Judgment Day - Almeida Theatre

Judgment Day 

by Ödön von Horváth 

in a new version by 

Christopher Hampton

Photo front cover and this page: Getty 




Christopher Hampton

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Cast in order of appearance: 

Woodsman/Deputy Andy Williams 

Frau Leimgruber Sarah Woodward 

Salesman/Detective 

/Platelayer Jack James 

Frau Hudetz Suzanne Burden 

Alfons David Annen 

Ferdinand Daniel Hawksford 

Anna Laura Donnelly 

Thomas Hudetz Joseph Millson 

Policeman Jake Nightingale 

Landlord Tom Georgeson 

Leni Julie Riley 

Kohut/Customer Ben Fox 

Public Prosecutor 

/Pokorny Patrick Drury 

Child Lewis Lempereur-Palmer 

Thomas Patten 

Special thanks to the three teams of supernumaries 

who are generously giving their time to appear in 

this production, including: 

Jennifer Burraston, Gerry Bradley, Miyes Colak, Greer 

Dale, John Dingain, Michelle Dolan, Julianna 

Fazekai, Yolanda Fernato, Hannah Gaunt, Berit 

Kuennecke, Judith Loose, Duncan Sanders, Max 

Saunders-Singer, Lauren Surridge, Oscar Toeman, 

Kylie Vilcins, Sharon Willems. 

There will be no interval. 




Christopher Hampton 

Director James Macdonald 

Design Miriam Buether 

Costume Design Moritz Junge 

Lighting Neil Austin 

Music Matthew Herbert 

Sound Christopher Shutt 

Musical Director Simon Deacon 

Casting Director Sam Jones 

Casting Assistant Lucy Taylor 

Assistant Director Philip Thorne 

Production Manager Igor 

Company Manager Rupert Carlile 

Stage Manager Laura Flowers 

Deputy Stage Manager Harry Niland 

Assistant Stage Manager Claire Jowett 

Costume Supervisor Poppy Hall 

Wardrobe Supervisor Catrina Richardson 

Wardrobe Deputy Eleanor Dolan 

Wig Creation Linda McKnight 

Hair & Make 

Up Supervisor Cally Bone 

Dresser Charlie Damigos 

Chief Technician Jason Wescombe 

Lighting Technician Robin Fisher 

Sound Technician Howard Wood 

Theatre Technician Adriano Agostino 

Stage Crew Pradeep Dash 

Ben Lee 

Adam Smith 

Production Carpenter Craig Emerson 

Set built by Miraculous Engineering 

Set painted by Charlotte Gainey 

Natasha Shepherd 

Stage management work 

placement Elvin Talbot 

Wardrobe work placement Rachel Checkley 

Production photography Keith Pattison 

Rehearsal photography Bridget Jones 

3

4 

Ödön von Horváth 


The critic, Jean-Claude François, memorably described Ödön 

von Horváth as “the black book of the Third Reich”: by which 

he meant that no other writer documented more 

circumstantially than Horváth the day-to-day experience of 

life in Nazi Germany in the years leading up to the Second 

World War. Bertolt Brecht, for example, sitting in exile in 

Scandinavia, wrote of Fear and Misery in the Third Reich, a 

title which could have covered any amount of émigré writing; 

for those in self-imposed exile, what seemed salient were the 

crimes and atrocities of the Nazi régime. But for those, like 

Horváth, who remained, what seemed striking was how little 

the texture of everyday life had changed, despite the 

manifest insanity of the truculently self-righteous posse of 

morons so wilfully handed power by the German electorate 

in 1933. 

At the time of the election, Horváth, then 31, was at the peak 

of his career and had a powerful new play Glaube Liebe 

Hoffnung (Faith, Hope and Charity), in rehearsal. The play 

was not allowed to open, Horváth’s parents’ house in 

Bavaria was turned over by the SA [Nazi stormtroopers] and, 

like so many other artists, Horváth skipped the country. He 

was away for a year: in Budapest, he renewed his Hungarian 

passport and in Vienna he married a Jewish opera-singer, 

Maria Elsner, to provide her with a passport, he later 

explained. Meanwhile, he was routinely attacked in the Nazi 

press: when, in 1931, he had won the prestigious Kleist 

prize, the Völkischer Beobachter described him as a 

“Salonkulturbolschewist” (a high-society Bolshevist) and 

accused him of staining the flag of the Reich; and in the 

same year he was in court after becoming involved in a brawl 

with Nazis in a bar. And yet, in 1934, he headed back to 

Berlin. Why? 

He wanted to be able to study National Socialism at close 

quarters, he said: and so he did. The seven plays and two 

novels that poured out in the short time remaining to him 

are a compendium of the petty prejudices and rancorous 

suspicions of an era of epic mean-mindedness. “It may 

seem grotesque,” he wrote, “at a time like this, unstable as it 

is, and when no one knows what tomorrow may bring, to set 

oneself a programme of writing plays. All the same, I make 

so bold as to do so, even though I have no idea what I’m 

going to eat tomorrow.” 

• • • 

Judgment Day was the last of Horváth’s plays to be 

performed during his lifetime. He missed the premiere, in 

the unenticing Czechoslovakian town of Mährisch-Ostrau, 

where the play ran for only four performances, because he 

was hard at work on his novel, Ein Kind Unserer Zeit (A Child 

of our Time). Horváth had turned (or returned) to the novel 

the previous year, no doubt demoralised by the nearimpossibility 

of getting his plays performed in Germany, and 

Ödön Horváth c.1919. Reproduced with the kind permission of the Austrian 

National Library, ÖLA ÖLA 3L26 

had scored perhaps the greatest success of his career with 

the novel Jugend Ohne Gott (Youth Without God). This novel 

is in many ways a companion-piece to Judgment Day; both 

are built around a protagonist (in one case a station-master; 

in the other a teacher of history and geography) who lies 

under oath and then is tormented by his conscience until 

such time as he confesses; and both have religious and 

supernatural elements. Both, in other words, deal with guilt: 

and it may well be that Horváth’s project – to describe Nazi 

Germany from the inside – brought with it a heavy burden of 

guilt. He had been obliged, for example, in order to be able 

to take the screenwriting jobs which sustained him in Berlin, 

to become a member of the Nazi Writers’ Union, the 

‘Reichsverband Deutscher Schriftsteller’, as it called itself 

with characteristic self-importance. 

Guilty or not, Horváth was punished for his success in 

spectacular fashion. In 1938, when, after the Anschluss, he 

had finally decided to abandon ship and emigrate to America, 

he was invited to Paris to discuss, with the director Robert 

Siodmak, writing a screenplay based on Youth Without God. 

After their lunch, encouraged by Siodmak, Horváth took 

himself off to see Snow White and the Seven Dwarfs in a 

cinema on the Champs Élysées. Afterwards, as he strolled 

back to his hotel, a sudden storm blew up. Horváth joined a 

group of people sheltering under a giant chestnut tree 

outside the Théâtre Marigny; a few moments later he was 

killed instantly by a falling branch; no one else was injured. 

• • •

For me, Judgment Day is the renewal of an old friendship. 

The first Horváth play I translated, the monumental Tales 

From the Vienna Woods, appeared in the first Olivier Theatre 

season [at theNational Theatre], 1976-7. I worked on a 

screenplay of this with Maximilian Schell, who directed the 

film; and then tackled (for the Cottesloe [at theNational 

Theatre]) another of his strange and haunting late plays, 

never performed in his lifetime, Don Juan Comes Back From 

the War. Then, in the eighties, I made Horváth the central 

character in my play Tales from Hollywood, in which I 

imagined he had escaped the falling branch on the Champs 

Élysées and set him down among a group of famous 

German émigré writers in Los Angeles. Finally, I translated, 

in 1989, Faith, Hope and Charity, which Heribert Sasse 

directed at the Lyric Hammersmith. 

Judgment Day was the first of Horváth’s plays to be mounted 

after the war – in the Theater in der Josefstadt in Vienna. As it 

happens, that same theatre has revived the play this season 

and will shortly be premiering my adaptation of Youth 

Without God. In the German-speaking theatre (and in 

France, where a controversial production of his Kasimir und 

Karoline is playing at the Avignon Festival) Horváth has been 

a constant presence in the repertoire, and his influence on a 

BS 10a-ÖLA3/W76,Bl.2 

younger generation of writers – Franz-Xaver Kroetz, Peter 

Handke, above all Rainer Werner Fassbinder, many of whose 

films are steeped in Horváth – is incalculable. By contrast, I 

feel that we in Britain have a long way to go, before we could 

be said to be doing him justice. The old boy is out of 

copyright now: all the more reason to pay him a little more 

concentrated attention. 


August 2009 

Horváth’s handwritten notes for Judgment Day (titled ‘Freigesprochen’, the play’s original title). Reproduced with the kind permission of the Austrian National 

Library, ÖLA 

BS 10a-ÖLA3/W76,Bl.3 

5

6 

A BIOGRAPHICAL NOTE 

“ON DEMAND” 

Ödön von Horváth 

‘I was born on 9th December 1901, 

and it was in Fiume on the Adriatic, at 

4.45 in the afternoon (4.30 according 

to another report). When I weighed 

twenty-two pounds I left Fiume and 

loafed about partly in Venice and partly 

in the Balkans, and experienced all 

sorts of things, among others the 

murder of HM King Alexander of 

Serbia along with his better half. When 

I was four foot tall I moved to 

Budapest and lived there for half an 

inch. There I was a keen visitor to 

numerous children’s playgrounds and 

was conspicuous in a rather 

disagreeable way because of my 

dreamy and mischievous personality. 

At a height of about 5’0½” Eros awoke 

in me, but initially without causing me 

any bother – (my love of politics was 

already quite apparent at that time). 

My interest in art, especially in the 

classics of literature, stirred relatively 

late (at a height of about 5’7½”) but it 

only became an urge from 5’11½”, not, 

it is true an irresistible one, but there 

all the same. When the First World War 

broke out I was already 5’6”, and when 

it ended I was 6’ (I shot up very quickly 

during the war). At 5’7” I had my first 

proper sexual experience – and today, 

now that I have long since stopped 

growing (6’1”), I think back with tender 

nostalgia to those portentous days. 

Now I only grow outwards it is true – 

but I can’t tell you any more about that, 

because I’m still too close to myself.’ 

Ödön von Horváth, biographical note 

‘auf Bestellung’ – ‘on demand’. 

Translated by Ian Huish. 

Peter Handke on Ödön von Horváth and Bertolt Brecht 

And people will say 

In far away blue days 

It will become clear 

What is false and what is true 

What is false will perish 

Although it rules today 

What is true shall come – 

Although it dies today 

Horvath died in Paris on the evening 

of June 1, 1938, when a tree limb 

broke off during a thunderstorm, 

hitting him on the head and killing 

him instantly. One of the items 

found in his pocket was a cigarette 

pack with this poem written on it. 

Translated by Ian Huish. 

‘Brecht’s plays are interesting to me only as formal experiments, illusory yet moving fairy tales which show me a simplicity 

and order, that doesn’t exist. I prefer Ödön von Horváth, his disorder and uncontrived sentimentality. The confused phrases 

of his characters frighten me – the prototypes of malice, of helplessness, of confusion in a particular kind of society are 

shown up much more clearly in his work. And I like those insane phrases, which show the leaps and contradictions in man’s 

consciousness and which are otherwise only to be found in the works of Chekhov and Shakespeare.’ 

From Materiallien zu Ödön von Horváth, ed. Traugott Krischke, Suhrkamp Verlag, 1970. Permission has been sought. 

Photos: Bridget Jones

Horváth in a political context 

1901 9 December, Ödön von Horváth 

born in Fiume (now Rijeka in 

Yugoslavia). His father is a 

diplomat in the Austro- 

Hungarian Empire. 

1902 The Horváth family moves to 

Belgrade. 

1908 The family moves to Budapest. 

Ödön receives his first tuition in 

Hungarian. 

1913 Horváth moves to Munich and 

attends the local school. 

1914 Outbreak of First World War. 

1916 Family moves to Pressburg 

(Bratislava), where Horváth 

produces his first literary 

attempts. 

1918 Family returns to Budapest. 

End of First World War; 

dissolution of Austro-Hungary. 

1919 Horváth moves back to Munich 

and enrolls at the University to 

study theatre sciences. 

Beginning of the Weimar 

Republic, its early years marked 

by high unemployment and 

rampant inflation. 

1922 Book of Dances published and 

performed. 

1923 Adolf Hitler, head of the National 

Socialist German Workers’ 

(Nazi) Party, leads an abortive 

coup in a Munich beer hall. 

1924 Horváth chooses Berlin as his 

base. 

1927 Horváth writes Sladek. The play 

suggests, six years before the 

Nazi takeover in Germany, how 

strong the pull of Fascism can 

be for the common man. 

1930 Unemployment reaches three 

million in Germany. 

Italian Night receives its 

premiere in Berlin. 

1931 Horváth is called as a witness in 

a trial resulting from a tavern 

brawl between right and left 

factions. He is attacked by the 

Nazi press. 

The same year he is awarded the 

Kleistpreis, the most prestigious 

literary award in Germany. He 

writes Kasimir and Karoline and 

Tales from the Vienna Woods. 

The Horváth family c.1907. Reproduced with the kind permission of the Austrian National Library, ÖLA 

ÖLA 3L51 

1933 Hitler becomes German 

Chancellor. 

Faith, Hope and Charity goes into 

rehearsal but the premiere is 

hindered by the Nazis. 

Horváth marries the Jewish 

opera singer Maria Elsner to get 

her a passport – the marriage is 

dissolved a few months later. 

1934 In order to stay in Berlin, 

Horváth joins the Nazi Writers’ 

Union. He works in the film 

industry in Berlin under the 

pseudonym HW Becker. 

1936 Horváth writes Figaro Gets a 

Divorce and Don Juan Comes 

Back From the War, but is in the 

same year given notice to leave 

Germany within 24 hours, and 

moves to Vienna. There he starts 

work on Judgment Day. 

1937 Horváth writes the novel Youth 

Without God which becomes a 

major publishing success. 

Immediately after completing it 

he starts work on another, A 

Child of our Time. Judgment Day 

premieres in Mährisch Ostrau 

(Czechoslovakia). 

1938 Youth Without God is condemned 

by the Nazis and put on the list 

of outlawed books. 

German troops enter Austria in 

March and the ‘Anschluss’ 

(annexation of Austria to the 

German Third Reich) is declared. 

Two days later Horváth leaves 

Vienna for Budapest. In May he 

travels to Paris to meet Robert 

Siodmak, who plans to film 

Youth Without God. 

On 1 June Ödön von Horváth is 

killed on Champs Élysées by a 

falling branch during a 

thunderstorm. 

1939 Outbreak of Second World War 

on 3 September. 

1945 At the end of the Second World 

War the first of von Horváth’s 

plays to be performed is 

Judgment Day, at the Theater in 

der Josefstadt in Vienna. 

7

8 

Horvath in a radio interview on 

Bayrischer Rundfunk, 6 April 1932 

Since you received the Kleist Prize, 

newspapers and literary journals have 

been brimming with opinions about you, 

in fact I think it fair to say that no other 

modern playwright has enflamed the 

hearts and minds of the critics and 

divided them in quite the same way as 

you have. So it’ll be interesting to hear 

your opinions first hand. 

I can give you my opinions. And to save 

you the trouble of the first question, I’ll 

cut straight to telling you when and 

where I was born and whether I’m a 

thoroughbred German writer or merely 

some strange mixture. 

When asked if I’m German I can only 

reply: my cultural identity is 

undoubtedly German for the simple 

reason that German is my mother 

tongue. As far as I’m concerned, this is 

the determining element. Only then I 

would add the fact that I spent crucial 

years of my development in Germany, in 

Southern Bavaria and Austria. My name 

is Hungarian, I have Hungarian blood, 

Czech and Croatian too, so I’m a typical 

Austrian – Hungarian melange. But let 

me point out that the products of such 

racial mixing needn’t be the worst. It’s 

well known that many individuals of 

mixed race have been identified by later 

generations as the truest and greatest 

representatives of German culture. 

For example Nietzsche. 

Yes, he was half Polish for instance. 

And the painter and poet Albrecht 

Dürer was half Hungarian. But let me 

descend from these dizzying historical 

heights and get back to talking about 

myself. Let’s straighten this out: I 

frequently read articles describing me 

as a Hungarian writer. That’s utter 

nonsense of course. I’ve never written 

anything in Hungarian (apart from at 

school), only in German. That makes 

me a German writer. 

Anybody who is familiar with your work 

will be aware of your German, very 

Southern German style – even though 

you’re not a German national. Perhaps 

you could tell us where you were born? 

I was born thirty years ago in Fiume on 

the Adriatic coast. When I was thirteen 

I went to Munich and attended school 

there. 

Were you a successful student? 

Well, more or less. Actually, less. 

That was during the first years of the war. 

Yes, the war started while I was at 

school. When I think back on it today it 

seems I don’t remember the time 

before the war. I really have to 

concentrate to remember things from 

the peacetime before. I believe you 

and others of our generation will know 

what I mean. 

Yes, I certainly do. 

The World War darkened our youth 

and robbed us of our childhood 

memories. But let’s move on. 

Yes, let’s talk about the arts. Tell us Herr 

Horvath, how did you become a writer? 

In 1920 I was a student at the 

university of Munich and was as they 

say ‘interested in the arts’, but had 

never actually been artistically active in 

any way. Outwardly that is. Inwardly I’d 

been playing with the thought for a 

while and said to myself: why don’t 

you try to be a writer? You like going to 

the theatre, you’ve experienced a lot, 

you like to contradict, and above all 

you have this strange urge to write 

down the things you see and 

experience and the things you imagine 

others to see and experience. You also 

believe that you should never make 

concessions, and you’ve never been 

worried about what others say about 

you. And here we have all the 

trappings of what more flamboyant 

souls might call ‘the realisation of a 

poetic mission.’ 

By chance I met the composer 

Siegfried Kallenberg one evening here 

in Munich in 1920. Kallenberg 

suddenly asked me: wouldn’t I like to 

write a pantomime for him. I was 

naturally somewhat puzzled since I 

couldn’t imagine why he should 

approach me of all people – I was not 

an author at all and had never in my 

life written anything. He must have 

confused me with someone else, I 

thought, and at first I wanted to 

correct him, but then I thought about 

it differently: why not have a go at 

writing a pantomime. So I agreed to it, 

got to work and wrote the pantomime. 

Later it was performed. I received my 

first review, I think you wanted to know 

about this? 

Indeed. 

It was devastating and started with the 

words ‘It’s a disgrace’ and continued 

in that vein. But I didn’t really take it to 

heart. 

So you decided to pursue writing as a 

career? 

Ah! I tried all sorts of more 

conventional jobs first, but I wasn’t 

suited to any of them. I must be 

destined to be a writer after all, I 

thought. 

Would you say your plays have a satirical 

element? 

I’m a big friend of satire. I can’t help it. 

I’d be interested in your thoughts on 

parody. 

I expressly reject parody as a dramatic 

form. Parody has nothing to do with 

art and is nothing but very cheap 

entertainment. 

Herr Horvath, let’s talk about our 

mutual passion: Theatre. I assume you 

will agree with me that the theatre will 

survive the present dire economic 

circumstances. 

Theatre as an art form cannot die, for 

the simple reason that people need it. 

For me this is a self evident and 

obvious fact. The theatre dreams on 

behalf of the spectator, and

simultaneously allows him to 

experience the products of his fantasy. 

You may have noticed, that almost all 

plays feature a criminal incident – 

indeed, the vast majority of all 

dramatic heroes right down to the 

extras are guilty of some crime, they 

are not honourable gentlemen! Isn’t it 

strange that people buy a ticket and go 

to the theatre, dress nicely and put on 

perfume in order to eavesdrop on 

more or less slanderous things or 

watch how someone or several people 

are killed, – and hereafter leave the 

theatre in a festive mood, ethically 

excited. What is going on in the 

individual spectator? The following: 

his apparent abhorrence of criminal 

proceedings on the stage is no true 

indignation, but in actual fact a 

participation, an experiencing, and 

through this experiencing a 

gratification of antisocial cravings. 

So the spectator is appalled by 

Photo: Mick Hawes. Reproduced couretsy of Museums Luton & The Luton News 

himself. This condition is called 

edification. 

I’ve enjoyed our conversation and I very 

much hope that the listeners of Bavarian 

Radio found your comments and ideas 

just as stimulating as I did. 

Thank you. 

Translated by Philip Thorne – 

Assistant Director 

9

10 

CAST 

CAST IN ORDER OF APPEARANCE 

Andy Williams 

Woodsman/Deputy 

Theatre includes: Russian Roulette 

(Featherstonehaughs & 

Cholmondeleys); Brief Encounter; A 

Matter of Life and Death (Kneehigh); 

Nights at the Circus (Kneehigh/Lyric 

Hammersmith); The Play What I 

Wrote (David Pugh productions); 

Perfect (Contact Theatre); Perfect 

Pitch/April in Paris (Haymarket 

Theatre, Basingstoke); Perfect Days 

(Library Theatre, Manchester); Peer 

Gynt; Romeo and Juliet (National 

Theatre); Twelfth Night; As I Lay Dying; 

More Grimm Tales (Young Vic); The 

Comedy of Errors (RSC). 

Television includes: Heartbeat; 

Doctors; Wire in the Blood; Crossroads; 

Ghost Squad; Grown Ups; A 

Midsummer Night’s Dream; Casualty; 

Touching Evil; Brookside; The Bill. 

Sarah Woodward 

Frau Leimgruber 

For the Almeida: The Rape of Lucrece. 

Other theatre includes: Rookery Nook 

(Menier Chocolate Factory); The Merry 

Wives of Windsor; The Comedy of Errors; 

Much Ado About Nothing 

(Shakespeare’s Globe); The Hour We 

Knew Nothing of Each Other; Present 

Laughter; Wild Oats; The Sea (National 

Theatre); Macbeth; A Midsummer 

Night’s Dream; Romeo and Juliet; Arms 

and the Man (Open Air Theatre, 

Regent’s Park); Woman in Mind 

(Salisbury Playhouse); Les Liaisons 

Dangereuses; Tom and Clem (West 

End)- Olivier Award for Best 

Supporting Actor ; Presence; Built on 

Sand (Royal Court); The Real Thing 

(Donmar Warehouse/West 

End/Broadway) - Tony nomination for 

Best Supporting Actor; Habeus Corpus 

(Donmar Warehouse); The Tempest; 

Love’s Labours Lost; The Venetian Twins; 

Murder in the Cathedral; Henry V; 

Camille; Hamlet; Richard III; Red Noses 

(RSC); Kean (Old Vic); London 

Assurance (Chichester Festival 

Theatre/West End); Artist Descending a 

Staircase (King’s Head/West End); 

Angleus; From Morning Till Night (Soho 

Poly Theatre); Talk of the Devil (Bristol 

Old Vic); The Winter’s Tale; Charley’s 

Aunt (Birmingham Rep). 

Television includes: Kingdom; Doctors; 

New Tricks; The Bill; Hear The Silence; 

Final Demand; The Inspector Pitt 

Mysteries; Poirot; Casualty; Gems; The 

Two of Us. 

Film includes: Bright Young Things; I 

Capture the Castle; Doctor Sleep; The 

House of Angelo.

Suzanne Burden 

Mrs Hudetz 

For the Almeida: King Lear; The 

Possibilities; When We Dead Awaken. 

Other theatre includes: Ghosts (Arcola 

Theatre); The Chalk Garden (Donmar 

Warehouse); Macbeth, Twelfth Night 

(Chichester Festival Theatre/West 

End/New York); In Praise of Love; Three 

Women and a Piano Tuner (Chichester 

Festival Theatre); Eric La Rue 

(RSC/Soho Theatre); Comedy of Errors 

(RSC/West End); Solstice; The Winter’s 

Tale (RSC); Battle Royal; The Recruiting 

Officer; The White Cameleon; Hedda 

Gabler; The Voysey Inheritance; The 

Shaughraun; Piano (National Theatre); 

By Many Wounds (Hampstead 

Theatre); The Country Wife (Crucible 

Theatre, Sheffield); Neverland (Royal 

Court); The Cocktail Party (Edinburgh 

Jack James 

Salesman/Detective/ 

Platelayer 

For the Almeida: Marianne Dreams. 

Other theatre includes: Cyrano de 

Bergerac (Chichester Festival Theatre); 

Frozen (Riverside Studios); The 

Wonderful World of Dissocia (National 

Theatre of Scotland/Royal Court); The 

Menu; The Coast of Utopia; The 

Merchant of Venice; Summerfolk; 

Money; Troilus and Cressida (National 

Theatre); Richard II (Old Vic); Macbeth; 

King John; Much Ado About Nothing; 

The Plantagenets; Love’s Labour’s Lost; 

Festival); Heartbreak House (Royal 

Lyceum Theatre, Edinburgh); As You 

Like It (Royal Exchange Manchester); 

Les Liasons Dangereuses (RSC/West 

End/Broadway). 

Television includes: Fear, Stress & Anger; 

Murphy’s Law; My Family; Life Begins; 

Absolute Power; The Lost Prince; 

Midsomer Murders; Armadillo; 

Microsoap; The Vet; A Mind to Murder; 

Between the Lines; Soldier Soldier; You, 

Me and It; Tis A Pity She’s a Whore; 

Secret Orchards; The Cherry Orchard; 

Troilus & Cressida; An Office Romance; 

Sharma & Beyond; Love in a Cold 

Climate; Bleak House; Hard Travelling; 

The Rivals; Campion; Poirot; Boon. 

Film includes: Glorious 1939; 

Hesitation; Gertler; The Devotee; Very 

Like A Whale; The Escort; Strapless. 

Kissing the Pope (RSC); Song From a 

Forgotten City (Donmar Warehouse); 

Origin of Table Manners; The Burning of 

the Dancers; Honey to Ashes (Centre for 

Performance Research UK and 

international tours); Heaven; The Plot 

(Man Act); Satellite City; Bar Valentino; 

Conspiracy of Silk (Scala Revue 

Fantasia). 

Television includes: Trial and 

Retribution; He Kills Coppers; Peak 

Practice; Canary Wharf. 

Film includes: Madharasapattanam; 

The Merchant of Venice; Hedd Wynn. 

11

12 

David Annen 

Alfons 

Theatre includes: A Disappearing 

Number (Complicite); Chains of Dew; 

Suppressed Desires (Orange Tree 

Theatre); Henry VIII (RSC); Ariadne 

Sells Out (Birmingham Opera); 

Guantanamo (Tricycle Theatre/West 

End); After Mrs. Rochester (Shared 

Experience/West End); Copenhagen; 

Tess of the d’Urbervilles (Watermill 

Theatre, Newbury); A Doll’s House 

(Lyric Theatre, Belfast); Into The West 

(New Victory Theater, New York); The 

Winter’s Tale; The Tempest (AandBC); 

Andorra; Demons and Dybbuks (Young 

Vic). 

Television includes: Something for 

Nothing; Criminal Justice; The 

Commander; Tales from the Jungle; The 

Chatterley Affair; Gideon’s Daughter; 

Mile High; Doctors; Dream Team; The 

Bill; Casualty; Madness – The 

Dangermen Story. 

Film includes: The West Wittering Affair 

David is an associate artist with 

lightwork, performing for the company 

in Here’s What I Did With My Body One 

Day, London/My Lover and Utter. 

. 

Laura Donnelly 

Anna 

Theatre includes: Romeo and Juliet; A 

Midsummer Night’s Dream (Open Air 

Theatre, Regent’s Park); Dancing at 

Lughnasa (Lyric Theatre, Belfast); 

Sleeping Beauty (Royal Lyceum Theatre, 

Edinburgh/King’s Theatre, Glasgow); 

Boston Marriage (The Project, Dublin). 

Television includes: Merlin; Best: His 

Mother’s Son; Occupation; Be More 

Ethnic; Rough Diamond; The Bill; Hex; 

Casualty; Sugar Rush. 

Film includes: Dread; Insatiable; Right 

Hand Drive. 

Daniel Hawksford 

Ferdinand 

Theatre includes: King Lear 

(Shakespeare’s Globe); The Hour We 

Knew Nothing of Each Other; Much 

Ado About Nothing (National 

Theatre); Memory (New York); Aqua 

Nero (Sgrip Cymru); Memory; Troilus 

and Cressida; Romeo and Juliet (Theatr 

Clywd); A Midsummer Night’s Dream 

(RSC/London Sinfonia); Jackets 

(Direct Action/Young Vic); The Pull of 

Negative Gravity (59E59 Theatre, New 

York and Traverse Theatre, 

Edinburgh); The School of Night; 

Cymbeline; The Taming of the Shrew 

(RSC); Romeo and Juliet (Northcott 

Theatre Exeter); Rosencrantz and 

Guildenstern are Dead (Theatr Clywd 

and No 1 tour); Lunch (King’s Head 

Theatre). 

Television includes: Colditz. 

Film includes: Pelican Blood; Little 

White Lies; Cellini.

Joseph Millson 

Thomas Hudetz 

Theatre includes: Every Good Boy 

Deserves Favour; Pillars of the 

Community (National Theatre); Much 

Ado About Nothing; King John; The Dog 

in the Manger; House of Desires; Pedro, 

the Great Pretender (RSC/West End); 

The Fairy Queen (Glyndebourne); 

Hamlet (Stafford Gatehouse Theatre); 

Fear and Misery (Royal Court); 

Cinderella (Old Vic); Richard II (Ludlow 

Festival/Almagro Festival); As You Like 

It (Peter Hall Company, UK and US 

tour); The Seagull; Cold Meat Party 

(Royal Exchange, Manchester); The 

Lifted Veil (One Man Show and tour); 

Four Nights in Knaresborough; Salad 

Days; David Copperfield – The Musical 

(No 1 tour); The Clearing; The Mill on 

the Floss (Shared Experience/West 

End/USA/China); Monogamy (Pursued 

by a Bear); Gasping; The Talented Mr. 

Ripley (Watford Palace Theatre); The 

Real Inspector Hound; Black Comedy 

Jake Nightingale 

Policeman 

Theatre includes: Spamalot (West 

End); Mr. Puntilla and His Man Matti 

(Belgrade Theatre, Coventry); Steptoe 

and Son in Murder at Oil Drum Lane 

(York Theatre Royal/West End); Sing 

Yer Heart Out For The Lads (National 

Theatre); Henry VI, Parts 1, 2 and 3; 

Richard III; Bartholomew Fair; Measure 

for Measure; Roberto Zucco (RSC); 

Inside The Firm (Queen’s Theatre, 

Hornchurch). 

(Donmar West End); David Copperfield 

(Greenwich Theatre/Crucible Theatre, 

Sheffield); The Rivals; Loot; The 

Dramatist (MTC national tour); The 

Beaux Stratagem (Cannizaro Park); The 

Fantasticks (King’s Head Theatre); 

Artaud at Rodez (Finborough Theatre); 

Cinderella (Buxton Opera House); 

Television includes: Casualty 1909; 

Oliver Twist; Consenting Adults; The Bill; 

Casualty; Dalziel and Pascoe; Doctors; 

Cocaine Nation; Cherished; Hustle; 

Murder Prevention; Skin Deep; Golden 

Rule; The Vice; Crime and Punishment; 

Emma Brody; Burnside; Never Never; 

The Last Musketeer; David Copperfield; 

Let Them Eat Cake; London’s Burning; 

Roger Roger; A Touch of Frost; Birds of a 

Feather. 

Film includes: Gulliver’s Travels; Woody 

Allen 2006; To Kill a King; Monsieur N; 

Spider; Dead Babies. 

Romeo and Juliet (International 

Shakespeare Festival, Agen). 

Television includes: Campus; Enid; 

Ashes to Ashes; Survivors; Harley Street; 

Midsomer Murders; Talk to Me; The 

Sarah Jane Adventures; New Tricks; 

Ghost Squad; The Romantics; Macbeth; 

EastEnders; In Exile; Holby City; Dressing 

For Breakfast; Doctors; Peak Practice. 

Film includes: Devil’s Bridge; Abraham’s 

Point; Telstar; Casino Royale. S.N.U.B!; 

La Belle Dame Sans Merci. 

Radio includes: The Fairy Queen; The 

Threepenny Opera; Maud; Brief Lives; 

Cheri; The Tractate Middoth; One Man 

on a Stage; Steinbeck in Avalon; 

Monogamy; The Voice of Angels; The 

Man in Black. 

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Tom Georgeson 

Landlord 

For the Almeida: Lulu. 

Theatre includes: When We Are Married 

(West Yorkshire Playhouse/Liverpool 

Playhouse); Glass Eels (Hampstead 

Theatre); Mother Courage ( English 

Touring Theatre); Incomplete and 

Random; Acts of Kindness (Royal Court); 

Kindness of Strangers (Liverpool 

Everyman Theatre); The Seagull 

(Edinburgh Festival); Frozen; The Good 

Hope (National Theatre); Dealer’s 

Choice (National Theatre/West End); 

Frozen (Birmingham Rep); Treasure 

Island; King Baby (RSC); Across the 

Ferry; The Marshalling Yard (Bush 


Julie Riley 

Leni 

Theatre includes: Amateur Girl; 

Catwalk (Hull Truck Theatre); Road; 

Spring & Port Wine (Octagon Theatre, 

Bolton); Feed (Oldham Coliseum); 

Beautiful Thing (Nottingham 

Playhouse); Dust to Dust (Assembly 

Rooms, Edinburgh); Messiah 

Television includes: Ashes to Ashes; Our 

Mutual Friend; Doctors; Hancock and 

Joan; Inspector Lynley; English Harem; 

Under the Greenwood Tree; Midsomer 

Murders; Bleak House; Waking the Dead; 

Poirot; Foyle’s War; Clocking Off; 

Liverpool One; Silent Witness; Dalziel 

and Pascoe; A Touch of Frost; Wuthering 

Heights; Between The Lines; G.B.H; 

Manageress; Boys From The Blackstuff. 

Film includes: The Real Life of Angel 

Deverell; Notes on a Scandal; Irish Jam; 

Man Dancin’; The Virgin of Liverpool; 

Morality Play; Swing; Land Girls; 

Downtime; Fairytale: A True Story; Fierce 

Creatures; A Fish Called Wanda; No 

Surrender. 

(Riverside Studios & European tour); 

Closer (Library Theatre, Manchester); 

Vurt; Downfall; Hansel and Gretel; 

Lysistrata (Contact Theatre, 

Manchester); Handbag (Actors Touring 

Company); Twelfth Night; Hamlet 

(Kaboodle Productions); The Life & 

Times of Fanny Hill (Dukes Playhouse, 

Lancaster); Stripped (Edinburgh 

Festival/Library Theatre, 

Manchester/Old Red Lion); A Soldiers 

Tale; Goblin Market (Trestle Theatre 

Company); Teechers (Leicester 

Haymarket); Raving Beauties (Liverpool 

Playhouse); The Cezanne Syndrome 

(Old Red Lion/Finborough). 

Television includes: Doctors; Casualty; 

The Life and Times of Vivienne Vyle; 

Holby City; The Commander; 

Emmerdale; Donovan; The Bill; 

Coronation Street; Always & Everyone. 

Radio includes: To The Broad Shore; An 

Oscar for Janice; Running with the 

Wolves; How to Murder Your Husband; 

Hulme Stories; In Conversation With 

Madonna. 

Patrick Drury 

Pokorny/Prosecutor 

For the Almeida: Waste. 

Other theatre includes: For King and 

Country (Act national tour); Much Ado 

About Nothing; Danton’s Death; Don Juan; 

Sergeant Musgrave’s Dance; Prince of 

Homburg; Torquato Tasso; Murderers; 

Fuente Ovejuna; Bartholomew Fair; The 

Enchantment; Major Barbara; Fram 

(National Theatre); Someone Else’s Shoes

Ben Fox 

Kohut/Customer 

Theatre includes: Forget-Me-Not Lane; 

Awaking Beauty; A Trip to Scarborough 

(Stephen Joseph Theatre, Scarborough); 

Festa (Young Vic); Laurel and Hardy (New 

Wolsey Theatre, Ipswich);The Evocation of 

Papa Mas (Told by an Idiot); Sugar (Some 

Like It Hot) (New Wolsey Theatre, Ipswich 

& Theatr Clwyd); Troilus and Cressida; 

Happy Ending; Bedroom Farce; Aladdin 

(Theatr Clwyd); Old King Cole (Unicorn 

Theatre); The Wind in the Willows; Carnival 

Messiah (West Yorkshire Playhouse); A 

Taste of Honey; One For The Road; Oh 

What A Lovely War!; Cabaret; Jack and the 

Beanstalk (Queen’s Theatre, 

Hornchurch); Millennium Mysteries 

(Teâtre Biuro Podrozy); As You Like It 

(Creation Theatre Company, Oxford); 

Frankie and Tommy (Lyric 

(Soho Theatre/English Touring Theatre); 

Mother Courage and her Children; Twelfth 

Night; King Lear; Hamlet (English Touring 

Theatre); Rebecca (Vienna’s English 

Theatre); The Graduate (Tour); Afore 

Night Come (Young Vic); Coriolanus 

(Edinburgh/Tel Aviv/Tokyo); Silas Marner; 

The Inheritors; The Verge (Orange Tree 

Theatre); The Memory of Water (West 

End/tour); The Trinidad Sisters (Tricycle 

Theatre); Translations (Watford Palace 

Theatre & tour); The Key Tag; Flying Blind 

(Royal Court); Measure For Measure 

(Riverside Studios); Dear Daddy (West 

End). 

Television includes: Midsomer Murders; 

Cold Blood; Doctors; Slave Dynasty; Judge 

John Deed; Silent Witness; Casualty; Father 

Ted (three series); Hogwash; In Suspicious 

Circumstances; Rory Bremner Who Else?; 

The Politician’s Wife; The Men’s Room; 

True Tilda; Under The Sun. 

Film includes: Laughterhouse; The 

Awakening; The Nightingale Saga. 

Recent radio includes: The Conflict is Over. 

Hammersmith); Alice (Open Air Theatre, 

Regent’s Park); Noises Off (Salisbury 

Playhouse); Hamlet (Ludlow Festival); 

Lewis Lemperuer-Palmer 

The Child 

Lewis is 12 years old and attends the 

Barbara Speake Stage School in East 

Acton. During his time at the school he 

has worked on numerous projects 

including The Khomeko Family 

Chronicles and War and Peace, both at 

the Royal Court. His film credits include 

The Disappeared and Beast in The Heart, 

and Lewis has also worked on several 

television shows and commercials. 

Good Companions (New Vic Theatre, 

Stoke); Keep on Running (Birmingham 

Rep); Pal Joey (Belgrade Theatre, 

Coventry); Loot (Watford Palace Theatre); 

In the Midnight Hour (Belgrade Theatre 

Coventry and tour); Stig of the Dump 

(Swan Theatre, Worcester); Return to the 

Forbidden Planet (West End); Kes (Paris 

and tour); Cinderella (Hackney Empire); 

Cinderella (Everyman Theatre, Liverpool). 

Television: Holby City; Behind Closed 

Doors; Bubble and Squeak; Mad About 

Alice; Spooks; Casualty; Men Behaving 

Badly; Flying Colours; Luckies; The Cut. 

Film includes: Sweeney Todd; Gulliver’s 

Travels. 

Radio includes: The Rak of Anor; Anzacs 

Over England. 

Thomas Patten 

The Child 

Thomas has been a member of the 

Young Actors Theatre in Islington for 18 

months and is a member of their Young 

Professionals group. He has just 

finished the lead role of Robert in the 

musical production Feather Boy as part 

of a workshop for Anthony Blunt at the 

National Theatre. Immediately prior to 

this Thomas played Ascanius in Dido 

Queen of Carthage, also at the National 

Theatre and directed by James 

Macdonald. 

15

16 

Photo: Jill Furmanovsky 

CREATIVE TEAM 


Writer 

Christopher Hampton has written 

extensively for stage, television and 

film; most recently a translation of 

Yasmina Reza’s God of Carnage for the 

West End (2008), an adaptation of 

Chekhov’s The Seagull at the Royal 

Court and on Broadway (2007-08), and 

the film Atonement adapted from the 

novel by Ian McEwan (2006). 

He has previously adapted several of 

Ödön von Horváth’s other plays: Tales 

From the Vienna Woods and Don Juan 

Comes Back From the War for the 

National Theatre, and Faith Hope and 

Charity for the Lyric Hammersmith. 

In 2000 his translation of Yasmina 

Reza’s Conversations After a Burial was 

presented at the Almeida; his other 

translations and adaptations for 

theatre include: Embers; Three Sisters 

(West End); Life x 3 (National 

Theatre/Old Vic/New York); The 

Unexpected Man (RSC/West 

End/Broadway); An Enemy of the 

People (National Theatre); Art (West 

End/Broadway); Sunset Boulevard 

(West End); Les Liaisons Dangereuses 

(RSC/Barbican/West End/Broadway); 

Tartuffe (RSC/Barbican); Tales from 

Hollywood (Mark Taper Forum, Los 

Angeles/revived Donmar Warehouse); 

The Portage to San Christobal of AH 

(West End); A Doll’s House (Lincoln 

Center, New York); Don Juan (Bristol 

Old Vic); Uncle Vanya (Royal Court). 

His own plays include The Talking Cure, 

Alice’s Adventures Underground and 

White Chameleon (National Theatre); 

Treats and Savages (Royal Court); and 

The Philanthropist (Royal Court, 

subsequently revived Chichester 

Festival Theatre, Donmar Warehouse, 

and on Broadway in 2009). 

For television he has adapted novels 

including The Ginger Tree, Hotel du Lac, 

and The History Man, and versions of 

his own plays Tales from Hollywood and 

Tartuffe, as well as writing the BBC 

drama Able’s Will. 

His film work includes Cheri, based on 

Colette’s novels; Atonement, based on 

Ian McEwan’s novel of same name; 

Imagining Argentina; The Quiet 

American; The Secret Agent; Mary Reilly; 

Carrington; Total Eclipse; Dangerous 

Liaisons (Oscar for Best Adapted 

Screenplay and BAFTA for Best 

Screenplay); The Good Father; The 

Honorary Consul; Tales From the Vienna 

Woods; and A Doll’s House. 

James Macdonald 

Director 

For the Almeida: The Triumph of Love; 

Night Banquet (Almeida Opera). 

For the Royal Court: Drunk Enough to 

Say I Love You (also Public Theater, 

New York); Dying City; Fewer 

Emergencies; Lucky Dog; Blood; Blasted; 

4.48 Psychosis (including European/US 

tours); Hard Fruit; Real Classy Affair; 

Cleansed; Bailegangaire; Harry and Me; 

The Changing Room; Simpatico; 

Blasted; Peaches; Thyestes; The Terrible 

Voice of Satan; Hammett’s Apprentice; 

Putting Two and Two Together. 

Other theatre credits include: Dido 

Queen of Carthage; The Hour We Knew 

Nothing of Each Other; Exiles (National 

Theatre); Top Girls (Broadway/MTC); 

Glengarry Glen Ross (West End); Dying 

City (Lincoln Center, New York); A 

Number (New York Theatre 

Workshop); Troilus und Cressida; Die 

Kopien (Berlin Schaubühne); 4.48 

Psychose (Vienna Burgtheater); The 

Tempest; Roberto Zucco (RSC); Love’s 

Labour’s Lost; Richard II (Royal 

Exchange, Manchester); The Rivals 

(Nottingham Playhouse); The 

Crackwalker (Gate Theatre); The Seagull 

(Sheffield Crucible); Miss Julie (Oldham 

Coliseum); Juno and the Paycock; Ice 

Cream and Hot Fudge; Romeo and 

Juliet; Fool for Love; Savage/Love; 

Master Harold and the Boys (Contact 

Theatre); Prem (Battersea Arts 

Centre/Soho Poly). 

Opera credits include: Eugene Onegin; 

Rigoletto (Welsh National Opera); Die 

Zauberflöte (Garsington); Wolf Club 

Village; Oedipus Rex; Survivor from 

Warsaw (Royal Exchange 

Manchester/Hallé); Lives of the Great 

Poisoners (Second Stride). 

Film includes: A Number for 

HBO/BBC. 

James was Associate Director of the 

Royal Court from 1992 – 2006, and a 

NESTA fellow 2003-6.

Miriam Buether 

Design 

For the Almeida: When the Rain Stops 

Falling. 

Miriam trained in costume design at 

Akademie für Kostüm Design in 

Hamburg and in theatre design at 

Central Saint Martins. She was the 

overall winner of the 1999 Linbury 

Prize. 

Other theatre design (set and 

costume) includes: Everybody Loves A 

Winner (Manchester International 

Festival); In the Red and Brown Water; 

The Good Soul Of Szechuan; 

Generations (Young Vic); Six Characters 

In Search Of An Author (Chichester 

Festival Theatre/West End); The 

Bacchae (National Theatre of 

Scotland/Lyric Hammersmith); 

Realism (National Theatre of 

Scotland); Relocated; My Child; The 

Wonderful World of Dissocia; Way to 

Heaven (Royal Court Theatre); Red 

Demon (Young Vic/Japan); The Bee 

(Soho Theatre/Japan); Long Time 

Dead, pool (no water) (Theatre Royal 

Plymouth); Unprotected 

(Traverse/Liverpool Everyman); Trade 

(RSC/Soho Theatre); Guantanamo; 

Honor Bound to Defend Freedom 

(Tricycle Theatre/West End/New 

York/San Francisco). 

Dance (set and costume) includes: 

Frame Of View (Didy Veldman in New 

York); Cinderella (Göteborg Opera 

Ballet Company); Dalston Songs (Royal 

Opera House); Hartstocht (Introdans, 

Netherlands); Sacrifice (Welsh 

National Opera); Tenderhooks 

(Canadian National Ballet). 

Moritz Junge 

Costume Design 

Born in Germany, Moritz studied at the 

Hochschule der Künste, Berlin, and at 

the Slade School of Fine Art and was 

the overall winner of the Linbury Prize 

for Stage Design in 2001. 

Costume designs include: Wayne 

McGregor’s Infra and Chroma (Royal 

Ballet); Dido, Queen of Carthage and 

The Hour We Knew Nothing Of Each 

Other (National Theatre); All About My 

Mother (Old Vic); La Cenerentola 

(Glyndebourne Festival Opera & 

Deutsche Oper Berlin); Vivaldi’s 

Ottone in villa (Kiel Opera); Rigoletto 

(Hanover State Opera); Die Zauberflöte 

(Lucerne). 

Costumes and co-set designs include: 

the world premiere of Thomas Adès 

The Tempest (Royal Opera House) and 

set and costumes for the Bater Dance 

Project (Beirut). 

Future projects include costume 

designs for The Messiah (English 

National Opera) and Aida (Royal 

Opera House). 

Neil Austin 

Lighting 

For the Almeida: 

The Homecoming; Marianne Dreams; 

Dying for It; Tom and Viv; Romance; 

Macbeth 

Other theatre includes: 

For the National Theatre: The Observer; 

England People Very Nice; Mrs Affleck; 

Oedipus; Her Naked Skin; Afterlife; The 

Emperor Jones; Philistines; The Man of 

Mode; Thérèse Raquin; The Seafarer 

(also Broadway); Henry IV Parts 1 and 

2; Fix Up; The Night Season; A Prayer 

For Owen Meany; Further Than the 

Furthest Thing; The Walls. 

For the Donmar West End: Hamlet 

(also Denmark & Broadway); Madame 

de Sade; Twelfth Night. 

For the Donmar Warehouse: A 

Streetcar Named Desire; Piaf (also West 

End & Buenos Aires); Parade; John 

Gabriel Borkman; Don Juan in Soho; 

Frost/Nixon (also West End & 

Broadway); The Cryptogram; The Wild 

Duck; Caligula; After Miss Julie; Henry 

IV; World Music; The Cosmonaut’s Last 

Message to the Woman he once Loved in 

the Former Soviet Union. 

For the RSC: King Lear; The Seagull; 

Much Ado About Nothing; King John; 

Romeo and Juliet; Julius Caesar; Two 

Gentlemen of Verona. 

In the West End: No Man’s Land; 

Dealer’s Choice; A Life in the 

Theatre; Japes. 

Dance includes: 

Rhapsody - Royal Ballet; The Soldier’s 

Tale - ROH2 at the Royal Opera House 

& Japanese Tour; The Canterville Ghost - 

English National Ballet; Pineapple Poll - 

Birmingham Royal Ballet; Darkness & 

Light - Miyako Yoshida, Tokyo 

Opera includes: 

Chorus! - Welsh National Opera; The 

Silent Twins; As I Crossed the Bridge of 

Dreams; Love Counts; Man and Boy: 

Dada; The Cricket Recovers; The 

Embalmer - Almeida Opera; Pulse 

Shadows - Queen Elizabeth Hall; 

L’Orfeo - Opera City, Tokyo. 

Matthew Herbert 

Music 

Matthew is an artist, film composer, 

performer, producer, writer, owner of 

Accidental Records, remixer, and DJ. 

He is currently making a record out of 

a pig, while also remixing Mahler’s 

10th Symphony for Deutsche 

Grammaphon and continuing to 

produce a number of emerging artists, 

including the acclaimed Eska. 

He has worked with the director James 

Macdonald before on two Caryl 

Churchill plays for the theatre and also 

wrote the score for James’ HBO film of 

Churchill’s A Number. 

Music production and co-production 

includes: Mercury Prize nominated 

album The Invisible (The Invisible); 

Jewellery (Micachu); The Bachelor 

(Patrick Wolf); Butterflies (Finn Peter); 

The Crying Light Live Show (with 

Antony Hegarty); Ruby Blue (Roisin 

Murphy); Hidden Place and Pagan 

Poetry on Bjork’s album Vespertine. 

Film/TV composition: Human Traffic; 

Le Defi; Vida y Color; Agathe Clery; The 

Intended; La Confiance Regne; A 

Number and Gomorrah. 

As an artist: Matthew has recorded 

numerous albums under the names 

Doctor Rockit, Wishmountain, Radio 

Boy, Herbert, The Matthew Herbert 

Big Band and Matthew Herbert. 

Albums include: Scale; Around The 

House; Second Hand Sounds; Bodily 

Functions; There’s Me And There’s You; 

Goodbye Swingtime; The Mechanics of 

Destruction; Plat Du Jour; Let’s All Make 

Mistakes. 

Christopher Shutt 

Sound 

Christopher trained at Bristol Old Vic 

Theatre School, and has been Head of 

Sound at Bristol Old Vic, the Royal 

Court, and the National Theatre. 

Theatre includes: War Horse; Burnt by 

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the Sun; Every Good Boy Deserves 

Favour; Gethsemane; Happy Days 

(world tour); Coram Boy; Dream Play; 

Humble Boy; Play Without Words; 

Albert Speer; Not About Nightingales; 

Machinal (National Theatre); 

Disappearing Number; Elephant 

Vanishes; Mnemonic; Street of 

Crocodiles; Three Lives of Lucie Cabrol 

(Complicite); All My Sons; The Resistible 

Rise of Arturo Ui; Moon for the 

Misbegotten; Coram Boy; Elephant 

Vanishes; Humble Boy (New York); 

Bacchae; Little Otik (National Theatre 

of Scotland); Aunt Dan & Lemon; 

Arsonists (Royal Court); Nocturnal 

(Gate Theatre); Moon for the 

Misbegotten; All About My Mother (Old 

Vic): Much Ado About Nothing; King 

John; Romeo and Juliet (RSC): Piaf; The 

Man Who Had All The Luck, Hecuba 

(Donmar Warehouse). 

Radio includes: Tennyson’s Maud; A 

Shropshire Lad. 

Christopher has won the NY Drama 

Desk award for Not About Nightingales 

and Mnemonic, and received Olivier 

Award nominations for Coram Boy, 

War Horse, and Piaf. 

Simon Deacon 

Musical Director 

Simon is a musician, composer and 

musical director. 

Recent work includes: collaborations 

with Neil Bartlett & Struan Leslie – 

Everybody Loves a Winner (Manchester 

Royal Exchange for the Manchester 

International Festival 09); Neil 

Bartlett’s adaptation of Oliver Twist 

(Lyric Hammersmith & national tour; 

American Repertory Theatre, Boston; 

Theatre for a New Audience, New York; 

Berkeley Repertory Theatre, California); 

collaboration with Neil Bartlett on 

Twelfth Night (RSC), and Pericles and A 

Christmas Carol (Lyric Hammersmith). 

Other theatre work includes: A 

Midsummer Night’s Dream (Open Air 

Theatre, Regent’s Park); Much Ado 

About Nothing (Crucible Theatre, 

Sheffield/Salisbury Playhouse); 

Measure for Measure 

(Complicite/National Theatre); As You 

Like It (Williamstown Theatre Festival, 

Massachusetts); The Taming of the 

Shrew (Shakespeare In The Park, New 

York); The Miser (Teatro Ornintorrinco, 

Sao Paulo). 

Commissions include: Fabula Urbis 

(Theatre Royal Stratford East); 

Giovanni’s Room (Drill Hall) and a 

ballet, Poker Game, for Jazz Dance 

America. 

Simon is pianist, Music Director and 

arranger for celebrated New York 

performer Justin Bond in London and 

New York, and is also a lecturer in 

Popular Music at Goldsmiths College, 

University of London. 

Sam Jones 

Casting 

Sam was until recently Head of Casting 

for the Royal Shakespeare Company. 

Other theatre includes: After Mrs 

Rochester; Bronte; Gone to Earth; Jane 

Eyre; Mine; Caucasian Chalk Circle 

(Shared Experience); The Firework 

Maker’s Daughter (Told By an Idiot); 

Nights at the Circus; Brief Encounter 

Tour (Kneehigh); Messiah; Scenes from 

an Execution (Steven Berkoff); Monkey! 

; Cruel and Tender (Young Vic); Forty 

Winks (Royal Court); The Royal Family; 

Mrs Warren’s Profession; Tantalus; 

Cuckoos, first Bath Festival season 

(Peter Hall); A Day in the Death of Joe 

Egg; Up for Grabs, Dinner; Journeys End 

(West End). 

Television includes: Occupation (Kudos 

for BBC1); several series of Trial and 

Retribution and The Commander as well 

as Above Suspicion for Lynda La Plante; 

Isaac Julien’s Turner Prize entry 

Paradise (Omeros); multi awardwinning 

Human Cargo for the 

Canadian Broadcasting Corporation; 

and several drama documentaries for 

Blast! Films including the highly 

acclaimed The Year London Blew Up. 

Philip Thorne 

Assistant Director 

Theatre includes: 

As director: Hamletmachine (Cairo 

Opera House Studio/Frascati Theatre 

Amsterdam/ Laboratorium Teatro 

Rome/TNS Strasbourg/Théâtre de la 

Vignette Montpellier); Norway Today 

(Southwark Playhouse); SATB (BAC). 

As assistant director: The Ugly One 

(Royal Court); The Hour We Knew 

Nothing of Each Other (National 


Translations include: Hamlet is Dead; 

Black Beast; Faust is Hungry (Royal 

Court); Nightblind (Company of 

Angels); Blue Sky Green Forest; Buy 

Nothing Day (ATC/Arcola Theatre). 

Philip is associate artist of Company of 

Angels, script reader for German 

language plays at the Royal Court’s 

International Department and artistic 

advisor to the International Theatre 

Festival Divadelna Nitra (Slovakia). 

Awards include Young Angels 

Theatremakers Award 2008 and Premio 

Internazionale Claudio Gora 2009 

(Rome). 

PRODUCTION 

THANK YOUS 

Reg Davies 

Ian Huish 

In accordance with the requirements of the Council of the London Borough of Islington, persons shall not be permitted to stand or sit in any of the 

gangways intersecting the seating or to sit in any of the other gangways.

ASSISTED PERFORMANCES 

The Almeida Theatre schedules assisted performances in order to make 

theatre more accessible and enjoyable for people who may find it difficult to 

see or hear everything that takes place on stage. 

Captioned performances feature an electronic 

screen which displays the words being spoken on 

stage in time with the performance, much like 

the subtitles you would see on television. Sound 

effects and music are also captioned. 

As part of the theatre's on-going access 

programme the Almeida will be captioning 

performances in house. Having now completed 

Stagetext captioning training, the Almeida now 

has a team of three CACDP (Council for 

Advancement of Communication with Deaf 

People) qualified captioners, as well as our own 

caption box and equipment. 

Audio described performances are ideal for 

audience members with visual impairment. We 

provide a discreet headset, which allows you to 

listen to information about the set, costumes, 

body language and facial expressions of the 

performers, during pauses in the action on-stage. 

Prior to the performance patrons receive CDs 

giving details of the set, characters and 

costumes and on the day of the performance 

can attend a free touch tour where they get a 

chance to explore the set and costumes and 

meet some of the cast. 

GET IN TOUCH 

If you would like any more information 

about assisted performances or access, 

or to book for an assisted performance, 

please contact us: 

020 7288 4999 

email access@almeida.co.uk 

or visit www.almeida.co.uk 

Upcoming captioned performances: 

JUDGMENT DAY 

Saturday 3 October 3pm 

Tuesday 13 October 7.30pm 

MRS KLEIN 

Wednesday 25 November 2.30pm 

Tuesday 1 December 7.30pm 

ROPE 

Saturday 16 January 2010, 3pm 

Tuesday 2 February 2010, 7.30pm 

Upcoming audio described 

performances: 

JUDGMENT DAY 

Saturday 10 October 3pm 

(touch tour 1.30pm) 

MRS KLEIN 

Saturday 28 November 3.00pm 


ROPE 

Saturday 30 January 2010, 3pm 


Audio description by Vocal Eyes 

If you would like a large print 

copy of this programme please 

contact us using the details 

listed. 

Thanks to Vocaleyes and all our interpreters. 

19

22 October – 5 December 2009 

MRS KLEIN 

by Nicholas Wright 

Director Thea Sharrock 

Design Tim Hatley 

Lighting Neil Austin 

Sound Ian Dickinson for Autograph 

Kate 

Ashfield 

Clare 

Higgins 

Nicola 

Walker 

Book now on 020 7359 4404 

www.almeida.co.uk 

Tickets £8 –£32 

ISLINGTON FIRST 

Opening performance 

tickets for Mrs Klein and Rope 

for just £20 if you live 

or work in the Islington area 

UNDER 30s 

Opening performance tickets 

for Mrs Klein and Rope for just 

£15 for Under 30s 

Subject to availability. For more 

information or to book call 

020 7359 4404 

Photo: Getty. Almeida Theatre registered charity no 282167.

10 December 2009 – 6 February 2010 

ROPE 

by Patrick Hamilton 

Tickets £8 –£32 

Book now on 

020 7359 4404 

www.almeida.co.uk 

Director Roger Michell 

Design Mark Thompson 

Lighting Rick Fisher 

Sound John Leonard

22 

RECENT ALMEIDA PRODUCTIONS 

Eileen Atkins (Bridget) and Imelda Staunton 

(Margaret) in There Came A Gypsy Riding, 

photo by Mark Ellidge 

■ 2003 

THE LADY FROM THE SEA 

“The Islington powerhouse opens with this 

tremendous production by Trevor Nunn… 

electrifying… leaves you reeling.” 

Daily Telegraph 

Sponsored by Hydro 

I.D. 

“A riveting production… full of wonderful 

theatrical invention… a rich and shameful 

period of history and how memorably it is 

evoked.” 

Daily Mail 

Sponsored by Cadwalader, Wickersham & Taft LLP 

THE MERCY SEAT 

“Michael Attenborough’s production has a 

high voltage charge that never dips for a 

moment. This play plumbs the depths and 

deserves to be seen.” 


FIVE GOLD RINGS 

“Bold, elegant, lyrical, finely wraught… 

gorgeously staged and beautifully 

performed.” 

Time Out 

■ 2004 

THE GOAT, OR WHO IS SYLVIA? 

“Superbly written … brilliant… flawless 

production; you won’t find more blazing 

acting anywhere… see it if you see nothing 

else.” 

Mail on Sunday 

Sponsored by Aspen Re 

Danny Sapani (Victor Mason), Ayesha Antoine (Caroline 

Mason) and Kedar Williams-Stirling (Phillip Mason) in 

Big White Fog, photo by Catherine Ashmore 

FESTEN 

“Electrifying, shocking and profoundly 

moving… such talent, such skill, such 

humanity. Something to celebrate.” 

Sunday Times 

WHISTLING PSYCHE 

“An intense, haunting and beautiful play… 

two remarkable performances... 

marvellously rewarding.” 

Mail on Sunday 

BRIGHTON ROCK 

“An intelligent, edgy, adult musical which 

gives you something to think about... 

Hooray for that... a production of brilliant 

clarity... crackles with energy and evil.” 

Daily Express 

THE EARTHLY PARADISE 

“Gorgeous writing… very compelling, lovely 

and tragic. My play of the year.” 

New Statesman 


■ 2005 

MACBETH 

“The most powerful, chilling, evil – feeling 

Macbeth since McKellen and Dench.” 

The Times 


HEDDA GABLER 

“An electrifying hit… a wonderful 

production by Richard Eyre” 



BLOOD WEDDING 

“Brilliantly directed by Rufus Norris. 

Another indication of how well Michael 

Attenborough’s management is doing at 

the Islington playhouse.” 

Daily Express 

Kenneth Cranham (Max) in The Homecoming, photo by 

Hugo Glendinning 

ROMANCE 

“You laugh uproariously... it’s a silly person 

who doesn’t.” 

Financial Times 

THE HYPOCHONDRIAC 

“Lindsay Posner’s exuberant, superbly 

acted production is riotously entertaining... 

has you laughing like a drain.” 


■ 2006 

THE LATE HENRY MOSS 

“A thrilling new play... acted up to the hilt by 

a remarkable company... an astonishingly 

wrought, high drama” 

Evening Standard 

Sponsored by Pinsent Masons 

PERIOD OF ADJUSTMENT 

“You must see this play: it’s like a diamond 

cut with its own stardust.” 

Sunday Times 


ENEMIES 

“A superb theatrical achievement...an 

excellent cast...Michael Attenborough’s 

admirable staging...this is a major event in 

our theatre” 



TOM AND VIV 

“A magnificent and superbly acted piece of 

theatre...the play so powerfully succeeds...a 

sublime tragedy” 

Sunday Times 

THE LIGHTNING PLAY 

“Funny, touching and consistently 

entertaining” 


Sponsored by Pinsent Masons

Paul Hilton (Johannes Rosmer) and Helen McCrory (Rebecca West) in 

Rosmersholm, photo by Johan Persson 

■ 2007 

THERE CAME A GYPSY RIDING 

“A magnificent and harrowing play” The 

Spectator 

“Unmissable” The Observer 


Season Sponsor Cadwalader, Wickersham & Taft LLP 

DYING FOR IT 

“The rediscovery of a subversive Soviet 

classic: deserves a permanent place in the 

British repertory” The Guardian 

"Desperately funny... beautifully written” 

The Observer 

Season Sponsor Cadwalader, Wickersham & Taft LLP 

BIG WHITE FOG 

“For strong gripping drama and splendid, 

heartfelt acting, the show is hard to beat... 

outstanding” Daily Telegraph 

“A long-lost gem…an excellent company… 

a riveting production” Daily Mail 

AWAKE AND SING! 

“Stirring and fabulously well performed” 

Mail On Sunday 

“Richly rewarding” Independent 

CLOUD NINE 

“An absolute treat…wholly heavenly”Daily 

Telegraph 

“Scorching stuff, and more entertaining than 

anything on in the West End” Sunday Telegraph 

MARIANNE DREAMS 

“A great Christmas show…beautiful and 

funny” 

Independent 

“Inspired, potent theatre” Mail on Sunday 


Will Keen (Henry Trebell) and Phoebe Nicholls 

(Frances Trebell) in Waste, photo by Johan Persson 

■ 2008 

THE HOMECOMING 

“A masterly production” Sunday Times 

“Exemplary…pitch perfect” The Observer 

“Michael Attenborough’s production 

sparkles like a 100-carat diamond…great 

theatre” 

Sunday Telegraph 


THE LAST DAYS OF JUDAS ISCARIOT 

“A sensational hit…a truly epic production” 


“A great piece of theatre…go see it, do 

yourself a favour” 

BBC 2 Newsnight Review 

A co-production with Headlong Theatre 

ROSMERSHOLM 

“A great production of one of Ibsen’s 

greatest plays… a masterclass in acting… 

book while you can” 

Sunday Times 

“An unadulterated delight” 

Sunday Telegraph 


WASTE 

“An overwhelming experience” 


“Another forgotten gem unearthed by the 

Almeida…a superlative production” 

Independent on Sunday 

“A spellbinding production of a superbly rich 

and subtle play” 


Tom Mison, Jonathan Cullen, Lisa Dillon, Leah Purcell, Simon Burke, 

Phoebe Nicholls and Naomi Bentley in When the Rain Stops Falling, 

photo by John Haynes. 

IN A DARK DARK HOUSE 

“LaBute’s most disquieting yet…and his 

most subtle” 

The Observer 

“Michael Attenborough gives the play a 

scorching reality…pulsates with feeling. If 

this is “directors’ theatre”, I’m all for it” 

Sunday Times 

■ 2009 

DUET FOR ONE 

“Overwhelming… the performance of a 

lifetime… a triumph” 


“Bowled me over… a noble and deeply 

moving piece of theatre… a masterclass in 

acting” 



PARLOUR SONG 

“It’s a beauty, wickedly funny” 


“It will be a vintage year if we see a betteracted 

play than this” Independent 

“One of the most truthful, honest and 

thought-provoking shows I have seen in a 

very long time” Sunday Telegraph 


WHEN THE RAIN STOPS FALLING 

“Michael Attenborough’s perfect 

production… some of the best acting in 

London” 

Sunday Times 

“Something very special” 


“A beautiful, subtle play that weaves a slow 

irresistible spell…beautifully delivered” 


23

24 

ALMEIDA PROJECTS 

Almeida Projects is the Almeida 

Theatre’s community and 

learning programme. 

“Almeida Projects provides an active, creative link between our theatre 

and its audience, more specifically an audience that may not have 

considered that the theatre might be for them. 

Our aim is to act as a catalyst to their energies, to their hunger to 

participate – celebrating the creativity of all young people in the best way 

we know how: by offering them our experience, our expertise and our 

unique theatre.” 

Michael Attenborough, Artistic Director. 

Almeida Projects’ work is inspired by the theatre’s productions and 

we deliver a range of high quality, innovative activities including: 

• A subsidised ticket scheme supported by regular teacher’s 

evenings, free resource packs, free introductory and curriculum 

workshops, 

• Residencies and bespoke projects in partnership with local schools 

and community groups, 

• The Young Friend of the Almeida scheme, 

• A Trainee Workshop Leader Programme, 

To book subsidised tickets, a workshop or to find out more about 

Almeida Projects contact Charlie, Projects Administrator, on 020 

7288 4916 or email projects@almeida.co.uk 

Into the Almeida 

Mount Carmel RC Technology College, Islington Arts and Media 

School of Creativity, Elizabeth Garrett Anderson Language 

College, Highbury Grove School, Highbury Fields School and 

Central Foundation Boys’ School. 

Almeida Projects is working with students in Year 10 beginning 

their GCSE and BTEC drama courses to offer a programme of 

activity that introduces them to the Almeida and our Autumn 

season. The programme has been designed with teachers from 

our partner schools to offer skills development that will support 

the student’s studies and enable them to create links between 

the classroom and the world of professional theatre. Students 

will have the opportunity to work with professional theatre 

practitioners on a range of activities including: a backstage 

discovery tour of the Almeida; an onstage voice class 

investigating how actors use their voices effectively, working with 

the Judgment Day script; a devising skills workshop exploring the 

themes of Mrs Klein; and an introductory workshop and hosted 

visit to see Rope. 

Trainee Workshop Leader 

Programme 

The second year of the Trainee Workshop Leader programme 

launches with an intensive three-day training course to prepare 

trainees for their work in schools and with Young Friends. 

Working with experienced workshop leaders, directors, actors 

and writers, the trainees will undertake paid placements on 

durational projects enabling them to develop their skills in a 

practical and supportive environment. Trainees will have the 

opportunity to work with a range of groups over the year, gaining 

a breadth of experience. Monthly seminars will be tailored to the 

learning objectives of the group and support professional 

development. The programme supports the development of a 

pool of highly skilled workshop leaders to deliver the Almeida’s 

increasing programme of activities. 

Photos: Bridget Jones

Young Friends 

of the Almeida 

Recruitment Day 

Sunday 27 September: 10am - 4pm 

Your chance to find out about the huge number of FREE 

opportunities to participate in projects and workshops, 

sign up and meet other Young Friends. 

Whether you want to act, write, direct or explore behind 

the scenes they'll be a masterclass or project for you, all 

led by professional theatre makers. 

For more information about the exciting benfits of 

becoming a Young Friend and see a short film about what 

Young Friends get up to go to 

www.almeida.co.uk/education/young_friends 

To book your place on the recruitment day or 

to join Young Friends contact Natalie on 

nmitchell@almeida.co.uk or 020 7288 4937. 

Projects Onstage 

All Almeida projects offer young people the exciting opportunity to 

perform on the Almeida Theatre stage. In June and July 2009, we 

presented two fully staged productions developed especially for 

and by young people. Inspired directly by our work with Islington 

schools and the Young Friends of the Almeida scheme, All the little 

things we crushed and Or Nearest Offer formed a great portion of 

our work over the summer term. 

All the little things we crushed by Joel Horwood explored personal 

and social responsibility in the midst of a world ravaged by climate 

change. Performed by a professional cast on the set of Michael 

Attenborough’s production of When the Rain Stops Falling, the 

project offered free tickets to over 1,300 young people from across 

London over 3 days, and included a vast scheme of introductory 

workshops as well as a youth-led Climate Change Challenge 

conference, where delegates worked together to produce an 

‘agenda for change’ - pledges to make their schools and home 

environments greener and more sustainable. All the little things we 

crushed was part of the When the Sun Starts Shining project, made 

possible by the generous support of J.P.Morgan. 

Or Nearest Offer was performed in July as part of the Almeida 

Summer Festival, and featured a talented cast of 15 Young Friends 

of the Almeida as a new company: GULP. They explored themes in 

all of the Almeida’s six plays in the 2008-09 season and with 

playwright Tanya Ronder, drew these ideas together into an hourlong 

piece exploring the chaos, fun, hopes and fears of the teenage 

experience over one hot summer in London. 

25

26 

HISTORY OF THE ALMEIDA 

THE ALMEIDA THEATRE is a 325 seat venue 

in the heart of Islington. Built in 1837, 

originally as the Scientific and Literary 

Institute of Islington, the building has 

undergone many reincarnations including a 

Victorian music hall, a Salvation Army citadel, 

when the balcony was most likely added, and a 

factory for carnival novelties. 

It was converted and founded as a theatre in 1980 by 

Pierre Audi, rapidly building up a reputation for high 

quality drama, particularly during the 1990s under the 

Artistic Directorship of Jonathan Kent and Ian 

McDiarmid. 

In 2001 the company relocated to Kings Cross, whilst 

major refurbishment took place, providing an entirely 

new front-of-house and, through massive excavation, 

extra back-stage space. The company returned to 

Islington in 2002 under the direction of present Artistic 

Director Michael Attenborough. 

The Almeida is known worldwide for producing an 

adventurous and diverse range of British and 

international drama with some of the world’s finest 

artists. In its unique space, uniting the epic and the 

intimate, the Almeida presents classics (when foreign, 

in newly commissioned versions) aiming to reveal 

them in a fresh light, alongside brand new plays from 

across the English-speaking world. 

EXPLORE THE ALMEIDA 

You can find out more about the history of 

this fascinating building on our theatre tours. 

Led by an experienced guide they offer the opportunity 

to explore the depths of the theatre including 

backstage, wardrobe, and technical departments. 

The tours also look at the history of the building 

through its many incarnations up to the present day. 

We finish the tours with a complimentary tea or coffee 

in the bar. 

For more information see www.almeida.co.uk 

or to book a place on a tour contact box office on 

020 7359 4404.

YOUR VISIT 

Welcome to the Almeida Theatre 

IN THE FOYER 

The box office, bar, kiosk and toilets 

are all at foyer level. 

Access to the Circle is outside and 

upstairs through the doors on 

Almeida Street. Access to the Stalls 

is through the doors in the foyer. 

The following are available to buy 

from the kiosk in the foyer: 

EATING AND DRINKING 

• Playscripts, past & present 

• Programmes 

• Posters 

• Loseley Ice Creams 

• Almeida T-shirts 

• Copies of The Half by Simon Annand 

Infrared headsets are also available 

at the kiosk for a small deposit. 

The Almeida Theatre Bar offers simple, quality dishes prepared 

in our kitchen, a great wine list, fine coffees and a relaxed 

atmosphere, and in the evening becomes a lively bar for audiences 

and actors alike. 

Light and airy in the daytime, it is an ideal place to meet friends for lunch, 

make use of our free Wifi connection, or just relax and read the papers. 

The Theatre Bar is open to all. You can visit us from 11.30am – 11pm, 

Monday – Saturday, and eat with us between 12 – 7pm. 

To beat the rush we recommend that you pre-order your interval drinks 

at the bar before the performance. 

For further information, or enquiries about hiring the bar please call 

020 7288 4900 or visit www.almeida.co.uk 

DURING THE 

PERFORMANCE 

Please take your seats in good time. 

There will be a three minute bell 

before the start of the performance. 

To avoid distracting the performers 

and spoiling the performance for 

other audience members we ask that 

you keep noise to a minimum in the 

auditorium and please switch off 

mobile phones. We kindly request no 

photography or recording equipment 

be used in the auditorium. 

Plastic cups are available at the bar 

and from ushers to enable you to 

take drinks or sweets into the 

auditorium. We request that you do 

not take food in with you. 

Strobe lighting, smoke, and gunshots 

may be used in some of our 

productions. If you would like more 

information on stage effects please 

ask to speak to the Duty Manager. 

Tell us your 

thoughts... 

We'd love to hear your thoughts on your 

experience at the Almeida Theatre and in 

particular what you thought of today’s 

performance. Please fill in a card in the 

foyer, or email us on 

marketing@almeida.co.uk 

27

28 

JOIN THE 

ALMEIDA’S 

CIRCLE OF 

SUPPORTERS 

Every donation made through our Circle of 

Supporters scheme is vital to ensuring 

that the Almeida can continue to mount 

productions of outstanding quality in our 

beautifully refurbished theatre. 

IN ADDITION YOU CAN BENEFIT FROM: 

• Priority booking 

• Advance mailing 

• Exclusive events 

• Quarterly newsletter 

• Special offers 

• Programme accreditation 

• Personalised booking 

• Access to sold out shows 

See opposite for more details. 

(Benefits depend on level of support) 

If you would like to help us and 

become more involved with 

the theatre and its work, please 

join our Circle of Supporters today. 

For further information please call 

020 7288 4930 or email Lizzie Stallybrass 

at lstallybrass@almeida.co.uk 

Juliet Stevenson and Henry Goodman in 

Duet for One. Photo John Haynes. 

Toby Jones and Andrew Lincoln in Parlour Song. 

Photo Simon Annand 

Joseph Mawle in The Last Days of Judas Iscariot. 

Photo Hugo Glendinning 

Lisa Dillon in When the Rain Stops Falling. 

Photo John Haynes

PLEASE SUPPORT THE ALMEIDA AT 

ONE OF THE FOLLOWING LEVELS: 

ALMEIDA FRIENDS (£50+) 

For a suggested donation of £50 or more we may 

extend the following: 

• Advance mailing and priority booking 

• Regular information about Almeida news and events 

• Invitations to Supporters’ evenings 

• Ticket offers when available 

DESIGNERS’ CIRCLE (£120+) 


extend the above and the following: 

• Accreditation in Almeida Theatre programmes 

• Advance notice of Almeida Galas 

ACTORS’ CIRCLE (£300+) 



• Personalised booking service through the Development Office 

DIRECTORS’ CIRCLE (£500+) 



• Regular press release mailings, including latest 

casting updates 

• Opportunity of hiring the Almeida Bar for 

private functions (subject to availability) 

• Invitation to annual Directors’ Circle reception 

PATRONS (£1,000+) 

For a suggested donation of £1,000 or more we may 


• Invitations to selected Press Nights 

• Invitations to private post-show discussions with cast 

and creative teams 

• Invitation to Patrons’ lunch with the Almeida’s 

Artistic Director 

• Access to house seats when a production is 

officially sold-out (subject to availability) 

BENEFACTORS (£2,500+) 

For a suggested donation of £2,500 or more we may extend the 

above and the following: 

• Invitations to every Press Night 

• Acknowledgement on the Benefactors’ Board in 

the Theatre Foyer 

• Private Backstage Tour 

PRODUCTION CIRCLE (£5,000+) 



• Invitations to selected dress or technical rehearsals 

• Draft scripts when rehearsals for productions begin 

• Published scripts signed by cast or creative teams 

(subject to availability) 

ARTISTIC DIRECTOR’S INNER CIRCLE (£10,000+) 



A unique opportunity for a small team of individuals to become 

closely involved at the heart of the theatre company. Forming an 

exclusive partnership with the Artistic Director, members will play a 

crucial and active role in enabling the theatre’s programme and the 

artistic standards for which the Almeida is renowned. 

I would like to join the Almeida’s Circle of 

Supporters at the following level: 

(The amounts listed are suggested donations only) 

ALMEIDA FRIENDS (£50+) 

DESIGNERS’ CIRCLE (£120+) 

ACTORS’ CIRCLE (£300+) 

DIRECTORS’ CIRCLE (£500+) 

PATRONS (£1,000+) 

BENEFACTORS (£2,500+) 

PRODUCTION CIRCLE (£5,000+) 

ARTISTIC DIRECTOR’S INNER CIRCLE (£10,000+) 

Mr/Mrs/Ms/Miss 

Address 

Tel (day) 

Tel (eve) 

Please acknowledge me/us in the Almeida Programmes as: 

(for gifts over £120) 

1. BY CHEQUE 

I enclose a cheque made payable to The Almeida Theatre Company for 

£ 

2. BY CREDIT CARD 

(You can also pay by calling Lizzie Stallybrass in the Development Office 

between 10am and 6pm Monday to Friday on 020 7288 4930) 

Please charge my credit card with 

Card No 

Name of cardholder 

Issue No (Switch only) 

Security Code 

Postcode 

Start date Expiry date 

Card Type Mastercard / American Express / Switch / Visa 

(please delete as appropriate) 

GIFT AID 

I am a UK taxpayer and would like the enclosed donation and any 

Signature Date 

further donations I may make to the Almeida Theatre to be tax 

effective under the Gift Aid scheme until I notify you otherwise. 

The Almeida is a registered charity no. 282167. Inland Revenue number XN 64354 

PLEASE RETURN THIS FORM TO: 

ALMEIDA CIRCLE OF SUPPORTERS, FREEPOST LON18195, LONDON N1 1BR 

£

30 

ALMEIDA SUPPORTERS 

The Almeida is a truly unique theatre. The world’s finest acting, writing, designing and directing talents produce 

some of their best work in our much loved space, ensuring that the theatre is alive each night with performances 

that inspire and excite our audiences. 

However, the freedom and the means whereby we can be bold, risk-taking and distinctive and able to produce 

work of the highest quality, costs money. £3.3m per annum to be precise. Every year we raise £1.2m of that 

ourselves – more than box office income or subsidy from Arts Council England. 

We are, therefore, hugely reliant upon the financial commitment of a group of very special individuals, trusts and 

companies who choose to become involved at the heart of our theatre. Their support ensures that we can plan 

ambitiously for the future with security and confidence, whilst keeping ticket prices affordable (with over 40 seats 

sold each night for just £8). It also means we can continue to deliver Almeida Projects - our inspirational 

programme of work with young people and the local community. 

Accordingly, we owe immense thanks to a collection of committed and enthusiastic supporters - many of whom are 

listed below and without whose kindness we simply could not exist. I do hope that you too might consider becoming 

involved with our wonderful theatre, at whatever level - helping us to continue turning our dreams into reality. 

Michael Attenborough 


Major Donors 

Ormonde & Mildred Duveen Trust 

Christophe Gollut 

The Ingram Trust 

Harvey & Allison McGrath 

Georgia Oetker 

The Rose Foundation 

Legacy Gifts 

Arthur Donald Fleming 

Clare Hope 

Almeida Projects Supporters 

The Andor Charitable Trust 

Sue Baring & Andre Newburg 

Raymond Cazalet Charitable Trust 

James & Erica Dickson 

The Foundation for Sport 

and the Arts 

Grocer’s Company Charitable Trust 

The Peter Harrison Foundation 

J.P. Morgan 

Mr & Mrs David Lakhdhir 

The Leathersellers' Company 

Charitable Fund 

The Noël Coward Foundation 

The Rayne Foundation 

Jan & Michael Topham 

Andrew Wilkinson, Goldman Sachs 

Lady Alexander of Weedon 

Gala Supporters 

Anonymous 

Berry Brothers & Rudd 

Gordon Campbell Gray 

Perdita Cargill-Thompson & 

Jonathan Martin 

G O Cowper-Coles 

Sarah & Louis Elson 

Eurostar 

Stamos J. Fafalios 

Joachim Fleury 

Mary Francis & Ian Rodger 

Mr & Mrs A Geczy 

Annie Gosney 

Maureen & Derek Harte 

Nick Jones 

John Kinder & Geraldine Downey 

Miss A Kulukundis 

David Lanch 

Anastasia Lewis 

Judith Loose 

Annette Lynton Mason 

Harvey & Allison McGrath 

Moulin Rouge, Paris 

Gerry Pack 

The Rayne Foundation 

The Rickety Charitable Trust 

Hilary Riva 

Jill & Paul Ruddock 

SG Hambros 

Carl & Martha Tack 

Robert Taylor & Michael Kallenbach 


John Torode 

Sarka Tourres 

Megan Whelan 

Hilary & Stuart Williams 

Artistic Director’s Inner Circle 

Eric Abraham & Sigrid Rausing 

Mrs Claus von Bulow 

Mercedes & Michael Hoffman 

Jack & Linda Keenan 

John Kinder & Geraldine Downey 

Rosemary Leith 

Midge & Simon Palley 

Jon & NoraLee Sedmak 

The Williams Charitable Trust 

Production Circle 

K.L. Breuss & G.P. Burgess 



Cathy & Guy Gronquist 

The Marina Kleinwort Trust 

Paul & Elizabeth O’Hanlon 

Rachel & Anthony Williams 

Benefactors 

Arimathea Charitable Trust 

Steve Barnett & Alexandra Marks 

Anthony & Andrea Coombs 

Ian & Caroline Cormack 

Sarah & Louis Elson 

Tim Fosberry 

Mr & Mrs A Geczy 

Lydia & Manfred Gorvy 

Barbara & Michael Gwinnell 

Susan Hahn & Duncan Moore 

Matthew & Severa Hurlock 

Carlo Kapp 

Charles & Nicky Manby 

Wayne Rapozo 

Sarah & Alastair Ross Goobey 

Jill & Paul Ruddock 

Lord & Lady Simon 

Nicola Stanhope 


Roderick & Melanie Vere Nicoll 

Andrew & Juliet Wilkinson 

Patrons 

Jeffrey Archer 

Jane Attias 

Keith & Barbara Bain 

Iain Barbour 

Sue Baring & Andre Newburg 

Sir Tim Berners-Lee 

Lord & Lady Bernstein 

Kate & Colin Birss 

Jonathan & Isabel Blake 

Tony & Gisela Bloom 

Miriam Borchard

Katie Bradford 

Perdita Cargill-Thompson & 

Jonathan Martin 

Richard & Robin Chapman 

Mr William Claxton-Smith 

Mrs Denise Cohen 

Mr & Mrs Stephen Cox 

Felicia Crystal 

Mr & Mrs Dannenbaum 

Angus Deayton 

Mr Robert H.F. Devereux 

James & Erica Dickson 

Robyn Durie 

Joel van Dusen 

Richard & Linda Ely 

Mr Peter Englander 

John & Tawna Farmer 

Daniel Friel 

Jackie & Michael Gee 

Jacqueline & Jonathan Gestetner 

Richard Gildea 

Michael Goddard 

David Graham 

Nick Gray 

Byron Grote & Susan Miller 

Andrew Haigh 

Pamela, Lady Harlech 

Maureen & Derek Harte 

Alisdair & Sophie Haythornthwaite 

Michael & Morven Heller 

Dorothy Henderson 

Michael Holland 

Michael Holter 

Linden Ife 

Lady Stephanie Johnson 

Nicholas & Maria Jones 

Nicholas Josefowitz 

Mary Kallaher & Matteo Perale 

Dr & Dr C Kaplanis 

Mr & Mrs Philip Kingsley 

Mr & Mrs David Lakhdhir 

Anthony Mackintosh 

Mr Raul Margara 

Stephanie & Carter McClelland 

Mr Julian Mills 

Barbara Minto 

Diana & Alan Morgenthau 

Emily Thornberry MP & 

Christopher Nugee QC 

The Oyster Foundation 

J Francis Palamara 

Barrie & Catherine Pearson 

Andrea & Hilary Ponti 

The Posgate Charitable Trust 

The David & Elaine Potter 

Foundation 

Michele Ragazzi 

Timothy & Judith Ritchie 

William & Julie Ryan 

Dr Mortimer & Theresa Sackler 

Foundation 

Susie Sainsbury 

Mr & Mrs Richard J Schwartz 

Mrs Carol Sellars 

Jennifer Sevaux 

The Simon Family 

Antony Simpson & Susan Boster 

Norma & David Smith 

David & Tanya Steyn 

Adam & Sheri Sticpewich 

Mr R D Szpiro 

Ms Eileen Taylor 

Christian & Sarah Thun-Hohenstein 

Lord & Lady Tugendhat 

Judith Unwin 

Mr P Voyce 

Bob & India Wardrop 

Lady Alexander of Weedon 

Jack & Lina Wood 

Mr Neil Woodgate 

Michael & Kate Yates 

Directors’ Circle 

Lorraine Baldry 

J & A Benard 

Neil & Ann Benson 

Nicholas Berwin 

Sally A. Bourne 

Ms Diana Brant 

Anthony Bunker 

Barry Burland & Tim den Dekker 

Mr Simon Clark 

Carole & Neville Conrad 

John Crisp 

George T Dragonas 

Jim & Maureen Elton 

Mort & Frannie Fleishhacker 

Margaret Ford & John Stewart 

Mr Stephen Foss 

Anupam Ganguli 

David Gestetner & 

Angela Howard 

Mr Farzin S Ghandchi 

Annie Gosney & Tim McInnerny 

Nick & Fiona Green 

The Mimi & Peter Haas Fund 

Neville & Veronika Harris 

Mr Charles Henderson 

Gordon Holmes 

Sir Robin & Lady Jacob 

Peter & Maria Kellner 

London Arts Discovery Tours 

Lou & Tony Mallin 

Brenda Meldrum 

Maggie Mills 

David Mitchell 

Asha & Trevor Phillips 

John & Laurel Rafter 

Anthony Regan 

Mr Charles Russell 

Mr Brian D Smith 

Mr W J Smith-Bowers 

Tim & Sophia Steel 

Dr Miriam Stoppard 

Sally Walden 

Marilyn & Geoffrey Wilson 

Mr & Mrs Roger Wyand 

Jonathan Yudkin 

Actors’ Circle 

J Aldred 

Nicola Allpress 

Alexander Balcombe 

Mr & Mrs Andrew Barnett 

Jill Barton 

Susan Barty 

David & Primrose Bell 

Michael & Lesley Bennett 

Mr & Mrs Anthony Blee 

Lord and Lady Brown of Eaton- 

Under-Heywood 

Felicity Callinan 

Peter & Diana Cawdron 

Claire & Ivor Connick 

Juan Corbella 

Rosamund Shelley, Lady Cox 

Robert & Lynette Craig 

Paul Cullington 

Timothy & Patrcia Daunt 

Gill Cutbill & Ged Davies 

David Day 

José and David Dent 

Yvonne Destribats 

Mr R J Dormer 

Mrs Denise Esfandi 

Mr Alan Fenton 

Robert & Clare Gray 

Brian and Rosita Green 

Graeme & Fiona Griffiths 

Sheila & John Harvey 

Douglas Hawkins 

Ms Clodagh Hayes 

Ms Sioban Healy 

Martin & Alicia Herbert 

Rob & Sally Hull 

Joyce Hytner 

Tamara Ingram 

Mr Neil King 

Latifa Kosta 

Byron Lang 

Mr Roger Lascelles 

Mr & Mrs B Lesslie 

Janet Martin 

Stephen & Nan-Yeong Matthews 

The Morris-Jones Family 

Ms Jane Norbury 

Mr Richard Polo 

Sophia Rauf 

Jan Ravens 

Mary Robey 

David Rocksavage 

Mr G C Rodopoulos 

Julian & Catherine Roskill 

Dr & Mrs Saggar 

Barry Serjent 

Dasha Shenkman 

Sue and Stuart Stradling 

Christoph & Marion Trestler 

Mr William Underhill 

Nicholas Watkinson 

Frank & Denie Weil 

Mr C C Wright 

Designers’ Circle 

Raymond A Adams 

Mr Aherne 

Mr Simon Aldridge 

D J Almeida 

Mr & Mrs Arkwrighht 

Mrs Carole J Armstrong 

Zac & Lucy Barratt 

Christopher Benson 

Michael Berkeley 

Rita & Ian Binder 

Mr & Mrs Boesch 

Mr M R Bowley 

Stuart Brand 

Gerald Brawn 

Mandy Bridger 

Sir Rodney Brooke 

Mr C L Bulford 

Ossi & Paul Burger 

Dr Nigel Burton 

Mrs R J A Carawan 

Tiana Everett del Castillo 

Geraldine Caulfield 

Lady Cazalet 

Mr & Mrs P Chappatte 

Mr S J Clayman 

Mr T Coldrey 

John & Rosemary Coldwell 

Jonathan Crow 

Anthony Croxford 

Mr & Mrs Andrew Cunningham 

Mrs Pamela Curwen 

Professor Philip David 

Dr Sheilagh Davies 

Graham & Christine Dawson 

Justin & Emma Dowley 

Mr Kendall Duesbury 

Miss Sally England 

Mrs Joy Eve 

Mark Everett 

Lindy Fletcher 

Tony & Jane Fogg 

Mr P L Folmer 

Judith Foy 

Amanda Gestetner 

Bobbie Ginswick 

Jonathan Glasson & Jamie Lake 

Janine Goedert 

Andrew & Karen Goldstone 

Ms S J Goodman 

Mr Ian Grant 

Reade & Elizabeth Griffith 

Grouse Investment 

Nerissa Guest 

Debby Guthrie 

Miss Celia Hall 

Mr Martin John Hall 

Maurice & Valerie Halperin 

Sophie Hanscombe 

Rosemary Hanson 

Andrew and Anita Harper 

Crawford & Mary Harris 

Jonathan and Hélène Haw 

Polly Hester 

Professor Dame Joan Higgins 

Andy & Janelle Hill 

31

32 

Jane Hill 

Caroline & Charles Hebbert 

Mr Lew Hodges 

Madeleine Hodgkin 

Mrs Rosemary Hood 

Sam Howard 

Jacky Hyer 

Rachel Ingalls 

Dan Ison 

Christine Jay 

Professor Norman Joels 

Mrs M Johnston 

Mr Simon Jones 

Brian & Janet King 

Dr Andrew J Kisiel 

Sarah & Christopher Knight 

Ruth & Peter Kraus 

Kudos Film and Television 

Mrs A Lampert 

Mr David Lanch 

David John Langrish 

Jacqui Lavy 

Alan Leibowitz & Barbara Weiss 

Colette & Peter Levy 

Mr Dennis M Levy 

Susan & Steven Licht 

Mr & Mrs LE Linaker 

Paul & Brigitta Lock 

Mr Juan Manuel Lopez Eiris 

C & I Maggs 

Donald & Sally Main 

John McGinley 

Lynette & Willie McKechnie 

Ms A Millar 

Ms Tessa Moloney 

Alex & Susan de Mont 

Paula Morris 

Steve Morrison 

Sean Murphy 

Mrs VG Murray 

Mr & Mrs Myddleton 

Dr Venetia Newall 

Ray & Sarah O’Connell 

Ellie Packer & Bob Freidus 

Nigel Pantling 

Ms Sara Parkin 

Mrs Joyce Parsons 

Mr Duncan Perry 

Nick Perry 

Professor Brice Pitt 

Mr John Nevil Plant 

Preben & Annie Prebenson 

Oliver Prenn 

Mrs Caroline Price 

Sue Prickett 

Dennis Pyser 

Darren Quigg & Irina Hemmers 

Mrs E E Randall 

Dr Susan Rankine 

Ms Ruth Rattenbury 

Liz & Nick Reeve 

Mrs Kathleen Reeve 

Christopher Marek Rencki 

Mrs Mary Rendall 

Anthony Rhodes 

Clare Rich 

Robin Roads 

RobynCeleste 

Oliver WB Rooke 

Anthony Rudd 

Mrs Susan Rudeloff 

Christopher & Alison Samuel 

Simon & Abigail Sargent 

Schon Family Charitable Trust 

Gilly Schuster 

Dr Martin Seifert & Dr Jackie Morris 

Dr Sennett 

Mr Naveed Shah 

Mrs Susan Shammas 

Mr T W Sharp 

Justin Shinebourne & Laurence 

Chaussinand 

Elaine & English Showalter 

Jonathan Silver 

Mark Silverstein 

Peter & Moira Smith 

Mrs L Spitz 

We would like to thank the following individuals for their dedication and support. 

Ambassadors 

Sue Baring 

Sarah Elson 


Rick Haythornthwaite 

Jack Keenan 

Georgia Oetker 

Jessica de Rothschild 

American Friends of the Almeida 

Theatre Trustees 

Kenneth David Burrows 

A. Michael Hoffman 

William Palmer 

Corporate Council 

Rick Gildea 

Chair 


Frederick Goetzen 

Tamara Ingram 

Dan Ison 

Andrew Wilkinson 

Gala Committee Chairs 

Jamie Arkell & Lise Mayer 

Cabaret Gala 

Juliet Wilkinson 

Chain Play II 

Martha Tack 

A Chain Play 

Saffron Burrows & Sydney Finch 

The Hypochondriac 

Thelma Holt & Damian Lewis 

Macbeth 


Awake and Sing! 

Blood Wedding 

Love Counts 

Jessica de Rothschild 

The Lady From The Sea 

Have you ever thought about supporting the Almeida Theatre with a legacy? 

Leaving a legacy is a very special way of ensuring that your tradition of 

support for the Almeida Theatre continues for years to come, allowing 

us to provide enriching theatrical experiences which will engage future 

generations. 

Individual Giving Committee 

Martha Tack 

Chair 

Jamie Arkell 


Andrew Haigh 

Dorothy Henderson 

Sam Howard 

Linda Lakhdhir 

Sheri Sticpewich 

Nick & Louise Steidl 

Mr AP & Mrs M T Stirling 

Julian & Maria Sturdy-Morton 

Anne & Paul Swain 

Mr Andrew Taggart 

Peter Taylor 

Andrew & Deirdra Threadgold 

Anne & Robert Van Gieson 

The Lady Marina Vaizey 

Ms Donna Vinter 

Mr Andrew Wales 

Lady Ward 

Sue & Alan Warner 

Mr Tim Watson 

Mr John Welz 

Paul Wheeler 

Miss Lisa Whiffen 

Mr Widdis 

Dr Peter Willis 

Ms Ann E F Wingate 

Mr & Mrs D Woolf 

Richard Worts & Nicola Shackelton 

We would also like to thank the 

many generous Friends of the 

Almeida Theatre, whom we are 

unable to list individually 

Local Liaison Committee 

Nicky Manby 

Chair 

Milly Ayliffe 

Jenny Black 

Annie Edge 

Rob Edge 

Susan Hahn 

Caroline Hoare 

Linden Ife 

Lynn Lomas 

Clare Parsons 

Joan Rodgers 

Demelza Short 

Rod Smith 

Sarah Whitehead 

You can include the Almeida Theatre in your Will by directing your gift 

to the Almeida Theatre Company Limited, registered charity number 

282167. 

For any information concerning legacies please contact Lizzie Stallybrass at lstallybrass@almeida.co.uk or 020 7288 4935. 

Development Photographer 

Alex Brenner

ALMEIDA CORPORATE 

SUPPORTERS 

“A small stage where giants play” The Times 

The Almeida Theatre’s Corporate Supporters benefit from 

bespoke, mutually beneficial partnerships with the theatre 

that include the following: 

• Unique entertaining opportunities with the Almeida’s 

first-class casts and creative teams 

• Branding, marketing and profiling opportunities 

• Staff training and employee involvement initiatives 

• CSR fulfilment via Almeida Projects: the theatre’s creative 

exchange with young people 

The theatre’s name is associated with critically acclaimed, 

award-winning productions. Actors, directors, writers and 

designers of the highest calibre have produced some of their 

finest work at the Almeida. 

Principal Sponsor 

Major Sponsors 

The theatre is particularly grateful to Principal Sponsor Coutts 

& Co who are currently enjoying a seventh year of support. In 

partnership with the Almeida, Coutts & Co has benefited from 

exclusive client hospitality opportunities, professional 

development for staff and the creation of a unique film, 

Portrait of a Bank. 

To find out how the Almeida can help your business, please 

contact Katya Evans, Sponsorship Manager, who will be 

pleased to discuss your specific requirements. 

Telephone: 020 7288 4930 

Email: development@almeida.co.uk 

Corporate Partners Local 

Corporate Partners 

33

34 

THE ALMEIDA THEATRE 

COMPANY 

The Almeida Board 

Christopher Rodrigues CBE 

Chair 

Mary Francis CBE 

(Treasurer) 

Jill Barton 

David Carter 

Michael Gwinnell 


Giles Havergal CBE 

Thelma Holt CBE 

Artistic Directors 

1980 – 1990 Pierre Audi (Founder) 

1990 – 2002 Jonathan Kent 

Ian McDiarmid 

2002 – Michael Attenborough 

ADMINISTRATION 

General Manager 

Natasha Bucknor 

Assistant to the 

Directorate 

Rachel Barker 

Administrative 

Assistant 

David Swain 

ALMEIDA PROJECTS 

Director of Projects 

(Maternity Cover) 

Anne Langford 

Director of Projects 

Samantha Lane 

Projects Coordinator 

Natalie Mitchell 

Projects Administrator 

Charlie Payne 

Projects Trainee 

Workshop Leaders 

Amma Boateng 

Ellen Groves 

Rocio Jason-Henry 

Louie Keen 

Freddie Machin 

Matthew Pierce 

Rhiannon Sawyer 

Alex Thorpe 

BAR 

Bar Manager 

Hannah Woolhouse 

Deputy Bar Manager 

Lanre Bankole 

Linden Ife 

Tamara Ingram 


Ray O’Connell 

Rufus Olins 

Nigel Pantling 

Roy Williams OBE 

Bar Staff 

Naomi Ackie 

Kimberley Brewin 

Irene Cioni 

Dominique Edwards 

Blanca Garay 

Eric Geynes 

Emmeline Ham 

Sammy Hebert 

Neil Jones 

Margherita Malanchini 

Daniela Mangiapane 

Lara Rossi* 

Kezia Scrine 

Harriet Shillito* 

Melissa Smith* 

Max Sobol 

Luis Valentine 

*also Duty Bar Managers 

BOX OFFICE 

Box Office Manager 

Tina Farguson 

Box Office Supervisors 

Annette Butler (Maternity 

Cover) 

Wendy Taylor 

Suzanne Walker** 

Miranda Yates** 

** also Access Officers 

Box Office Assistants 

Maria Ferran 

Katie Southall 

Jonathan Speer 

Ruth Varley 

DEVELOPMENT 

Head of Development 

Kirsten Hughes 

Senior Development 

Manager 

Nadia Boujo 

Sponsorship Manager 

Katya Evans 

Individual Giving Manager 

Lizzie Stallybrass 

Events Officer 

Rebecca Lyle 

Development Board 


Chair 


Vice Chair 

Jamie Arkell 

Iain Barbour 

Sue Baring 

Jonathan Blake 

Georgiana Boothby 

Rick Gildea 


FINANCE 

Head of Finance 

Fraser Jopp 

Finance Manager 

Jenny Patterson 

Finance Officer 

Donika Yordanova 

FRONT OF HOUSE 

Theatre Manager 

Helen Noble 

Duty Managers 

Philippa Davidson 

Nick Durant 

Dervla Toal 

Head Ushers 

Jessica Carroll 

Geraldine Caulfield 

Chris Corby 

Sylvie Gallant 

Camilla Mars 

Ian Street 

Geoff White 

Ushers 

Ono Dafedjaiye 

Laura Evelyn 

Anisa Farabi 

Louise Glover 

Andrew Howard 

Janice Howard 

Louie Keen 

Shanice Loren 

Morwenna Mara 

Nic McQuillan 

Mary Okeke 

Anne Sheasby 

Jeany Spark 

Theatre Tour Guide 

Jenny Hargreaves 

Cleaning Staff 

Principle Cleaning 

Services 

Lord Hart of Chilton 

Matthew Hurlock 

John Kinder 

Judith Loose 

Nicky Manby 

Lise Mayer 

Lady Rayne 

Andrea Sullivan 

Martha Tack 

Andrew Wilkinson 

Hilary Williams 

Andrea Wilson 

MARKETING 

Head of Marketing 

& Sales (Maternity Cover) 

Doug Buist 

Head of Marketing 

& Sales 

Jane Macpherson 

Marketing Officer 

Helen Bennett 

Marketing Assistant 

Louise Glover 

PRESS 

Press Representative 

Janine Shalom at 

Premier PR 

020 7292 8330 

PRODUCTION 

Head of Production 

James Crout 

Company Manager 

Rupert Carlile 

Stage Manager 

Laura Flowers 

Chief Technician 

Jason Wescombe 

Lighting Technician 

Robin Fisher 

Sound Technician 

Howard Wood 

Theatre Technician 

Adriano Agostino 

Wardrobe Supervisor 

Catrina Richardson 

Wardrobe Deputy 

Eleanor Dolan 


Michael Attenborough 

Executive Director 

Neil Constable 

Artistic Associate 

Jenny Worton 

Associate Director 

Howard Davies 

Lighting Advisor 

Mark Henderson 

Sound Advisor 

John Leonard 

CONSULTANTS 

Scripts Advisors 

Simon Burt 

Barry McCarthy 

Architects 

Burrell Foley Fischer 

Structural Engineering 

Consultants 

Alan Conisbee Associates 

Surveyor to the Almeida 

Hedley Merriman 

Auditors 

Haysmacintyre 

Solicitors 

Cumberland & Ellis 

Mishcon de Reya 

Wedlake Saint 

Production Insurance 

Giles Insurance Brokers 

Security 

Umair Jamil for 

McKenzie Arnold 

Security Ltd 

Access Consultant Group 

Mandy Colleran 

Wendy Haslam 

Ian Jentle 

Lois Keith 

Deborah Neve 

Caroline Parker 

Graphic Design 

Sarah Hyndman 

Dave Roberts for Cantate 

Programme Print 

Cantate

8 OCTOBER - 28 NOVEMBER 2009 

�� 

�� 

�� 

�� 

Cast RUPERT EVANS KATE FLEETWOOD DAVID HOROVITCH LLOYD HUTCHINSON 

SHARON SMALL DAVID SMITH MALCOLM STORRY DYLAN TURNER DOMINIC WEST 

Director JONATHAN MUNBY Designer ANGELA DAVIES 

Lighting Designer NEIL AUSTIN Composer & Sound Designer DOMINIC HASLAM 

Composer & Musician ANSUMAN BISWAS Movement Director MIKE ASHCROFT 

BOX OFFICE 0844 871 7624 

41 EARLHAM STREET, SEVEN DIALS, LONDON WC2 

www.donmarwarehouse.com 

PRINCIPAL SPONSOR 

17 September - 17 October 

A Hampstead Theatre and Curve Theatre, Leicester production of 

The Fastest Clock 

in the Universe 

A black comedy of desire by Philip Ridley 

“It’s Cougar’s birthday. He’s having a party. 

And the gift he’d kill for is… youth.” 

Tickets: £15 - £25 

Box Office: 020 7722 9301 

Book Online: www.hampsteadtheatre.com 

(no booking fees) 

Photo: TIm Brightmore 

Swiss Cottage, Jubilee Line (exit 2) 

Just 10 mins from Bond Street 

39

40 

ALFRESCO 

DINING 

OXO Tower Restaurant, Bar and Brasserie 

is renowned as one of London’s finest 

restaurants and a best loved destination 

for people from all over the world. With 

its breathtaking views over central London, 

OXO Tower has become one of the most 

ideal places for alfresco drinks and dining. 

To book telephone 020 7803 3888, 

visit www.harveynichols.com or 

email oxo.reservations@harveynichols.com 

OXO TOWER RESTAURANT, BAR & BRASSERIE 

BARGE HOUSE STREET, LONDON 

020 7803 3888 

WWW.HARVEYNICHOLS.COM 

One secret ingredient 

in everything we do! 

Quality pure and simple. 

It’s always been at the centre of everything we do at Dr.Oetker. 

It’s what makes us market leaders. Whether it’s Ristorante’s 

unique Pizzeria taste, Onken’s irresistibly healthy yogurts or 

Dr. Oetker’s home baking inspiration. 

Quality is the secret ingredient. That’s what makes us 

everyone’s favourite. 

We’re proud to be supporting 

the Almeida Theatre 

www.oetker.co.uk

Savills Islington 

94 Upper Street 

London N1 0NP 

020 7226 1313 

islington@savills.com 

savills.co.uk 

For reassuringly 

good performances 

from Savills 

Savils is proud to be a Local Corporate Partner 

of the Almeida and we look forward to our 

ongoing association with the theatre.

Judgment Day - Almeida Theatre

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