LONDON ROAD BY ALECKY BLYTHE AND ADAM CORK ‘It took their lives for them to help us.’ In 2006 Steve Wright, of 79 London Road, was convicted of the murders of Tania Nichol, Gemma Adams, Anneli Alderton, Paula Clennell and Annette Nicholls. The deaths of these five sex workers shook the quiet rural town of Ipswich to its core. London Road documents the experiences of the residents as the police and the media flocked to their front doors, grappling with what it means to be at the epicentre of a tragedy. Real words from real events set to an innovative musical score, London Road is a gripping verbatim musical that tells the story of a community rising from the depths of trauma. Nominated for 4 Olivier Awards, winner of Best Musical at the Critic’s Circle Theatre Awards and adapted into a film starring Olivia Colman and Tom Hardy, London Road is a groundbreaking piece of experimental musical theatre.
DIRECTOR’S NOTES ELLIE COOTE’S VISION FOR THE SHOW
When I first came across the cast recording for London Road (almost one year ago, late to the party by about five years) I couldn’t believe what I was hearing. For the entire 1 hour and 15 minutes of the soundtrack I sat in my bedroom completely spellbound by this new (to me) and original style of music. I’ve been a musical theatre fan all my life but this was unchartered territory. Since that first encounter I’ve been mulling over the idea of directing it in Cambridge, waiting for the right moment. Cambridge theatre has had a huge surge of interest in musical theatre recently, and I felt it was ready for something more experimental in the knowledge that we have the talent here to make it possible. Directing a show of this sort is so different to anything I’ve experienced before. Helping the actors copy the exact speech patterns of the residents from Alecky Blythe’s recordings was less a case of saying “I’m not sure about your interpretation of that line” and more “you’re not copying that line correctly.” Honestly, it was a liberating experience being able to tell actors that they’re wrong. Alecky Blythe and Adam Cork take verbatim to an entirely new level where every quirk of speech must be replicated: not simply what people said but how they said it. It’s in many ways the height of naturalism. At the same time, musical theatre is about as far from naturalism you can get as a form, so it’s been a fascinating experiment balancing both of those diametrically opposed halves. Verbatim theatre is in many ways an alternate form of journalism. It makes claims at representing true accounts by using peoples’ actual words as testimony. I wanted to draw on this journalistic tendency in this production by incorporating technology. Having live-linked cameras on the ADC stage was something I’ve never seen before but always wanted to try. The residents of London Road were under constant surveillance and scrutiny during the investigation, without ever being asked, as Dodge says, “how they feel.” However, the show, to me, also has an inherent irony that although the community manages to rehabilitate itself and turn tragedy into positive social action, the murders and the safety of sex workers in Ipswich and beyond still hang over the show as a reminder of what is at stake. Though the victims are not present in the story themselves, we hope to make their presence felt strongly within the show, to really push the bitter-sweetness at the end of the production and remind audiences of their on-going presence in the narrative. With the rise of the internet, we are all our own journalists. Verbatim theatre is another outlet for people’s voices to be heard outside of the stale broadsheet narratives. London Road offers just that, with the uncomfortable sense that even when you tell one story, other stories by default become sidelined: those of Tania Nicol, Gemma Adams, Anneli Alderton, Annette Nicholls and Paula Clennell.
MUSICAL DIRECTOR THE MUSIC OF LONDON ROAD
Perhaps the thing about musical theatre which I love the most is the way in which adding music can do so much to enhance the intended feeling, emotion or mood which lyrics are trying to invoke. I have always been interested in the ways that performers and writers can do this whilst retaining as much realism as possible in the performance. The modern trend of actors in musicals singing with more of a speech quality than an ‘operatic’ technique goes some way to bridging that gap. What is so exciting about London Road though, is that, like many musicals, the music is incredibly successful in bringing out the fascinating nuances of its text, but it also stays perfectly true to the way in which all the words were originally spoken. As a performer you can give a really truthful performance of the text but you also have this amazing score behind you, creating a brilliant and enhanced overall effect.
The songs not only contain lyrics which are taken from the exact words of the residents of Ipswich during the serial murders of 2006, but the melodies which Adam Cork sets them too are entirely derived from the pitches and rhythms of how the words were originally spoken. It is completely baffling to go back to the original recordings of the residents having listened to the music. Suddenly, it’s as if these people were singing all along. After just a few days rehearsing this show, everything that anyone says in conversation becomes a potential song. Every umm, err, pause and stutter contributes to a fantastic rhythm, all unified by pulse.This is the rhythm and melody inherent in the speech of real, modern people, and London Road is the only piece of music theatre I know which fully gets to grips with how people actually talk. And it is unbelievably musical.
In London Road, Alecky Blythe and Adam Cork give a voice to the residents in an amazingly creative way, a voice which they felt they were not given in some of their darkest days, showing us the inspiring story of how a community came together in the face of devastating events. The piece is incredibly moving, and provides us with a truly beautiful and rewarding way of making music theatre. I feel so lucky to have had the opportunity to work on it with such a wonderful team.. Joe Beighton
THE CAST THOSE YOU SEE BEFORE YOU...
BEN CISNEROS - DODGE
Ben is a second year Law student at Selwyn College. Past credits include: Orin (Little Shop of Horrors, ADC); Melchior (Spring Awakening, ADC); Action (West Side Story, ADC); Ensemble (Sweeney Todd, ADC); Mr Snow (Carousel, RGS High Wycombe); Marius (Les Misérables, RGSHW); Matthew Mugg (Dr. Dolittle, Wycombe Swan Youth Theatre); Roger (Grease, WSYT); Artful Dodger (Oliver!, WSYT)
TABITHA BARDSLEY - JUNE
Tabitha is in her second year and is reading French and Italian at Fitz. She has performed both on stage and in the pit. Past credits include: Fredrika Armfeldt in A Little Night Music and as violinist in CUADC/Footlights Pantomime 2015/16, Richard II, CUMTS Gala Night 2016, The Marlowe Society’s Measure for Measure and Coram Boy. She currently sings with Cambridge’s premier a cappella group, Cadenza, as well as Emmanuel Chapel Choir.
HARRY CASTLE - TIM / MARK
Harry is a second year Music student at Clare. He is the musical director of Cadenza, Cambridge’s premier a cappella group, and is a choral scholar with Clare College Choir. Credits include: as a performer, Otto, Spring Awakening (ADC), Harry, Godspell (Magdalene Cripps), Tony, West Side Story (Montgomery); as musical director, CUMTS Gala Night 2017 (ADC), The Last Five Years (ADC), Tangled (The Key); as composer, ALICE (Ed Fringe, The Debating Hall @ The Gilded Balloon), A Spurt of Blood (Judith E. Wilson Studio).
RUBY MORRIS
Ruby is a first year HSPS student at Clare College, having previously studied for a year at East 15 Acting School before starting her degree here. Whilst preparing for London Road she has also been co-directing A Fool to his Folly, which will be on at the Corpus Playroom from 14th-18th February.
LAURA PUJOS
Laura is in her second year reading English. Previous credits include: Kelly in Caravan (ADC), Ophelia in Hamlet (theSpace, Edinburgh Fringe, 2016), Elaine in Breathing Corpses (Corpus Playroom), and voice over work for ‘Clique’ (BBC3, airing 2017). Laura was part of the CU Show Choir, runners-up at Nationals (held at the Arts Theatre, London) in 2016, and also enjoys acting for camera with the Cambridge Film Association.
MOLLY-MAY KESTON
Molly-May is a first year studying Law at Newnham College. Past Credits include: The Sound of Music (Original West End Cast, London Palladium), Royal Variety Performance (London Coliseum/BBC), Chitty Chitty Bang Bang (UK Tour), Annie (Harrogate Theatre), NYMT Sweeney Todd (Village Underground), ’13’ The Musical (Original West End Cast, Apollo Theatre), Concerts with Jason Robert Brown and Matt Lucas, Blue Peter (BBC),Victoria (ITV), Keep it in the Family (ITV), Little Shop of Horrors (Ensemble, ADC), 24 Hour Musical (ADC)
RUARI PATERSON-ACHENBACH
Ruari is in his first year studying Music at Girton College. Previous roles include: Mr Bernstein/ Ensemble in Little Shop of Horrors (ADC), 24 Hour Musical 2017 (ADC), Charley Kringas in Merrily We Roll Along (C venue, Edinburgh Fringe, 2016), Jean Valjean in Les Miserables (EC), Sweeney Todd in Sweeney Todd (C venue, Edinburgh Fringe, 2015), Orin in Little Shop of Horrors (EC), as well as singing in multiple bar nights. He is also starring as Geoff in the upcoming production of A Taste of Honey (Corpus Playroom), and is a choral exhibitioner in the Girton Chapel Choir.
ORLANDO GIBBS
Orlando is currently studying for an MPhil in Classics at Homerton College. Previous credit include The Cambridge Greek Play 2016: Antigone / Lysistrata and CUADC / Footlights Pantomime 2016, 2015, 2014.
MEGAN GILBERT
Megan is a second year Education with English and Drama student at Clare College. Previous credits include CUADC/Footlights Pantomime; CAST - As You Like It; ETG - Twelfth Night as Maria; West Side Story as Anita and Bull as Isobel.
ROSANNA SUPPA
Rosanna is a fourth year Natural Sciences student studying for her MSci at Queens’ College. Previous credits include The Cambridge Greek Play, The CUADC/Footlights Pantomime: Rumpelstiltskin. ETG- Twelfth Night as Feste and Japan Tour - Comedy of Errors as Dromio of Ephesus. She’s also been a member of the Footlights Committee for the last 2 years and writes and performs her own comedy every fortnight.
ROBIN FRANKLIN
Robin is a second year studying History at Christ’s College. Previous credits include: Malcolm, 13 (Apollo Theatre, Original West End Cast), Oscar, Sweet Charity (Leicester Curve), Jamie, The Last Five Years, Otto, CUADC/Footlights Pantomime 2016 and The Adult Men, Spring Awakening (All ADC), Morrie, Brass (Leeds City Varieties,Winner UK Theatre Award for Best Musical Production), Bottom, A Midsummer Night’s Dream (Christ’s College), Barney, The Other School (St James Theatre).
THE CREW ...AND THOSE YOU DON’T ELLIE COOTE - DIRECTOR
Ellie is a finalist at Queens’ studying English. Past credits include: as director, West Side Story (ADC) and John & Jen (Corpus Playroom); as performer, Pippin (Edinburgh Fringe) and CUADC/ Footlights Pantomime 2015: Robin Hood (ADC). She is currently involved in the upcoming CUMTS Gala Night: Raise the Roof (ADC).
LOUISA DALES - PRODUCER
Louisa is a finalist reading history at Newnham College. She has produced numerous shows at the ADC, including Sweeney Todd in November 2015, and is also an experienced Stage Manager. She tour managed the 2016 Cambridge University American Stage Tour, adding four new venues, and has worked on numerous film projects, including TIDE (Producer, student film), and In Mud and Rain (Locations Manager).
JOE BEIGHTON - MUSICAL DIRECTOR
Joe is a third year music student at St Catharine’s. Past musical director credits include The Witches of Eastwick (ADC, 2015), BARE (ADC, 2015), The Sorcerer (Minack Theatre, 2015), Sweeney Todd (ADC, 2015), I Love You Because (Ed Fringe, 2016), Little Shop of Horrors (ADC, 2016)
GERAINT OWEN - ASST MUSICAL DIR.
Geraint is a first year English student at Pembroke College. This is his first major production at the ADC. Past credits include: ‘Casualty’ (BBC One), ‘Tellytales’ (CBeebies), ’The Thorn Birds’ (UK tour), as well as solo performances at the Lincoln Centre, New York. He has accompanied various singers, such as Katherine Jenkins, Paul Potts and Elin Manahan Thomas. His first musical, ‘Flashman!’, was premiered at the Rugby Festival of Culture in 2012.
OLIVIA GAUNT - ASST DIRECTOR
Olivia is a finalist reading HSPS at Girton College.This is her first time on the production team. Previous acting credits include: Wulferhampton, CUADC/Footlights Pantomime 2016 (ADC); Audrey, Little Shop of Horrors (ADC) and Mary, The Wives of Others (Edinburgh Fringe, C Venues).
DANIEL CHRISTOPHER - TECH DIRECTOR
Daniel is a second year NatSci at Corpus. Previously, they have worked on Rules for Living, Poetry in Motion, and the CUADC/ Footlights Panto: Robin Hood here at the ADC, as well as Crimes of the Heart in Corpus Playroom. They are yet to built a set without injuring themselves. Later this term, they will be set building for the ballet ‘Giselle’ at West Road Concert Hall.
SAMANTHA RUSTON - SET DESIGNER
Sammie is in her first year studying History of Art at Emmanuel. Having designed the set for Rules for Living last term, this will be her second set for the ADC. She is also currently preparing sets for the Footlights Spring Revue (ADC), Hamp (Corpus Playroom), Anything Goes (Magdalene College) and The Importance of Being Earnest (Emmanuel College.)
TOBY MOLYNEUX - TECH DIRECTOR
Toby is a fourth year engineer at Homerton College. He has worked on a large number of productions in Cambridge, and is the current the CUADC Technical Director. A selection of previous credits as Technical Director include (all at ADC Theatre): The House of Bernarda Alba, The Winter’s Tale, Murmuring Judges; credits as Master Carpenter include: CUADC/Footlights Pantomimes 2016 & 2015.
HELENA EDMONDSON - STAGE MANAGER
Helena is a second year studying linguistics at Lucy Cavendish. Past credits as Stage Manager include Robin Hood - CUADC/ Footlights Panto and Madwomen in the Attic, and as Floor Manager, West Side Story (all ADC Theatre)
CHARLIE EARDLEY - DEP. STAGE MANAGER
Charlie is a third year Geology student at Queens’ College. He has assistant stage managed several shows at the ADC, and last term stage managed Caravan (ADC).
SUSHANT ACHAWAL - SOUND DESIGN
Sushant is an Engineer at Emmanuel. Previous credits as Sound Designer include: CUMTS presents: 24 Hour Musical (ADC), A Little Night Music (ADC), Ashes to Ashes (Corpus Playroom), A Streetcar Named Desire (Corpus Playroom).
NOAH FRAM - PROJECTIONS DESIGN
Noah is studying for his MPhil in music at Trinity Hall. Some of his past credits include: The Duchess of Malfi (lighting design, ADC), The Last Five Years (lighting design, ADC), The Ghosts of Monticello (lighting design, Bucknell Opera Company), Tartuffe (lighting and projection design, Bucknell University Theatre), ‘Dream is Destiny’ (projection design, Bucknell Dance Company), and The Drowsy Chaperone (lighting/scenic design & technical director,Vanderbilt Off-Broadway).
KEVIN FLETCHER - SOUND ENGINEER
Kevin is a fresher NatSci from Churchill College. He’s previously been a Technician for ETG’s Hamlet tour of Europe this December, as well as sound designer for The House of Bernarda Alba. He also makes amusing faces across a room during a meeting when he doesn’t understand things.
KAROLINA HES - LIGHTING DESIGN
Karolina is a second year Linguistics student. Previous Lighting Design credits include: Black Comedy (ADC), Footlights Spring Revue 2016 (ADC), The Habit of Art (ADC), Are You Sitting Comfortably? (Corpus), Ten Plagues (Larkum), and Cambridge Shorts #1 and #2. She is currently working on Cambridge Shorts #3 and the West Road opera The Rake’s Progress.
JOSEPH ADAMS - CHIEF ELECTRICIAN Joseph is a first year Engineer at Emmanuel. This is his second production after the CUADC/Footlights Panto 2016.
TOM BEVAN - PUBLICIST Tom is a finalist at Corpus Christi, studying sociology. This term he produced CUMTS one-night stand ‘Dragtime’ and Stuart: A Life Backwards at the Corpus Playroom. Having loved the film version of London Road, he is really excited to be working on promoting this show.
NICK HARRISON- ASST PRODUCER Nick is a second year Maths student at Selwyn. The majority of his other credits are for producing comedic productions such as ‘Footlights Spring Revue 2017: Behind Closed Doors’ (ADC Theatre),‘Footlights Presents: Bread’ (ADC Theatre),‘Bad Habits’ (Edinburgh Fringe) and ‘Dropouts!’ (ADC Theatre).
LYDIA BUNT - ASST PRODUCER Having worked as publicity distributor for the ADC Lateshow A Sudden Burst of Blinding Light, she has really enjoyed helping out the production team in their publicity for London Road.’
ABIGAIL SMITH - COSTUME DESIGN Abigail is a third year English student at Jesus. She most recently was production and costume designer for the Cambridge American Stage Tour. She has also performed in numerous productions in Cambridge.
FIONA DOBSON - ASST STAGE MANAGER
Fiona is in her second year studying Geography at Newnham College. Past credits include: Co-Head of Props for CUADC/ Footlights Panto: Rumpelstiltskin, Stage Manager for Bull, and Deputy Stage Manager for Caravan (all ADC Theatre)
FRANCESCA COSSLETT - ASST STAGE MANAGER
Francesca is a first year studying English at Tit Hall. Past credits include: Crimes of the Heart (stage manager) and A Sudden Burst of Blinding Light (assistant producer)
GEORGIA HOLMES - ASST STAGE MANAGER
Georgia is in her first year studying French and Spanish at Fitz. Past credits include Milk Teeth (stage manager/sound tech); the 23 Hour Sketch Show Bonanza (sound tech); Lemons Lemons Lemons Lemons Lemons (technician) and Simone’s Speaking Service (sound and lighting design)
OLIVER BALDOCK - PUBLICITY DESIGN
Oliver graduated from Christ’s College in 2016 having studied architecture for three years. He is currently working whilst slowly bringing together a career in graphic design. More recently, his publicity work has included the Footlights Pantomine, Footlights present: Bread, the Duchess of Malfi and a few short films including ‘In Mud and Rain’. His work: www.oliverbaldock.com
ELISE LIMON - PROD. PHOTOGRAPHER
All credit for the photographs in this programme go to our production photographer Elise. Involved in the ADC from 2015, Elise moves between the role of production photographer for shows such as Stuart: A Life Backwards, and choreographer for shows such as: ALICE, (Gilded Balloon, Edinburgh), Exile (Corpus Playroom) and Arcadia (Edinburgh Fringe).
THE BAND LAST BUT BY NO MEANS LEAST KEYS 1
GERAINT OWEN
KEYS 2
STEPHEN GAGE
REED
WILL REIS
REED
OLIVER BARDSLEY
REED
SAM KIRBY
PERCUSSION
ELSPETH COLLARD
England’s oldest University playhouse is administered and maintained by the University of Cambridge. Chairman of the Executive Committee: Mark Billinge Theatre Manager: Mitchell Clarke Operations Manager: Vicky Collins Production Manager: Jamie Rycroft Technical Manager: John Evans Office Administrator: Connie Dent Box Office Administrator: Katie Hook Box Office: 01223 300085 Free online booking: adctheatre.com | corpusplayroom.com | adcticketing.com Administration Tel: 01223 359547 The ADC Theatre is a non-smoking venue. Patrons are reminded that in accordance with Cambridgeshire County Council regulations, the consumption of drinks in glasses is not permitted in the auditorium. Tonight’s performance will include a 15 minute interval.
7TH - 11TH FEBRUARY 2017