Directed by
BOB EatOn
SOUVENIR PROGRAMME L I V E R P O O L
L I V E R P O O L
HELLO AND WELCOME TO THIS PRODUCTION OF MICHAEL FRAYN’S NOISES OFF.
I first saw this play back in the 80s when I was working at a theatre in London. I was bowled over by how funny it was and ever since I’ve been in the fortunate position of being able to choose plays to produce I’ve always wanted to do it. But so has everyone else! For the past seven years I have been trying to get permission to put the play on here at the Royal Court but the rights have not been available. There has always been a national tour either happening or about to happen. It is incredibly popular. And for good reason.
audience and we have been able to pull together a brilliant team. We are delighted to welcome ’Allo ’Allo’s Kim Hartman and Corrie’s Tupele Dorgu to the theatre for the first time. Jennifer Bea and Chris Jordan also make their Royal Court debuts and we hope that they have all enjoyed working with us as much as we have with them.
It is a clever play that works on several subtle and sometimes not so subtle levels but through the building up of these levels we have what I believe is one of the funniest plays there is. Definitely one of the funniest I have ever had the good fortune to watch. The show gives a look behind the scenes and everyone involved in theatre will recognise characters and situations from the first half of the show. Hopefully fewer will recognise scenes from the second half!
The key to this show is scripted mistakes - anyone can make theatre look good, but it takes huge amounts of work and talent to make it look this bad!
Good comedy like this doesn’t come easily. It’s a complicated script which needs a great company of actors to make sense of it for it to work for you the
Some faces that you will recognise are Jonathan Markwood and Jessica Dyas from Lennon, Phil Hearne from Council Depot Blues and Danny O’Brien and Stephen Fletcher from a whole host of shows from the last few years. The creative team deserve a mention too. Kate Harvey’s sound design is excellent, Ian Scott’s got the lighting looking great and the set works perfectly. Bob Eaton has directed the show incredibly well – it’s a massive challenge for any director and I couldn’t have asked for better than Bob.
Kevin Fearon Chief Executive
23 SEP / 5 OCT 2014
LIVERPOOLCOMEDYFESTIVAL.COM
MAY THE FARCE BE WITH YOU Michael Frayn charts the progress of Noises Off from its inception in 1977. This play has gone through many different forms and versions. It began life as a short one-acter entitled Exits, commissioned for a midnight matinee of the Combined Theatrical Charities at the Theatre Royal, Drury Lane, on 10 September 1977, where it was directed by Eric Thompson and played by Denis Quilley, Patricia Routledge, Edward Fox, Dinsdale Landen and Polly Adams. Michael Codron thereupon commissioned a fulllength version, and waited for it with intermittent patience. Michael Blakemore, who was to direct it, persuaded me to rethink and restructure the resulting text, and suggested a great many ideas that I incorporated. After the play had opened at the Lyric Hammersmith in 1982, I did a great deal more rewriting, and went on rewriting until Nicky Henson, who was playing Garry, announced on behalf of the cast (rather as Garry himself might have done) that they would learn no further versions. The play transferred to the Savoy Theatre and ran until 1987 with five successive casts. For two of the cast-changes I did more rewrites. I also rewrote for the Washington production in 1983, and I rewrote again when this moved to Broadway. When the play was revived at the National Theatre in 2000 I rewrote yet again. Some of the changes were ones that I’d been longing to make myself – there’s nothing like having to sit through a play over and over again to make your finger itch for the delete key – while many more changes were suggested by my new director, Jeremy Sams. What vicissitudes it has been through in other languages I can mostly only guess. In France it has been played under two different titles (sometimes simultaneously in different parts of the country), and in Germany under four. I imagine that it’s often been freely adapted to local circumstances, in spite of the prohibitions in the contract. In France, certainly, my British actors and the characters they are playing turned into Frenchmen, in Italy into Italians (who introduced a ‘Sardine Song’ between the acts). In Barcelona they were Catalan-speaking actors playing Spanish-speaking characters; in Tampere, in Finland, they were robust northerners speaking the Tampere dialect and playing effete
southerners with Helsinki accents. On the Japanese poster they all appear to be Japanese; on the Chinese poster Chinese. In Prague they performed the play for some ten years without Act Three, and no one noticed until I arrived. Farce seems to gather farce around it. One Christmas in Sicily two different touring productions, one lawfully contracted, one not, like husband and lover in a farce, turned up in Catania at the same time to their mutual surprise; lawsuits followed. In 2000, re-reading the English text that had been in use for the previous 15 years, I discovered a number of bizarre misprints, and I suspect that directors around the world had been driven to some quite outlandish devices to make sense of them. Now the present director, Lindsay Posner, with even more scrupulous scholarship, has discovered a few more, and I don’t like to think how many Roger Tramplemains in the past 11 years have been exiting into the bedroom cupboard and emerging dutifully but inexplicably two lines later from the linen cupboard. This author’s note is adapted from the Methuen text of the play.
ROYAL COURT STAFF Chief Executive Artistic Director Finance Director Assistant Producer Marketing Manager Technical Director Head Chef Finance Officer Front Of House Manager Sales Manager Box Office Manager Costume Supervisor Resident Stage Manager
Kevin Fearon Ken Alexander Kevin Dunn Jess Bolger Iain Christie David Gordon Simon Collard Alison Ward Steve Smith Jamie Jenkin Louise Hurd Marie Jones Mick Bawden
Box Office Assistants Kira Cookson, Danielle Goodfellow, Daniel Kearney, Isabelle Litwin, Sarah Randle, Angela Simms, Katy Skidmore and Rebecca Smith Front of House Stephen Briggs, Collette Burgess, Lewis Edwards, Peter Gornell, Kathy Hutson, Jake Jones, Emma Keig, Sven Key, Christopher Kidd, Ricci Kinsella, Charlene Lim, Melanie Lovett, Hazel Patterson, Siobahn Spear, Adam Thompson, Sophy Vicary, Christina Wiggins and Thomas Wright Stage Door Allan Dodd, John Evans Kitchen David Assall, Billie Chisam, Carl Chisam, Debbie Chisam, Libby Hind, Alicia Harris, Robert Hughes, Eileen Lawless, George Schott, Doreen Uber Cleaners Billie Chisam, Carl Chisam, Debbie Chisam, Gillian Stephenson, Doreen Uber And a big thank you to all of our security staff for their hard work throughout the year
CAST Poppy Norton-Taylor Belinda Blair/Flavia Brent Brooke Ashton/Vicki Gary LeJeune/Roger Tramplemain Dotty Otley/Mrs Clackett Selsdon Mowbray/Burglar Frederick Fellows/Philip Brent/Sheikh Lloyd Dallas Tim Allgood
Jennifer Bea Tupele Dorgu Jessica Dyas Stephen Fletcher Kim Hartman Phil Hearne Chris Jordan Jonathan Markwood Danny O’Brien
COMPANY Director Designer Assistant Designer Lighting Designer Sound Designer / Sound Op Fight Director Stage Manager Deputy Stage Manager Assistant Stage Manager Production Manager Costume Supervisor Chief LX / LX Op Crew Crew Dresser Workshop Manager Workshop Assistant
Bob Eaton Richard Foxton Jocelyn Meall Ian Scott Kate Harvey Philip D’Orléans Elizabeth O’Sullivan Katy Long Snowzie Rose Dave Gordon Marie Jones James Haining Mick Gunnigle Andrew Locke Debbie Fairhead Howard Cooke Mick Bawden
THANK YOU Oldham Coliseum Theatre Forum Studio Theatre, Chester Clwyd Theatr Cymru The New Wolsey Theatre, Ipswich Nomad Associates NOISES OFF was first presented, by arrangement with Michael Codron, at the Lyric Theatre, Hammersmith, on 23 February 1982, and on 31 March by Michael Codron at the Savoy Theatre, London
CAST BIOGRAPHIES JENNIFER BEA Poppy Norton-Taylor Jennifer graduated from The Arden School of Theatre with a BA Hons in Acting. Since graduating she has worked in TV, Theatre and Radio. She is also a writer, her work includes Beside The Seaside which was performed at the Unity Theatre in May with her theatre company Teapot Tantrum. Some stage credits include: Bon Voyage, Weave, Somewhere, Beep (Northern Bullit), Endz (Everyman and Playhouse) Picnic, The Rover and Verma / The Ash Girl. TV/Film Credits include: WPC56 (BBC), Sex and The Chippy (Lime Pictures), The Royal Today (ITV) Be My Baby (Independent) and The Owl and Me and Gymbuddies (Toxteth TV). As well as radio/voiceover work, Jennifer has recently directed various pieces on the north west fringe scene including Pornovision and Honey, Get Over It. She is currently writing a new play to be on early next year and is very much looking forward to performing as Poppy in Noises Off! Enjoy!
TUPELE DORGU Belinda Blair Born and raised in Preston Tupeles love of musical theatre led her to London where she gained her degree at the London Studio Centre. Upon graduating she played Dermah in La Cage aux Folles at the English theatre in Frankfurt. She performed as a commercial dancer and in musicals throughout the UK and Europe before making her West End debut in Mamma Mia! She then landed her first regular television role as Natalie Vance in Merseybeat, followed by Casualty and Doctors before she embarked on a five year stint as Kelly Crabtree (also known as Legs) in Coronation Street. Whilst in Coronation Street she competed on Stars in their Eyes, Soapstar Superstar and performed on An Audience with Coronation Street. She also had the opportunity to sing with numerous big bands at Manchester’s Opera House, Palace Theatre and Bridgewater Hall. TV credits include: All at Sea (CBBC), MI High (CBBC), Trying Again (Sky Living), Preston Passion (BBC), Merseybeat (BBC), The Accused (BBC), Waterloo Road (BBC) Coronation Street (ITV), The Case (BBC), Casualty (BBC), Doctors (BBC), What they did next (Channel 4) She also reached the semi-final of Total Wipeout, where she successfully crossed the infamous Big Red Balls! She competed on Marco’s Kitchen Burnout and Celebrity Come Dine With Me.
Theatre credits include: Teechers (Theatre Royal Wakefield), Educating Rita (Lichfield Garrick), Chicago (UK tour) Mamma Mia! (Prince Edward Theatre, London) La Cage aux Folles (English Theater Frankfurt) Three Minute Heroes, Mother Goose (Belgrade Theatre, Coventry) Hillbrow (Courtyard Theatre, London) Sorceress in Robin Hood (Theatre Royal, Newcastle) and the Wicked Queen in Snow White (Rhyl Pavillion) Theatre credits include: Losing My Penny. Her work also includes voiceovers, ranging from TV and radio adverts to documentaries and corporate videos. Tupele is delighted to be returning to work in Liverpool and in particular with Bob Eaton who she last worked with 14 years ago! She will be returning to Merseyside again at the end of the year to reprise the role of Wicked Queen in Snow White at the Floral Pavillion in New Brighton. To find out more about Tupele, you can visit her website www.tupele.com or follow her on twitter @tupeledorgu
JESSICA DYAS Brooke Ashton Jessica is an actress who is also a multi- instrumentalist. She has performed in variety of different jobs from West End musicals to television comedy. Theatre credits include: Inherit the Wind, I Dont Want To Set The World On Fire (New Vic); Jack and the Giant (Chipping Norton Theatre); Lennon (Liverpool Royal Court); Beauty and the Beast (Stafford Gatehouse Theatre); The Tempest (The Watermill Theatre); Dreamboats and Petticoats (Playhouse, West End and No.1 Tour); Romeo and Juliet (Open-air tour, The Works Theatre Company); Classical and Contemporary Poetry (National Tour). TV credits include: Joanna Lumley’s self directed Little Cracker (Sky 1); Marks and Spencer 125 year commercial; James Corden’s World Cup 2010 (ITV); Fuse (Nickelodeon). Film credits include: Egression (Imaginary Films); The Scorpion (Aesop Films). Radio credits include: Red Star Newport (Radio 4). Training East 15 Acting School
STEPHEN FLETCHER Garry Lejeune Hello all - nice to be back at the shiny new Royal Court. I really hope you enjoy the show. Stephen trained at LIPA. As well as performing, he is also Producer and Director of Life in Theatre Productions in Liverpool. Theatre credits include: A Life in the Theatre, The Sunshine Boys, The Last 5 Years, Mam! I’m ‘Ere! (Life In Theatre Productions); A Streetcar Named Desire, Willy Russell’s Breezeblock Park (Liverpool Playhouse); Eric’s and Dead Heavy Fantastic (Liverpool Everyman); Lennon, Our Day Out, Scouse Pacific, Little Scouse on The Prairie, and Stags and Hens 30th Anniversary Remix (Royal Court, Liverpool); 57 Hours in The House of Culture (The National Theatre Studio); Up on the Roof (Oldham Coliseum / The New Wolsey); Hamlet, Rosencrantz and Guildenstern are Dead and A Midsummer Night’s Dream (Liverpool Shakespeare Festival); Cinderella (Liverpool Empire); Mary Stuart (The Donmar and West End); The Safari Party (The New Vic); Comfort (Old Vic); 7 Stories (Etcetera); 100% Bullet Proof (Soho Theatre); John Godber’s Teechers (Dubai) Betwixt: The Musical (The King’s Head); Top of the Heap / Cassanova Returns (Cardiff Global Search for a new musical Festival); The Wild Party (Edinburgh Fringe); She Love Me (LIPA) and Falsettoland (NSTC/Edinburgh Festival). TV Credits include; Emmerdale, The Liverpool Nativity, BRITZ, All About Me, Kerching, Ricky’s Joke Shop Heartbeat, Hollyoaks and Coronation Street. Stephen is also a regular voice for BBC Radio 4, various awards events including BAFTA, and is a member of the Old Vic New Voices Company. Follow Stephen on twitter @SteFletcher1
KIM HARTMAN Dotty Otley Kim grew up in Stratford upon Avon. After a year as a student ASM at the Belgrade Theatre in Coventry, she attended the Webber Douglas Academy in London for three years. Her early work took her to the Chichester Festival Theatre, repertory theatre in Harrogate, The Bristol Old Vic and The Redgrave Theatre, Farnham. Kim played Helga in every episode of the BBC comedyʻ’Alloʻ’Allo and the ‘Allo ‘Allo Stage Show which toured the UK, Australia
and New Zealand and was a sell out at The Prince of Wales Theatre and The London Palladium for two years. She has also spent a year performing at the Duchess Theatre in the West End in Don’t Dress For Dinner. More recently, Kim played the Headmistress, Miss Gibson, in Daisy Pulls It Off, a No1 UK Tour that saw her daughter, Miranda, playing one of the pupils and previous to that Kim played another teacher, Mrs. Rawlinson, head of science in the BBC TV classic, Grange Hill. During that period she also toured in the comedy show Mum’s The Word . Other theatre credits include Elsie in Dirty Dusting; Doris in Dry Rot ( in which she co starred with her son, Tom ) Margaret in My Mother Said I Never Should; Vera in Stepping Out; Sheila in Relatively Speaking directed by Bob Eaton, Helen in Bedside Manners; Judith Bliss in Hayfever; Jane in Killing Time; Vicky in My Fat Friend; Phillipa James in Double Double; Sarah in Alan Ayckbourne’s Table Manners and Bridget in Amy Rosenthall’s Sitting Pretty. Kim has toured extensively in both the Far and Middle East with Move Over Mrs. Markham and The Maintenance Man she has starred twice at The Raffles Jubilee Theatre, Singapore in two of her favourite farces, Funny Money and A Bedfull of Foreigners, directed by her husband, John Nolan. She has played Josie, the lead character in the modern classic Steaming and Jacquelline in Don’t Dress For Dinner in New Zealand and last year she found herself 200 miles up The Amazon with Herr Flick (Richard Gibson) performing a selection of Flick and Helga cabarets. These sketches and cabarets have also been performed at Arts Festivals and conventions around the UK and Europe. Besides filming ‘Allo ‘Allo and Grange Hill for a total of 13 years, other TV credits include Fifteen Stories High. Miss Jones and Son, The Peddlar, Play for Today, ITV Comedy Playhouse, The Brittas Empire, Casualty, The Kelly Montieth Show, and she has just presented her first TV travel documentary about Norway and the Arctic Circle which is on the Travel Channel. Kim has appeared in numerous television talk and quiz shows, radio drama, and pantomimes where, over the years, she has played everything from Principal Boy to Wicked Queen (her favourite role!). Audio books include: The Worst Street in London; London’s Labyrinth; and Dark City. Directing credits include: A Jovial Crew; The Comedy of Errors; Henry V; and The Cherry Orchard. Married to the actor John Nolan, her son is Tom Nolan, her daughter is Miranda Nolan and she is aunt to film and TV directors Christopher and Jonathan Nolan.
PHIL HEARNE Selsdon Mowbray Hiya, my name’s Phil Hearne. I’m really happy to be back working at the Royal Court. I’ve done a couple of shows here over the years – you may remember Stan, the tall handsome guitarplaying love interest of Sonia in Good Golly Miss Molly. Or you may remember Stan, the tall handsome bass-playing love interest of no-one in particular in Council Depot Blues. It’s good to be back at the Court, and it’s good to be playing someone who isn’t called Stan. I’ve done other theatre stuff in most of the rep venues in the UK and toured endlessly with things like Blood Brothers, which I also did in the West End. I’ve done TV stuff as well: I was the feller who got Ken Barlow sacked in Corrie; I was the copper who nearly arrested Steve McDonald in Corrie; and I was the copper who arrested Terry Duckworth in Corrie. I was recently in the Muppet movie. I was the one who wasn’t made out of felt seen dancing in the background. That was a lot of fun. I’ve just finished writing my first novel. Anyway, hope to see you in the bar after the show. Mine’s a pint of Guinness….
CHRIS JORDAN Frederick Fellowes Chris graduated from The Poor School in 2005 and now lives in Calderdale, West Yorkshire. He is pleased to be working in Liverpool for the first time. Stage work includes Getting On and Beauty and The Beast (York Theatre Royal); Mercutio in Romeo and Juliet (Oxford Shakespeare Company); ‘Dentity Crisis (The Kings Head Theatre); Pick One (The Arcola) and understudying and performing in Hedda Gabler at The Old Vic. Television includes roles in In The Flesh; From There to Here; The Syndicate; plus the usual array of Soap Operas. He will shortly appear on television in the BBC’s next series of Moving On and at Christmas in Victoria Wood’s Tubby and Enid.
JONATHAN MARKWOOD Lloyd Dallas Jonathan originally hails from Southport and attended Mabel Fletcher Technical College in Liverpool. After a stint in the National Youth Theatre as Troilus in Troilus & Cressida he went on to train at the Webber Douglas Academy of Dramatic Art in London. Theatre credits include: In The Midnight Hour (Belgrade Theatre,
Coventry & National Tour); Taming Of The Shrew (Open Air Theatre, Regents Park); The Importance Of Being Earnest (Northampton Royal); Return To The Forbidden Planet (New Vic Stoke); Romeo & Juliet, Private Lives, Keep On Running, Kind Hearts & Coronets, Dick Barton; Special Agent, Twelfth Night, Corpse! (all at The Queens Theatre, Hornchurch) A Midsummer Nights Dream and Comedy Of Errors (both at Ludlow Festival); The Essence Of Love, a new play written and directed by Philip Ayckbourn (Tour); The Mousetrap (West End) and Satin & Steel, Peter Pan and The Hound Of The Baskervilles (Queens Theatre, Hornchurch). At the Royal Court he has appeared in Laurel & Hardy: Sons Of The Desert and Lennon in 2010, 2013 and 2014. His TV appearances include: Hollyoaks, Fresh Meat, Merseybeat, Eastenders, Peak Practice, London’s Burning, Spatz and My Dad’s The Prime Minister. On film his credits include Oscar and Lucinda (Fox Pictures) and Francis Harriman’s film Go With God (Arrondissment Productions), officially selected for both the Dublin & Flathead Lake USA International Film Festivals. Jonathan has directed new writing at The Queens Theatre, Hornchurch and also writes and directs The Hoo-Hah Conspiracy... Secret Cabaret! which has been regularly performed in London. The show, a cross between The Rocky Horror Show and The Mighty Boosh, features his band Jonny Du Bois & The Hoo-Hah Conspiracy with whom he has released three self penned albums, two of which winning Best Album at the JPF Music Awards in the USA. He has just released his debut solo album Welcome To Planet Earth which is available now on iTunes.
DANNY O’BRIEN Tim Allgood Danny O’Brien has become a regular fixture at the Royal Court - this will be his sixth time here. He has appeared in some of the Court’s biggest hits including: Stags And Hens, Lost Soul, Night Collar, The Salon and Bouncers. He has also been travelling around the northwest, most recently playing Bob in Rita, Sue And Bob Too at the Theatre Royal St. Helens. He has also just finished a run of the award winning and critically acclaimed Rainbow Connection at the Unity Theatre. Danny’s other credits include: The Long Shot, The King Of Edge Hill, The Wedding, House Of Anubis, Scrims and Good Cop. He is very excited to be back at the Court and would like to dedicate his performance to his two beautiful daughters Pearl and Edie.
COMPANY BIOGRAPHIES BOB EATON DIRECTOR
RICHARD FOXTON DESIGNER
Bob’s first job was in 1971 as Assistant Director at the Victoria Theatre Stoke. During the mid 1970s he was a member of Alan Ayckbourn’s Scarborough company as actor,
Previous design work for the Royal Court, Liverpool: Eight Miles High, Ladies Day.
director and writer. In the late 70s he was Associate Director of Contact Theatre Manchester and in 1981 became Artistic Director of the Liverpool Everyman. His productions here included Alan Bleasdale’s It’s A Madhouse, his own show, Lennon which subsequently transferred to The Astoria Theatre, London and the Entermedia Theater New York, winning the Sunday Times award for Best Musical of 1986, and the stage musical version of Our Day Out on which he collaborated with Willy Russell. In 1984 he became Artistic Director of the London Bubble Theatre and from 1996 to 2003 he was Director of The Belgrade Theatre Coventry. Bob has written many plays and musicals including Good Golly Miss Molly, Three Minute Heroes and the lyrics for Face. His many collaborations with Sayan Kent include The Good Companions, Limestone Cowboy and Silas Marner. Last year he directed a new musical Soul Sister based on the life and times of Ike and Tina Turner, at the Hackney Empire, which transfered to the West End and is now on a national tour. Bob is delighted to be back in Liverpool and working in the wonderful Royal Court where he has directed Brick Up The Mersey Tunnels, Lost Soul, Good Golly Miss Molly, Two, Stags and Hens – The Remix, On The Ledge, Council Depot Blues, Slappers And Slapheads, Merry Ding Dong, A Fistful Of Collars, Willy Russell’s Our Day Out - The Musical, the hugely successful revival of his own show Lennon, Scouse Pacific, You’ll Never Walk Alone, Little Scouse on the Prairie, Reds & Blues: The Musical, and Bouncers.
Design work elsewhere includes: And Then The Dark, Bedroom Farce, A Passionate Woman, Up on the Roof, Noises Off, Vincent in Brixton, The Price, Chimps, A Family Affair, Double Indemnity (New Wolsey Theatre, Ipswich), Garage Band, Absent Friends, The Winter’s Tale, Beauty & The Beast, Jack & the Beanstalk, Aladdin (Mercury Theatre, Colchester), Takeaway (Theatre Royal Stratford East), Office Suite (Theatre Royal Bath & national tour), Brassed Off (Sheffield Theatres national tour), Blue/Orange; The Country Wife, Queen’s English (Palace Theatre ,Watford), Blonde Bombshells of 1943, Dumbshow, Deathtrap, Stepping Out, Martha, Josie and the Chinese Elvis, Return to the Forbidden Planet, Kes, The Sunshine Boys, Perfect Pitch, On the Piste, Good Golly Miss Molly (Coliseum Theatre, Oldham), Equus, Macbeth, The Miser, Dead Funny (Salisbury Playhouse), The Rise & Fall of Little Voice, Jack & the Beanstalk (Harrogate Theatre), Kvetch (West Yorkshire Playhouse), All My Sons, Neville’s Island, Brassed Off (York Theatre Royal), Things We Do For Love, Death of a Salesman (Library Theatre, Manchester), Desperate To Be Doris, Hector’s House, The Importance of Being Earnest (LipService national tours); The Lighthouse on Shivering Sands (North Country Theatre, tour), Happy Jack, A Kind of Loving (John Godber Co./Wakefield Theatre Royal), Loot, Pub Quiz is Life, Macbeth, The Flags, Ladies Day, Wuthering Heights, 1984, Toast, Up on the Roof, Under the Whaleback (Hull Truck); and over fifty productions for the Octagon Theatre Bolton including And Did Those Feet…, The Crucible, The Caretaker, Four Nights in Knaresborough, Saved, Blood Wedding, A Midsummer Night’s Dream, Dancing at Lughnasa, The Pitchfork Disney. He has twice been nominated for the TMA Design Award & has won the Manchester Evening News design award five times, most recently in 2008 for Oh What a Lovely War (Octagon Theatre). His work was included in the British exhibit at the Prague Quadrennial (1995), he was a judge of the Linbury Prize (1997). Forthcoming work includes: Chicago (Oldham Coliseum Theatre), Sleeping Beauty (Harrogate Theatre).
IAN SCOTT LIGHTING DESIGN Ian has designed the lighting for many shows at the Royal Court including A Nightmare on Lime Street, Our Day Out, Scouse Pacific, On The Ledge, Eight Miles High, Council Depot Blues, Ladies Day and Bouncers. . In 2012 he designed the set and lighting for the Lodestar/Royal Court co-productions of Macbeth and A Midsummer Night’s Dream. Other recent projects: Marco Polo (Bergen National Opera), Where The Wild Things Are/Higgelty Piggelty Pop (Aldeburgh Festival, Los Angeles Philharmonic & Barbican), The Victorian in the Wall (Will Adamsdale/Fuel), The Ugly Spirit (Fittings/ South Bank), Touch Me (Coisceim Dance Theatre), Blok/Eko (The Wrestling School), The 39 Steps (Criterion Theatre) and Reasons To Be Cheerful (Graeae). As an Associate Artist with the experimental theatre company Suspect Culture Ian designed the set and lighting for much of the company’s work including Timeless, Mainstream and Lament.
KATE HARVEY SOUND DESIGN
MARIE JONES COSTUME SUPERVISOR
PHILIP D’ORLÉANS FIGHT DIRECTOR
Kate was born in Blackpool and at the age of 15 went on work experience at Blackpool Opera House.
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.
Philip is a member of the Equity Register of Fight Directors, and of the teaching and examining staff of the British Academy of Stage and Screen Combat. He has worked throughout Europe and America, alongside his regular teaching commitments for RADA, Drama Studio London and other drama schools and universities.
At 16 she was offered the job of lighting operator on Danny La Rue’s summer season show and has enjoyed a career in technical theatre ever since. Shows worked there include Blood Brothers, Dr. Dolittle, Grease, Sunset Boulevard and Boogie Nights. She then spent two years at Stageworks Worldwide Productions designing and operating two pantomimes and working many corporate and conference events. Six months at Butlins in sunny Skegness saw her sound engineer for famous acts such as Slade, Bad Manners, Chesney Hawkes, Sinitta, Right Said Fred and many more. A move to the ocean waves to work as a production technician for Island Cruises let her enjoy four months in Brazil and six months in the Mediterranean before securing a job as production manager for P&O cruises. Mixing sound to the stars all over the world including Jane McDonald, Brian Conley and Petula Clark she then felt it was time to come home. In June 2008 dry land was calling and Kate is now delighted to be working at Royal Court Liverpool where she recently designed Night Collar, Shirley Valentine, Our Day Out - The Musical, Lennon, Scouse Pacific, You’ll Never Walk Alone, Little Scouse on the Prairie, A Midsummer Night’s Dream, Macbeth, Reds And Blues - The Musical and Ladies Day.
She has worked extensively at the Liverpool Everyman and Playhouse and has recently been employed as full time Wardrobe Supervisor. 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 and Ladies Day 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.
Theatre credits include: Dial M For Murder (National Tour); The Djinns of Eidgah (The Royal Court); King Lear (Theatre Royal Bath); To Sir With Love (Royal Theatre Northampton); The Kite Runner, Robin Hood (Nottingham Playhouse); Gaslight, The Widowing of Mrs. Holroyd, Far From The Madding Crowd (New Vic Theatre, Stokeon-Trent); Othello, Midsummer Night’s Dream, Cyrano de Bergerac (Grosvenor Park Open Air Theatre); Corrie! (International Tour); Romeo & Juliet (Theatre Royal Bury St. Edmunds); Peter Pan (Buxton Opera House); L’Isola Disabitata (Royal Opera House International Tour); Henry IV, (parts 1 and 2), God of Soho, The Mysteries, Midsummer Night’s Dream, Macbeth, A New World and Othello (Shakespeare’s Globe); Julius Caesar and I’ll Be The Devil (Royal Shakespeare Company); Simon Boccanegra, Faust and Ariodante (English National Opera); Veneziana, Der Rosenkavalier (Royal Opera House); Swimming With Sharks (Vaudeville Theatre); Cool Hand Luke (Aldwych Theatre); Carrie’s War (Apollo Theatre); Merlin, Robin Hood (Dukes Theatre). Film credits include: Pan (Warner Brothers); The Knife That Killed Me (Universal Pictures).
“An amazing production ”
“All young people need to see this”
Councillor Wendy Simon
@NixonKeri
What do you do when you’re fifteen and live on an estate where you get street cred for being in a gang?
by Maurice Bessman
“This type of innovative theatre is a key resource.” Jane Kennedy
Merseyside Police And Crime Commissioner 2013
6 NOVEMBER 2014 7.30PM £5 / £3 ROYAL COURT LIVERPOOL BOX OFFICE 0870 787 1866 RoyalCourtLiverpoolTrust @TerriersPlay terriersplay.co.uk
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