In rehearsals
“Because I don’t race...
...I just run”
Photographs by Ben Bentley
Director’s Note
Marcus Romer, Artistic Director of Pilot Theatre To be able to launch a new piece of work is always incredibly exciting, and when it is a new play by Roy Williams it is also an immense privilege. Alan Sillitoe’s original short story and subsequent movie are about class and the criminal justice system, and when released they ruffled many establishment feathers. It is one of the original stories of the ‘angry young man’ and still stands today as an extraordinarily vital piece of work. We wanted to re-tell this for a new audience and in a way that captures the Britain of now. We decided to make this in 2012 - not just because it was the Olympic year - but also because since 2010 we had seen the growing disparity between rich and poor, and to what extent young people were being pushed to the edge with rising youth unemployment and potentially diminishing educational opportunities. It is against this backdrop that we have decided to set this new adaptation. Colin Smith is a young lad, finding his way in the world with his mates - he makes some wrong choices and ends up in a Young Offender’s Institute. Here he finds solace in running and it is during a long distance race, part of a new ‘Government funded scheme’, that we have set our drama. For the duration Colin runs and is caught up with his memories and thoughts of how he got to be in this position, and more importantly what he is going to do about it. We have been working with a brilliant cast and for several of the young actors in this play, this is their stage debut. This is what we do at Pilot - provide opportunities for new artists to work with us and to develop their skills. Our education, outreach and workshop teams will be on the road with us as we tour around the country and we will be working in schools and colleges to enable students to engage further with this production and the issues it raises. I hope that you enjoy the production and I look forward to hearing your thoughts about this and Pilot Theatre’s breadth of work onstage, ontour and online.
Welcome Note
Liz Wilson, Chief executive of York Theatre Royal Welcome to this new adaptation of The Loneliness of the Long Distance Runner with our partners Pilot Theatre. Our relationship with Pilot adds so much to the variety of what we can offer at the theatre. It brings us in contact with new artists and new ideas and gives us the opportunity for a genuine collaboration that always produces something vivid and exciting. We enjoy what this enables us to create and I hope you do too wherever you are watching the show.
Alan Sillitoe - Author of The Loneliness of the Long Distance Runner “Don’t matter what they think, what anyone thinks, cos to me all that counts is what I think. That is what counts. I am a long distance runner. That’s it.” - The Loneliness of the Long Distance Runner Alan Sillitoe was born in Nottingham, England on March 4th 1928. At fourteen he began work in various factories, until at seventeen becoming an air traffic control assistant. After four years in the Royal Air Force as a wireless operator he returned from Malaya for demobilisation but was found to have tuberculosis. During his recovery he decided to become a writer. Much of the 1950s he lived in France and Spain, where he wrote many poems, and his first novel, Saturday Night and Sunday Morning, published in 1958. The following year came his second book, The Loneliness of the Long Distance Runner - both made into films. Since then he has written novels, stories, poems, plays, travel books, and stories for children. His Collected Poems was published in 1993. The most recent book, published in 2007, is Gadfly in Russia, about his travels in that country. Alan Sillitoe died in London from cancer on April 25th, 2010.
Roy Williams - stage adaptation Roy Williams began writing plays in 1990 and is now arguably one of the country’s leading dramatists. In 2000 he was the joint-winner of The George Devine Award and in 2001 he was awarded the Evening Standard Award for Most Promising Playwright. He was awarded the OBE for Services to Drama in the 2008 Birthday Honours List. His plays include Sucker Punch (Royal Court Theatre - winner of the Writer’s Guild of Great Britain Best Play Award 2011 and nominated for an Olivier Award for Best Play), Category B (Tricycle Theatre), Angel House (Eclipse Theatre, UK Tour), Days of Significance (RSC), Joe Guy (Tiata Fahodzi), There’s Only One Wayne Matthews (Polka Theatre), Baby Girl (NT Connections), Absolute Beginners (Lyric Hammersmith), Little Sweet Thing (Nottingham Playhouse), Slow Time (NT Education), Fallout (Royal Court Theatre), Sing Yer Heart Out For The Lads (NT), Clubland (Royal Court Theatre), The Gift (Birmingham Rep/Tricycle Theatre), Local Boy (Hampstead Theatre), Souls (Theatre Centre), Lift Off (Royal Court), Starstruck (Tricycle, Winner of John Whiting Award, Alfred Fagon Award & EMMA Award for Best Play), Josie’s Boy (Red Ladder Theatre Co) and The No-Boys Cricket Club (Theatre Royal, Stratford East). His work for television includes Let it Snow (Endor Productions/Sky), Fallout (Company Pictures/ Channel 4, Screen Nation Award for Achievement in Screenwriting), Offside (BBC, Winner of BAFTA Children’s Film & TV Award for Best Schools Drama) and Babyfather (BBC). He was also co-writer of the movie Fast Girls. For radio, his work includes adaptations of ER Braithwaite’s A Choice of Straws and To Sir with Love and original plays, Tell Tale and Homeboys. Roy is currently working on new plays for the National Theatre, Hampstead Theatre, Tricycle Theatre, Almeida and Atlantic Theatre Company, New York as well as a musical for Nitro and a television project for AL Films. He is also adapting his play, Sucker Punch for 55 Films/Film4.
Q&A with Roy Williams What made you want to adapt this particular story? The lead character Colin. He is someone who knows things are wrong, but he doesn’t know how to articulate it. It says something about this generation who are growing up. They maybe don’t know as much as we did, and I don’t mean that in a patronising way, but I think they’ve been force fed a fast-food, material wealth culture. But like Colin, they know something’s wrong and don’t know what to do about it. So that’s when you get the riots. They were angry, and they felt disenfranchised, but they didn’t know what to do about it. You’ve written about an earlier riot, The Broadwater Farm Riot, in your play Sucker Punch. How different do think the riots of August 2011 were to those in the 80s? It wasn’t originally my intention to write about rioting. I was slightly worried that I wasn’t exactly testing myself because I’ve written about some of these issues before, but then August 2011 happened (the riots) and I thought I need to respond to this. I really felt that the adaptation was the perfect way to tell two stories. The original one, but also the contemporary story of the riots underneath. The difference in the riots 30 years ago is that they were more political. There was real anger from the youth growing up about unemployment and racism. But what saddened me about the riots last year, was that even though they started from a base of anger, they soon turned into something else, in which so many people saw an opportunity just to rob stores and take trainers and computers. I thought: That’s not anger, that’s not passion, that’s just lining your own pockets. Much as I was angry about the David Camerons of this world, I was also angry about those young people. I was thinking, come on, you’re no better than he is, you’re a greedy capitalist yourself. It annoyed me when they were comparing them with people who rioted in the 80s, who actually felt they had something to fight about, an establishment who hated them.
In the story, Sillitoe uses the first person to get inside the character’s head. How have you tackled that in the play? That was something I was very keen to do. The film doesn’t quite do it, but when I read the story, I thought, that’s so exciting and that was one of the first decisions I made, to make the play real time so that all the flashbacks he has are going on as he runs this race, I thought that would be a really exciting thing to do. Did you do any particular research for this play? A few years ago I wrote a play called ‘Slow Time’ which is set in a young offenders prison, and I did a lot of research for that play. I went to a Young Offenders Institute in Aylesbury to interview the officers and the boys. A lot of that informed this play. Without giving too much away, is your ending more optimistic than Sillitoe’s original story? Where it ends in the play, is a tiny bit before it does in the book, because I want young people to come out on a high. I want it to end at the strongest moment - although he’s got a lot of hard times to come, there’s also the possibility that he’s got a future. I remember the first time I watched the film and I remember the ending and how I was stunned. It made me talk about it and ask ‘why did he do that?’ That’s what you want people to ask themselves at the end of the play. There’s a strong theme about young people needing to work things out for themselves. In your adaptation, the Stevens character gets it wrong. Is that because he wants to change Colin, but he doesn’t understand that it has to be Colin’s choice? Yes, that’s it. Colin’s saying, I’m not going to do what you want me to do; I’ll do what I want. But he loves running, so that’s his dilemma. Should he win the race for Stevens, who he despises, or is he running for himself? Back then and now, we’re not doing enough, we’re waving the moral finger at young people, but we’re not giving them the opportunities to change things for the better. Even though I was very keen to put it into a modern day setting, I was pleased, and I hope people agree when they come to see it, that it is very respectful to the book. It’s Alan Sillitoe’s story still there, we’ve just put a modern spin on it. When I read the book, I thought, well I don’t need to say it better than he does. It’s all there, so why mess with it. This is an extract from an interview with Roy Williams in the Education Pack, written by Helen Cadbury to accompany this production. To access this and information about workshops and other online learning resources, including Pilot’s new scheme for schools and colleges, Pilot Extra, please visit: pilot-theatre.com, pilot-extra.com or email education@pilot-theatre.com.
Cast Elliot Barnes-Worrell Doreene Blackstock Curtis Cole Dominic Gately Savannah Gordon-Liburd Luke James Jack McMullen Richard Pepple Alix Ross Sean Sagar
Colin Smith Mum Luke / PC Stevens Kenisha Gunthorpe / Guard Jase Dad / Trevor Sandra / Guard Asher / PC
Creative TeamMarcus Romer
Director Designer / co-video Designer Lighting Designer / co-video Designer Soundscape Composer Staff Director Fight Choreographer Tour Production Manager Production Manager for York Theatre Royal Company Stage Manager Technical Stage Manager Assistant Stage Manager on Tour Wardrobe Supervisor Set Construction Education Associate
Lydia Denno Mark Beasley Sandy Nuttgens Tom Bellerby Liam Evans-Ford Mark Beasley Paul Veysey David Dunnachie Colin Leppington Luke James Juliette Berry Q-Division Topshow Helen Cadbury
With thanks to KMA for advice and support and all the staff at York Theatre Royal Pilot Theatre’s licence to present this stage adaptation of Alan Sillitoe’s THE LONELINESS OF THE LONG DISTANCE RUNNER is granted by arrangement with Rosica Colin Limited, London
Elliot Barnes-Worrell Elliot trained at Central School of Speech and Drama, where he graduated this year. Elliot received the Sir John Gielgud Award in his second year of training, and the Alan Bates Bursary in his final year. Just before graduating Elliot played the guest lead in an episode of Doctor Who (BBC). Elliot also played Mervin in Loyalty directed by Edward Hall at the Hampstead Theatre. Theatre credits whilst training include: Tom in Motortown; Richard in Blues for Mister Charlie; Stanley in A Streetcar Named Desire; Petruchio in The Taming of the Shrew and Lady Anne in Richard III.
Doreene Blackstock Doreene’s work in theatre includes: Holloway Jones (Synergy Theatre Project), Beautiful Blows (Mayhem Theatre); The Container at Edinburgh Fringe Festival & Young Vic which was a 2007 Fringe 1st Winner, Any Which Way (Only Connect Theatre), Noughts & Crosses (RSC); One Under & The Gift (Tricycle Theatre); 25/7 (Talking Birds Theatre, Coventry), I Have Before Me A Remarkable Document Given To Me By A Young Lady From Rwanda (Finborough Theatre also performed as a radio play); The Gift and Devil Going to Dance (Birmingham Rep Studio), Downfall and The Carver Chair (Manchester Contact Theatre); Leave Taking and Girlie Talk (Belgrade Theatre & Studio); Rosie & Jim’s Big Theatre Adventure (Ragdoll Theatre Productions & Oxford Playhouse), Leonora’s Dance (Cockpit Theatre), Beauty & the Beast (Tic Toc Theatre). Her TV credits include; Silent Witness, Trinity, Wire in the Blood, Holby City, Judge John Deeds, Dialziel & Pascoe, The Dark Room, Casualty, The History of Tom Jones, The Foundling, Common as Muck II, Gimme, Gimme, Gimme and The Bill and her film credits include This Year’s Love.
Curtis Cole Curtis Cole is an Actor/Writer based in Manchester. Theatre credits include; What’s in the Cat (Royal Court/Contact), Skid 180 (Sydney Opera House), Night Train (Action Transport Theatre), Angel House (Birmingham Rep and National Tour), At the Gates of Gaza (Birmingham Rep and National Tour), And Did Those Feet (Bolton Octagon), Twelfth Night (Nottingham Playhouse), Quicksand (Lancaster Dukes), Temp/ Casual (Contact), Crystal Kisses (Contact). Television Credits include; Scallywagga (BBC3), Emmerdale (Yorkshire TV) and two episodes of Doctors.
Dominic Gately Dominic trained at Guildford School of Acting. His most recent theatre credits include Mr. Dussell in The Diary of Anne Frank (York Theatre Royal and tour); Alexei in The Gambler (Opera North) and Ben in The Sunshine Boys (Oldham Coliseum). Previous credits include Kes (Liverpool Everyman and Playhouse and tour); Absent Friends (Oldham Coliseum and tour); The Weir (Stoke New Vic); Monkey!, Beauty and the Beast, Scuffer, Company Along the Mile, The Worm Collector (West Yorkshire Playhouse); A View From the Bridge, The Birthday Party, The Deep Blue Sea, Loot (Theatre By The Lake, Keswick); Touched (Salisbury Playhouse); Helium (Barbican); Othello (Nottingham Playhouse) and Hamlet (Wimbledon). He has written for and performed many site-specific shows with Slung Low, most recently: Mapping the City, Original Bearings and The Correct Frequency for Stories. Television credits include Coronation Street, Emmerdale, Paradox, Waterloo Road, The Royal, Doctors and the forthcoming Walk Like A Panther.
Savannah Gordon-Liburd Savannah played one of the female leads in Mogadishu (Royal Exchange Theatre/ Lyric Theatre Hammersmith & National Tour). Television credits include: One Night, E20, and The Sarah Jane Adventures, for the BBC. Film credits include My Brother The Devil (Sundance Film Festival Official Selection 2012)
Luke James Luke’s previous theatre credits includes: The Taming of the Shrew (Sprite Productions), Forty Years On, Two Planks and a Passion and Coram Boy (York Theatre Royal), Little Angels, Celebrating Severus, Terrorism, Equus, An Exact Science (York Theatre Royal Young Actors Company) and Elsewhere (Young Actors Company and Belt Up Theatre). Luke has worked with Park Bench Theatre on a series of new writing including Afloat; Hare’s Foot & Going the Distance. He is also an Associate Artist of The Flanagan Collective, and performed in their shows: The Fastest Train to Anywhere and William.
Jack McMullen Jack is best known for appearing as Finn Sharkey in Waterloo Road. Last Christmas he appeared in the lead role of Freddie in ITV1’s drama Fast Freddie. He has also appeared in Casualty (BBC), The Forgotten Fallen (Hardy Pictures), Moving On (BBC), Proper Messy (BBC), Doctors (BBC), The Bill (ITV/ Talkback Thames), The Street (BBC), Grange Hill (Lime Pictures), Brookside (Mersey TV) where he won the British Soap Award for Best Newcomer, and Royal Television Society award for Best Performance in a Network. This year saw Jack appear in the film The Knife That Killed Me (Green Screen Productions). He also appeared in Seamonsters (9 Fish Productions). Jack’s theatre credits include: If These Walls Could Talk (Madhatters).
Richard Pepple Richard trained at Arts Educational. His theatre credits include The Estate (Tiata Fahodzi); Full Circle (Oval Theatre); Coriolanus (RSC); 365 Plays/365 Days (Tiata Fahodzi/Almeida); White Open Spaces (Pentabus Theatre); The Hounding of David Oluwale (West Yorkshire Playhouse & tour) Medea, Medea (Gate Theatre/Headlong); High Life (Hampstead Theatre); The Garbage King (Unicorn); Fixer (Oval House Theatre); and most recently Belong (Royal Court/Tiata Fahdozi). Television & Film credits include: Nathan Barley (C4); The Bill (Talkback Thames); Shoot the Messenger (BBC2); Caught in a Trap (ITV); No Ordinary Trifle (Trifle Films Ltd); Run (Acme TV for C4) and 4 Walls (Bête Noir Films). Radio work includes: The Estate (BBC World Drama); Revenge of the Celebrity Mums (BBC R7); A Second Night to Midnight (BBC Drama North); Noughts & Crosses (BBC R4) Next of Kin (BBC R4) and Power Failure, The Prison Graduates, Why is the Sky so Blue and The Man in Black (all BBC World Service).
Alix Ross Alix trained at the Identity Drama School. Television credits include Casualty and Stepping Up both for BBC. Theatre credits include: Daddy Cool at the Shaftesbury Theatre (West End), Diary of a Chav (Tristan Bates Theatre) and Mother Goose (Hackney Empire).
Sean Sagar Sean Sagar was born and raised in East London. He made his television screen debut in the critically acclaimed four-part drama Top Boy (Channel 4) and as a guest lead in Casualty (BBC) and most recently in the feature length crime thriller Ill Manors, written and directed by award winning musician Ben Drew (aka Plan B). Sean is incredibly excited to be working with Pilot and looks forward to making his theatrical debut at York Theatre Royal.
MArcus Romer Director
Marcus is Artistic Director of Pilot Theatre. He has adapted and directed Looking for JJ, by Anne Cassidy, which won the TMA award for Best Production for Young People and was nominated for a Manchester Evening News Award. His production of Lord of the Flies for Pilot Theatre has had five national UK tours, received a TMA award nomination and won a Manchester Evening News award. His co-production of Jonathan Harvey’s Beautiful Thing with the Octagon Theatre, Bolton won two Manchester Evening News Awards. Other directing credits include Sing Yer Heart Out For The Lads by Roy Williams, Road, ASL and Romeo & Juliet for Pilot Theatre, The Beauty Queen of Leenane and Abigail’s Party for York Theatre Royal and Look Back in Anger for Harrogate Theatre. Other playwrighting credits include Taken Without Consent and Out of Their Heads as well as adaptations of Susan Hinton’s cult classic Rumble Fish and Bloodtide by Melvin Burgess. In 2012 he adapted and co-directed The Knife That Killed Me from the novel by Anthony McGowan for Universal Pictures, due for release in cinemas in 2013. Marcus was instrumental in the delivery of the multi-camera broadcast of The York Mystery Plays 2012 for The Space, a BBC / Arts Council England digital platform. After attending the TED Conference in California, he also created the Shift Happens Conferences as a way of furthering interest in the uses of technology within the arts sector.
Lydia Denno
Designer & co-video Designer Lydia Denno trained in Theatre Design at Nottingham Trent University. On graduating in 2007 she co-established Left Luggage Theatre Company and was involved in designing, devising and performing in site-responsive, puppetry-lead productions throughout the UK. She has enjoyed working with Pilot Theatre on many of their co-productions with York Theatre Royal including Hansel and Gretel (2009), Catcher (2010) and Blackbird (2011). Other design credits include: I Want that Hair, Pericles, The White Crow, Equus, Animal Farm, Terrorism, Wind in the Willows and Coram Boy (all at York Theatre Royal), Me and Me Dad (Hull Truck Theatre), Séance on a Sunday Afternoon (Lakeside Arts Centre, Nottingham) and Scarberia (Forward Theatre Project). She has recently worked on a devised project with young people at the Lyric, Hammersmith where she works regularly as a workshop artist and is currently working on shows with Open Clasp Theatre Co. in Newcastle and Engine House Theatre in Huddersfield.
Sandy Nuttgens
Original Music & Sound Design Sandy has written numerous scores for award winning TV dramas and documentaries including BBC2’s Terry Jones Barbarians and Channel 4’s The Queen in 3D both of which won RTS awards for Best Music Score, and The Blue Tower which won Best Feature Film at Raindance. Recent work includes Channel 4’s Elizabeth Taylor-The Auction, BBC2’s George V & Mary, CBBC’s Big & Small and Cops & Coyotes for Discovery. Past work for Pilot includes Romeo & Juliet, Looking for JJ and Lord Of The Flies. www.nuttgens.com.
Mark Beasley
Lighting Designer, Co-Video Designer, Tour Production Manager Mark is Digital Producer and Production Manager for Pilot Theatre. He has been helping to develop the digital strategy for the company including the introduction of Internet Live Streaming; recently producing a multi-camera and audio feed stream of The York Mystery Plays 2012 for the BBC / Arts Council The Space project as well as the #PilotLive series of webcasts. Mark has worked on many Pilot Theatre projects including East is East, Sing yer Hearts out for the Lads, The Twits, Looking for JJ, The Opening of the IIFA Awards, Fungus the Bogey Man, Romeo & Juliet and Blackbird in the role of Production Manager and relighter. As a freelance Lighting Designer, his past projects including: Marriage of Figaro, Don Giovanni, Madame Butterfly, La Boheme (all for Longborough Festival Opera). Silence, Cymbelline (National Youth Theatre). Peter Pan, Cinderella (Wyvern Theatre, Swindon). Also UK touring productions of Heartbeat – A Musical Celebration (Charles Vance Productions), Art and Play What I Wrote (Nick Brooke Ltd). Mark is also a qualified Hypnotherapist and has his own Therapy Centre in Leicestershire.
Tom Bellerby Staff Director
Tom is Associate Artist at Pilot Theatre. For Pilot he has directed Letter to the Man (from the boy), Face Me and Through Our Eyes (Pilot’s European Youth Exchange). He was assistant director on Romeo and Juliet, The Fever Chart and What Light. Tom was also the Artistic Director of the 2010-11 Takeover Festival and his other directing credits include the Total Theatre Award nominated Beulah and A Christmas Carol (both for The Flanagan Collective). He has also been Associate Director for Belt Up Theatre and Sprite Productions. He trained at the Central School of Speech and Drama (graduating with 1st Class hons) and is a board member of the National Association of Youth Theatres.
Liam Evans-Ford Fight Choreographer
Liam began his stage combat training at Bristol Old Vic Theatre School under the tutorship of fight director Jonathan Howell and completed all the British Academy of Dramatic Combat certificates. He continued his training at The Royal Shakespeare Company. Liam is an associate fight director at Pendley Shakespeare Festival where he has choreographed fights on productions such as Macbeth, Hamlet, Romeo and Juliet, Comedy of Errors and King Lear. Other Fight Directing credits include Guys and Dolls (Palace Theatre, Manchester); West Side Story (RSG at The Harlequin Theatre); Boiling Frogs (The Factory at Southwark Playhouse); I Caught Crabs in Wallberswick (High Tide Festival and The Bush Theatre); Macbeth, Romeo and Juliet and A Midsummer Night’s Dream (Sprite Productions); The Crucible, Peter Pan and Blackbird (York Theatre Royal In The Round Ensemble Season). Most recently Liam was Community Producer and Fight Director on the York Mystery Plays 2012.
York Theatre Royal York Theatre Royal is one of the oldest producing theatres in the country. Each year it welcomes over 200,000 people to a wide variety of performances and participatory activities, ranging from new writing, to classic shows for children and young people, to the world-renowned pantomime. In recent years the Theatre has undertaken some ambitious, large-scale projects: The Railway Children (which was staged at the National Railway Museum, before transferring to the old Eurostar terminal at Waterloo, and the Roundhouse in Toronto and which won an Olivier award for Best Entertainment), an entire season with the traditional main house transformed in to an In the Round setting, and most recently the epic restaging of the York Mystery Plays in a 1400 seat outdoor theatre, built in the ruins of St Mary’s Abbey in York. This project involved close to 1800 people, including two casts of over 300 community actors. www.yorktheatreroyal.co.uk @yorktheatre
Coming soon Studio Double bill
by David Ireland
by Matthew Pegg
Fri 5 - Sat 27 Oct
Fri 2 - Sat 24 Nov
Pilot Theatre Pilot Theatre is a multi platform theatre organisation, delivering critically acclaimed work regionally, nationally and internationally. Pilot inspire creativity and new ways of thinking with a specific remit of delivering work for, by and with Young People. We have 30 years experience in delivering award-winning work alongside integrated learning projects, which offer audiences opportunities for extended engagement and participation in inspirational cultural activity. Pilot’s digital strategy finds and explores new ways of utilizing platforms and of engaging with audiences, these include Drama on Demand, Pilot Live, Pilot TV and Pilot Extra, a new extended online resource for students and teachers: www.pilot-extra.com Pilot recently broadcast the York Mystery Plays 2012 as part of The Space – a BBC and Arts Council England initiative increasing access to the arts. The broadcast is available to watch via www.thespace.org - and allows the audience member to choose their own edit of the 6 camera feeds of the performance, including exclusive backstage access. Future work includes: Blood Sweat and Chocolate by Mike Kenny – a community production for Autumn 2013 co-produced with Slung Low, Running on the Cracks by Julia Donaldson, adapted for the stage by Andy Arnold and co-produced with the Tron, Face Me, a tour of our final production with European partners from Platform 11+ and new commissions Ghost Town by Jessica Fisher and Urban Grimshaw adapted by Kevin Fegan from the novel by Bernard Hare.
Pilot Staff
Artistic Director - Marcus Romer Producer - Mandy Smith Company Administrator - Sarah Rorke Associate Director - Katie Posner Associate Artist - Tom Bellerby Digital and Production Manager - Mark Beasley Press and Media Manager - Thomas Feeney Marketing Officer - Marc Thompson Finance Director - Charles Moore Finance Assistant - Jackie Raper Education Associate - Helen Cadbury
Board of Governors
Chair: Prof. Kit Thompson Tracy Cochrane Andrew Hindle Stephen Mason Kully Thiarai Jenny Ward Peter Whelan Ann Wishart Tina Wright
Tour Dates York Theatre Royal 14 - 29 Sep Box Office 01904 623568 www.yorktheatreroyal.co.uk The Rep, Birmingham 2 - 6 Oct Box Office: 0121 236 4455 www.birmingham-rep.co.uk
Gala Theatre, Durham 9 - 13 Oct Box Office 0191 332 4041 www.galadurham.co.uk
New Wolsey Theatre, Ipswich 16 - 20 Oct Box Office: 01473 295900 www.wolseytheatre.co.uk
Nottingham Playhouse 23 - 27 Oct Box Office: 0115 941 9419 www.nottinghamplayhouse.co.uk
Liverpool Playhouse 30 Oct - 3 Nov Box Office: 0151 709 4776 www.everymanplayhouse.com
The Brewhouse, Taunton 7 - 10 Nov Box Office: 01823 283244 www.thebrewhouse.net
Theatre Royal Winchester 13 - 17 Nov Box Office: 01962 840440 www.theatreroyalwinchester.co.uk
Lawrence Batley, Huddersfield 21 - 24 Nov Box Office 01484 430528 www.thelbt.org
Pilot Theatre, York Theatre Royal, St. Leonard’s Place, York YO1 7HD 01904 635755 - info@pilot-theatre.com - www.pilot-theatre.com - @pilot_theatre Registered Charity no.: 1003677 - Registered in England no.: 1956167