The Devil Inisde Him by National Theatre Wales

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“THEY’VE BEEN KILLING THE INSIDE OF ME EVER SINCE I CAN REMEMBER. IS IT WORSE TO MURDER A BODY OR A SOUL?” Buried secrets and hidden passions erupt during one life-changing night. Written by the original angry young man of British theatre, this long lost play is a call to arms for all young men out of step with their world. Huw is a butcher’s assistant and budding poet, too full of passion and wild visions for pious society. When the village turns on him one dark night, is the devil in the hunter or the hunted? John Osborne is best known for his trail-blazing work, Look Back in Anger. This earlier play was produced twice in the 1950s and then buried in the archives of the British Library until it was rediscovered in 2009. National Theatre Wales presents the world premiere of the uncut version of this lost classic of British theatre.

Elen Bowman Director

THE DEVIL INSIDE HIM BY JOHN OSBORNE / DIRECTED BY ELEN BOWMAN / DESIGNED BY ALEX EALES LIGHTING DESIGN BY MALCOLM RIPPETH / COMPOSER SIMON ALLEN

CAST JAMIE BALLARD / JOHN CORDING / STEVEN ELLIOTT / HELEN GRIFFIN DEREK HUTCHINSON / RACHEL LUMBERG / IWAN RHEON / CATRIN STEWART THURSDAY 6 – SATURDAY 8 MAY PREVIEWS ....................................................................7.30PM SUNDAY 9 MAY PREVIEW ...............................................................................................................4.00PM TUESDAY 11 – SATURDAY 15 MAY ....................................................................................7.30PM THURSDAY 13 & SATURDAY 15 MAY ................................................................................2.30PM THURSDAY 13 MAY CAPTIONED PERFORMANCE ...........................................................................2.30PM SATURDAY 15 MAY TOUCH TOUR .................................................................................................1.00PM SATURDAY 15 MAY AUDIO DESCRIBED PERFORMANCE ................................................................2.30PM

THEATRE IAITH SAESNEG O SAFON, A’I GWREIDDIAU YNG NGHYMRU, WEDI’I GWNEUD I BAWB National Theatre Wales is the new English-language theatre company producing world-class work across Wales. This project is part of the launch year programme – 12 shows over 12 months, one a month, plus one spectacular finale – in amazing places and unique spaces across Wales. Here is your rare opportunity to see an incredible John Osborne play produced in its original setting, by a pioneering new company, with a stellar Welsh cast.

VENUE

CORE FUNDERS

PARTNER SPONSOR

YEAR ONE SPONSORS Iwan Rheon as Huw Prosser

REGISTERED COMPANY NO. 6693227 / CHARITY REGISTRATION NO. 1127952 / COVER DESIGN BY ELFEN.CO.UK / COVER PHOTOGRAPHY BY DAN WILTON

From my first reading of The Devil Inside Him, I was propelled back to my childhood in Swansea as a young chapel-goer. The chapel and its congregation certainly did not have the extremist fervour of Osborne’s fire and brimstone, but his question about religion and the inner spirit reflected my own questions about the true meaning of why we gathered sometimes three times on a Sunday. As a child I knew that what Jesus said made great sense, but as Huw Prosser experiences, the traditions and ritual of the day could fade the core meaning of what it was to truly ‘love one another’. I was gripped by Burn’s battle cry for a religion that could be found on the hillside and not in a ‘small cold chapel’, and realised that somehow I still cared about that possibility – a religion that could embrace the ancient messages of the Bible unhindered by religious dogma. The cast spent time experiencing their characters’ belief systems as inspired by the Old Testament. They spent time absorbing the era of the play, creating the pictures in the imagination of Osborne’s post-war Britain, and also getting to know the man himself. One of Osborne’s other titles for the play was Cry for Love, something that seemed tragically clear in his autobiography and in this heart-rending play. A murder mystery of the 1950s rep theatre tradition turns into a deeply challenging story, written before its time. Over 60 years later, Osborne’s play provokes us to consider the soul that is damaged by fear and repression, and perhaps highlights how society still creates ‘devils’ who are ultimately seeking ways and means to express their injustice.

Elen Bowman Director

THE DEVIL INSIDE HIM BY JOHN OSBORNE / DIRECTED BY ELEN BOWMAN / DESIGNED BY ALEX EALES LIGHTING DESIGN BY MALCOLM RIPPETH / COMPOSER SIMON ALLEN

VENUE

CORE FUNDERS

PARTNER SPONSOR

YEAR ONE SPONSORS Iwan Rheon as Huw Prosser

REGISTERED COMPANY NO. 6693227 / CHARITY REGISTRATION NO. 1127952 / COVER DESIGN BY ELFEN.CO.UK / COVER PHOTOGRAPHY BY DAN WILTON

E N R O B S O N JOH utobiography – a e th om fr ts c Extra in, Never Apologise la xp E r ve e N k, c Looking Ba U r, London, WC1N 3A

be by Faber and Fa 9, 199 in ed ish bl pu First

1 ter n to me until I la ow kn un t os lm a s t The Bible wa hool in Ewell. Wha sc nd gla En of urch caned attended the Ch more boys were t a th s wa ce pla rs. distinguished this lessons than othe e ur pt ri Sc ng ri parts of more often du at the salacious ng gli gig r fo s wa divine, Sometimes it ten the result of of t bu t, en m ta r es the Old T e headmaster, M th t, en m ru st in s it en with random whim of ose lips would glist wh n, a m sh el W 2 – all eyes Jones, a fierce und the classroom ro a t ep sw he s It . a just wrath excitement next victim of un e th r fo g in cause ok lo lowered – religious indeed be ry ve s wa s ne Jo r only other was said that M at that. As the sh -tapping and el W ry ve nd a her with her feet ot m nd a he was Welsh, gr y the m s lieving in God were person I knew wa be sh el nd W a ly sh el ive W ss g ce in ex that be South singing, I assumed with a firmament od G e gin a im meticulous hymn to sy om religion. It was ea Surrey; if not fr om fr e m co darkest heart of y sil of ea -still rural parts eas Jesus might er er tt wh be t, e en th cc in a s es le Wa rger hous om one of the la any satanic mills. fr en om fr th y gh wa ei a el ll on we St rtainly fresh air and ce Ewell, in the nice s unlikely ce in the world wa pla y m t a th e m fen or her made it clear to son why Mrs Buf a re no My mother always s wa re the om her own. The offer people like to g in th no d to differ ever fr ha me. I ce? care to speak to wledge my existen no ck a to er daughter should th bo ship as a e why should they ffection or friend a of w vie Buffens, therefor r he with aggrandizement in nd a It was consistent on ti a ul lc ca er s, blackmail, worse. Nothing ev system of reward or st be f of e m d only co cold which people woul ief as the truly el sb di nd a ir a sp ch de I wish it strikes me with su ceases to do so. r ve ne nd a y rl utte some heart. It disarms s barrenness has e’ rn bo Os a m nd ra th the were otherwise. G didn’t poison it wi e sh st a le t A y. unyielding dignit entality. unction of sentim re t the playtimes we bu ry to a rg pu en ay have be nging The Classrooms m twenty minutes lo e ol wh e th t en always sp rative undoubted hell. I ck to the compa ba e m ue sc re d h woul I was for the bell, whic physical timidity om fr rt pa A . om assro safety of the cl 3

also rat her girli shly fas spinsteris tidious. h in my I was, a distaste although nd am s for nois till, almo I am ca e and p pable of st ersonal initiating disorder both. The foll , owing mo rning I w whether oke up w to feign ondering one of m nervous y faintin attacks . I decid g fits or this wou 4 ed reluc ld be a tantly t strategic The iron hat mistake -headed . I was r slug nev even gla ight. er appro nced in a m c into me h y li e e d d u ir tenants ection a me or delibera occasion gain. His tely in t I was at a ll y he corr smirked Ewell Bo idors, bu and bum y’s Scho humiliat t f ped o ol I was r the re ion had n e b st of th een so c ver cha conduct e time llenged omplete . W again. M it was a repetitio hat the slug ha y guarant n, even d done ee of sa if anyon with suc nor ene fe e h ease mies aft cared t needed o bothe er that be more no r. I mad first da dangero e neithe y. Other us, when had bee r playgrou friends my stat n tested nds late us was n , found persecu r w ot so im ere to totally w tion. Pe mediate anting a rhaps th immobiliz ly n e f d ixed. I paralysis ed me h unfit ev en for o ad disgu of shoc dumb co k and p ccasiona ised my urage. ain tha l fear an t had d even b e e n interp Existent reted a ialism wa s s the m ‘into’ th acrobiot e impene ic food trable b course, of the rown ric Sartre. day and e of He Uncompr flounder Mic id egger, K ehended ed to a ierkegaa key Wall and I concept ct in th were rd, Jasp s of fre e face ers and edom, w of conc , il o l r f ete poss and cho Stoneleig ibilities li ice h with R ke twoenee an My untu up-and-d d Mrs. S t o r e own in d h u 6 ip n p d a erstand that I w rd. ing told as stan ding at me existent a crucia ial cross ll y roads. T simple: h he proble ow to ge m was t rid of causing Renee w her too ithout much pa much gu in and m ilt, and e too how to and my leave ho mother m e and ma support nage to myself. I s uspecte resistan d that ce any would be Nellie Beatrice put up counter -weighed pleasure by her in my br oken en gagemen t.

Picture credits 7 1 At Hampton Court, 1946: John Osborne with Grandma Grove, Uncle Jack and Nellie Beatrice. 2 John Osborne, 1950. 3 John Osborne, Woodfall Street, 1957. 4 John Osborne, Lower Belgrave Street, 1959. 5 John Osborne the day after the opening of A Patriot For Me, 1965 6 Laurence Olivier as Archie Rice in The Entertainer. 7 John Osborne and Mary Ure arriving at London Airport after the New York success of Look Back in Anger.

E N R O B S O N JOH utobiography – a e th om fr ts c Extra in, Never Apologise la xp E r ve e N k, c Looking Ba U r, London, WC1N 3A

be by Faber and Fa 9, 199 in ed ish bl pu First

DISCOVERING THE PLAY Jamie Andrews

Over 50 years since John Osborne made theatrical history when Look Back in Anger opened at the Royal Court theatre on 8 May 1956, what more is there to say about the life and career of the original Angry Young Man? Despite the many thousands of critical studies and biographies that have appeared over the years, there are still surprises to be found when looking back at Osborne’s turbulent career in the theatre. If many writers and critics have gone along with the legend of ‘1956 and all that’ and assumed Look Back to be Osborne’s dramatic debut, he had in fact been active within the English repertory theatre since the late 1940s, and had written seven plays before his ‘overnight’ breakthrough in May 1956. The first of these plays, The Devil Inside Him, was written in 1948 in collaboration with his lover, Stella, who happened to be the wife of the impresario, Patrick Desmond, in whose rep company both were touring. The play was staged by Desmond at the Theatre Royal, Huddersfield, in May 1950, and — when Osborne returned to itinerant acting jobs — was quickly forgotten, the text assumed by its author to have vanished. However, as part of research for an exhibition in 2008, the sole extant copy of the play — slightly dog-eared, and idiosyncratically filed by the Censors under John Caborne — emerged at the British Library in the archives of the Lord Chamberlain, the senior official of the Royal

Household, whose arbitrary, unaccountable pronouncements dictated what could be seen on the stage until the abolition of censorship in 1968. So how does the re-discovered play stand up in this, its second production in sixty years? The central character, Huw, a sensitive individual alienated from his parents and society through an excess of feeling that eventually erupts in violence, is a recognisable Osborne figure, struggling to find an authentic place in an indifferent world. This Jimmy Porter of the Valleys is a link to Osborne’s often overlooked Welsh heritage: Osborne’s beloved father, very different from The Devil’s icy Mr Prosser, was born in Newport, and Osborne later wrote how ‘gentle’ the Welsh Osbornes were in comparison with the more boisterous Cockney relatives on his mother’s side. The Welsh setting, in contrast to the ‘large Midland town’ of Look Back in Anger, also allows Osborne to play off the integrity of the natural world against the sterility of the Prosser household, establishing Huw as an elemental, almost animalistic, foil to the hypocrisy of so-called civilised village society, and to the socialised routines of his parents. This brings us to one of the most noteworthy features of Osborne’s debut: the luxuriant extravagance, and an occasional primal violence, of his language, and the descriptions of the natural world. If this voice appears

far removed from the assured idiom of his early successes, it is nonetheless employed as an appeal to the isolated strength of the individual, as it would be in Look Back in Anger. Yet for all the affinities with Osborne’s first great success, the influences of Stella and Patrick Desmond are not hard to identify, and repertory conventions are exploited from the beginning, when a mysterious lodger creeps down the stairs of the provincial boarding house, soon to be joined by a comically garrulous daily woman, and a precociously seductive servant girl (played, rather implausibly, by 30-year old Stella). Positioned intriguingly between two theatrical eras, The Devil Inside Him was a key moment in John Osborne’s sentimental education in the repertory system, the first night of which even the sclerotic older playwright would later recall with wistful affection. Newly uncovered, the play offers a fascinating insight into John Osborne’s early influences and ambitions, and its first performance in 60 years is a bold reclaiming of the importance of his eight-year apprenticeship in the theatre before Look Back’s success catapulted him to a supposed ‘overnight’ fame and notoriety. Jamie Andrews is Head of Modern Literary Manuscripts at the British Library, and a Trustee of Sheffield Theatres.

DISCOVERING THE PLAY Jamie Andrews

Rehearsal Photography: Kirsten McTernan

M S I L A I T N E T EXIS

THE DEVIL INSIDE HIM BY JOHN OSBORNE

Dr Andrew Edgar

pplied Ethics A r fo e tr en C y/ h p so o il Cardiff University, Ph e

CAST in order of appearance:

trable brown ric was “into” the impene he r ge na tee a as t tha John Osborne explains ding the existentialists. In his autobiography, rtre’. Osborne was rea Sa e, urs co of d, an ard, Jaspers of Heidegger, Kierkega in the slogan somewhat cryptically, s, thi es ss pre ex e rtr Sa is no essence that s our freedom of will. e human beings, there Existentialism concern fre as t, our tha y sa to is social background or sence’. That cted by our genes, our ‘existence precedes es tri res t no we are ns We tio . ac or who we are oices we make and the determines what we do we are through the ch o wh m for red an m for upbringing. We actively

Mrs. Evans, the Prossers’ daily woman . . . . . . .Rachel Lumberg Mr. Stevens, a commercial traveller . . . . . . . . . . .Steven Elliott Mrs. Prosser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Helen Griffin Dilys, the Prossers’ servant girl . . . . . . . . . . . . . .Catrin Stewart Huw Prosser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Iwan Rheon Mr. Prosser . . . . . . . . . . . . . . . . . . . . . . . . . . .Derek Hutchinson Burn, a medical student . . . . . . . . . . . . . . . . . . . .Jamie Ballard Mr. Gruffuydd, Minister of the Village Chapel . . . . .John Cording

perform.

y well be this idea us back. Indeed, it ma ld ho ld ou sh or n ca prospect. Nothing ‘existential crisis’ to the This seems an exciting He links his own early m. lis rne tia en ist ex to rne g Osbo lism opens up to Osbo that attracted the youn re profoundly, existentia Mo n. de Lin lla ic Ste ob s, ph n mistres nging, and his claustro decision to leave his the s of his suburban upbri kle ac n who ‘always sh ma the wo a off r; ing the indifferent’ mo d an the possibility of throw ing lat lcu ca d, pocritical, self-absorbe ever from her own’. relationship to his ‘hy was unlikely to differ rld wo the in ce pla t my made it clear to me tha ideas of n to articulate the core th century Copenhagen, bega He ing in mid-19 ss of bourgeois society. Søren Kierkegaard, liv and narrow-mindedne sy cri po his hy In . the en st Ols ain a ting ag to Regin existentialism by protes ke off his engagement bro n, so c, rea eti od sth go ae ut ingly witho e first is the ges on life’s way). Th scandalously, and seem sta ee thr (or ing ing liv us three ways of immediate pleasure, ref writings, he presented seducer. One lives for ike i-l t, the nn as va ntr Gio co n In Do . a of just a game exemplified in the life m life. Everything is fro ce e and tan ibl dis ns l po ica res cyn ing a rld of the commitment, and retain is society. It is the wo eo urg bo of abandon y pts tel ce era pre delib the moral meaning, where people ut ethical stage accepts tho wi rld wo a is It ist later ex entialists the community. bility. They live what cta pe upstanding figures of res of ns tio en nv prospect of e according to the co ir freedom. The exciting the ny de to their freedom, and liv n so rea od es confronting tic life. People have go s responsibility involv thi , ard ga rke would call an inauthen Kie r Fo e. to no pre-existing rules tually highly burdensom of the absurd, one has complete freedom is ac e fac the In to , y. am wa rah rd living in a thi that Yahweh puts to Ab the absurd, and hence es, such as the demand oic ch rd tidy rational su ab e Th . ns not yield themselves to do s, die ge guide one in one’s actio tra of s ma expressing , or the profound dilem on your own resources, up ly ate im ult sacrifice his son Isaac w dra refore g a choice you must the resolutions. In makin ve yourself to be. lie be u yo d in the person an , elf urs yo in th fai a rebel (as is the philosophy of the m lis tia en ist Ex m. lis istentia to the 16-year-old emplifies a form of ex doubt highly conducive no The young Osborne ex s wa t ns tha y ph so ilo through the conventio ar). It is a ph master. He has seen ad Albert Camus made cle he his g tin hit or for mine Belmont College not one that can deter Osborne, expelled from ther and childhood is mo his of rld wo e Th life. of everyday suburban s to be. t the way the world ha no is It faculty. constrain him. entre for Applied Ethics y/C ph so ilo Ph ty, rsi ive turer at Cardiff Un Dr Andrew Edgar is a lec

CREATIVE TEAM

THANK YOU

Director . . . . . . . . . . . . . . . . . . . . . . . .Elen Bowman Designer . . . . . . . . . . . . . . . . . . . . . . . . . .Alex Eales Lighting . . . . . . . . . . . . . . . . . . . . .Malcolm Rippeth Composer . . . . . . . . . . . . . . . . . . . . . . .Simon Allen Production Manager . . . . . . . . . . . . . . . . .Sarah Cole Stage Manager . . . . . . . . . . . . . . . . . . . . .Linda Kyle Deputy Stage Manager . . . . . . . . . . . . . .Lisa Briddon Assistant Stage Manager . . . . . . . . . .Deborah Cohen Emerging Director . . . . . . . . . . . .Sita Calvert-Ennals Design Assistant . . . . . . . . . . . . . . . .Alex Robertson Costume Supervisor . . . . . . . . . . . . . . . .Jo Nicholls Fight Director . . . . . . . . . . . . . . . . . .Alison de Burgh Dialect Coach . . . . . . . . . . . . . . . . . . . .Rhian Morgan Costume Maker . . . . . . . . . . . . . . . . . . . . .Kate Bohin Hair and Make-up . . . . . . . . . . . . . . . . .Cathy Davies Sound Associate . . . . . . . . . . . . . . . . . . .Lewis Jones Production Electrician . . . . . . . . . . . . . .Jamie Spirito

Royal Welsh College of Music and Drama, Sherman Cymru, Welsh National Opera, Evan Morgan, Jamie Andrews, Dr Andrew Edgar, Gordon Dickerson, Phil McKenzie, Jason Camilleri, Michael Regan, Craig Spierling, Gerallt Nash, Lloyd Trott, Cardiff Theatrical Services, Matt Smith, Sue Lewis and everybody at the New Theatre.

BOARD OF TRUSTEES Steve Blandford Phil George (Chair) Jon Gower Richard Hogger Deborah Martell Powell Gemma McAvoy Judi Richards Chris Ryde (Vice Chair) Peter Stead

STAFF TEAM Lucy Davies . . . . . . . . . . . . . . . . . . . . . . . . . . . .Producer Rhiannon Davis . . . . . . . . . . . . . . . . . . . .Finance Manager Devinda De Silva . . . . . . . . . . . . . . . . .TEAM Co-ordinator Rhian Jones . . . . . . . . . . . . . . . . . . . . . . . . .Administrator Sarangi Lal . . . . . . . . . . . . . . . . . . . . . .Finance Assistant Matthew Lawton . . . . . . . . . . . . .Communications Director Mathilde Lopéz . . . . . . . . . . . . . . . . . . .Creative Associate John E McGrath . . . . . . . . . . . . . . . . . . . .Artistic Director Catherine Paskell . . . . . . . . . . . . . . . . .Creative Associate Catrin Rogers . . . . . . . . . . . . . . . . . . . . . . . .Media Officer Michael Salmon . . . . . . . . . . . . . . . . .Company Assistant Carys Shannon . . . . . . . . . . . . . . . . . .Associate Producer Sam Jones C.D.G . . . . . . . . . . . . . . . . . . .Casting Director PR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Corner Shop Communications Consultant . . . . . . . . . . . .Lesa Dryburgh Fundraising Consultant . . . . . . . . . . . . . .Rachele Phillips

M S I L A I T N E T EXIS

THE DEVIL INSIDE HIM BY JOHN OSBORNE

Dr Andrew Edgar

pplied Ethics A r fo e tr en C y/ h p so o il Cardiff University, Ph e

CAST in order of appearance:

perform.

CREATIVE TEAM

THANK YOU

BOARD OF TRUSTEES Steve Blandford Phil George (Chair) Jon Gower Richard Hogger Deborah Martell Powell Gemma McAvoy Judi Richards Chris Ryde (Vice Chair) Peter Stead

CAST JAMIE BALLARD BURN

STEVEN ELLIOT MR. STEPHENS

RACHEL LUMBERG MRS. EVANS

Jamie trained at the Bristol Old Vic Theatre School. THEATRE CREDITS INCLUDE The English Samurai (Horipro/Thelma Holt Productions/RSC); Troilus and Cressida (The Globe); Thyestes (Darbourne-Luff); Some Trace of Her (NT, Cottesloe Theatre); Hamlet, As You Like It, Troilus and Cressida (Tobacco Factory); War Horse, Saint Joan (NT, Olivier Theatre); Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It (RSC/West End); Romeo and Juliet, King John, Sweet Charity (RSC); The Changeling, Macbeth (Barbican/Tobacco Factory); The Ark and the Covenant (BAC); The Duchess of Malfi (Salisbury Playhouse). TELEVISION CREDITS INCLUDE Doctors (BBC); Amnesia (Ecosse Film/ITV). FILM CREDITS INCLUDE You’re in There LTD (SAO Pictures); Electra, The Proposal (Academy Media); Byterfly (Mysterious Cat Productions); Unbroken (South of the River Films). Jamie will shortly begin filming Black Death (Ecosse Films), RADIO CREDITS INCLUDE Martha’s Metamorphosis, Lubljana, The Archers, Where the Skylarks Nest, Heartbreak (BBC Radio 4).

Steven trained at the Royal Welsh College of Music and Drama after being made redundant from East Moors Steelworks in Cardiff. He graduated with distinction and won the HTV acting prize. THEATRE CREDITS INCLUDE The Bite of the Night, Pentecost, Principia Scriptoria, Titus Andronicus, Henry V, Twelfth Night, Julius Caesar, Measure for Measure, The Merry Wives of Windsor, The Jew of Malta, The Revenger’s Tragedy, Words, Words, Words, Lone Star, Redskin! (RSC); The Winter’s Tale, Oedipus and Prizefighter (NT Studio); The Welshman (Abbey Theatre); Noises Off, The Suicide, Measure For Measure, A Midsummer Night’s Dream, Two Princes, Arcadia, A Chorus of Disapproval, Troilus and Cressida, Macbeth, Dumb Show (New Vic); Amadeus (Thorndike); Arcadia (Bristol Old Vic); Hamlet, A Tale of Two Cities, Double Cut, And Then There Were None, Emma, Babes in the Wood, Dick Whittington (Salisbury Playhouse); The Wonderful West End, Tutti Frutti (UK Tour); Double-O-Rodge (Edinburgh Fringe); The Winter’s Tale (Sherman). Steven is also an associate artist at Clwyd Theatre Cymru. FILM CREDITS INCLUDE Cold Earth (Bridgeway); The Rise of the Appliances (Big Rich Films); Green Monkey (Sow Films).

Rachel trained at the Guildhall School of Music and Drama. THEATRE CREDITS INCLUDE The Rise and Fall of Little Voice (Vaudeville Theatre); Cariad, Measure for Measure (Theatr Clwyd); MOG (Soho Theatre); The Girlfriend (Royal Court Theatre); Le Nozzie Di Figaro/Revival (The Royal Opera House); Woyzeck (St Ann’s Warehouse); See How They Run (Salisbury Playhouse); Between Mouthfuls (Colchester Mercury Theatre); Talent (Colchester Mercury Theatre); Katherine Howard (Colchester Festival Theatre); Peace In Our Time (Michael Reddington); Chatsky (The Almeida Theatre). TELEVISION CREDITS INCLUDE Doctors (BBC); A Dance to the Music of Time (Channel 4 Films); A Lump in My Throat (BBC); A Touch of Frost (Yorkshire Television); Accused (BBC); Casualty (BBC); Get Me to the Crematorium on Time (BBC); Hetty Wainthropp Investigates (BBC); Holby City (BBC); Sunburn (BBC); Tears Before Bedtime (BBC); Undercover Heart (BBC). FILM CREDITS INCLUDE Summertime (Tornado Films); South Kensington (Medusa Films); Emma (Matchmaker Films). RADIO CREDITS INCLUDE Henry the IV Part 1 (The Flying Dutchman).

JOHN CORDING MR. GRUFFUYD John Cording trained at the Central School of Speech and Drama. THEATRE CREDITS INCLUDE Arden of Faversham, Noises Off, The Suicide, Measure for Measure, The Crucible, The Rabbit, The Cherry Orchard, Of Mice and Men, The Grapes of Wrath, Night Must Fall, Brassed Off, Waiting for Godot, One Flew Over the Cuckoo’s Nest (Clwyd Theatr Cymru); Roots, The Happiest Days of Your Life (Royal Exchange Theatre); The Seagull, Othello, The Marriage of Figaro (Manchester Royal Exchange). TELEVISION CREDITS INCLUDE Caerdydd (Fiction Factory); Torchwood, Citizens, Oedipus (BBC Wales); Midsomer Murders (Bentley Productions); Heartbeat (Yorkshire Television); Coronation Street, King Lear (Granada); The Visual Bible (International TV); The Wedding Party, Ennals Point (BBC); A Mind to Kill (Lluniau lliw Cyf); The Life and Death of Philip Knight (Waller Film/ITV); London’s Burning (London Weekend TV); Poirot’s Casebook (ITV). FILM CREDITS INCLUDE One Day in the Life of Ivan Denisovich, Superman 1, Random, Great Expectations, The Man in the Iron Mask, Intimate Contact, Sakharov. RADIO CREDITS INCLUDING I Am Wales, the Aftermath (BBC Wales); A Man Called Father (BBC Radio 4).

HELEN GRIFFIN MRS. PROSSER THEATRE CREDITS INCLUDE Small Change (Sherman Cymru); Shadow of A Boy, Waves in the Chatroom, Caitlin, 101 Dalmatians, A Taste of Honey (Sherman Theatre Company); Ballard of Megan Morgan (Clwyd Theatr Cymru); Cymbeline (Michael Bogdanov). TELEVISION CREDITS INCLIDE Criminal Justice Two, Casualty, Getting On, Vivian Vyle Show, Dr Who, Holby City, The Bench, Care, Drover’s Gold (BBC); Con Passionate (S4C); Belonging, A Light on the Hill (BBC Wales); Cowbois ac Injians (S4C); Nice Day for a Welsh Wedding (BBC Wales); Pobol Y Cwm (BBC/S4C); Prime Suspect VII (Granada); The Bill (ITV); A Mind to Kill (HTV). FILM CREDITS INCLUDE Little White Lies (Red and Black Films); Human Traffic (Fruit Salad Productions); Solomon and Gaenor (S4C); Twin Town (Polygram). Helen has recently finished playing Howard Winstone’s mother in the forthcoming feature Risen (Burn Hand Films). RADIO CREDITS INCLUDE Devil’s Music (BBC Radio Wales); Duches of Malfi, The Harbour (BBC Radio 4).

DEREK HUTCHINSON MR. PROSSER Derek trained at the Webber Douglas Academy of Dramatic Art. THEATRE CREDITS INCLUDE Deep Cut (Sherman Cymru); The Oresteia (Summerscape at Bard, N.Y.); Ashes to Ashes (GBS Theatre); The Herbal Bed (Salisbury Playhouse); Martha, Josie and the Chinese Elvis, Elizabeth Rex (Birmingham Rep); Dead Funny (West Yorkshire Playhouse); Henry VIII (AandBC/RSC); Blithe Spirit (West End, Peter Hall Company); Oliver Twist (Lyric Hammersmith); Medea (Broadway and US Tour); Prince of Homberg (RSC/Lyric); The Critic (Royal Exchange Manchester); Much Ado About Nothing (Cheek by Jowl); Rebecca, Jekyll and Hyde (Edinburgh Lyceum); Way Upstream, Villette (Sheffield Crucible); Coriolanus, King Lear (Kick Theatre Company); Titus Andronicus, Julius Caesar, The Taming of the Shrew, Measure for Measure, Electra, The Family Reunion, The Churchill Play (RSC); Richard III, King Lear, Napoli Milionaria, Arcadia, Under Milk Wood (Royal National Theatre); Pericles, Ion (N.T. Studio). TELEVISION CREDITS INCLUDE Marple (ITV); Doctors (BBC); Spooks (Kudos); Forgiven (Betty TV); Midsomer Murders (ITV); The Bill (Thames); London’s Burning (ITV); Chef (Monkey Games Ltd); Crimewatch File (BBC); The Bill (Thames); Waiting (Mentron Films); Trainer (BBC). FILM CREDITS INCLUDE PU-239 (HBO Films); V for Vendetta (Wachowski Bros.); Being Julia (Serendipity Films); Stage Beauty (Qwerty Films); Iris (Robert Fox); The Cormorant (Holmes Productions). RADIO CREDITS INCLUDE Deep Cut (Sherman Cymru); Arcadia, Napoli Milionaria, Lifespan.

IWAN RHEON HUW PROSSER Iwan trained at the London Academy of Music and Dramatic Art. THEATRE CREDITS INCLUDE Spring Awakening (Olivier Award Winner), (Lyric Hammersmith/Novello Theatre); Eight Miles High (Royal Court Liverpool). TELEVISION CREDITS INCLUDE Grandma’s House (Tiger Aspect); I Don’t Care (Channel 4); Misfits (E4); Pobol y Cwm (BBC Wales).

CATRIN STEWART DILYS Catrin will shortly graduate from the Royal Welsh College of Music and Drama. THEATRE CREDITS INCLUDE Playhouse Creatures, Realism, Top Girls, A Doll’s House (Royal Welsh College of Music and Drama); Soledad (Elan Wales); Café Cariad, An Informer’s Duty (National Youth Theatre of Wales). TELEVISION CREDITS PRIOR TO TRAINING INCLUDE Casualty, Hearts of Gold (BBC). RADIO CREDITS INCLUDE Night Horse, Writing the Century – True to My Land (BBC Radio 4).

CAST JAMIE BALLARD BURN

STEVEN ELLIOT MR. STEPHENS

RACHEL LUMBERG MRS. EVANS

CREATIVE TEAM ELEN BOWMAN Director Elen trained as a director with Sam Kogan and Mike Alfreds. She is an artistic associate at Sherman Cymru. Recent stage work includes; Amgen:Broken by Gary Owen, The Penelopiad by Margaret Atwood. Elen is joint artistic director of Living Pictures Productions which is a theatre company dedicated to director development in Cardiff and London. Her work is featured in Katie Mitchell’s recent book on directing – The Director’s Craft. While associate director at Sgript Cymru, she received a Theatre in Wales Best Stage Play award for her production of Amdani. She also received two BAFTA nominations for her projects in television and film. She lives with her family in Llandybie, Carmarthenshire.

ALEX EALES Designer Alex trained at Wimbledon School of Art, London, graduating in 1997. Most recently he designed Tarantula in Petrol Blue (Aldeburgh Music) and Ghosts (Arcola) both directed by Bijan Sheibani. In 2008 he designed Wunschkonzert (Schauspielhaus, Cologne), which was an official selection for Theatertreffen 09, in Berlin, and Jungfruleken (Kungsliga Dramatiska Teatern, Stockholm) both directed by Katie Mitchell. He is currently designing Miss Julie for the Schaubühne, Berlin and Idomeneo for English National Opera. Previous designs include The Suicide (Teatro della Contradizione, Milan); Cocoa (Theatre 503); THE Resistible Rise of Arturo UI (Watford Palace and Tour); The Crocodile (Arcola Theatre); Moll Flanders (KAOS Theatre, National Tour); At Break of Day, Widows, R.U.R and Still Life (Drum Theatre, Plymouth); The Country (Belgrade Theatre at Warwick Arts Centre); Serious Money (Cambridge Arts Theatre); Blood (Pleasance Edinburgh); Girls Night (National Tour); Girls Behind (National Tour); Romeo and Juliet, As You Like It, Our Country’s Good, West Side Story, The Wizard of Oz, My Fair Lady, Grimm Tales and The Caucasian Chalk Circle (National Tour) and The Walsingham Organ, both of which went to the Pride of Place Festival in Salisbury 2002. He was Costume Designer for Iron (Traverse) at the Edinburgh Festival 2002, which transferred to the Royal Court Theatre Downstairs in February 2003 and Schauspielhaus Leipzig, Germany in March 2003. For further information please visit www.alexeales.co.uk

MALCOLM RIPPETH Lighting Designer Theatre includes Brief Encounter (Kneehigh, West End, UK & US tours), Six Characters in Search of an Author, Calendar Girls (West End, UK & Australian tours), Don John, Cymbeline, Nights at the Circus (Kneehigh), Dark Side of Buffoon (Coventry Belgrade), His Dark Materials (Birmingham Rep & tour), Edward Gant’s Amazing Feats of Loneliness, Faustus (Headlong), The Grouch, Homage to Catalonia (West Yorkshire Playhouse), Hamlet, Mother Courage (ETT), The Bloody Chamber (Northern Stage), Confessions of a Justified Sinner, Copenhagen (Edinburgh Royal Lyceum), Monkey! (Dundee Rep), Tutti Frutti (National Theatre of Scotland), Dumb Show, The Winslow Boy (Rose Kingston) and the forthcoming Spur of the Moment (Royal Court). Dance and Opera includes The Philosopher’s Stone (Garsington Opera), Seven Deadly Sins (WNO/Diversions Dance), Blood, Sweat and Tears (balletLORENT) and Carmen Jones (Royal Festival Hall). Malcolm won the 2009 Theatregoers’ Choice Award for Best Lighting Designer for Brief Encounter and Six Characters in Search of an Author.

SIMON ALLEN Composer Theatre includes Amgen:Broken (Sherman Cymru); The Nest, Andromache (Living Pictures Productions); Buzz, Diwrnod Dwynwen (Sgript Cymru); Wunschkonzert (Schauspiel Cologne and Berlin Theatre Festival 2009); Pains Of Youth, Women Of Troy, Waves, Seagull and A Dream Play all directed by Katie Mitchell for the National Theatre. The Tempest (NT); Measure For Measure, The Taming Of The Shrew (Plymouth/Thelma Holt); Not The End Of The World, The Seagull (Bristol Old Vic); Maes Terfyn

SUMMER 2010 For Mountain, Sand & Sea | In Barmouth | June 25 - July 10 (Sherman); Free From Sorrow, The Memory of Water (Living Pictures Productions); Educating Rita (Watermill); The Blue Room (Ustinov). Film scores: Stalk, Tree and multi award winning Sea Change (Jerwood Moving Image Prize 2008) all Slinky Pictures.

SITA CALVERT-ENNALS Emerging Director Sita Calvert–Ennals trained at L.I.P.A from 2001 until 2003. She has worked as freelance director for several companies including Trestle Theatre Company, Bath Theatre Royal, Ustinov Theatre Bath, Bristol Old Vic and Sherman Cymru. In September 2009 she finished a year-long director-training programme at Sherman Cymru in association with Living Pictures productions.

SARAH COLE Production Manager Sarah is a freelance production and site manager, trading as SC Productions Ltd. and working in theatre and outdoor events. She has spent much of her theatre career working in Wales, whilst her event work is on a national basis. Recent projects include Cappuccino Girls, (Grand Slam Theatre Company); August; Osage County and Blue Orange (Royal Welsh College of Music and Drama); Women of Rock (Royal Albert Hall); Thorn Birds – The Musical; Blink (Off Broadway Festival, NYC); Servant of Two Masters, The Contender, Amazing Grace – the Musical, A Christmas Carol and A Child’s Christmas in Wales (The Wales Theatre Company); The Abolition of the Slave Trade (Coach House Productions). Sarah also lectures at the Royal Welsh College of Music and Drama, and is a site manager at various events and festivals including Wakestock and Sonisphere.

LINDA J KYLE Stage Manager Linda trained in Newcastle-Upon-Tyne. She has worked in stage management for several years with companies varying in size from two members to 200. Starting with Opera North in Leeds then the Royal Opera House in London, she then moved into repertory theatre working with companies in the UK, Germany and New Zealand, the most diverse being a youth production for Wild Thyme Productions, London, involving two hundred children under the age of eleven at Sadlers Wells Theatre.

LISA BRIDDON Deputy Stage Manager Lisa trained at the Royal Welsh College of Music and Drama. Her theatre credits include Sleeping Beauty (UK Productions); Ceisio’i Bywyd Hi, Small Change, Yr Argae (Sherman Cymru); Llyfr Mawr y Plant (Theatr Bara Caws); Ty Bernarda Alba, Siwan, Y Pair, Cariad Mr Bustl, Diweddgan, Wrth Aros Godot, Esther, Dominos, Hen Rebel, Plas Drycin (Theatr Genedlaethol Cymru); Grimm Tales, Hazey Jane (Theatr Iolo); Arcadia (Bristol Old Vic/Birmingham Rep); A Word’s a Word, Lleuad Yn Olau, O Fore Gwyn Tan Nos, Letus, Y Sied, Winter Pictures (Arad Goch Theatre Company); Watsia! (Cwmni’r Fran Wen); The Lantern Marriage, Sweet Charity, Dramaturiaid (Royal Welsh College of Music and Drama).

DEBORAH COHEN Assistant Stage Manager Deborah furthered her training at the Royal Welsh College of Music and Drama, on the Postgraduate Stage Management course. During her studies she worked as assistant stage manager on Welsh National Opera’s production of ‘Madame Butterfly’ and toured with WNO MAX on a new opera for schools. She directed ‘The Magic Flute’ with Opera Ddraig, and following that she was assistant director on Southbank Sinfonia’s ‘Dido and Aeneas’. Her future projects include directing ‘The Nightingale and the Rose’ and assistant director for British Youth Opera’s ‘La Boheme’.

This summer, treat yourself to the most extraordinary seaside trip ever. Meet glamorous usherettes, blind harpists, swarthy sea captains and resurrected elephants. National Theatre Wales led by renowned artist Marc Rees, takes you on a trip around Barmouth in For Mountain, Sand & Sea.

The Beach | In North Wales | July 26 - August 01 From fairgrounds to carnival, from situationism to cheeserolling, playing games in public has long been a part of popular culture. In July, National Theatre Wales takes a trip to the beach in a multimedia theatrical event not to be missed.

The Persians | In Brecon | August 11 - 21 In August, a community hold its breath, awaiting news of a distant conflict. In a vivid retelling of one of the earliest recorded dramas, National Theatre Wales ventures deep into the military ranges of the Brecon Beacons with a new adaptation of Aeschylus’s, The Persians. For more information on any of these shows, or any of the other shows in our first year launch programme, please visit nationaltheatrewales.org.

TEAM HELP SHAPE THE FUTURE OF NATIONAL THEATRE WALES We are looking for 20 TEAM Members from across Wales, to help run events, share ideas and spread the word. In exchange, we offer you the chance to get behind the curtain, take part in building the shows from start to finish and we’ll even throw in a ticket. For more information please contact our TEAM Co-ordinator, Devinda De Silva, on team@nationaltheatrewales.org, by phone on 029 2035 3070 or via the online community at nationaltheatrewales.org/community.

ASSEMBLY How do intergenerational conflicts exist in Cardiff today? Cardiff is known as a young city: the youngest capital in Europe. Apparently 42% of the population are under 30 years old. So where do the older people fit in? Do young people feel that it is a city that belongs to them? Working with a team of local musicians, hairdressers, performers, bakers, artists, shop assistants, filmmakers, bus drivers, dog owners, tea drinkers etc., we’ll create an evening of performance and discussion about what matters in this place at this time. For more information please contact assembly@nationaltheatrewales.org

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