Romeo & Juliet Programme - 2023

A Lyric Theatre Production

BY WILLIAM SHAKESPEARE ADAPTED BY ANNE BAILIE

Dear Audiences,

Thank you so much for attending our brand-new production of Romeo and Juliet by William Shakespeare. It is the 25th Lyric production of a Shakespeare play on Ridgeway Street, the first in ten years and remarkably only our third production of Romeo and Juliet, the first was in 1951 and the second in 1971! As they say, there has been a lot of Lagan water under the King’s Bridge since that time.

Romeo and Juliet is one of the truly great timeless classics of theatre. For me, it is the perfect play and about how fleeting and precious our time here is. The whole thing is deliberately packed into such a short time frame it threatens to explode. Romeo and Juliet fall in love instantly, marry early the following morning and are literally torn apart by their respective warring tribes hours later. So, a play about the conflict between youthful passion and aged experience, loyalty and freewill, conformity and rebellion may have been too on the nose for a place tearing itself apart and then learning to have peace with itself.

I am delighted we have embarked on this journey once again. Shakespeare offers actors and audiences a chance for re-invention, creative thinking, and a dance to the music of time. It is directed by our brilliant Head of Creative Learning, Philip Crawford, and after helming so many wonderful Drama Studio productions it’s a joy to see him get his professional directing spurs on again for such an epic. He follows in the tradition of Lyric legend the late Sam McCready who was a wonderful teacher and director of young, vibrant talent and who had a special affinity for the work of Shakespeare. We recently won a UK Theatre award for Excellence in Arts Education for the impact our Drama Studio has made in the lives of so many young people, and it is fantastic that 8 actors, which is half of the cast you will see today, honed their craft through this incredible programme.

It is 25 years since the Good Friday / Belfast Agreement and our next production will be a new play by master playwright Owen McCafferty who will examine the days and hours leading up to the signing of this historic agreement. I hope you can join us for that too.

Coming up Martin McDonagh’s breakthrough classic, The Beauty Queen of Leenane, gets a fresh makeover in a new co-production with the fantastic Prime Cut Productions. Then our production of Good Vibrations takes over the Grand Opera House before moving on to New York.

We recently launched Lyric+, a membership scheme which offers our audiences more ways to get closer to the stage, save money and enhance their experience to the theatre. It’s had a fantastic response already, and we are very grateful to all for your continued support.

Here’s to a great and happy year for us all.

Jimmy Fay Artistic Director/Executive Producer

“I HOPE WE HAVE MANAGED TO BALANCE THE DIFFERENT ELEMENTS OF THE STORY: TO EXPLORE THE PASSION OF FIRST LOVE AND THE EXCITING REPERCUSSIONS OF THAT, BUT ALSO TO URGE YOUNG PEOPLE (IN THE WORDS OF A CURRENT CAMPAIGN) TO JUST WAIT BEFORE THEY TAKE DRASTIC AND IRREVERSIBLE ACTION”

DIRECTOR’S NOTE

Romeo and Juliet is arguably one of the best known plays in Shakespeare’s canon: a story many of us think we know very well, but one which can still surprise us in the details. One of the sources for the play is a 16th century poem by Arthur Brooke (The Tragical History of Romeus and Juliet) whose story, set over a period of 9 months, acts as a warning to children of what might happen if they don’t obey their parents. While Shakespeare’s version of the tale does the opposite – rebuking parents for ignoring their children’s wishes – it is the timescale which is interesting and salutary. Romeo, who is pining for another girl at the time, meets Juliet on a Sunday evening and they fall instantly in love. By Thursday of that same week, the young couple have married, been separated by circumstances and then tragically taken their own lives.

From the outset of this production, I wanted to avoid any clichéd analogy between the feuding families and the sectarian politics of Northern Ireland. The actual cause of the ancient grudge that breaks to new mutiny is neither here nor there; whatever it is, the idea of setting it between rival fashion houses gave us scope to exploit the modern setting in the city of Verona and inspire engaging and visually exciting design elements in the production. The idea of recreating a hot Italian summer here in Belfast in the middle of winter also proved irresistible.

However, the contemporary setting brings with it a responsibility. Watching two young lovers, dressed in 17th century costume, take their own lives may not seem immediately relatable, but in modern dress, the parallel is all too apparent. Suicide statistics in Northern Ireland are alarmingly high and many attempts are the result of relationship problems; in awareness of that, we have consulted with a number of charities to devise school workshops and support material for our audiences.

I hope we have managed to balance the different elements of the story: to explore the passion of first love and the exciting repercussions of that, but also to urge young people (in the words of a current campaign) to just wait before they take drastic and irreversible action for whatever reasons seem justifiable at the time.

Philip Crawford Director

“LINE BY LINE, WORD BY WORD. WE WANTED A SCRIPT THAT WOULD TELL THIS STORY IN A WAY THAT APPEALED TO AUDIENCES OF ALL AGES”

ADAPTING SHAKESPEARE FOR THE LYRIC

Romeo and Juliet is a play renowned for the striking sadness of its love story and the haunting beauty of many of its lines. The poetic elements are so strong that, when Romeo and Juliet first meet, their words form a sonnet, a sure sign of how beautifully connected they are to one another. Our text for the Lyric Theatre production retains the beauty and majesty of Shakespeare’s words performed in a modern setting.

In order to produce a Shakespeare script suitable for our setting (under the warmth of a modern Veronese summer sky), we began by cutting the play down to just over half its original length, retaining the bare minimum needed for clarity and plot. Using that as the initial foundation, I worked in close discussion with the director, Philip Crawford, to add back further aspects of the play, line by line, word by word. We wanted a script that would tell this story in a way that appealed to audiences of all ages, from secondary school onwards.

The relentlessness of the action seems particularly foregrounded in our version: the play begins on a Sunday and ends the following Thursday morning. In that time, far too much happens that cannot be undone.

It is important to note that our Romeo and Juliet are older than the young teenagers of the original text; our Romeo and Juliet are in their late teens/early twenties. There are a few minor changes dictated by the practicalities of a smaller than original cast and you will also see that several actors are playing several roles. Our Prince is a powerful woman, who is trying to maintain her authority in a Verona changed utterly by these feuding families. And Romeo and Juliet’s parents are also characters in whom you might see change. Lady Montague is a single parent whose love for her son is fierce and deep; Lord and Lady Capulet have switched some lines to offer a more modern parenting perspective than the traditional one in the original text.

Such changes aside, the play is now notably shorter than the original, but, as you will see, Shakespeare’s words and their poignancy remain – every bit as powerfully today as they did when he wrote them over four centuries ago.

Anne Bailie Script Editor

SET DESIGN

From the outset of our discussions, Philip was clear in his plan to envision the Houses of Capulet and Montague as rival haute couture fashion houses, possibly with fringe connections of somewhat unsavoury aspect. This immediately informed the idea of placing the action and the lives of the characters in contemporary Italy. The built environment which they inhabit, however, much as one encounters today in the beautiful city and town centres of Verona, Lucca, Siena, Todi, or Corinaldo, is one which has existed for centuries, often from the creative vitality of the Italian Renaissance; and this venerable architectural vibrancy is animated by the vivacity of contemporary Italian life. Thus Philip, Gillian and I arrived at our production visual concept of the juxtaposition of contemporary costuming within the context of a time-mellowed setting.

Referencing the period of the Italian Renaissance – which incidentally has a neat and pleasing serendipitous connection with the original period of the play – I have taken motifs and perceptions from the wealth of inventiveness and discovery which marked that cultural resurgence: for example, the rendering of pictorial linear perspective, dating from Brunelleschi’s seminal experiment at the Baptistry of Florence Cathedral. This in turn engendered a number of fine art images of “ideal cities” painted in single-point perspective, attributed to Fra Carnevale and other artists. These two-dimensional images, which create the illusion of three-dimensional perspective depth, I have used as inspiration to create, in actual threedimensional space, a version of such a location; but because of the very fact that I am working in three dimensions, I have added to the mix the use of forced perspective, with the additional curve on the ball (no pun intended) of some curvilinear vanishing lines as well as straight ones. The mellow hues of honey-toned stone and stucco provide the palette, and I hope the whole provides a complementary framing for the vitality of Gillian’s costumes and Philip’s dynamic action.

Robin Peoples Set Designer

SHAKESPEARE AT THE LYRIC

This production of Romeo & Juliet marks the Lyric Theatre’s 25th Shakespeare production on Ridgeway Street. Our very first ever Shakespeare production took place back in 1959, with Romeo & Juliet, in the grounds of the home of our founder, Mary O’Malley.

64 years later, and we are honoured to continue Mary O’Malley’s legacy with this production of Romeo & Juliet, bringing the classic text into a modern-day setting.

1971

Romeo and Juliet (At Mary O’Malley’s house)

Romeo and Juliet Director: C. Denys

Macbeth Director: Donald Bodley

The Comedy of Errors Director: Patrick Sandford

The Taming of the Shrew Director: Robin Midgley

A Midsummer’s Night Dream Director: Robin Midgley

Macbeth Director: Jackie Doyle

Hamlet Director: Conall Morrison

Twelfth Night Director: Andrew Hinds

Henry IV Part One Director: Ian Lindsay

A Midsummer Night’s Dream Director: Tony Dinner

Julius Caesar Director: Leon Rubin

Twelfth Night Director: John Price

Macbeth Director: Patrick Sandford

Romeo and Juliet Director: Philip Crawford

Macbeth Director: Lynne Parker

Much Ado About Nothing Director: Rachel O’Riordan

FROM THE REHEARSAL ROOM

CAST

PATRICK BUCHANAN LORD CAPULET

Patrick was born in Belfast. He has a BA Hons degree in Theatre studies and English literature and majored in Acting and Performance at the University of Vermont, USA.

Some of his theatre credits include The Man Who Fell to Pieces, The Clean Room and God’s Country (Tinderbox Theatre Company) Ché Guevara’s Night off and Gibralter Strait (Brassneck Theatre Company) Pits and Perverts (Sole Purpose Theatre Company) It’s a Wonderful Wee Christmas, Jingle all the Hairspray and The Nightshift Before Christmas (Theatre at the Mill) Notes On Fallen Leaves and The Runaway (Decomposition Theatre Company)

Television Credits include Bloodlands (HTM Productions) Line of duty (BBC) Warrior (HBO) The Paddy Raff Show (Nice One TV) Farr and Rebellion (RTE/Generation Film Productions) Soft Border Patrol (BBC/ Comedy Unit) Krypton (Warner/Syfy) and The Fall (BBC) Film Credits include The Last Girl (Yale Productions) Maze (Cypress Avenue Films) Shooting For Socrates (New Black Films) High Rise (Film 4/Recorded Picture Company) and Belfast Story (Jolt Me Features)

Patrick is delighted to be working on this fantastic production of Romeo & Juliet and would like to thank Philip and the whole team at The Lyric as well as you the audience for coming and supporting Theatre during a challenging time for everyone

STEVEN COOKE GREGORY / PRINCE ESCALUS’ GUARD

Steven Cooke is a Northern Irish actor and a graduate of Lyric Drama Studio (2020). He has a Musical Theatre DipLCM, APC Stage Combat Distinction and has complete courses in improv and Meisner. He works regularly with David Calvert in physical theatre and has recently attended workshops with Michael Corbidge (voice), Kieran Lagan (screen) and Des Kennedy (text). He also holds a BSc in Architecture and Design.

This is Steven’s Shakespeare debut playing the role of Gregory in Romeo and Juliet (Lyric Theatre), this is his second time on the main stage since his Lyric debut in the role of Jonathan Harker in Dracula (Lyric Theatre). Steven played the role of Professor Anderson in Bluestockings (Lyric Theatre). Other theatre credits include Don’t Fence me in (Blue Chevy) and Paula’s Story (Blue Chevy).

Steven made his screen debut in The Search (Enagh Productions). Foyle Film Festivals Light in Motion Official Selection 2022.

DAVID CRAIG TYBALT / FRIAR JOHN

David is from Banbridge, County Down.

His previous Lyric Theatre castings include Mistletoe and Crime and in the Lyric Drama Studio productions of 55 Days and Eternal Love, before going on to complete his training at the Royal Welsh College of Music and Drama, for which he received a bursary through the Carne Trust. He took part in the Sam Wanamaker festival at Shakespeare’s Globe in London.

His post Drama school productions include Frankenstein at The Euro Theatre Central, Bonn, Germany and Huno at The Other Room, Cardiff. His favourite meal is scrambled eggs on sourdough bread.

EMMA DOUGAN JULIET CAPULET

This is Emma’s first professional Theatre debut since graduating from East 15 Acting School in Summer 2021. She last performed in The Lyric Theatre, aged 9, playing a Munchkin in The Wizard of Oz, and is ecstatic to be back.

Other Credits include: Christian Aid (Commerical) 2022, Trifled - The Lyric Theatre (Rehearsed Reading) 2022, Cliffs A New Musical (Workshop) 2022, Vile Stars - Harper Collins (Audio Book) 2022, and Stalemate (Short Film) 2021.

EUGENE EVANS COUNT PARIS

Eugene is an Irish actor from Whitehead, currently living in London. He began training at Queens University, BA Drama and at the Lyric Drama studio before graduating from the Royal Birmingham Conservatoire, MA Acting.

Theatre credits include: Teachers (Bruiser Theatre Company) Robin Hood (Hazlitt Theatre) Much Ado About Nothing (Tread the Boards Theatre) The Heresy of Love (Lyric Theatre) Around the world in 80 days (Connected Learning Theatre)

AARON FERGUSON SAMSON / COUNT PARIS’ ASSISTANT

Aaron is a 22 year old actor born and based here in Belfast.

He spent three years studying Drama at Queen’s University Belfast and recently has completed the Lyric’s own actor training course, Lyric Drama Studio in 2021/22.

Aaron has previously appeared in Blue Stockings (Lyric Theatre) and The Trial (Bruiser Theatre Company). As well as performing in two short plays, The Lands and Dead On, as part of the 21 Artists for the 21st Century Program. Romeo & Juliet will be Aaron’s professional debut here at the Lyric Theatre.

THOMAS FINNEGAN MERCUTIO / APOTHECARY

Thomas is from Newry, Co Down. He took part in the Lyric Drama Studio and appeared in their production of Our Country’s Good He went on to train at the Royal Welsh College of Music and Drama appearing in VS09, and You Can’t Take it with you.

Since graduating he has performed across all mediums. TV credits include Game of Thrones, Line Of Duty, Ups and Downs, and The Windermere Children Radio credits include The freeness of his words, Locked in, and Not Now

Onstage he has appeared in the Lyric Theatre productions Blackout, Here Comes the Night, Lovers: Winners and Losers and the Lyric theatre/ Prime Cut co-production of Red, for which he was nominated for an Irish Times award for Best Supporting Actor.

FINNIAN GARBUTT BENVOLIO

Finnian grew up in Bangor and now lives in Whitehead.

He trained at the Lyric Drama Studio before moving to Cardiff to study at the Royal Welsh College of Music and Drama. Finnian will be making his Lyric stage debut in Romeo & Juliet. His other credits include Youth Without God (Coronet Theatre, London), Casualty (BBC), Bog Child (BBC Radio 4, narrator), Noah’s Gold (Macmillan Publishers International Limited, narrator, Best Children’s Audiobook 2021 – The Times), She and I (Bloomsbury Publishing Plc, narrator).

Twitter @FinnianGarbutt

ADAM GILLIAN ROMEO MONTAGUE

Adam Gillian is from Co. Armagh but currently lives in London. He trained at The Royal Conservatoire of Scotland.

Theatre credits include: Moulin Rouge! The Musical (Piccadilly Theatre); Beautiful: The Carole King Musical (UK/IRE Tour) and Hadestown (National Theatre). TV credits include: Counsel (BBC NI); Hope Street (BBC); Doctors (BBC) and Pan Tau (Caligari Films). Film credits include: Copy That (Causeway Pictures); The Painted Lady (Rachel Coffey Productions); Re:Live (Frontier Pictures) and A Belfast Story (Jolt-Me Features).

Laura is a graduate of Queen’s University, Belfast. Recent theatre credits include: Department Store (Big Telly), Dear Arabella (Lyric Theatre Belfast), Those You Pass On The Street (Kabosh), This Is What We Sang (Kabosh); True North (Tinderbox); Women On The Verge of HRT (GBL Productions and Andrew’s Lane, Dublin).

Her film and television credits include: In The Land of Saints and Sinners , Blue Lights, Nowhere Special, As If There Were Trees, Dalgliesh, Three Families, The Fall, The Woman in White, Frankenstein Chronicle, Small Island, Hidden, Line of Duty, Be More Ethnic, Fifty Dead Men Walking, Sunday Bloody Sunday, Good Vibrations, Fifty Dead Men Walking, Being Special, Beauty Queen, The Most Fertile Man in Ireland and Blackwater Lightship.

Her radio work includes: Pentecost, The Trick of Togetherness, Double Acts, The Dimming of The Day, Kin, The Last Days of Love, Two Doors Down, C.S Lewis Northern Man, Going to The Dogs, The Fall of Commission, My Own Private Lethal Weapon, Our Lady of Sligo, A Flag Unfurled, School for Hope, Property of Colette Nervi, Dollie Mixtures, Riddle of the Sands, The Clearance of Audleystown, Twin Trouble, Hooked (Radio Ulster Series) 20;20 Vision (BBC), Tricycles (Radio 3) and Various (RTE)

Laura is a regular voice-over artist for museums, radio and television.

TIARNÁN McCARRON ABRAHAM / PRINCE ESCALUS’ GUARD

Tiarnán McCarron is a recent graduate of the Lyric Drama Studio (2022), training under practitioners including Michael Corbidge and Annie Tyson.

Tiarnán made his professional screen debut in the short film Marvel Matt (Moose Productions).

His student theatre credits include DNA (Brian Friel Theatre), The Radicalisation of Bradley Manning (Brian Friel Theatre) and Boys (Brian Friel Theatre).

Tiarnán is also an accomplished musician (guitar, vocals).

Romeo & Juliet is Tiarnán’s professional theatre debut, in which he is playing the roles of Abraham and Prince’s Guard.

ROSIE McCLELLAND LADY CAPULET

Rosie originates from Kilkeel, Co.Down and is currently based in Belfast.

Recent credits include Thaw (Replay Productions), Carson and the Lady (Theatre at the Mill) and Brenda’s Baby (C21 Theatre Company)

Other credits include; What the Reindeer Saw, Here we Lie (Lyric Theatre), Operation Elsewhere, The Machine Stops (Big Telly), Plays Aloud, That Scottish Play (Commmedia of Errors), The Real Housewives of Norn Ireland (Grand Opera House), A Midsummer Night’s Dream (Terra Nova Productions), The Weein, Tart, Flesh Dense (Red Lemon Productions)

Film and TV credits include; The Last Rifleman (Wee Buns Films), Hope (RAM Productions), Game of Thrones (HBO), Paula (BBC), The Suit (Perchance Films), Take Two (Lamb Films),

Twitter: @RosieMcClellan1

Instagram: rosiemcclelland23

LAURA HUGHES NURSE

LUCY McCLUSKEY PETRA / BALTHASAR

Lucy McCluskey recently graduated of the Lyric Drama Studio (2022) particularly enjoying working with Michael Corbidge and Annie Tyson. Lucy is continuing her training in stage combat and BSL (British Sign Language).

Her screen credits include My Left Nut (BBC) and several roles as an actor musician (piano, trumpet and vocals) through Extras NI including World on Fire (BBC), Hope Street (BBCNI), and a feature role in BEA’s, music video These Streets of Ours

Romeo & Juliet is Lucy’s first professional theatre credit.

MARY MOULDS LADY MONTAGUE

Mary Moulds made her screen debut playing Bernadette Devlin in the acclaimed film Bloody Sunday.

She has also been a familiar face working with all the major theatre companies, notably, Marianne Dreams with Replay, Sign of the Whale with Tinderbox, Group with Belfast Ensemble and the Belfast Festival’s Audience Award winner The Suitcase.

In Film and TV, she has appeared in Line of Duty, 37 Days, Give My Head Peace and Year of Greater Love. Most recently, she appeared in the BBC’s Doing Money, the latest series of Marcella the awardwinning feature film Bump Along the Way and the hybrid play Distortion produced by the Mac Theatre, The McCooey’s Live at the Opera House and Shop Around the Corner at Theatre at the Mill. Upcoming, she will be appearing in the new BBC TV drama Blue Lights and the feature film The Last Rifleman

RAY SESAY FRIAR LAURENCE

Ray was born and raised in London and trained at Bristol Old Vic Theatre School.

Theatre Credits: The Merchant of Venice (Royal Shakespeare Company), Seeds (Pleasance Theatre), Sons Without Fathers (Arcola Theatre), Red Helicopter (Arcola Theatre), Chicken Palace (Theatre Royal Stratford East), 13 (Tobacco Factory).

TV Credits: One Day (Netflix), Doctor Who (BBC), Endeavour (ITV/Mammoth Pictures), Cheaters (Clerkenwell Films), Holby City (BBC), Doctors (BBC).

Radio Credits: Please Use Other Door (BBC Radio 4).

LATA SHARMA ESCALUS, PRINCE OF VERONA

Lata Sharma was born, and currently lives in, Belfast. She trained in Trinity ATCL.

Lyric Theatre credits: Little Shop of Horrors (Lyric Belfast), Splendid Isolation: Anniversary Lockdown (BBC Arts / Lyric Theatre Belfast), Sausage Sodas and Onion Bhajees (Lyric Theatre Belfast Youtube Channel)

Other Theatre credits: Distortion (MAC Theatre Beflast), University of Wonder and Imagination (Cahoots NI), West Side Story (Grand Opera House / Riverside Theatre)

Film, TV and radio credits: Blue Lights (BBC), Walled City Passion (RTE / BBC iPlayer), Splendid Isolation: Anniversary Lockdown (BBC Arts and Lyric Theatre Belfast), Give My Head Peace Christmas Special (Hole in the Wall Gang / BBC NI) United Kingdoms: Reflecting (Pier Productions / BBC Radio 4)

Additional information: Broadcaster (BBC Radio 2, BBC NI), Presenter on Countryfile (BBC Birmingham) and Holiday (BBC London).

CREATIVES

PHILIP CRAWFORD DIRECTOR

Having spent many years as an avid amateur actor, Philip trained at the Royal Welsh College of Music and Drama in Cardiff. After a number of professional acting jobs, he soon developed a love for directing. He worked for a number of years as a newsreader and commercial voiceover artist for Downtown Radio/Cool FM and then trained as a teacher, allowing him to combine his passion for Biology and Drama. Over 15 years he directed a variety of plays in schools, including Brian Friel’s Translations, Our Country’s Good by Timberlake Wertenbaker, Androcles and the Lion by George Bernard Shaw, Frank McGuinness’ Someone Who’ll Watch Over Me, Lerner & Loewe’s My Fair Lady and, in collaboration with the writer, a performances of Julian Mitchell’s play Francis at Wellington College, Berkshire and subsequently, in promenade form, at the Abbadia Celestina, near Assisi in Umbria. In 2009, Philip began a collaboration with actor/writer Dan Gordon, directing his play The Boat Factory. The production toured extensively across Northern Ireland, to the Edinburgh Fringe Festival, Clwyd Theatr Cymru and The King’s Head, Islington. It also ran for 4 weeks off-Broadway at the 59E59 theatre.

For the Lyric Theatre, he project-managed Dan Gordon’s collection of Ulster Scotsinspired plays for children, Pat & Plain. Shortly after, Philip was appointed Head of Creative Learning at the newly-opened theatre, where he has since directed numerous productions including 55 Days, Eternal Love and Dr Scroggy’s War (all by Howard Brenton) as well as Caryl Churchill’s Light Shining in Buckinghamshire, The Patriot Game by Tom Murphy, Helen Edmundson’s The Heresy of Love, Dracula by Liz Lochhead and most recently Blue Stockings by Jessica Swale. His production of Davey Anderson’s, Blackout, in collaboration with the Department of Justice NI & Hydebank Wood College toured annually for 5 years and was watched by over 13,000 young people. In 2022, the Creative Learning at the Lyric was the recipient of a UK Theatre Award for Excellence in Arts Education.

ANNE BAILIE DRAMATURG & SCRIPT EDITOR

Dr Anne Bailie is passionate about teaching Shakespeare and bringing the text off the page on to the stage. She studied at the Shakespeare Institute in Stratford Upon Avon with Sir Stanley Wells and Professor John Jowett before returning to Queen’s to complete her doctorate in editing Renaissance Drama. She has taught Shakespeare at both secondary and tertiary level and has collaborated with Philip Crawford and the Creative Learning Team for many years. Dr Bailie is delighted to be involved in this Shakespeare project at the Lyric.

EMMA COPLAND ASSISTANT DIRECTOR

Emma trained at The Shakespeare Institute, Queen’s University Belfast and Lyric Drama Studio. This is Emma’s first production at the Lyric since Drama Studio.

Other theatre credits as Director: Failing Better, Belmont Road (site-specific), Winter Tales (Baron›s Court Theatre), Faster than the Flies (Black Box Theatre), Entra, Silvio (Ulster Hall Group Space), I Left My Heart (Hampden Park), Much Ado (Crescent Arts Centre), Two Gents (Crescent Arts Centre) and several youth theatre productions including Shady Business (Prissian Theatre) Emilia (Prissian Theatre), The Wolves of Willoughby Chase (Prissian Theatre) Second Person Narrative (Prissian Theatre), Tristan & Yseult (Prissian Theatre) and The Boy Preference (JAGS Studio Theatre).

As Assistant Director: The Border Game (touring), Teechers (touring), Iyalode of Eti (Arcola Theatre), Titans (Titanic Belfast), A Better Boy (MV Confiance Barge) 1 in 5 (Limavady Workhouse) and Perfect (Brian Friel Theatre).

CREATIVES

ROBIN PEOPLES SET DESIGN

Although based in Scotland, Robin was born and bred in Derry-Londonderry, and is delighted to be back in Northern Ireland to work at the beautiful Lyric Theatre. He is a graduate of the University of St Andrews, and taught at the University of ErlangenNurnberg, Germany. He was the holder of the first Scottish Arts Council Director’s Bursary, and is the former Artistic Director of the Scottish Youth Theatre and of the Brunton Theatre, Musselburgh. He is the Lecturer in Set and Costume Design at the Royal Conservatoire of Scotland.

He has guest directed and designed for a wide variety of companies, including the Glasgow Tron, 7:84, Pitlochry Festival Theatre, the Byre St Andrews, Perth Theatre, the Traverse Edinburgh, the National Theatre of Scotland and many others, his shows appearing on stages as diverse as Richmond Theatre, the Scottish Exhibition and Conference Centre, Mull Little Theatre, the London Palladium, the New Victory Theatre New York, the Glasgow Citizens, Trafalgar Studios Whitehall and the Sydney Opera House. He has commissioned over twenty full-length and one-act plays, and ten musical scores, has devised workshop and teaching materials, and has served on various national and international committees and boards.

His recent and current projects include North of the Tyne, Under the Stars (Pinwheel), a large-scale multi-media site-specific event production, and The Boatbuilders, a multi-genre musical collaboration between the University of St Andrews, the RCS and EnCompass Productions, which is integrated with the long-term heritage project of an historic boat restoration. His past Lyric Theatre designs include The Importance of Being Earnest, Pride and Prejudice and Cinderella

GILLIAN LENNOX COSTUME DESIGNER

After graduating with BA Hons in Fashion and Textiles at The University of Ulster Gillian Lennox went on to be a designer within the fashion industry.

After a spell designing for Marks & Spencer Menswear Gillian began a 14-year career working for a London based manufacturing/ design company where she progressed to Head Designer supplying companies such as on line retailer ASOS, and Southern Ireland high street stores Dunnes and A-Wear. Her designs for ASOS and A –Wear were often featured in magazine editorials.

Gillian’s work often took her overseas to Paris, Syria and Morocco where she gained insight into the entire process of textile design, garment and pattern construction.

Throughout her career Gillian also continued with her own freelance work and has been a maker and illustrator for Universal Studios when they first came to Northern Ireland with films such as Your Highness and more recently was a maker for the movie The Northman.

Gillian has assisted on the BBC Proms and Children in Need and designed and made the costumes for The Belfast Mela South Asian Dance Academy.

Before being appointed as Costume Supervisor with the Lyric Theatre in August 2017 Gillian free-lanced as a maker with the Lyric Theatre, working on various productions including Little Red Riding Hood & the Big Bad Wolf, The Gingerbread Mix Up, The 39 Steps and The Ladykillers

For the Lyric Theatre, Gillian has supervised the costume department on all producing shows for the past five years and has been the Costume Designer for Dr Scroggy’s War, Good Vibrations, Alice: The Musical, Double Cross, Rough Girls (Arts & Business Awards) Dark of the Moon, Shirley Valentine, Peter Pan: The musical, 1984 (Postponed Covid), Sadie, Dracula, Pinocchio, Blue stockings and The Snow Queen.

Most recently Gillian has been involved in a living history tender for Mid Ulster Council/ Lyric designing and producing 23 costumes for historical sites and National trust properties.

JAMES C McFETRIDGE LIGHTING DESIGNER

James has been working as a lighting designer for over twenty-five years. His earliest designs were in the Lyric Theatre and included Stones in his Pockets, which he re-lit in the West End (firstly in the Ambassadors Theatre, followed by a three-year residency in the Duke of York Theatre) and then on Broadway (John Golden Theatre, New York). His design was also used in various Irish, UK, US and World tours.

He has had one other West End show (Alone it Stands, Duchess Theatre), and has lit shows in Canada, Australia, Russia and New York, and his designs have toured all across the UK and Ireland.

James’ previous lighting designs for the Lyric include: Big Man, The Gap Year, Dracula, Dark of the Moon, Dr Scroggy’s War, The Heresy of Love, The Patriot Game, Eternal Love, Demented, Can’t Forget About You, 55 Days, Brendan at the Chelsea, Our Country’s Good, The Civilisation Game, Light Shining in Buckinghamshire, and The Jungle Book.

Other recent lighting designs include: Teechers, Mojo Mickybo, The 39 Steps, The Colleen Bawn, The Secret Diary of Adrian Mole, The Complete Works of William Shakespeare (Abridged), Playhouse Creatures, Cabaret, The Caucasian Chalk Circle, and Spelling Bee (Bruiser Theatre Company); The Elves and the Shoemaker, Under the Hawthorn Tree (Cahoots NI); The Producers (BSPA); Bridesmaids of Northern Ireland, Three’s A Shroud, The History of the Peace… According to My Ma, Crazy, and Baby It’s Cold Outside (GBL Productions); In The Name of the Son, Two Sore Legs, 1932The People of Gallagher Street, Meeting At Menin Gate (Green Shoot Productions).

CHRIS WARNER COMPOSER AND SOUND DESIGNER

Chris is an East-Anglian based composer, sound designer, orchestrator and producer working across theatre, television, film and education.

Lyric Theatre credits include Blue Stockings, Dracula, Dark of the Moon, Dr Scroggy’s War (Creative Learning), Sadie, Double Cross, and for the ‘Listen at the Lyric’ season, The Gap Year, Burnt Out, Under the Albert Clock and Ulster After Dark.

Other recent theatre credits include, The Wind in the Willows Wilton’s (Wilton’s Music Hall), Streets Alive, Booming Voices, From Rushmere With Love (Eastern Angles Theatre), The Merry Wives of Windsor, Much Ado About Nothing, Macbeth Schools (RSC)

Television & Film credits include The Ipcress File (ITV), The Rise of the Tudors (SKY), The Mauritanian (BBC Films), McMafia (BBC1), Waiting Room and Make a Musical (BBC Learning, BAFTA Nominated)

Original albums include Immersive Stories, co-composed with song-writer Sue Verran and percussionist Dame Evelyn Glennie, and Wonders of The Cosmos, recorded on location at Ely Cathedral and Abbey Road Studios.

Recent collaborations include live performance poetry with Classic FM presenter Zeb Soanes and children’s illustrator James Mayhew, and live concerts with electronic artists Floex and Tom Hodge.

MICHAEL CORBIDGE VOICE & TEXT COACH

Michael trained at the Bristol Old Vic Theatre School way back in the last century! And has clocked up over 40 years in the Industry as Man and boy!

Michael currently works as a freelance lecturer, visiting professional practitioner, director and voice and text specialist in the Acting for Performance program at The Rose Bruford College of the Arts. He teaches across a broad spectrum of programs. He is also a visiting artist cross a number of U.K. institutions.

Also as one of the Senior Voice and Text Associate at The Royal Shakespeare Company and a Senior Associate learning Practitioner with the Education Department. His roles are numerous working with both in-reach and out-reach projects across the UK, supporting all voice and text work in various professional and community settings. Currently embarking on a nine city engagement across 6 months.

He runs bespoke voice and text workshops from his own studio ‘The Colour Voice Studio’ in Kent. Residential courses for his ground breaking ‘Elemental Shakespeare’ Method. His research is currently being collated for publication.

He supports as a Trustee, Patron, Associate Practitioner, and Director a number of companies and groups furthering their love of the arts and performance.

michaelcorbidge.co.uk michaelcoebidge@hotmail.com

IAN McCRACKEN

FIGHT DIRECTOR

Ian is stage combat tutor and fight director with a career spanning over 20 years. He has been resident instructor at The Oxford School of Drama since 2004 and has worked at drama schools including GSA, Arts Ed, The Royal Academy of Music and the Lyric Belfast for the Creative Learning Dept.

Ian’s fight directing credits include What’s in a Name (Birmingham rep) Robin Hood, Sinbad (Theatre Royal Stratford East) Romeo & Juliet, Twelfth Night, The Rover, Plasticine (The Southwark playhouse) Days of Significance, Blue Stockings, Welcome to Theobes (Royal and Derngate), Sweeney Todd (RAM), Romeo and Juliet (The Water Mill) All Day Permanent Red (The Royal Court) Blue Stockings, Peter Pan, Playboy of the Western World, Street Car Named Desire, Dracula, Eternal Love, Blackout, How Many Miles to Babylon (The Lyric Belfast) His Film/TV credits include Hollyoaks, Intergallectic Combat, Snake Pit, The Job and Fly Trap.

He has also been Fight Captain for the Royal Opera House, Covent Garden, training some of the worlds leading opera singers, as well as performing beside them in Romeo & Julliette and Simon Boccanegra.

View some of his work on www.ian-mccracken.co.uk

THE ZACHARY GEDDIS BREAK THE SILENCE TRUST

The story of Romeo and Juliet contains depictions of suicide, moments of violence and references to drug use. If you have been affected by any of the themes of the show, we encourage you to speak to someone for information, advice, and support. We have partnered with the Zachary Geddis – Break the Silence Trust (ZGBTST) to allow our audiences to have a space to discuss any of these themes with a trained professional. The ZGBTST offers a range of services such as counselling, workshops, and mentoring; all services are free of charge and completely confidential.

over 50%

of adult mental health disorders develop before the age of 18

78%

of teens believe there is still a stigma around mental health illness

44%

of young people have experienced a mental health problem

24%

would not feel comfortable talking about their mental health with anyone

Studies highlight 12 main early suicide warning signs and all 12 are seen throughout the play at various different times

The story of Romeo and Juliet, although set in the 14th Century, has an underlying theme of mental health illness which can still relate to many in 2023. By raising the discussion of the events that take place within the play we can help further understand the complexness of mental health illness, the impact of suicide and the process of bereavement.

Many symptoms of a mental health issue can go unseen, which makes it hard for others to understand. Unlike a physical illness, no two people experiencing mental anguish are the same, therefore as well as raising awareness, we must also express an understanding, build on our knowledge and together promote individualism when it comes to mental health illnesses. The rate of suicide in Northern Ireland is 25% higher than that of the rest of the UK, as a young community we can make ourselves hyper aware of the signs that someone we love may be in a dark place, how we can talk and listen to their needs as well as where is the most appropriate place to reach out to for help. One of the main causes of mental health deterioration is bereavement, losing someone you love can make it hard to continue each day without them. ZGBTST was built from loss and one of the key things that has helped me in my journey through bereavement is the comfort that I receive through helping others. Throughout the play, there are a multitude of ‘warning signs’ and examples of characters recognising something was wrong. What we can learn from this is to never ignore the signs, ask the questions and be a support system for the people in our lives that are going through hardship.

The Zachary Geddis Break the Silence Trust is proud to have been able to contribute to the Lyric Theatres modern adaptation of Romeo and Juliet. Founded after the loss of Zachary Geddis, a creative mind and lover of the arts, this collaboration is something we will never forget. Dedicated to the memory of an amazing human being, ZGBTST aims to raise mental health awareness and decrease the stigma surrounding suicide. Founder, Yasmin – Zachary’s Sister along with her Mum and Dad identified the gaps in the current Northern Ireland Mental Health Services and through voluntary means, works with the local community to achieve equal, individualised and appropriate mental health provision for all. Having opened the North Coast’s first community-run mental health centre, ZGBTST provides free, immediate and professional mental health services through mentoring programmes, counselling sessions, community education and statutory collaborations.

Yasmin Geddis ZGBTST Founder

YOU CAN FIND OUT MORE INFORMATION ABOUT ZACHARY, ZGBTST AND WHAT WE ARE DOING TO IGNITE CHANGE BY VISITING WWW.ZGBTST.ORG OR FOLLOWING OUR JOURNEY ON SOCIAL MEDIA

CHRISTMAS AT THE LYRIC

Follow the breadcrumbs to the Lyric Theatre for Christmas 2023 where Hansel and Gretel will take you on a magical adventure through the enchanted forest.

Written by Tara Lynne O’Neill

FRI 24 NOV—SUN 31 DEC 2023

Book now at lyrictheatre.co.uk

LYRIC THEATRE ON TOUR

Returning by hugely popular demand, the Lyric Theatre’s sell-out production Good Vibrations débuts at the Grand Opera House. This staged musical version of the award-winning movie charts the life of Belfast punk legend Terri Hooley, a radical, rebel and music-lover.

TUE 9 - SAT 20 MAY 2023

Book now at goh.co.uk