THE SOUTHBURY CHILD A new play by Stephen Beresford
WELCOME
KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN
FESTIVAL 2022
Welcome to this performance of Stephen Beresford’s new play, The Southbury Child. It is a particular pleasure to be co-producing this world premiere with The Bridge Theatre, since it brings director Nicholas Hytner and actor Alex Jennings back to Chichester for the first time since they worked together here on The Scarlet Pimpernel in 1985 – a mere 37 years ago! Their many collaborations since then at the National Theatre include Hymn and Cocktail Sticks, Collaborators, The Habit of Art, The Alchemist and The Winter’s Tale, and The Lady in the Van on screen. It is wonderful to have them back here in our 60th anniversary year. The Southbury Child is rare for a modern play, in that it takes faith and the daily life of the church as not only a serious subject, but one which highlights the divisions and changes in contemporary society. We are
thrilled to be giving Chichester audiences the first opportunity to see Stephen Beresford’s new work, before it transfers to The Bridge for its London run. Alex Jennings heads a distinguished ensemble cast; we are delighted to welcome back some who are familiar to Chichester, and others making their first appearance here. Looking ahead, the company of Crazy for You are at work with director and choreographer Susan Stroman, creating a summer showstopper full of glorious Gershwin melodies and stunning tap routines. There’s more engrossing drama to come too, with the revival of Roy Williams’s ferocious, funny and disturbing Sing Yer Heart Out for the Lads (which will see the Minerva transformed into a pub setting), and the premiere of The Narcissist, Christopher Shinn’s gripping new play on political and personal communication in the internet age. Enjoy today’s performance and we hope to see you again soon.
Executive Director Kathy Bourne
cft.org.uk
Artistic Director Daniel Evans
F E S T I VA L 2 0 2 2
CHARLIE CARLY STEMP ANDERSON
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Music & Lyrics by George Gershwin and Ira Gershwin Book by Ken Ludwig Co-conception by Ken Ludwig and Mike Ockrent Inspired by material by Guy Bolton and John McGowan
A hilarious, riotously entertaining musical packed with glorious Gershwin melodies and stunning tap dance routines, directed and choreographed by the multi Tony and Olivier Award-winning Susan Stroman. Charlie Stemp (Half A Sixpence, Mary Poppins) and Carly Anderson (Wicked, Sunny Afternoon) lead the cast.
FESTIVAL THEATRE 11 July – 4 September #CrazyForYou
Crazy for You™ is presented by arrangement with Concord Theatricals Ltd on behalf of Tams-Wittmark LLC. concordtheatricals.co.uk
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F E S T I VA L 2 0 2 2
SING YER HEART OUT FOR THE LADS By Roy Williams
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Sunday Times
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Guardian
Riveting
Magnificent
MINERVA THEATRE 22 July – 13 August #SingYerHeartOut
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Faultless
LEAP
Our Learning, Education and Participation (LEAP) programme offers practical workshops, projects and special events for over 62,000
GAME CHANGERS: COMMUNITY COMPANIES CFT’s programme of community events for adults range from weekly classes to talks and tours: allowing participants to discover more about the Theatre and its productions, as well as helping build confidence and gain new skills. Projects and initiatives includes CFT Buddies, the volunteer companion scheme, and Get Into It! – weekly sessions for adults to learn new skills in designing, acting, dancing, singing and devising. The latest initiative launched in September 2021. The Wednesday and Friday Community Companies offer weekly workshops for adults with learning disabilities. Sessions exploring creativity and developing personal and social skills are open to anyone over the age of 25, all within a supportive and fun-filled environment. As part of the Digital Stages events celebrating our 60th anniversary, the Wednesday and Friday groups will be creating Game Changer, combining gaming technology with theatrical storytelling and music to create a new virtual theatre experience.
auditorium, the Friday Company members will create a parallel universe on the digital stage with clay characters animated by 3D scanning technology. Meanwhile, the Wednesday Company members will be working alongside songwriter and musician Michael Fry to create a soundscape to accompany the digital story, offering an immersive utopia. Game Changer will be released from 8 July 2022; sign up to our regular e-newsletters to hear more about this and the full Digital Stages programme or head to our website, where you can also read more about our Community Companies and projects at cft.org.uk/take-part/community There are currently spaces available in our Wednesday Company, and we would welcome new members to join in the creative, fun and exciting projects we have planned. If you – or someone you know – would be interested in joining, you can book a free taster session or discuss our bursary scheme in confidence by contacting Louise Rigglesford, Senior Community and Outreach Manager, at louise.rigglesford@cft.org.uk.
The Friday Company will work with Brighton-based BRiGHTBLACK, a digital company specialising in interactive and immersive playable artwork. Using a highly accurate scan of the Festival Theatre
COMMUNITY
people throughout the year. We aim to ensure that everyone, regardless of age, culture and social background, is given the opportunity to enrich
their lives with the joy of creative expression and the arts.
‘I like being creative and having fun’ Wednesday Company member
‘It makes me feel happy and jolly’ Wednesday Company member
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DIGITAL STAGES Join us as we mark our 60th Anniversary with six dynamic digital events celebrating Chichester Festival Theatre across the decades. Using new technology to put the history of CFT centre stage, these special events will be released over our birthday week in July giving audiences across the globe an opportunity to celebrate with us. To be the first to hear more about Digital Stages, sign up to our newsletters at cft.org.uk or follow us on social media. cft.org.uk/DigitalStages
VISIONARY STAGES
From Sunday 3 July Join Daniel Evans, Sir Derek Jacobi, John Simm and the Artistic Director of the Stratford Festival Theatre in Ontario, Canada, Antoni Cimolino for a unique event. Using cuttingedge technology, we have recreated the much-loved Festival Theatre’s stage as it was in 1962. Launching on our official 60th birthday, this virtual meet-up sees Daniel and other special guests relive some favourite productions and talk about the shared history of the two buildings including the unique hexagonal designs, as they look back on 60 years of extraordinary theatre. Tickets £5.
BACKSTAGE VIRTUAL TOUR
From Tuesday 5 July Ever wondered what lies beyond the stage at the Festival Theatre? In this immersive VR backstage tour you will encounter actors as they prepare to go on stage, and see the inner workings of the Theatre in virtual reality. This immersive unique experience will be available using VR headsets in the foyer this summer, or you can access a 360-degree video version on our YouTube channel. FREE
DIGITAL DIORAMA
YOUR DREAM
From Wednesday 6 July Do you have what it takes to be the next Laurence Olivier? Want to join our biggest company yet? We’re inviting you all to take part in one mammoth online performance from A Midsummer Night’s Dream; you choose your own stage and your own costume, you are your own director! Just send us a video of you performing a pre-selected scene and we will edit them all together for a one-off screening online. The deadline for submissions is Friday 17 June so head to cft.org.uk/YourDream for full details. FREE
From Thursday 7 July A digital diorama sharing memories and anecdotes attached to 60 pieces from CFT’s fascinating archive will go on virtual display this summer. Model boxes, props, costumes, set designs, footage, programmes, artwork, time-lapses, interviews and sound bites will be shared to tell the story of our beloved Theatre through the last six decades. FREE
GAME CHANGER
From Friday 8 July Our endlessly creative ‘Wednesday and Friday’ community companies for adults with learning disabilities will combine gaming technology with theatrical storytelling and music to create a new virtual theatre experience. Using a highly accurate scan of our auditorium, they will work alongside experts to hone their skills in building a new digital theatre. FREE
FOOD AND DRINK Enjoy delicious food and drink at our welcoming café and restaurant. Whether you’re having a meal before the show, simply relaxing with a coffee or powering up using our free Wi-Fi, we can’t wait to welcome you.
DINE BEFORE THE SHOW
GREAT COFFEE IN A GREAT LOCATION
Enjoy a contemporary British menu featuring local and seasonal ingredients, a selection of excellent wines and top-notch service in our stylish and award-winning restaurant The Brasserie – the closest restaurant to the Theatre.
A great spot for barista coffee, freshly made sandwiches, delicious cakes and a range of drinks. Our Café on the Park offers indoor and outdoor seating overlooking Oaklands Park and family friendly areas in our spacious foyer.
Open for Festival Theatre performances: matinees from 12pm and evening shows from 5pm. Also available for private hires and functions.
Open Monday to Friday from 10am and from 9am on Saturday so ParkRunners can stop by for much needed refreshment.
Visit cft.org.uk/eat, call 01243 782219 or email dining@cft.org.uk for opening times, reservations, menus and more.
THE SOUTHBURY CHILD A new play by Stephen Beresford
ST SAVIOUR’S CHURCH, DARTMOUTH
THE CHURCH OF ENGLAND Ysenda Maxtone Graham on the challenges facing Anglican parishes The combined scent of damp hymn books, dahlias slightly past their best, candlewax, Brasso and Victorian radiators: breathing in this intoxicating smell is one of the delights of living in England, with its 12,500 parish churches at the heart of every village and town. To press down the latch and feel the church door opening rather than remaining stubbornly shut is one of life’s great reassurers. So, this 1,000-year-old architectural gem is still living, breathing, working! Hymn numbers on the hymn board! Bad drawings of Jesus by the Sunday School children! A Bible open on the lectern! Or is the church you’ve chanced upon locked up, and actually on life-support, almost dead? Is it one of the churches euphemistically named ‘Festival Churches’ in a cynically upbeat new Church of England branding, meaning ‘a church that only has services four times a year, at Christmas, Easter, Harvest and Patron Saint’s day, which is better than nothing, because the other option is that it’ll be closed down for ever’? The Church of England, rather like the NHS and the BBC, is a sprawling institution struggling to keep its head above water and somehow managing to against all the odds. But unlike the NHS and the BBC, the general public does not pay tax or a licence fee for the Church, unlike in Germany where there’s an obligatory church tax. And a good thing too, because why should atheists and agnostics have to stump up money for something they don’t believe in? But the majority of us, of all beliefs and none, do like the Church to be there at key moments of our and our beloveds’ lives: the baptisms, marriages and deaths of close family members and friends. And it is there, just doing its stuff, week in, week out. In its very undemanding nature, the Church of England suits the traditional British character. CHILD’S DRAWING OF JESUS
You don’t have to ‘join’ the Church of England; it’s not a membership club. It allows anonymity. It’s fine to sit at the back and not to hug or even say hello to anyone. It’s also very English in its tolerance of people with deeply contrasting attitudes to Christianity and indeed to life. At one end, you have those of a ‘catholic’ persuasion, who love liturgy, robes, incense, Holy Communion, choral music and ‘Lead us, heavenly father, lead us’ sung from the English Hymnal. At the other end, you have the evangelicals, with their drum kits, TV screens, guitar-accompanied love songs to Jesus, and 40-minute-long sermons about the reality of Jesus coming into your life. You might think it would be the former more old-fashionedseeming type who would be the more strict when it comes to living out sexual desires of whatever persuasion, as long as it’s with a consenting adult, but in fact it’s the latter. Just go on the website of St Helen’s Bishopsgate, the leading conservative evangelical church in London, and watch their video of how to keep ‘same-sex attraction’ firmly in check, as they believe that God, Jesus and the Bible intend. (On the subject of the smells of church interiors, the evangelical ones smell of newly fitted carpets, filter coffee and the recent sweat of their large and physically active congregations. Quite a different scent.) ‘We don’t own the truth,’ as Canon Bruce Ruddock said to me, explaining how the C of E works.
‘We wrestle with it, wrestle with all the theological questions. We don’t have a magisterium that pronounces on the truth, as the Roman Catholics do.’ At the moment there are 7,670 stipendiary priests in the Church of England, 2,880 ‘self-supporting’ ones (euphemism for ‘unpaid’), plus a back-up backbone of 7,210 who have ‘permission to officiate’ – those tend to be the retired ones, a literal godsend in villages all over the country in desperate need of someone to take next Sunday’s Eucharist. Quite a few of the so-called ‘stipendiary’ clergy aren’t actually paid any money. If you look at the advertisements for clergy in the Church Times, first you’ll see the daunting list of desirable attributes required of the successful candidate (‘Jesus-centred’, ‘missional in outlook’, ‘visionary and strategic’, ‘bold and servanthearted’), and then you’ll scroll down to the bottom and often find the words ‘House for duty’. This means the successful candidate will get a house to live in but nothing more except a few expenses. The house is their pay. Which means there needs to be a bread-winning spouse or partner. Because what on earth is the poor successful candidate expected to live on, or in, when he or she retires? David, the ever-anxious parish priest in The Southbury Child, torn between the demand to give people what they want and his deeper urge to give them what they need, is a finely drawn and salient example of the breed living at the coal face. And it’s not surprising, when you hear about how tough it is to be a parish
priest these days, that David struggles with both an alcohol problem and a marriage problem. Both of these are all too common among today’s harassed parish clergy. Their main source of harassment? Not, as you might expect, the local vandals who steal lead from the church roof, although those are a massive headache. No: it’s the diocese. The diocese, which you might think would be there to look after the clergy, helping and encouraging them and their whole benefice of churches (sometimes numbering nine or ten Grade I-listed medieval buildings in constant need of repair), is actually their blood-sucker, demanding a vast sum of money each year. Peter Owen-Jones, the parish priest of Firle, Glynde and Beddingham in East Sussex, tells me that he’s a ‘house for duty’ priest, so his three tiny parishes do not have to pay a clergy salary; but they still have to raise £30,000 a year to pay to the diocese. That money doesn’t pay for any church repairs; they have to fund all those themselves as well. (Parishes that do have a stipendiary priest are expected to pay the diocese £70–80,000 a year.) Owen-Jones is trying to generate a desperately needed source of income by getting planning permission to build two holiday bothies in the churchyard. ‘The diocese,’ he reminds me, ‘also take a cut from all the activities in the church. They take a cut from all weddings and funerals and monuments in the churchyard, and it’s also the parish that must pay the expenses of the vicar, so when you tot all that up, it comes to a great deal more than £30,000.’
ST SAVIOUR’S CHURCH, DARTMOUTH CORNERSTONE CHURCH WORSHIP, TOLEDO
Where’s that money going, once it’s swallowed up by the diocese which doesn’t say ‘thank you’? Well, it’s paying for a swollen bureaucracy of middle-managers; an army of people with job titles such as ‘mission enabler’ and ‘digital mission advisor’ whose salaries are often double that of a parish priest. Whereas a century ago the diocese of Leicester had just one diocesan employee – the bishop’s driver – it now has 120. The central Church is obsessed with growth, terrified that attendance figures are going down (which indeed they are), and its current thinking is that the only way to counteract the decline is to pour money into diocesan initiatives overseen by middlemen and women. The people paying for this? The parishioners of all our towns and villages, who covenant from their earned income and work tirelessly with their parish fêtes to feed the insatiable diocesan beast. ‘We need to expand and reimagine and revitalise the parish system, not dismantle it,’ said the Archbishop of York recently, countering the accusation that the central Church is aiming to make it easier to close down parish churches. But he did add, ‘If you want a parish priest, you have to pay’. The priests I have spoken to protest that if you lessen the number of parish priests, as it is proposed, and rely on lay people overseen by one or two paid priests across a whole diocese, the result will be even smaller church attendance, because the one thing that keeps people going to church is knowing their local parish priest, who when
they bury their parent or grandparent will actually have met them. ‘But the church is vastly wealthy, isn’t it?’ Good question. Yes, the Church Commissioners have over £9 billion in their coffers – a 19th century legacy from selling off ecclesiastical property – and the return on that generates money to pay clergy pensions, but no longer clergy salaries. It has also released many millions to pay for the new Strategic Development Fund (how they like those grand titles), aiming to stem the decline in the most struggling dioceses. But will it work? Rural parishes fear that they, the backbone of the whole enterprise, are being neglected, milked for funds, kept short of staff, and threatened with extinction. It didn’t help when the Archbishop of Canterbury presided over Eucharist from his home kitchen on Easter Sunday 2020, giving out a strong signal that church buildings are not important. He has since regretted closing down churches, even banishing priests from entering them, at that crucial time. Sending the message that church was not an essential service was indeed an own goal. YSENDA MAXTONE GRAHAM
Ysenda Maxtone Graham is an author and journalist. Her first book was The Church Hesitant: A Portrait of the Church of England Today. Her recent titles include Terms & Conditions: Life in Girls’ Boarding Schools, 1939-1979, and British Summer Time Begins: How We Spent the School Summer Holidays, 1930-1980.
VINCENT VAN GOGH NINA SIMONE ADMIRAL LORD NELSON JON SNOW JANE AUSTEN MATTHEW PINSENT NAT KING COLE ALICE COOPER ARETHA FRANKLIN KATY PERRY JOHN LOGIE BAIRD GORDON BROWN
A VICARAGE IS FOR LIFE Question: what do Vincent van Gogh, Admiral Lord Nelson, Denzel Washington, Nina Simone and Theresa May have in common? Answer: they are all the children of clergy. The list of public figures with a clergy parent is long and varied. A quick search shows that a great number of distinguished writers grew up in a parsonage (Jane Austen, the Brontës, John Buchan, Lewis Carroll, Elizabeth Gaskell, Andrew Marvell, Alfred Lord Tennyson). There are famous architects (Sir Christopher Wren, George Gilbert Scott) and celebrated inventors (the Wright brothers, John Logie Baird), singers and performers (Nat King Cole, Alice Cooper, Aretha Franklin, Marvin Gaye, Marcus Mumford, Katy Perry), and international sportsmen (the rower Matthew Pinsent, the golfer Danny Willett) who all grew up in clergy homes. There are politicians aplenty. Gordon Brown was a son of the manse; Angela Merkel, the former Chancellor of Germany, grew up as the daughter of a Lutheran pastor. When she was Prime Minister, Theresa May wore the badge of vicar’s daughter with pride. In one of her first interviews as PM, she told THERESA MAY SIR CHRISTOPHER WREN DAVID TENNANT
The Sunday Times about her father’s spending one Christmas Day visiting a bereaved family, while Theresa and her presents had to wait. The faith that she grew up with, she implied, had instilled in her an understanding of “the right thing” to do. She talked of her ethics: “the values that I learnt in my own childhood, growing up in a vicarage. Values of compassion, community, citizenship. The sense of obligation we have to one another.” Last year, when Amanda Pritchard was appointed as CEO of NHS England, the press were quick to note she was the daughter of a bishop. Francis Habgood, the son of a former Archbishop of York and himself Chief Constable of Thames Valley Police between 2015 and 2019, says it is unsurprising that so many clergy children go on to be public servants. When Francis said he was considering joining the police, his father pointed out the similarities with his own calling: “working within the community, supporting people, caring about justice and truth”. The actor David Tennant, whose father was a Church of Scotland minister, told The Guardian
a few years ago that he was sure that religion had shaped his character. “I think there’s a moral compass, but I’m not sure whether that comes from religion, or just from being a good person, and where one starts and the other begins,” he said. Being a minister “is sort of like acting”, he said, and his dad had always been very supportive. The actor and comedian Hugh Dennis, whose father was Bishop of St Edmundsbury & Ipswich, also suggested that “seeing my dad effectively standing up on stage every week and dressing up” had an influence on his chosen career in acting.
“Closing the door is not something you can really do in a vicarage.” But the key thing that he took from his upbringing was that “people were just people”. He said: “Quite often I would come home from school, and there would be a tramp — a gentleman of the road, as existed in the early ’70s or late ’60s — sitting having a cup of tea and a sandwich in the kitchen, chatting to my mum. This was a standard thing, that you looked after everyone.” And there, perhaps, is the rub. Growing up in a vicarage is not always plain sailing. If your
ANGELA MERKEL THE BRONTË SISTERS HUGH DENNIS
parent has a calling to feed the hungry and care for the sick, privacy can be hard to achieve. There will always be someone else demanding their attention. The Times journalist Ben Dowell commented on this in a piece he wrote in November 2021 in the light of the revelation that the Liverpool bomber, Emad Al Swealmeen, had been given a haven by the church. “Closing the door is not something you can really do in a vicarage,” he said of his own upbringing as the son of “a very left-wing vicar of Hampstead”. “As anyone who has ever heard a Christmas sermon will know, refugees — and waifs and strays generally — are central to Christian thinking, not least because the Nativity story has Mary asking for room at the inn... The problem I found with growing up in this sort of place is that there was always someone in greater need.” Many clergy are effectively on call 24/7. The parish system is such that in areas of deprivation – where other professionals, such as doctors and teachers, commute to work from more desirable enclaves – the vicar alone remains in his or her community. This was brilliantly brought to light in the BBC series Rev. Then there are the expectations. The congregation that projects an image of the ‘holy family’ on the vicarage household; the teacher who unthinkingly says, ‘I expected better behaviour from you. What would your father say?’ Not to mention the crashing embarrassment
of your dog-collar-wearing parent coming into your school to take assemblies.
The rhythm of faith, the values of compassion and care for others, are often lifelong. The theologian and wife of the former Archbishop of Canterbury, Jane Williams, confesses to hiding the fact that her own father was a bishop when she worked in a fish-finger factory in Hull as a student. He was selfemployed, she said – “so not actually a lie”. Others talk about the weight of expectation. James Runcie, a successful writer and producer – his novels inspired the Channel 4 Grantchester series – is the son of another Archbishop of Canterbury. For all his accomplishments, he talks of suffering from imposter syndrome. “I suppose Archbishop of Canterbury is a bit of a ‘Beat that!’ job,” he once said. Jon Snow, the veteran Channel 4 broadcaster, is someone else who was not always comfortable with his father’s calling. His father became Bishop of Whitby when his son was 12. In an upbringing that sounds positively Victorian, all sorts of things were taken for granted: attendance at church,
LEWIS CARROLL DENZEL WASHINGTON ELIZABETH GASKELL
prayers before breakfast, to which all members of the household came. And yet, for very many, something about the experience lingers. Even for those who have given up on churchgoing – and many find themselves mysteriously drawn back – the rhythm of faith, the values of compassion and care for others, are often lifelong. As they say, you can take the child out of the vicarage, but you can’t take the vicarage out of the child. SARAH MEYRICK
Sarah Meyrick is a religious affairs journalist and the author of three novels (Knowing Anna, The Restless Wave and Joy and Felicity). She is the Director of the Church Times Festival of Faith and Literature.
At the Burial of a Child O God, whose beloved Son did take little children into his arms and bless them: Give us grace, we beseech thee, to entrust this child N. to thy never‑failing care and love, and bring us all to thy heavenly kingdom; through the same thy Son Jesus Christ our Lord, who liveth and reigneth with thee and the Holy Spirit, one God, now and for ever. Amen. The people sit. The Liturgy of the Word From the Old Testament Isaiah 25:6-9 (He will swallow up death for ever) Isaiah 61:1-3 (To comfort those who mourn) Lamentations 3:22-26,31-33 (The Lord is good to those who wait for him) Wisdom 3:1-5,9 (The souls of the righteous are in the hands of God) Job 19:21-27a (I know that my Redeemer lives)
For many people today, the church is no more than a tapering spire rising above a skirt of trees and cottage roofs. It marks an ancient settlement and symbolises an ancient conformity. Manor House, vicarage and schoolroom are gathered round the old churchyard as if for security in a hostile world. Gravestones lie tipsy amid ryegrass and sedge. The church enclave seems marginalised, an architecture too important for its present purposes, coming to life only for the rituals of marriage, christening and funeral. Yet until the past century, the church was at the heart of every community. It marked every event in life’s calendar, solemnising it with discipline and blessing it with charity. It registered, christened, taught, married, adjudicated, sustained, comforted and buried. Simon Jenkins, from his Introduction to England’s Thousand Best Churches, 1999
Once I am sure there's nothing going on I step inside letting the door thud shut. Another church: matting seats and stone And little books; sprawlings of flowers cut For Sunday brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense musty unignorable silence Brewed God knows how long. Hatless I take off My cycle-clips in awkward reverence. Philip Larkin, from ‘Church Going’, 1955
‘Let us pray for all those killed or cruelly wounded on throughways, expressways, freeways and turnpikes. Let us pray for all those burned or otherwise extinguished in faulty plane landings, mid-air collisions and mountainside crashes. Let us pray for alcoholics, measuring out the hours of the day that the Lord hath made in pints and fifths, and let us pray for the man who mistook a shirt button for a Miltown pill and choked to death in a hotel.’ John Cheever (1912-1982), from his Journals
IMAGE BY MUSE CREATIVE
If you came this way, Taking any route, starting from anywhere, At any time or any season, It would always be the same: you would have to put off Sense and notion. You are not here to verify, Instruct yourself, or inform curiosity Or carry report. You are here to kneel Where prayer has been valid. And prayer is more Than an order of words, the conscious occupation Of the praying mind, or the sound of the voice praying. And what the dead had no speech for, when living, They can tell you, being dead: the communication Of the dead is tongued with fire beyond the language of the living. Here, the intersection of the timeless moment In England and nowhere. Never and always. TS Eliot, from ‘Little Gidding’, 1942
THE SOUTHBURY CHILD A new play by Stephen Beresford
CAST (in order of speaking) David Highland Lee Southbury Naomi Highland Janet Oram Susannah Highland Mary Highland Craig Collier Joy Sampson Tina Southbury Understudies David Highland Mary Highland / Janet Oram Susannah Highland / Joy Sampson Lee Southbury / Craig Collier Naomi Highland / Tina Southbury
Alex Jennings Josh Finan Racheal Ofori Hermione Gulliford Jo Herbert Phoebe Nicholls Jack Greenlees Holly Atkins Sarah Twomey Nick Barclay Hilary Derrett Amy Brown Chris Knight Lola May
There will be one interval of 20 minutes.
A co-production with
World premiere performance of The Southbury Child at Chichester Festival Theatre, 13 June 2022.
Director Set Designer Costume Designer Lighting Designer Sound Designer Casting Director
Nicholas Hytner Mark Thompson Yvonne Milnes Max Narula George Dennis Robert Sterne CDG
Voice & Dialect Coach Assistant Director
Richard Ryder Isabel Marr
Production Manager Costume Supervisor Props Supervisor
Chris Hay Rosemary Elliott-Dancs Lily Mollgaard
Company Stage Manager Deputy Stage Manager Assistant Stage Manager
Kate McDowell Rebecca Maltby Olivia Page
Production credits: Set constructed by Cardiff Theatrical Services; Police uniform supplied by Angels Costumiers; Rehearsal Costume Technician Robbie Gordon; Hair Supervisor Carole Hancock; Kitchen table by ProperlyMade; Prop Maker Bronia Topley; Prop Painter Belinda Clisham; Lighting hires by White Light; Lighting Programmer Victoria Brennan; Rehearsal room Dominion Theatre. With thanks to Odette Brookes, Robert Brown, Rev. Richard Coles, Tabitha Dodds, Heartbeat Dance Band, Jean Roberts, and Father Andrew Walker, St Mary’s Bourne Street.
Rehearsal and production photographs Manuel Harlan Programme Editor Lyn Haill Programme design Davina Chung Supported by The Southbury Child Commissioning Circle: Margaret Bamford, Anthony Clark, Rosie and Charlie Drayson, Sheila and Steve Evans, Denise Gabriel, Themy Hamilton, Sally and Vaughan Lowe, Elizabeth Miles, Nita and Peter Mitchell-Heggs, Dr Linda Shaw OBE, Jackie and Alan Sherling, Sara Walker, Ian and Alison Warren, Honor Woods and those who wish to remain anonymous.
Sponsored by
#SouthburyChild ChichesterFestivalTheatre
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BIOGRAPHIES
ALEX JENNINGS
HOLLY ATKINS Joy Sampson Theatre includes The Book of Dust – La Belle Sauvage (The Bridge Theatre); Romantics (Jermyn Street Theatre); Three Women (Bloomsbury); Romeo and Juliet and Helen (Shakespeare’s Globe); Shakespeare and His Contemporaries (poetry recital, Greenwich); The Ballad of Crazy Paola (Arcola); Scarborough (Royal Court & Edinburgh); Summer Begins (Southwark Playhouse); One Flew Over the Cuckoo’s Nest (national tour). Television includes Home, King Gary, In the Long Run, This Country, Witless, Call the Midwife, Doctors, Murder on the Home Front, Wallander, Case Sensitive, Holby City, Casualty, Doctors, Criminal Justice, The Sarah Jane Adventures, City Lights, The Bill, On the Run, My Parents Are Aliens, Where the Heart Is, The Groovy Granny Show, The Project, Residents, EastEnders. Films include the short Such Small Hands. NICK BARCLAY Understudy David Highland Theatre includes Bach & Sons (The Bridge); Private Lives (Nigel Havers Theatre Company national tour); repertory at Wolverhampton, Bournemouth, Crewe and Sidmouth; Twelfth Night, Rebecca, Look Back in Anger, Sleuth, The Importance of Being Earnest, In Praise of Love, Abigail’s Party, The Mousetrap, The Norman Conquests; The 39 Steps, Stones in His Pockets, Art, Private Lives, The Complete Works of William Shakespeare (Abridged) (international tours); A Slice of Saturday Night, Singin’ in the Rain, Crazy for You, Oklahoma!, Fiddler on the Roof, Guys and Dolls, City of Angels and over 20 pantomimes. He has directed productions of Educating Rita and Gaslight. Television and films include 747: The Plan that Changed the World, Grange Hill, Weekender, Red Mercury, The Beer Hunter. AMY BROWN Understudy Mary Highland / Janet Oram Theatre includes The Lion, the Witch and the Wardrobe (West Yorkshire Playhouse and Birmingham REP); Dangerous Corner (New Victoria, Newcastle-under-Lyme); Romeo and Juliet, Much Ado About Nothing, King John
(RSC Stratford-upon-Avon, Newcastle and West End; To Kill a Mockingbird (Salisbury Playhouse); A Midsummer Night’s Dream (Royal Festival Hall and US tour); Misconceptions (tour); Summer Lightning (Royal Northampton); Nicholas Nickleby (Lyric Hammersmith). Television includes Doctors, Cast Offs. Films include Bright Star. Radio includes One Church; runner-up for the Carleton Hobbs Award. Voiceover: Mary Queen of Scots in the British Library’s Elizabeth and Mary, Royal Cousins, Rival Queens. Trained at Royal Academy of Dramatic Art. HILARY DERRETT Understudy Susanna Highland / Joy Sampson Theatre includes The Mousetrap; Relatively Speaking (Shrewsbury); The Time of My Life (Brockley Jack); Where Will We Live (Southwark Playhouse); Play of Thrones (Union Theatre); Funny Money (Vienna English Theatre); Lady Bracknell in The Importance of Being Earnest, As You Like It and The Merchant of Venice (tours). Television includes The History of Bedlam, Ladykillers. Films include Joshua and Zoey, The Estate Agent, Tales from Pussy Willow (animation). Radio: Peace in Our Time. Trained at The Laban Centre. JOSH FINAN Lee Southbury Theatre includes Peggy for You (Hampstead); Shook (Papatango at Southwark Playhouse and on tour); Romeo and Juliet, Macbeth, The Merry Wives of Windsor (Royal Shakespeare Company); Takeover – Pancake Day (Play at The Bunker); The Barricade (Theatre 503); The Nutcracker (Theatr Clwyd); Champ (Tobacco Factory); E15 (Eden Court and Lung at Northern Stage); Dolly Wants to Die (Lung at the Underbelly); Richard III (Shakespeare’s Globe); and many productions for Bristol Old Vic Theatre School and Sheffield University Theatre Company. Television includes The Responder, Doctors and Guerrilla. Films include Shook, Surge and Hellboy. Trained at Bristol Old Vic Theatre School.
JACK GREENLEES HOLLY ATKINS JO HERBERT JOSH FINAN
JACK GREENLEES Craig Collier Theatre includes Hamlet (Hiraeth); Banker’s Trust (WriteNow4 Festival); Party (Criterion); and many productions at Drama Studio. Television includes The Swarm, C B Strike, Deadwater Fall, Harlots, The Trial of Christine Keeler, London Kills, The State, Muncie, My Mother and Other Strangers, Penny Dreadful, The Bastard Executioner, Shetland, Stonemouth, Suspects, Modern Life is Rubbish. Films include She Will, Our Ladies, Outlaw King, Star Wars: The Last Jedi, Sunset Song, The Girlfriend Audition. Trained at Drama Studio London. HERMIONE GULLIFORD Janet Oram Previously at Chichester The Way of the World, Three Sisters (Festival Theatre), The Critic, The Real Inspector Hound (Minerva Theatre). Theatre includes Romeo and Juliet (Shakespeare’s Globe); A Lovely Sunday
PHOEBE NICHOLLS
for Creve Coeur, Amygdala, Lot and His God (Print Room); Richard II (Arcola); 3 Winters, Hotel (National Theatre); Love for Love, The Merchant of Venice, A Midsummer Night’s Dream, Antony and Cleopatra (RSC); Arcadia (Bristol Old Vic); The Country Wife, Twelfth Night (Sheffield Crucible); Hay Fever, The Rehearsal, The Double Inconstancy, Time and the Conways (Salisbury Playhouse); The Importance of Being Earnest (Birmingham Rep/Old Vic). Television includes Culprits, The Nevers, Zen Motoring, Doc Martin, Doctors, Holby City, Hollyoaks, Count Arthur Strong, Foyle’s War, New Tricks, The Bletchley Circle, The Game, Call the Midwife, Lewis, Upstairs Downstairs, Utopia, Hustle, Rev, The IT Crowd, MI High, Kingdom, Midsomer Murders, All About George, The Brief, Heartbeat, Carrie’s War, Monarch of the Glen, October, Jane Eyre, The Bill. Radio includes Blithe Spirit. Films include Cruella, Where Hands Touch, Stage Beauty, The Affair of the Necklace.
RACHEAL OFORI HERMIONE GULLIFORD JACK GREENLEES SARAH TWOMEY
JO HERBERT Susannah Highland Previously at Chichester Cyrano de Bergerac (Festival Theatre), The Country Wife, For Services Rendered (Minerva Theatre). Theatre includes The Mirror and the Light (RSC); Wild Honey, Hello/Goodbye (Hampstead); 3 Winters (National Theatre); East of Berlin (Southwark Playhouse); Eternal Love, title role in Anne Boleyn (ETT/Shakespeare’s Globe tour); Candida (Theatre Royal Bath); Wild Oats, Does My Society Look Big in This? (Bristol Old Vic); Rosalind in As You Like It, The Changeling (Shakespeare’s Globe); The Faerie Queen (Glyndebourne tour); The Game of Love and Chance, Blackbird (Salisbury Playhouse); The Comedy of Errors, The Importance of Being Earnest (Regent’s Park). Television includes Call the Midwife, Unforgotten, The Crown Series 1 and 2, Loaded, Josh, Home Fires, Casualty, Lewis, Holby City. Radio includes Arms and the Man. Films include Misbehaviour and the short A Small Good Thing. ALEX JENNINGS David Highland Previously at Chichester The Scarlet Pimpernel (Festival Theatre). Theatre includes, for the National, Hansard, Alan Bennett in Bennett’s Cocktail Sticks and Hymn, Mikhail Bulgakov in Collaborators, Benjamin Britten in The Habit of Art, Garry Essendine in Present Laughter, George Bush in Stuff Happens, Walter Burns in His Girl Friday, Leontes in The Winter’s Tale and Lord Foppington in The Relapse (for these last two he won the Evening Standard Drama Award for Best Actor), title role in Albert Speer, and Henry Higgins in My Fair Lady (Olivier Award for Best Actor in a Musical). In the West End, Too Clever by Half (Olivier Award Best Comedy Performance, London Theatre Critics’ Awards Best Actor), The Liar (Olivier Award nomination), The Wild Duck, The Importance of Being Earnest, Willy Wonka in Charlie and the Chocolate Factory. For the RSC his roles include Richard II, Oberon, Benedick, Peer Gynt (Olivier Award Best Actor) and Hamlet (also in the US, Helen Hayes Award Best Actor). Other theatre includes Voltaire and Dr
Pangloss in Candide (English National Opera); Henry Higgins in My Fair Lady (Théatre du Châtelet, Paris, and 60th anniversary production at Sydney Opera House in 2016, directed by Julie Andrews); and Signor Naccarelli in The Light in the Piazza (Royal Festival Hall, Lyric Opera Chicago opposite Renée Fleming). Television includes The Undeclared War, This Is Going to Hurt, Small Axe (Mangrove), Gold Digger, Four Weddings and a Funeral, Unforgotten (BAFTA Award nomination, Best Supporting Actor), A Very English Scandal, Duke of Windsor in The Crown, Victoria, The Halcyon, Stan Lee’s Lucky Man, Churchill’s Secret, Foyle’s War, Silk, Castles in the Sky, Being Human, Lewis, We’ll Take Manhattan, Whitechapel, Marple, Hancock and Joan, Cranford, The State Within, Spooks, Riot at the Rite, Poirot, Bad Blood, Ashenden, Hard Times, Inspector Morse, Smiley’s People. Films include Your Christmas or Mine?, Operation Mincemeat, Munich – Edge of War, The Forgiven, Denial, Alan Bennett in The Lady in the Van, Belle, Babel, Five Children and It, Prince Charles in The Queen, The Four Feathers, The Wings of the Dove, Oberon in A Midsummer Night’s Dream, Derek Jarman’s War Requiem. He has also worked extensively in radio and as a reader of audio books. Trained at Bristol Old Vic Theatre School, after graduating from Warwick University. CHRIS KNIGHT Understudy Lee Southbury / Craig Collier Chris Knight trained at ALRA; The Southbury Child is his professional debut. LOLA MAY Understudy Naomi Highland / Tina Southbury Theatre includes Protests, Hymns and Caskets (Shout Festival / Belgrade Coventry); Here’s What He Said to Me (Utopia); Three Sisters (National Theatre); 1991 (Africa Utopia Festival 2019 / Southbank Centre); Water Bread Salt (Tangle); #Haters (Odd Eyes); Everything By My Side (LIFT Festival); Poof! (Albany); Black Attack (Bush Theatrte); Illegals: the Game Show (Divergent); Metamorphosis (Stage); The Tempest (Oxford Chamber). One-woman shows include The Therapy Chronicles (Bread and Roses).
Television includes Lodgers, Informer. Film includes His House, Fir (Exceptional Merit Award for Lead Actress in a Film at WRPN Women’s International Film Festival, 2020). As a singer, film soundtrack credits include Nancy. PHOEBE NICHOLLS Mary Highland Previously at Chichester The Cherry Orchard (Festival Theatre). Theatre includes Scenes from an Execution, Rutherford and Son, An Inspector Calls, Pravda (National Theatre); When the Rain Stops Falling, Waste (Almeida); Three Women and a Piano Tuner (Hampstead); The Vortex, Three Sisters (West End); Hysteria (Royal Court). Television includes A Very British Scandal, Chloe, Anatomy of a Scandal, Sticks and Stones, Traitors, Doctor Thorne, Downton Abbey, Fortitude, Jonathan Strange and Mr Norrell, Shackleton, The Scapegoat. Films include The Electrical Life of Louis Wain, The Empty Man, Berlin I Love You, Mari, Finding Your Feet, Transformers: The Last Night, Starfish. RACHEAL OFORI Naomi Highland Theatre includes Bach & Sons (The Bridge Theatre); Rare Earth Metal (Royal Court); So Many Reasons (solo show, Soho Theatre); Three Sisters (National Theatre); Snowflake (Arts at the Old Fire Station); Pygmalion (Headlong); Blood Wedding (Omnibus); Romeo and Juliet (Kenneth Branagh Company); This Is Private Property (Camden People’s Theatre); Portrait (solo show, Edinburgh Festival, UK tour and Camden Fringe Festival); A Midsummer Night’s Dream (Tooting Arts Club). Television includes Big Age, Sliced, In the Long Run, Treadstone, Enterprice, Carnage: Swallowing the Past, Come Home, Wizards v Aliens. Films include I Used to Be Famous, Artemis Fowl, Guns Akimbo, Ready Player One.
SARAH TWOMEY Tina Southbury Previously at Chichester Young Chekhov: Platonov and The Seagull (Festival Theatre and National Theatre). Theatre includes The Provoked Wife, Venice Preserved, Twelfth Night (also NT Live), A Christmas Carol (RSC); Mermaid (Shared Experience). Television includes The Sandman, The Mind of Herbert Clunkerdunk, Call the Midwife, Kate and Koji, True Horror: The Witches Prison. Films include Men, and the shorts Animal, Popped and Niggles. Trained at Royal Academy of Dramatic Art.
C R E AT I V E T E A M
STEPHEN BERESFORD Writer Theatre includes, at the Old Vic, The Three Kings (nominated for Broadway World UK Awards – Best New Production Created for Streaming), Fanny and Alexander (based on Ingmar Bergman’s film), and 24-Hour Plays Celebrity Gala. At the National Theatre, The Last of the Haussmans. He also directed Twelfth Night at the Albery. Film includes Pride, directed by Matthew Warchus, which won the BAFTA for Outstanding Debut by a British Writer, Director or Producer, the Best Film BIFA and South Bank Awards Best Film. GEORGE DENNIS Sound Designer Previously at Chichester The Norman Conquests (Festival Theatre), Sing Yer Heart Out for the Lads (Spiegeltent), The Deep Blue Sea (Minerva Theatre). Theatre includes Two Ladies, A Very Very Very Dark Matter (The Bridge); The Homecoming (Trafalgar Studios); Nine Night (Trafalgar Studios and National Theatre: Olivier Award nomination for Best Sound Design); JACK GREENLEES JO HERBERT NICHOLAS HYTNER
A Slight Ache & The Dumb Waiter, The Lover & The Collection, One for the Road, A New World Order, Mountain Language & Ashes to Ashes (Harold Pinter Theatre); An Octoroon (Orange Tree and National Theatre); Sweat (Donmar Warehouse and West End); The Importance of Being Earnest, The Windsors: Endgame (West End); Glee & Me (Royal Exchange); The Duchess of Malfi, Three Sisters (Almeida); Venice Preserved (Royal Shakespeare Company); Talent, Frost/Nixon, Tribes (Crucible Sheffield); The Mountaintop (Young Vic, Royal Exchange and UK tour); The Beacon (Staatstheater Stuttgart); An Unfinished Man (The Yard); Hedda Tesman, Richard III, Spring Awakening (Headlong); The Island (Young Vic); Much Ado About Nothing, Imogen, The Taming of the Shrew (Shakespeare’s Globe); Harrogate, Fireworks, Liberian Girl (Royal Court); Guards at the Taj, Visitors (Bush Theatre); Killer (OffWest End Award for Best Sound Design), The Pitchfork Disney (Shoreditch Town Hall, co-designed with Ben and Max Ringham); Faces in the Crowd, The Convert, In the Night Time, Eclipsed (Gate Theatre). Trained at Manchester University.
NICHOLAS HYTNER Director Nicholas Hytner is Co-Founder of the Bridge Theatre where he has directed Young Marx, Julius Caesar, Allelujah!, Alys, Always, A Midsummer Night’s Dream, Two Ladies, Beat the Devil, A Christmas Carol, Bach & Sons, The Book of Dust – La Belle Sauvage, and Straight Line Crazy. From 2003 to 2015, he was Director of the National Theatre where his productions included Henry V, His Dark Materials, The History Boys, Stuff Happens, Henry IV, Parts 1 & 2, The Habit of Art, England People Very Nice, Much Ado About Nothing, One Man, Two Guvnors, Timon of Athens and Othello. At Chichester, he directed The Scarlet Pimpernel in 1985. Opera includes Handel’s Xerxes for English National Opera and Giulio Cesare for Paris THE COMPANY
Opera; Mozart’s Magic Flute for ENO and Cosi Fan Tutte at Glyndebourne; and Verdi’s Don Carlo for the ROH. Television includes Talking Heads for the BBC. Films include The Madness of King George and The Lady in the Van. ISABEL MARR Assistant Director Theatre includes directing and curating Deep Night, Dark Night in the Sam Wanamaker Playhouse at Shakespeare’s Globe, where she has worked extensively as an Associate Director, running their international touring productions in 2018 and 2019. Her other work as Director includes Terrifying Women (Golden Goose); NSFW (also Edinburgh Fringe), Jumpy, Saved
(Oxford Playhouse); Look Back in Anger (Edinburgh Fringe). As Associate Director, 2:22 – A Ghost Story (West End); Twelfth Night, Pericles, The Comedy of Errors, The Taming of the Shrew, The Merchant of Venice (all Shakespeare’s Globe, national and international tour). As Assistant Director Macbeth, The Secret Theatre, The Inn at Lydda, The Tempest (Shakespeare’s Globe). YVONNE MILNES Costume Designer Yvonne Milnes has worked in the fashion industry, theatre, opera and ballet. Previously at Chichester, costume supervisor Guys and Dolls (also West End), Sweet Bird of Youth, South Pacific (Festival Theatre); Funny Girl, She Loves Me (Minerva Theatre). Costume design includes South Pacific
(Grange Park Opera); Band of Gold (Josh Andrews Productions); Salisbury Proverbs, Blackworks, Limelight (Station House Opera); La Traviata, La Boheme, Die Fledermaus, Eugene Onegin (Music Theatre London); Associate Costume Designer Young Frankenstein, The King and I (also Japanese tour) in the West End. Recent work as costume supervisor includes What’ s New Pussycat (Birmingham Rep); The Wind in the Willows (Palladium); She Persisted, Swan Lake, Voices of America, Bausch, Forsyth, Van Manen, She Said, Creature (English National Ballet); Abigail’s Party (ATG tour); Stones in his Pocket, Hedda Gabler, Single Spies (Theatre Royal Bath); Imperium (RSC); Gypsy, The Importance of Being Earnest, Sweeney Todd, Another Country, Height of the Storm (West End); Ariadne Auf Naxos, Don
Pasquale, Rigoletto (Glyndebourne); The Mill on the Floss, Jane Eyre (Shared Experience); Bird of Night, The Beggar’s Opera (ROH); The Merry Wives of Windsor, Henry V, Comedy of Errors (Shakespeare’s Globe); Fifty Five Days (Hampstead); Eugene Onegin, La Traviata, Oliver (Grange Park Opera); She Stoops to Conquer, The Silver Tassie, Our Country’s Good, King Lear, Red Lion, Exit the King (National Theatre); The Ring Cycle (New National Theatre Tokyo); The Nutcracker Suite (K Ballet Tokyo); Aegyptische Helen (Metropolitan Opera NY); Six Degrees of Separation, The Real Thing, Noises Off (Old Vic); House of Games, Children’s Children (Almeida); The Resistible Rise of Arturo Ui, Life’s a Dream, Prince of Homburg, Les Liaisons Dangereuses, Welcome Home Captain Fox (Donmar).
National Day Celebrations, Billy Eilish at Apple Music Awards, Tina: The Tina Turner Musical, Marco Polo, Big Fish, Les Enfants Terribles, Whelan/Watson: Stories. As Associate to Tim Lutkin Big, Bridges of Madison County, Fiddler on the Roof, Destiny, Tell Me on a Sunday, Elf the Musical, Strictly Ballroom, The Girls Musical, Mickey and the Magician, Close to You, Single Spies, The Full Monty, Rebecca, Strangers on a Train. For Hugh Vanstone The Birthday Party, Venus in Fur, Future Confidential, Closer, Soho Cinders, Birthday; for Neil Austin Josephine and I; for Lucy Carter Oil; and for Warren Letton, The Wind in the Willows. Trained at Guildhall School of Music and Drama, receiving the Gold Medal Award. electric blue.org.uk
MAX NARULA Lighting Designer Theatre includes, as Lighting Designer, Poet in Da Corner (Royal Court); Sleepless (Wembley); Circus Festival (Roundhouse); Napoli Milionaria, The Hour We Knew Nothing of Each Other, Hamlet (Barbican). As Associate or Programmer for Bruno Poet Cinderella the Musical; 50th and 49th UAE
ROBERT STERNE CDG Casting Director Theatre casting includes Straight Line Crazy, The Book of Dust – La Belle Sauvage, Bach & Sons, Talking Heads, A Number, Two Ladies and A Midsummer Night’s Dream (The Bridge); Don Juan in Soho, The Audience (West End); and many productions for Sheffield Crucible Theatres.
RACHEAL OFORI PHOEBE NICHOLLS JACK GREENLEES HERMIONE GULLIFORD ALEX JENNINGS HOLLY ATKINS
Television includes The Crown, Chernobyl, Game of Thrones, The Serpent, Wolf Hall, London Spy, Friday Night Dinner. MARK THOMPSON Set Designer Previously at Chichester, The Scarlet Pimpernel, A Little Night Music (Festival Theatre), Funny Girl (Minerva Theatre). Theatre includes Young Marx (Bridge Theatre); Tina: The Tina Turner Musical, Charlie and the Chocolate Factory, Mamma Mia!, Joseph and the Amazing Technicolor Dreamcoat and Art (all worldwide); A Raisin in the Sun (set only), God of Carnage, Bombay Dreams (London/Broadway); La Bête, Doctor Doolittle, The Children’s Hour, The Lady in the Van (West End). For the National Theatre Jack Absolute Flies Again, Three Days in the Country, One Man, Two Guvnors (also West End and Broadway), London Assurance, She Stoops to Conquer, England People Very Nice, What the Butler Saw, The Rose Tattoo, The Madness of George III, The Alchemist, The Duchess of Malfi, Life x 3, Arcadia, Once in a Lifetime, Henry IV
JOSH FINAN ALEX JENNINGS HERMIONE GULLIFORD
Parts 1 & 2, and The Wind in the Willows. For the Donmar Warehouse Welcome Home Captain Fox, The Blue Room (also Broadway), Company (also West End), The Front Page, Uncle Vanya/ Twelfth Night. Other theatre includes Tribes, Hysteria, Six Degrees of Separation, The Kitchen (Royal Court); Electra at the Old Vic; Rope, Betrayal, Party Time, Volpone (Almeida); The Unexpected Man, Measure for Measure, Hamlet, The Wizard of Oz, Much Ado About Nothing, The Comedy of Errors (RSC). Opera includes The Queen of Spades, Macbeth (Met, New York); The Mikado (Lyric, Chicago); Montag aus Licht (costumes, La Scala, Milan); Hansel and Gretel (Sydney Opera House); Carmen (Opéra Comique, Paris). Films include The Madness of King George (costumes). Awards include five Olivier Awards, two Critics’ Circle Awards, and seven Tony nominations.
EVENTS
THE SOUTHBURY CHILD PRE-SHOW TALK
TOUCH TOURS
Nicholas Hytner
Kate Mosse
POST-SHOW TALK
Kate Bassett
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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
Jade Hall Chair
Literary Associate Casting Associate
Youth & Outreach Co-ordinator - Musical Theatre
Hannah Hogg Richard Knowles Louise Rigglesford
Youth & Outreach Manager Education Projects Manager Senior Community & Outreach Manager
Dale Rooks Brodie Ross
Director of LEAP Deputy Director of LEAP (Maternity Cover)
Riley Stroud
Education Apprentice
MARKETING, COMMUNICATIONS, DIGITAL & SALES Carole Alexandre Distribution Officer Josh Allan Box Office Assistant Caroline Aston Audience Insight Manager Becky Batten Head of Marketing Laura Bern Marketing Manager Jenny Bettger Box Office Supervisor Jessica Blake-Lobb Marketing Manager (Corporate)
BUILDING & SITE SERVICES Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer
Helen Campbell Lydia Cassidy
DEVELOPMENT Jessey Barnes
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
Development Officer (Corporate & Trusts)
Julie Field Sophie Henstridge-Brown Charlotte Stroud Karen Taylor Joanna Walker Megan Wilson 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 Simon Parsonage Amanda Trodd Protozoon Ltd HR Emily Oliver Jenefer Pullinger Gillian Watkins LEAP Anastasia Alexandru Helena Berry Rob Bloomfield Zoe Ellis Isabelle Elston Lauren Grant
Friends Administrator Senior Development Manager Development Manager Development Officer (Individuals) Director of Development Events Officer
Executive Director Artistic Director Projects Co-ordinator PA to the Directors Head of Planning & Projects Board Support
Payroll & Pensions Officer Purchase Ledger Assistant Accounting & Report Analyst Finance Officer Assistant Management Accountant Finance Director & Company Secretary Management Accountant IT Consultants
Accommodation Co-ordinator HR Officer HR Officer
Youth & Outreach Trainee Heritage & Archive Co-ordinator Heritage & Archive Assistant LEAP Co-ordinator Community & Outreach Trainee Deputy Director of LEAP (Maternity Leave)
Deputy Box Office Manager Director of Marketing & Communications
Lorna Holmes Helena Jacques-Morton
PRODUCTION Amelia Ferrand-Rook Claire Rundle Joshua Vine Nicky Wingfield Jeremy Woodhouse
Box Office Supervisor Senior Marketing Officer
Producer Production Administrator Trainee Producer Production Administrator Producer
TECHNICAL Jake Barinov Stage & Automation 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 Charlotte Neville Head of Props Workshop Ryan Pantling Sound Technician Stuart Partrick Transport & Logistics Assistant Tom Robinson Senior Stage & Construction Technician
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Neil Rose Joe Samuels James Sharples Molly Stammers Graham Taylor Dominic Turner Emily Williamson
Deputy Head of Sound Lighting Technician Senior Stage Crew & Rigger Lighting Technician Head of Lighting Stage Crew Assistant Lighting Technician
THEATRE MANAGEMENT Janet Bakose Gill Dixon Ben Geering Karen Hamilton Will McGovern Sharon Meier Emily Sandoval Gabriele Williams Caper & Berry Proclean Cleaning Ltd Vespasian Security
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 Shelley Gray Deputy Wigs, Hair & Make-Up Fran Horler Wardrobe Manager Dee Howland Assistant Wigs, Hair & Make-Up Abbie Johns Dresser Rebecca Rungen Head of Wigs, Hair & Make-Up Emily Souch Zena Sweetapple Loz Tait Colette Tulley
Dresser Deputy Wigs, Hair & Make-Up Head of Wardrobe Wardrobe Maintenance
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, Samantha Marshall, 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, Rosemary Wheeler, 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
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
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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
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S U P P O R T E R S 2022
INDIVIDUAL SUPPORT BENEFACTORS Deborah Alun-Jones Robin and Joan Alvarez David and Elizabeth Benson Philip Berry George W. Cameron OBE and Madeleine Cameron Sir William and Lady Castell John and Pat Clayton John and Susan Coldstream Clive and Frances Coward Yvonne and John Dean Jim Douglas George and Natasha Duffield Mrs Veronica J Dukes Melanie Edge Sir Vernon and Lady Ellis Val and Richard Evans Simon and Luci Eyers Angela and Uri Greenwood Sir Michael and Lady Heller Liz Juniper The family of Patricia Kemp Roger Keyworth Jonathan and Clare Lubran Selina and David Marks Mrs Sheila Meadows Jerome and Elizabeth O’Hea Philip and Gail Owen Graham and Sybil Papworth Nick and Jo Pasricha Mrs Denise Patterson Stuart and Carolyn Popham Jans Ondaatje Rolls Dame Patricia Routledge DBE David and Sophie Shalit Simon and Melanie Shaw Greg and Katherine Slay Christine and Dave Smithers Alan and Jackie Stannah Oliver Stocken CBE Howard Thompson Peter and Wendy Usborne The Webster Family Community Fund TRUSTS AND FOUNDATIONS Andrew Lloyd Webber Foundation The Arthur Williams Charitable Trust Artswork The Arts Society, Chichester The Bateman Family Charitable Trust The Bondi Foundation The Chartered Accountants’ Livery Charity Chichester District Council Elizabeth, Lady Cowdray’s Charity Trust The 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 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 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 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