The Wars of the Roses Final Programme

DIRECTED BY

trevor nunn 16 Sep-31 Oct 2015

Adapted from Shakespeare’s Henry VI Part I, II, III and Richard III by John Barton in collaboration with Peter Hall

THE WARS

OF THE

ROSES

Welcome

Welcome to the Rose Theatre and our production of The Wars of the Roses, directed by Trevor Nunn, who we are delighted is working with the Rose for the first time.

We aim to present a wide variety of work designed to engage the broad community at whose heart we sit: family shows; light comedy; music events and; of course great drama, all produced to the highest standards.

So when Trevor brought this extraordinary project to us last year, we knew it would be a landmark event in the life of this organisation.

Not only is The Wars of the Roses by far the most ambitious production in the eight year history of the Rose Theatre but it also gives today’s audiences the first chance to see this remarkable trilogy, adapted by Peter Hall and John Barton from four of Shakespeare’s history plays (Henry VI Parts I, II & III and Richard III), since they were first directed by Peter for the RSC in 1963.

It is wonderfully appropriate that designers John Napier and Mark Friend have designed The Wars of the Roses for our stage as it’s a replica of the original Rose Playhouse on London’s Bankside where these original Shakespeare plays were first performed. Furthermore, Peter Hall was this theatre’s founding father and first artistic director so this production of Wars is a tribute to the great man without whom we would not be sitting here today. To complete the circle, Peter has been a mentor to Trevor Nunn who was himself once artistic director of the RSC, founded by Peter.

The reality of achieving such ambitious projects depends on the continued generosity of our friends and supporters. We would like to extend our warmest thanks to DNB as production sponsor for The Wars of the Roses and to all our supporters for their invaluable help in making our work possible. You can find further details about how to support the Rose later in this programme.

We are deeply proud to have been able to bring The Wars of the Roses to Kingston and to have assembled such a fine acting company and outstanding creative and production teams to realise it for us.

We hope you enjoy the experience of this epic theatrical event and will visit us again soon.

Proud Partner of The Rose Theatre

www.kgs.org.uk #Workwellandbehappy

Robert O’Dowd Chief Executive Rose Theatre Kingston

Jerry Gunn Executive Producer Rose Theatre Kingston

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The Wars of the Roses

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Extract from The introduction * to The Wars of the Roses

By Peter Hall

Over the years I became more and more fascinated by the contortions of politicians, and by the corrupting seductions experienced by anybody who wields power. I began to collect ‘sanctions’- those justifications which politicians use in the Press or on television to mask the dictates of their party politics or their personal ambitions: ‘not in the public interest’; ‘the country is not ready for it’; ‘the man in the street will never accept…’; ‘the taxpayer’s money’; ‘I shall do my duty if the country needs me’; ‘the normal processes of consultation’; ‘let me say quite frankly…’; I could go on and on, even providing examples of those ultimate sanctions which use God, the Queen and the Commonwealth.

I realised that Shakespeare’s history plays were full of such

sanctions: ‘God’, ‘Fortune’, ‘The Common Weal’, ‘Duty’, ‘St George’, ‘England’, ‘France’. What had seemed conventional rhetoric was really, when spoken by Warwick or Richard III an ironic revelation of the time-honoured practices of politicians. I realised that the mechanism of power had not changed in centuries. We also were in the middle of a blood-soaked century. I was convinced that a presentation of one of the bloodiest and most hypocritical periods in history would teach many lessons about the present.

When Henry VI opens we have an Old Guard- Henry V’s brothers and uncles - who pine for the good old days. ‘Why are they gone?’ they ask. Clearly because Henry VI is not as tough a politician as his father. In theory he should be a good king; he applies Christian ethics to government.

But he is up against men who don’t. By comparison he is weak and inexpert. So here is the central irony of the plays: Henry’s Christian goodness produces evil.

The new men - the Yorks, the Warwicks, the Buckinghams, the Somersets, and the Suffolks - are ruthless and hypocritical.

They justify their behaviour by invoking great sanctions - God, the King, Parliament, the People - and many other alibis that unscrupulous statesmen, motivated by the naked desire to be on top, have used throughout the ages.

These new men team up in packs in order to fight, just as wolves unite to hunt. Their power is thereby greater. The instinct of the pack is only assuaged by the destruction of the rival pack; if you don’t destroy it, it will destroy you. This is the dilemma of Richard III, who finds the rest of the universe against him and faces the impossible task of trying to kill everybody.

With the two packs of York and Lancaster the mechanism of retribution (for blood will always have blood) begins to work.

Underlying these plays is the curse of the House of Lancaster. Bolingbroke deposed Richard II to become Henry IV. Richard II was a weak and sometimes a bad king, unbalanced; he could not order the body politic. Yet for

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The Wars of the Roses

Shakespeare his deposition is a wound in the body politic which festers through reign after reign, a sin which can only be expiated by the letting of quantities of blood. The bloody totalitarianism of Richard III is the expiation of England.

Richmond arrives as a progressive force at the end of the sequence, and Shakespeare’s audience would take his presence as a happy ending. From him grew constitutional stability of Henry VIII and Elizabeth. But Shakespeare’s conclusion is really more equivocal. He doesn’t promise that a millennium awaits us; rather he says that history is a constant tragic pressure on all human beings, and unless they govern themselves and their institutions pragmatically, there is a perpetual natural tendency to return to chaos.

Shakespeare recognises that good men can become bad kings, and that good politicians may be forced to do evil. But he does not use the Marxist excuse that the ends justify the means. History may dictate wrongdoing to the individual, but the individual will always be punished for these sins.

The plays are therefore an intricate pattern of retributions, of paying for sins, misjudgements, and misgovernments, finally, the fact of death itself as a retribution which, as Richard III realises, no man can escape.

Power corrupts because the needs of being in power are in themselves corrupting. A man aspires to be a king, and is then destroyed by being a king, whether he be a good or bad king. Therefore how do we govern? What do we do?

Must we long to retire, like Henry VI, to the shepherd’s life?

The selfish instincts of men must therefore be constantly checked - by parliament, democracy, tradition, religion - or else the men of ambition would misgovern the rest. All that Shakespeare finally gives us as a lesson of human experience is that at the end of every life, every cycle of misery, selfishness, and destruction, you can only hope to be left with a regenerative principle.

A baby, for example; or Richmond founding a new dynasty. Or the hope of young love marrying. The problems are never over, but life as a principle goes on. *Published by the British Broadcasting Corporation © John Barton and Peter Hall 1970

This image of Phillip II of Spain in his custom-made wheel chair, is one of the more eccentric pieces of research that has helped inform the design of this production.

An interview WITH

trevor nunn

What has led you to revive The Wars of the Roses?

There is a very personal reason, in addition to the fact that this is a thrilling, challenging, unique project. The idea of making a trilogy of Shakespeare’s three Henry VI plays and Richard III was the brain child of the great Peter Hall, and the extraordinarily complex job of editing, transposing and, in places, reworking the text was undertaken by Peter’s friend and collaborator, the great John Barton.

I was privileged to become a close colleague and friend of both men, and had the amazing good fortune to have them as my mentors, teachers and inspiration. So I want to shout their names from the rooftops. I want to celebrate Peter as the most original, accomplished director/impresario of the twentieth century; and John, the single most influential figure in the speaking and inhabiting of Shakespeare’s verse on stage. So this production is me trying to say, “here’s to Peter and John” and on behalf of hundreds of my contemporaries, “Thank you.”

Did you see the original production of The Wars of the Roses at Stratford-upon-Avon?

Life changingly, yes. I was a student, becoming an assistant director in the theatre in nearby Coventry. I hitch-hiked to Stratford again and again, and watched the shows standing at the back – the only ticket I could afford. It was the project that, more than any other, gave the newly formed RSC its identity, an epic ensemble project, event theatre, emerging RSC stars like Ian Holm and David Warner, mingling with greats like Peggy Ashcroft and Donald Sinden.

But yet, the trilogy hasn’t been presented since then?

Partly, of course, the vastness of this chronicle of English history plays makes it a rarity, and partly, successive artistic directors feel they should make their own version of the saga. I have

seen other excellent presentations of the plays over the decades, but with all due respect, nothing, for me, has come close to matching the excitement of this trilogy adaptation.

Are there specific reasons for that, in your view?

The three Henry VI plays are lengthy and labyrinthine, but they are building inexorably to the climax, when young Richard of Gloucester, who we have been following from when he enters the story as a teenager, becomes Richard III, King, or rather more accurately, Dictator of England. Doing all four plays requires almost too much of audience stamina, so sometimes, only the three parts of Henry VI have been presented together.

But that is to stage this great arc of history without the final climactic part, and removes one of Shakespeare’s underlying intentions, which is to validate and celebrate the arrival of the Tudor dynasty.

So why did you choose the Rose at Kingston as your venue?

Because nowhere is more ideally suited.

Firstly because, extraordinarily, this theatre in Kingston was built exactly on the footprint of the Rose Theatre on Bankside, the foundations of which were discovered by archaeologists in 1989.

So to do these plays in a space with the precise configuration and scale of an early Elizabethan theatre, is perfect.

Secondly, because the Rose was Peter Hall’s last artistic directorship, and truth to tell, he and I had a number of conversations fantasizing about how we might run seasons there together.

Thirdly, and sublimely, I have discovered (via Henslowe’s Diaries) that the first presentations ever of the Henry VI plays and Richard III took place at … the Rose on Bankside! So, in some sense, the plays are coming home.

How do you rehearse three full length plays at the same time?

I wouldn’t have been able to undertake this without the huge contribution of my Associate, Cordelia Monsey. She was, for many years, Peter Hall’s assistant and associate, and, no stranger to epic projects; she was the resident director on Nicholas Nickleby, my eight hour Dickens adaptation that she took round America for us!

You are no stranger to marathon theatre events?

It’s true. I once did all of Shakespeare’s Roman plays in sequence, then the Nickleby ‘story theatre’ epic, and then the magnificent Tom Stoppard trilogy, The Coast of Utopia – with little events like Shakespeare’s two Henry IV plays thrown in for good measure. As with so many other things theatrical, Shakespeare is the inventor of the ‘series’ – exactly as we are now used to Star Wars 1, 2, 3, 4 … and indeed, scholarly commentators have referred to The Wars of the Roses as Shakespeare’s game of thrones.

You talk of ‘story theatre’ and saga, so is that Shakespeare’s intention, to get us involved in and gripped by a story?

The story is fascinating, but even the young Shakespeare is investigating what lies beneath the surface. The cycle of war and peace is repeated throughout this chronicle, but for Shakespeare, it throws up huge questions of why the men of peace are ignored or despised, or rejected as weak; and how the men of violence intoxicate their followers; and how it is that, unchangeably in our species, there is the instinct to dominate, to reject equality, to thirst for rule, to be the only one. These questions are still with us.

Despite the hopes we all shared at the moment of the millennium, heading into a new hopefully peaceful century, the world remains wretchedly and fruitlessly at war.

The Wars of the Roses

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K책re Conradi, Rufus Hound & Oliver Cotton K책re Conradi & Joely Richardson

Joely Richardson

Geoff Leesley

Andrew Woodall

Timothy Walker

Owen Oakeshott

Trevor Nunn

Alex Waldmann & Robert Sheehan

This week the most ambitious attempt to re-write Shakespeare will be complete... this is how it grew from idea to reality...

The Sunday Times on the original RSC staging, 18 Aug 1963 Atticus

colleague in the direction of the Stratford team. Brook refused once more, but this time suggested that Hall himself might do Stratford’s July productions of Henry VI and Edward IV have them. “I’d always thought of them being done,” says Hall, “but been called “the greatest theatrical feat of the century”. For the never really considered taking on the job myself.” But he did. first time, Shakespeare rewritten was acclaimed a triumph.

For two months before Christmas, Barton tackled the On Tuesday, Richard III completes the trilogy. Two men alone first draft, cutting where possible to retain the maximum took the big gamble. How did they succeed where others Shakespeare. It didn’t work. So much needed explaining that failed? What is the secret of their tense collaboration? the idea of writing Shakespearean pastiche dawned slowly.

It wouldn’t have been the first time that lesser men Churchill called the Wars of the Roses “the most ferocious and had added to the plays. Earlier actor-managers implacable quarrel of which there is factual record”. But when stuck in seduction scenes to boost their egos.

Shakespeare put it into part of his Histories, he showed all the But by last January the rewrite was held up. Barton went to New faults of an apprentice playwright. He appealed to the Elizabethan York with The Hollow Crown. He was meant to come back with ear with bombast and rhetoric, much of which was expendable. the second draft, but bronchitis Two men at Cambridge in 1950 attacked him and the actor’s rhythm knew this. Both were reading (late-night celebration of the relief English; Peter Hall at St. Catherine’s, from tension) did not allow the John Barton at King’s. Drawn writer to work during the day. together by the theatre, they met Back in London, the pressure in each other’s productions. Even increased. Barton slashed more then their temperaments differed. ruthlessly, pacing and chainHall staged Chekov, Anouilh and smoking from eight in the morning Whiting; Barton was more at to eight at night. Hall, meanwhile, home with the English classics. was re-staging Midsummer But they dreamed of digging from Night’s Dream at the Aldwych, Shakespeare’s plays a definitive and each evening the two met to production of gangster power study the work. Sixty characters politics. That was thirteen years ago. disappeared from the plays.

In 1951 their ways split. Barton A queen’s four brothers stayed up for two years, went became one. Barton wrote long to teach in California, returned “Shakespearean” passages (“for to Cambridge and eventually hitherward he bends his desperate became the Dean at King’s.

Peter Hall and John Barton in rehearsal sails…”), and a speech for a dying Hall took to the professional cardinal (“a man’s a dog, and dogs do crave a master…”) that stage and enjoyed one success after another. occupied three and a half purple pages. Hall took it out.

By 1960, Hall was Director at Stratford. One of his first acts was Twenty-four hours before rehearsals were due to start on to call in Barton, by then an authority on Shakespeare’s texts. The the trilogy in June, their newly-titled second part, Edward IV, programmes listed him as “Assistant Director”. For his opening was delivered. And Hall collapsed from overwork. While the season Hall embarked on the Comedies, and to Barton, the production got under way with Barton and a young assistant, tense intellectual, he handed the production of The Taming of the Frank Evans, in charge, up at Avoncliffe in his home by the river, Shrew. Barton’s methods were direct (Hall talks of his “martial Hall lay in a darkened room under the care of worried doctors. discipline”) and, said the actors, he “climbed over them”.

After two weeks’ silence, he appeared at the theatre, struggling With one week to go, rehearsals produced a crisis. Hall moved in, against a desperate lassitude to help their ambition through its took up the threads and retied them. Barton suffered greatly from last lap. There, Barton (buying whisky for the ‘walk-ons’) and this setback. It gave Hall a “guilt complex” in their relationship.

Hall worked side by side, the one finding the real meaning of a But the two men turned again to their main ambition. Hall scene in what he calls the “undertext,” the other “giving it breath” asked Peter Brook to produce the cycle. “Sorry”, said Brook, with simple explanations to the actors couched in modern “it’s three years’ work”. But Hall went on brooding. phrases, urging them to find truth in their own reactions.

“I felt”, he said, “a growing awareness of the significance of Now their collaboration continues to Tuesday for the politics. I suddenly realised that it’s not power that corrupts, ultimate realisation of the thirteen-year-old dream. but that you have to corrupt yourself to be politically powerful.

Their relationship, they own, is a “marriage”, not based on Shakespeare knew that too. It was buried in the plays.” the Romantic conception of two persons’ friendship where Barton, meantime, went off to produce Carmen at Sadler’s each is concerned with giving, but rooted in the more realistic Wells, where he found some relief for his emotional drives; and foundation (like 99 per cent of relationships) where each seeks prefaced this with a return to Stratford to produce The Hollow to satisfy his needs. No one can tell where the personality Crown (his own anthology of Royal verse and prose). It was of one ends and the other begins. It’s a collaboration that a hit, and success began to mellow him. His confidence grew. looks like enduring well past the middle of this week.

Last summer Hall again approached Peter Brook, now a 8

The Wars of the Roses

The War of the Rose The Original game of thrones by Professor Richard Wilson Shakespeare’s involvement in the Wars of the Roses was personal. In 1596 the College of Arms granted a coat of arms to his father, after ‘This John’ presented a ‘credible report’ that his ‘late ancestors’ did ‘valiant service’ for ‘King Henry VII of famous memory’: proof enough that a century earlier the Shakespeares had fought for the House of Lancaster at the crucial Battle of Bosworth. His friend Ben Jonson mocked its motto, ‘Not Without Right’, as ‘Not Without Mustard’.

But the gold spear on Shakespeare’s arms identified his own success with the ‘credible report’ of the Welsh usurper Henry Tudor. Clearly, Shakespeare had an investment in spinning the ‘famous memory’ of the ‘scum of Bretons and base lackey peasants’ who won the Wars of the Roses.

The crest on Shakespeare’s coat of arms was a spear held up by a falcon. But the first impression he made on his theatre associates was as an ‘upstart Crow beautified with our feathers’. The playwright Robert Greene was quoting back at him Shakespeare’s then best-known lines, when he alleged on his deathbed that the pushy gatecrasher had ‘a tiger’s heart wrapped in a player’s hide’, like a ‘hateful raven’ posing as a dove. So these bitter words record not only the jealous hatred when Shakespeare stole his colleagues’ thunder, but also the fact that by 1592, when his rival made this dying curse, the game of thrones was over. For they come from the three parts of Henry VI, the plays that made him famous.

A ‘direful pageant’ of cut-throat competition in a ‘vile world’, where two feuding houses vie with each other for shock and awe, and every step involves treachery or violence, as successive stars ‘fill the world with words’, before they ‘descend to darkness’: though it is set in the English civil wars of the fifteenth century, Shakespeare’s theatre of cruelty is often said to refer to the contemporary faction fighting around Queen Elizabeth. But this playhouse imagery suggests that the young dramatist’s disenchanted take on ‘Fortune’s pageant’ also applied to the Elizabethan stage, and the entertainment industry he came to monopolise, as his Henry VI seems eerily to witness, when he meets his murderer, Richard III: Good day, my lord. What, at your book so hard?

Ay, my good lord: my lord, I should say rather.

What scene of death hath Roscius now to act?

Roscius had been Rome’s greatest actor. So, it became the nickname of Richard Burbage, the original Richard. ‘William the Conqueror came before Richard the Turd’, Shakespeare joked of a mistress they shared. But the actor and the author were in sync at London’s Rose playhouse, where Burbage’s Rosciuslike ability to ‘frame his face’ as the villain of Shakespeare’s histories was said to ‘set the murderous Machiavel to school’.

Burbage had deserted his own father’s older Shoreditch Theatre to cross over the Thames to the rival Rose; and the Bankside house fitted not only the charismatic player’s ‘changing shape’, but the shape of Shakespeare’s plots.

Excavations reveal the Rose was redesigned in 1592 just before ‘Harry the VI’ opened. The result was a surprisingly wide shallow stage narrowing to the front, which was panoramic

for parades and parleys. Shakespeare used this space and a gallery above to experiment with multi-focused action, so power was put on display. There was no magic or mystery in this new type of realistic history, but a Brecht-like sense of alienation. And close up-front, schemers like Warwick the Kingmaker, Queen Margaret, and Richard Crookback emerged as masters of ceremony, the stage-managers of events, which was how their creator seemed to see himself.

Shakespeare’s Wars of the Roses are an epic in which jealous pretenders jostle for the centre-stage. But they are also a portrait of the artist as a young careerist. So the other tale they tell is the legend of the Rose. Their first words are in fact all but lifted from the theatre’s celebrity author, Christopher Marlowe. ‘Hung be the heavens with black, yield day to night’, sounds like a continuation to the Rose’s previous greatest hit, Tamburlaine the Great, with its comets ‘scourging’ the skies in aid of the shepherd who is its conquering hero.

Marlowe filled the Rose with this megalomaniac’s ‘mighty line’ about ‘What it is to be a king’. But their partner Thomas Nashe thought that Shakespeare went one stage better: How it would have joyed brave Talbot (the terror of the French) to think that he would triumph again on the stage, and have his bones embalmed with the tears of ten thousand spectators at least (at several times)…

By turning terror into pity, Shakespeare had his hero’s ‘acts applauded’ with tears. Instead of Marlowe’s hyperbole that a crown is ‘All that poets feign of bliss and joy’, he packed the Rose for a cycle about Henry VI’s reign of failure, ‘as if the tragedy / Were play’d in jest by counterfeiting actors’. Marlowe later tried to cap this player king idea with his Edward II. So he must have sensed that when Shakespeare has the Duke of York taunted in a paper crown, it is his own exaggerated kind of theatre that is being targeted. His challenger even made a Kentish bigmouth, the rebel Jack Cade, into a caricature of Marlowe, the cobbler’s son from Canterbury. For this arsonist’s order to ‘burn down the Tower’ mimics Marlowe’s ‘muse of fire’ and fantasy about burning ‘topless towers’. But Shakespeare may have come to regret such enmity, because within a year the great fire-raiser was himself a victim.

Marlowe’s murder in 1593 darkened Shakespeare’s sequel.

His Henry plays blocked the rise of any single individual with a consortium of voices around the Council table; and some editors think they were themselves such a collaboration, with Greene and Nashe. Yet in Richard III the protagonist says he stands ‘myself alone’, ‘determined to prove a villain’, as though he is finally in a play by Marlowe. Instead, Richard discovers too late that he is in a Shakespearean romance, based on a family reunion. The ‘bloody dog’ is astonished to be defeated, as his vanquisher has no more right to rule than any other of the other Henrys or Edwards. But Shakespeare was not called ‘the Bard’ for nothing. By singing the praises of Henry Tudor and his ‘hardy Welshmen’, he won the War of the Rose.

Richard Wilson is Sir Peter Hall Professor of Shakespeare Studies at Kingston University The Wars of the Roses

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Henry VI

Edward IV

THE ENGLISH Humphrey, Duke of Gloucester Lord Protector, uncle of Henry VI Andrew Woodall John, Duke of Bedford Regent of France, uncle of Henry VI Rufus Hound Henry Beaufort, Bishop of Winchester great uncle of Henry VI Oliver Cotton Thomas Beaufort, Duke of Exeter, great uncle of Henry VI Geoff Leesley Captain to Talbot Jim Creighton Richard Plantagenet, later Duke of York Alexander Hanson William de la Pole, Earl of Suffolk, later Duke of Suffolk Michael Xavier The Duke of Somerset Owen Oakeshott The Earl of Warwick Timothy Walker Vernon James de Lauch Hay Basset Oscar Batterham Lawyer Harry Egan Edmund Mortimer great-grandson of Edward III Geoff Leesley Lord Talbot, later Earl of Shrewsbury James Simmons John Talbot, his son Oscar Batterham King Henry VI Alex Waldmann Eleanor, Duchess of Gloucester Alexandra Gilbreath Sir John Hume James Simmons Roger Bolingbroke, a conjuror Rufus Hound

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The Wars of the Roses

The Storyline Margery Jourdain, a sorceress Susan Tracy A Townsman of St Albans Harry Egan Saunder Simpcox Jim Creighton Simpcox’s Wife Imogen Daines Citizens’ Leader Susan Tracy Second Citizen James de Lauch Hay Third Citizen Harry Egan

THE FRENCH Charles the Dauphin Kåre Conradi The Duke of Alençon Robert Sheehan Reignier Freddy Carter The Bastard of Orleans Laurence Spellman The Duke of Burgundy Jim Creighton Joan la Pucelle, known as Joan of Arc Imogen Daines Margaret of Anjou daughter of the King of Naples Joely Richardson

MESSENGERS SOLDIERS CITIZENS ATTENDANTS Oscar Batterham / Freddy Carter / Harry Egan / James de Lauch Hay All other parts played by Jack Richardson and members of the Company Community Chorus

Henry V, the hero of Agincourt, has unexpectedly died. His son is still a minor, and so the country is ruled by the Protector, Henry VI’s uncle, the Duke of Gloucester.

Charles, the Dauphin of France, is attempting to win back control of regions that now belong to England, inspired by a visionary shepherd’s daughter, Joan ‘La Pucelle’. Meanwhile the English nobles quarrel over the succession.

Increasing enmity breaks out between the House of Lancaster, loyal to Henry VI, and those loyal to Richard Plantagenet, descendant of the House of York. In the Temple Garden, York picks a white rose to symbolize his claim, while allies of the young King pick red roses as badges of their House of Lancaster.

Young Henry is crowned ‘King of France and England’ in Paris, as war between the English and the forces of the Dauphin continues. The Earl of Suffolk captures the beautiful and strong-willed Margaret, a French princess, and persuades young King Henry to marry her, against the advice of the Protector, whose position becomes increasingly under threat...

THE HOUSE OF LANCASTER King Henry VI Alex Waldmann Queen Margaret Joely Richardson Edward, Prince of Wales as a boy Ben Greenwood / Zachary Rogers Edward, Prince of Wales Freddy Carter The Duke of Exeter Geoff Leesley Lord Clifford Oliver Cotton Young Clifford, his son Laurence Spellman Sir Humphrey Stafford Jim Creighton The Duke of Somerset Owen Oakeshott The Earl of Oxford Harry Egan A Son That Has Killed His Father Oscar Batterham Henry, Earl of Richmond as a boy Louis Fisher / Sam Stewart The Earl of Warwick Timothy Walker

THE HOUSE OF YORK Richard Plantagenet, Duke of York Alexander Hanson Young Edward Louis Thwaites / David Gardner Edward Kåre Conradi Young George Harvey Balsdon / Edan Pickering George Michael Xavier his sons Young Richard Sam Harwood-White / Logan Barton Richard Robert Sheehan Rutland Harvey Balsdon / Edan Pickering

The Duchess of York Susan Tracy The Duke of Norfolk James Simmons Lady Elizabeth Grey later Queen to Edward IV Alexandra Gilbreath Lord Rivers, brother of Lady Elizabeth Grey Rufus Hound Lord Hastings Oliver Cotton The Duke of Buckingham Alexander Hanson A Father That Has Killed His Son Jim Creighton

THE FRENCH Lewis, King of France James de Lauch Hay Lady Bona, his sister Imogen Daines The Duke of Burgundy Jim Creighton The Duke of Alençon Robert Sheehan

THE COMMONS Jack Cade Rufus Hound Dick Michael Xavier Smith Harry Egan Clerk of Chatham Freddy Carter Michael Oscar Batterham Alexander Iden, a Kentish gentleman Andrew Woodall First Watch Jim Creighton Second Watch Laurence Spellman

Third Watch Freddy Carter First Keeper Andrew Woodall Second Keeper Owen Oakeshott Lieutenant of the Tower Owen Oakeshott

MESSENGERS SOLDIERS CITIZENS ATTENDANTS Oscar Batterham / Freddy Carter / Harry Egan / James de Lauch Hay All other parts played by Jack Richardson and members of the Company Community Chorus

The Storyline A few years later, King Henry VI pleads for unity, as Jack Cade leads a rebellion in Kent, proclaiming himself heir to the throne.

Having succeeded in suppressing a revolt in Ireland, Richard Plantagenet, now Duke of York, returns to England, declaring his right to be King. Threatened with violence

by Warwick and York, Henry swears an oath, which allows him to remain on the throne until his death, on condition that his title will pass permanently to the House of York thereafter. Appalled by this decision, Henry’s supporters abandon him and Queen Margaret declares war on the Yorkists.

As the King continues to plead for peace, the nobility take sides and throw the nation into Civil War.

The Wars of the Roses

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RICHARD III THE HOUSE OF YORK King Edward IV Kåre Conradi Queen Elizabeth Alexandra Gilbreath Prince Edward Louis Thwaites / David Gardner Richard, Duke of York Ben Greenwood / Sam Stewart Princess Elizabeth Caitlin Webb George, Duke of Clarence Michael Xavier Richard, Duke of Gloucester Robert Sheehan The Duchess of York Susan Tracy The Duke of Exeter Geoff Leesley Lord Hastings Oliver Cotton Anthony Woodville, Earl Rivers brother to Elizabeth Rufus Hound The Duke of Buckingham Alexander Hanson The Duke of Norfolk James Simmons William Catesby Timothy Walker Richard Ratcliff Owen Oakeshott James Tyrrel Alex Waldmann

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The Wars of the Roses

THE HOUSE OF LANCASTER

MESSENGERS SOLDIERS CITIZENS ATTENDANTS

King Henry VI Alex Waldmann Margaret widowed Queen of King Henry VI Joely Richardson Prince Edward son of King Henry VI Freddy Carter Lady Anne widow of Prince Edward, daughter of Warwick Imogen Daines The Earl of Richmond Laurence Spellman The Earl of Oxford Harry Egan The Earl of Derby Andrew Woodall The Bishop of Ely Jim Creighton

Oscar Batterham / Freddy Carter / Harry Egan / James de Lauch Hay All other parts played by Jack Richardson and members of the Company Community Chorus

THE COMMONS The Lieutenant of the Tower Geoff Leesley First Murderer James Simmons Second Murderer Laurence Spellman The Lord Mayor of London Geoff Leesley First Citizen Imogen Daines Second Citizen Oscar Batterham Third Citizen Alex Waldmann

The Storyline England seems finally to be at peace under the Duke of York’s son Edward IV. But resenting Edward’s behaviour, Richard, his younger brother, begins to plot his way towards becoming King himself.

creative List Director Trevor Nunn Associate Director Cordelia Monsey Concept Set Design John Napier Set Designer Mark Friend Costume Designer Mark Bouman Lighting Designer Paul Pyant Sound Designer Fergus O’Hare Fight Director Malcolm Ranson Original Music Guy Woolfenden Music Adaptor/Arranger Corin Buckeridge Casting Director Ginny Schiller Assistant Director Eleanor Clare Taylor Period Movement Director Ian Brener Voice Coach Morwenna Rowe

Production Manager Wayne Parry Props Supervisor Sharon Foley Costume Supervisor Jennie Falconer Company Manager Roger Richardson Stage Manager Naomi Buchanan Brooks Deputy Stage Manager Erin Murphy Assistant Stage Manager Jack Richardson Wardrobe and Wigs Manager Juliette Craft Wardrobe Assistant / Dressers Orla Thorne Franky Wicks Costume Work Experience Wimbledon School of Art: Kiki Lin Phoebe Roberts Helen Kingwell Devon Opp Annamaria Ganzinello Lucy Kembey Akshy Marayen Eloise Mair Children’s Administrator Judith Conyers Follow Spot Operator Diego Celis Abad

Production Credits Scenic Build & Paint Belgrade Production Services Costume Supplied by Bristol Costume services, Cornejo Costumes, National Theatre, Arms and Archery, Cosprop Prop Makers Taylor and Foley Wigs Shepperton Wig Company Costume maker Sarah Poxton Le’Strange Sally Payne Millinery by Ani Stafford-Townsend Production Photographer Mark Douet Programme Design The Graphic Design House

Thank Yous Shakespeare’s Globe White Light Ltd Robert Skidmore English Touring Theatre Schultz and Wiremu dye and fabric effects The National Theatre Donmar Warehouse John Goodwin Chase Lodge Jane Woolfenden Tim Saunders, Tina Kerner and all at Alford House

The Wars of the Roses

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Owen Oakeshott & Robert Sheehan

Freddy Carter & Joely Richardson

Susan Tracy

The Company

Alexandra Gilbreath & Imogen Daines

Robert Sheehan

Harry Egan, Rufus Hound, Jim Creighton & Oscar Batterham

Alex Waldmann

Take a magical journey into a spine-tingling world

The Company

James de Lauch Hay & Oscar Batterham

Laurence Spellman

Very early in the morning of Candlemas Day, 2 February 1461, Edward and his army came to Mortimer’s Cross, which was – and still is – a hamlet of a few homes spanning a quiet crossroads between Ludlow and Leominister, in the midst of the Marcher territory once held by the Mortimers.

On that morning a strange sight was to be seen in the sky above the astonished Yorkists – three suns appeared on the firmament ‘and suddenly joined together in one’. This is a rare phenomenon called a parhelion, or mock sun, which occurs when light is refracted through ice crystals.

Such things were, of course, not understood in the fifteenth century, and the Yorkist soldiers wondered what it portended, some crying out in fright. But Edward proclaimed that it was an omen of victory, saying to his soldiers, ‘Beeth of good comfort and dreadeth not. This is a good sign for those three suns betokeneth the Father, the Son and the Holy Ghost, and therefore let us have a good heart, and in the name of Almighty God go we against our enemies!’

He also construed the sign as foretelling the joyful reunion of the three sons (suns) of York – himself and his brothers George and Richard. At this word the entire Yorkist army sank to its knees in prayer, overawed by the vision. In time, Edward would incorporate those three suns into his personal badge, “The Sun in Splendour”.

Extract from Lancaster and York by writer & historian Alison Weir First Publication 1995, Random House © Alison Weir

Michael Xavier & Timothy Walker

By Charles Dickens Adapted & directed

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The Wars of the Roses

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19

Edward the Black Prince

Edmund Mortimer

Richard ii

Anne (see below) Richard Earl of Cambridge

William of Hatfield

Lady Anne (see below)

Reignier King of Naples

Queen Margaret

Earl of March Lionel Duke of Clarence

Characters in the play appear in bold, Yorkists on a white background, Lancastrians on red.

HENRY vi

Philippa

Prince Edward

HENRY V

Marriages

Blanche

A divided box encloses husband and wife.

The issue of the marriages is shown by a continuation of the dividing line.

John of Gaunt Duke of Lancaster Katharine Swynford

Katharine Owen Tudor

HENRY IV

John Duke of Bedford

Henry Beaufort Bishop of Winchester

Humphrey

Edmund Tudor Earl of Richmond

Duke of Gloucester

Thomas Beaufort Duke of Exeter

Eleanor Cobham

Margaret Beaufort

Edward iii John Beaufort Earl of Somerset

Earl of Richmond (HENRY VII) Princess Elizabeth

Earl of Derby

John Duke of Somerset

Earl Rivers Richard Woodville Earl Rivers

Edmund Langley Duke of York

Richard Earl of Cambridge

Richard Duke of York Duchess of York

Anne Mortimer

Elizabeth Woodville Lady Grey (Queen Elizabeth)

edward V

edward iV

Richard Duke of York

George Duke of Clarence Thomas of Woodstock

Isabel

Constance

Isabella

Anne Earl of Warwick

William of Windsor This is a simplified Family Tree. There are one or two minor historical inaccuracies which have been allowed to stand because they echo Shakespeare and make the tree more clear.

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RICHARD iii Lady Anne Prince Edward Edmund Earl of Rutland Henry Duke of Buckingham The Wars of the Roses

21

o

Kare Conradi

Imogen Daines

Rufus Hound

Dauphin/Edward IV

Joan of Arc/Simpcox’s Wife/ Citizen/Lady Bona/Lady Anne

Bedford/Bolingbroke/ Jack Cade/Rivers

Kåre trained at LAMDA and The Academy of Dramatic Arts, Oslo. Theatre credits include The Little Prince (The Lyric Theatre, Belfast); Diary From Belgrade, The Perfect Husband, Erasmus Montanus, The Story of Peer Gynt, A Beautiful Place, Fanny & Alexander, People and Robbers of Cardemon Town, Carousel, Little Eyolf, Pretenders, When We Dead Awaken, League of Youth, Peer Gynt, A Midsummer Night’s Dream, The Government Inspector, Romeo and Juliet, Skylight, Abigail’s Party (National Theatre of Norway); Hamlet (Trondheim Theatre, Norway); A Midsummer Night’s Dream (British Shakespeare Company); Bör Börson, The Glass Menagerie, West Side Story, Hamlet (Trøndelag Theatre, Norway); Cirkus, The Wind in the Willows, I Hired a Contract Killer, The Pianist, The Shadow, Stones in His Pockets (Torshov Theatre); Cabaret, My Girl, My Fair Lady, Singing in the Rain (Oslo NYE Theatre) and Dumb Show (Tour). Film and television credits include Monsters Inc, Blessed Are Those Who Thirst, SMS – Seven Magical Circles, Boys Will Be Boys, Sophie’s World, Spirit, Greatest of All, Betrayal, Time Before Tim and Wide Blue Yonder. Directing credits include The National Theatre of Norway’s Amphitheatre (Artistic Director 2000‑2003) and The Norwegian Ibsen Company (Artistic Director 2014 – Present).

CAST Oscar Batterham John Talbot/The Son Who Killed His Father/ Basset Oscar trained at Guildhall School of Music and Drama.

Credits whilst training include Guys and Dolls, Burnt by the Sun, As You Like It, A Midsummer Night’s Dream, Flare Path, Her Naked Skin, Oedipus Rex, South Downs, The Browning Version, The Cherry Orchard and The Way of the World.

Freddy Carter Reignier/Prince Edward/ Clerk of Chatham/ Third Watch Freddy trained at The Oxford School of Drama. This is his professional stage debut.

Credits whilst training include Lines in the Sand (Soho Theatre); All Day Permanent Red (Pegasus Theatre); All My Sons, A Midsummer Night’s Dream and Children of the Sun.

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Oliver Cotton Winchester/Clifford/Hastings Theatre credits include Summerfolk, Money, Troilus & Cressida, Piano, The Crucible, Despatches, World Turned Upside Down, HalfLife, The Passion, Madras House, Julius Caesar, Tales from the Vienna Woods, No Man’s Land, Hamlet, Tamburlaine (National Theatre); Henry IV (Shakespeare’s Globe); Richard II, A Flea in Her Ear, The Philadelphia Story (The Old Vic); Piano Forte, Lear, Bingo, Man Is Man, Duchess of Malfi (The Royal Court); Some Americans Abroad, The Plain Dealer, The Plantagenets, The Marrying of Ann Leete (Royal Shakespeare Company); An Ideal Husband (Lyric Theatre); Benefactors (Vaudeville Theatre); Children of a Lesser God (Noel Coward Theatre); Brand, Daytona (Theatre Royal, Haymarket); The Homecoming (Garrick) and Passion Play (Duke of York’s). Film credits include The Dark Knight Rises, The Gisella Perl Story, Shanghai Knights, Baby Blue, The Dancer Upstairs, Beowulf, The Opium War, Eleni, Christopher Columbus, Hiding Out, The Sicilian, Firefox, Oliver Twist and The Day Christ Died. Television credits include Money, Margaret, The Borgias, Sensitive Skin, Sharpe’s Battle, Redemption, Westbeach, Innocents, Waking the Dead, The Camomile Lawn, Penny Dreadful and Ripper Street. Writing includes Singing for Stalin, The English Game, Peeping Through (Film); The Enoch Show (The Royal Court); Man Falling Down (Shakespeare’s Globe); Wet Weather Cover (King’s Head) and Daytona (Theatre Royal, Haymarket).

Jim Creighton Burgundy/Simpcox/Stafford/Father Who Killed His Son/Ely Theatre credits include Journey’s End (Watermill Theatre); The Silver Tassie, Fram, Market Boy, The Royal Hunt of the Sun, The Merchant of Venice, Money, Summerfolk, Troilus and Cressida, Peter Pan, An Enemy of the People, Skylight (Royal National Theatre); Brand, The Merchant of Venice (Royal Shakespeare Company); Richard III (Nottingham Playhouse); Overruled (Wilmington Theatre Company); Desire Under Elms (Lyric Hammersmith); The Tempest, Flare Path (Theatre Royal Haymarket); 1936 (Arcola); Loot (Tricycle); On the Middle Day, The Entertainer (Old Vic); Cyrano de Bergerac and Three Sisters (Chichester Festival Theatre). Television credits include WPC 56, Doctors, The Hour, King Lear, Ashes to Ashes, Emergency Rescue, The Estate, The Merchant of Venice and The Perfect Crime.

Imogen trained at RADA. Theatre credits include Coram Boy (National Theatre); The Great Gatsby, Hutch (Riverside Studios); Merlin (Royal and Derngate Theatre, Northampton) and Playing For Time (Sheffield Crucible). Film credits include Despite Falling Snow. Television credits include Chasing Shadows.

Harry Egan Lawyer/A Townsman of St Albans/Smith/The Earl of Oxford Harry graduated from Bristol Old Vic Theatre School in July 2015 and is delighted to be making his professional debut with Trevor Nunn.

Credits whilst training include Road, The Last Days of Judas Iscariot, The Heresy of Love, Design For Living, Twelfth Night and The Servant.

Alexandra Gilbreath Eleanor Duchess of Gloucester/ Queen Elizabeth Previous Rose credits include Hay Fever.

Theatre credits include The Invisible (Bush Theatre); The Merry Wives of Windsor, The Taming of the Shrew (Helen Hayes Award Nomination - Best Actress), The Tamer Tamed, Merry Wives the Musical, Cyrano de Bergerac, The Country Wife, As You Like It, Romeo and Juliet, A Winter’s Tale, Ghosts, Love’s Labour’s Lost (Royal Shakespeare Company); Twelfth Night (Royal Shakespeare Company/West End, Olivier Award Nomination - Best Supporting Actress); Playhouse Creatures (Chichester Festival Theatre); King Lear (West Yorkshire Playhouse, Ian Charleson nomination); Shallow Slumber (Soho Theatre); Othello (Sheffield Crucible Theatre); The Village Bike, Disappeared (Royal Court Theatre); Blood Wedding (Young Vic); The House of Bernarda Alba (Gate Theatre) and Hedda Gabler (English Touring Theatre/ Donmar Warehouse, Ian Charleson Award TMA and Manchester Evening News nomination - Best Actress). Film credits include A Hundred Streets, Tulip Fever, Dead Babies and The All Together. Television credits include Father Brown, Casualty, WPC 56, Eastenders, A Midsummer Night’s Dreaming (Royal Shakespeare Company), In Search of Shakespeare, Inspector George Gently, Rites of Passage, Not Going Out, Trial and Retribution, Absolute Power, The Commander, The Waltz King, Happiness, Midsomer Murders, The Bill, The Project, Monarch of the Glen, Out of Hours, A Wing and a Prayer and Life Begins.

Rufus Hound is an actor, presenter and comedian. Theatre credits include Dirty Rotten Scoundrels (Savoy Theatre); One Man Two Guv’nors (Theatre Royal Haymarket/Tour) and Neville’s Island (Chichester Festival Theatre).

Film credits include The Wedding Video, Beautiful Devils and Big Fat Gypsy Gangster. Television credits include Cucumber, Doctor Who, A Touch of Cloth and Hounded.

James de Lauch Hay Vernon/Second Citizen/ Lewis, King of France/ Papal Legate James trained at Arts Educational Schools (London) and Lee Strasberg Theatre & Film Institute (New York).

He received the ‘Sir John Gielgud Award’ during his training.

Credits whilst training include Two Gentlemen of Verona, Vernon God Little, Macbeth, The Radicalisation of Bradley Manning, The Seagull, The Importance of Being Earnest, All My Sons, Three Sisters and Someone Who’ll Watch Over Me. Film credits include Love & Thieves, Milk and The Copy Room.

Geoff Leesley Exeter/Mortimer/Lieutenant of the Tower/Lord Mayor Theatre credits include State Red (Hampstead Theatre); Flannelettes (Kings Head Theatre); Forgotten Voices (Nick Brooke Ltd/Pleasance Theatre); Much Ado About Nothing, Road (Royal Exchange Theatre, Manchester); Bedroom Farce, The Provok’d Wife (National Theatre); Pygmalion, The Apple Cart (The Peter Hall Company); An Inspector Calls (UK Tour); The Mill – City of Dreams (Freedom Studios); The Crucible (Regents Park Open Air Theatre); Othello (West End); The Thunderbolt, De Monfort, Augustus Does His Bit, Major Barbara (The Orange Tree Theatre); Jerusalem (West Yorkshire Playhouse); The Knight of the Burning Pestle (Colchester Mercury/Young Vic); The Seagull (Colchester Mercury); Making Waves (Stephen Joseph Theatre); Much Ado About Nothing, Romeo and Juliet, Anthony and Cleopatra, The Crack’d Pot (Northern Broadsides) and Albert Finney Doesn’t Live Here Anymore (Manchester Library Theatre). Film credits include 5 Greedy Bankers, Wimbledon, Ashes & Sand, Five Greedy Bankers, Asylum, A Life for a Life, Wilde and Second Best.

Television credits include New Tricks, Holby City, The Escape Artist, Grandpa In My Pocket, White Heat, Law & Order UK, EastEnders, Midsomer Murders, Wire In The Blood, Little Britain, Coronation Street, Casualty, In Search of The Brontes and Only Fools and Horses.

Alexander Hanson Richard Duke of York/Duke of Buckingham Previous Rose credits include Single Spies. Theatre credits include The Gathered Leaves (Park Theatre); Accolade (St James Theatre); Stephen Ward (Aldwych Theatre); Jesus Christ Superstar (O2 London/Arena Tour); Uncle Vanya, Tonight at 8.30 (Chichester Minerva Theatre); An Ideal Husband (Vaudeville Theatre); A Little Night Music (Menier Chocolate Factory/Garrick Theatre/Broadway); Marguerite, Arcadia (Theatre Royal, Haymarket); The Sound of Music (London Palladium); Troilus and Cressida, The Merchant of Venice, Candide, The Villain’s Opera, The London Cuckolds (National Theatre); Copenhagen (National Theatre Tour); Talking to Terrorists, Shallow End (The Royal Court); Cracked, The Memory of Water (Hampstead Theatre); Enter the Guardsman, Brel (Donmar Warehouse); The Things We Do For Love (Duchess Theatre); We Will Rock You (Dominion Theatre); Sunset Boulevard (Adelphi Theatre); Aspects of Love (Prince of Wales Theatre); A Little Night Music and Hay Fever (Chichester Festival Theatre). Film credits include Papadopoulos & Sons, Kidulthood, Mauvaise Passe and Fellow Traveller. Television credits include Holby City, London’s Burning, Midsomer Murders, Lewis, The Last Detective, Rosemary & Thyme, The Man Who Crossed Hitler, Party Animals and Auf Weidershen Pet.

The Wars of the Roses

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Owen Oakeshott

Robert Sheehan

Susan Tracy

Andrew Woodall

Somerset/Ratcliff

Richard III/Alençon

Margery Jourdain/Duchess of York/Citizens’ Leader

Gloucester/Iden/Derby

Previous Rose credits include A Day in the Death of Joe Egg. Theatre credits include Henry VI Parts 1, 2 & 3, Richard III, Antony & Cleopatra, Timon of Athens, The General from America (Royal Shakespeare Company); Market Boy, The Royal Hunt of the Sun (National Theatre); The Iceman Cometh (The Almeida/The Old Vic); An Inspector Calls (West End); In the Next Room - The Vibrator Play (St James Theatre); Roots (The Royal Exchange Theatre, Manchester); Copenhagen (Edinburgh Royal Lyceum); Antony & Cleopatra, Tiger Tail (Nuffield); Desire Under the Elms (The New Vic, Stoke); Melonfarmer (Theatre Royal Plymouth); Way Upstream (Derby Playhouse); Bites (Bush Theatre); Slaves (Theatre 503); Kalashnikov (Pursued By A Bear/Tour); Hedda (Palimpsest/Tour); Taming of the Shrew (Guildford Shakespeare Company); The Oxford Passion (Creation Theatre Company); On the Waterfront (Wimbledon Studio/Tour) and The House of Desires (Battersea Arts Centre). Film credits include Upside of Anger and Meat & Electricty. Television credits include Outlander, You Me & Them, Trial & Retribution, Spooks, She’s Gone, In the Name of Love, Armadillo, The Professionals, Dream Team, Family Affairs, The Bill, Birds of a Feather and Bad Girls.

Jack Richardson

James Simmons

As cast throughout

Lord Talbot/Hume/Duke of Norfolk/First Murderer/ Fight Captain

Jack trained at Birmingham School of Acting. In 2015 Jack co‑founded both DD Arts Birmingham Central Ltd and Melancholy Fellows Theatre Company.

Credits whilst training include A Woman of No Importance, Macbeth, Bedlam, Flare Path, The Threepenny Opera, A Flea in Her Ear and Therèse Raquin. Theatre credits include At Ease (DD Arts Birmingham); Julius Caesar, Playin’ Safe (Cheltenham Everyman Theatre); Trusting Atoms (RSC/ Birmingham University); Cinderella (Theatre Royal Norwich); Fairy Tales of the Unexpected, Treasure Island (LP Creatives) and Off the Straight and Narrow (Old Joint Stock). Short film credits include V-DAY (Tanami) and FLED (Stickleback Productions).

Joely Richardson Margaret of Anjou Previous Rose credits include The Lady From the Sea. Recent theatre credits include Belle of Amherst (Westside Theatre, New York); Ivanov (Classic Stage Company) and Side Effects (Lucille Lortel Theatre). Past theatre includes productions with The Old Vic, Royal Shakespeare Company, Almeida, West End and regional theatre. Film credits include Snowden, Fallen, Maggie, Papa, Endless Love, Thanks For Sharing, The Girl With The Dragon Tattoo, Anonymous, Maybe Baby, The Patriot, Under Heaven, Event Horizon, 101 Dalmatians, Sister My Sister, Drowning By Numbers and Wetherby.

Television credits include The Tudors, Nip/Tuck, Wallis & Edward, Lies My Mother Told Me, Fallen Angel, Lady Chatterley’s Lover and Heading Home.

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The Wars of the Roses

Theatre credits include The Playboy of the Western World (The Old Vic).

Film credits include Geostorm, The Messenger, Moonwalkers, Jet Trash, The Road Within, Anita B, The Mortal Instruments, Sway Lake, The Borrowers, Demons Never Die, Killing Bono, Season of the Witch, Cherrybomb, Summer of the Flying Saucer, The Helpless Creature, Ghostwood and Song for a Raggy Boy. Short film credits include Lowland Fell, An Cuainin, Falling Angels and A Dublin Story. Television credits include Love Hate, Me & Mrs Jones, Accused, Misfits, Coming Up, Red Riding Trilogy, Rock Rivals, Bittersweet, The Tudors, Bel’s Boys, The Clinic, Young Blades and Foreign Exchange.

Theatre credits include Amadeus, A Marvellous Year for Plums (Chichester Festival Theatre); The Handyman (Yvonne Arnaud Theatre); The Tempest (Theatre Royal Haymarket); Private Lives (Tour, MTA Awards Best Actor nomination); The Lion King (Lyceum Theatre); Hamlet (The Old Vic); Much Ado About Nothing, Macbeth, Henry V (Arundel Festival/Tour); The Woman in Black (Fortune Theatre); The Rivals (Albery Theatre/Tour); Mr A’s Amazing Maze Plays (National Theatre); Merchant of Venice, Richard III (Royal Shakespeare Company); Much Ado About Nothing (Oxford Stage Company) and Twelfth Night (Renaissance Theatre Company).

Television and film credits include Les Misérables, Nightmare Box, The Whistleblower, Henry V, Twelfth Night, The Confession, EastEnders, Trial and Retribution, Silent Witness, Animal Ark, Brookside, The Alchemist, Grown Ups, The Bill and Rumpole of the Bailey. Directing credits include Midsummer Night’s Dream (UK/USA), The Mysteries, Maria Marten (Associate Director, Tour de Force); Carmen, La Boheme (Assistant Director, Royal Albert Hall); Xerxes (Assistant Director, Ilford Arts) and La Traviata (Director, Pop-up Opera).

Laurence Spellman Young Clifford/Richmond/ Bastard of Orleans/Second Murderer/Watchman Laurence trained at Guildhall School of Music and Drama.

Theatre credits include ‘Tis Pity She’s a Whore, Cymbeline, Troilus & Cressida, The Changeling (Cheek By Jowl); Sus (Young Vic); Cannibals, Antony & Cleopatra (Royal Exchange); Kebab (Royal Court); Bent (Trafalgar Studios); Cyrano de Bergerac (Chichester Festival Theatre); Emperor & Galilean (National Theatre) and The Gods Weep (Royal Shakespeare Company). Film credits include Fury, Tarzan, Untitled Donald Crowhurst Project, A Royal Night Out, Remainder, The Invisible Woman and The Libertine. Television credits include The Tudors (Showtime); Henry VIII: Mind of a Tyrant (Channel 4); Small Island (BBC); and Coming Up: Food (Channel 4).

Theatre credits include Variation on a Theme, Dream of Perfect Sleep (Finborough Theatre); Playhouse Creatures, The Deep Blue Sheep, Rattigan’s Nijinsky (Chichester Festival Theatre); A Chorus of Disapproval (Harold Pinter Theatre); Richard II, Inherit the Wind, 900 Oneonta (The Old Vic); Anything Goes (National Theatre/Drury Lane); A Passage to India (Lyric Hammersmith/US Tour); Anna Christie, Three Sisters, The Merry Wives of Windsor, Othello, The Suicide, The Relapse, Julius Caesar (Royal Shakespeare Company); The Rivals, Loot (Royal Exchange, Manchester); Long Day’s Journey into Night (Cambridge Theatre Company); The Old Wives Tale (Victoria Theatre, Stoke-on-Trent); Les Liaisons Dangereuses (Ambassador Theatre); Much Ado About Nothing (Regent’s Park Open Air Theatre); The Old Country (UK Tour/West End/ Trafalgar Studios) and The Way of the World (Northampton Theatre Royal).

Television credits include The Stars Look Down, Born and Bred, Diary of Anne Frank, Pull the Other One, Minder, Three Sisters, Casualty, Midsomer Murders, Poirot and Doctors.

Alex Waldmann Henry VI/Tyrrel/Citizen Theatre credits include King John (Shakespeare’s Globe); Widowers’ Houses (Orange Tree Theatre); Jonah and Otto (Park Theatre); The Knight of the Burning Pestle, The Duchess of Malfi (Shakespeare’s Globe: Sam Wanamaker Playhouse); All’s Well That Ends Well, As You Like It, Hamlet, King John, A Soldier in Every Son, Richard III (Royal Shakespeare Company); The Holy Rosenbergs (National Theatre); Speechless (Shared Experience); Rope (Almeida Theatre); Hamlet , Twelfth Night (Donmar Warehouse/West End) and Troilus & Cressida (Cheek by Jowl). Television credits include Duchess of Malfi, The Night Watch, Psychoville and First Light. Radio credits include The Talisman, Macbeth, Once and Future King, Julie, August 1914, The Stuarts, The Eustace Diamonds and The Spy. Alex is the founder of SEArED theatre company.

Timothy Walker

Theatre credits include Great Britain (National Theatre/ Theatre Royal, Haymarket); Wendy & Peter Pan (Royal Shakespeare Company); Benefactors (Sheffield Crucible); The Browning Version, South Downs (Chichester Festival Theatre/Harold Pinter Theatre); The Knowledge, Little Platoons (Bush Theatre); Hedda Gabler (Gate Theatre, Dublin); Much Ado About Nothing, The Voysey Inheritance, The Life of Galileo, Luther, The Shape of the Table, Racing Demon, Murmuring Judges, Women Beware Women (National Theatre); Gaslight, King Lear, The Provok’d Wife, Cloud Nine, Waste (The Old Vic); As You Like It (Wyndham’s Theatre); As You Desire Me (Playhouse, London); The Sugar Syndrome, Disappeared, Search & Destroy, Weldon Rising (Royal Court Theatre); Burning Issues (Hampstead Theatre); Certain Young Men, Butterfly Kiss (The Almeida); A Letter of Resignation (Savoy Theatre); Our Late Night (Ambassadors Theatre) and Don Carlos (Citizens Theatre, Glasgow). Film credits include The Riot Club, Belle, Johnny English Reborn, Hypnotic, The Count of Monte Cristo and Regeneration.

Television credits include Grantchester, Lucan, New Worlds, An Adventure in Space and Time, Miranda, Silk, New Tricks, Gimme Gimme, Prime Suspect III, Heartbeat, Hear the Silence, Charles II, Ultimate Force, Dalziel & Pascoe, Muder Rooms and Hearts & Bones.

Michael Xavier Suffolk/George of Clarence/Dick Theatre credits include The Pajama Game (Shaftesbury Theatre); The Sound of Music (Regent’s Park Open Air Theatre); Hello Dolly (Leicester Curve Theatre); Soho Cinders (Soho Theatre); Wonderful Town (The Royal Exchange Theatre, Manchester/The Hallé/ The Lowry); Love Story (The Duchess Theatre); Into the Woods (Regent’s Park Open Air Theatre); Love Story, Oklahoma! (Chichester Festival Theatre); Spamalot (The Palace Theatre); Rock (UK Tour); The Phantom of the Opera (Her Majesty’s Theatre); Miss Saigon, The Mikado (UK Tour); Mamma Mia (International Tour); My Fair Lady (Theatre Royal, Drury Lane) and Assassins (Menier Chocolate Factory). Film credits include Never Let Go and The Muppets…Again!.

Television credits include Crabman. Radio credits include Sunset Boulevard and West Side Story.

Warwick/Catesby Theatre credits include Great Expectations (Bristol Old Vic); Pride and Prejudice (Regent’s Park Open Air Theatre); Love’s Labour’s Lost, Twelfth Night (Shakespeare’s Globe); Richard II (Ludlow Festival); The Duchess of Malfi, The Seagull, The Tempest, Betrayal (West Yorkshire Playhouse); Volpone (The Almeida); The White Devil, La Bete (Lyric Hammersmith); Crimes and Crimes (Leicester Haymarket); A Tale of Two Cities (Greenwich); Hamlet, The Tempest, A Family Affair, Macbeth (Cheek By Jowl); Damned for Despair (Gate Theatre, London); A Flea in her Ear and The Illusion (The Old Vic). Film credits include Four Weddings and a Funeral, Crush, Hannibal Rising, Bel Ami and Belle. Television credits include Arthur & George (ITV); Commander (Lynda La Plante); Monsignor Renard (Carlton); Attachments (BBC); Rhodes (BBC); Nuremberg (BBC); Soldier, Soldier (Central); Where The Heart Is (Carlton); Pie in the Sky (BBC) and Doctor Who (BBC).

Directing credits include Cosi Fan Tutte (English Touring Opera), Edward 11 (Shakespeare’s Globe); Ritual in Blood (Nottingham Playhouse); Out Cry (Cheek by Jowl) and Swanwhite (Gate Theatre, London).

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Rose Youth Theatre

creative team

Edward IV

Richard III

Edward, Prince of Wales as a boy Ben Greenwood / Zachary Rogers Young Edward Louis Thwaites / David Gardner Young George/Rutland Harvey Balsdon / Edan Pickering Young Richard Sam Harwood-White / Logan Barton Henry, Earl of Richmond as a boy Louis Fisher / Sam Stewart

Princess Elizabeth Caitlin Webb Prince Edward Louis Thwaites / David Gardner Richard, Duke of York Ben Greenwood / Sam Stewart

JOHN BARTON Original Production Writer & Adaptor

PETER HALL Original Production Director & Adaptor

In 1960, along with Sir Peter Hall, John Barton co-founded the Royal Shakespeare Company and over the next 40 years directed more than 30 productions either on his own or in collaboration with Peter Hall and Trevor Nunn including Twelfth Night with Judi Dench as Viola and Donald Sinden as Malvolio, and A Midsummer Night’s Dream with Patrick Stewart as Oberon.

In 1982, working with 21 RSC company members, including Judi Dench, Ian McKellen, Patrick Stewart, Ben Kingsley and Jane Lapotaire, John Barton recorded nine workshop sessions for London Weekend Television. The recordings, along with the accompanying book, became Playing Shakespeare; an invaluable guide and tool used by many actors to this day.

Throughout his career, he has written and adapted works for theatre, notably: The Hollow Crown (1961), The Wars of The Roses, with Peter Hall (1963), The Greeks (1980), Morte D’Arthur (1983) and Tantalus (2000). Tantalus, which took over a decade to complete, is a 10-play cycle developed from The Greeks. It deals with the Trojan War in the context of myth and storytelling and includes hitherto unknown material from fragmentary sources. Tantalus received its premier in Denver, Colorado in October 2000 and the United Kingdom in 2001.

In 2001, he was awarded the Sam Wanamaker Prize for pioneering work in Shakespearean theatre.

He continues as an RSC Advisory Director, still gives workshops and masterclasses on Shakespeare to UK and international theatre companies and in 2014 published a revised edition of Tantalus: An Ancient Greek Cycle Retold in Ten Plays [Oberon Books].

Peter Hall, internationally celebrated director of theatre, opera and film, co-adapted Shakespeare’s texts for the original production of The Wars of the Roses in 1963 which he directed for the RSC - the company he founded.

He was Director of the National Theatre (1973-88) and Artistic Director of Glyndebourne Opera (1984-90) before founding The Peter Hall Company to produce shows in the West End and nine summer seasons at the Theatre Royal Bath.

In 2003 he became Founding Director of the Rose Theatre Kingston and his acclaimed production of Uncle Vanya opened the new venue five years later. Other productions at the Rose include A Midsummer Night’s Dream (2010) with Judi Dench and he is now the theatre’s Director Emeritus.

Community Chorus Cameron Baxter Alice Brittain Euan Coley Teddy Corbett Joe Dawson

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The Wars of the Roses

Ruan Evans Jenna Fincken Marcus Goodwille Alexander Gordon Chris Laishley

Tom Ratcliffe Joe Sanders Andrew Shufflebotham Paul Tate Yasmin Watson

TREVOR NUNN Director From 1968 to 1986, Trevor Nunn was the youngest ever Artistic Director of the Royal Shakespeare Company, directing over thirty productions, including most of the Shakespeare canon, as well as Nicholas Nickleby and Les Miserables. From 1997 to 2003, he was Director of the National Theatre, where his productions included Troilus and Cressida, Oklahoma!, The Merchant of Venice, Summerfolk, My Fair Lady, The Coast of Utopia, A Streetcar Named Desire, Anything Goes and Love’s Labour’s Lost. He has directed the world premieres of Tom Stoppard’s plays Arcadia, The Coast of Utopia and Rock ‘n’ Roll; and of Cats, Sunset

Boulevard, Starlight Express and Aspects of Love by Andrew Lloyd Webber. Other theatre includes The Lady From The Sea (Almeida); Hamlet, Richard II, Inherit the Wind (Old Vic); Cyrano de Bergerac, Kiss Me Kate (Chichester); Heartbreak House, Flare Path, Rosencrantz and Guildenstern Are Dead, The Tempest (Theatre Royal, Haymarket); All That Fall and Relative Values (West End).

CORDELIA MONSEY Associate Director Director credits include Athol Fugard’s Statements (Jermyn Street Theatre), How to Find Us and Spent by Jodi Gray (Soho Theatre), the UK premiere of Fugard’s Coming Home (Arcola), both The Importance of Being Earnest and Pygmalion (Hong-Kong Arts Festivals) and the UK premiere of Fugard’s Victory (Theatre Royal, Bath).

Cordelia has worked extensively as Associate Director to Peter Hall in seasons at Bath, the Old Vic and in the West End. Productions with and for him include Henry IV Part II (Bath), A Midsummer Night’s Dream with Judi Dench (Rose Theatre Kingston), Pygmalion (Bath/ The Old Vic), Waiting For Godot and Colin Teevan’s version of Bacchai (National Theatre/ Epidaurus) and as Associate to Trevor Nunn on We Happy Few (Gielgud) and The Tempest (Theatre Royal Haymarket).

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MALCOLM RANSON Fight Director

JOHN NAPIER Concept Set Design John Napier is Associate Designer of the Royal Shakespeare Company.

Credits include Macbeth, The Comedy of Errors, King Lear, Once in a Lifetime, The Greeks, Nicholas Nickleby, Hedda Gabler, Peter Pan, Mother Courage (Royal Shakespeare Company); The Party, Equus, Trelawny of the ‘Wells’, An Enemy of the People, Peter Pan, Candide, South Pacific (National Theatre); Lohengrin, Macbeth (Royal Opera, Covent Garden); Idomeneo (Glyndebourne); The Devils (E.N.O.); Nabucco (Metropolitan Opera); Don Giovanni (WNO).

Musicals include Cats, Starlight Express, Les Misérables, Miss Saigon, Sunset Boulevard, Time, Children of Eden, Jesus Christ Superstar (West End). He designed Captain EO video starring Michael Jackson for Disney and created the spectacular Siegfried & Roy Show in Las Vegas, followed by Steven Spielberg’s film Hook; Burning Blue (Haymarket – 1996 Olivier Award for Best Set Design), The Tower, Who’s Afraid of Virginia Woolf?, Martin Guerre, Jane Eyre (Broadway), Skellig, Aladdin, Equus (2007) and Birdsong.

Awards include four Oliviers, a BAFTA, and five Tony Awards for Nicholas Nickleby, Cats, Starlight Express, Les Misérables and Sunset Boulevard.

A member of the American Academy of Achievement, Royal Designer for Industry in 1996 and is an Honorary Fellow of the London Institute.

MARK FRIEND Set Designer Mark trained at Wimbledon School of Art. Recent designs include: New Labour by Marcello Dos Santos, directed by Richard Wilson at RADA, Dido, Queen of Carthage directed by Michael Oakley and Nation directed by Melly Still at the National Theatre, Olivier.

Operas include Rodelinda directed by Martin Constantine for the Early Opera Company.

Other work includes designs for The World Festival of Black Arts and Culture directed by Kwame Kwei Armah in Senegal. Mark is the Associate Designer for Shakespeare In Love working with Nick Ormerod and Declan Donnellan.

Current work includes The Coronation of Poppea at Mariinsky II, Saint Petersburg. Mark recently published Making Scale Models for the Crowood Press and he is also involved in a variety of restoration projects for Griff Rhys Jones.

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creative team MARK BOUMAN Costume Designer Theatre credits include Into The Woods (Châtelet, Paris); Moon Tiger (Theatre Royal Bath); Bedroom Farce (Rose Theatre/West End); Angels in America (Lyric Hammersmith/ Citizens, Glasgow); Bent (Trafalgar Studios); Born in the Gardens (Theatre Royal Bath); Aladdin (Old Vic); Cabaret (Chichester Festival Theatre); The Changeling, Mother Courage, Rosencrantz and Guildenstern are Dead, Ghost (English Touring Theatre); Hamlet (ETT/West End); The Old Country (ETT/Trafalgar Studios); King Lear (ETT/Old Vic); Twelfth Night, Romeo and Juliet, Importance of Being Earnest (ETT/ Hong Kong Tour); Lady from the Sea, Three Musketeers, A Christmas Carol, Miss Julie, Treasure Island and Winslow Boy (Rose Theatre Kingston).

Opera credits include Le Nozze Di Figaro (Salzburg Festspiele); Idomeneo, La Bohème (Glyndebourne); Leonore (Bologna Opera); Mitridate (Granada Festival); Don Giovanni and Marriage of Figaro (Garsington).

Credits as Associate Designer include Othello (Lyric Hammersmith/Chicago); Anna Bolena, Don Giovanni, Susannah (English Touring Opera); Fidelio, Zoe (Glyndebourne); Manon Lescaut, Il Tritico, Il Giasone (Spoleto Festival) and Hamlet (Old Vic – nominated for Oliver Award for Best Costume Design).

Mark has also worked extensively for the BBC, Channel 4, independent films, pop videos and commercials as stylist and/or costume designer.

PAUL PYANT Lighting Designer Recent credits include King Lear (National Theatre); Oh What A Lovely War (Stratford East); Versailles, My Night With Reg (Donmar Warehouse); Fatal Attraction (Haymarket); The Magic Flute (Washington National Opera); The Snow Queen (National Ballet of Lithuania); Another Country (Trafalgar Studios); Who’s Afraid Of Virginia Woolf?, The Hypochondriac (Bath Theatre Royal); The Nether (Royal Court/West End); Hay Fever (Bath Theatre Royal/West End); Single Spies (Rose Theatre Kingston); Xerxes, The Pirates Of Penzance (English National Opera); View From The Bridge (Touring Consortium); Fidelio (Opera Omaha) and Betrothal In A Monastery (Opera d’Capitol, Toulouse).

Paul Pyant has long associations with Glyndebourne Opera, English National Opera, The Royal Opera, Covent Garden, National Theatre, English National Ballet, The Donmar Warehouse, The Almeida Theatre and Northern Ballet.

Opera work worldwide includes productions in America (Metropolitan Opera, Los Angeles, Houston, Seattle, San Francisco) Australia, New Zealand, Monte Carlo, Israel, Austria, Germany, Spain, Russia, Switzerland, Italy, France and Japan.

FERGUS O'HARE Sound Designer Fergus has sound designed over 250 productions throughout the UK and US. Credits include Dancing at Lughnasa, Pentecost, Punk Rock (The Lyric Theatre, Belfast – Irish Times Nominee); Volpone (Royal Shakespeare Company); Someone Who’ll Watch Over Me, The Rehearsal, Way Upstream (Chichester Festival Theatre); Hay Fever, Passion Play (Duke of York’s); Closer (Donmar Warehouse); The Wasp, Tiger Country (Hampstead Theatre); Juno and The Paycock, Educating Rita (Liverpool Playhouse); Kafka’s Dick (Theatre Royal Bath); Hope Place, Twelfth Night (Liverpool Everyman); Daytona (Haymarket); Relative Values (Pinter Theatre); Another Country (Trafalgar Studios); King Lear (Chichester Festival Theatre/ Brooklyn Academy of Music); In The Next Room (Ustinov/St. James Theatre); The Winslow Boy (Old Vic/Roundabout); Macbeth (National Theatre of Scotland/Barrymore Theatre – Drama Desk Nominee, BroadwayWorld.com Award); Street Scene (Chatelet, Paris/Liceu, Barcelona); A Chorus of Disapproval (Harold Pinter Theatre); Noises Off (Old Vic/Novello); No Quarter (Royal Court); Glasgow Girls (National Theatre of Scotland/Stratford East) and The Opening Ceremony of the London 2012 Paralympic Games.

Malcolm has an international career spanning Australia, Japan, India, Europe and the U.S.A. Theatre credits include Not About Nightingales, Oklahoma, Cyrano, Lone Star Love (Broadway); Troilus & Cressida, The Relapse, Captain of Kopenick, Private Lives (National Theatre); Days of Significance, King Lear, As you Like It, A Midsummer Night’s Dream, Hamlet, The White Devil (Royal Shakespeare Company); The Taming of the Shrew, The Comedy of Errors, Romeo and Juliet (Shakespeare’s Globe); Don Giovani, Othello (Opera); Coriolanus (Saltzburg Festival); Macbeth (Met, New York); Ring Cycle, Sophie’s Choice (Royal Opera House); Noises Off, Les Misérables, Singin’ In The Rain, Les Liaisons Dangereuses, Woman in White, Sister Act, Spamalot, Rosencrantz and Guildenstern are Dead (West End); Oliver, 9 to 5 (Tour); Grand Guignol, Shivered (Southwark Playhouse); Who’s Afraid of Virginia Woolf (Theatre Royal Bath); As You Like It, Treasure Island (Queens Theatre Hornchurch) and The Three Musketeers (Rose Theatre Kingston).

Television credits include Henry VI Parts 1, 2 & 3, Richard III, Titus Andronicus, Casualty, Black Adder, Submariners, By the Sword Divided, The Blue and Black Lamp.

Film credits include Feast of July, Edward II, My Kingdom for a Horse, Twelfth Night and Oklahoma.

GINNY SCHILLER CDG Casting Director Ginny has been Casting Director for the Royal Shakespeare Company, Chichester Festival Theatre, Rose Theatre Kingston, English Touring Theatre and Soho Theatre, and is the current casting director for the Ustinov Theatre, Bath under the Artistic Directorship of Laurence Boswell. She has worked on many shows for the West End and No. 1 touring circuit as well as for the Almeida, Arcola, Bath Theatre Royal, Birmingham Rep, Bolton Octagon, Bristol Old Vic, Clwyd Theatr Cyrmu, Frantic Assembly, Greenwich Theatre, Hampstead Theatre, Headlong, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Menier Chocolate Factory, Northampton Royal & Derngate, Oxford Playhouse, Plymouth Theatre Royal and Drum, Regent’s Park Open Air Theatre, Shared Experience, Sheffield Crucible, Young Vic, West Yorkshire Playhouse and Wilton’s Music Hall.

She has also worked on many television, film and radio productions.

Guy Woolfenden Original Music With more than 150 scores composed for the Royal Shakespeare Company and an impressive list of credits with major European theatre companies, including the ComédieFrançaise, Paris and the Burgtheater, Vienna, Guy Woolfenden’s theatre music is highly regarded throughout the world. During his thirty-seven years as Head of Music to the RSC, he collaborated with some of the world’s finest directors in many award-winning productions.

In collaboration with choreographer André Prokovsky, Guy arranged the music for four

full-length ballets, which he has subsequently conducted in productions with Australian Ballet, the Royal Ballet of Flanders, Hong Kong Ballet Company, Asami Maki Ballet, Tokyo, and Scottish Ballet. Guy conducted the acclaimed Russian première of his Anna Karenina with the Kirov Ballet at the Mariinsky theatre in St. Petersburg.

Guy’s compositions for wind orchestras and ensembles include Gallimaufry and Illyrian Dances, which have established themselves as great favourites and are performed and recorded world-wide.

Guy is an Honorary Associate Artist of the Royal Shakespeare Company and was awarded an OBE by HM Queen Elizabeth in the New Year Honours List 2007 for services to music.

CORIN BUCKERIDGE Music Adapted & Arranged by Theatre credits include Closer, The Late Middle Classes, Hamlet (Donmar Warehouse); Arcadia (Duke of York’s/Broadway); Becket (Theatre Royal Haymarket); The Cherry Orchard (Aldwych Theatre); King John, ‘Tis Pity She’s A Whore, King Baby, Transit Of Venus, The Merchant Of Venice, Richard III, A Warwickshire Testimony (Royal Shakespeare Company); Our Lady of Sligo (National Theatre); Jumpers (National Theatre/ Broadway); Therese Racquin, Charlotte’s Web (Glasgow Citizens Theatre); Ghosts, A Day In The Death Of Joe Egg, The Second Mrs Tanqueray, Hay Fever, As You Like It and The Lady From The Sea (Rose Theatre Kingston).

Other companies include Chichester Festival Theatre (Music Associate), English Touring Theatre, Shakespeare’s Globe, Regent’s Park Open Air Theatre, West Yorkshire Playhouse, Bristol Old Vic and English Shakespeare Company.

Opera credits include On The Road With Ron And Ros (Modern Music Theatre Troupe/ Purcell Room/Tour); Angela, an invented love story for puppets (Rosemary Branch) and projects for TrugOpera.

Film credits include Red Down Coat, Connected and Fraternity.

Musical Direction includes Fosse, Chicago, Hairspray, Legally Blonde, Kiss Me Kate, The Book Of Mormon (West End/International); Marianne Dreams (Almeida); The Taming Of The Shrew, A Jovial Crew (Royal Shakespeare Company) and The Silver Tassie (National Theatre).

Recordings include Ian Bostridge’s The Noël Coward Songbook (EMI).

Facilitator and Assistant Director and was the National Ambassador for Arts Award from 2011 to 2013. Eleanor is also the Creative Director of BlueSketch Productions, a theatre company dedicated to the research, development and production of new plays from emerging playwrights. She has a BA in History and Politics from the University of York and an MA in Text and Performance from RADA/ Birkbeck College.

Ian Brener Period Movement Director Ian Brener is a movement director and choreographer.

Movement work includes The Rivals (Theatre Royal Haymarket); Royal Shakespeare Company’s 50th Season and Imeneo (Sadler’s Wells Theatre).

Choreographic credits include Romeo and Juliet, The Shoemaker’s Holiday, Signal Failure (Tour) and A Doll’s House (Jermyn Street Theatre).

Television choreographic credits include The Last Days of Anne Boleyn, The Map Room, The Language of Movement and Blue Peter.

He was dance advisor for Pride and Prejudice (Salisbury Playhouse) and Here’s What I Did With My Body One Day (Pleasance Theatre).

Morwenna Rowe Voice Coach Morwenna Rowe has been a voice and accent coach for over 16 years. She has taught at some of the UK’s leading Drama Schools including the Royal Academy of Dramatic Art, the Royal Central School of Speech and Drama, Rose Bruford College and the Oxford School of Drama. She also spent several years at the Tomatis Institute, Paris, as voice and dialect specialist for some of France’s leading film and theatre actors. She is founder and head coach of Speak Easily, one of London’s foremost voice and accent consultancies, whose clients include the United Nations, London Business School, Save the Children and London Underground.

Recent production coaching includes Nameless (Feature Film); Matilda (RSC/West End); Sexual Perversity in Chicago (Shermann Theatre/ Cardiff) and Class Dismissed (BBC2).

Eleanor Clare Taylor Assistant Director Credits as Assistant Director include Macbeth, The Comedy of Errors (Chester Perfoms) and Do We Do The Right Thing? (BeFrank Theatre Company/UK & Germany Tour). She was also the Assistant Young People’s Director on The Railway Children (York Theatre Royal).

Directing credits include Pieces of Eight (RADA 2015 Festival/BlueSketch), By Virtue Fall (The Space/BlueSketch) and Anne Bolyen (York Festival of Ideas).

Originally from York, she worked extensively with York Youth Theatre as a Workshop

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Be Inspired at Kingston University AT WA R R E N H O U S E A FEAST OF FESTIVE OFFERS

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The Wars of the Roses

School of Performance and Screen Studies

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Banking the Norwegian way

TRY / Fotograf: Nature Picture Library /Johnér

Cool headed – Warm hearted

AUTUMN SEASON AT THE ROSE THEATRE MUCH ADO ABOUT LOVE: JOHN LINK EXHIBITION

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MILTON JONES & THE TEMPLE OF DAFT

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INSTRUMENTAL: AN EVENING WITH JAMES RHODES

feat IAN SHAW & JOE STILGOE

IN CONCERT

THE DANCE OF BOLLYWOOD

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Beyond your expectations

Chair Chris Foy Board Cllr John Ayles Chris Blackhurst Andrea Craig Baroness Sally Hamwee Thelma Holt CBE Robin Hutchinson MBE Professor Martyn Jones Marit Mohn Ciara Morris Luke Nunneley Robert O’Dowd Cllr Julie Pickering Bill Price David Tallis

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The Wars of the Roses

Chief Executive Robert O’Dowd Executive Producer Jerry Gunn Marketing Director Sarah Lowry Head of Development Liz Beatty Head of Finance Rachael Lowndes Production Administrator Rebecca Targett Production Intern Kate Powell

MARKETING

OPERATIONS

BOX OFFICE

Marketing Manager Paola Pozzi Marketing & Press Officer Amy Smith Digital Marketing Officer Sebastian Harding Marketing Assistant Anna Thirkettle

Theatre Manager Lesley Rowden Operations Manager Jonathan Beaumont Theatre and Front of House Assistants Luci Sorrell Catherine Lencz Bars Manager Lucy Bear Chef Alistair Farrow Front of House Team Sara Wise Andrew Davidson Cordell DeBardeLaben Dave Johnson Caitlin Joseph Sally Kerry Lara Lemon Jackie Martin Jo Spooner Stage Door Keepers Rachel Cash Andrew Davidson Amy Dodero Hannah Edwards Carrie Foulkes Mel Harrison Liz James Jeremy Lord Alice Rush Kimberly Sanders Andy Watkins Bar Supervisors Matthew Robinson Alice Rush Bethany Smith Bar Team Max Barrett Claudia Papp Csilla Horvath Tom Greenhalgh

Box Office Manager Brett Foulser Bishop Box Office Supervisors Rachel Cash Andy Watkins Josh Mathieson Box Office Assistants Megan Elliott Anthony Hoskyns Hannah Ledwith Caitlin Joseph Rebecca Pickering

DEVELOPMENT Development Assistant Andrea Lawrence

LEARNING and PARTICIPATION Director of Learning & Participation Ciaran McConville Learning & Participation Officer Sarah Kingsford Teaching Staff Stephen Brown Anthony Hoskyns Rosie Jones Josh Mathieson Kamini Tavanandi Andy Watkins

FINANCE Financial Accountant Martins Jukna

PRODUCTION Head of Production Wayne Parry Lighting & Sound Supervisor David Starmer Stage Supervisor Robert Wells Production Technicians Polly Bailey Jennifer Chatfield Phil Glenny James Horsington Jess Newton Pete Reed

EXTERNAL ADVISORS Associate Producer Greg Ripley-Duggan Project Director Rosie Hoare Company Secretary Geoff Howard PR Consultant Kate Morley PR Rose Ambassador Roger Chown The Wars of the Roses

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OFPR O RO UD KI S S N E PO GS TH N TO EA SO N TR R E

Wagging Tails: the alternative to kennels!

Pepa enjoying his Wagging Tails holiday

ENJOY A COMPLIMENTARY KIR ROYALE WHEN DINING

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For more information about our service or to find out more about becoming one of our carers please contact:

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volunteErs We would like to extend our warmest thanks to our team of Volunteer Ushers, Rose Ambassadors, Rose Reps and Office Volunteers, without whom we would not be able to operate.

Rayna Altman Dee ApplinStojanovic Barbara Atherton Maggie Bagnall Maureen Beard Michael Beckerman Mary Bell Deborah Bishop Hilary Boerio Judith Booth Jennifer Boston Philip Broadway Liz Brown Malcolm Brown Wilhelmina Bryan Lorna Campbell Penny Carte Shirley Casey Julian Cheek Olivia Childs Gordon Cooke Leila Corry Jennifer Cox Susan Crane Wendy Davidson Jean Davies Christine Duggan Carole Edmunds John Ellis Marion Evans Angela Filkin Susan Fossaluzza Sally Fraser Brian Freeman Lesley Freeman Marian Freedman Zara Frenkiel Andrew Frenkiel Jill Goodchild Anne Gorton Roger Haile Carolann Hally Jonathan Hannam

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THANK YOU Our warmest thanks to Rose Theatre stakeholders, sponsors and donors for their generous support.

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Rose Circle

Donors

Director’s Circle Marit Mohn; Ian Page; Anthony & Marjorie Simonds-Gooding; Robert Westlake.

Producer’s Circle Chris Foy; Luke & Kate Nunneley; Peter Scott.

Benefactors Mark & Priscilla Austen; Dickie & Susan Bannenberg; Sandy Gavshon; Agnes Hewitt-Smith; Martin & Kathryn Higgs; Patrick & Marion O’Donovan; Bob Steed.

Patrons Michael & Rosemary Bibby; Timothy Combe; Bob Phillips & Anna Cunnyngham; Nigel Duffin; Andrew & Maggie Gallagher; Baroness Sally Hamwee; Simon & Wanda Higman; John & Martha Jessop; David Elmes & Lesley Lenssen; Robert & Scilla O’Dowd; Ian & Mary Reid; Donald Rogers; Jenny Titterton; Robert Wolf.

Associates Mark Chester & Clare Lumley; Michael & Mary Davison; Bruce Gray; Peter & Fiona Hare; Anthony Lipmann; Feliks & Pauline Morozgalski; Kenneth Rokison; David Tallis.

Supporters Linda Kemp; Oscar & Margaret Lewisohn; Lord Rix; Wahid Samady; Rose Friends and all those who wish to remain anonymous.

Life Friends Ian & Wendelien Bellinger; Will Bland & Tricia Welch Bland.

Trusts & Foundations Garfield Weston Foundation; Hampton Fuel Allotment Charity; John Coates Charitable Trust; Kingston Boys Club; Personal Development Trust UK; Richmond Parish Lands Charity; Rowan Bentall Charitable Trust; Watson Family Foundation.

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