Assassins | CFT | Festival 2023

Assassins Music and Lyrics by Stephen Sondheim Book by John Weidman

Justin Audibert and Kathy Bourne Photograph by Peter Flude

Festival 2023 Hello and welcome to our first musical of 2023, Stephen Sondheim and John Weidman’s Assassins.

Stepping into the Theatre foyer, you will already have been plunged into the world of the US political arena where music, folklore and show-business collide head-on with the American Dream. With musical influences ranging from The Carpenters and James Taylor to American folk songs and Scott Joplin, this Tony Award-winning biting musical comedy takes us on a daring, time-bending journey through American history.

This is the first major production of Assassins since Sondheim’s death in 2021 and we’re delighted that director Polly Findlay is finally able to stage it here, nearly three years after it was originally scheduled during the ‘lost’ season of 2020.

Polly is making her CFT debut, as are many of the outstanding

ensemble company she has assembled – including Danny Mac, who was raised and still lives near Chichester. It’s a delight to welcome all those working here for the first time, and to greet the actors returning to our stages.

Speaking personally, this is the first time that we are welcoming you together. Having succeeded Daniel Evans, Justin will be here full-time from July and is looking forward to meeting many of you over the coming months.

There are two more musicals to come: our summer centrepiece, Rodgers & Hammerstein’s beloved The Sound of Music (being staged at Chichester for the first time), and in the Minerva, a brand new musical Rock Follies, based on the iconic 1970s TV series.

We hope you’ll join us for more exhilarating productions throughout the season, and that you enjoy today’s performance.

Justin Audibert Artistic Director Designate

Kathy Bourne Executive Director

The Sound of Music Festival Theatre 10 July – 3 September For a special experience, join us for the charity Summer Gala performance on 28 July Tickets from £10 Book at cft.org.uk

Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse Suggested by The Trapp Family Singers

by Maria Augusta Trapp

This summer, join us for Rodgers & Hammerstein’s beloved musical, produced at Chichester for the first time. Gina Beck (South Pacific 2021) returns to play Maria, directed by Adam Penford.

The Sound of Music is presented by arrangement with Concord Theatricals Ltd on behalf of Rodgers & Hammerstein Organization concordtheatricals.co.uk

Rock Follies Based on the television series written by Howard Schuman Book by Chloë Moss Songs by Howard Schuman and Andy Mackay With songs from the ground-breaking 1970s TV series, this punchy new musical is a rousing, riotous rollercoaster of woman power!

Dominic Cooke directs a cast including Carly Bawden, Samuel Barnett, Angela Marie Hurst and Zizi Strallen.

Minerva Theatre 24 July – 26 August Tickets from £10 Book at cft.org.uk Songs used by kind permission of Universal Music Publishing.

Festival Fridays Every Friday, a group of 9 – 10 yearolds from local primary schools across the Chichester district arrive at the Festival Theatre. They are children who are identified as struggling with formal education and might therefore benefit from a programme of creative activities working with specialist arts practitioners.

Handpicked by their headteachers, the ‘Festival Fridays’ programme is designed to re-engage these children by offering a creative environment which contrasts with their formal school setting, crucially before the transition to secondary education at age 11. This vibrant and practical approach allows them to explore skills that develop their literacy, social development, confidence, self-esteem and well-being.

We identified the children who were going to take part in the project as those who would really benefit from an opportunity like this. For example, one has an EHCP for ADHD. They try

incredibly hard with learning but are significantly behind in all areas that require them to write and record any responses. They are incredibly articulate and have a brilliant mind – particularly for science and technical areas of the curriculum – but a busy classroom can be a very difficult place for them to navigate. We knew we wanted to provide an opportunity for them to build selfesteem and belief in themselves, and this seemed to be perfect. – School leader Unique amongst theatres across England, the programme was devised after consultation with teachers and senior leaders at Sussex schools and piloted during 2019-20. Following positive feedback, a new cohort of pupils was welcomed for the 2021-22 academic year, with additional workshops during the summer holidays, led by freelance facilitators and CFT staff. The day starts with a healthy breakfast and then lunch, part-provided through a partnership with local food reclamation charity UK Harvest,

before launching into activities from storytelling, script work and prop-making to costume design and movement.

Pupils also see family-friendly shows such as Pinocchio.

My favourite thing about Festival Fridays is that we had amazing opportunities to do stuff like acting and the performance that we have been working so hard on. I hope that my hard work has paid off. I hope that it has meant a lot for my mum. - Participant For the children taking part in the 2021/22 programme, the year culminated in a remarkable performance in the Minerva by the participants, who had not only come up with ideas for the content – which included drama, dance and storytelling (plus a hilarious filmed pastiche of professional theatre roles, from marketing to make-up) – but designed and created a set. The invited audience of families, teachers, observers and staff were bowled over.

What a finale! The children were absolute stars and I was heart-burstingly proud of the performance, as was their Headteacher. Their confidence, dedication, creativity, skill and energy in the show is testimony to your team’s efforts of encouragement, support and inspiration.

All the Festival Fridays children receive invitations to join Chichester Festival Youth Theatre workshops, with bursary places ensuring no financial barrier, to encourage continued engagement between pupils, their families and the Theatre.

It’s absolutely amazing they can continue on this journey with CFT after the project and building on that confidence gained so far. We are incredibly grateful for this project, and how much it has changed their life. - Parent

Discover new foodie experiences Street Foodcakes at CFT Ever been to Thedining Brasserie?

From cracking and brilliant barista coffee to delicious Satisfy on-the-go cravings with theof options If you’re for a your great family spot to dine, look in Theyour Brasserie, we have plenty to looking keep you, new menu in our new Street Food truck! no further. Fantastic food featuring local, and friends feeling full and happy.

Pre-order on arrival, click and collect seasonal ingredients plus à la carte options, from our sunny al fresco Terrace and top notch service and excellent wine. It also grab a hotdog, grab a drink, and join happens to be the closest restaurant to the the spectacle...

Theatre so there’s no need to rush to catch the overture.

Stay for a drink and get 10% off*

Assassins runs straight through so the Bar will stay open for you to enjoy a drink after the performance. Why not pre-order your post-show drinks and get 10% off?

Like some more?

Pizza, cracking cakes and barista coffee are available from the Café on the Park and, once the sun shines, we plan to pitch pop-up bars on the park where you'll be able to de-stress with a drink in a deckchair. Bliss!

For the full menu of food and drink, visit cft.org.uk/eat, email dining@cft.org.uk or call 01243 782219. *10% discount available on post-show drink orders completed before the performance starts only.

Orders to be collected from the Festival Theatre foyer.

Assassins Assassins Music and Lyrics by Stephen Sondheim Music Lyrics by Book and

by John Weidman Stephen Sondheim Book by John Weidman

The assassin

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Thirteen people have attempted to assassinate the President or President-elect of the United States. Four succeeded – killing Abraham Lincoln, James A. Garfield, William McKinley and John F. Kennedy. In each case, the attacker’s weapon was a firearm.

Stephen Sondheim and John Weidman’s biting musical comedy leads us on a journey through American history, featuring nine of the assassins.

1865 John Wilkes Booth John Wilkes Booth was a well-known stage actor and sympathiser with the Confederacy (the 11 southern US states where slavery was legal, who fought against the northern ‘free’ states in the American Civil War).

Vehement in his denunciation of President Abraham Lincoln, who introduced the abolition of slavery, in 1864 Booth formulated a plan to kidnap Lincoln in exchange for the release of Confederate prisoners. However, after attending a speech in which Lincoln promoted voting rights for black people, Booth resolved to assassinate the president instead.

On Good Friday, 14 April 1865, at Ford’s Theatre in Washington DC, as the president sat in a private box with his wife and two guests watching Our American Cousin, Booth entered from behind. He fired a gun to the back of Lincoln’s head, mortally wounding him. The president died the following morning.

1881 Charles Guiteau

1901 Leon Czolgosz

The assassination of President James A. Garfield began at the Baltimore and Potomac Railroad Station in Washington DC on 2 July 1881, less than four months after he took office. As the president arrived at the station, Charles Guiteau, an unsuccessful writer and lawyer, shot him in the shoulder and back. At first Garfield rallied, but then 13 doctors all used their bare, unwashed hands in surgery as each one tried to locate the bullets, unwittingly giving the president sepsis. He survived for 79 days before dying on 19 September. During a highly publicised trial, Guiteau declared, ‘The doctors killed Garfield, I just shot him.’

On 6 September 1901, President William McKinley was standing in a receiving line, greeting the public at the Pan-American Exposition at the Temple of Music in Buffalo, New York. When Leon Czolgosz reached the front of the line, he shot McKinley twice at point-blank range. The president died from his wounds eight days later. The police apprehended and beat Czolgosz so severely it was initially thought he might not live to stand trial. But on 24 September Czolgosz was convicted and later sentenced to death (the electrocution was filmed by Thomas Edison). His actions were believed to be politically motivated, although it remains unclear what outcome he hoped the shooting would yield.

1933 Giuseppe Zangara

1963 Lee Harvey Oswald

On 15 February 1933, President-elect Franklin D. Roosevelt was giving a speech in Miami, Florida – 17 days before his inauguration. Giuseppe Zangara purchased a gun at a local pawn shop and joined the crowd. However, at only five feet tall, he was unable to see over other people and had to stand on a wobbly chair to get a clear aim.

He fired five shots, missing the presidentelect, but killing Chicago Mayor Anton Cermak – who was sitting next to FDR – and injuring four others. It has never been conclusively determined who the target was that day. Most assumed Zangara had been shooting at Roosevelt. Another theory is that he was a hitman hired by Al Capone and that Cermak, who had led a crackdown on Chicago organised crime, was the true target.

On 22 November 1963, President John F. Kennedy was travelling by motorcade through Dallas, along with Governor John Connally and their wives, when he was fatally shot by former US Marine and American defector, Lee Harvey Oswald, from a sixth-floor window of the Texas School Book Depository. Less than an hour later, Oswald shot and killed Dallas police officer JD Tippit.

He then slipped into a cinema, where he was arrested. Two days later, Oswald was fatally shot by local nightclub owner Jack Ruby on live television in the basement of Dallas Police Headquarters. In 1964, the Warren Commission concluded that Kennedy and Tippit were both killed by Oswald, that Oswald had acted alone in both murders, and that Ruby had acted alone in killing Oswald. Conspiracy theories persist to this day.

1974 Samuel Byck Samuel Byck first came to the notice of the Secret Service in 1972, when he threatened President Richard Nixon, who he had resented ever since the Small Business Administration had turned him down for a loan. However, he was considered to be harmless, and no action was taken. On 22 February 1974, Byck attempted to hijack a plane, intending to crash into the White House in the hope of killing Nixon. During the incident, Byck killed a policeman and a pilot.

He was shot and wounded by another policeman before committing suicide by shooting himself in the head.

1975 Lynette “Squeaky” Fromme On the morning of 5 September 1975, Lynette “Squeaky” Fromme, a follower of cult leader and convicted murderer Charles Manson, went to Sacramento’s Capitol Park, ostensibly to plead with President Gerald Ford about the plight of the California redwoods. She was dressed in a red robe and armed with a gun. When Ford reached out to shake her hand in the crowd, she pointed the gun at him. There were four cartridges in the magazine, but none in the firing chamber and, as a result, it didn’t fire.

She was immediately restrained by a Secret Service agent and managed to say a few words to the on-scene cameras while being handcuffed, emphasising that the gun ‘didn’t go off’. Fromme was sentenced to life in prison but released in 2009.

1975 Sara Jane Moore

1981 John Hinckley

On 21 September 1975, Sara Jane Moore was picked up by police on an illegal handgun charge but released without charge. The following morning she purchased another gun in haste and headed to downtown San Francisco. As President Gerald Ford emerged from the St Francis Hotel, Moore was waiting in a crowd across the street. As she took aim and began to fire, a bystander grabbed her gun, deflecting the shot. The bullet missed Ford by several feet, bounced off a wall, and hit a nearby cab driver. This was just 17 days after Lynette “Squeaky” Fromme’s attempt on Ford’s life.

After serving 32 years of a life sentence, Moore was released in 2007.

On 30 March 1981, as President Ronald Reagan returned to his limousine after speaking at the Washington Hilton Hotel, John Hinckley fired six gunshots towards him, striking him and three others. Reagan was ‘close to death’ but recovered and was released from hospital on 11 April. Hinckley was immediately arrested, and later said he had wanted to kill Reagan to impress actress Jodie Foster, with whom he had an obsessive fixation. He was found not guilty by reason of insanity and remained under psychiatric care for more than three decades.

It’s Good to Talk It was Simon & Garfunkel who famously dropped the phrase ‘the sound of silence’ into the popular lexicon, but it was Stephen Sondheim who, ironically for a musical composer and lyricist, turned the profound sound of silence into high drama.

The silence happens in ‘The Gun Song’, the solo number in Assassins when Charles Guiteau, the deluded man who shot James Garfield, the 20th president of the United States, brandishes a gun. To an unexpectedly jaunty waltz melody, he sings: ‘What a wonder is a gun! / What a versatile invention! / First of all, when you’ve a gun...’

At which point he halts. There’s a pause.

As he aims the gun at the audience, there’s silence... until he triumphantly sings: ‘Everybody pays attention.’

They certainly do.

Above: Amy Herzog Right: Leepee Joseph Stephen Sondheim ImageJerry courtesy of Amy Herzog Photo Jackson

Sondheim devoted his entire career to writing drama expressed through music… it’s that indivisibility between music and drama which is so distinctive and influential.

That shrewdly conceived and crafted moment, and its release of relieved laughter afterwards, illustrates, were proof needed, that Sondheim doesn’t just write songs with scenes attached. He devoted his entire career to writing drama expressed through music. And in his 18 completed stage musicals, it’s that indivisibility between music and drama which is so distinctive and influential.

In a seemingly seamless work packed with carefully timed surprises, perhaps the biggest one is that Assassins, which opened in 1990 but was conceived over a decade earlier, wasn’t his idea. At least, not quite.

Sondheim was on the the board of Musical Theatre Lab, a sadly short-lived organisation that supported emergent writers of musicals and their work. Going through submitted projects, his eyes fell upon one by a composer/lyricist named Charles Gilbert Jr. about a disillusioned Vietnam war veteran who becomes a presidential assassin. The script didn’t prove attractive to anyone on the board, Sondheim included, but the title stuck with him. As he wrote in Look, I Made a Hat, his second volume of (fascinatingly) annotated lyrics. ‘The minute I saw the title, I thought “What a great idea for a musical”.’ The title was Assassins.

A decade later, bouncing potential ideas around with his friend and colleague John Weidman, with whom he’d written the 1975 musical Pacific Overtures and who is a man forever fascinated by politics, he brought up the title. Weidman lit up. His response, as Sondheim remembered, was that ‘He had no idea what the show could be, only that it was a terrific notion.’

Having tracked down Charles Gilbert Jr. and been granted his permission to use the title, he and Weidman began doing in earnest what Sondheim always did when writing a show: they talked.

In the mid-1950s, his mentor, Oscar Hammerstein II, lyricist and book writer (the Broadway term for librettist) of Rodgers and Hammerstein fame, urged him to park his desire to be creator of both music and lyrics and agree to work solely as a lyricist on a new show because of the calibre of the collaborators. It was a dance-driven Shakespeare revamp first called Gang Way that finally became West Side Story.

Working alongside composer Leonard Bernstein, book writer Arthur Laurents and legendary director/choreographer Jerome Robbins taught Sondheim lessons he never forgot and led to him devoting himself to the art of collaboration.

Getting that all-important collaboration to mesh on a musical is extraordinarily difficult. Plays, with the rarest of exceptions – the most celebrated being Beaumont and Fletcher’s 1607 comedy The Knight of the Burning Pestle and Alistair Foot and Anthony Marriott’s 1971 smash hit No Sex, Please, We’re British which ran in the West End for 16 years – are written by one person. Unity of vision and purpose is therefore relatively straightforward. But musicals, like films, have many authors, many of whose job titles don’t include the term ‘writer’.

Sondheim and Weidman brainstormed, discussed, disagreed, rethought, revamped. Ideas were dreamed up, seized upon, worked and reworked.

Although routinely regarded as being the work of the director – Alfred Hitchcock, Steven Spielberg, Ridley Scott – films only succeed when the input of a stream of people from screenwriter, production designer, cinematographer, all the way to producer work in sync. So it is with

Charles Gilbert Jr. outside Playwrights Horizons, Off-Broadway where the first production of Assassins opened, 1990

musicals. And with so many voices in the mix – composer, lyricist, book writer, choreographer, orchestrator, director – it’s extremely hard to ensure that everyone is in harmony and is conceiving of and writing the same show. And on West Side Story and two years later on Gypsy, for which he again only wrote lyrics, Sondheim swiftly learned that the best way to ensure a collaboration is securely single-minded is to talk.

In both tone and content, Assassins stands alone in Sondheim’s career. It’s unlike anything else he wrote. Yet there are authorial hallmarks.

So, with Weidman ignited by the Assassins idea, the talking began. They brainstormed, discussed, disagreed, rethought, revamped. Ideas were dreamed up, seized upon, worked and reworked.

At first, their canvas was so wide that they took in everyone who had committed an assassination. At varying points their cast list included Dan White, who shot San Francisco’s first openly gay mayor Harvey Milk; Charlotte Corday, whose assassination of Jean-Paul Marat during the French Revolution’s Reign of Terror was memorialised in Peter Weiss’ 1963 play Marat/Sade; and even Brutus, the

man who had another dramatist to thank for his enduring notoriety as the man who stabbed Julius Caesar, William Shakespeare.

Realising they needed to narrow the focus, their list of characters became American assassins. Then they focused down still further to people who had attempted – sometimes successfully – to kill the president of the United States.

Their final list was not complete, but it served their dramatic purpose.

In both tone and content, Assassins stands alone in Sondheim’s career. It’s unlike anything else he wrote. And in the commercial world of Broadway musicals, that’s risky since the route to success is being reassuringly recognisable. Look at Sondheim’s contemporary, composer/ lyricist Jerry Herman. His Mame revolves around the antics of its larger-than-life leading lady and comes complete with a splashy ensemble title number that does nothing but extoll her virtues. Which is exactly the same set-up of Herman’s preceding monster-hit show, Hello, Dolly!

Sondheim, however, was forever dead set against repeating himself. His shows are all markedly different. Yet there are authorial hallmarks.

Like Follies, Assassins is an increasingly vivid, one-act piece dwelling in illusions and delusions. But Assassins is not about the lies people tell themselves. And though, like his 1970 breakthrough Company,

Above: Stephen Sondheim and John Weidman, 2008 Photo courtesy of John Weidman Right: Gypsy at Chichester Festival Theatre, 2014 Photo Johan Persson

it’s plotless, the earlier show was a scintillating study of the fear of emotional commitment, Here, Sondheim and Weidman created characters who were, horribly misguidedly, utterly committed to their cause. And instead of the sophisticated chic of coupledom in Company, they aimed their sights on writing a study of individualism and malice aforethought. Their resultant mordant tone is scarcely surprising since its principal cast is comprised of nine disparate people across one hundred years of history, all of whom have attempted to assassinate (sometimes successfully) the president.

All this is reflected in an equivalent panorama of period styles of American music. There are folk songs from the Southern hills and snatches of John Philip Sousa marches, especially ‘Hail to the Chief’. The latter, the United States’ official presidential anthem, operates as a theme throughout and opens the show as a seductive waltz played on a calliope, setting up the carnival atmosphere. Elsewhere there are conscious echoes of Stephen Foster’s songwriting; Aaron Copland’s ‘Americanastyle’ musical intervals of open fourths and fifths put to dramatic use in bold accompaniments; even ultra-American barbershop-quartet singing appears in ‘The Gun Song’ to ironic effect.

The score isn’t just about illuminating outward politics: it’s unafraid to wear its heart on its sleeve, although often in

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seemingly unlikely ways, like the beguiling, deliberately corny duet, ‘Unworthy of Your Love’, for the two youngest characters. It might have been written and sung by The Carpenters had the sentiments not been those of John Hinckley, whose maniacal obsession with Jodie Foster led him to attempt to kill Ronald Reagan, and “Squeaky” Fromme, an acolyte of mass murderer Charles Manson, who took a shot at President Gerald Ford.

All of this is bookended with upbeat, traditional musical comedy writing like the light, sweet strut of the opening number, ‘Everybody’s Got the Right’. Sondheim described it as a ‘prototypical, optimistic American musical number, albeit with a double edge’.

That serves as a route into the whole show. That Sondheim and Weidman make their cross between a rogues’ gallery and a shooting gallery so startlingly entertaining is one of multiple reasons why this musical continues to be produced. Sondheim himself held the piece unusually dear, rightly believing it one of his finest achievements.

And at a time when, even more so than when the show opened, his country is tearing itself apart over gun culture, it couldn’t be more timely. © David Benedict, 2023.

David Benedict is the London critic for Variety and a columnist for The Stage. He is currently writing the authorised biography of Stephen Sondheim.

Relatability, charm and good looks have long played their part in helping to win elections. But in recent times, the blending of politics and entertainment – building a personal brand through social media, the talk show circuit, elaborate photo ops and reality TV – has seemingly become crucial for publicity hungry politicians eager to make the leap from Hansard to Heat.

Left to right: Ronald Reagan in the 1953 western, Law and Order.

Photo Levan Ramishvili

President Donald Trump at a Make America Great Again rally 2018 Photo Charlotte Cuthbertson/The Epoch Times

Nadine Dorries MP Photo Simon Dawson/No10 Downing Street

Sam Leith, The Spectator 2022 As the cliché has it, politics is ‘showbusiness for ugly people’. This is a quipping recognition that in both lines of work celebrity is currency: you get famous doing them, and the more famous you are the easier they are to do. People clocked in the middle of the last century that a career in showbiz might be the springboard for a career in politics (think Ronald Reagan, Jesse Ventura, Clint Eastwood and Arnold Schwarzenegger). Now it goes the other way too. Donald Trump, it’s plausibly speculated, only originally ran for president as a publicity stunt. Ed Balls, Ann Widdecombe, George Galloway and

Nadine Dorries have hopped without a second thought between parliamentary politics and the studios of Bake Off, Strictly, or I’m A Celebrity.

Fame is an extremely fungible token.

And now that celebrity itself – your profile, your personal brand – seems to be the defining rather than the accidental quality of anyone in public life, we’re sliding towards the idea that there really isn’t any difference between politics and showbiz. Fame and image are what counts, and they’re interchangeable ways to make bank.

That’s to elevate a hoary quip to a system of public life.

Nadine Dorries MP, 2012 ‘When I was offered this opportunity [of appearing on I’m a Celebrity... Get Me Out of Here!]... I seized upon it. The majority of people don’t look to Westminster and they don’t buy newspapers. They do however surf the net, watch popular TV and engage with reality shows. If that is where 16 million people are, it’s where politicians need to be too. It is a publicity gift.’

Sonia Sodha, The Observer 2022

Gary Younge, The Guardian 2004

The most engaging material [on social media] is that which triggers emotional reactions; on Twitter, this means stuff that prompts outrage and anger or strong feelings of belonging. This is why so much of its content is about signalling virtue to like-minded followers and picking bad-faith fights, rather than information exchange or open-minded discourse. This is how to go viral; it’s what the algorithms push, and hence encourage.

Twitter’s reach isn’t anywhere close to that of Facebook or TikTok. But because so many journalists, politicians and social campaigners are on it, it has a disproportionate impact on political discourse. Narcissists are particularly drawn to its outrage/ingroup dynamic, because it feeds their sense of superiority. Research suggests that people with narcissistic traits are more likely to become addicted to social media and to engage in online bullying. It is no coincidence that politics and civil society movements now feel dominated by the cult of the individual and them-and-us mentalities, rather than building diverse alliances and winning the hearts and minds of those whose values don’t perfectly map on to yours.

[The US late-night talk show hosts Jay Leno and David Letterman] are key media figures who book-end the day with the breakfast TV anchors… their combination of political satire, stand-up and celebrity interviews also makes them key cultural and political arbiters who both set and follow the tone of political debate – establishing who and what is game for ridicule and discussion as they feed off and feed the news cycle.

During the [2000] presidential election both sides monitored the late-night shows for an indication of how certain issues were playing. ‘The monologues are evidence of when a certain story really breaks through,’ Chris Lehane, Al Gore’s former campaign press secretary, told the New York Times just six weeks before the 2000 election. ‘If it makes it on to Leno or Letterman, it means something.’ A survey by the Pew Research Center before the last election showed that almost half of Americans between the ages of 18 and 29, and more than a quarter of all adults, often gained information about the presidential campaign from late-night comedy shows.

Rupert Murdoch’s candid description of his company, News Corporation

‘What we’re trying to do is engage with the public, most of whom are completely turned off from politics, and I think a merger of politics and entertainment is the way to do it.’

‘We are in the entertainment business.’

Senator Hillary Clinton, New Hampshire, 2016 Photo Ted Eytan

UKIP spokesperson, Neil Hamilton

George Sandeman & Henry Zeffman, The Times 2022 Matt Hancock has been suspended from the Conservative Party over his decision to take part in the show [I’m a Celebrity... Get Me Out of Here!] while parliament is sitting.

In a letter to his West Suffolk constituents, Hancock argued that his appearance was ‘an opportunity to talk directly to people who aren’t always interested in politics, even if they care very much about how our country’s run’. He added: ‘As politicians, it’s our job to go where the people are – not to sit in ivory towers in Westminster. There are many ways to do the job of being an MP. Whether I’m in camp for one day or three weeks, there are very few places people will be able to see a politician as they really are and where politicians can speak candidly to the nation.’

Megan Garber, The Atlantic 2023 To live in the metaverse is to expect that life should play out as it does on our screens.

And the stakes are anything but trivial. In the metaverse, it is not shocking but entirely fitting that a game-show host and Twitter personality would become president of the United States.

In the 1990s, media critics worried – rightly – that the news was becoming frivolous, whether in the form of histrionic shoutfests like Crossfire, lurid news magazines like Dateline, or the overheated coverage of the O.J. Simpson trial. Today,

the critiques that the news channels were obsessed with ratings, or that too many people had abandoned the 6 o’clock news for The Daily Show, seem quaint. There is no longer any distinction: the news has become entertainment, and entertainment has become the news.

In late 2022, The New York Times revealed that George Santos, a newly elected Republican representative from Long Island, had invented or wildly inflated not just his résumé (a familiar political sin) but his entire biography. Santos had, in essence, run as a fictional character and won. His lies and obfuscations – about his education, his employment history, his charitable work, even his religion – were shocking in their brazenness. They were also met, by many, with a collective shrug.

‘Everyone fabricates their résumé,’ one of his constituents told the Times. Another vowed her continued support: ‘He was never untruthful with me,’ she said. Their reactions are reminiscent of the Obama voter who explained to Politico, in 2016, why he would be switching his allegiances: ‘At least Trump is fun to watch.’

Health Secretary Matt Hancock, Chancellor of the Exchequer Rishi Sunak and Prime Minister Boris Johnson, Downing Street, 2020 Photo Andrew Parsons/No10 Downing Street

Assassins Music and Lyrics by Stephen Sondheim Book by John Weidman

Cast (in order of appearance) The Proprietor Leon Czolgosz John Hinckley Charles Guiteau Giuseppe Zangara Samuel Byck Lynette “Squeaky” Fromme Sara Jane Moore John Wilkes Booth Balladeer 1 Balladeer 2 / Bystander 5 Balladeer 3 / Lee Harvey Oswald Herold / Bystander 1 / McKinley / Ford Bystander 2 / Fairgoer 2 / Garfield Bystander 3 / Fairgoer 1 / Emma Goldman Bystander 4 / Fairgoer 3 Onstage Swing Onstage Swing Boy Supernumeraries

Peter Forbes Sam Oladeinde Jack Shalloo Harry Hepple Luke Brady Nick Holder Carly Mercedes Dyer Amy Booth-Steel Danny Mac Liam Tamne Lizzy Connolly Samuel Thomas Bob Harms Ivan De Freitas Charlotte Jaconelli Kody Mortimer Daniel Bowskill Jaimie Pruden Reuben McGreevy / Alex Medina Nell Chadwick Tiffany Clark Luc Oratis

There is no interval.

Music and Lyrics by Stephen Sondheim, Book by John Weidman, from an idea by Charles Gilbert, Jr. First performance of this production of Assassins at Chichester Festival Theatre, 3 June 2023.

Playwrights Horizons, New York City produced Assassins Off-Broadway in 1990. First London production 1992 at the Donmar Warehouse.

Director Designer Choreographer Musical Supervisor Musical Director Orchestrations Lighting Designer Sound Designer Video Designer Fight Director Casting Directors

Polly Findlay Lizzie Clachan Neil Bettles Richard John Jo Cichonska Michael Starobin Richard Howell Gregory Clarke Akhila Krishnan Kate Waters Charlotte Sutton CDG Christopher Worrall

Voice & Dialect Coach Associate Designer Wigs, Hair & Make-Up Designer Assistant Director Assistant Musical Director

Danièle Lydon Ben Davies Susanna Peretz Matthew Iliffe Amy Hsu

Production Manager Costume Supervisor Props Supervisor Associate Props Supervisor

Kate West Johanna Coe Kate Margretts Lily Mollgaard

Company Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager

Cat Buffrey Lou Bann Jamie Craker Rob Le Maistre

Head Chaperone

Janette McAlpine

Supported by Assassins Supporters and Patrons Circles: Rosalind Bowen, Patrick and Maggie Burgess, Karen Coburn, Val and Richard Evans, Liz Fox, Dennis and Joan Harrison, Robert and Suzette Hayes, William and Penny Plant, Lindy Riesco, David and Sophie Shalit, Howard M Thompson, Bryan Warnett, Ernest Yelf, and all those who wish to remain anonymous.

Sponsored by

Rehearsal and production photographs Johan Persson Programme Associate Fiona Richards Programme design Davina Chung Cover image Bob King Creative, photograph Seamus Ryan

Orchestra Musical Director / Keyboard 1 Assistant Musical Director / Keyboard 2 Drums / Percussion Double Bass Guitars / Banjo / Mandolin Clarinet / Flute / Piccolo / Soprano Saxophone Oboe / Cor Anglais / Clarinet / Alto Saxophone E♭ ♭ & B♭ ♭ Clarinet / Bass Clarinet / Tenor Saxophone Baritone Saxophone / Bassoon / Clarinet Trumpet / Cornet / Piccolo Trumpet Trumpet / Flugel / Piccolo Trumpet French Horn Trombone / Euphonium Orchestral Management Copyist Keyboard Programmer Keyboard Programmer

Jo Cichonska Amy Hsu Dan Day Adam Higgs Andy Taylor-Vebel Katie Punter Guy Passey Duncan Ashby Danielle Hartley Nick Briggs Oliver Carey Lisa Ridgway Emma Hodgson

Andy Barnwell & Rich Weeden for BW Musicians Ltd Thomas Duchan Randy Cohen Daniel Goodger

Musical Numbers Everybody’s Got The Right The Ballad of Booth How I Saved Roosevelt Gun Song The Ballad of Czolgosz Unworthy of Your Love The Ballad of Guiteau Another National Anthem November 22, 1963 Something Just Broke Finale: Everybody’s Got the Right

The Proprietor and Company Balladeers, Booth, Herold Bystanders, Zangara Czolgosz, Booth, Guiteau, Moore Balladeers, Fairgoers Hinckley, Fromme Guiteau, Balladeers Czolgosz, Booth, Hinckley, Fromme, Zangara, Guiteau, Moore, Byck, Balladeers Booth, Oswald, Guiteau, Czolgosz, Byck, Hinckley, Fromme, Moore, Zangara Bystanders Booth, Czolgosz, Moore, Guiteau, Zangara, Byck, Hinckley, Fromme, Oswald

Production credits: Set constructed and painted by Cardiff Theatrical Services; Engineering by Adder Engineering; Automation by Absolute Motion Control Ltd; Scenic Props made by Properly Made; Production Carpenter Tom Humphrey; Flooring fitted by J Brown Flooring Ltd; Fabric Printing by Rutters UK; Pyro and confetti supplied by ForceFX; Ladies’ Costume maker Alida Herbst; Costume alterations Colette Tulley; Break Down Artist Helen Flower; Mascots by Terry at Event Mascots; Prop Makers Bronia Topley, Jamie Owens; Lighting hires Christie Lites; Additional Sound Equipment supplied by EM Acoustics and Autograph Sound; Video Equipment supplied by Blue I; Video Associate & Programmer Iain Syme; Animation Georgia Clegg; Video Engineer Mollie Tuttle; System Design Mogzi Bromley Morgans; Zapruder Film © The Sixth Floor Museum at Dealey Plaza, Dallas, Texas; Stock media provided by Pond5; Jodie Foster photos Steve Schapiro/Corbis via Getty Images; Bare Arms; Transport by Paul Mathew Transport and EJS; Rehearsal Room Lyric Hammersmith Theatre.

With thanks to Marc Tritschler, Morgan Burgess, The Umbrella Rooms.

Chaperones: Megan Bewley, Tracy Clayton, Jackie Kenyon, Lesley McGovern, Susan Mulkern, Ella O’Keeffe, Sue O’Keeffe, Laura Wadey.

Cast Biographies Amy Booth-Steel Sara Jane Moore Theatre includes Jan Crouch in Tammy Faye (Almeida Theatre); Narrator in The Magician’s Elephant (RSC); Queen Rat in Dick Whittington, Piper in The Light Princess, Dolly in One Man, Two Guvnors, Pimple in She Stoops To Conquer (National Theatre); #HonestAmy in #HonestAmy (Pleasance Theatre, Edinburgh Festival); Ms Fleming/Veronica’s Mum in Heathers (Theatre Royal Haymarket); Audrey in As You Like It (Regent’s Park Open Air Theatre); The Assassination of Katy Hopkins (Theatr Clwyd); A Pacifist’s Guide to the War on Cancer (Complicité/National Theatre); Deirdre/Mrs Ormerod in Anita and Me (Birmingham Rep/Theatre Royal Stratford East); Doreen Slater/Miss Elf in The Secret Diary of Adrian Mole (Curve Theatre Leicester); Joyce Chilvers in Betty Blue Eyes (Mercury Theatre/West Yorkshire Playhouse); Mrs Meers in Thoroughly Amy Booth-Steel Daniel Bowskill

Modern Millie (Watermill Theatre); Ruby in Ex (Soho Theatre); Britannia in Nicked (HighTide Festival); Peggy Blackett in Swallows and Amazons (Bristol Old Vic); La Rosa in Sister Act, Fraulein Schweiger in The Sound of Music (London Palladium).

Television includes One Day, Nolly, Stath Lets Flats, The Mind Of Herbert Clunkerdunk, Call The Midwife Christmas Special, Buffering, Close To Me, Newark Newark, Zomboat, Doctor Who, The Year of the Rabbit, Wannabe, Coronation Street, The Windsors, Doctors.

Films include Blue Jean and the short Kill Them With Kindness.

Original cast recordings include The Light Princess and Sister Act. Trained at Birmingham School of Acting.

Daniel Bowskill Onstage Swing Theatre includes Let’s Face The Music (ArtsEd/Royal Philharmonic Orchestra at Royal Albert Hall); Al in A Chorus Line, Hanratty in Catch Me If You Can (ArtsEd); Olivier Awards 2023 (Royal Albert Hall); Doctor Zhivago (London Palladium); Lord of the Flies (New Adventures at Bradford Alhambra).

Trained at Arts Educational Schools.

Luke Brady Giuseppe Zangara Previously at Chichester, Anthony in Sweeney Todd (Festival Theatre, also Adelphi Theatre).

Theatre includes Moses in The Prince of Egypt (Dominion Theatre West End); Feste/Lucentio/Bassanio in The Merchant of Venice/Twelfth Night/The Taming of the Shrew (Globe Theatre and tour); Jesus in Vernon God Little (Young Vic); Matt in The Fantasticks (Duchess Theatre); Joey in Tarantula in Petrol Blue (Aldeburgh Music Luke Brady Lizzy Connolly

Suffolk); Nightfall (Edinburgh Festival).

Television includes Miracle Workers, Fresh Meat.

Films include Murder on the Orient Express.

Lizzy Connolly Balladeer 2 / Bystander 5 Previously at Chichester, Daphne in Present Laughter (Festival Theatre).

Theatre includes Sally Bowles in Cabaret (Lido de Paris); Rebecca in Indecent Proposal (Southwark Playhouse); Nickie in Sweet Charity (Donmar Warehouse); Ethel/ Maja/Mrs Reiss/Bandaged Lady in The Twilight Zone (Almeida); Ado Annie in Oklahoma! (BBC Proms/Royal Albert Hall); Hildy in On The Town (Regent’s Park Open Air Theatre); Mae in The Wild Party (The Other Palace); Susan Walker in Once in a Lifetime (Young Vic); Joanne in Vanities (Trafalgar Studios); Doris in Mrs Henderson Presents (Noël Coward Theatre and Theatre Royal Bath); Calliope in Xanadu (Southwark Playhouse); Jolene in Dirty Rotten

Scoundrels (Savoy Theatre).

Television includes Criminal Record, Documentary Now!, The Canterville Ghost, Call The Midwife, Plebs, The Windsors.

Films include Festival.

Ivan De Freitas Bystander 2 / Fairgoer 2 / Garfield Theatre includes alternate Lance (2021) and Lord Capulet in the original cast (2019) in & Juliet (Shaftesbury Theatre); Caiaphas (2020) and Priest (2017) in Jesus Christ Superstar (Regent’s Park Open Air Theatre); standby Jafar and Sultan (2019) and Razoul in the original West End cast (2016) in Aladdin The Musical (Prince Edward Theatre); alternate Wally Strand and Merv in Strictly Ballroom (original West End cast, Piccadilly Theatre); Dodo in wonder.land (original cast, National Theatre); Dance ‘Til Dawn (original cast, Aldwych Theatre/UK tour); Willie Lopez in Ghost The Musical (original cast, Piccadilly Theatre/UK tour); Dinero in Sister Act (original cast, London Palladium); Never Forget (original cast, Savoy Theatre/UK tour); Zorro The Musical Ivan De Freitas Carly Mercedes Dyer

(original cast), Annie Get Your Gun, The King and I (UK tours); Footloose (original West End cast, Novello & Playhouse Theatres); Saturday Night Fever (Apollo Victoria Theatre/Asian tours); Bombay Dreams (Apollo Victoria/St James Theatre NY); Co-Founder Tango Argumentino with The Flying Gorillas (world tour).

Television and films include Greatest Days, Tomorrow Morning.

Awards: Carl Alan Awards 2020 Performer Award.

Trained at Middlesex University and London Studio Centre.

Instagram @ivandefreitas1 Carly Mercedes Dyer Lynette “Squeaky” Fromme Most recently, Erma in Anything Goes (Barbican Theatre and BBC iPlayer), for which she won the WhatsOnStage Award 2022 for Best Supporting Performer in a Female Identifying Role, and was nominated for the Olivier Award for Best Supporting Actress in a Musical.

Other theatre credits include June

in Gypsy (Alexandra Palace Theatre); Cassie in A Chorus Line, Anita in West Side Story (Curve, Leicester); Shug Avery in The Color Purple (Curve at Home); Henri in The View Upstairs (Soho Theatre); Ain’t Misbehavin’ (Mercury Theatre, Colchester/Southwark Playhouse); Fate in Hadestown (National Theatre); Helene in Sweet Charity (Nottingham Playhouse); Dreamgirls (original London cast, Savoy Theatre); West Side Story (Salzburg Festival); The Lorax (Old Vic); Memphis (original London cast, Shaftesbury Theatre); How to Succeed in Business Without Really Trying (Royal Festival Hall 2015); Kiss Me, Kate (BBC Proms, Royal Albert Hall); Dance ‘Til Dawn (original cast, UK tour); Rock of Ages (original London cast, Shaftesbury Theatre & Garrick Theatre); Dirty Dancing (Aldwych Theatre); Chicago (Cambridge Theatre); Hair (English Theatre Frankfurt); High School Musical (Hammersmith Apollo).

Concerts include Reprise: Curve’s

Danny Mac Peter Forbes

Leading Ladies (Curve Leicester); Live At Lola’s (The Hippodrome); Fangirls Musical (Women of the World Festival, Southbank Centre); Barbara Cook and Friends (80th Birthday Celebration Concert, London Coliseum).

Television and films include Anything Goes – Live from The Barbican.

Carly is Patron of West End Arts Academy who provide musical theatre training programmes: westendartsacademy.com.

Trained at Arts Educational Schools London.

Twitter & Instagram @carlymdyer Peter Forbes The Proprietor Previously at Chichester, Way Upstream, Singin’ in the Rain (and Palace Theatre), A Small Family Business (Festival Theatre); A Word from our Sponsor (Minerva Theatre).

Theatre includes Sir Anthony Absolute

in Jack Absolute Flies Again, Buddy in Follies, The Observer, Afterlife, Never So Good, Two Weeks with The Queen (National Theatre); The James Plays (National Theatre of Scotland/National Theatre); Black Watch (National Theatre of Scotland/Broadway/ Dublin); Mamma Mia!, Henceforward...

(West End); How To Hold Your Breath (Royal Court); The Same Deep Water As Me (Donmar); The Contingency Plan (Sheffield Crucible); The Scent of Roses, A Number, Educating Agnes (Royal Lyceum Edinburgh); Big Daddy in Cat on a Hot Tin Roof (Curve Leicester/Liverpool Everyman and Playhouse/ETT); Sir Humphrey Appleby in Yes Prime Minister (Theatr Clwyd); Diary of a Nobody, Travels with My Aunt (Royal & Derngate); The Three Musketeers and the Princess of Spain (ETT); Donkeys’ Years (national tour); The Winter’s Tale, Troilus and Cressida (Shakespeare’s Globe); Adam Bede (Orange Tree Richmond); My Dad’s A Birdman (Young Vic); A Midsummer Night’s Dream, Twelfth Night, A Funny Thing Happened on the Way to the Forum, The Tempest (NSC Regent’s Park); The Duchess Bob Harms Harry Hepple

of Malfi (Mercury Colchester); Richard III, Aladdin, Guys and Dolls (Leicester Haymarket).

Television includes Traces, Stephen, Manhunt, Poldark, King Lear, The Crown, Victoria, Endeavour, Holby, Doctors, The First Men in the Moon, EastEnders, Taggart, Little Devil, Bad Girls, The Bill, A Touch of Frost, The Government Inspector, Casualty, The English Revolution, Walking on the Moon, The Stalker’s Apprentice, Berkeley Square.

Films include Judy, The Children Act, The Wife, Modern Life is Rubbish, Wilde, Blue Ice. Bob Harms Herold / Bystander 1 / McKinley / Ford Theatre includes The Men in Train on Fire (The Other Palace); Mr Thompson/Happy Man in Pretty Woman (Piccadilly Theatre/ Savoy Theatre); Come From Away (Abbey Theatre Dublin/Phoenix Theatre); Odin in Thor and Loki (Edinburgh Fringe/tour); King Arthur in Spamalot (Mercury Theatre/UK tour); Abananza in Aladdin (Richmond

Theatre); Vittorio Vidal in Sweet Charity (Manchester Royal Exchange); Frankie in Jackie The Musical (UK tour); Steve Baker/ Jim Greene in Show Boat (Sheffield Crucible Theatre); Ephraim in Seven Brides for Seven Brothers (Regent’s Park Open Air Theatre); Ship Captain in Anything Goes (Sheffield Crucible/UK tour); Kate Bush’s Before the Dawn (Eventim Apollo Hammersmith); Dr Grimwig in Oliver! (Sheffield Crucible); Merrily We Roll Along (Harold Pinter Theatre); Jesus Christ Superstar (UK Arena tour); Fletcher in Wonderful Town (UK tour); Pippin (Menier Chocolate Factory); Chicago (Adelphi/Cambridge Theatre); Larry Hastings in Bells Are Ringing (Union Theatre); Priscilla (Palace Theatre); Imagine This (New London Theatre); Dirty Dancing (Aldwych Theatre); Lyle and alternate Ren in Footloose (UK tour/Novello); On The Town (ENO); Mathew Bourne’s Swan Lake (international tour).

Trained at Arts Educational School Tring.

Daniel Bowskill Jaimie Pruden Charlotte Jaconelli

Harry Hepple Charles Guiteau Theatre includes King George in Hamilton (West End); Romantics Anonymous (Bristol Old Vic); Rutherford and Son, Follies, A Taste of Honey, Burnt by the Sun (National Theatre); The Daughter-in-Law, Hot Mess (Arcola Theatre); Wonderland (Nottingham Playhouse); Into the Woods, Pippin (Menier Chocolate Factory); The Saints (Nuffield Theatre); The Lightning Child, Macbeth (The Globe); Privates on Parade (Noël Coward Theatre); A Midsummer Night’s Dream, Ragtime (Regent’s Park Open Air Theatre); The 25th Annual Putnam County Spelling Bee (Donmar Warehouse); Jump (Live Theatre); Been So Long (Young Vic); I Caught Crabs in Walberswick (Bush Theatre); Alaska (Royal Court).

Television includes The Chelsea Detective, Teacher, Moving On, Boy Meets Girl, Holby City, Hustle, Doctors, Misfits, Inspector George Gently.

Films include Peterloo, Stan & Ollie, Criminal.

Trained at RADA. Nick Holder Samuel Byck For the National Theatre, Colin in Love (also European tour/The Armory NYC), Mason in Faith Hope and Charity, Mr Peachum in The Threepenny Opera, Strength in Everyman, NT 50th Gala, Ron in London Road, Luther Billis in South Pacific, Pirelli in Sweeney Todd, The Narrator in The Resistible Rise of Arturo Ui, The Miser, The Wind in the Willows.

Other theatre includes Vanya in Uncle Vanya (HOME Manchester); Mel in Fatherland (Manchester International Festival/Royal Exchange Theatre); The 39 Steps (West End); Peter Simple in The Merry Wives of Windsor, The Winter’s Tale, The Taming of the Shrew, Antony and Cleopatra, The Beggars’ Opera, As You Like It (RSC); Too Much Pressure (Belgrade Theatre); Feldzieg in The Drowsy Chaperone (Novello Theatre); Baker in Into the Woods (Donmar Nick Holder Kody Mortimer

Warehouse); Herod in Jesus Christ Superstar, Thenardier in Les Misérables (West End); The Engineer in Miss Saigon (Theatre Royal Drury Lane); Ratcliffe/First Murderer in Richard III, Marcellus in The Music Man (Regent’s Park).

Television includes Sneakerhead, Brassic, The Tower, Grantchester, Siblings, Coalition, The Game, By Any Means, Some Girls, Peaky Blinders, The Job Lot, Way To Go, Parade’s End, Holby City, Psychoville, Respectable, Planespotting, Born and Bred, Doctors, ‘Orrible, EastEnders, London’s Burning, The Fast Show.

Films include Sweet Sue, Waiting for God, The World’s End, Love, Beirut, London Road, Les Misérables, Anna Karenina, Broken, Clubbed, Lady Godiva: Back in ihe Saddle, The Sex Lives of the Potato Men, Four Feathers, The Final Curtain, The Criminal, Evita.

Charlotte Jaconelli Bystander 3 / Fairgoer 1 / Emma Goldman Theatre includes Wicked Witch of the West/ Miss Gulch in The Wizard of Oz (Curve Leicester); Florinda in Into the Woods (Theatre Royal Bath); Lorna in The Boy in the Dress (original cast, RSC); Stoner Chick in Heathers The Musical (original cast, West End); Rosie in Sweet Charity (Donmar Warehouse); Amalia Balash in She Loves Me (Landor Theatre, Offies Best Female nominee).

Television includes Call The Midwife, BBC Comic Relief, Jonathan & Charlotte – The Documentary, Britain’s Got Talent.

Recordings include original cast recordings of Heathers The Musical and The Boy in the Dress; Solitaire (Sony Classical, debut solo album), Perhaps Love: Jonathan & Charlotte (Sony Classical), Together: Jonathan & Charlotte (SYCO Music).

Training: ArtsEd

Danny Mac

Instagram & TikTok: @charlottejaconelli Twitter @char_jaconelli Danny Mac John Wilkes Booth Theatre includes Edward in Pretty Woman The Musical (Piccadilly & Savoy Theatres); Giles Ralston in The Mousetrap (St Martin’s Theatre); Nino in Amélie (UK tour); Bob Wallace in White Christmas (Curve Theatre Leicester & Dominion Theatre, London); Captain Crewe in A Little Princess (Royal Festival Hall); Joe Gillis in Sunset Boulevard (Curve Theatre Leicester & UK/European tour: Manchester Theatre Award for Best Actor, WhatsOnStage Award Best Actor nomination); Gabey in On The Town (Regent’s Park Open Air Theatre); Warner in Legally Blonde (Curve Theatre Leicester); Wicked (Apollo Victoria Theatre); Gavroche in Les Misérables (Palace Theatre & UK tour).

Television includes Doctors, Midsomer Murders, Trollied, Hollyoaks, A Line In The Sand, Strictly Come Dancing.

Trained at Chichester College and Arts Educational Schools.

Website dannymac.com Twitter & Instagram @dannymaconline Kody Mortimer Bystander 4 / Fairgoer 3 Theatre includes Farmer in At Last It’s Summer (London Palladium); King Rex in Hex (National Theatre); ensemble/cover Dominic in 101 Dalmatians (Regent’s Park Open Air Theatre); Thad in Hairspray (London Coliseum); Yonkers in Gypsy (Royal Exchange Theatre).

Trained at Royal Academy of Music and University of Chichester.

Sam Oladeinde Leon Czolgosz Theatre includes Bob in Come From Away (Phoenix); The Prince of Egypt (original West End cast) and Young Scrooge/Fred Anderson in A Christmas Carol (Dominion Sam Oladeinde

Theatre); Cinderella (UK concert premiere, Cadogan Hall); Motumbo in The Book of Mormon (Prince of Wales); Hamilton (original West End cast, Victoria Palace).

Television includes Casualty and Doctors.

Films include Back to Black and Diary Room (short).

Trained at the Royal Academy of Music where he was awarded an inaugural Disney Theatrical Productions Scholarship. Sam also studied Law at the University of Cambridge and is a qualified solicitor.

Twitter & Instagram @soladeinde Jaimie Pruden Onstage Swing Theatre includes Spite in Beauty and The Beast (Mercury Theatre Colchester); understudy and Resident Director for Little Miss Sunshine (UK tour); Company (Gielgud Theatre, West End); Lily in The Secret Garden (Barn Theatre Cirencester); Mary Poppins in Disney’s Believe (Disney Cruise Lines); Jane Fairfax in Emma (Nebraska Repertory Theatre).

Jack Shalloo John Hinckley Theatre includes Elias Burke in Girl From The North Country (original cast, Old Vic and Noël Coward Theatre); Bob Cratchit in A Christmas Carol, Ralph in Groundhog Day (original cast, Old Vic); They Don’t Pay! We Won’t Pay! (Mercury Theatre Colchester); Nuclear – The 5 Plays Project (Young Vic); The Little Match Girl (Shakespeare’s Globe); Dead Dog in a Suitcase (Kneehigh); Charlie and the Chocolate Factory (original cast, Theatre Royal Drury Lane); Goodbye Barcelona (Arcola Theatre); A Clockwork Orange (Theatre Royal Stratford East); The Departure Lounge (Perfect Pitch); Our House (Birmingham Rep/UK tour).

Television includes The Tower, Stay Close, Belgravia, White House Farm, White Gold, London Kills, Doctor Who, Call The Midwife, Humans, People Just Do Nothing, Jade Armor, Dickensian, The Interceptor, Monster Hunters, The Suspicions of Mr

Jack Shalloo

Whicher, Awkward Turtle, Excluded, Miranda Hart New Year’s Eve Sketch Show, The Man Who Loves Lakes, The Bill, Out of Control, EastEnders.

Films include Matilda, Blitz, Dali Land, 1917, Lynn + Lucy, Kick Off, Fit, Bashment.

Instagram @jshalloo Liam Tamne Balladeer 1 Theatre includes Heathcliff in Wuthering Heights (National Theatre & US tour); Ted Hinton in Bonnie and Clyde (Theatre Royal Drury Lane); Ramses in The Prince of Egypt (Dominion Theatre: Black British Theatre Best Actor in a Musical nomination); Guiseppe Naccarelli in The Light in the Piazza (Royal Festival Hall/LA Opera Dorothy Chandler Pavilion); Spamilton (Menier Chocolate Factory); Freddy Rodriguez in Working (Southwark Playhouse); Frank N Furter in The Rocky Horror Show (UK tour); Raoul in The

Phantom of the Opera (His Majesty’s Theatre); Enjolras in Les Misérables (Sondheim Theatre); Electric Blues Tribe, Oden in Hair (Gielgud Theatre); Jordan Jones in Departure Lounge The Musical (Waterloo East Theatre); Link Larkin in Hairspray (Shaftesbury Theatre); Wicked (Apollo Victoria).

Television includes Doctors, Eurovision: You Decide, The Voice UK Artist series 2 (team Will.I.am).

Recordings include Departure Lounge The Musical, Prince of Egypt The Musical (Grammy-nominated artist), Trained at Laine Theatre Arts and LAMDA. Samuel Thomas Balladeer 3 / Lee Harvey Oswald Theatre includes The Normal Heart (National Theatre); The Man of La Mancha and The Comedy About a Bank Robbery (West End); The Last Five Years and 35MM (The Other Palace); Honeymoon In Vegas (London Musical Theatre Orchestra at London Palladium); Death Takes a Holiday Above: Liam Tamne Samuel Thomas Opposite: Carly Mercedes Dyer

(Charing Cross Theatre); Floyd Collins (Wilton’s Music Hall); Allegro (winner of Best Actor in a Musical, Stage Debut Awards 2017, Southwark Playhouse); A Feast with the Gods (Almeida Theatre).

Television includes BBC Proms: Oklahoma!

Recordings: The Rhythmics original cast recording .

Trained at Mountview Academy of Theatre Arts.

Twitter @UKSamuelThomas Instagram @samuelthomasuk

Creative Team Neil Bettles Choreographer Neil is co-founder and Artistic Director of ThickSkin.

For ThickSkin as Director: How Not To Drown (UK tour); Chalk Farm, The Static (Edinburgh Fringe, national and international tour); Blackout (Edinburgh Fringe/national tour); Boy Magnet (national tour); White Noise (Youth Theatre Arts Scotland).

As Movement Director: Shade (Oldham Coliseum).

Other credits include, as Director: The Unreturning (UK tour/Theatre Royal Stratford East); This Will All Be Gone and No Way Back (international tours).

As Choreographer and Movement Director: Disney’s Bedknobs and The Company

Broomsticks (national tour).

As Movement Director: Private Peaceful (Nottingham Playhouse/national tour); The James Plays 1, 2 & 3 (National Theatre of Scotland/National Theatre/Edinburgh International Festival/UK & international tour); James 4 - Queen of the Fight (Raw Material/Capital Theatres/National Theatre Scotland); Blood Wedding, The Bacchae (Royal & Derngate).

As Choreographer: Carmen (Opera Wuppertal).

As Associate Movement Director: Harry Potter and the Cursed Child (London, New York, Melbourne, San Francisco, Hamburg); Heisenberg (Wyndham’s Theatre); The Light Princess (National Theatre); The Full Monty (national tour/West End).

Additional credits include, as Sound Designer: Blood Harmony (ThickSkin; nominated for Musical Theatre Review’s Best Musical Award and WhatsOnStage Awards for Best Sound Design).

BW Musicians Ltd – Andy Barnwell and Rich Weeden Orchestral Management Current London productions: Operation Mincemeat, Aspects of Love.

Andy Barnwell Previously at Chichester Babes in Arms, Funny Girl, The Music Man, Oklahoma!, Love Story, 42nd Street, She Loves Me, Singin’ in the Rain, Sweeney Todd, Kiss Me Kate, The Pajama Game, Barnum, Guys & Dolls, Gypsy, A Damsel in Distress, Mack and Mabel, Travels with My Aunt, Half A

Sixpence, Love’s Labour’s Lost/Much Ado About Nothing, Caroline or Change, Fiddler on the Roof, Me and My Girl, Flowers for Mrs Harris, This Is My Family, Oklahoma!, South Pacific, Crazy for You. Current London productions: Aint’ Too Proud, Newsies, Cabaret, Moulin Rouge!, Frozen, Pretty Woman, Tina - The Tina Turner Musical, Hamilton. Previously: & Juliet, Get Up Stand Up, The Band’s Visit, Dear Evan Hansen, Anything Goes, Hairspray.

Current/recent regional/UK tours include The Commitments, The Rocky Horror Show, Beauty and the Beast.

Rich Weeden Previously at Chichester The Famous Five.

Current London productions: ABBA Voyage, SIX, Brokeback Mountain, Once

on this Island, La Cage Aux Folles.

Current/recent regional/UK tours include SIX, Shrek, Everybody’s Talking About Jamie, Hairspray, Priscilla Queen of the Desert.

Jo Cichonska Musical Director Previously at Chichester, Associate Musical Director for This Is My Family (Minerva Theatre), Oklahoma! (Festival Theatre).

Credits as Musical Director include Spring Awakening (Almeida Theatre); The Producers (Manchester Royal Exchange); Cinderella (Lyric Hammersmith); A Little Princess (National Youth Music Theatre of Great Britain/The Other Palace); Side Show and Victor/Victoria (Southwark Playhouse); Titanic (Charing Cross Theatre); Spring Awakening (LAMDA); The Addams Family and The World Goes Round (Urdang Academy).

As Assistant Musical Director: & Juliet (Shaftesbury Theatre); Fun Home (Young Vic); Oliver! (Curve Theatre Leicester).

Keyboard: An American In Paris (Dominion Theatre). Cover Conductor: Matilda (Cambridge Theatre).

Polly Findlay

Lizzie Clachan Designer Current work includes Days of Wine and Roses (set, Atlantic Theater Company New York), A Midsummer Night’s Dream (Malmo Stadsteater), Jenufa (set, Nationale Opera & Ballet/Palau de ls Arts Reina Sofia).

Theatre and Opera includes Lucia di Lammermoor (set, Metropolitan Opera New York/LA Opera); The Blue Woman (Royal Opera House Linbury Studio/Snape Maltings); The Fever Syndrome (Hampstead Theatre); Seven Deadly Sins, Mahogany Songspiel (Royal Opera House); White Noise (set), A Number (Bridge Theatre); Blindness (Donmar Warehouse/New York & international/UK tour); The Invisible Hand (Kiln Theatre); Yerma (Young Vic/ Schaubuhne Berlin/Park Avenue Armory NY); Far Away, The Prime of Miss Jean Brodie (Donmar Warehouse); Orpheus and Eurydice, Orpheus in the Underworld, The Mask of Orpheus, Orphée (sets, ENO); The Son (Kiln Theatre/West End); The Nico Project (Manchester International Festival); Rutherford and Son, Absolute Hell (set), As You Like It, The Beaux’ Stratagem (National Theatre); Cyprus Avenue (Royal Court

Theatre/Public Theatre NY); La Traviata (set, Theater Basel/ENO); Three Sisters (Théâtre de l’Odéon/Theater Basel); Life of Galileo (Young Vic); Gloria (Hampstead Theatre); Ibsun Huis (set, Toneelgroep Amsterdam); Winter Solstice (ATC/Orange Tree); The Suppliant Woman (Lyceum Theatre, Edinburgh & International tour); Pelléas et Mélisande (Festival d’Aix en Provence/ Poland/Tokyo); The Truth (Menier Chocolate Factory/ West End).

Lizzie has been nominated for Designer of the Year at the International Opera Awards 2020 and 2022; she won the UK Theatre Award for Best Design (Happy Days 2011) and has received Evening Standard, TMA Awards & Drama Desk nominations for Best Design.

Gregory Clarke Sound Designer Previously at Chichester The Wind in the Willows, Pinocchio (2020 & 2021), The Wizard of Oz, The Butterfly Lion, Sleeping Beauty, The Watsons, The Midnight Gang, Beauty and the Beast, Peter Pan, A Christmas Carol, Mrs Pat, The Boy in the Striped Pyjamas.

Neil Bettles

Theatre includes Romeo and Julie, All of Us, Medea, The Doctor’s Dilemma, Misterman (National Theatre); Noises Off (Theatre Royal Bath/West End); Brian & Roger, The Boy Friend, The Bridges of Madison County, The Bay At Nice, Fiddler on the Roof (Menier Chocolate Factory); The Secret Diary of Adrian Mole Aged 13¾ The Musical, My Night with Reg, Goodnight Mister Tom, The Vortex, A Voyage Round My Father, And Then There Were None, Some Girls, What the Butler Saw (West End); Super High Resolution (Soho Theatre); Orpheus Descending (Theatr Clwyd/ Menier); Richard III (Druid/Lincoln Center NY); Rosmersholm (Duke of York’s); The Color Purple (Broadway); All of Us, The Goat, Or Who Is Silvia? (Theatre Royal Haymarket); The Truth (Wyndham’s); All’s Well That Ends Well, The Merry Wives of Windsor, The Two Noble Kinsmen, The Alchemist (RSC); Journey’s End (Duke of York’s/New York, Drama Desk Award for Outstanding Sound Design); Equus (Gielgud/New York, Tony Award for Best Sound Design); Welcome Home Captain Fox!, My Night with Reg, Versailles, The Night Alive, A Voyage Round My Father, The Philanthropist (Donmar);

Clarence Darrow, A Flea in Her Ear, National Anthems, Six Degrees of Separation (Old Vic); The House of Shades, Albion, Against, The Merchant of Venice, Cloud Nine (Almeida); The Night Alive, The Philanthropist, Pygmalion (New York).

Ben Davies Associate Designer Previously at Chichester, Assistant Designer South Pacific, Guys and Dolls, Gypsy (also West End); Associate Designer Murder on the Orient Express, Oklahoma! (Festival Theatre), The Unfriend (Minerva Theatre, also West End).

Theatre as Associate Designer Moulin Rouge! (Piccadilly Theatre); The Drifters Girl (Garrick Theatre); Anything Goes (Barbican Theatre); The Book of Mormon (UK tour); Matilda the Musical (UK and international tours); Present Laughter, Lungs, Art, Electra, A Christmas Carol, The Lorax (The Old Vic and US/Toronto); Beautiful, The Ferryman, Charlie and the Chocolate Factory (West End/Broadway); Long Day’s Journey into Night, Venus in Fur (West End); The Red Lion, Three Days in the Country, King Lear (National Theatre).

Theatre as Assistant Designer Groundhog Day (The Old Vic/Broadway); Jo Cichonska

Sweeney Todd, Oliver!, The Audience, The Wizard of Oz, Hamlet, Betty Blue Eyes, The Children’s Hour, Shrek The Musical (West End); God of Carnage (West End/ Broadway); Bombay Dreams (Broadway); An American in Paris (Broadway/Paris); The Trojans (Metropolitan Opera New York).

Polly Findlay Director Theatre includes Middle, Beginning (also West End), Rutherford and Son, As You Like It, Treasure Island, Antigone, Protest Song, Double Feature (National Theatre); White Noise, A Number (The Bridge Theatre); Grayson Perry: A Show For Normal People (national tour); The Prime of Miss Jean Brodie, Limehouse (Donmar Warehouse); Ghosts (HOME Theatre Manchester); The Alchemist (RSC and Barbican); The Merchant of Venice, Arden of Faversham (RSC); Frøken Julie (Aarhus Theatre Denmark); Krapp’s Last Tape (Crucible Theatre Sheffield); The Country Wife, Good (Royal Exchange Manchester); Derren Brown: Svengali (West End and UK tour); Light Shining in Buckinghamshire, Thyestes (Arcola Theatre).

Polly was the winner (with Derren Brown) of the Olivier Award for Best Entertainment

in 2014. She won the JMK Young Directors’ Award in 2007.

Richard Howell Lighting Designer Previously at Chichester The Country Wife (Minerva Theatre), Fred’s Diner, Playhouse Creatures, Blue Remembered Hills (Theatre on the Fly).

Current work includes Village Idiot (Theatre Royal Stratford East); Dr Semmelweis (Harold Pinter Theatre); God of Carnage (Lyric Hammersmith).

Theatre includes Tartuffe, Coriolanus, All’s Well That Ends Well (RSC); The House of Shades, The Writer (Almeida); Aristocrats, Privacy (Donmar Warehouse); I See You (Royal Court); All My Sons, Jekyll and Hyde (Old Vic); Pinter 5 & 6, Glengarry Glen Ross, Bad Jews, Killer Joe, The Homecoming, East is East (West End); Black Love, NW Trilogy (Kiln Theatre); Closer (Lyric Hammersmith); Habeas Corpus, The Watsons (Menier); Breaking the Code, A Doll’s House, Little Shop of Horrors, Cat on a Hot Tin Roof (Manchester Royal Exchange); Labyrinth (Hampstead Theatre); The Wild Party (The Other Palace); Faustus, The Glass Menagerie (Headlong/UK tour); Rock, A Midsummer Night’s Dream, The Wizard of Oz, Playing for Time (Sheffield Crucible); Dr Semmelweis, The Grinning Man, The Crucible, The Life and Times of Fanny Hill (Bristol Old Vic); The Madness of George III (Nottingham Playhouse).

Opera includes Cabaret (Göteborg Opera); Breaking The Waves (Scottish Opera/Adelaide Festival/Opera Comique, Paris); Flight (Scottish Opera); Madama Butterfly (Den Jyske/Danish National Opera); Il Trittico, La Fanciulla del West, Madama Butterfly (Opera Holland Park).

Amy Hsu Assistant Musical Director Originally from New Zealand, Amy is a musical director, orchestrator and conductor. Her credits as a musician include Jersey Boys (New Zealand tour); Mary Poppins (Auckland Civic Theatre); the progressive rock album Enliven; and

the trans-Tasman symphonic electronic dance experience Synthony.

Theatre credits include Musical Director for The Phase (Chromatic Creative/Vaults Festival), Representasian (Phoenix Arts Club), Beanspillers (Gigglemug Theatre/ Vaults Festival), and Come Dine With Me (TurbineTheatre/MTFest); Assistant Musical Director/Cover Conductor for My Neighbour Totoro (RSC); Musical Director for Runesical (Gigglemug Theatre/Edinburgh Fringe); Musical Director/Conductor for Merrily We Roll Along (RAM); Orchestrator/Assistant Musical Director for Agent Showcase (RAM); Music Arranger/Musical Director for Picnic, Much Ado About Nothing (RAM); Deputy Musical Director for All I Want for Christmas (Macroberts Performing Arts); Orchestrator/ Associate Musical Director for Hello Jerry!

(RAM); Keyboard for Jersey Boys (G&T Productions) and Parade (Bravi Theatre); Keyboard/Rehearsal Pianist for Mary Poppins (G&T Productions); Arranger/ Musical Director for Expect The Unexpected (Harlequin Musical Theatre). Amy also worked on luxury cruise lines and performed with over 70 international entertainment acts.

She was a two-time recipient of the Anna Nathan Prize in Early Keyboard Performance in 2016 and 2017, and was a concert soloist for the Auckland Symphony Orchestra.

Amy studied at the Royal Academy of Music (MA Musical Director and Coaching) and University of Auckland (BMus Hons in Piano Performance).

Matthew Iliffe Assistant Director Theatre as Director includes Breeding (King’s Head Theatre); Bacon (Off-West End Award for Best Director), The Niceties and Maggie May (Finborough Theatre); Four Play (Above the Stag); The Burnt Part Boys (Park Theatre: Off-West End Award nomination for Best Director).

As Assistant Director Black Superhero (Royal Court Theatre), A Midsummer Night’s Dream (open air regional tour), Musik (Leicester Square Theatre), Romeo and Juliet (Eastville Park Bristol), Brass

(Hackney Empire).

Trained at University of Bristol and StoneCrabs Young Directors Programme.

Richard John Musical Supervisor Previously at Chichester, Musical Director on Local Hero (Minerva Theatre).

Theatre credits as Conductor and Musical Director in the UK include Dirty Dancing (Dominion Theatre & Piccadilly Theatre); The Last Ship (Northern Stage/UK tour, Toronto, USA tour); How The Grinch Stole Christmas (UK tour); Falsettos (The Other Palace); Charlie and the Chocolate Factory (Associate Conductor, Theatre Royal Drury Lane); Sinatra (London Palladium); Dirty Rotten Scoundrels and Legally Blonde (Savoy Theatre); Desperately Seeking Susan (AMD, Novello Theatre); and numerous engagements in Australia and internationally.

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

Composition credits include The Centre, The Adventures of Sinbad the Sailor, Matthew Iliffe Akhila Krishnan

The Wind in the Willows (published by The Australian Script Centre); Old Mother Hubbard (Black Swan Press); The Legend of Snow White (Hayman Theatre, Australia); Kiss of the Spider Woman (Sevenoaks Playhouse); Deadly Game (Vienna’s English Theatre); Mrs Warren’s Profession, The Importance of Being Earnest (English Theatre of Hamburg); The Railway Children (published by Samuel French); The Teddy Bears Picnic (UK tour); Comrade Rockstar (SG Records).

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

Television includes The Grinch Live (NBC/Sky Arts).

He received honours degrees in music (piano performance) and music education from the University of Western Australia, winning numerous awards including the Creative Development Fellowship (Arts Council of Western Australia).

Akhila Krishnan Video Designer Akhila Krishnan is an award-winning projection designer and creative director for moving image and immersive technology.

Previously at Chichester Our Generation (National Theatre/Minerva Theatre).

Theatre includes Mandela, Chasing Hares (Young Vic); Come Fall In Love – The DDLJ Musical (Old Globe San Diego); What’s New Pussycat (Birmingham Rep); The Two Character Play (Hampstead Theatre); Oliver Twist (Leeds Playhouse/ Ramps on the Moon); While You Are Here (The Place/Dance East); Maggot Moon (Unicorn Theatre).

Opera includes Rhinegold, The Handmaid’s Tale, The Valkyrie (English National Opera); Die Meistersinger von Nürnberg (Wiener Staatsoper); The Wreckers (Glyndebourne); Samson et Dalila, The Knife of Dawn, Echoes at the Gate, 8bit (Royal Opera House); Syllable (Theatre O).

Live Broadcast and Film Direction includes POD, Lifesongs (Guildhall).

Event Design includes Sound of Colour (Arthouse Jersey); Mamma Mia: The Party (O2 Arena); UpNext (National Theatre Fundraising Gala).

Forthcoming work includes Grenfell: in the words of survivors (National Theatre); Natasha, Pierre and the Great Comet of 1812 (Pittsburgh CLO); Sinatra (Birmingham Rep); Oedipus Rex/From Antigone (Dutch National Opera/Dutch National Ballet).

Akhila trained at the Royal College of Art and the National Institute of Design.

She was previously Senior Designer at 59 Productions.

Danièle Lydon Voice & Dialect Coach Theatre includes Hamnet (RSC); Phaedra, The Crucible, Rutherford and Son (National Theatre); Moulin Rouge The Musical, The Mirror and the Light, The Lion King, Billy Elliot the Musical (also UK tour), Shrek the Musical (also UK tour), School of Rock, The Twilight Zone, Harry Potter and the Cursed Child (also in Melbourne), The King and I (West End); Girl on an Altar, Handbagged, White

Teeth (Kiln Theatre); Collaboration (Young Vic); Agnes Colander, The Whale, The Open House (Theatre Royal Bath); Curtains (Rose Theatre); Big Fish (The Other Palace); Jude, Sex with Strangers, Dry Powder, Cost of Living (Hampstead); The Pitchfork Disney (Shoreditch Town Hall); Working (Southwark Playhouse); Carousel (ENO); All My Sons, Mood Music (Old Vic).

Television includes The House of the Dragon, The Hunt for Raoul Moat, The Lazarus Project, Devils 2, The Sandman, The English, Suspicion, Top Boy, The Pirate King, Vera, Baptiste, Urban Myths, Poldark, Dark Angel, An Inspector Calls, The Last Lighthouse Keeper, Inspector George Gently, Girl Meets Boy, The Paradise, The Amazing Dermot.

Films include Jackdaw, Blue Jean, Death on the Nile, Downton Abbey: A New Era, Mank, A Dog’s Way Home, Where is Anne Frank?, Mercy, Life, Rogue One – A Star Wars Story (language creation), A United Kingdom, Salt and Fire.

Danièle has an MA in Voice from the Royal Central School of Speech.

Susanna Peretz Wigs, Hair and Make-Up Designer Previously at Chichester The Long Song, Plenty (Festival Theatre), Hedda Tesman (Minerva Theatre).

Theatre includes A Little Life (Harold Pinter Theatre); Drive Your Plough Over The Bones of the Dead (Complicite/UK tour); The Cherry Orchard (Theatre Royal Windsor); Carousel, Peter Pan (Open Air Theatre Regent’s Park); Noises Off (Garrick Theatre); The Lion, The Witch and the Wardrobe (also UK tour), A Midsummer Night’s Dream, A Very Very Very Dark Matter, Julius Caesar (Bridge Theatre); Death of a Salesman, Wings (Young Vic); Scandaltown, Ghost Stories, Bugsy Malone (also UK tour), Tipping the Velvet, City of Glass, Jubilee (Lyric Hammersmith); The Last Ship (UK tour); Is God Is, Pity, Prudes, Gun Dog, Girls and Boys, Road, Linda, Hangmen (also West End) (Royal Court); Everybody’s Talking About Jamie, Don Juan in Soho, The Exorcist (West End); Machinal, Medea,

The Treatment, Mary Stuart (also West End); Oresteia (also Trafalgar Studios), Hamlet (also West End) (Almeida); Rosencrantz and Guildenstern are Dead (Old Vic); The Grinning Man (Bristol Old Vic/Trafalgar Studios); The Humans (BAM, NY); The Way of the World, The Prime of Miss Jean Brodie (Donmar Warehouse).

Opera includes A Midsummer Night’s Dream (Aldeburgh Festival); Alice in Wonderland, Dark Mirror, Curlew River (Barbican/US tour); The Illuminated Heart (Lincoln Centre, NY); Greek (Scottish Opera).

Film and TV includes My Sister’s Bones, Hamlet, Prisoners of Paradise, The Show, Electric Dreams, Showpieces and Skeletons (BAFTA nominee).

Other work includes collaborations with Alan Moore on his comic book series Providence and the multimedia project As Big As the Sky with Ai Weiwei. susannaperetzfx.com Stephen Sondheim Music and Lyrics Stephen Sondheim (1930 – 2021) wrote the music and lyrics for Saturday Night (1954), A Funny Thing Happened on the Way to the Forum (1962), Anyone Can Whistle (1964), Amy Hsu

Company (1970), Follies (1971), A Little Night Music (1973), The Frogs (1974), Pacific Overtures (1975), Sweeney Todd (1979), Merrily We Roll Along (1981), Sunday in the Park with George (1984), Into the Woods (1987), Assassins (1990), Passion (1994) and Road Show (2008), as well as the lyrics for West Side Story (1957), Gypsy (1959), Do I Hear A Waltz? (1965) and additional lyrics for Candide (1973). Side By Side By Sondheim (1976), Marry Me A Little (1981), You’re Gonna Love Tomorrow (1983), Putting It Together (1993/99), Moving On (2001) and Sondheim on Sondheim (2010) are anthologies of his work as composer and lyricist.

For films, he composed the scores of Stavisky (1974), co-composed the score for Reds (1981) and wrote songs for Dick Tracy (1990). He wrote songs for the television production Evening Primrose (1966), co-authored the film The Last of Sheila (1973) and the play Getting Away With Murder (1996).

He was awarded the Pulitzer Prize for Drama in 1985, the Kennedy Center Honors in 1993, the National Medal of Arts in 1996, the MacDowell Medal in 2013 and the Presidential Medal of Freedom in 2015.

In 2010 the Broadway theatre formerly

known as Henry Miller’s Theatre was renamed in his honour, and in 2019 he became the first living artist to have a theatre named in his honour on Shaftesbury Avenue when the refurbished Queen’s Theatre in London’s West End was renamed the Sondheim Theatre to commemorate his 90th birthday, by Sir Cameron Mackintosh.

Michael Starobin Orchestrations Theatre: Flying Over Sunset, Gardens of Anuncia, Renascence, Broadbend Arkansas, Benny & Joon, Once on This Island, Sunday in the Park with George, Falsettos, Superhero, We Live in Cairo, Mrs Miller Does Her Thing, Freaky Friday, Kid Victory, First Daughter Suite, Hunchback of Notre Dame, If/Then, Little Miss Sunshine, Annie, Dogfight, Leap of Faith, Queen of the Mist, People in the Picture, Sondheim On Sondheim, Next To Normal (Tony Award), Glorious Ones, Grinch, Adrift in Macao, Bernarda Alba, Spelling Bee, Assassins (Tony Award), Tom Sawyer, A New Brain, A Christmas Carol, Hello Again, Guys & Dolls (1992), My Favorite Year, In Trousers, Closer Than Ever, Legs Diamond, Romance Romance, Carrie, Birds of Paradise, Rags, Three Guys Naked, Von Richtofen.

Films: Tick Tick Boom, Mary Poppins Returns, Beauty and the Beast (2017), Tangled, Hunchback of Notre Dame, A Goofy Movie, Life with Mikey, Home on the Range, Lucky Stiff.

Charlotte Sutton CDG Casting Director Previously at Chichester: The Famous Five, The Taxidermist’s Daughter, Doubt, The Long Song, South Pacific (CDG Casting Award nomination), Crave, Oklahoma!, Plenty, Shadowlands, Flowers For Mrs Harris, Me and My Girl, The Chalk Garden, Present Laughter, The Norman Conquests, Fiddler on the Roof, Sweet Bird of Youth, Forty Years On, Mack & Mabel (Festival Theatre); Local Hero, Sing Yer Heart Out for the Lads (CDG Casting Award nomination), The Unfriend (also Criterion/West End); Our Generation (also NT; winner of a CDG

Casting Award), Home, The Butterfly Lion, 8 Hotels, The Deep Blue Sea, This Is My Family, The Watsons, Cock, Copenhagen, The Meeting, random/generations, Quiz, The Stepmother, The House They Grew Up In, Caroline, Or Change (also Hampstead/ West End; CDG Casting Award nomination), Strife (Minerva Theatre).

Theatre credits: The Secret Life of Bees (Almeida); Guys and Dolls (Bridge); Further Than The Furthest Thing, Best of Enemies, Fairview (CDG Casting Award nomination), Death of a Salesman (CDG Casting Award nomination), The Convert, Wild East, Winter, trade, Dutchman (Young Vic); Cock (Ambassadors); Company (Gielgud; CDG Casting Award nomination); Long Day’s Journey Into Night (Wyndham’s and BAM); The Pitchfork Disney, Killer (Shoreditch Town Hall); My Brilliant Friend (NT and Rose Theatre Kingston); Annie Get Your Gun, Flowers For Mrs Harris, Lady Chatterley’s Lover, Waiting for Godot, Queen Coal (Sheffield Crucible); Henry V (Regent’s Park Open Air Theatre); Insignificance, Much Ado About Nothing, Jumpy (Theatr Clwyd); wonder.land, The Elephantom, Emil and the Detectives, The Light Princess (National Theatre); One Man, Two Guvnors (Theatre Royal Haymarket/international tour).

Kate Waters Fight Director Kate Waters is one of only two women on the Equity Register of Fight Directors.

Previously at Chichester Fight Director for The Norman Conquests (Festival Theatre), The Deep Blue Sea (Minerva Theatre), King Lear (Minerva Theatre and Duke of York’s) and Sing Yer Heart Out for the Lads (Minerva Theatre and Spiegeltent); Fight and Movement Director for Black Comedy (Minerva Theatre).

Work for the National Theatre includes Much Ado About Nothing, Small Island, Othello, As You Like It, Our Country’s Good, The Curious Incident of the Dog in the Night-Time (also West End), One Man Two Guvnors (also West End, Broadway, world tour), Frankenstein, Hamlet, War Horse (and West End).

Recent work includes Guys & Dolls, A Midsummer Night’s Dream, Young Marx, Julius Caesar (The Bridge Theatre); Tina: The Tina Turner Musical (West End/ Germany); The Lieutenant of Inishmore, Hand To God (West End); Private Lives, Henry V (Donmar Warehouse); The Secret Lives of Bees, The Tragedy of Macbeth (Almeida); Lord of the Flies (Leeds Playhouse); Kiss Me, Kate (Sheffield Crucible); The Last Goodbye (The Old Globe San Diego California); Cyrano de Bergerac, The Maids (Jamie Lloyd Company); Don Giovanni (ROH); Sweat, Julius Caesar, Henry IV (Donmar

The Company

Warehouse and St Ann’s Warehouse NYC); All’s Well That Ends Well, Romeo and Juliet, Macbeth (RSC); Antigone, Carousel, Evita, Jesus Christ Superstar (Regent’s Park); and numerous productions for major regional theatres.

Kate is a regular Fight Director for Coronation Street, Emmerdale, Hollyoaks, and choreographed the fights for Coronation Street Live 2015.

Films include the National Theatre’s Death of England: Face to Face and Romeo and Juliet, Lola, My Policeman, Making Noise Quietly, Pond Life.

John Weidman Book John Weidman has written the books for a wide variety of musicals, among them Pacific Overtures, Assassins and Road Show, all with scores by Stephen Sondheim; Contact, co-created with director/choreographer Susan Stroman; Happiness, score by Scott Frankel and Michael Korie; Take Flight and Big, scores by Richard Maltby Jr. and David Shire; the new book, co-authored with Timothy Crouse, for the Lincoln Center Theater/Roundabout Theatre/National Theatre revivals of Cole Porter’s Anything Goes; and Arrabal, score by Gustavo

Santaolalla, directed and co-choreographed

by Sergio Trujillo.

He is currently working on a musical adaptation of the movie Norma Rae with composer/lyricists Rosanne Cash and John Leventhal. When his children were preschoolers, Weidman began writing for Sesame Street, receiving more than a dozen Emmy Awards for Outstanding Writing for a Children’s Program. From 1999 to 2009 he served as President of the Dramatists Guild of America.

Christopher Worrall Casting Director Theatre credits as Casting Director: The Real and Imagined History of the Elephant Man, The Beekeeper of Aleppo, LAVA (Nottingham Playhouse); Sucker Punch (Queen’s Theatre); Word-Play (Royal Court); The Caucasian Chalk Circle (Rose Theatre Kingston); Rock Paper Scissors (CDG Casting Award nomination), Chicken Soup (Sheffield Theatres); Arms and the Man, The Solid Life of Sugar Water, The Misfortune of the English, Tom Fool, Two Billion Beats, Last Easter (Orange Tree Theatre); The Climbers (Theatre by the Lake); Missing People (Leeds Playhouse); If Not Now When (National Theatre).

Theatre credits as Casting Associate/ Assistant: A Very Expensive Poison, All My Sons, The American Clock, A Christmas Carol (Old Vic); Measure for Measure, Aristocrats, The Prime of Miss Jean Brodie, The Way of the World, The York Realist, Belleville, The Lady from the Sea, Committee (Donmar Warehouse).

Film and Television credits as Casting Associate: Emma, Call the Midwife.

Events

Assassins Pre-Show Talk

Backstage Tour

Thursday 8 June, 5.45pm Join director Polly Findlay for a fascinating insight into how her production came together, with a chance to ask questions of your own. Polly is in conversation with best-selling author Kate Mosse.

Free but booking is essential.

Saturday 10 & Saturday 24 June, 11am Explore behind the scenes in the latest of our 60-minute tours of the Festival Theatre.

Tickets £10

Post-Show Talk Thursday 22 June Stay after the performance to ask questions, meet company members and discover more about the play.

Hosted by Kate Bassett, CFT Literary Associate.

Free

Charlotte Jaconelli Danny Mac

Light a Spark What’s your first theatre memory?

Was it the buzz as you took your seat, being wowed by the show, the interval ice cream?

We want your first theatre memories to be part of an installation celebrating Chichester Festival Theatre and our new Light a Spark campaign.

Share your memories with us today cft.org.uk/LightASpark

Light a Spark is fundraising to support magical first theatre experiences for children, young people and families in our communities.

Chichester Festival Theatre is a registered charity. Charity no. 1088552.

Get Creative Whatever your interests or skill-set, there’s something for you in our programme of activities for adults. Everyone’s welcome, so join us and get creative.

Get Into It! Learn new skills and socialise in our termly sessions in Acting, Dancing or Singing each Monday. Can’t make it every week? Try our Drop-Ins and join us when suits you. No experience necessary - everyone is welcome to Get Into it!

Mind, Body, Sing Fun and relaxing, our group singing sessions are open to everyone aged 18+ and are dementia friendly. We believe everyone is musical and there are no wrong notes, so join us and experience the health-giving properties of group singing.

Scan to find out more cft.org.uk/get-creative

Wednesday Company and Friday Company For adults aged 25+ with learning disabilities to develop their artistic skills, meet new people and socialise in a fun and supportive environment.

Wednesday Company takes place at The Capitol in Horsham and Friday Company takes place at St Paul’s Church in Chichester.

Chichester People’s Theatre Our community company work together to devise an original piece of theatre inspired by the work on our stages. The piece is then shared at a public performance.

Join Chichester Festival Youth Theatre “For young people, knowing you can identify as whoever you really think you are is more and more relevant, and CFYT has always felt like a space where you can do that.”

CFYT MEMBER

Every week, CFYT members meet at locations across the county to discover new skills and explore new stories, make friends, build confidence and, most importantly, “laugh until your sides hurt”* (*direct quote from a member).

For ages 5 to 25 we have drama, dance, musical theatre and technical theatre sessions to choose from, as well as groups for young people with additional needs (CFYT Wednesday in Horsham and CFYT Friday in Chichester).

Our weekly sessions take place in locations across West Sussex for you to meet like-minded people and find a space where you can just be yourself!

Find your group across West Sussex and join us!

Scan to find out more

cft.org.uk/CFYT

Staff Trustees Mark Foster Victoria Illingworth Rear Admiral John Lippiett CB CBE Harry Matovu KC Caro Newling OBE Nick Pasricha Philip Shepherd Stephanie Street Hugh Summers Jean Vianney Cordeiro Tina Webster Associates Kate Bassett Charlotte Sutton CDG

Chair

LEAP Anastasia Alexandru Helena Berry Rob Bloomfield

Heritage & Archive Assistant

Zoe Ellis Isabelle Elston

LEAP Co-ordinator Community & Outreach Trainee

Sally Garner-Gibbons

Hannah Hogg Shari A. Jessie Louise Rigglesford Dale Rooks Abi Rutter Riley Stroud

Assistant Wardrobe Dresser Wardrobe Manager Senior Costume Assistant Dresser Wigs, Hair & Make-Up Manager

Abbie Hart Amy Hills Dee Howland

Dresser Wardrobe Manager Wigs, Hair & Make-Up Assistant

Kendal Love

Wigs, Hair & Make-Up Manager

Lilith Mitchener Lucy Olorenshaw Natasha Pawluk Emily Souch Loz Tait Colette Tulley Grace Upcraft Eloise Wood

Dresser Dresser Wig Daysetter Assistant Wardrobe Head of Costume Wardrobe Maintenance Dresser Wig Assistant

Development Jessey Barnes Laura Blake

Development Officer Fundraising Consultant

Julie Field Friends Administrator Sophie Henstridge-Brown Senior Development Manager Charlotte Stroud Karen Taylor

Development Manager Development Manager (Maternity Leave)

Joanna Walker Megan Wilson

Director of Development Events and Development Officer

Directors Office Justin Audibert Kathy Bourne Patricia Key Keshira Aarabi

Artistic Director Designate Executive Director PA to the Directors Projects & Events Co-ordinator

Angela Buckley

Projects & Events Co-ordinator

Sophie Hobson Georgina Rae

Creative Associate Director of Planning & Projects

Julia Smith

Board Support

Finance Alison Baker Payroll & Pensions Officer Sally Cunningham Purchase Ledger Assistant Amanda Hart

Finance & Operations Director

Krissie Harte Katie Palmer

Finance Officer Assistant Management Accountant

Simon Parsonage Amanda Trodd Protozoon Ltd

Apprenticeship Co-ordinator

Matthew Hawksworth Head of Children & Young People’s Programme Literary Associate Casting Associate

Building & Site Services Chris Edwards Maintenance Engineer Lez Gardiner Duty Engineer Daren Rowland Facilities Manager Graeme Smith Duty Engineer Costume Isabelle Brook Helen Clark Aly Fielden Helen Flower Lysanne Goble Shelley Gray

Youth & Outreach Trainee Heritage & Archive Co-ordinator

Finance Director & Company Secretary Management Accountant IT Consultants

Angela Watkins

Senior Youth & Outreach Manager Creative Therapist Senior Community & Outreach Manager Director of LEAP Youth & Outreach Co-ordinator Cultural Learning & Education Apprentice

Deputy Box Office Manager

Lydia Cassidy

Director of Marketing & Communications

Jay Godwin Lorna Holmes Mollie Kent

Box Office Assistant Box Office Supervisor Box Office Assistant (Casual)

James Mitchell James Morgan Lucinda Morrison Brian Paterson

Box Office Assistant Box Office Manager Head of Press Distribution Co-ordinator

Rachael Pennell Kirsty Peterson Ben Phillips

Marketing Officer Box Office Assistant Marketing & Press Assistant

Catherine Rankin

Box Office Assistant (Casual)

Jenny Thompson

Social Media & Digital Marketing Officer

Joshua Vine Julia Walter Claire Walters Joanna Wiege Jane Wolf People Emily Oliver

Fuzz Guthrie Lucy Guyver

Box Office Assistant (Casual) Creative Digital Producer Box Office Assistant Box Office Administrator Box Office Assistant

Accommodation Co-ordinator

Jenefer Francis Jenny Sherriff

HR Officer Recruitment & HR Administrator

Gillian Watkins

HR Officer

Production Amelia Ferrand-Rook Producer Claire Rundle Production Administrator George Waller Trainee Producer Nicky Wingfield Production Administrator Jeremy Woodhouse Producer Technical Suzanne Archer Stage Crew Steph Bartle Deputy Head of Lighting James Barnes Stage Crew Victoria Baylis Props Assistant Daisy Vahey Bourne Stage Crew Finley Bradley Technical Theatre Apprentice Leoni Commosioung Stage Technician Adrien Corcilius Video & AV Technician Sarah Crispin Senior Prop Maker Ross Gardner Stage Crew

Technical Director Stage Crew & Automation

Senior Sound Technician Production Manager Apprentice

Dan Heesem Katie Hennessy

Lighting Technician Props Store Co-ordinator

Tom Hitchins Head of Stage & Technical Laura Howells Senior Lighting Technician Mike Keniger Head of Sound Andrew Leighton Senior Lighting Technician Finlay Macknay Tito Mateo Karl Meier Ian Murphy

Stage Crew Stage Technician Head of Stage Stage & Automation Technician

Charlotte Neville

Head of Props Workshop

Stuart Partrick Neil Rose James Sharples

Transport & Logistics Deputy Head of Sound Senior Stage Crew & Rigger

Molly Stammers Ben Steel Graham Taylor Dominic Turner

Lighting Technician Sound Technician Head of Lighting Assistant Lighting Technician

Bogdan Virlan Elliott Wallis

Stage Crew Sound Technican

LEAP Projects Manager

Marketing, Communications, Digital & Sales Josh Allan Box Office Supervisor Caroline Aston Audience Insight Manager Becky Batten Head of Marketing Laura Bern Marketing Manager Jessica Blake-Lobb Marketing Manager (Corporate) Helen Campbell

Sam Garner-Gibbons Jack Goodland

Theatre Management Janet Bakose Theatre Manager Judith Bruce-Hay Minerva Supervisor Charlie Gardiner Minerva Supervisor Ben Geering Head of Customer Operations Dan Hill Assistant House Manager Will McGovern Deputy House Manager Sharon Meier PA to Theatre Manager Gabriele Williams Deputy House Manager Caper & Berry Catering Proclean Cleaning Ltd Cleaning Contractor Goldcrest Guarding

Security

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, 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, 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: Janet Beckett, Tony Clark, Robert Dunn, Geraldine Firmston, Suzanne France, Richard Frost, David Phizackerley, Christopher Todd

Our Supporters 2023 Major Donors 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 David and Claire Chitty John and Pat Clayton David and Jane Cobb John and Susan Coldstream Clive and Frances Coward

Trusts and Foundations The Arthur Williams Charitable Trust The Arts Society, Chichester The Bateman Family Charitable Trust The Bernadette Charitable Trust The Dorus Trust The D’Oyly Carte Charitable Trust Elizabeth, Lady Cowdray’s Charity Trust Epigoni Trust

Festival Players 1000+ John and Joan Adams Tom Reid and Lindy Ambrose The Earl and Countess of Balfour Sarah and Tony Bolton Ian and Jan Carroll C Casburn and B Buckley CS and M Chadha David Churchill Denise Clatworthy Michael and Jill Cook Lin and Ken Craig

Festival Players 500+ Judy Addison Smith Mr James and Lady Emma Barnard (The Barness Charity Trust) Martin Blackburn Janet Bounds Pat Bowman Jean Campbell Sally Chittleburgh Mr and Mrs Jeremy Chubb Mr Charles Collingwood and Miss Judy Bennett

Yvonne and John Dean Jim Douglas Mrs Veronica J Dukes Melanie Edge Huw Evans Steve and Sheila Evans Val and Richard Evans Sandy and Mark Foster Simon and Luci Eyers Angela and Uri Greenwood Themy Hamilton Lady Heller and the late Sir Michael Heller Liz Juniper Roger Keyworth Vaughan and Sally Lowe Jonathan and Clare Lubran Mrs Sheila Meadows Elizabeth Miles Eileen Norris Jerome and Elizabeth O’Hea Mrs Denise Patterson DL Stuart and Carolyn Popham Dame Patricia Routledge DBE Sophie and David 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 Bryan Warnett Ernest Yelf

The Foyle Foundation The G D Charitable Trust Hobhouse Charitable Trust The Maurice Marshal Preference Trust Noël Coward Foundation Rotary Club of Chichester Harbour Theatre Artists Fund The Vernon Ellis Foundation Wickens Family Foundation

Deborah Crockford Clive and Kate Dilloway Peter and Ruth Doust Gary Fairhall Mr Nigel Fullbrook George Galazka Robert and Pirjo Gardiner Wendy and John Gehr Marion Gibbs CBE Rachel and Richard Green Ros and Alan Haigh Chris and Carolyn Hughes Melanie J. Johnson John and Jenny Lippiett Sarah Mansell and Tim Bouquet James and Anne McMeehan Roberts Mrs Michael Melluish Celia Merrick Roger and Jackie Morris Jacquie Ogilvie Mr and Mrs Gordon Owen Graham and Sybil Papworth Richard Parkinson and Hamilton McBrien Nick and Jo Pasricha John Pritchard Trust Philip Robinson Nigel and Viv Robson Ros and Ken Rokison David and Linda Skuse Peter and Lucy Snell Julie Sparshatt Richard Staughton and

The de Laszlo Foundation Lady Finch Colin and Carole Fisher Beryl Fleming Terry Frost Stephen J Gill Dr Stuart Hall Rowland and Caroline Hardwick Dennis and Joan Harrison Karen and Paul Johnston Frank and Freda Letch Anthony and Fiona Littlejohn Jim and Marilyn Lush Dr and Mrs Nick Lutte Trevor & Lynne Matthews Tim McDonald Jill and Douglas McGregor Sue and Peter Morgan Mrs Mary Newby Margaret and Martin Overington Jean Plowright Robin Roads Dr David Seager John and Tita Shakeshaft Elizabeth Stern Anne Subba-Row Harry and Shane Thuillier Miss Melanie Tipples Chris and Dorothy Weller Nick and Tarnia Williams

Claire Heath Ian and Alison Warren Angela Wormald

...and to all those who wish to remain anonymous, thank you for your incredible support.

‘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, Major Donors and Festival Players

Our Supporters 2023 Principal Partners Platinum Level

Prof. E.F. Juniper and Mrs Jilly Styles Gold Level

Silver Level

Corporate Partners FBG Investment J Leon Group Jones Avens

Montezuma’s Oldham Seals Group Pallant House Gallery

Protozoon William Liley Financial Services Ltd

Why not join us and support the Theatre you love: cft.org.uk/support-us | development.team@cft.org.uk | 01243 812911