Curve | Relaxed Performance Information Pack for Evita by Curve Theatre

Relaxed Performance Information Pack for Evita Saturday 6 January 2024, 2.15pm

Box Office Telephone: 0116 242 3595 Box Office Email: tickets@curvetheatre.co.uk Address: Curve, 60 Rutland Street, Leicester, LE1 1SB

Contents Hello and What is a Relaxed Performance?.........................................................2 Getting to Curve…………………………………………………………………………………………..3 - 6 Visual Story: Your Visit to Curve…………………………………………………..…………..7 – 16 Useful Information…………………………………………………………………………..……..17 – 19 The Story and Sensory Moments…………………………………………………..…………20 - 27 Meet the Cast…………………………………………………………………………………………..28 - 30 Communication Sheet……………………………………………………………………………….……31

Hello! We are looking forward to welcoming you to Curve for our Relaxed Performance of Evita. This pack is designed to give you more information about the performance and our theatre ahead of your visit. What is a Relaxed Performance? Relaxed Performances are open to everyone but are especially tailored to support audience members who may benefit from a less formal performance environment. This may include – but is not limited to - individuals who are neurodivergent, such as individuals living with autism or other learning, sensory or communication needs. At this performance of Evita the lights in the Theatre will remain on at a lowlevel throughout, and there will be a friendly attitude to audience reactions and movement. Whilst the doors to the Theatre will close, audience members will be able to come and go from the space if they need a break from the performance, and chill spaces will be available in the Foyer and on the Mezzanine. On stage, some visual and lighting effects will be adapted, and the overall volume of the show will also be slightly reduced. Find out more in the Useful Information and The Story and Sensory Plot sections of this pack. Widgit Symbols © Widgit Software 2002-2023, www.widgit.com 2

Getting to Curve Our address is Curve, 60 Rutland Street, Leicester, LE1 1SB. Here is a map of where Curve is in the Cultural Quarter, and the surrounding area.

Getting here by Car There are a number of car parks close to Curve, with the multi-storey NCP Rutland Centre Car Park being the closest to our Theatre. Customers are advised that none of the car parks detailed on this page are owned or managed by Curve or Leicester Theatre Trust Ltd. NCP Rutland Centre Car Park (Multi-storey) 56 Halford Street, Leicester, LE1 1TQ Access Spaces: 7 | Max Height: 1.93m Curve visitors can park in the NCP Rutland Centre adjacent to Curve for £7.95 when validated at Box Office, Green Room Café or Stage Door Bar during your visit. If parking at NCP Rutland Centre between the hours of 5pm and 2am, you can access a cheaper rate of £6.95 if you pay via the NCP ParkPass App, or £7.95 if you pay your parking at the machines located in the NCP on the day. Southampton Street Leicester, LE1 1TG Access Spaces: 4 Hourly charges from £1*

Haymarket Leicester, LE1 3HP Access Spaces: 5 Hourly charges from £1*

NCP Lee Circle Car Park Leicester, LE1 3RE Access Spaces: 4 | Max Height: 1.93m Hourly charges from £1.95*

Newarke Street Leicester, LE1 5SN Access Spaces: 1 Hourly charges from £1*

Dover Street Leicester, LE1 6PW Access Spaces: 14 | Max Height 1.98m Hourly charges from £1*

Highcross John Lewis Car Park Leicester, LE1 4QJ Access Spaces: 109 | Family Spaces: 56 Max Height 1.98m Hourly charges from £3.50*, plus flat evening rate of £2.50* between 5pm and 6am.

There is also a drop-off point outside our theatre. 4

*Prices subject to change.

Getting here by Bus All Leicestershire bus services have stops within a three to 10-minute walk of Curve, with services terminating on Humberstone Gate, Haymarket Bus Station or St Margaret’s Bus Station. For more information about travelling by bus in the city, visit www.leicester.gov.uk/transport-and-streets/travelling-by-bus, or call Traveline on 0871 200 2233.

Hop! Free City Centre Circular Bus Service Hop! shuttle buses are free to use and serve Leicester City Centre, looping in an anti-clockwise between Haymarket Bus Station, Highcross, Jubilee Square, Leicester Royal Infirmary, Railway Station and the Market. Part of the greenlines electric network, the service also links with the Hospital Hopper service at Royal Infirmary and St Nicholas Circle, Meynell’s Gorse and Enderby Park & Ride at St Nicholas Circle, and Birstall Park & Ride at Savoy Street. The nearest Hop! stop to Curve is Stand CK on Charles Street, circled in red on the map overleaf. The service operates every 10 minutes, Monday – Saturday between 8am and 6pm. For more information about Hop!, including a service leaflet and larger route map, visit leicesterbuses.co.uk/hop. A route map is also provided on the next page.

Hop! Route Map

Getting here by Train Leicester Train Station is less than a 10-minute walk away via Charles Street. For the latest service information, please visit www.nationalrail.co.uk.

Visual Story: Your Visit to Curve Curve is a large, round building with a glass front. The outside of Curve looks like this:

There are two main entrances into the building: Halford Street, by our Green Room Café, and Rutland Street, by our Box Office.

Halford Street Entrance

Rutland Street Entrance

what3words:///wide.wiping.dared

what3words:///driver.other.ideal

All entrances have a set of glass double doors. The doors will open outwards automatically as you move towards them. There is level access into the building from both entrances.

Halford Street

Rutland Street

When you enter the building, you will be in the Foyer. Our Foyer is one big circle which wraps around two of our performance spaces – the Theatre and the Studio Theatre.

As you make your way around the Foyer, you will notice lots of large pictures on the big red walls. This is our Production Gallery, and features pictures from our previous productions.

There are also large digital screens throughout the building displaying upcoming shows and events, and information about the theatre. The artwork on the screens changes approximately every 12 seconds.

At the Relaxed Performance, our Foyer will still be filled with festive cheer! There are several artificial trees and garlands placed around the Foyer, each decorated with static, warm-toned fairy lights, shiny red and gold baubles and a sparkly star on the top.

A number of automatic hand sanitiser points are available around the building. To use these points, simply hold your hand beneath the dispenser. Push dispensers are also available around the building.

Before the show, there will be some loud announcements in the Foyer telling you how long it is until the show begins, and other useful information about your visit. These will be at a quieter level during the Relaxed Performance.

It may also be noisy in the Foyer as other audience members will be arriving to see the show. You might like to wear a pair of ear defenders during this time or bring a comfort toy to play with before the performance. Ear defenders available at our Stage Door Reception if you have not brought your own.

In Alcove 4, opposite Box Office, is our Ground Floor Chill Space. You are welcome to relax in this space before, during or after the performance.

Widgit Symbols © Widgit Software 2002-2023, www.widgit.com 9

There is another Chill Space on our Mezzanine, inspired by The Owl Who Came For Christmas – our Studio Theatre show. You will need to take the stairs next to Theatre Doors 3 or 4 to access the Mezzanine, or the lift next to Theatre Door 4. A member of our Visitor Experience Team can help you find this space.

Opposite the Ground Floor Chill Space, you will find our Box Office. Parking tickets for cars parked in the NCP Rutland Centre Multistorey Car Park next door to Curve can be validated at the Box Office for £7.95. Ticket enquiries for this performance and future shows at Curve can also be made here.

Further round the Foyer you will find our Green Room Café. Here you can buy a drink, snack or ice cream to enjoy before the performance. There may be a small queue at the Café, so you might need to wait a few minutes. It can also be quite loud in this area at busy times.

If you need to use the toilet before you take your seats, there are male, female and accessible toilets near both the Green Room Café and Box Office. Further accessible toilets can be found outside the Theatre doors. Gender-neutral toilets can be found on the Mezzanine floor. The hand dryers in all toilets will be switched off, and paper towels will be provided. The toilets look like this:

There is a Changing Places facility with adult hoist on the Ground Floor next to Theatre Door 4. Please note you will need to bring your own hoist straps to use this facility.

Here is a map of the Ground Floor of Curve:

You will be watching Evita in the Theatre. Here is a picture of the seats in the Theatre. This is where you will sit to watch the performance. Circle

Stalls

Your ticket will tell you if you are sitting in the Stalls (Ground Floor, enter through Theatre Doors 3 or 4) or in the Circle (Mezzanine floor, enter through Theatre Doors 8 or 9). Your ticket will also mention which door to enter through and where to sit. If you are sat in the Circle, you will need to take the stairs next to Theatre Doors 3 or 4, or the public lift next to Theatre Door 3 to get to the Mezzanine floor (Level M). The staircase next to Theatre Door 3 has 31 steps over three flights (9, 11, 11) and the staircase next to Theatre Door 4 also has 31 steps over three flights (13, 7, 11). There is a landing between each flight of stairs. A member of our Visitor Experience Team can help you find the right door and your seat by looking at the letters and numbers on your ticket. They will be wearing black shirts with a colourful Curve logo. They will scan your ticket with a small machine as you enter the Theatre. There might be a small queue as other audience members take their seats. 14

If you are sitting in the Stalls, you may need to take further steps to get to your seat. If you are sitting on Row A, B or C in the front Stalls, you will need to take up to three small downward steps down to access your seat, with one step between each row. If you are sitting on Rows P - Y in the rear Stalls, there are 10 upward steps from where you enter though Theatre Doors 3 or 4 to Row Y at the back of the Stalls, with one step between each row. If you are sitting in the Circle, you may also need to take further steps to get to your seat. There are 22 upward steps from where you enter through Theatre Doors 8 or 9 to Row H at the back of the Circle, with two steps between each row. If you are sitting on Row BB in the Stalls or the Circle, you will need to take two upward steps to access your seat. If you are sitting on the Row H balcony in the Circle, you will need to enter through Theatre Door 11. Please speak to a member of our Visitor Experience Team, who can help you access the Theatre via this door. When you enter the Theatre, the lights will be on. You will need to pull the bottom of your seat down to sit on it. It might be loud in the Theatre during this time, as other audience members take their seats. You might like to wear a pair of ear defenders, and bring a comfort toy to play with before the performance starts. Ear defenders are available from Stage Door Reception if you do not have a pair of your own. Booster seats are available if you can’t see the stage comfortably, and a member of our Visitor Experience Team can get one for you. They will also be happy to help you with anything else you may need to enjoy the performance.

When the show is about to start, the lights in the Theatre will be dimmed but it will never go completely dark. They will remain on at a low-level throughout the performance.

The space will become quiet, so the audience can listen to the story and music.

Whilst the inner doors to the Theatre will close, the outer doors will remain open throughout so you can leave the space if you need to use the toilet or take a break from the show. You can re-enter when you’re ready.

When the show has finished, the cast will come back onto the stage and bow. The audience will clap to show the cast they enjoyed the performance. It can be quite loud during this moment. .

At the end of the show, the lights will get brighter again. You can leave the Theatre when you are ready.

Widgit Symbols © Widgit Software 2002-2023, www.widgit.com

Useful Information The running time for Evita is 2 hours and 10 minutes including a 20-minute interval. The performance will start at 2.15pm and finish at approximately 4.25pm.

Show Warnings The age recommendation for Evita is 10+. The production contains loud noises, flashing lights, smoke and haze, and some scenes and language that may be unsuitable for younger audience members.

At the Relaxed Performance, all strobe lighting and similar, strobe-like effects will be removed. There will still be some flashing light sequences, and moments where the lights at the back of the stage shine directly into the audience. The lights in the Theatre will also remain on at a low-level throughout the performance. As Evita is a musical, much of the show is performed in song with moments of dance and movement. The music in the show is performed live by a 10-piece band, conducted by our Musical Director Ben van Tienen and sung by the company. You won’t be able to see the band at this performance, as they are playing from an area called the Pit. The Pit is between the stage and the front row of seats and is sunken into the basement below. If you are sat close to the front, you may see Ben conducting!

Widgit Symbols © Widgit Software 2002-2023, www.widgit.com 17

Although we will be adapting the volume of the show to a quieter level, some of the musical numbers will still be quite loud, particularly when the cast sing as a group.

There are several moving set pieces in Evita. These include:- A curved staircase – Made to look like concrete with corroding metal bannisters, the staircase is pushed and pulled into different positions by the cast. Throughout the show, the front of each step will light up in different colours, ranging from white to a rainbow effect. - A metal bridge – The bridge is raised and lowered into a mixture of positions throughout the show. Sometimes members of the cast will be on the bridge as it moves. - A large digital screen – The tall screen is also raised and lowered into different positions throughout the show. It shows a mixture of live footage from a video camera held by members of the cast during the performance, and pre-recorded footage. - A square platform – The platform raises and lowers from the floor of the stage at different moments. Sometimes there are cast members beneath it, and other times they will stand on it and be lifted into the air. - A number of other lighting bars and items are also lifted in and out of view during the show. A prop gun is used during ♫ The Art of The Possible. For more information about this moment, see The Story and Sensory Moments section from page 20

Widgit Symbols © Widgit Software 2002-2023, www.widgit.com 18

Key sensory moments to be aware of during the show are highlighted in The Story and Sensory Moments section, detailed on the next few pages. Some of these effects will be softened at this performance, but if you have any concerns, please contact Box Office on 0116 242 3595.

Widgit Symbols © Widgit Software 2002-2023, www.widgit.com 19

The Story and Sensory Moments Spoiler Alert! Over the next few pages is a summary of the story of Evita. You might find this helpful to read before you come to the theatre, but if you would like the story to be a surprise, skip to page 28. If you do not want to read the full story but would like to see the key sensory moments during the show, please see the green boxes.

As you enter the Theatre, you will see a still projection of the Evita logo on the black metal ‘curtain’ called the iron. On the right of the stage will be a podium with a microphone, lit up with a spotlight. You might also hear the band warming up quietly in the pit.

The story begins at Eva Perón’s funeral. The iron slowly rises, revealing Eva’s coffin on a rectangular podium, surrounded by mourners and flickering candles on metal trays. The mourners begin to sing (♫ Requiem) as the coffin is raised further into the air on the square platform. Throughout this moment, static bright white lights shine down from the back of the stage. Che (Narrator) rises to his feet. He is displeased at the fuss everyone is making over Eva’s death (♫ Oh What a Circus). Che will be seated amongst the audience in the Stalls, Row D, Seat 25 as he begins to sing. If your seats are towards the front of the Stalls, you may find yourself close to him as the show begins. He will turn to address the audience before making his way to the stage, with a spotlight shining on him throughout.

The crowd continues to mourn Eva, singing in Latin and English. They are devastated by her death. A large cluster of gold-toned lights resembling a sun lowers into position, as Eva’s coffin is laid to rest. Depending on where you are sat, some of these lights may shine directly at you. Eva – as her 15-year-old self, Eva Duarte - appears amongst the crowd as we go back in time. In a nightclub in Junin Agustin Magaldi, a famous tango singer and Eva’s first love interest, performs ♫ On This Night Of A Thousand Stars. The crowd including Eva and her family - drink, chat and applaud as they watch Magaldi perform. Eva tells Magaldi how she dreams of being in Buenos Aires with him, and leaving her current life behind. Magaldi doesn’t think it’s a good idea, but eventually agrees she can go with him.

Eva arrives in a vibrant and bustling Buenos Aires. She is very excited to be there (♫ Buenos Aires)!

As she dances with the crowd, one individual will follow her with a large video camera, capturing a live video feed that is screened on a panel at the back of the stage. As the camera is hand-held, some of the shots can be slightly shaky and fast-moving. The lighting will alternate between bright and dark, with some flashing sequences. During the dance break, some members of the crowd will snap pink hand fans open and closed. Eva will also be lifted into the air on the square podium.

Gaining public attention as a model, radio star and actress, Eva breaks off her relationship with Magaldi (♫ Goodnight and Thank You). She explores and ends several relationships in Buenos Aires over a number of years, as her status grows. During this number, we see Eva embracing different individuals beneath the staircase via the live feed on the screen. The metal bridge slowly lowers from the top of the stage, revealing Colonel Perón – who is making his way up the political ladder - and his Officers. Eva is shown on the screen saying she is tired of the government not doing enough for their people on her radio show, and there is pressure on Perón to create change. There is then a dance sequence that represents the rise and fall of different political figures (♫ The Art Of The Possible). The Officers on the bridge shoot three of figures below, with the trio falling to the floor one by one. They are dragged away at the end of the number. The guns used on stage are not real, and the shots sound like a snare drumbeat rather than a loud gunshot. The individuals falling to the floor will act as though they have been shot, but are not really injured. After a devastating earthquake in San Juan, Perón organises a charity concert at Luna Park stadium, Buenos Aires. Magaldi has been invited to perform (♫ On This Night Of A Thousand Stars). As the song concludes there will be a loud crows cheer. The bridge and the officers will rise out of view, as heavy, red theatre curtains fall, covering the back of the stage. Backstage, Magaldi bumps into Eva. They joke that neither of them has changed. Their conversation is interrupted by Che introducing Perón, who thanks the concert’s organisers for their work (♫ Charity Concert).

Eva introduces herself to Perón. There is a romantic spark between them, and they continue to flirt about how they’d be good for one another (♫ I’d Be Surprisingly Good for You).

At the end of the song, the red curtain will open revealing bright spotlights shining down on the stage, as two dancers duet. After the concert, Eva meets Perón’s Mistress. Eva explains her services are no longer needed, and to pack her bags and leave. Although Mistress was expecting this moment, she finds it hard to accept (♫ Another Suitcase in Another Hall).

Che sits cross-legged on the square platform as it begins to rise, revealing a group of rich aristocrats below. They are dressed in colourful, frilly clothes with dark sunglasses, and each hold a cocktail glass (♫Perón’s Latest Flame).

The aristocrats lower back beneath the stage as the bridge lowers to stage level, revealing four officers in the shower. Other officers are half-dressed sitting or leaning on small benches. Both the aristocrats and officers are gossiping about Eva being Perón’s new partner They are not impressed that she is from a lower class background. They make nasty comments about Eva, who is questioned about her relationship by the press as the gossip continues.

The lights at the back of the stage will swirl around during this number. Depending on where you are sat, some lights may shine directly at you for a short moment. Eva and Perón discuss his bid to become president; she reassures him he has a great chance of being elected and how she will help him by winning over the lower classes. As their discussions continue, the ensemble will gather in two crowds inside Theatre Doors 3 and 4. You may be able to see the groups form if you are sat towards the back of the Stalls. After the line ‘When you have unions on your side’, they will interrupt Eva and Perón’s conversation with loud chants of ‘Perón! Perón!’, before joining them on stage. Eva rallies the lower classes, whilst Perón and his officers consider what to do with anyone who gets in the way of his success (♫ A New Argentina). Throughout the number, the staircase will be placed into various positions, whilst a close-up live feed of Eva and Perón is broadcast on the screen at the back of the stage. The lighting will also alternate between static and flashing throughout, in line with the quiet and louder moments of the song. The end of the song is very loud as the crowd sings together, and the ‘sun’ lighting cluster will also lower onto stage behind them. This is the end of Act 1. There will now be a 20-minute break called an interval. The Evita logo will once again be projected onto the iron, with the podium and microphone placed centre stage in front of it. Act 2 begins with a sudden burst of music (♫ Entr’acte) before Che approaches the podium to introduce Perón as the newly-elected president. As Perón speaks, bright lights will flash gently onto the audience from above. Citizens will enter through the Theatre doors once again, but this time they stand amongst the audience chanting ‘Perón! Perón!’. Perón addresses the people and assures them he is now one of them (♫ On The Balcony Of The Casa Rosada). Che scoffs, before two officers approach him with a threatening look in their eye. 24

They walk him away from the podium as the crowd’s chants turn from ‘Perón!’ to ‘Evita!’ as the iron rises. Wearing a smart green dress and her hair in a neat updo, Eva prepares to address the citizens (♫ Don’t Cry For Me Argentina). She walks along the lowering bridge to the top of the staircase, backlit by ‘sun’ lighting cluster.

She explains that despite her ambition for fame and riches, her true calling is representing her people. The citizens will either remain standing, or seat themselves among the audience as Eva sings. At the end of the song, they will applaud and cheer loudly, before joining Eva at the bottom of the steps. The bridge and ‘sun’ lighting cluster will rise out of view, and the staircase will be pushed back, as Eva and Perón discuss the success of her address. Che explains Eva’s rise to fame and how far she has come (♫ High Flying, Adored). Eva is shown on the screen smiling and putting on her jewels as he sings. Wearing another glamorous suit, Eva prepares to tour Europe to gain their support (♫ Rainbow High). During this number, the ensemble will dance around Eva with handheld circular mirrors. The mirrors will reflect light beams into the audience, and depending where you are sat, these may shine directly at you for a short moment. Eva will also be briefly raised above the dancers on the square platform. As Eva sets off on her tour, the staircase will be pushed to the front of the stage, to create the Officers’ room. Eva travels through Europe and successfully wins the hearts of its people, until she arrives in Italy where the crowds are harder to convince (♫ Rainbow Tour). Back home, the officers sit together and discuss her success. Eva will briefly appear on the screen throughout, giving short updates on her progress. 25

During her visit to England, Eva meets the King but is disappointed the engagement doesn’t take place at Buckingham Palace. Feeling disrespected, she decides Argentina will not have a relationship with England. Perón comforts her as she is very upset, and also beginning to feel unwell. The bridge lowers into place, with the aristocrats lined up beneath it, cocktail glasses in hand. Eva and Perón meet on the bridge, as she shares her dislike of the upper classes (♫ The Chorus Girl Hasn’t Learned). Che reminds her of the lower classes to whom she made a promise. The bridge will continue to lower to the stage, appearing to squash the aristocrats beneath it, as a representation of Eva ignoring her critics. No one will actually be injured. Eva launches a foundation for her charitable work. Che explains the foundation is raising money for the lower classes, who are poor and hungry, but also that it is controversial and a possible tool for money laundering - a method of hiding money received by wrongful means (♫ And The Money Kept Rolling In). Eva’s charitable giving is represented by a wheel of fortune, offering the people prizes such as having their energy bills paid for, or to fund a college education. It is wheeled onto stage, lit up in a variety of different colours. The crowd gathers on the staircase, also lit up in a mixture of colours, waiting to be called up to spin the wheel. The lighting in this sequence is bright, and flashes throughout. A group of children rise from beneath the stage on the square platform. They ask for Eva to look after them and feed them as they are hungry (♫ Santa Evita). As the children sing, they transform the stage into a television studio, with two seats and studio lighting. Che interviews Eva, as though on a chat show. He questions her actions, motivations and how far she is willing to go for her people; Eva is upset by his accusations (♫ Waltz for Eva and Che). Che leaves Eva to think about her decisions. The studio lights turn off with a power-down sound effect, revealing a bleak stage. Eva begins to accept that she is becoming seriously ill. She seeks comfort in Perón, who holds her close (♫ You Must Love Me). 26

The Officers are still not willing to accept Eva as a leader as she comes from a lower class, and is a woman. They demand Perón force her out, but he explains she’s been key to the campaign’s success (♫ She Is A Diamond). However, he also recognises her increasingly poor state of health. Eva is keen to run for Vice President but Perón doesn’t think it’s a good idea, and that he’ll lose the support of the military if she runs. He also feels she is too unwell to take on such work, but she is determined (♫ Dice Are Rolling). As their disagreement continues, Eva collapses. Perón holds her in his arms once again. Eva prepares to speak to the citizens; her body is hurting. She tells the people she is no longer running for Vice President, but that her heart will always be with them. Her speech will be shown as a close-up on the screen at the rear of the stage. The citizens chant ‘Evita! Evita’ as the bridge lowers into view. They look up to Eva on the centre of the bridge, as we look back on her achievements (♫ Montage/♫ Lament). There are moments of loud choral singing and music throughout this number, as well as bright lighting from the back of the stage including the ‘sun’ lighting cluster. Towards the end of ♫ Lament, gold foil confetti will slowly fall as Eva rises out of view on the bridge. Her coffin is also brought back into the centre of the stage symbolising her death.

The citizens mourn Eva as Che explains money was raised to build a monument for her, but her body mysteriously disappeared for seventeen years. The people salute and bow to Eva’s coffin, as the iron slowly lowers. This is the end of the show. The iron will raise again for the cast to take their bows, as the band play. 27

Meet the Cast

Tia Antoine-Charles Ensemble

Jacob Atkins Ensemble

Tanisha-Mae Brown Ensemble and Cover Mistress

Harrison Burley Ensemble

Harry Chandler Ensemble and Cover Che

Chumisa Dornford-May Mistress and Cover Eva Perón

Shona Eaton Ensemble

Jacob Fisher Ensemble and Cover Magaldi

Olivia Foster-Browne Ensemble

Ashley Gilmour Ensemble and Cover Perón

Jack Harrison-Cooper Ensemble

Tyrone Huntley Che (Narrator)

Jordan Isaac Ensemble

Tamsin January Ensemble

Martha Kirby Eva Perón

Gary Milner Perón

Fallon Mondlane Ensemble

Dan Partridge Magaldi

Samuel Routley Ensemble

Toby Seddon Ensemble

Rebecca Wickes Ensemble

You can find out more about the company and their roles in our show programme, available to buy on the doors to the Theatre, Stage Door Reception, Green Room Café, Stage Door Bar or Box Office.

My Visit to See Evita – Communication Sheet

We hope you find this information pack helpful ahead of your visit to Curve. Enjoy the show! If you have any comments on this information pack, please email us on access@curvetheatre.co.uk. For more information about Accessibility at Curve, please visit www.curveonline.co.uk, or call our Box Office on 0116 242 3595. We look forward to welcoming you.

This information pack was created by Lisa Brain, Audiences and Access Co-ordinator and Nicola Allen, Marketing and Access Manager at Curve. Production photography by Marc Brenner.