to a clinic – whether it’s a check-up or a critical issue – the nurse asks me to ‘pick a face’. They want to know my pain level, as though pain itself was an illness and could be diagnosed. In the 1980s, the World Health Organization (WHO) added ‘pain’ to its list of vital signs, which are considered the baseline indicators of a patient’s health status (the other vital signs are temperature, pulse, respiration and blood pressure.) Along with breathing and body temperature, pain was deemed to prove the existence of life. Any doctor who overlooked pain or minimised it by offering comfort measures could be said to be in violation
of the Hippocratic Oath. Pain was now akin to respiration; bypassing its diagnosis would have been like ignoring a tuberculosis patient’s struggle to breathe. The addition of pain assessment as the fifth vital sign was no accident. It was the result of years of lobbying, sponsored research, and careful cultivation of experts by the pharmaceutical industry. Creating a ‘pain epidemic’ was a lucrative business decision
for companies like Purdue Pharma, whose blockbuster opioid OxyContin was released in 1996. The drug was marketed as a miracle pill that made pain vanish. Sales materials showed Oxy zipping around inside a patient’s body like Pac-Man, chomping up pellets of pain. They suggested that addiction was impossible if the pills were taken as prescribed. These were outright lies – lies that have buried thousands of unwitting patients.
After three days of opioids, physical dependence kicks in – which means that not taking the pills spells discomfort. The painkiller has created pain, a pain that only more painkillers can mitigate.
The basis for the WHO’s decision was a paragraph-long article by a doctor named Hershel Jick, who wrote about the importance of opioids to sustain and improve the quality of life for terminal cancer patients. The article was misquoted, without context, to make it sound as if heavy-duty opioids were safe for anyone and everyone. What was left out were the facts: that opioid painkillers were a battlefield historically reserved for the dying; that after three consecutive days of opioid use, the average person experiences symptoms of withdrawal; and that anyone can become addicted to opioids after sufficient exposure. OxyContin sales blasted the roof of the pharmaceutical industry. At its peak, Purdue
Pharma released billions of pills into the American market – enough for every man, woman and child in the US to have three 30-day prescriptions for an opioid painkiller at once. The owners of Purdue Pharma, the Sackler family, became billionaires. And hundreds of thousands of people got sick, overdosed and died. By 2017, when The Narcissist is set, the smiley-face test was routine and so was OxyContin. That year, in the UK, NHS doctors prescribed nearly 24 million opioids, such as morphine – the equivalent of 2,700 packs an hour. Overdose rates were rising, but nobody seemed to be able to identify the real culprit. The media blamed ‘addicts’ for bringing suffering on themselves. But this wasn’t true, and left out the roles played by larger forces in the story, such as opioid manufacturers, prescribers, distributors and insurance companies. A decade earlier, Purdue settled a case in West Virginia. As part of the settlement, executives accepted a felony charge and admitted that the company’s ‘fraudulent conduct caused a greater amount of OxyContin to be available for illegal use than otherwise would have been available’.
Painkillers were marketed in such a way that they seemed as harmless as a glass of wine with a nice meal. Easy to use. Cheap. This chilly apology was cold comfort for the people who were unwittingly placed at the epicentre of the opioid epidemic. It did nothing to lower overdose rates or help people find treatment. Substance use disorder, which is commonly called addiction, is not a disease that can be cured by willpower. It is a complex mental issue in the same cluster of behavioural disorders as obsessive-compulsive disorder (OCD), certain types of anxiety and eating disorders. Treatment can alleviate addiction
and put it into remission, but there is no cure. In a way, addiction is like depression – certain medical or social supports can prevent a relapse, but there is no way that a depressed person can simply ‘stop being sad’, any more than a person with schizophrenia can stop hearing voices at will.
The pathway into addiction is smooth and open to all; the pathway out is a murderous series of switchbacks. ‘Well, just don’t get addicted’, some people say. If only it was that easy. Most of the people who find themselves addicted are not going straight to injecting black tar heroin. Just as nobody takes their first sip of beer and thinks, ‘I can’t wait to become an alcoholic’, nobody uses their medication with the intention of becoming addicted to opioids. After three days of opioids, physical dependence kicks in – which means that not taking the pills spells discomfort. The painkiller has created pain, a pain that only more painkillers can mitigate. Painkillers were marketed in such a way that they seemed as harmless as a glass of wine with a nice meal. Easy to use. Cheap. As a nation in the stranglehold of privatised healthcare, pills seem like the best solution to our problems. They treat discomfort over a period of time, help patients avoid costly and frightening clinic visits, and allow for maintenance of chronic conditions without disruption to daily responsibilities like work and parenting. The average American has less than $300 in their savings account and is a single flat tyre away from bankruptcy. A prescription for opioids is affordable, while complex medical treatment is not. Few Americans have insurance cover for substance use disorder treatment, much less the resources to take 90 days to complete
the programme. A combination of shame and barriers to care ensures that only about 10 percent of Americans with a substance use disorder seek any type of specialised treatment. Essentially, this means that the pathway into addiction is smooth and open to all; the pathway out is a murderous series of switchbacks. Without support – such as access to free, on-demand healthcare delivered without judgment – people will continue to lose their lives to opioid overdoses. Many of these people are smart, kind and compassionate. They are loved by their families, essential to their communities. While the media often depicts opioid addiction as dirty or illicit, it is more likely a perfectly ordinary, middle-class mother popping a painkiller so that she can manage her children’s morning carpool. Or the promising student athlete with a tweaked ACL, eager to return to the pitch. Or the grandfather, recovering from a routine surgery. Or the taxi driver whose lower back goes numb a few hours into their shift.
Or me – the dental patient, who went to the surgeon for a 45-minute appointment and lost the next six years to a hideous, potentially fatal illness. I will spend the rest of my life managing this condition, warding off the relapse that some people say is inevitable for people like me. But I try not to see myself as doomed, although the odds are overwhelmingly stacked against me. I am one of the fortunate ones. A survivor. I did not ask for this or take it on willingly, but I can make the most of my luck. CLAIRE RUDY FOSTER
is an award-winning author from Portland, Oregon. They have been sober since 2007.
If you think you may be experiencing an issue with opioid use, please call the Frank helpline on 0300 123 66 00.
THE NARCISSIST A new play by Christopher Shinn
CAST (in order of appearance) Jim Aide Kara Waiter Senator Mom Cecily Andrew
Harry Lloyd Akshay Khanna Paksie Vernon Stuart Thompson Claire Skinner Caroline Gruber Jenny Walser Simon Lennon
All other roles played by members of the Company.
The play takes place in the autumn of 2017 – one year after the 2016 presidential election – in New York City, Connecticut and Washington DC. There will be one interval of 20 minutes.
The Narcissist was initially commissioned by Fictionhouse. World premiere performance of The Narcissist at the Minerva Theatre, Chichester, 26 August 2022.
Josh Seymour Jasmine Swan Jess Bernberg Alexandra Faye Braithwaite Chi-San Howard Amy Ball CDG
Director Designer Lighting Designer Sound Designer Movement Director Casting Director
Michaela Kennen Tess Dignan Elin Schofield
Dialect Coach Voice Coach Assistant Director
John Page Jennie Quirk Jamie Owens
Production Manager Costume Supervisor Props Supervisor
Robert Perkins Olivia Roberts Ellie Penney
Company Stage Manager Deputy Stage Manager Assistant Stage Manager Production credits: Set by Illusion Design and Construct; Set structure by HelmX Innovative Metalwork; Working at height advisor: Jez Wingham; Lighting hires: White Light. With thanks to Noluthando Boqwana; Karen Fishwick; Patrick Healy; Rowan Pashley; Nate Tamarin; Adam Norton at St Mary Abbots Centre.
Rehearsal and production photographs Johan Persson Programme Associate Fiona Richards Programme design Davina Chung Supported by The Narcissist Commissioning and Patrons Circles: Graham Davies, Veronica J Dukes, George Galazka, Belinda and Simon Leathes, Caroline Nelson, Howard M Thompson, Clare and Hugh Twiss and all those who wish to remain anonymous.
Sponsored by
#TheNarcissist ChichesterFestivalTheatre
ChichesterFT
ChichesterTheatre
ChichesterFT
ChichesterFT
BIOGRAPHIES
HARRY LLOYD CLAIRE SKINNER
CAROLINE GRUBER Mom Theatre includes, most recently, Grandma Emilia in Leopoldstadt (Wyndham’s Theatre, also filmed for NT Live); The Machine Stops, Abandonment (Theatre Royal York); 2000 Years (National Theatre); Six Degrees of Separation (Royal Exchange); Love Me Slender (New Victoria, Stoke); On the Razzle (Moving Theatre); What Every Woman Knows (Watermill, Newbury); Nice Dorothy, The Return of the Prodigal, The Artifice, A Penny for a Song, The Dutch Courtesan, His Majesty, Cat With Green Violin and Play With Repeats (Orange Tree Theatre); The Corn is Green (Greenwich); Steaming (Belgrade, Coventry); Milk and Honey (Manchester Library Theatre); The Clandestine Marriage (Compass); and seasons at the Pitlochry Festival and Chester Gateway. Television includes Einstein and Eddington, Star, Sir Gadabout, My Dad’s the Prime Minister, Chalk, Microsoap, Bottom, Rory Bremner (Who Else?), Stick With Me Kid, Harry Enfield’s
Television Programme, The Bill, Grange Hill: TV Squash, Heil Honey I’m Home!, Who Dares Wins, Minder, Sorrel and Son, The Upper Hand, Up Yer News. Films include Disobedience, Too Many Gods, Break Point, Blue Bird, Dive. Caroline has appeared in many plays and comedies on radio, and co-wrote a three-woman sketch show for the Edinburgh Fringe and Battersea Arts Centre. AKSHAY KHANNA Aide Theatre includes James/Simon in The Wolves of Willoughby Chase (Greenwich Theatre). Television includes Chloe, Grantchester, Grace. Radio includes Good Samaritan. Films include Red White and Royal Blue, Polite Society. Trained at Bristol Old Vic Theatre School. SIMON LENNON Andrew Theatre includes Our Town (Almeida Theatre); Tory Boyz, Prince of Denmark, Romeo and Juliet (Ambassador’s Theatre); One Man’s Story (Liverpool Philharmonic); Ten Pence and Man Up (Itch + Scratch/Late at Paines Plough Roundabout); Red Riding Hood (Latitude Festival); Chimera (Wildworks); London 2012 Olympics Opening Ceremony (National Youth Theatre); Welcoming the World (National Youth Theatre/NT Watch This Space). Television includes Our Girl, Bridgerton, Emmerdale, Grantchester. Radio includes Judas Burning. Films include The Shepherd; and the shorts The Act, PACE, Wormfood, The Dark Room. Games include FIFA 19. Simon trained with the NYT REP Company and is co-founder of the new writing theatre company Itch + Scratch. Twitter: @SiLennon Instagram: @silennon HARRY LLOYD Jim Theatre includes Jack in Good Canary (Rose Theatre, Kingston); his co-written one-man show Notes from Underground (Print Room at Coronet and Paris, various venues: Off West End Award
CAROLINE GRUBER
nomination for Best Male Performance); Ferdinand in The Duchess of Malfi (Old Vic); Alex in The Little Dog Laughed (Garrick Theatre); Oswald in Ghosts (Arcola Theatre: Ian Charleson Award nomination); Rodolpho in A View from the Bridge (Duke of York’s Theatre); Willy in The Sea (Theatre Royal Haymarket); Janne in The Good Family (Royal Court); John in Bash (Trafalgar Studios). Television includes Arcane, Brave New World, Legion, Hang Ups, Counterpart 1&2, Marcella, Wolf Hall, Manhattan 1&2, The Fear (BAFTA Award Best Supporting Actor nomination), Henry IV Parts I & II, Great Expectations, Game of Thrones, Taking the Flak, Lewis, Doctor Who, The Devil’s Whore, Warriors, Robin Hood 1&2, Vital Signs, Holby City, The Bill, Pope Town, MIT, Goodbye Mr Chips, David Copperfield. Radio includes Oliver Twist, Brother Francis, Joan of Arc, St Cecilia, The Haunted Hotel, The Cazalets, Every Duchess in England, Chattering, The Killing. Films include The Lost King, As I Am, The Show, The Wife, Anthropoid, The Theory of Everything, The Riot Club, Big Significant Things, Narcopolis, Closer to the Moon, The Iron Lady, Jane Eyre. Harry wrote, directed, produced and appeared in the web series Supreme Tweeter. CLAIRE SKINNER Senator Theatre includes A Day in the Death of Joe Egg (Trafalgar Studios); Nightfall (The Bridge); Prism, Rabbit Hole (Hampstead Theatre); The Father (Tricycle Theatre/Wyndham’s Theatre); Mrs Affleck, Blurred Lines, Invisible Friends, The Winter’s Tale and Othello (National Theatre); Measure for Measure (RSC); Deathtrap (Noël Coward Theatre); The Glass Menagerie (Donmar Warehouse/Comedy Theatre); Moonlight (Almeida/Comedy Theatre); The Importance of Being Earnest (Aldwych Theatre); Taking Steps, Othello, The Revenger’s Comedies (Stephen Joseph Theatre); Look Back in Anger (Royal Exchange, Manchester); The Playboy of the Western World and Hanky Pank (Oldham Coliseum). Television includes Kate & Koji, McDonald and Dodds, Ted Lasso, The Pale Horse, Vanity
Fair, Outnumbered, Midsomer Murders, Next of Kin, Power Monkeys, Inside No. 9, Critical, Doctor Who, Silk, Homefront, The Trial of Tony Blair, Trinity, The Commander, Cat Among the Pigeons, A Murder is Announced, Life Begins, Lark Rise to Candleford, Sense and Sensibility, You Can Choose Your Friends, Burn Up, Kingdom, The Family Man, Class of 76, The Booze Cruise, A Dance to the Music of Time, Trevor’s World of Sport, Bedtime, Swallow, Perfect Strangers, Second Sight, Coogan’s Run, The Peter Principle, Chef, Eroica, Brass Eye, Two Golden Balls. Films include The Critic, Boxing Day, Elsewhere, When Did You Last See Your Father?, Eliminate: Archie Cookson, The Escort, You’re Dead, ID, Return of the Native, Clockwork Mice, Life is Sweet, Naked, The Rachel Papers, Sleepy Hollow. STUART THOMPSON Waiter Theatre includes Geoff in A Taste of Honey (National Theatre UK tour and West End); Sam in Five Plays: Did I Wake You (Young Vic); and Moritz in Spring Awakening (Almeida), for which he won The Jack Tinker Award for Most Promising Newcomer at the 2022 Critic’s Circle Theatre Awards. Television includes Unprecedented: Viral, The Witcher. Films include The Bower. Trained at LAMDA. PAKSIE VERNON Kara Previously at Chichester Elizabeth Watson in The Watsons (Minerva Theatre and Menier Chocolate Factory). Theatre includes Hermia in A Midsummer Night’s Dream and Mary Brenham/Meg Long/ Rev Johnson in Our Country’s Good (Tobacco Factory); Lydia in Gin Craze (Royal & Derngate); Jekyll/Hyde in Jekyll & Hyde, Sheila in Network and understudy Harper in Angels in America (National Theatre); Hera in Pandora (Etch/ Pleasance Theatre); Osono in Kiki’s Delivery Service (Southwark Playhouse); Sylvia Craven in The Philanderer (Orange Tree Theatre); Lucy in Threads (Stellar Quines); Susan in Little Sure Shot, Centipede in James and the Giant Peach
SIMON LENNON AKSHAY KHANNA STUART THOMPSON PAKSIE VERNON
and Ensemble in The Jungle Book (West Yorkshire Playhouse); Beatrice in The Changeling (A Play, A Pie and A Pint/Òran Mór). Television includes Eve, Shetland, MI High. Trained at Royal Conservatoire of Scotland. JENNY WALSER Cecily Theatre includes Eva in Kindertransport (Nottingham Playhouse); Julie in In My Lungs The Ocean Swells (Vault Festival/No More Heroes); April in The Reluctant Fundamentalist (NYT/Edinburgh Festival); Florence in Jekyll & Hyde, Doris Kilman in Mrs Dalloway, A in The Fall (NYT Rep Company); Henceforward (Stephen Joseph Theatre tour); Viola in Twelfth Night (Castle Theatre Company); Ophelia in Hamlet (RADA Youth Company). Television includes Heartstopper, Call the Midwife. Radio includes Black Eyed Girls, Tarantula. Trained with the National Youth Theatre Rep Company. Instagram: @jennycwalser
PAKSIE VERNON JENNY WALSER
THE COMPANY HARRY LLOYD CLAIRE SKINNER
C R E AT I V E T E A M
CHRISTOPHER SHINN
AMY BALL Casting Director Amy is Head of Casting at the Royal Court Theatre where she casts all productions for the Theatre Upstairs and Downstairs. Recent freelance work includes Jerusalem (Apollo Theatre); Walden, Uncle Vanya (Harold Pinter); The Son (Kiln Theatre/Duke of York’s Theatre); The Night of the Iguana (Noël Coward); Sweat (Donmar Warehouse/Gielgud Theatre); Rosmersholm (Duke of York’s); True West (Vaudeville Theatre); The Ferryman (Royal Court/Gielgud Theatre/Bernard B Jacobs Theatre, NY); The Moderate Soprano (Hampstead Theatre/Duke of York’s); The Birthday Party, Who’s Afraid of Virginia Woolf? (Harold Pinter); Consent (National Theatre/ Harold Pinter); The Goat, or Who Is Sylvia? (Theatre Royal Haymarket); Hangmen (Royal Court/Wyndham’s/Atlantic Theatre Company); Berberian Sound Studio (Donmar Warehouse); The Hunt, Shipwreck, Dance Nation, Albion (Almeida Theatre); Stories, Exit the King (National Theatre); A Very Very Very Dark Matter (Bridge Theatre); The Brothers Size (Young Vic). JESS BERNBERG Lighting Designer Theatre includes [Blank] (Donmar Warehouse); The Climbers (Theatre by the Lake); A Pretty Shitty Love (Theatr Clwyd); Lost Origin (Factory 42/Almeida Theatre/Sky); Glee and Me (Royal Exchange); Once Upon A Time in Nazi Occupied Tunisia (Almeida Theatre); Klippies, The Town That Trees Built (Young Vic); Shedding A Skin, Fabric, Drip Feed (Soho Theatre); The Child in the Snow (Wilton’s Music Hall); Overflow, Rust, And The Rest of Me Floats (Bush Theatre); Gulliver’s Travels (co-designer, Unicorn Theatre); The Language of Kindness (Shoreditch Town Hall/UK tour); Shopping Malls in Tehran (Javaad Alipoor Company); Actually (Trafalgar Studios 2); Out of Water, Cougar (Orange Tree Theatre); We Anchor in Hope, Devil with the Blue Dress, FCUK’D (The Bunker: Off West End Award nomination); The Crucible, Sex Sex Men Men, A New and Better You, Buggy Baby (The Yard); Cinderella, Dick Whittington (Theatre Royal Stratford East); Wondrous Vulva (Oval House); The Borrowers (Tobacco Factory); Victoria’s Knickers, Consensual (NYT); Medusa, Much
Ado About Nothing, Dungeness, Love and Information (Nuffield Southampton); Homos, or Everyone in America (Finborough Theatre); SongLines (HighTide). She is currently developing work with Mechanimal and The Javaad Alipoor Company. Awards: 2017 Association of Lighting Designers Francis Reid Award. www.jessbernberglighting.co.uk Twitter: @JessBernberg_ ALEXANDRA FAYE BRAITHWAITE Sound Designer Recent credits include Purple Snowflakes and Titty Wanks (Royal Court); Groan Ups (Vaudeville Theatre/UK tour); Shining City, Room (Theatre Royal Stratford East); Anna Karenina, Operation Crucible, Chicken Soup (Sheffield Theatres); The Cavalcaders (Druid); Kes (Bolton Octagon); The Climbers (Theatre by the Lake); Things of Dry Hours (Young Vic); Endurance (HOME Manchester); Bloody Elle (also Traverse Theatre), Wuthering Heights, Light Falls (Royal Exchange Theatre); A Pretty Shitty Love, A Christmas Carol (Theatr Clwyd); My Name Is Rachel Corrie (Al Madina Theatre, Beirut); Cougar, The Rolling Stone, Dealing with Clair (Orange Tree Theatre); Dublin Carol (Sherman Theatre); Hamlet, Talking Heads, Rudolph (Leeds Playhouse); The Audience, Juicy and Delicious (Nuffield Theatre); The Remains of Maisie Duggan (Abbey Theatre); Toast, How Not To Drown, Enough (Traverse Theatre); When I Am Queen (Almeida). TESS DIGNAN Voice Coach Previously at Chichester, Dialect Coach on Flowers for Mrs Harris (Festival Theatre), Voice Coach on Sing Yer Heart for the Lads (Spiegeltent & Minerva Theatre). Tess is Head of Voice at Shakespeare’s Globe Theatre where she has recently coached on Henry IV Part 1, Henry IV Part 2, Henry V, A Midsummer Night’s Dream, As You Like It and Bartholomew Fair. She has coached at the Royal Shakespeare Company for many years on productions including Hamlet, King Lear, Romeo and Juliet, Women Beware Women, The Drunks, Twelfth Night, The Mouse and his Child, Love’s Labour’s
Lost and Much Ado About Nothing. Other theatre in the UK and internationally includes Emilia (Shakespeare’s Globe & West End); Mother Courage (Manchester Royal Exchange); Night School (Pinter at the Pinter); Tartuffe (Theatre Royal Haymarket); Pink Mist (Bristol Old Vic/ Bush Theatre); Othello, Macbeth, Twelfth Night and The Haunting of Hill House (Liverpool Everyman); Odyssey (Theatre Ad Infinitum); Caledonia (National Theatre of Scotland); Macbeth, A Midsummer Night’s Dream, Pride and Prejudice, Dracula, West Side Story and The Tempest (Stratford Shakespeare Festival, Ontario). Television includes Outlander. Trained at The Webber Douglas Academy, the Royal Central School of Speech and Drama, Manchester University and Kristin Linklater’s International Voice Centre. CHI-SAN HOWARD Movement Director Previously at Chichester The Taxidermist’s Daughter (Festival Theatre). Movement work includes Chasing Hares (Young Vic); That Is Not Who I Am/Rapture (Royal Court;) Two Billion Beats, The Sugar Syndrome (Orange Tree Theatre); Anna Karenina (Sheffield Crucible); Aladdin (Lyric Hammersmith); Milk and Gall, Fairytale Revolution and In Event of Moone Disaster
(Theatre 503); Typical Girls (Sheffield Crucible/ Clean Break); Glee and Me (Royal Exchange); Just So (Watermill Theatre); Home I’m Darling (Theatre by the Lake/Stephen Joseph Theatre/ Bolton Octagon); Sunnymeade Court (Arcola/ Defibrillator UK tour); Harm (Bush Theatre); Living Newspaper Edition 5 (Royal Court); The Effect (English Theatre Frankfurt); Oor Wullie (Dundee Rep/national tour); Variations (Dorfman Theatre/NT Connections); Skellig (Nottingham Playhouse); Under the Umbrella (Belgrade Theatre/Yellow Earth/Tamasha); Describe the Night (Hampstead Theatre); Cosmic Scallies (Royal Exchange Manchester/Graeae); Moth (Hope Mill Theatre); The Curious Case of Benjamin Button, Scarlet and The Tempest (Southwark Playhouse); Adding Machine: A Musical (Finborough Theatre). Films include Hurt By Paradise, Birds of Paradise and music videos for Orla Gartland (Pretending), Joesef (I Wonder Why). Chi-San is an Associate Artist with Ransack Theatre. Trained at Royal Central School of Speech and Drama. MICHAELA KENNEN Dialect Coach Previously at Chichester Crazy for You, A Damsel in Distress (Festival Theatre); South Downs / The Browning Version (also West End), She Loves
CHI-SAN HOWARD JOSH SEYMOUR CHRISTOPHER SHINN ELIN SCHOFIELD
Me (Minerva Theatre); Neville’s Island (Theatre in the Park, also West End). Theatre credits include Oslo, The Beaux’ Stratagem, The History Boys, Market Boy, Caroline or Change, Thérèse Raquin, The Alchemist, The Rose Tattoo, Playing with Fire (National Theatre); The Hypocrite, The Comedy of Errors, Hecuba, Oppenheimer (RSC); Cabaret, Everybody’s Talking About Jamie, The Man in the White Suit, Summer and Smoke, The Importance of Being Earnest, Motown the Musical, Memphis The Musical, Country Girl, Butley, Chimerica (also Almeida), Love Never Dies, Hairspray, And Then There Were None, Jesus Hopped the ‘ A’ Train and Lovely and Misfit (West End); Hedwig and the Angry Inch (Leeds Playhouse); The Chairs (Almeida); The Breach, Occupational Hazards (Hampstead); Guys and Dolls, The Last King of Scotland, Steel, The Wizard of Oz, Who’s Afraid of Virginia Woolf (Sheffield Theatres); The Wolves, The Village (Stratford East); The Crucible (Old Vic); Things of Dry Hours, Vernon God Little, The Glass Menagerie, The Government Inspector, The Brothers Size, Eurydice (Young Vic); The Nether, Routes, Truth and Reconciliation, Love Love Love, The Witness (Royal Court); Disgraced, Artefacts, The Flooded Grave, St Petersburg (Bush Theatre). Opera includes Orpheus in the Underworld, Pagliacci (ENO) and Songs from a Hotel Bedroom (ROH). Television includes Happy Valley, Zero Chill, Doctor Who, Odyssey, Millie Inbetween, Grantchester, Midsomer Murders. Films include Everybody’s Talking About Jamie, Brimstone, Broken, Cosi, Nine, Exam. ELIN SCHOFIELD Assistant Director Credits as Director include Scissors (Sheffield Studio); The Queen’s Head (Battersea Arts Centre); Overdue (Wakefield Libraries tour); Screwdriver (co-written with Eve Cowley: Lyric Hammersmith/Sheffield Crucible); Party Empire, This Is Not a Demo, Losing It (Sheffield Studio); You and I (Hope Mill Theatre/Edinburgh Underbelly/York Theatre Royal); Shoes in Twos, The Journey (Theatre503); Signals (New Diorama/HOME Manchester/York Theatre Royal/ Sheffield Studio/The Pleasance/Northern Stage/
Latitude Festival); The Belief Project (Theatre Delicatessen); Daniel (Royal Exchange/New Diorama/Theatre Delicatessen/Camden People’s Theatre). As Associate/Assistant Director, Love (European tour); Talent (Sheffield Crucible); Stick Man (Leicester Square Theatre/UK tour); hang (Sheffield Studio); Pop Music (Paines Plough/Latitude Festival/Birmingham Rep/ national tour). Elin is also a movement director and choreographer. She founded and directed the small-scale touring company, Footprint Theatre and the Young Company at Sheffield Theatres. Graduated from the University of Sheffield with a first class BA Hons in English and Theatre, and trained on the Royal Court’s Introduction to Playwriting Group, Sheffield Theatre’s Writing Group and The Bank Artist Development Scheme. www.elinschofield.co.uk JOSH SEYMOUR Director Josh Seymour was Resident Assistant Director at the Donmar Warehouse from 2014-15. He was the runner-up for the RTST Sir Peter Hall Director Award 2018 and a finalist for the JMK Award in 2012. Credits as Director include Musik (Edinburgh Assembly Rooms/Leicester Square Theatre); Homos, or Everyone in America and Adding Machine: A Musical (Finborough Theatre); One Arm (Southwark Playhouse: Best Director, 2016 Off-West End Awards); Little Shop of Horrors (LAMDA); Midwestern Gothic (Royal Academy of Music); Parade, American Idiot, Urinetown (Mountview Academy); Loserville (Stafford Gatehouse); The Laramie Project (Curve Leicester). As Associate Director, The Normal Heart and Follies (National Theatre); Faith, Hope and Charity (Alexander Zeldin Company/OdéonThéâtre de l’Europe); A Christmas Carol (Old Vic Theatre); Red (Wyndham’s Theatre); Beautiful – The Carole King Musical (Aldwych Theatre); My Night With Reg (Apollo Theatre). As Assistant Director, City of Angels, Fathers and Sons, Privacy and Versailles (Donmar Warehouse); Candide (Menier Chocolate Factory); Sixty-Six Books (Bush Theatre).
CHRISTOPHER SHINN Writer Christopher Shinn is an American playwright from New York. Several of his plays have premiered at the Royal Court Theatre: Four, Other People, Where Do We Live (Obie Award), Dying City (a Pulitzer Prize finalist) and Now or Later, which was shortlisted for the Evening Standard Theatre Award for Best Play. His other plays include Teddy Ferrara (UK premiere at the Donmar Warehouse), An Opening in Time, Picked, What Didn’t Happen, On the Mountain, The Coming World (premiered at the Soho Theatre), and Against (premiered at the Almeida Theatre). His adaptation of Hedda Gabler premiered on Broadway and his adaptation of Judgment Day premiered at Park Avenue Armory. He has written short plays for the Bush Theatre (Sixty-Six Books), and Headlong (Decade). His work has been premiered by Lincoln Center Theater, Manhattan Theatre Club, Playwrights Horizons, the Vineyard Theatre, South Coast Rep, the Goodman, and Hartford Stage, and later produced around the world. Christopher Shinn’s awards include a Guggenheim Fellowship in Playwriting, a grant from the NEA/TCG Residency Program and the Robert Chesley Award. He teaches playwriting at the New School for Drama, New York.
JASMINE SWAN Designer Jasmine Swan is a Set and Costume Designer working across theatre, opera, dance, live events and immersive experiences. She was a Linbury Prize for Stage Design finalist, has been nominated for multiple Off West End awards and for The Stage Debut award in 2018. Jasmine is a resident designer at New Diorama Broadgate design studio and was Laboratory Associate Designer at Nuffield Southampton Theatres in 2017/18. Recent designs for theatre include: The House with Chicken Legs (Les Enfants Terribles at HOME Manchester); The Forest (Hampstead); The Misfortune of the English (Orange Tree); The Jungle Book (Watermill); We Are As Gods (Battersea Arts Centre); The Wedding Singer (Royal Academy of Music); Lava (The Bush); Shook (Papatango/Southwark Playhouse: Off West End Award nomination for Best Set Design); Lady Chatterley’s Lover (Shaftesbury Theatre); Animal Farm (National Youth Theatre at Royal & Derngate); Little Shop of Horrors and Earthquakes in London (both LAMDA); Armadillo and Sex Sex Men Men (both at The Yard); Women In Power (Nuffield Southampton Theatres & Oxford Playhouse); Eden (Hampstead Downstairs); The Tide Jetty (Eastern Angles). Her FOH immersive set design for the UK’s first 4D virtual reality experience, In a Box, is permanently situated in Digbeth. Upcoming work includes Beauty and The Beast (Mercury Theatre). www.jasmineswan.com
HARRY LLOYD AKSHAY KHANNA OPPOSITE: JENNY WALSER CAROLINE GRUBER HARRY LLOYD JOSH SEYMOUR
EVENTS
THE NARCISSIST PRE-SHOW TALK
Tuesday 30 August, 6.00pm Director Josh Seymour in conversation with best-selling author Kate Mosse. FREE but booking is essential.
POST-SHOW TALK
Thursday 22 September Stay after the performance to ask questions, meet company members and discover more about the play. Hosted by CFT Literary Associate Kate Bassett. FREE
TOUCH TOURS
Friday 23 & Saturday 24 September Our Touch Tours enable blind or visually impaired customers attending the audio-described performances of The Narcissist 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.
COMMUNITY
CHILDREN & YOUNG PEOPLE
Enjoy developing artistic, personal and social skills through our workshops, projects, productions and award-winning Youth Theatre for young people of all abilities. Chichester Festival Youth Theatre | Holiday Activities | Arts Award
EDUCATION
Our work with local schools, colleges and universities is designed to inspire and enrich students’ learning, while the next generation of arts professionals is nurtured through our training and apprenticeships programme. In-school workshops and projects | Work Experience | School Theatre Days
Learn about life behind the scenes, discover more about productions, develop creative skills, socialise and share experiences with others through workshops and community projects for anyone aged 18+. Get Into It! workshops | Talks and Discussions | Heritage projects | Dementia Friendly activities
FAMILIES
We’re always delighted to welcome our youngest visitors and their grown-ups to the Theatre. Families can explore and have fun with workshops, productions, events and activities. Free Family Fun | Little Notes | Family shows and workshops
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S TA F F
TRUSTEES Alan Brodie Mark Foster Judy Fowler Victoria Illingworth Georgina Liley Rear Admiral John Lippiett CB CBE Harry Matovu QC 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
Development Manager Development Manager (Individuals)
Joanna Walker Megan Wilson
Director of Development Events Officer
DIRECTORS OFFICE Kathy Bourne Daniel Evans Elspeth Barron Patricia Key Georgina Rae Julia Smith FINANCE Alison Baker Sally Cunningham Amanda Hart Krissie Harte Katie Palmer
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
Lauren Grant Jade Hall Hannah Hogg Richard Knowles
Executive Director Artistic Director Projects Co-ordinator PA to the Directors Head of Planning & Projects Board Support
Payroll & Pensions Officer Purchase Ledger Assistant Accounting & Report Analyst Finance Officer Assistant Management Accountant
Simon Parsonage
Rob Bloomfield Zoe Ellis Isabelle Elston
Friends Administrator Senior Development Manager
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 Education Projects Manager
Senior Community & Outreach Manager
Dale Rooks Brodie Ross
Director of LEAP Deputy Director of LEAP (Maternity Cover)
Riley Stroud
Education Apprentice
MARKETING, COMMUNICATIONS, DIGITAL & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Head of Marketing Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate) Helen Campbell Lydia Cassidy
Deputy Box Office Manager Director of Marketing & Communications
Lorna Holmes Helena Jacques-Morton
Box Office Supervisor Senior Marketing Officer
James Mitchell James Morgan Lucinda Morrison Rachael Pennell
Box Office Assistant (Casual) Box Office Manager Head of Press Marketing and Press Assistant
Kirsty Peterson Catherine Rankin Jenny Thompson
Box Office Assistant Box Office Assistant (Casual) Social Media & Digital Marketing Officer
Emilie Trodd Julia Walter Claire Walters Joanna Wiege Jane Wolf
Box Office Assistant (Casual) Creative Digital Producer Box Office Assistant Box Office Administrator Box Office Assistant
PRODUCTION Amelia Ferrand-Rook Claire Rundle Joshua Vine Nicky Wingfield Jeremy Woodhouse
Producer Production Administrator Trainee Producer Production Administrator Producer
TECHNICAL Jake Barinov Stage & Automation Technician James Barnes Stage Crew Molly Barron Sound Technician Steph Bartle Deputy Head of Lighting Clara Clark Prop Maker Helen Clark Stage Crew Leoni Commosioung Stage Technician Adrien Corcilius Video & AV Technician Sarah Crispin Senior Prop Maker Lewis Ellingford Stage Technician Sam Garner-Gibbons Technical Director Jack Goodland Stage Crew Fuzz Guthrie Senior Sound Technician Lucy Guyver Production Manager Apprentice 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 Karl Meier Head of Stage Chris Minton Stage Crew Charlotte Neville Head of Props Workshop Ryan Pantling Sound Technician Stuart Partrick Transport & Logistics Assistant Tom Robinson Senior Stage & Construction Technician Neil Rose Joe Samuels James Sharples Molly Stammers Graham Taylor
Deputy Head of Sound Senior Lighting Technician Senior Stage Crew & Rigger Lighting Technician Head of Lighting
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Dominic Turner Emily Williamson
Stage Crew Assistant Lighting Technician
THEATRE MANAGEMENT Janet Bakose Gill Dixon Ben Geering Karen Hamilton Will McGovern Sharon Meier Emily Singleton Gabriele Williams Caper & Berry Proclean Cleaning Ltd Goldcrest Guarding
Theatre Manager Duty Manager House Manager Duty Manager Deputy House Manager PA to Theatre Manager Deputy House Manager Deputy House Manager Catering Cleaning Contractor Security
WARDROBE & WIGS Isabelle Brook Dresser Tobias Dane Dresser Emma Davidson Assistant Wardrobe Shelley Gray Deputy Wigs, Hair & Make-Up Abbie Hart Dresser Fran Horler Wardrobe Manager Dee Howland Assistant Wigs, Hair & Make-Up Amy Jeskins Wardrobe Manager Abbie Johns Dresser Henry Reeder Dresser Rebecca Rungen Head of Wigs, Hair & Make-Up Stacie Smith Assistant Wigs, Hair & Make-Up Emily Souch Zena Sweetapple Loz Tait Colette Tulley Grace Upcraft Eloise Wood
Assistant Wardrobe Deputy Wigs, Hair & Make-Up Head of Wardrobe Wardrobe Maintenance Dresser Assistant Wigs, Hair & Make-Up
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 Philip and Gail Owen 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 Chichester District Council Elizabeth, Lady Cowdray’s Charity Trust The Foyle Foundation The G D Charitable Trust The Noël Coward Foundation Theatres Trust Wickens Family Foundation
FESTIVAL PLAYERS John and Joan Adams Dr Cheryl Adams CBE Judy Addison Smith Mr Brian Baker The Earl and Countess of Balfour Matthew Bannister Mr James and Lady Emma Barnard (The Barness Charity Trust) Mrs Margaret Baumber Franciska and Geoffrey Bayliss Lucy Berry Julian and Elizabeth Bishop Martin Blackburn Sarah and Tony Bolton Janet Bounds Pat Bowman Lucy and Simon Brett Adam and Sarah Broke Therese Brook 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 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 Alan and Pat Galer 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 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 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 Mrs Michael Melluish Celia Merrick Diana Midmer Jenifer and John Mitchell David and Di Mitchell Sue and Peter Morgan Roger and Jackie Morris Terence F Moss Mrs Mary Newby Patricia Newton Bob and Maureen Niddrie Lady Nixon Pamela and Bruce Noble Eileen Norris Jacquie Ogilvie Margaret and Martin Overington Mr and Mrs Gordon Owen Graham and Sybil Papworth Richard Parkinson and
Hamilton McBrien 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 The Sidlesham Theatre Group David and Linda Skuse Monique and David Smith Simon Smith Mr and Mrs Brian Smouha David and Unni Spiller Mel and Marilyn Stein Elizabeth Stern Barbara Stewart Peter Stoakley Anne Subba-Row Professor and Mrs Warwick Targett Harry and Shane Thuillier Mr Robert Timms Miss Melanie Tipples Alan and Helen Todd 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
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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
FRIENDS OF CFT
Over the past 60 years, from the very first subscribers of the Chichester Festival Theatre Society right up to today, our Friends have been an integral part of our theatrical family. JOIN NOW for just £40 to become part of a thriving regional theatre in this sensational jubilee year. Benefits include: Priority booking Regular e-newsletters Ticket discounts Free ticket exchange*
*T&Cs apply
Friends Fridays and other exclusive events
Visit cft.org.uk/friends to become a member now and benefit from priority booking for the Winter 2022/23 season (announced in early September).