Welcome To
Hello and welcome to Liverpool’s Royal Court and this performance of Girls Don’t Play Guitars.
The girls are back in town! This show was a hit in 2019, and the original cast of Molly, Lisa, Alice and Sarah are back as the Liverbirds to let you know, they can really shake em down. In this story of pioneering ambition and life-long friendships we discover that the world’s first all-female rock ‘n’ roll band was born in Liverpool. With some band members still in their teens, The Liverbirds went from Mathew Street to the Reeperbahn and became regulars at the Star Club.
Playing blues-tinged rock ‘n’ roll the Liverbirds were a phenomenon in the 60s and mixed it with Jimi Hendrix and Chuck Berry.
Written by Ian Salmon who got the details first hand from original band member and drummer Sylvia Saunders and music journalist Paul Fitzgerald, Girls Don’t Play Guitars is a celebration of youth and determination, close bonds and relationships and without doubt girls playing drums and guitars.
Music and drama specialist Bob Eaton makes a return, directing the show while Beverly Norris-Edmunds ensures everyone moves in step with the Merseybeat providing movement direction. The 6-string set and 60s costumes have been designed by Mark Walters and whether it’s four on the floor or 12 bar blues Musical Director Howard Gray will make certain the beat goes on. Ian Scott and Doug Kuhrt are undertaking light duties while Kate
Harvey ensures the sound is pitch perfect.
Tonight’s Wardrobe is ably supervised by Marie Jones and Jamie Jenkin our Video Designer brings us the AV.
Many of the cast are returning and we are excited that the band is back together. There are two new faces in the line-up: Max Guest and Charlie West who are both making their Royal Court debuts. Boys, say hello to the best theatre audience in the country.
I would like to thank Sylvia Saunders and Mary McGlory for their input and continued support. We’re all honoured to be working with legends.
Get reday. We’re gonna take you on a musical journey from Liverpool to Hamburg and beyond. Grab a drink, take your seat, tap those feet.
And while we do some work to the Courtyard, we’ll be keeping the stalls bar open after the show.
Get ready to hit that beat!
Kevin Fearon
Executive Producer
Liverpool’s Royal Court
Liverpool’s Royal Court presents Girls Don’t Play Guitars
Written by Ian Salmon
Directed by Bob Eaton • Production Concept by Bob Eaton
Original Songs Co-written by Bob Eaton and Howard Gray
Starring Molly-Grace Cutler, Alice McKenna, Lisa Wright, Sarah Workman
Tom Connor, Guy Freeman, Max Guest, Jonathan Markwood, Mark Newnham and Charlie West
Musical Direction and Arrangements by Howard Gray • Designed by Mark Walters • Movement Direction by Beverley Norris-Edmunds Lighting Design by Ian Scott • Associate Lighting Design by Kuhrt Douglas • Sound Design by Kate Harvey • Video Design by Jamie Jenkin
Royal Court Supporters
The Elizabeth Rathbone Charitable Trust
The Eleanor Rathbone Charitable Trust
The John Rayner Charitable Trust Harold Hyam Wingate Foundation
Talent Development
Liverpool’s Royal Court continues on its journey to work towards talent development across the city
There is no doubt Liverpool is renowned for its wealth of talent but we, along with the rest of our city’s theatre organisations and institutions, recognise we need to do more to ensure we are accessible, engaging and aspirational if we are to be truly representative and inclusive of the communities we serve. It is a long-term continuing process and funding is key as is working together with the theatres across the region.
Over the past three years we have laid down the foundations, initiating our plans for meaningful and real change. This includes the theatre’s programming, engagement, accessibility and relationships with artistes, communities, creatives, individuals, institutions, organisations, Schools/FE. We are working towards ensuring our talent development programmes are applicable, realistic and robust.
Listening and engaging in the first instance to a wide cross section of creatives and communities – recognising and taking ownership of our failure to be fully inclusive and to take a proactive approach to ensure there is inclusivity and diversity across the sector
A brief look at a few of our talent development projects so far:
Community
Music AAA (Access All Areas) is a partnership project together with three grassroots organisations: Positive Impact, Capoeira For All, and Catalyst performing arts supported by funding from Youth Music. Children and young people aged 6 – 25 can access free musical instruments, musical theatre, hip hop, dance, singing, drama and performance
Raw Talent
Young people from our youth theatre continue to have access to auditions and employment opportunities – during the past 3 years, 6 young people have been cast in Terriers, written by Maurice Bessman touring to schools and venues across the country.
More recently working with Fury films, 120 young people aged 15 – 25 from across the city took part in audition workshops for the film of Terriers at Fire Fit in South Liverpool, MYA’s Space in Bootle and The Vibe in Huyton. 8 young people will be working with the Director to support the script development.
New Mentor Creatives Scheme
Building on our pilot Mentoring Programme, the new Mentor Creatives Scheme from Liverpool’s Royal Court – in partnership with Shakespeare North Playhouse, Everyman & Playhouse Theatres and Curious Minds seeks to help develop and nurture Global Majority Creatives working right across the artistic sector.
• Mentor Creatives offers
• One-on-One Mentorship
• Goal Setting and Achievement
• Skill Development
• Regular Networking Opportunities
• Continuous Support
The project is supported by PH Holt Charitable Trust and Liverpool BID, find out more on our website
Boisterous Stage Write
Music Access All Areas
Maurice Bessman
Interview with Ian Salmon
Girls Don’t Play Guitars writer Ian Salmon talks to Catherine Jones about bringing the amazing story of The Liverbirds to the stage.
Can you tell us about the background to Girls Don’t Play Guitars?
About eight years ago, my friend Paul Fitzgerald saw a photo on Facebook posted by The Liverpool Nobody Knows Tours.
Paul knows his music; he writes about music. But he looked at this photo with ‘the Liverbirds’ written underneath and thought, who are these girls? And why have I never heard of them?
He did some digging and discovered bassist Mary McGlory had married Frank Dostal, the final owner of the Star Club in Hamburg. In the 1970s he wrote Yes Sir, I Can Boogie, and from the 80s onwards he was a music publisher.
Through him, Paul got in touch with Mary and then wrote a piece about the Liverbirds.
So how did it then become a play?
Paul bumped into Drew Schofield in town one night and said: “I’ve got this story, and I think it needs to be a book.” Drew flicked through it and went: “It’s not a book that mate, it’s a play.” And Paul said: “I don’t know how to write plays, but I know a lad who does.”
I wrote a first draft with the information Paul had and what I could
find online, and then we were lucky enough to go for a meal with Mary and Sylvia (Saunders, the Liverbirds’ drummer) when they were in Liverpool.
What happened then?
We sat down and asked: “What do you think?”
And Sylvia said: “Well, I’m quite upset and annoyed to be honest, because it’s basically the Mary McGlory story and the rest of us are hardly in it.”
So I said: “Tell me what I need to know.” For the next two hours I ate with my left hand and took notes with my right. And from there I worked up another draft.
Describe the experience of developing the show?
The Royal Court wanted Bob Eaton to shape the play because he basically invented gig theatre with Lennon, so I spent a few months on and off working with Bob, just taking it apart and putting it back together.
I never studied (playwriting). I don’t have a theatre background. It was a real education.
I’ve worked with really good directors, but working with someone of Bob’s experience, and having the whole production
team behind it – the AV, lighting, sound, the cast, the musicians…
As soon as you’re in the room with actors you’re like, this is the best job on earth! Why would you do anything else? Everything sounds better than you ever thought it could be. Every moment is so much bigger, and brighter, and louder, and sharper, and more inventive.
And now the ‘Girls’ are back in town!
We’ve got the band back together! And it’s perfect. I never dreamt we’d be able to get all four of the girls again. They work so well as a band – they make sense as a group and they get on so well together too.
What were your expectations when it was originally premiered in 2019?
I expected people to love it, because I knew how great the story was. And I know how great a show this is.
I’m not saying it’s brilliant because I wrote it, it’s brilliant because everybody involved is doing the best work possible at every single level. And it’s got so much love in it from everyone - for the show, for the story, for the subject of the story.
And what about the Liverbirds themselves?
They absolutely loved it. It gave them the attention they should have had in this country. Because as massive as they were in Germany, and across the Continent, and in Japan, they weren’t known in Britain really past the people who saw them tour early on.
Now they’re getting spoken about, with the acclaim they always should have had for who they were and what they did.
It’s now almost 10 years since you were ‘highly commended’ in the Liverpool Hope Playwriting Prize.
I wrote The Comeback Special specifically for the competition. I thought, what would be funny? A psychic who only sees really rubbish ghosts. Which became a psychic who sees one rubbish ghost. Which became a scally who smokes a lot of weed and sees the ghost of Elvis.
I actually got the email to tell me it had been long-listed and the email to tell me it had been shortlisted on the same day, as my brother and I walked to the florist to organise flowers for my dad’s funeral. It was like a sign, it was like light, it was something positive.
So what’s next for you?
As ever, there are things I can’t talk about. But I’ve got a couple I can hint at.
One is a musical set in the 60s. There’s another music-based play that should happen late next year. And I’m currently also working on something else with the Royal Court.
And what about Girls Don’t Play Guitars?
Hopefully take it beyond Liverpool. Stick it in the West End, stick it on Broadway! Tell everybody the story.
Rehearsal
Photographs by Liverpool’s Royal Court
Company
Ian Salmon
Bob Eaton
Howard Gray
Bob Eaton & Howard Gray
Mark Walters
Beverley Norris-Edmunds
Ian Scott
Doug Kuhrt
Kate Harvey
Jamie Jenkin
Marie Jones
Sean Gannon
Stephen Petit
Jamie Haining
Elizabeth O’Sullivan
Alicia Southerton
Snowzie Rose
Martyn Case
Thomas Evans
Liam McGrath
Helena Harvey
Writer
Cast
Molly-Grace Cutler
Alice McKenna
Sarah Workman
Lisa Wright
Tom Connor
Guy Freeman
Max Guest
Jonathan Markwood
Mark Newnham
Charlie West
Val Mary
Sylvia
Pam
Multi-role
Multi-role
Multi-role
Multi-role
Multi-role
Multi-role
Workshop Manager
John Kavanagh
Scenic Art Manager
Jen Baron
Director & Production Concept
Musical Arrangement & Musical Director
Original Songs Co-Writers
Set & Costume Designer
Movement Director
Lighting Designer
Associate Lighting Designer
Sound Designer
Video Designer
Wardrobe Supervisor
Production Manager
Production Assistant
Technical Manager
Company Stage Manager
Deputy Stage Manager
Assistant Stage Manager
LX No 1
AV Programmer
Sound No 1
Sound No 2
Workshop
Scenic Artists
Abbie Jones
Chris McCourt
Thanks to
Gary at Envision
Carpenters
Mike Gray
Shaun Gillespie
Connor McLeod
Barry at Colourcreate
Cast Biographies
Molly-Grace Cutler Val
Molly-Grace Cutler trained at the Mountview Academy of Theatre Arts.
Theatre credits Include: Carole King in Beautiful the musical U.K. tour 2022 (The Curve Theatre Leicester/ Theatre Royal Bath) Olivier award winner 2020 - The Worst Witch UK Tour & West End Vaudeville Theatre (Royal & Derngate/Cackle Productions) Girls Don’t Play Guitars (The Royal Court Liverpool) A Midsummer Night’s Dream & The Great Gatsby (Storyhouse - Grosvenor Park open air theatre Chester) We’ll Live and Die In These Towns (Belgrade Theatre) Priscilla Queen Of The Desert (Queens Theatre Hornchurch) Beauty and The Beast (Queens Theatre Hornchurch) Oxy and The Morons (New Wolsey Theatre Ipswich)
Television credits Include: Timewasters (Big Talk Productions)
Alice McKenna Mary
Alice is so excited to be back in Liverpool and can’t wait to share the story of the Liverbirds with the Royal Court audiences again!
Credits include: Fang in Sleeping Beauty (Theatr Clwyd); Grace in Blonde Bombshells of 1943 (Bolton Octogon/Theatre by the Lake/Stephen Joseph theatre) Robin Hood (Theatr Clwyd) Raising Agents, Red Sky at Night (Mikron Theatre Company); Beauty and the Beast (Theatr Clwyd); Busker in Generation 20 (RSC); Musician in Aidy the Awesome (UK virtual tour); The Panto That Nearly Never Was (Theatr Clwyd); Jack and the Beanstalk (Theatr Clwyd); Mary in Girls Don’t Play Guitar (Royal Court, Liverpool); Scratch in Dick Whittington (Theatr Clwyd); Wendy in Underneath a Magical Moon (Tutti FruttiJackson’s Lane, London, USA tour and Hong Kong); lead singer/ keys in Sensation – Music of the Who (Concert/Bandwagon Productions); Distressed Girl in Derren Brown’s Ghost Train –Project Loud (multi-media/Figment Productions); Ru/Ensemble in Merrily We Roll Along (Yvonne Arnaud Theatre) and Jen in Tracks (workshop/Emma Trow).
Sarah Workman Sylvia
Training: Rose Bruford College (Actor Musicianship)
Recent credits include: Lena in Cinderella (Chester Storyhouse), Dean/Drummer in Sugar Coat (Southwark Playhouse), Rapunzel in Tales of the Brothers Grimm, Drummer Sue in Songs from Across the Sueniverse, Drummer in Dance to the Bone (all Sherman Theatre, Cardiff), Adina in My First Panto: Cinderella Rocks! (The Garage, Norwich) and Cheffie in The Ruff Tuff Cream Puff Estate Agency (Belgrade Theatre, Coventry).
Sarah also recently played drums for British Youth Music Theatre’s production of When We Strike at Southwark Playhouse Elephant.
Sarah plays for all-female, vintage Rock n Roll band the Daisy Chains, all- female roaming acoustic band Wonder of Uke and is also guitarist and vocalist for Ska band Ruder Than U.
Lisa Wright Pam
Training: Liverpool Institute of Performing Arts
Credits: Sunny Afternoon (UK Tour), Girls Don’t Play Guitars (Royal Court, Liverpool), Tales from the Thames (Queens Theatre, Hornchurch), Little Red (The Garage, Norwich), Urban Myths: Scrambled Eggs (Sky Arts TV), Without You - Workshop (Theatr Na Nog, Wales)
Lisa is also a singer-songwriter and is heavily supported by BBC Introducing and was handpicked by BBC 6 Music to play at Latitude Festival. She was also recognised as the ‘Artist to Watch’ by the Nashville Songwriters Association and toured the UK as the supporting artist for a number of country and folk artists including: Cam, Ward Thomas and Phil Vassar.
Tom Connor
Multi-role
Tom’s excited to be back once again at the great Royal Court Liverpool after a successful run earlier this year with Come Together, which he Co wrote with fellow cast member and Beatle Mark Newnham.
Tom’s Theatre Credits Include: Come Together, Royal Court Liverpool; Various, Robot’s Search for Snow! The Storeroom, Paul McCartney & Ray Davies, Girls Don’t Play Guitar, Royal Court; Dandini, Cinderella, Leeds City Varieties; James Campbell, Maggie May, Royal Court; Damage Control, Return to the Forbidden Planet, Devonshire Park Theatre Eastbourne; Flounder, The Little Mermaid, Liverpool Everyman; The White Rabbit, Alice in Wonderland, Chester Open Air; Suki Tawdry/ Ben Budge, Beggar’s Opera, Chester Storyhouse; Sir Cyril of the Wirral, Beauty and the Beast, Liverpool Everyman; Joe Meek/Dave Cooper, Tom: A story of Tom Jones, UK Tour; Lord Alistair Banister, Rapunzel, Liverpool Everyman; Tybalt, Romeo and Juliet, Grosvenor Park Theatre; Simple/Bardolf/Robin, Merry Wives of Windsor, Grosvenor Park Theatre; Coppit/Irvin, Wind in the Willows, Grosvenor Park Theatre; Lloyd, Eye of the Storm, Theatr NaNag; Paul McCartney, Lennon, Royal Court Liverpool; Vic, Carnaby Street, UK Tour; Mugsy, Mods and Rox, Ipswich Wolsey; Cecil, Yesterday, Theatr Clwyd; Rock’n’Roll Panto’s, Theatr Clwyd; Assorted Characters and Impressions, News Revue, Edinburgh Run 2010.
Tom’s TV Credits Include: Paul McCartney, Scrambled EggsUrban Myths, SKY Arts
Guy Freeman Multi-role
Guy trained at Italia Conti Academy of Theatre Arts (2011-2014)
Theatre credits include: Numbskull in Robin Hood The Rock N Roll Pantomime (City Varieties, Leeds), Derek and 1st cover Outspan in The Commitments (UK & Ireland Tour), Buttons in Cinderella (Artsdepot, Finchley), Bill, Harry, Mick Lowe, Brian Epstein & Stephan in Girls Don’t Play Guitar (Royal Court, Liverpool, Richard in Scouse Pacific (Royal Court, Liverpool), Larry Stinkleton in Grandma Saves The Day (New Wolsey, Ipswich), Billy Bungalow in Dick Whittington (Stafford Gatehouse Theatre), Bosun in The Return Of The Forbidden Planet (Upstairs at the Gatehouse), Ensemble u/s Derek and Outspan in The Commitments (UK & Ireland Tour), Perrault in Sleeping Beauty (South Hill Park Arts Centre), Broom in The Sorcerers Apprentice (UK Tour), Matt in Muswell Hill: Happy Birthday
Matt (The Orange Tree Theatre), company member The Natural Theatre Company
Other credits include: Musician in The Runaround Kids (International), Joe/Specialist/Presenter in Minded (Spectrecom Film), Actor/Deviser in Reclaimed (R&D Workshop), and Max in Towers (Sundance Film Festival). For more information about Guy, please visit www.accessuk.agency
Credits include: The Little Prince (Vienna’s English Theatre), Jack and the Beanstalk (Oxford Playhouse), How To Kill Foxes (Drayton Arms Theatre), Snow White (Roses Theatre). Recent graduate of Bristol Old Vic Theatre School (class of 2022).
Jonathan Markwood Multi-role
Jonathan is delighted to be back at the Royal Court. Past shows here include Noises Off, Lennon, Bingo Star, Laurel & Hardy Sons Of The Desert & Girls Don’t Play Guitars
Theatre includes: One Man Two Guvnors (New Vic Theatre) Cinderella (Derby Playhouse) Votes For Women (New Vic Theatre) The Lost Boy (Theatre In The Quarter) Our Gracie (Oldham Coliseum & New Vic) Dr Prospero in 25th Anniversary of Return To The Forbidden Planet (No. 1 Tour), The Ragged Trousered Philanthropists (Bussey Building, London), Satin & Steel, Peter Pan, The Hound Of The Baskervilles (Queen’s Theatre, Hornchurch) Taming Of The Shrew (Open Air Theatre, Regents Park), The Importance Of Being Earnest (Northampton Royal) The Mousetrap (St Martins Theatre, West End, London), A Midsummer Night’s Dream and Comedy Of Errors (both at Ludlow Festival) Charley’s Aunt (No 1 Tour) In The Midnight Hour (Belgrade Theatre, Coventry & No.1 Tour) Return To The Forbidden Planet (New Vic Stoke) Romeo & Juliet, Private Lives, Keep On Running, Kind Hearts & Coronets, Twelfth Night and Corpse! (all at The Queen’s Theatre, Hornchurch).
TV appearances include: Peaky Blinders, Coronation Street, Doctors, Home Fires, Tina & Bobby, DCI Banks, Hollyoaks, Fresh Meat, Merseybeat, Eastenders, Peak Practice, London’s Burning, Spatz and My Dad’s The Prime Minister. On
Cast Biographies
film his credits include Oscar and Lucinda (Fox Pictures) and the lead role of David Taylor in Francis Harriman’s film Go With God (Arrondissment Productions) for which he won Best Actor at the Global Revolution Film Festival, New York.
Jonathan is an award winning songwriter and his band HooHah Conspiracy are featured by BBC Music Introducing on BBC Sounds with a live session featuring songs from their critically acclaimed album ‘Television For Trees’, available on Spotify, Apple Music and selected stores of HMV. He has also composed songs and music for theatre productions Charlie’s Angel and Romeo & Juliet and wrote and directed the show Hoo-Hah Conspiracy Secret Cabaret at The Rosemary Branch Theatre and Queen’s Theatre in London.
Mark Newnham Multi-role
Acting Credits Include:
Robot’s Search for Snow (The Storeroom, Letchworth), Sunny Afternoon (UK No.1 Tour), Return to the Forbidden Planet (25th Anniversary UK Tour), Lennon, Two Of Us (Liverpool’s Royal Court), All or Nothing (The Vaults & West End), Cinderella (Medway Theatre, Chatham), Cinderella Rock and Roll Panto (New Wolsey Theatre, Ipswich), Bananaman (Southwark Playhouse), Oxy and the Morons (New Wolsey, Theatre Ipswich), Cinderella and the Beanstalk (Sleeping Trees Theatre 503), Jack and the Beanstalk, Bouncers, A Passionate Woman (Queens Theatre, Hornchurch), Up in the Attic (Floods of Ink), Horrible Christmas (Birmingham Stage Company), Last Five Years (1826 Productions, Brighton Fringe), A Real Mans Guide to Sainthood (Milk Presents... UK Tour), The Curators Daughter (Trailblaze Theatre), Moon and Genie, Scrub a Dub (Half Moon Theatre), Tiny Tempest (Mini Mall Theatre Company). Composing and Writing Credits Include: Cinderella and the Beanstalk (Sleeping Trees & Theatre 503), Party (Half Moon Theatre), Cat-Astrophic Adventures (Half Moon Theatre & Apples and Snakes), Robot’s Search for Snow (Singing Cactus).
Other Credits Include: Voiceover BBC (Radio 6 Music), Eastenders (BBC), Ant and Dec’s Saturday Night Takeaway (ITV).
Charlie West
Multi-role
Charlie is an Edinburgh based actor and musician and trained at Edinburgh Napier University.
His recent work includes the US tour and Off-Broadway revival of The Strange Undoing of Prudencia Hart (Double M Arts/Royal Lyceum Theatre Edinburgh). He also originated the role of Henry in the National Theatre of Scotland’s musical stage adaptation of Peter Mullen’s 1998 cult-hit film Orphans. He co-composed the score for the world premier of Jo Clifford’s War in America and has toured across the UK as a musician featuring on various albums and singles.
Other Credits Include: Ceilidh - A New Musical (Noisemaker Productions), Small Acts of Love (Citizen’s Theatre/National Theatre), A Christmas Carol (Dundee Rep), Battery Park (Sleeping Warrior), An Edinburgh Christmas Carol (The Royal Lyceum Theatre, Edinburgh), The Sunderland Story, Celtic The Musical (Alterean Media), A War of Two Halves, Sweet FA (This is my Story Productions), The Cheviot, The Stag, and the Black, Black Oil (National Theatre of Scotland), Thread (Kick The Door), Jock’s Jocks (Celtic Connections), A Night at Stobbs (New Celts Productions), Sea Changes, Whit Aboot the Wimmin? (Citadel Arts), Lysistrata, The Threepenny Opera (The Attic Collective).
by Helen Serafinowicz
Company Biographies
Ian Salmon Writer
Ian Salmon became a playwright after a near thirty year career in music retail.
In the decade since he first entered a rehearsal room with actors and decided this was what he actually wanted to do with his life all along he has become known in Liverpool theatre circles for the plays Those Two Weeks (Unity Theatre, Epstein Theatre), The Comeback Special, Whatever Happened To Billy Kenny (both at the Royal Court Studio), Venus Rising (Hope Street Theatre), A Brief Conversation About The Inevitability Of Love (Liverpool Theatre Festival) and, most obviously Girls Don’t Play Guitars which he’s delighted to have at the Royal Court for its second production here.
His book on Jurgen Klopp’s first season at Liverpool Football Club They say Our Days Are Numbered is still available on Amazon and he is a regular contributor to the acclaimed podcast The Anfield Wrap.
He is currently working on plays for 2025 and 2026. Football and music may be involved.
Bob Eaton Director
Production Concept and Original Songs
In over 50 years making a living in theatre, Bob has directed something like 200 productions, and written or co-written over 50 shows, many of them involving rock & roll. In 1981, as Artistic Director of the Liverpool Everyman, he wrote and directed Lennon, the world’s first professional actor/musician show, which transferred to Off Broadway and then to the West End. Other productions include Good Golly Miss Molly, at the New Vic and Arts Theatre London, Three Minute Heroes, the Coventry Two Tone musical, and Willy Russell’s Our Day Out. For the last eighteen years he has been heavily involved here at The Royal Court, directing many shows, including Dave Kirby’s Brick Up The Mersey Tunnels, Alan Bleasdale’s On The Ledge, and the musical Maggie May which he wrote with Sayan Kent.
Howard Gray
Musical Director & Musical Arrangemnt Original Songs
For the Royal Court, Howard has been the Musical Director for Homebaked, Lennon, Our Day Out, You’ll Never Walk Alone, Eight Miles High, Sons Of The Desert, Council
Depot Blues, Reds And Blues, Brick Up The Mersey Tunnels, The Scouse Nativity, Maggie May, The Scouse Cinderella and Scouse Pacific amongst many others. He has also directed two Royal Court Christmas shows Pharaoh ’Cross The Mersey and Scouse Of The Antarctic and subsequently tours of One Night In Istanbul and Celtic The Musical
He has been associate artist at the Octagon Theatre in Bolton and was musical director for Blonde Bombshells Of 1943, a co-production with Hampstead Theatre, which won the Manchester Evening News Best Production for 2006. The show has subsequently toured nationally and internationally.
Other work at the Octagon includes: Looking For Buddy, Little Voice, Once Upon A Time In Wigan, Oh What A Lovely War, The Song Of Singapore, Danny, Champion Of The World, and I Just Stopped By To See The Man
At the Coliseum Theatre in Oldham: Bread And Roses, The Ladykillers, Our Gracie, Close The Coalhouse Door, Martha, Josie And The Chinese Elvis, Dick Barton Special Agent, Union Street, Women On The Verge Of HRT, Private Lives, Feed, The Road To Nab End, Sweet Charity, and Brassed Off. Also a hatful of rock’n’roll muiscals and pantomimes.
At the New Vic in Stoke: A Taste Of Honey, The Admirable Crichton, and Spring And Port Wine amongst many others.
Other work includes any number of pantos at the Liverpool Everyman and Harrogate Theatre.
Howard has worked on two of Dave Kirby’s films, Fifteen Minutes That Shook The World and Reds And Blues.
Plus productions at Opera North, the West Yorkshire Playhouse, Royal Exchange, Theatre Clywd, Coventry Belgrade, Worcester Swan, York Theatre Royal, Lancaster Dukes, Live Theatre Newcastle and Stephen Joseph Scarborough.
Howard is the creative director of Alterean Media.
Mark Walters Set & Costume Designer
Mark was nominated for an Olivier award in 2023 for his designs on Jack and the Beanstalk at the London Palladium. He also went on to win best set design at the Great British Pantomime awards for his design of Beauty and The Beast earlier in the year.
In 2005 Mark was appointed Head of Design at the Queens Theatre in Hornchurch Working alongside Olivier Award winning Artistic Director Bob Carlton on over thirty productions, these included plays, musicals and the annual pantomime. During his time here he has also worked with writer and director Chris Bond
on his play Sweeney Todd. The Heather Brothers on their new musical Camp Horror, and was nominated for best set design on a new actor musician version of The Rocky Horror Show with Richard O Brian.
In 2008 Mark was also appointed Resident Designer at The Royal Court Theatre in Liverpool where he has designed over twenty productions to date. During his time here he worked closely with writer Willy Russell on his shows, Shirley Valentine, Stags and Hens the Re Mix, and a new version of Our Day Out the musical.
Other set and costume designs include, Hot Flush (UK Tour), Our House (UK Tour), The Little Shop of Horrors (Birmingham Rep). Hormonal Housewives (UK Tour). Twinkle Little Star (York Theatre Royal, UK Tour). At The Gates Of Gaza (The Door Birmingham Rep, UK Tour). Jack And The Beanstalk and Dick Whittington (Nottingham Playhouse). Little Shop of Horrors, Mods And Rox and Jack and the Beanstalk (New Wolsey Theatre Ipswich). Straight And Narrow, Simply The Best and Aladdin (Oldham Coliseum Theatre). Krapps Last Tape (UK Tour), Empty Bed Blues (UK Tour), A Different Way Home and A Visit From Miss Prothero (Lakeside Theatre Nottingham). I Do, Blue Eyed Sole Dance Co (UK Tour). Park Avenue Cat (Arts Theatre London). Hound of the Baskervilles, Dick Whittington, Jack and the Beanstalk and Cinderella (York Theatre Royal). Benidorm Live (UK Tour). Peter Pan (London Palladium)
Mark has recently designed the Magical Musical Market, a new children TV show for Cheeky Chimps Tv and also joined ITV and Lunar Cinema to Design Love Island the experience
Other recent designs include, Stratagem the Alan Partridge Arena Tour and has designed the UK Tour of Strictly Ballroom working with director Craig Revel Horwood.
Beverly Norris-Edmunds Movement Director
For the Royal Court: The Vernons Girls,Thong for Europe, Scouse Trap, YNWA, Scouse Sleeping Beauty, Selection Box, Maggie May, Scouse Snow White, Girls Don’t Play Guitars, Scouse Pacific, Lost Soul 2, Scouse Nativity, Golden Oldies, The Royal, Father O’Flaherty Saves Our Souls, Sex in Suburbia, Canoeing for Beginners, Bouncers, Special Measures, Our Day Out The Musical by Willy Russell (premiered 2009 and 2010), Ladies Night, Good Golly Miss Molly, You’ll Never Walk Alone, Dirty Dustin’, Nightmare on Lime Street, Little Scouse on the Prairie, Brick up the Mersey Tunnels 1 and 2, Merry Ding Dong, Slappers and Slap Heads and Reds ‘n’ Blues.
Recent choreography includes: One Man Two Guvnor’s, A Leap in the Dark, The Nutcracker, Astley’s Astounding Adventures, The Card ( New Vic Theatre), The Great Gatsby and Pride and Prejudice (Story house Chester)
Other Choreography includes: Marvelous (Soho Place London and New Vic Theatre), Tom Dick and Harry ( Alexandre Palace London and New Vic Theatre), The Worst Witch - Olivier Award winner 2020 for Best Family Show, (Vaudeville Theatre West End, UK Tour and Royal and Derngate Theatre Northampton), Around the World in 80 Days premiered at The New Victory Theatre on Broadway New York after It’s UK Tour starting at The New Vic Theatre (Newcastle -under-Lyme).
Over 50 productions for The New Vic. Including: Alice in Wonderland, The 39 Steps, The Borrowers, Coppellia A Mystery, Sweeney Todd, Oliver and Amadeus
For Northern Broadsides and Touring: Hard Times, For Love or Money, Loves Labours Lost, Much Ado about Nothing and Cyrano (co-production with New Vic)
Oldham Coliseum: Over 50 Productions including, Oh What A Lovely War, Chicago (MEN Theatre Award Winner for Best Ensemble) Stepping Out, Sweet Charity, Laurel and Hardy, Blues in the Night, From a Jack to a King.
Touring credits include: Return To The Forbidden Planet, Carmen
TV credits include: Disney’s The Evermoor Chronicles, Coronation Street, Hollyoaks, CBeebie’s The Magic Door, Butterfly, Sunny D, Fernando Torres Nike Commercial, September Song, Brookside and the feature film O Jerusalem.
Beverley has also choreographed numerous productions for The Royal Exchange Theatre Manchester, Liverpool Everyman and Playhouse theatres, Bolton Octagon, Hull Truck Theatre, West Yorkshire Playhouse, Birmingham Rep, Liverpool Empire Theatre, Belgrade Theatre Coventry, Stephen Joseph Theatre Scarborough, Haymarket Theatre Basingstoke, Harrogate Theatre, New Perspective Theatre company, Claybody Theatre Company, Imaginarium Theatre Company and for the award winning Tmesis Theatre.
Ian Scott
Lighting Designer
Trained at Mountview.
Productions for the Royal Court include: Scouse Pacific, Maggie May, The Miracle of Great Homer Street, The Royal, The Scouse Nativity, Lonesome West, Down The Dock Road, Come Together, Two Of Us, Haunted Scouse, Boys From The Blackstuff and in co-production with Lodestar and the
Company Biographies
Liverpool Shakespeare Festival; Macbeth and A Midsummer Night’s Dream.
Other theatre credits include: Much Ado About Nothing (Sheffield Crucible and Ramps On The Moon); ¡Carpa!, The Hooley and Xanadu (Giffords Circus); By The Waters of Liverpool (Pulse Records); Up ‘n’ Under and Frozen (fingersmiths); Reasons To Be Cheerful, Peeling and Blasted (Graeae); Duet for One (Birmingham Rep; Lee Dean & Daniel Schumann); A Skull in Connemara and All My Sons (Nottingham Playhouse); Marco Polo and Messiah (Bergen National Opera); Fish Eye (Theatre Alibi); The Solid Life of Sugar Water (Graeae; Theatre Royal, Plymouth; National Theatre); Owen Wingrave and Where The Wild Things Are (Aldeburgh Festival); Fawlty Towers Live (Roslyn Packer Theatre, Sydney); Flat Stanley (Polka; West Yorkshire Playhouse); The Drummer Boy of Waterloo and The Happy Prince (Jubilee Opera); The 39 Steps (Criterion Theatre); Our Friends Up North (Northern Stage); The Joke, The Summer House and The Victorian in the Wall (Will Adamsdale; Fuel); My Name is… (Tamasha); Oh! What a Lovely War and Frogs (National Theatre); Curlew River (White Light Festival, New York; UCLA Berkeley; St. Giles, Barbican); Animal Farm (West Yorkshire Playhouse) and Observe The Sons Of Ulster Marching Towards The Somme (Abbey Theatre, Dublin).
Douglas Kuhrt
Associate Lighting Designer
Douglas has recently lit: Unfortunate (We Are Fat Rascal); Robin Hood and the Babes in The Wood (Oldham Coliseum); Strange Tale (Imaginarium, Shakespeare North); Masquerade (Epstien) Robin Hood (Liverpool Everyman); Peter Pan (Eden Court, Inverness); Greeks (Unicorn); Bingo Star and The Netherely Hillbillies (Liverpool’s Royal Court).
Other credits include: A Midsummer Night’s Dream, The Tempest, Puss in Boots (CBeebies); The Pitmen Painters (The Duchess Theatre, National Theatre and Broadway); Cinderella (Eden Court, Inverness); A Christmas Carol (Liverpool Playhouse); The Importance of Being Earnest (Lawrence Batley Theatre); Stiletto Beach (Queen’s Theatre, Hornchurch); Two Pence to Cross The Mersey, Lennons Banjo (Epstein); They Don’t Pay, We Won’t Pay (Northern Broadsides); I Told My Mum I Was Going On An R.E. Trip (20 Stories High); The Broke N Beat Collective (Theatre Rites/20 Stories High); 19 × Rock N Roll pantos (Liverpool Everyman); 7 × Pantos (Oldham Coliseum); Last Of The Duty Free, Black Coffee (Bill Kenwright Ltd); Black, Whole (20 Stories High); The Rise And Fall Of Little Voice (Hull Truck Theatre); Pinocchio (Polka Theatre); Road Movie (Starving Artists), Educating Rita (Citizens Theatre, Glasgow); Geoff Dead: Disco for Sale
(Live Theatre, Newcastle); Depth Charge (Gecko Theatre); The Deranged Marriage (Rifco); Tom, Dick and Harry (Duke of York’s Theatre, London); Zipp! (Duchess Theatre, London); Fascinating Aida (Theatre Royal Haymarket); Home and Beauty (Lyric Theatre, London); Dreaming (Queen’s Theatre Shaftesbury Avenue, London) and Naked Justice (West Yorkshire Playhouse).
Kate Harvey Sound Designer
A list of sound credits include:
Corporate/Outdoor: Labour, Conservative, NUT, TUC and many more conferences. Various exhibitions. Symphony in the Park (Hoghton Tower) Liverpool Theatre Festival (Bill Elms Productions).
TV: Stan James World Match Dartsplay (Sky Sports), Strictly Ballroom (ITV), Danny La Rue (BBC), Spirit of Shankly (Granada DVD).
Cruises: P&O World Cruises, Island Cruises, Celebrity. Arena: Hot Ice (Stageworks Worldwide Productions); You’ll Never Walk Alone (Alterean Media and Liverpool FC).
Music: The Christians, Chesney Hawkes, Sinita, Slade, Bad Manners, Toyah, Limahl, Cream UK Tour, Petula Clarke, Bobby Crush, East 17, Liberty X, Jane McDonald, Coldplay.
Comedy: Jason Mansford, Peter Kay, Roy Walker, Norman Wisdom, Jim Bowen, Brian Conley, Brendan O’Carroll, Paddy McGuiness.
Live Theatre: Aladdin and Sleeping Beauty (King Georges Hall, Blackburn); Mystique (Stageworks); Original TV Comedians (Blackpool Opera House); Paul Zerdin (Paradise Room Blackpool); Flags (Manchester Exchange); Mam I’m ’Ere (Life in Theatre); Eight Miles High, Council Depot Blues, Bouncers, Night Collar, Our Day Out, Shirley Valentine, Reds and Blues, Lennon, Noises Off, Canoeing for Beginners, Lost Soul, Golden Oldies, The Royal, Scouse Nativity, Girls Don’t Play Guitars (Royal Court Liverpool); Twopence To Cross The Mersey and By The Waters of Liverpool (Pulse Records); Shout! (Max Emmerson Productions); Out of Order and It Runs In The Family (Ray Cooney Comedy Company); Bang Bang (A production for John Cleese at Mercury Theatre, Colchester); Omnibus (Unity Theatre); Judy & Liza National Tour (Produced by Royal Court Liverpool); A Midsummer Nights Dream (Filter Theatre Company/Lyric Hammersmith); Grimm Tales (Dukes Theatre Lancaster).
Marie Jones
Wardrobe
Supervisor
Marie studied fashion and then moved on to theatre costume interpretation at Mabel Fletcher College. Marie’s work as a freelance costumier has included costumes for Oldham Coliseum, The Royal Exchange, West Yorkshire Playhouse, Jimmy McGovern’s film Liam, Beyond Friendship for Mersey Television and the many pantomime dames who have appeared on the Everyman stage.
She has worked extensively at the Liverpool Everyman and Playhouse and has recently been employed as full time Wardrobe Supervisor at the Royal Court. Most recently Marie’s work at the Everyman and Playhouse has included: Much Ado About Nothing, The Electric Hills, The Flint Street Nativity, The Tempest, Unprotected, Billy Liar, Who’s Afraid of Virginia Woolfe, Urban Legend, Fly, Breezeblock Park, The Entertainer, Still Life And The Astonished Heart, Ma Rainey’s Black Bottom, The Anniversary, Dr Faustus, The May Queen, Cruel Sea and All My Sons. Marie’s other credits include: Brick Up The Mersey Tunnels, Lost Soul, Good Golly Miss Molly, Stags and Hens - The Remix, On The Ledge, Misery, Eight Miles High, Council Depot Blues, Night Collar, Dirty Dusting, Shirley Valentine, Our Day Out - The Musical, The Salon, Funny Money, Merry Ding Dong, A Fistul Of Collars, Lucky Numbers, Lennon, Scouse Pacific, You’ll Never Walk Alone, Little Scouse on the Prairie, Reds And Blues - The Musical, Ladies Day, Bouncers, Scouse Of The Antarctic, Pharaoh ‘Cross The Mersey and Down The Dock Road for Royal Court Liverpool, Brouhaha International Street Festival, Working Class Hero on the recent Imagine DVD, Costume Supervisor for many shows at LIPA, The Splash Project at MYPT and Twopence To Cross The Mersey at the Liverpool Empire.
Jamie Jenkin
Video Designer
Jamie is the in-house graphic and video designer at Liverpool’s Royal Court. Starting as marketing assistant at the theatre in 2005, he has been part of the Royal Court since it’s rebirth as a theatre in 2006. He now designs artwork for all Royal Court productions alongside working on video content for the Royal Court stage and beyond.
Video Designs for Theatre include:
Alan Bleasdale’s Boys From The Blackstuff by James Graham, A Thong For Europe, Willy Russell’s Our Day Out - The Musical, A Fistful Of Collars, Lennon, Ladies Day, Hitchhikers Guide to Fazakerley, Ladies Night, Canoeing for Beginners, The Scouse Nativity, Father O’Flaherty Saves Our Souls, A Miracle On Great Homer Street, Home, Going Halves, The
Royal, The Scouse Cinderella, My Fairfield Lady, Bingo Star, Two Of Us, Royal Court Selection Box, Macca & Beth, The Scouse Sleeping Beauty, The Menlove Avenue Murder Mystery, The Scousetrap, The Scouse Jack & The Beanstalk, The Scouse Dick Whittington, Haunted Scouse, Sisters Of Mersey, The Netherely Hillbillies, Come Together and Girls Don’t Play Guitars (Liverpool’s Royal Court); Masquerade, Knee Deep In Promises, Hey Bunny Get Loose, Stocking Fillers and Cosmic (Liverpool’s Royal Court Studio); Cured (Liverpool’s Royal Court in association with DaDaFest & Unlimited); The Dream Team and VR Family (Liverpool’s Royal Court Youth Theatre); Macbeth and A Midsummer Night’s Dream (Liverpool Shakespeare Festival); Scouse: A Comedy Of Terrors (Dome Liverpool); Judy & Liza (National Tour); YNWA (Alterean Productions, international tour); The Big I Am (Liverpool Everyman); Celtic The Musical (Alterean Productions, Pavilion Theatre Glasgow and SEC Glasgow); Something About George (Something About Productions, Liverpool Philharmonic Hall and national tour); The Salford Docker (Salford Community Theatre, Lighthouse Salford); Our Country’s Good (Hope St Theatre); and Peter Pan (Storyhouse Chester). Jamie was also Sound Designer on Hey Bunny Get Loose, Offered Up, Stocking Fillers and Cosmic (Liverpool’s Royal Court Studio) and Our Country’s Good (Hope St Theatre).
Royal Court Staff
Executive Producer Kevin Fearon
Chief Executive Gillian Miller
Head of Finance & Administration Gary O’Connor
Creative Producer Jess Bolger
Head of Marketing Kofi Ohene-Djan
Head of Operations Ailsa Morris
Executive Chef David Assall
HR & Finance Manager Alison Ward
Graphic Designer & Brand Manager Jamie Jenkin
Assistant Producer Clare Carlucci
Marketing Manager Iain Christie
Workshop Manager John Kavanagh
Social Media Officer Clara Mbirimi
Head of Technical & Production Sean Gannon
Resident Stage Manager Andrew Lock
Scenic Art Manager Jen Baron
Chief LX Jamie Haining
Box Office & Sales Manager Lauren Macauley
Assistant Box Office Manager Laura Lees
Head of Community Engagement Miriam Mussa
Well Being Training Manager Maria Schumann
Costume Supervisor Marie Jones
Finance Administrator Izzie Litwin
Venue Administrator Phil McLoughlin
Youth Theatre Coordinator Vannessa Park
Later Life Coordinator Jay McWinen
Assistant Producer - Talent Development Harvey Robinson
Daytime Technician Gary Currin
Studio Technician Phil Dickinson
LX Technician Martyn Case
HR & Payroll Administrator Abishek Devadas
Executive Assistant Joe Morris
Box Office Assistants
Erica Drummond, Finn Goulden-Jennings, Carl Lees, Scarlet Lees, Anna Miller, Pat O’Neill, Susan Segar, and Angela Simms
Fire Officer Sven Key
Stage Door Allan Dodd
Kitchen
Head Chefs Kyle Wardale
Chefs Thomas Alexander, Daniel Ambrose, Billie Chisam, Jay Quinn, Josh Eglin, Harrison Mclaughlin, Jake Stephenson, Jack While and Nick Watson
Kitchen Porters Hezekiah Abramson, Ryan Charnock, Debbie
Chisam, Louise Dodd, Luke Dunn, Jackie Kirton, Harry Lawlor and Ellis McNeil
Front of House
FOH Manager Kathy Hutson
Assistant FOH Managers Paul Imrie and Brendan Wright
Floor Supervisors Michael Hall and Katie Sherman
Front of House Staff Hebron Abraha, Beth Baccino, Unisa
Bangura, Jordan Barkley, Hazel Bawden, Jacob Bee, Cameron Brown, Colette Burgess, Denise Byrne, Louis Carney-Smith, Sinead Cullen-Barret, Azize Dia, Holly Evans, Charlotte Freyne, Michael Hall, Lauren Heywood, Samantha Hunter, Lily Hutson, Leighton Jenkins, Callum Johnstone, Elizabeth Kendrick, Charlotte Kendrick Jones, Abbie Kenworthy, Raia Kiernan, Cherry Kim, Takunda Kudzunga, Hansol Lee, Phil Lyne, Sam Massen, Lukas Matuzevicius, Faye McCutcheon, Phil McLoughlin, Alison Myers, Aiden Scott, Joseph O’Neil, Jamie Peacock, Jake Pendleton, Emma Phythian, Declan Redmond, Bradley Richards, Katie Sherman, Charis Stead, Keira Tann, Chloe Thorpe, Jasmin Ward, Mohan Welstand-Keryk, Leah Whitty-Massey and Samantha Woolley.
Cleaners
Cleaning Supervisor: Debbie Chisam, Billie Chisam, Joanne Kinsella, Claire Wilson and Julie Wright.
And a big thank you to all of our freelance and security staff for their hard work throughout the year.