Judgment Day - Almeida Theatre
Judgment Day - Almeida Theatre
Judgment Day - Almeida Theatre
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<strong>Judgment</strong> <strong>Day</strong><br />
by Ödön von Horváth<br />
in a new version by<br />
Christopher Hampton
Photo front cover and this page: Getty<br />
<strong>Judgment</strong> <strong>Day</strong><br />
by Ödön von Horváth<br />
in a new version by<br />
Christopher Hampton
P<br />
Bermuda • France • Ireland • Singapore • Switzerland • UK • USA<br />
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sponsors of great performances for<br />
six years at the <strong>Almeida</strong> <strong>Theatre</strong><br />
Aspen provides reinsurance and insurance coverage to clients in various domestic and global<br />
markets through wholly-owned subsidiaries and offi ces in the United Kingdom, the United<br />
States, Bermuda, France, Ireland, Switzerland and Singapore.<br />
Aspen is delighted to continue its relationship with the <strong>Almeida</strong> <strong>Theatre</strong> as a Production Sponsor.<br />
LEGAL ADVICE IN THE SPOTLIGHT<br />
PROUD SPONSORS OF THE ALMEIDA THEATRE<br />
www.pinsentmasons.com<br />
© Pinsent Masons LLP 2009<br />
www.aspen.bm
Cast in order of appearance:<br />
Woodsman/Deputy Andy Williams<br />
Frau Leimgruber Sarah Woodward<br />
Salesman/Detective<br />
/Platelayer Jack James<br />
Frau Hudetz Suzanne Burden<br />
Alfons David Annen<br />
Ferdinand Daniel Hawksford<br />
Anna Laura Donnelly<br />
Thomas Hudetz Joseph Millson<br />
Policeman Jake Nightingale<br />
Landlord Tom Georgeson<br />
Leni Julie Riley<br />
Kohut/Customer Ben Fox<br />
Public Prosecutor<br />
/Pokorny Patrick Drury<br />
Child Lewis Lempereur-Palmer<br />
Thomas Patten<br />
Special thanks to the three teams of supernumaries<br />
who are generously giving their time to appear in<br />
this production, including:<br />
Jennifer Burraston, Gerry Bradley, Miyes Colak, Greer<br />
Dale, John Dingain, Michelle Dolan, Julianna<br />
Fazekai, Yolanda Fernato, Hannah Gaunt, Berit<br />
Kuennecke, Judith Loose, Duncan Sanders, Max<br />
Saunders-Singer, Lauren Surridge, Oscar Toeman,<br />
Kylie Vilcins, Sharon Willems.<br />
There will be no interval.<br />
<strong>Judgment</strong> <strong>Day</strong><br />
by Ödön von Horváth<br />
in a new version by<br />
Christopher Hampton<br />
Director James Macdonald<br />
Design Miriam Buether<br />
Costume Design Moritz Junge<br />
Lighting Neil Austin<br />
Music Matthew Herbert<br />
Sound Christopher Shutt<br />
Musical Director Simon Deacon<br />
Casting Director Sam Jones<br />
Casting Assistant Lucy Taylor<br />
Assistant Director Philip Thorne<br />
Production Manager Igor<br />
Company Manager Rupert Carlile<br />
Stage Manager Laura Flowers<br />
Deputy Stage Manager Harry Niland<br />
Assistant Stage Manager Claire Jowett<br />
Costume Supervisor Poppy Hall<br />
Wardrobe Supervisor Catrina Richardson<br />
Wardrobe Deputy Eleanor Dolan<br />
Wig Creation Linda McKnight<br />
Hair & Make<br />
Up Supervisor Cally Bone<br />
Dresser Charlie Damigos<br />
Chief Technician Jason Wescombe<br />
Lighting Technician Robin Fisher<br />
Sound Technician Howard Wood<br />
<strong>Theatre</strong> Technician Adriano Agostino<br />
Stage Crew Pradeep Dash<br />
Ben Lee<br />
Adam Smith<br />
Production Carpenter Craig Emerson<br />
Set built by Miraculous Engineering<br />
Set painted by Charlotte Gainey<br />
Natasha Shepherd<br />
Stage management work<br />
placement Elvin Talbot<br />
Wardrobe work placement Rachel Checkley<br />
Production photography Keith Pattison<br />
Rehearsal photography Bridget Jones<br />
3
4<br />
Ödön von Horváth<br />
Christopher Hampton<br />
The critic, Jean-Claude François, memorably described Ödön<br />
von Horváth as “the black book of the Third Reich”: by which<br />
he meant that no other writer documented more<br />
circumstantially than Horváth the day-to-day experience of<br />
life in Nazi Germany in the years leading up to the Second<br />
World War. Bertolt Brecht, for example, sitting in exile in<br />
Scandinavia, wrote of Fear and Misery in the Third Reich, a<br />
title which could have covered any amount of émigré writing;<br />
for those in self-imposed exile, what seemed salient were the<br />
crimes and atrocities of the Nazi régime. But for those, like<br />
Horváth, who remained, what seemed striking was how little<br />
the texture of everyday life had changed, despite the<br />
manifest insanity of the truculently self-righteous posse of<br />
morons so wilfully handed power by the German electorate<br />
in 1933.<br />
At the time of the election, Horváth, then 31, was at the peak<br />
of his career and had a powerful new play Glaube Liebe<br />
Hoffnung (Faith, Hope and Charity), in rehearsal. The play<br />
was not allowed to open, Horváth’s parents’ house in<br />
Bavaria was turned over by the SA [Nazi stormtroopers] and,<br />
like so many other artists, Horváth skipped the country. He<br />
was away for a year: in Budapest, he renewed his Hungarian<br />
passport and in Vienna he married a Jewish opera-singer,<br />
Maria Elsner, to provide her with a passport, he later<br />
explained. Meanwhile, he was routinely attacked in the Nazi<br />
press: when, in 1931, he had won the prestigious Kleist<br />
prize, the Völkischer Beobachter described him as a<br />
“Salonkulturbolschewist” (a high-society Bolshevist) and<br />
accused him of staining the flag of the Reich; and in the<br />
same year he was in court after becoming involved in a brawl<br />
with Nazis in a bar. And yet, in 1934, he headed back to<br />
Berlin. Why?<br />
He wanted to be able to study National Socialism at close<br />
quarters, he said: and so he did. The seven plays and two<br />
novels that poured out in the short time remaining to him<br />
are a compendium of the petty prejudices and rancorous<br />
suspicions of an era of epic mean-mindedness. “It may<br />
seem grotesque,” he wrote, “at a time like this, unstable as it<br />
is, and when no one knows what tomorrow may bring, to set<br />
oneself a programme of writing plays. All the same, I make<br />
so bold as to do so, even though I have no idea what I’m<br />
going to eat tomorrow.”<br />
• • •<br />
<strong>Judgment</strong> <strong>Day</strong> was the last of Horváth’s plays to be<br />
performed during his lifetime. He missed the premiere, in<br />
the unenticing Czechoslovakian town of Mährisch-Ostrau,<br />
where the play ran for only four performances, because he<br />
was hard at work on his novel, Ein Kind Unserer Zeit (A Child<br />
of our Time). Horváth had turned (or returned) to the novel<br />
the previous year, no doubt demoralised by the nearimpossibility<br />
of getting his plays performed in Germany, and<br />
Ödön Horváth c.1919. Reproduced with the kind permission of the Austrian<br />
National Library, ÖLA ÖLA 3L26<br />
had scored perhaps the greatest success of his career with<br />
the novel Jugend Ohne Gott (Youth Without God). This novel<br />
is in many ways a companion-piece to <strong>Judgment</strong> <strong>Day</strong>; both<br />
are built around a protagonist (in one case a station-master;<br />
in the other a teacher of history and geography) who lies<br />
under oath and then is tormented by his conscience until<br />
such time as he confesses; and both have religious and<br />
supernatural elements. Both, in other words, deal with guilt:<br />
and it may well be that Horváth’s project – to describe Nazi<br />
Germany from the inside – brought with it a heavy burden of<br />
guilt. He had been obliged, for example, in order to be able<br />
to take the screenwriting jobs which sustained him in Berlin,<br />
to become a member of the Nazi Writers’ Union, the<br />
‘Reichsverband Deutscher Schriftsteller’, as it called itself<br />
with characteristic self-importance.<br />
Guilty or not, Horváth was punished for his success in<br />
spectacular fashion. In 1938, when, after the Anschluss, he<br />
had finally decided to abandon ship and emigrate to America,<br />
he was invited to Paris to discuss, with the director Robert<br />
Siodmak, writing a screenplay based on Youth Without God.<br />
After their lunch, encouraged by Siodmak, Horváth took<br />
himself off to see Snow White and the Seven Dwarfs in a<br />
cinema on the Champs Élysées. Afterwards, as he strolled<br />
back to his hotel, a sudden storm blew up. Horváth joined a<br />
group of people sheltering under a giant chestnut tree<br />
outside the Théâtre Marigny; a few moments later he was<br />
killed instantly by a falling branch; no one else was injured.<br />
• • •
For me, <strong>Judgment</strong> <strong>Day</strong> is the renewal of an old friendship.<br />
The first Horváth play I translated, the monumental Tales<br />
From the Vienna Woods, appeared in the first Olivier <strong>Theatre</strong><br />
season [at theNational <strong>Theatre</strong>], 1976-7. I worked on a<br />
screenplay of this with Maximilian Schell, who directed the<br />
film; and then tackled (for the Cottesloe [at theNational<br />
<strong>Theatre</strong>]) another of his strange and haunting late plays,<br />
never performed in his lifetime, Don Juan Comes Back From<br />
the War. Then, in the eighties, I made Horváth the central<br />
character in my play Tales from Hollywood, in which I<br />
imagined he had escaped the falling branch on the Champs<br />
Élysées and set him down among a group of famous<br />
German émigré writers in Los Angeles. Finally, I translated,<br />
in 1989, Faith, Hope and Charity, which Heribert Sasse<br />
directed at the Lyric Hammersmith.<br />
<strong>Judgment</strong> <strong>Day</strong> was the first of Horváth’s plays to be mounted<br />
after the war – in the Theater in der Josefstadt in Vienna. As it<br />
happens, that same theatre has revived the play this season<br />
and will shortly be premiering my adaptation of Youth<br />
Without God. In the German-speaking theatre (and in<br />
France, where a controversial production of his Kasimir und<br />
Karoline is playing at the Avignon Festival) Horváth has been<br />
a constant presence in the repertoire, and his influence on a<br />
BS 10a-ÖLA3/W76,Bl.2<br />
younger generation of writers – Franz-Xaver Kroetz, Peter<br />
Handke, above all Rainer Werner Fassbinder, many of whose<br />
films are steeped in Horváth – is incalculable. By contrast, I<br />
feel that we in Britain have a long way to go, before we could<br />
be said to be doing him justice. The old boy is out of<br />
copyright now: all the more reason to pay him a little more<br />
concentrated attention.<br />
Christopher Hampton<br />
August 2009<br />
Horváth’s handwritten notes for <strong>Judgment</strong> <strong>Day</strong> (titled ‘Freigesprochen’, the play’s original title). Reproduced with the kind permission of the Austrian National<br />
Library, ÖLA<br />
BS 10a-ÖLA3/W76,Bl.3<br />
5
6<br />
A BIOGRAPHICAL NOTE<br />
“ON DEMAND”<br />
Ödön von Horváth<br />
‘I was born on 9th December 1901,<br />
and it was in Fiume on the Adriatic, at<br />
4.45 in the afternoon (4.30 according<br />
to another report). When I weighed<br />
twenty-two pounds I left Fiume and<br />
loafed about partly in Venice and partly<br />
in the Balkans, and experienced all<br />
sorts of things, among others the<br />
murder of HM King Alexander of<br />
Serbia along with his better half. When<br />
I was four foot tall I moved to<br />
Budapest and lived there for half an<br />
inch. There I was a keen visitor to<br />
numerous children’s playgrounds and<br />
was conspicuous in a rather<br />
disagreeable way because of my<br />
dreamy and mischievous personality.<br />
At a height of about 5’0½” Eros awoke<br />
in me, but initially without causing me<br />
any bother – (my love of politics was<br />
already quite apparent at that time).<br />
My interest in art, especially in the<br />
classics of literature, stirred relatively<br />
late (at a height of about 5’7½”) but it<br />
only became an urge from 5’11½”, not,<br />
it is true an irresistible one, but there<br />
all the same. When the First World War<br />
broke out I was already 5’6”, and when<br />
it ended I was 6’ (I shot up very quickly<br />
during the war). At 5’7” I had my first<br />
proper sexual experience – and today,<br />
now that I have long since stopped<br />
growing (6’1”), I think back with tender<br />
nostalgia to those portentous days.<br />
Now I only grow outwards it is true –<br />
but I can’t tell you any more about that,<br />
because I’m still too close to myself.’<br />
Ödön von Horváth, biographical note<br />
‘auf Bestellung’ – ‘on demand’.<br />
Translated by Ian Huish.<br />
Peter Handke on Ödön von Horváth and Bertolt Brecht<br />
And people will say<br />
In far away blue days<br />
It will become clear<br />
What is false and what is true<br />
What is false will perish<br />
Although it rules today<br />
What is true shall come –<br />
Although it dies today<br />
Horvath died in Paris on the evening<br />
of June 1, 1938, when a tree limb<br />
broke off during a thunderstorm,<br />
hitting him on the head and killing<br />
him instantly. One of the items<br />
found in his pocket was a cigarette<br />
pack with this poem written on it.<br />
Translated by Ian Huish.<br />
‘Brecht’s plays are interesting to me only as formal experiments, illusory yet moving fairy tales which show me a simplicity<br />
and order, that doesn’t exist. I prefer Ödön von Horváth, his disorder and uncontrived sentimentality. The confused phrases<br />
of his characters frighten me – the prototypes of malice, of helplessness, of confusion in a particular kind of society are<br />
shown up much more clearly in his work. And I like those insane phrases, which show the leaps and contradictions in man’s<br />
consciousness and which are otherwise only to be found in the works of Chekhov and Shakespeare.’<br />
From Materiallien zu Ödön von Horváth, ed. Traugott Krischke, Suhrkamp Verlag, 1970. Permission has been sought.<br />
Photos: Bridget Jones
Horváth in a political context<br />
1901 9 December, Ödön von Horváth<br />
born in Fiume (now Rijeka in<br />
Yugoslavia). His father is a<br />
diplomat in the Austro-<br />
Hungarian Empire.<br />
1902 The Horváth family moves to<br />
Belgrade.<br />
1908 The family moves to Budapest.<br />
Ödön receives his first tuition in<br />
Hungarian.<br />
1913 Horváth moves to Munich and<br />
attends the local school.<br />
1914 Outbreak of First World War.<br />
1916 Family moves to Pressburg<br />
(Bratislava), where Horváth<br />
produces his first literary<br />
attempts.<br />
1918 Family returns to Budapest.<br />
End of First World War;<br />
dissolution of Austro-Hungary.<br />
1919 Horváth moves back to Munich<br />
and enrolls at the University to<br />
study theatre sciences.<br />
Beginning of the Weimar<br />
Republic, its early years marked<br />
by high unemployment and<br />
rampant inflation.<br />
1922 Book of Dances published and<br />
performed.<br />
1923 Adolf Hitler, head of the National<br />
Socialist German Workers’<br />
(Nazi) Party, leads an abortive<br />
coup in a Munich beer hall.<br />
1924 Horváth chooses Berlin as his<br />
base.<br />
1927 Horváth writes Sladek. The play<br />
suggests, six years before the<br />
Nazi takeover in Germany, how<br />
strong the pull of Fascism can<br />
be for the common man.<br />
1930 Unemployment reaches three<br />
million in Germany.<br />
Italian Night receives its<br />
premiere in Berlin.<br />
1931 Horváth is called as a witness in<br />
a trial resulting from a tavern<br />
brawl between right and left<br />
factions. He is attacked by the<br />
Nazi press.<br />
The same year he is awarded the<br />
Kleistpreis, the most prestigious<br />
literary award in Germany. He<br />
writes Kasimir and Karoline and<br />
Tales from the Vienna Woods.<br />
The Horváth family c.1907. Reproduced with the kind permission of the Austrian National Library, ÖLA<br />
ÖLA 3L51<br />
1933 Hitler becomes German<br />
Chancellor.<br />
Faith, Hope and Charity goes into<br />
rehearsal but the premiere is<br />
hindered by the Nazis.<br />
Horváth marries the Jewish<br />
opera singer Maria Elsner to get<br />
her a passport – the marriage is<br />
dissolved a few months later.<br />
1934 In order to stay in Berlin,<br />
Horváth joins the Nazi Writers’<br />
Union. He works in the film<br />
industry in Berlin under the<br />
pseudonym HW Becker.<br />
1936 Horváth writes Figaro Gets a<br />
Divorce and Don Juan Comes<br />
Back From the War, but is in the<br />
same year given notice to leave<br />
Germany within 24 hours, and<br />
moves to Vienna. There he starts<br />
work on <strong>Judgment</strong> <strong>Day</strong>.<br />
1937 Horváth writes the novel Youth<br />
Without God which becomes a<br />
major publishing success.<br />
Immediately after completing it<br />
he starts work on another, A<br />
Child of our Time. <strong>Judgment</strong> <strong>Day</strong><br />
premieres in Mährisch Ostrau<br />
(Czechoslovakia).<br />
1938 Youth Without God is condemned<br />
by the Nazis and put on the list<br />
of outlawed books.<br />
German troops enter Austria in<br />
March and the ‘Anschluss’<br />
(annexation of Austria to the<br />
German Third Reich) is declared.<br />
Two days later Horváth leaves<br />
Vienna for Budapest. In May he<br />
travels to Paris to meet Robert<br />
Siodmak, who plans to film<br />
Youth Without God.<br />
On 1 June Ödön von Horváth is<br />
killed on Champs Élysées by a<br />
falling branch during a<br />
thunderstorm.<br />
1939 Outbreak of Second World War<br />
on 3 September.<br />
1945 At the end of the Second World<br />
War the first of von Horváth’s<br />
plays to be performed is<br />
<strong>Judgment</strong> <strong>Day</strong>, at the Theater in<br />
der Josefstadt in Vienna.<br />
7
8<br />
Horvath in a radio interview on<br />
Bayrischer Rundfunk, 6 April 1932<br />
Since you received the Kleist Prize,<br />
newspapers and literary journals have<br />
been brimming with opinions about you,<br />
in fact I think it fair to say that no other<br />
modern playwright has enflamed the<br />
hearts and minds of the critics and<br />
divided them in quite the same way as<br />
you have. So it’ll be interesting to hear<br />
your opinions first hand.<br />
I can give you my opinions. And to save<br />
you the trouble of the first question, I’ll<br />
cut straight to telling you when and<br />
where I was born and whether I’m a<br />
thoroughbred German writer or merely<br />
some strange mixture.<br />
When asked if I’m German I can only<br />
reply: my cultural identity is<br />
undoubtedly German for the simple<br />
reason that German is my mother<br />
tongue. As far as I’m concerned, this is<br />
the determining element. Only then I<br />
would add the fact that I spent crucial<br />
years of my development in Germany, in<br />
Southern Bavaria and Austria. My name<br />
is Hungarian, I have Hungarian blood,<br />
Czech and Croatian too, so I’m a typical<br />
Austrian – Hungarian melange. But let<br />
me point out that the products of such<br />
racial mixing needn’t be the worst. It’s<br />
well known that many individuals of<br />
mixed race have been identified by later<br />
generations as the truest and greatest<br />
representatives of German culture.<br />
For example Nietzsche.<br />
Yes, he was half Polish for instance.<br />
And the painter and poet Albrecht<br />
Dürer was half Hungarian. But let me<br />
descend from these dizzying historical<br />
heights and get back to talking about<br />
myself. Let’s straighten this out: I<br />
frequently read articles describing me<br />
as a Hungarian writer. That’s utter<br />
nonsense of course. I’ve never written<br />
anything in Hungarian (apart from at<br />
school), only in German. That makes<br />
me a German writer.<br />
Anybody who is familiar with your work<br />
will be aware of your German, very<br />
Southern German style – even though<br />
you’re not a German national. Perhaps<br />
you could tell us where you were born?<br />
I was born thirty years ago in Fiume on<br />
the Adriatic coast. When I was thirteen<br />
I went to Munich and attended school<br />
there.<br />
Were you a successful student?<br />
Well, more or less. Actually, less.<br />
That was during the first years of the war.<br />
Yes, the war started while I was at<br />
school. When I think back on it today it<br />
seems I don’t remember the time<br />
before the war. I really have to<br />
concentrate to remember things from<br />
the peacetime before. I believe you<br />
and others of our generation will know<br />
what I mean.<br />
Yes, I certainly do.<br />
The World War darkened our youth<br />
and robbed us of our childhood<br />
memories. But let’s move on.<br />
Yes, let’s talk about the arts. Tell us Herr<br />
Horvath, how did you become a writer?<br />
In 1920 I was a student at the<br />
university of Munich and was as they<br />
say ‘interested in the arts’, but had<br />
never actually been artistically active in<br />
any way. Outwardly that is. Inwardly I’d<br />
been playing with the thought for a<br />
while and said to myself: why don’t<br />
you try to be a writer? You like going to<br />
the theatre, you’ve experienced a lot,<br />
you like to contradict, and above all<br />
you have this strange urge to write<br />
down the things you see and<br />
experience and the things you imagine<br />
others to see and experience. You also<br />
believe that you should never make<br />
concessions, and you’ve never been<br />
worried about what others say about<br />
you. And here we have all the<br />
trappings of what more flamboyant<br />
souls might call ‘the realisation of a<br />
poetic mission.’<br />
By chance I met the composer<br />
Siegfried Kallenberg one evening here<br />
in Munich in 1920. Kallenberg<br />
suddenly asked me: wouldn’t I like to<br />
write a pantomime for him. I was<br />
naturally somewhat puzzled since I<br />
couldn’t imagine why he should<br />
approach me of all people – I was not<br />
an author at all and had never in my<br />
life written anything. He must have<br />
confused me with someone else, I<br />
thought, and at first I wanted to<br />
correct him, but then I thought about<br />
it differently: why not have a go at<br />
writing a pantomime. So I agreed to it,<br />
got to work and wrote the pantomime.<br />
Later it was performed. I received my<br />
first review, I think you wanted to know<br />
about this?<br />
Indeed.<br />
It was devastating and started with the<br />
words ‘It’s a disgrace’ and continued<br />
in that vein. But I didn’t really take it to<br />
heart.<br />
So you decided to pursue writing as a<br />
career?<br />
Ah! I tried all sorts of more<br />
conventional jobs first, but I wasn’t<br />
suited to any of them. I must be<br />
destined to be a writer after all, I<br />
thought.<br />
Would you say your plays have a satirical<br />
element?<br />
I’m a big friend of satire. I can’t help it.<br />
I’d be interested in your thoughts on<br />
parody.<br />
I expressly reject parody as a dramatic<br />
form. Parody has nothing to do with<br />
art and is nothing but very cheap<br />
entertainment.<br />
Herr Horvath, let’s talk about our<br />
mutual passion: <strong>Theatre</strong>. I assume you<br />
will agree with me that the theatre will<br />
survive the present dire economic<br />
circumstances.<br />
<strong>Theatre</strong> as an art form cannot die, for<br />
the simple reason that people need it.<br />
For me this is a self evident and<br />
obvious fact. The theatre dreams on<br />
behalf of the spectator, and
simultaneously allows him to<br />
experience the products of his fantasy.<br />
You may have noticed, that almost all<br />
plays feature a criminal incident –<br />
indeed, the vast majority of all<br />
dramatic heroes right down to the<br />
extras are guilty of some crime, they<br />
are not honourable gentlemen! Isn’t it<br />
strange that people buy a ticket and go<br />
to the theatre, dress nicely and put on<br />
perfume in order to eavesdrop on<br />
more or less slanderous things or<br />
watch how someone or several people<br />
are killed, – and hereafter leave the<br />
theatre in a festive mood, ethically<br />
excited. What is going on in the<br />
individual spectator? The following:<br />
his apparent abhorrence of criminal<br />
proceedings on the stage is no true<br />
indignation, but in actual fact a<br />
participation, an experiencing, and<br />
through this experiencing a<br />
gratification of antisocial cravings.<br />
So the spectator is appalled by<br />
Photo: Mick Hawes. Reproduced couretsy of Museums Luton & The Luton News<br />
himself. This condition is called<br />
edification.<br />
I’ve enjoyed our conversation and I very<br />
much hope that the listeners of Bavarian<br />
Radio found your comments and ideas<br />
just as stimulating as I did.<br />
Thank you.<br />
Translated by Philip Thorne –<br />
Assistant Director<br />
9
10<br />
CAST<br />
CAST IN ORDER OF APPEARANCE<br />
Andy Williams<br />
Woodsman/Deputy<br />
<strong>Theatre</strong> includes: Russian Roulette<br />
(Featherstonehaughs &<br />
Cholmondeleys); Brief Encounter; A<br />
Matter of Life and Death (Kneehigh);<br />
Nights at the Circus (Kneehigh/Lyric<br />
Hammersmith); The Play What I<br />
Wrote (David Pugh productions);<br />
Perfect (Contact <strong>Theatre</strong>); Perfect<br />
Pitch/April in Paris (Haymarket<br />
<strong>Theatre</strong>, Basingstoke); Perfect <strong>Day</strong>s<br />
(Library <strong>Theatre</strong>, Manchester); Peer<br />
Gynt; Romeo and Juliet (National<br />
<strong>Theatre</strong>); Twelfth Night; As I Lay Dying;<br />
More Grimm Tales (Young Vic); The<br />
Comedy of Errors (RSC).<br />
Television includes: Heartbeat;<br />
Doctors; Wire in the Blood; Crossroads;<br />
Ghost Squad; Grown Ups; A<br />
Midsummer Night’s Dream; Casualty;<br />
Touching Evil; Brookside; The Bill.<br />
Sarah Woodward<br />
Frau Leimgruber<br />
For the <strong>Almeida</strong>: The Rape of Lucrece.<br />
Other theatre includes: Rookery Nook<br />
(Menier Chocolate Factory); The Merry<br />
Wives of Windsor; The Comedy of Errors;<br />
Much Ado About Nothing<br />
(Shakespeare’s Globe); The Hour We<br />
Knew Nothing of Each Other; Present<br />
Laughter; Wild Oats; The Sea (National<br />
<strong>Theatre</strong>); Macbeth; A Midsummer<br />
Night’s Dream; Romeo and Juliet; Arms<br />
and the Man (Open Air <strong>Theatre</strong>,<br />
Regent’s Park); Woman in Mind<br />
(Salisbury Playhouse); Les Liaisons<br />
Dangereuses; Tom and Clem (West<br />
End)- Olivier Award for Best<br />
Supporting Actor ; Presence; Built on<br />
Sand (Royal Court); The Real Thing<br />
(Donmar Warehouse/West<br />
End/Broadway) - Tony nomination for<br />
Best Supporting Actor; Habeus Corpus<br />
(Donmar Warehouse); The Tempest;<br />
Love’s Labours Lost; The Venetian Twins;<br />
Murder in the Cathedral; Henry V;<br />
Camille; Hamlet; Richard III; Red Noses<br />
(RSC); Kean (Old Vic); London<br />
Assurance (Chichester Festival<br />
<strong>Theatre</strong>/West End); Artist Descending a<br />
Staircase (King’s Head/West End);<br />
Angleus; From Morning Till Night (Soho<br />
Poly <strong>Theatre</strong>); Talk of the Devil (Bristol<br />
Old Vic); The Winter’s Tale; Charley’s<br />
Aunt (Birmingham Rep).<br />
Television includes: Kingdom; Doctors;<br />
New Tricks; The Bill; Hear The Silence;<br />
Final Demand; The Inspector Pitt<br />
Mysteries; Poirot; Casualty; Gems; The<br />
Two of Us.<br />
Film includes: Bright Young Things; I<br />
Capture the Castle; Doctor Sleep; The<br />
House of Angelo.
Suzanne Burden<br />
Mrs Hudetz<br />
For the <strong>Almeida</strong>: King Lear; The<br />
Possibilities; When We Dead Awaken.<br />
Other theatre includes: Ghosts (Arcola<br />
<strong>Theatre</strong>); The Chalk Garden (Donmar<br />
Warehouse); Macbeth, Twelfth Night<br />
(Chichester Festival <strong>Theatre</strong>/West<br />
End/New York); In Praise of Love; Three<br />
Women and a Piano Tuner (Chichester<br />
Festival <strong>Theatre</strong>); Eric La Rue<br />
(RSC/Soho <strong>Theatre</strong>); Comedy of Errors<br />
(RSC/West End); Solstice; The Winter’s<br />
Tale (RSC); Battle Royal; The Recruiting<br />
Officer; The White Cameleon; Hedda<br />
Gabler; The Voysey Inheritance; The<br />
Shaughraun; Piano (National <strong>Theatre</strong>);<br />
By Many Wounds (Hampstead<br />
<strong>Theatre</strong>); The Country Wife (Crucible<br />
<strong>Theatre</strong>, Sheffield); Neverland (Royal<br />
Court); The Cocktail Party (Edinburgh<br />
Jack James<br />
Salesman/Detective/<br />
Platelayer<br />
For the <strong>Almeida</strong>: Marianne Dreams.<br />
Other theatre includes: Cyrano de<br />
Bergerac (Chichester Festival <strong>Theatre</strong>);<br />
Frozen (Riverside Studios); The<br />
Wonderful World of Dissocia (National<br />
<strong>Theatre</strong> of Scotland/Royal Court); The<br />
Menu; The Coast of Utopia; The<br />
Merchant of Venice; Summerfolk;<br />
Money; Troilus and Cressida (National<br />
<strong>Theatre</strong>); Richard II (Old Vic); Macbeth;<br />
King John; Much Ado About Nothing;<br />
The Plantagenets; Love’s Labour’s Lost;<br />
Festival); Heartbreak House (Royal<br />
Lyceum <strong>Theatre</strong>, Edinburgh); As You<br />
Like It (Royal Exchange Manchester);<br />
Les Liasons Dangereuses (RSC/West<br />
End/Broadway).<br />
Television includes: Fear, Stress & Anger;<br />
Murphy’s Law; My Family; Life Begins;<br />
Absolute Power; The Lost Prince;<br />
Midsomer Murders; Armadillo;<br />
Microsoap; The Vet; A Mind to Murder;<br />
Between the Lines; Soldier Soldier; You,<br />
Me and It; Tis A Pity She’s a Whore;<br />
Secret Orchards; The Cherry Orchard;<br />
Troilus & Cressida; An Office Romance;<br />
Sharma & Beyond; Love in a Cold<br />
Climate; Bleak House; Hard Travelling;<br />
The Rivals; Campion; Poirot; Boon.<br />
Film includes: Glorious 1939;<br />
Hesitation; Gertler; The Devotee; Very<br />
Like A Whale; The Escort; Strapless.<br />
Kissing the Pope (RSC); Song From a<br />
Forgotten City (Donmar Warehouse);<br />
Origin of Table Manners; The Burning of<br />
the Dancers; Honey to Ashes (Centre for<br />
Performance Research UK and<br />
international tours); Heaven; The Plot<br />
(Man Act); Satellite City; Bar Valentino;<br />
Conspiracy of Silk (Scala Revue<br />
Fantasia).<br />
Television includes: Trial and<br />
Retribution; He Kills Coppers; Peak<br />
Practice; Canary Wharf.<br />
Film includes: Madharasapattanam;<br />
The Merchant of Venice; Hedd Wynn.<br />
11
12<br />
David Annen<br />
Alfons<br />
<strong>Theatre</strong> includes: A Disappearing<br />
Number (Complicite); Chains of Dew;<br />
Suppressed Desires (Orange Tree<br />
<strong>Theatre</strong>); Henry VIII (RSC); Ariadne<br />
Sells Out (Birmingham Opera);<br />
Guantanamo (Tricycle <strong>Theatre</strong>/West<br />
End); After Mrs. Rochester (Shared<br />
Experience/West End); Copenhagen;<br />
Tess of the d’Urbervilles (Watermill<br />
<strong>Theatre</strong>, Newbury); A Doll’s House<br />
(Lyric <strong>Theatre</strong>, Belfast); Into The West<br />
(New Victory Theater, New York); The<br />
Winter’s Tale; The Tempest (AandBC);<br />
Andorra; Demons and Dybbuks (Young<br />
Vic).<br />
Television includes: Something for<br />
Nothing; Criminal Justice; The<br />
Commander; Tales from the Jungle; The<br />
Chatterley Affair; Gideon’s Daughter;<br />
Mile High; Doctors; Dream Team; The<br />
Bill; Casualty; Madness – The<br />
Dangermen Story.<br />
Film includes: The West Wittering Affair<br />
David is an associate artist with<br />
lightwork, performing for the company<br />
in Here’s What I Did With My Body One<br />
<strong>Day</strong>, London/My Lover and Utter.<br />
.<br />
Laura Donnelly<br />
Anna<br />
<strong>Theatre</strong> includes: Romeo and Juliet; A<br />
Midsummer Night’s Dream (Open Air<br />
<strong>Theatre</strong>, Regent’s Park); Dancing at<br />
Lughnasa (Lyric <strong>Theatre</strong>, Belfast);<br />
Sleeping Beauty (Royal Lyceum <strong>Theatre</strong>,<br />
Edinburgh/King’s <strong>Theatre</strong>, Glasgow);<br />
Boston Marriage (The Project, Dublin).<br />
Television includes: Merlin; Best: His<br />
Mother’s Son; Occupation; Be More<br />
Ethnic; Rough Diamond; The Bill; Hex;<br />
Casualty; Sugar Rush.<br />
Film includes: Dread; Insatiable; Right<br />
Hand Drive.<br />
Daniel Hawksford<br />
Ferdinand<br />
<strong>Theatre</strong> includes: King Lear<br />
(Shakespeare’s Globe); The Hour We<br />
Knew Nothing of Each Other; Much<br />
Ado About Nothing (National<br />
<strong>Theatre</strong>); Memory (New York); Aqua<br />
Nero (Sgrip Cymru); Memory; Troilus<br />
and Cressida; Romeo and Juliet (Theatr<br />
Clywd); A Midsummer Night’s Dream<br />
(RSC/London Sinfonia); Jackets<br />
(Direct Action/Young Vic); The Pull of<br />
Negative Gravity (59E59 <strong>Theatre</strong>, New<br />
York and Traverse <strong>Theatre</strong>,<br />
Edinburgh); The School of Night;<br />
Cymbeline; The Taming of the Shrew<br />
(RSC); Romeo and Juliet (Northcott<br />
<strong>Theatre</strong> Exeter); Rosencrantz and<br />
Guildenstern are Dead (Theatr Clywd<br />
and No 1 tour); Lunch (King’s Head<br />
<strong>Theatre</strong>).<br />
Television includes: Colditz.<br />
Film includes: Pelican Blood; Little<br />
White Lies; Cellini.
Joseph Millson<br />
Thomas Hudetz<br />
<strong>Theatre</strong> includes: Every Good Boy<br />
Deserves Favour; Pillars of the<br />
Community (National <strong>Theatre</strong>); Much<br />
Ado About Nothing; King John; The Dog<br />
in the Manger; House of Desires; Pedro,<br />
the Great Pretender (RSC/West End);<br />
The Fairy Queen (Glyndebourne);<br />
Hamlet (Stafford Gatehouse <strong>Theatre</strong>);<br />
Fear and Misery (Royal Court);<br />
Cinderella (Old Vic); Richard II (Ludlow<br />
Festival/Almagro Festival); As You Like<br />
It (Peter Hall Company, UK and US<br />
tour); The Seagull; Cold Meat Party<br />
(Royal Exchange, Manchester); The<br />
Lifted Veil (One Man Show and tour);<br />
Four Nights in Knaresborough; Salad<br />
<strong>Day</strong>s; David Copperfield – The Musical<br />
(No 1 tour); The Clearing; The Mill on<br />
the Floss (Shared Experience/West<br />
End/USA/China); Monogamy (Pursued<br />
by a Bear); Gasping; The Talented Mr.<br />
Ripley (Watford Palace <strong>Theatre</strong>); The<br />
Real Inspector Hound; Black Comedy<br />
Jake Nightingale<br />
Policeman<br />
<strong>Theatre</strong> includes: Spamalot (West<br />
End); Mr. Puntilla and His Man Matti<br />
(Belgrade <strong>Theatre</strong>, Coventry); Steptoe<br />
and Son in Murder at Oil Drum Lane<br />
(York <strong>Theatre</strong> Royal/West End); Sing<br />
Yer Heart Out For The Lads (National<br />
<strong>Theatre</strong>); Henry VI, Parts 1, 2 and 3;<br />
Richard III; Bartholomew Fair; Measure<br />
for Measure; Roberto Zucco (RSC);<br />
Inside The Firm (Queen’s <strong>Theatre</strong>,<br />
Hornchurch).<br />
(Donmar West End); David Copperfield<br />
(Greenwich <strong>Theatre</strong>/Crucible <strong>Theatre</strong>,<br />
Sheffield); The Rivals; Loot; The<br />
Dramatist (MTC national tour); The<br />
Beaux Stratagem (Cannizaro Park); The<br />
Fantasticks (King’s Head <strong>Theatre</strong>);<br />
Artaud at Rodez (Finborough <strong>Theatre</strong>);<br />
Cinderella (Buxton Opera House);<br />
Television includes: Casualty 1909;<br />
Oliver Twist; Consenting Adults; The Bill;<br />
Casualty; Dalziel and Pascoe; Doctors;<br />
Cocaine Nation; Cherished; Hustle;<br />
Murder Prevention; Skin Deep; Golden<br />
Rule; The Vice; Crime and Punishment;<br />
Emma Brody; Burnside; Never Never;<br />
The Last Musketeer; David Copperfield;<br />
Let Them Eat Cake; London’s Burning;<br />
Roger Roger; A Touch of Frost; Birds of a<br />
Feather.<br />
Film includes: Gulliver’s Travels; Woody<br />
Allen 2006; To Kill a King; Monsieur N;<br />
Spider; Dead Babies.<br />
Romeo and Juliet (International<br />
Shakespeare Festival, Agen).<br />
Television includes: Campus; Enid;<br />
Ashes to Ashes; Survivors; Harley Street;<br />
Midsomer Murders; Talk to Me; The<br />
Sarah Jane Adventures; New Tricks;<br />
Ghost Squad; The Romantics; Macbeth;<br />
EastEnders; In Exile; Holby City; Dressing<br />
For Breakfast; Doctors; Peak Practice.<br />
Film includes: Devil’s Bridge; Abraham’s<br />
Point; Telstar; Casino Royale. S.N.U.B!;<br />
La Belle Dame Sans Merci.<br />
Radio includes: The Fairy Queen; The<br />
Threepenny Opera; Maud; Brief Lives;<br />
Cheri; The Tractate Middoth; One Man<br />
on a Stage; Steinbeck in Avalon;<br />
Monogamy; The Voice of Angels; The<br />
Man in Black.<br />
13
14<br />
Tom Georgeson<br />
Landlord<br />
For the <strong>Almeida</strong>: Lulu.<br />
<strong>Theatre</strong> includes: When We Are Married<br />
(West Yorkshire Playhouse/Liverpool<br />
Playhouse); Glass Eels (Hampstead<br />
<strong>Theatre</strong>); Mother Courage ( English<br />
Touring <strong>Theatre</strong>); Incomplete and<br />
Random; Acts of Kindness (Royal Court);<br />
Kindness of Strangers (Liverpool<br />
Everyman <strong>Theatre</strong>); The Seagull<br />
(Edinburgh Festival); Frozen; The Good<br />
Hope (National <strong>Theatre</strong>); Dealer’s<br />
Choice (National <strong>Theatre</strong>/West End);<br />
Frozen (Birmingham Rep); Treasure<br />
Island; King Baby (RSC); Across the<br />
Ferry; The Marshalling Yard (Bush<br />
<strong>Theatre</strong>).<br />
Julie Riley<br />
Leni<br />
<strong>Theatre</strong> includes: Amateur Girl;<br />
Catwalk (Hull Truck <strong>Theatre</strong>); Road;<br />
Spring & Port Wine (Octagon <strong>Theatre</strong>,<br />
Bolton); Feed (Oldham Coliseum);<br />
Beautiful Thing (Nottingham<br />
Playhouse); Dust to Dust (Assembly<br />
Rooms, Edinburgh); Messiah<br />
Television includes: Ashes to Ashes; Our<br />
Mutual Friend; Doctors; Hancock and<br />
Joan; Inspector Lynley; English Harem;<br />
Under the Greenwood Tree; Midsomer<br />
Murders; Bleak House; Waking the Dead;<br />
Poirot; Foyle’s War; Clocking Off;<br />
Liverpool One; Silent Witness; Dalziel<br />
and Pascoe; A Touch of Frost; Wuthering<br />
Heights; Between The Lines; G.B.H;<br />
Manageress; Boys From The Blackstuff.<br />
Film includes: The Real Life of Angel<br />
Deverell; Notes on a Scandal; Irish Jam;<br />
Man Dancin’; The Virgin of Liverpool;<br />
Morality Play; Swing; Land Girls;<br />
Downtime; Fairytale: A True Story; Fierce<br />
Creatures; A Fish Called Wanda; No<br />
Surrender.<br />
(Riverside Studios & European tour);<br />
Closer (Library <strong>Theatre</strong>, Manchester);<br />
Vurt; Downfall; Hansel and Gretel;<br />
Lysistrata (Contact <strong>Theatre</strong>,<br />
Manchester); Handbag (Actors Touring<br />
Company); Twelfth Night; Hamlet<br />
(Kaboodle Productions); The Life &<br />
Times of Fanny Hill (Dukes Playhouse,<br />
Lancaster); Stripped (Edinburgh<br />
Festival/Library <strong>Theatre</strong>,<br />
Manchester/Old Red Lion); A Soldiers<br />
Tale; Goblin Market (Trestle <strong>Theatre</strong><br />
Company); Teechers (Leicester<br />
Haymarket); Raving Beauties (Liverpool<br />
Playhouse); The Cezanne Syndrome<br />
(Old Red Lion/Finborough).<br />
Television includes: Doctors; Casualty;<br />
The Life and Times of Vivienne Vyle;<br />
Holby City; The Commander;<br />
Emmerdale; Donovan; The Bill;<br />
Coronation Street; Always & Everyone.<br />
Radio includes: To The Broad Shore; An<br />
Oscar for Janice; Running with the<br />
Wolves; How to Murder Your Husband;<br />
Hulme Stories; In Conversation With<br />
Madonna.<br />
Patrick Drury<br />
Pokorny/Prosecutor<br />
For the <strong>Almeida</strong>: Waste.<br />
Other theatre includes: For King and<br />
Country (Act national tour); Much Ado<br />
About Nothing; Danton’s Death; Don Juan;<br />
Sergeant Musgrave’s Dance; Prince of<br />
Homburg; Torquato Tasso; Murderers;<br />
Fuente Ovejuna; Bartholomew Fair; The<br />
Enchantment; Major Barbara; Fram<br />
(National <strong>Theatre</strong>); Someone Else’s Shoes
Ben Fox<br />
Kohut/Customer<br />
<strong>Theatre</strong> includes: Forget-Me-Not Lane;<br />
Awaking Beauty; A Trip to Scarborough<br />
(Stephen Joseph <strong>Theatre</strong>, Scarborough);<br />
Festa (Young Vic); Laurel and Hardy (New<br />
Wolsey <strong>Theatre</strong>, Ipswich);The Evocation of<br />
Papa Mas (Told by an Idiot); Sugar (Some<br />
Like It Hot) (New Wolsey <strong>Theatre</strong>, Ipswich<br />
& Theatr Clwyd); Troilus and Cressida;<br />
Happy Ending; Bedroom Farce; Aladdin<br />
(Theatr Clwyd); Old King Cole (Unicorn<br />
<strong>Theatre</strong>); The Wind in the Willows; Carnival<br />
Messiah (West Yorkshire Playhouse); A<br />
Taste of Honey; One For The Road; Oh<br />
What A Lovely War!; Cabaret; Jack and the<br />
Beanstalk (Queen’s <strong>Theatre</strong>,<br />
Hornchurch); Millennium Mysteries<br />
(Teâtre Biuro Podrozy); As You Like It<br />
(Creation <strong>Theatre</strong> Company, Oxford);<br />
Frankie and Tommy (Lyric<br />
(Soho <strong>Theatre</strong>/English Touring <strong>Theatre</strong>);<br />
Mother Courage and her Children; Twelfth<br />
Night; King Lear; Hamlet (English Touring<br />
<strong>Theatre</strong>); Rebecca (Vienna’s English<br />
<strong>Theatre</strong>); The Graduate (Tour); Afore<br />
Night Come (Young Vic); Coriolanus<br />
(Edinburgh/Tel Aviv/Tokyo); Silas Marner;<br />
The Inheritors; The Verge (Orange Tree<br />
<strong>Theatre</strong>); The Memory of Water (West<br />
End/tour); The Trinidad Sisters (Tricycle<br />
<strong>Theatre</strong>); Translations (Watford Palace<br />
<strong>Theatre</strong> & tour); The Key Tag; Flying Blind<br />
(Royal Court); Measure For Measure<br />
(Riverside Studios); Dear Daddy (West<br />
End).<br />
Television includes: Midsomer Murders;<br />
Cold Blood; Doctors; Slave Dynasty; Judge<br />
John Deed; Silent Witness; Casualty; Father<br />
Ted (three series); Hogwash; In Suspicious<br />
Circumstances; Rory Bremner Who Else?;<br />
The Politician’s Wife; The Men’s Room;<br />
True Tilda; Under The Sun.<br />
Film includes: Laughterhouse; The<br />
Awakening; The Nightingale Saga.<br />
Recent radio includes: The Conflict is Over.<br />
Hammersmith); Alice (Open Air <strong>Theatre</strong>,<br />
Regent’s Park); Noises Off (Salisbury<br />
Playhouse); Hamlet (Ludlow Festival);<br />
Lewis Lemperuer-Palmer<br />
The Child<br />
Lewis is 12 years old and attends the<br />
Barbara Speake Stage School in East<br />
Acton. During his time at the school he<br />
has worked on numerous projects<br />
including The Khomeko Family<br />
Chronicles and War and Peace, both at<br />
the Royal Court. His film credits include<br />
The Disappeared and Beast in The Heart,<br />
and Lewis has also worked on several<br />
television shows and commercials.<br />
Good Companions (New Vic <strong>Theatre</strong>,<br />
Stoke); Keep on Running (Birmingham<br />
Rep); Pal Joey (Belgrade <strong>Theatre</strong>,<br />
Coventry); Loot (Watford Palace <strong>Theatre</strong>);<br />
In the Midnight Hour (Belgrade <strong>Theatre</strong><br />
Coventry and tour); Stig of the Dump<br />
(Swan <strong>Theatre</strong>, Worcester); Return to the<br />
Forbidden Planet (West End); Kes (Paris<br />
and tour); Cinderella (Hackney Empire);<br />
Cinderella (Everyman <strong>Theatre</strong>, Liverpool).<br />
Television: Holby City; Behind Closed<br />
Doors; Bubble and Squeak; Mad About<br />
Alice; Spooks; Casualty; Men Behaving<br />
Badly; Flying Colours; Luckies; The Cut.<br />
Film includes: Sweeney Todd; Gulliver’s<br />
Travels.<br />
Radio includes: The Rak of Anor; Anzacs<br />
Over England.<br />
Thomas Patten<br />
The Child<br />
Thomas has been a member of the<br />
Young Actors <strong>Theatre</strong> in Islington for 18<br />
months and is a member of their Young<br />
Professionals group. He has just<br />
finished the lead role of Robert in the<br />
musical production Feather Boy as part<br />
of a workshop for Anthony Blunt at the<br />
National <strong>Theatre</strong>. Immediately prior to<br />
this Thomas played Ascanius in Dido<br />
Queen of Carthage, also at the National<br />
<strong>Theatre</strong> and directed by James<br />
Macdonald.<br />
15
16<br />
Photo: Jill Furmanovsky<br />
CREATIVE TEAM<br />
Christopher Hampton<br />
Writer<br />
Christopher Hampton has written<br />
extensively for stage, television and<br />
film; most recently a translation of<br />
Yasmina Reza’s God of Carnage for the<br />
West End (2008), an adaptation of<br />
Chekhov’s The Seagull at the Royal<br />
Court and on Broadway (2007-08), and<br />
the film Atonement adapted from the<br />
novel by Ian McEwan (2006).<br />
He has previously adapted several of<br />
Ödön von Horváth’s other plays: Tales<br />
From the Vienna Woods and Don Juan<br />
Comes Back From the War for the<br />
National <strong>Theatre</strong>, and Faith Hope and<br />
Charity for the Lyric Hammersmith.<br />
In 2000 his translation of Yasmina<br />
Reza’s Conversations After a Burial was<br />
presented at the <strong>Almeida</strong>; his other<br />
translations and adaptations for<br />
theatre include: Embers; Three Sisters<br />
(West End); Life x 3 (National<br />
<strong>Theatre</strong>/Old Vic/New York); The<br />
Unexpected Man (RSC/West<br />
End/Broadway); An Enemy of the<br />
People (National <strong>Theatre</strong>); Art (West<br />
End/Broadway); Sunset Boulevard<br />
(West End); Les Liaisons Dangereuses<br />
(RSC/Barbican/West End/Broadway);<br />
Tartuffe (RSC/Barbican); Tales from<br />
Hollywood (Mark Taper Forum, Los<br />
Angeles/revived Donmar Warehouse);<br />
The Portage to San Christobal of AH<br />
(West End); A Doll’s House (Lincoln<br />
Center, New York); Don Juan (Bristol<br />
Old Vic); Uncle Vanya (Royal Court).<br />
His own plays include The Talking Cure,<br />
Alice’s Adventures Underground and<br />
White Chameleon (National <strong>Theatre</strong>);<br />
Treats and Savages (Royal Court); and<br />
The Philanthropist (Royal Court,<br />
subsequently revived Chichester<br />
Festival <strong>Theatre</strong>, Donmar Warehouse,<br />
and on Broadway in 2009).<br />
For television he has adapted novels<br />
including The Ginger Tree, Hotel du Lac,<br />
and The History Man, and versions of<br />
his own plays Tales from Hollywood and<br />
Tartuffe, as well as writing the BBC<br />
drama Able’s Will.<br />
His film work includes Cheri, based on<br />
Colette’s novels; Atonement, based on<br />
Ian McEwan’s novel of same name;<br />
Imagining Argentina; The Quiet<br />
American; The Secret Agent; Mary Reilly;<br />
Carrington; Total Eclipse; Dangerous<br />
Liaisons (Oscar for Best Adapted<br />
Screenplay and BAFTA for Best<br />
Screenplay); The Good Father; The<br />
Honorary Consul; Tales From the Vienna<br />
Woods; and A Doll’s House.<br />
James Macdonald<br />
Director<br />
For the <strong>Almeida</strong>: The Triumph of Love;<br />
Night Banquet (<strong>Almeida</strong> Opera).<br />
For the Royal Court: Drunk Enough to<br />
Say I Love You (also Public Theater,<br />
New York); Dying City; Fewer<br />
Emergencies; Lucky Dog; Blood; Blasted;<br />
4.48 Psychosis (including European/US<br />
tours); Hard Fruit; Real Classy Affair;<br />
Cleansed; Bailegangaire; Harry and Me;<br />
The Changing Room; Simpatico;<br />
Blasted; Peaches; Thyestes; The Terrible<br />
Voice of Satan; Hammett’s Apprentice;<br />
Putting Two and Two Together.<br />
Other theatre credits include: Dido<br />
Queen of Carthage; The Hour We Knew<br />
Nothing of Each Other; Exiles (National<br />
<strong>Theatre</strong>); Top Girls (Broadway/MTC);<br />
Glengarry Glen Ross (West End); Dying<br />
City (Lincoln Center, New York); A<br />
Number (New York <strong>Theatre</strong><br />
Workshop); Troilus und Cressida; Die<br />
Kopien (Berlin Schaubühne); 4.48<br />
Psychose (Vienna Burgtheater); The<br />
Tempest; Roberto Zucco (RSC); Love’s<br />
Labour’s Lost; Richard II (Royal<br />
Exchange, Manchester); The Rivals<br />
(Nottingham Playhouse); The<br />
Crackwalker (Gate <strong>Theatre</strong>); The Seagull<br />
(Sheffield Crucible); Miss Julie (Oldham<br />
Coliseum); Juno and the Paycock; Ice<br />
Cream and Hot Fudge; Romeo and<br />
Juliet; Fool for Love; Savage/Love;<br />
Master Harold and the Boys (Contact<br />
<strong>Theatre</strong>); Prem (Battersea Arts<br />
Centre/Soho Poly).<br />
Opera credits include: Eugene Onegin;<br />
Rigoletto (Welsh National Opera); Die<br />
Zauberflöte (Garsington); Wolf Club<br />
Village; Oedipus Rex; Survivor from<br />
Warsaw (Royal Exchange<br />
Manchester/Hallé); Lives of the Great<br />
Poisoners (Second Stride).<br />
Film includes: A Number for<br />
HBO/BBC.<br />
James was Associate Director of the<br />
Royal Court from 1992 – 2006, and a<br />
NESTA fellow 2003-6.
Miriam Buether<br />
Design<br />
For the <strong>Almeida</strong>: When the Rain Stops<br />
Falling.<br />
Miriam trained in costume design at<br />
Akademie für Kostüm Design in<br />
Hamburg and in theatre design at<br />
Central Saint Martins. She was the<br />
overall winner of the 1999 Linbury<br />
Prize.<br />
Other theatre design (set and<br />
costume) includes: Everybody Loves A<br />
Winner (Manchester International<br />
Festival); In the Red and Brown Water;<br />
The Good Soul Of Szechuan;<br />
Generations (Young Vic); Six Characters<br />
In Search Of An Author (Chichester<br />
Festival <strong>Theatre</strong>/West End); The<br />
Bacchae (National <strong>Theatre</strong> of<br />
Scotland/Lyric Hammersmith);<br />
Realism (National <strong>Theatre</strong> of<br />
Scotland); Relocated; My Child; The<br />
Wonderful World of Dissocia; Way to<br />
Heaven (Royal Court <strong>Theatre</strong>); Red<br />
Demon (Young Vic/Japan); The Bee<br />
(Soho <strong>Theatre</strong>/Japan); Long Time<br />
Dead, pool (no water) (<strong>Theatre</strong> Royal<br />
Plymouth); Unprotected<br />
(Traverse/Liverpool Everyman); Trade<br />
(RSC/Soho <strong>Theatre</strong>); Guantanamo;<br />
Honor Bound to Defend Freedom<br />
(Tricycle <strong>Theatre</strong>/West End/New<br />
York/San Francisco).<br />
Dance (set and costume) includes:<br />
Frame Of View (Didy Veldman in New<br />
York); Cinderella (Göteborg Opera<br />
Ballet Company); Dalston Songs (Royal<br />
Opera House); Hartstocht (Introdans,<br />
Netherlands); Sacrifice (Welsh<br />
National Opera); Tenderhooks<br />
(Canadian National Ballet).<br />
Moritz Junge<br />
Costume Design<br />
Born in Germany, Moritz studied at the<br />
Hochschule der Künste, Berlin, and at<br />
the Slade School of Fine Art and was<br />
the overall winner of the Linbury Prize<br />
for Stage Design in 2001.<br />
Costume designs include: Wayne<br />
McGregor’s Infra and Chroma (Royal<br />
Ballet); Dido, Queen of Carthage and<br />
The Hour We Knew Nothing Of Each<br />
Other (National <strong>Theatre</strong>); All About My<br />
Mother (Old Vic); La Cenerentola<br />
(Glyndebourne Festival Opera &<br />
Deutsche Oper Berlin); Vivaldi’s<br />
Ottone in villa (Kiel Opera); Rigoletto<br />
(Hanover State Opera); Die Zauberflöte<br />
(Lucerne).<br />
Costumes and co-set designs include:<br />
the world premiere of Thomas Adès<br />
The Tempest (Royal Opera House) and<br />
set and costumes for the Bater Dance<br />
Project (Beirut).<br />
Future projects include costume<br />
designs for The Messiah (English<br />
National Opera) and Aida (Royal<br />
Opera House).<br />
Neil Austin<br />
Lighting<br />
For the <strong>Almeida</strong>:<br />
The Homecoming; Marianne Dreams;<br />
Dying for It; Tom and Viv; Romance;<br />
Macbeth<br />
Other theatre includes:<br />
For the National <strong>Theatre</strong>: The Observer;<br />
England People Very Nice; Mrs Affleck;<br />
Oedipus; Her Naked Skin; Afterlife; The<br />
Emperor Jones; Philistines; The Man of<br />
Mode; Thérèse Raquin; The Seafarer<br />
(also Broadway); Henry IV Parts 1 and<br />
2; Fix Up; The Night Season; A Prayer<br />
For Owen Meany; Further Than the<br />
Furthest Thing; The Walls.<br />
For the Donmar West End: Hamlet<br />
(also Denmark & Broadway); Madame<br />
de Sade; Twelfth Night.<br />
For the Donmar Warehouse: A<br />
Streetcar Named Desire; Piaf (also West<br />
End & Buenos Aires); Parade; John<br />
Gabriel Borkman; Don Juan in Soho;<br />
Frost/Nixon (also West End &<br />
Broadway); The Cryptogram; The Wild<br />
Duck; Caligula; After Miss Julie; Henry<br />
IV; World Music; The Cosmonaut’s Last<br />
Message to the Woman he once Loved in<br />
the Former Soviet Union.<br />
For the RSC: King Lear; The Seagull;<br />
Much Ado About Nothing; King John;<br />
Romeo and Juliet; Julius Caesar; Two<br />
Gentlemen of Verona.<br />
In the West End: No Man’s Land;<br />
Dealer’s Choice; A Life in the<br />
<strong>Theatre</strong>; Japes.<br />
Dance includes:<br />
Rhapsody - Royal Ballet; The Soldier’s<br />
Tale - ROH2 at the Royal Opera House<br />
& Japanese Tour; The Canterville Ghost -<br />
English National Ballet; Pineapple Poll -<br />
Birmingham Royal Ballet; Darkness &<br />
Light - Miyako Yoshida, Tokyo<br />
Opera includes:<br />
Chorus! - Welsh National Opera; The<br />
Silent Twins; As I Crossed the Bridge of<br />
Dreams; Love Counts; Man and Boy:<br />
Dada; The Cricket Recovers; The<br />
Embalmer - <strong>Almeida</strong> Opera; Pulse<br />
Shadows - Queen Elizabeth Hall;<br />
L’Orfeo - Opera City, Tokyo.<br />
Matthew Herbert<br />
Music<br />
Matthew is an artist, film composer,<br />
performer, producer, writer, owner of<br />
Accidental Records, remixer, and DJ.<br />
He is currently making a record out of<br />
a pig, while also remixing Mahler’s<br />
10th Symphony for Deutsche<br />
Grammaphon and continuing to<br />
produce a number of emerging artists,<br />
including the acclaimed Eska.<br />
He has worked with the director James<br />
Macdonald before on two Caryl<br />
Churchill plays for the theatre and also<br />
wrote the score for James’ HBO film of<br />
Churchill’s A Number.<br />
Music production and co-production<br />
includes: Mercury Prize nominated<br />
album The Invisible (The Invisible);<br />
Jewellery (Micachu); The Bachelor<br />
(Patrick Wolf); Butterflies (Finn Peter);<br />
The Crying Light Live Show (with<br />
Antony Hegarty); Ruby Blue (Roisin<br />
Murphy); Hidden Place and Pagan<br />
Poetry on Bjork’s album Vespertine.<br />
Film/TV composition: Human Traffic;<br />
Le Defi; Vida y Color; Agathe Clery; The<br />
Intended; La Confiance Regne; A<br />
Number and Gomorrah.<br />
As an artist: Matthew has recorded<br />
numerous albums under the names<br />
Doctor Rockit, Wishmountain, Radio<br />
Boy, Herbert, The Matthew Herbert<br />
Big Band and Matthew Herbert.<br />
Albums include: Scale; Around The<br />
House; Second Hand Sounds; Bodily<br />
Functions; There’s Me And There’s You;<br />
Goodbye Swingtime; The Mechanics of<br />
Destruction; Plat Du Jour; Let’s All Make<br />
Mistakes.<br />
Christopher Shutt<br />
Sound<br />
Christopher trained at Bristol Old Vic<br />
<strong>Theatre</strong> School, and has been Head of<br />
Sound at Bristol Old Vic, the Royal<br />
Court, and the National <strong>Theatre</strong>.<br />
<strong>Theatre</strong> includes: War Horse; Burnt by<br />
17
18<br />
the Sun; Every Good Boy Deserves<br />
Favour; Gethsemane; Happy <strong>Day</strong>s<br />
(world tour); Coram Boy; Dream Play;<br />
Humble Boy; Play Without Words;<br />
Albert Speer; Not About Nightingales;<br />
Machinal (National <strong>Theatre</strong>);<br />
Disappearing Number; Elephant<br />
Vanishes; Mnemonic; Street of<br />
Crocodiles; Three Lives of Lucie Cabrol<br />
(Complicite); All My Sons; The Resistible<br />
Rise of Arturo Ui; Moon for the<br />
Misbegotten; Coram Boy; Elephant<br />
Vanishes; Humble Boy (New York);<br />
Bacchae; Little Otik (National <strong>Theatre</strong><br />
of Scotland); Aunt Dan & Lemon;<br />
Arsonists (Royal Court); Nocturnal<br />
(Gate <strong>Theatre</strong>); Moon for the<br />
Misbegotten; All About My Mother (Old<br />
Vic): Much Ado About Nothing; King<br />
John; Romeo and Juliet (RSC): Piaf; The<br />
Man Who Had All The Luck, Hecuba<br />
(Donmar Warehouse).<br />
Radio includes: Tennyson’s Maud; A<br />
Shropshire Lad.<br />
Christopher has won the NY Drama<br />
Desk award for Not About Nightingales<br />
and Mnemonic, and received Olivier<br />
Award nominations for Coram Boy,<br />
War Horse, and Piaf.<br />
Simon Deacon<br />
Musical Director<br />
Simon is a musician, composer and<br />
musical director.<br />
Recent work includes: collaborations<br />
with Neil Bartlett & Struan Leslie –<br />
Everybody Loves a Winner (Manchester<br />
Royal Exchange for the Manchester<br />
International Festival 09); Neil<br />
Bartlett’s adaptation of Oliver Twist<br />
(Lyric Hammersmith & national tour;<br />
American Repertory <strong>Theatre</strong>, Boston;<br />
<strong>Theatre</strong> for a New Audience, New York;<br />
Berkeley Repertory <strong>Theatre</strong>, California);<br />
collaboration with Neil Bartlett on<br />
Twelfth Night (RSC), and Pericles and A<br />
Christmas Carol (Lyric Hammersmith).<br />
Other theatre work includes: A<br />
Midsummer Night’s Dream (Open Air<br />
<strong>Theatre</strong>, Regent’s Park); Much Ado<br />
About Nothing (Crucible <strong>Theatre</strong>,<br />
Sheffield/Salisbury Playhouse);<br />
Measure for Measure<br />
(Complicite/National <strong>Theatre</strong>); As You<br />
Like It (Williamstown <strong>Theatre</strong> Festival,<br />
Massachusetts); The Taming of the<br />
Shrew (Shakespeare In The Park, New<br />
York); The Miser (Teatro Ornintorrinco,<br />
Sao Paulo).<br />
Commissions include: Fabula Urbis<br />
(<strong>Theatre</strong> Royal Stratford East);<br />
Giovanni’s Room (Drill Hall) and a<br />
ballet, Poker Game, for Jazz Dance<br />
America.<br />
Simon is pianist, Music Director and<br />
arranger for celebrated New York<br />
performer Justin Bond in London and<br />
New York, and is also a lecturer in<br />
Popular Music at Goldsmiths College,<br />
University of London.<br />
Sam Jones<br />
Casting<br />
Sam was until recently Head of Casting<br />
for the Royal Shakespeare Company.<br />
Other theatre includes: After Mrs<br />
Rochester; Bronte; Gone to Earth; Jane<br />
Eyre; Mine; Caucasian Chalk Circle<br />
(Shared Experience); The Firework<br />
Maker’s Daughter (Told By an Idiot);<br />
Nights at the Circus; Brief Encounter<br />
Tour (Kneehigh); Messiah; Scenes from<br />
an Execution (Steven Berkoff); Monkey!<br />
; Cruel and Tender (Young Vic); Forty<br />
Winks (Royal Court); The Royal Family;<br />
Mrs Warren’s Profession; Tantalus;<br />
Cuckoos, first Bath Festival season<br />
(Peter Hall); A <strong>Day</strong> in the Death of Joe<br />
Egg; Up for Grabs, Dinner; Journeys End<br />
(West End).<br />
Television includes: Occupation (Kudos<br />
for BBC1); several series of Trial and<br />
Retribution and The Commander as well<br />
as Above Suspicion for Lynda La Plante;<br />
Isaac Julien’s Turner Prize entry<br />
Paradise (Omeros); multi awardwinning<br />
Human Cargo for the<br />
Canadian Broadcasting Corporation;<br />
and several drama documentaries for<br />
Blast! Films including the highly<br />
acclaimed The Year London Blew Up.<br />
Philip Thorne<br />
Assistant Director<br />
<strong>Theatre</strong> includes:<br />
As director: Hamletmachine (Cairo<br />
Opera House Studio/Frascati <strong>Theatre</strong><br />
Amsterdam/ Laboratorium Teatro<br />
Rome/TNS Strasbourg/Théâtre de la<br />
Vignette Montpellier); Norway Today<br />
(Southwark Playhouse); SATB (BAC).<br />
As assistant director: The Ugly One<br />
(Royal Court); The Hour We Knew<br />
Nothing of Each Other (National<br />
<strong>Theatre</strong>).<br />
Translations include: Hamlet is Dead;<br />
Black Beast; Faust is Hungry (Royal<br />
Court); Nightblind (Company of<br />
Angels); Blue Sky Green Forest; Buy<br />
Nothing <strong>Day</strong> (ATC/Arcola <strong>Theatre</strong>).<br />
Philip is associate artist of Company of<br />
Angels, script reader for German<br />
language plays at the Royal Court’s<br />
International Department and artistic<br />
advisor to the International <strong>Theatre</strong><br />
Festival Divadelna Nitra (Slovakia).<br />
Awards include Young Angels<br />
<strong>Theatre</strong>makers Award 2008 and Premio<br />
Internazionale Claudio Gora 2009<br />
(Rome).<br />
PRODUCTION<br />
THANK YOUS<br />
Reg Davies<br />
Ian Huish<br />
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<br />
gangways intersecting the seating or to sit in any of the other gangways.
ASSISTED PERFORMANCES<br />
The <strong>Almeida</strong> <strong>Theatre</strong> schedules assisted performances in order to make<br />
theatre more accessible and enjoyable for people who may find it difficult to<br />
see or hear everything that takes place on stage.<br />
Captioned performances feature an electronic<br />
screen which displays the words being spoken on<br />
stage in time with the performance, much like<br />
the subtitles you would see on television. Sound<br />
effects and music are also captioned.<br />
As part of the theatre's on-going access<br />
programme the <strong>Almeida</strong> will be captioning<br />
performances in house. Having now completed<br />
Stagetext captioning training, the <strong>Almeida</strong> now<br />
has a team of three CACDP (Council for<br />
Advancement of Communication with Deaf<br />
People) qualified captioners, as well as our own<br />
caption box and equipment.<br />
Audio described performances are ideal for<br />
audience members with visual impairment. We<br />
provide a discreet headset, which allows you to<br />
listen to information about the set, costumes,<br />
body language and facial expressions of the<br />
performers, during pauses in the action on-stage.<br />
Prior to the performance patrons receive CDs<br />
giving details of the set, characters and<br />
costumes and on the day of the performance<br />
can attend a free touch tour where they get a<br />
chance to explore the set and costumes and<br />
meet some of the cast.<br />
GET IN TOUCH<br />
If you would like any more information<br />
about assisted performances or access,<br />
or to book for an assisted performance,<br />
please contact us:<br />
020 7288 4999<br />
email access@almeida.co.uk<br />
or visit www.almeida.co.uk<br />
Upcoming captioned performances:<br />
JUDGMENT DAY<br />
Saturday 3 October 3pm<br />
Tuesday 13 October 7.30pm<br />
MRS KLEIN<br />
Wednesday 25 November 2.30pm<br />
Tuesday 1 December 7.30pm<br />
ROPE<br />
Saturday 16 January 2010, 3pm<br />
Tuesday 2 February 2010, 7.30pm<br />
Upcoming audio described<br />
performances:<br />
JUDGMENT DAY<br />
Saturday 10 October 3pm<br />
(touch tour 1.30pm)<br />
MRS KLEIN<br />
Saturday 28 November 3.00pm<br />
(touch tour 1.30pm)<br />
ROPE<br />
Saturday 30 January 2010, 3pm<br />
(touch tour 1.30pm)<br />
Audio description by Vocal Eyes<br />
If you would like a large print<br />
copy of this programme please<br />
contact us using the details<br />
listed.<br />
Thanks to Vocaleyes and all our interpreters.<br />
19
22 October – 5 December 2009<br />
MRS KLEIN<br />
by Nicholas Wright<br />
Director Thea Sharrock<br />
Design Tim Hatley<br />
Lighting Neil Austin<br />
Sound Ian Dickinson for Autograph<br />
Kate<br />
Ashfield<br />
Clare<br />
Higgins<br />
Nicola<br />
Walker<br />
Book now on 020 7359 4404<br />
www.almeida.co.uk<br />
Tickets £8 –£32<br />
ISLINGTON FIRST<br />
Opening performance<br />
tickets for Mrs Klein and Rope<br />
for just £20 if you live<br />
or work in the Islington area<br />
UNDER 30s<br />
Opening performance tickets<br />
for Mrs Klein and Rope for just<br />
£15 for Under 30s<br />
Subject to availability. For more<br />
information or to book call<br />
020 7359 4404<br />
Photo: Getty. <strong>Almeida</strong> <strong>Theatre</strong> registered charity no 282167.
10 December 2009 – 6 February 2010<br />
ROPE<br />
by Patrick Hamilton<br />
Tickets £8 –£32<br />
Book now on<br />
020 7359 4404<br />
www.almeida.co.uk<br />
Director Roger Michell<br />
Design Mark Thompson<br />
Lighting Rick Fisher<br />
Sound John Leonard
22<br />
RECENT ALMEIDA PRODUCTIONS<br />
Eileen Atkins (Bridget) and Imelda Staunton<br />
(Margaret) in There Came A Gypsy Riding,<br />
photo by Mark Ellidge<br />
■ 2003<br />
THE LADY FROM THE SEA<br />
“The Islington powerhouse opens with this<br />
tremendous production by Trevor Nunn…<br />
electrifying… leaves you reeling.”<br />
Daily Telegraph<br />
Sponsored by Hydro<br />
I.D.<br />
“A riveting production… full of wonderful<br />
theatrical invention… a rich and shameful<br />
period of history and how memorably it is<br />
evoked.”<br />
Daily Mail<br />
Sponsored by Cadwalader, Wickersham & Taft LLP<br />
THE MERCY SEAT<br />
“Michael Attenborough’s production has a<br />
high voltage charge that never dips for a<br />
moment. This play plumbs the depths and<br />
deserves to be seen.”<br />
Daily Telegraph<br />
FIVE GOLD RINGS<br />
“Bold, elegant, lyrical, finely wraught…<br />
gorgeously staged and beautifully<br />
performed.”<br />
Time Out<br />
■ 2004<br />
THE GOAT, OR WHO IS SYLVIA?<br />
“Superbly written … brilliant… flawless<br />
production; you won’t find more blazing<br />
acting anywhere… see it if you see nothing<br />
else.”<br />
Mail on Sunday<br />
Sponsored by Aspen Re<br />
Danny Sapani (Victor Mason), Ayesha Antoine (Caroline<br />
Mason) and Kedar Williams-Stirling (Phillip Mason) in<br />
Big White Fog, photo by Catherine Ashmore<br />
FESTEN<br />
“Electrifying, shocking and profoundly<br />
moving… such talent, such skill, such<br />
humanity. Something to celebrate.”<br />
Sunday Times<br />
WHISTLING PSYCHE<br />
“An intense, haunting and beautiful play…<br />
two remarkable performances...<br />
marvellously rewarding.”<br />
Mail on Sunday<br />
BRIGHTON ROCK<br />
“An intelligent, edgy, adult musical which<br />
gives you something to think about...<br />
Hooray for that... a production of brilliant<br />
clarity... crackles with energy and evil.”<br />
Daily Express<br />
THE EARTHLY PARADISE<br />
“Gorgeous writing… very compelling, lovely<br />
and tragic. My play of the year.”<br />
New Statesman<br />
Sponsored by Cadwalader, Wickersham & Taft LLP<br />
■ 2005<br />
MACBETH<br />
“The most powerful, chilling, evil – feeling<br />
Macbeth since McKellen and Dench.”<br />
The Times<br />
Sponsored by Aspen Re<br />
HEDDA GABLER<br />
“An electrifying hit… a wonderful<br />
production by Richard Eyre”<br />
Daily Telegraph<br />
Sponsored by Hydro<br />
BLOOD WEDDING<br />
“Brilliantly directed by Rufus Norris.<br />
Another indication of how well Michael<br />
Attenborough’s management is doing at<br />
the Islington playhouse.”<br />
Daily Express<br />
Kenneth Cranham (Max) in The Homecoming, photo by<br />
Hugo Glendinning<br />
ROMANCE<br />
“You laugh uproariously... it’s a silly person<br />
who doesn’t.”<br />
Financial Times<br />
THE HYPOCHONDRIAC<br />
“Lindsay Posner’s exuberant, superbly<br />
acted production is riotously entertaining...<br />
has you laughing like a drain.”<br />
Daily Telegraph<br />
■ 2006<br />
THE LATE HENRY MOSS<br />
“A thrilling new play... acted up to the hilt by<br />
a remarkable company... an astonishingly<br />
wrought, high drama”<br />
Evening Standard<br />
Sponsored by Pinsent Masons<br />
PERIOD OF ADJUSTMENT<br />
“You must see this play: it’s like a diamond<br />
cut with its own stardust.”<br />
Sunday Times<br />
Sponsored by Aspen Re<br />
ENEMIES<br />
“A superb theatrical achievement...an<br />
excellent cast...Michael Attenborough’s<br />
admirable staging...this is a major event in<br />
our theatre”<br />
Financial Times<br />
Sponsored by Cadwalader, Wickersham & Taft LLP<br />
TOM AND VIV<br />
“A magnificent and superbly acted piece of<br />
theatre...the play so powerfully succeeds...a<br />
sublime tragedy”<br />
Sunday Times<br />
THE LIGHTNING PLAY<br />
“Funny, touching and consistently<br />
entertaining”<br />
Daily Telegraph<br />
Sponsored by Pinsent Masons
Paul Hilton (Johannes Rosmer) and Helen McCrory (Rebecca West) in<br />
Rosmersholm, photo by Johan Persson<br />
■ 2007<br />
THERE CAME A GYPSY RIDING<br />
“A magnificent and harrowing play” The<br />
Spectator<br />
“Unmissable” The Observer<br />
Sponsored by Aspen Re<br />
Season Sponsor Cadwalader, Wickersham & Taft LLP<br />
DYING FOR IT<br />
“The rediscovery of a subversive Soviet<br />
classic: deserves a permanent place in the<br />
British repertory” The Guardian<br />
"Desperately funny... beautifully written”<br />
The Observer<br />
Season Sponsor Cadwalader, Wickersham & Taft LLP<br />
BIG WHITE FOG<br />
“For strong gripping drama and splendid,<br />
heartfelt acting, the show is hard to beat...<br />
outstanding” Daily Telegraph<br />
“A long-lost gem…an excellent company…<br />
a riveting production” Daily Mail<br />
AWAKE AND SING!<br />
“Stirring and fabulously well performed”<br />
Mail On Sunday<br />
“Richly rewarding” Independent<br />
CLOUD NINE<br />
“An absolute treat…wholly heavenly”Daily<br />
Telegraph<br />
“Scorching stuff, and more entertaining than<br />
anything on in the West End” Sunday Telegraph<br />
MARIANNE DREAMS<br />
“A great Christmas show…beautiful and<br />
funny”<br />
Independent<br />
“Inspired, potent theatre” Mail on Sunday<br />
Sponsored by Pinsent Masons<br />
Will Keen (Henry Trebell) and Phoebe Nicholls<br />
(Frances Trebell) in Waste, photo by Johan Persson<br />
■ 2008<br />
THE HOMECOMING<br />
“A masterly production” Sunday Times<br />
“Exemplary…pitch perfect” The Observer<br />
“Michael Attenborough’s production<br />
sparkles like a 100-carat diamond…great<br />
theatre”<br />
Sunday Telegraph<br />
Sponsored by Aspen Re<br />
THE LAST DAYS OF JUDAS ISCARIOT<br />
“A sensational hit…a truly epic production”<br />
Daily Telegraph<br />
“A great piece of theatre…go see it, do<br />
yourself a favour”<br />
BBC 2 Newsnight Review<br />
A co-production with Headlong <strong>Theatre</strong><br />
ROSMERSHOLM<br />
“A great production of one of Ibsen’s<br />
greatest plays… a masterclass in acting…<br />
book while you can”<br />
Sunday Times<br />
“An unadulterated delight”<br />
Sunday Telegraph<br />
Sponsored by Hydro<br />
WASTE<br />
“An overwhelming experience”<br />
Evening Standard<br />
“Another forgotten gem unearthed by the<br />
<strong>Almeida</strong>…a superlative production”<br />
Independent on Sunday<br />
“A spellbinding production of a superbly rich<br />
and subtle play”<br />
Daily Telegraph<br />
Tom Mison, Jonathan Cullen, Lisa Dillon, Leah Purcell, Simon Burke,<br />
Phoebe Nicholls and Naomi Bentley in When the Rain Stops Falling,<br />
photo by John Haynes.<br />
IN A DARK DARK HOUSE<br />
“LaBute’s most disquieting yet…and his<br />
most subtle”<br />
The Observer<br />
“Michael Attenborough gives the play a<br />
scorching reality…pulsates with feeling. If<br />
this is “directors’ theatre”, I’m all for it”<br />
Sunday Times<br />
■ 2009<br />
DUET FOR ONE<br />
“Overwhelming… the performance of a<br />
lifetime… a triumph”<br />
Evening Standard<br />
“Bowled me over… a noble and deeply<br />
moving piece of theatre… a masterclass in<br />
acting”<br />
Daily Telegraph<br />
Sponsored by Pinsent Masons<br />
PARLOUR SONG<br />
“It’s a beauty, wickedly funny”<br />
Financial Times<br />
“It will be a vintage year if we see a betteracted<br />
play than this” Independent<br />
“One of the most truthful, honest and<br />
thought-provoking shows I have seen in a<br />
very long time” Sunday Telegraph<br />
Sponsored by Aspen Re<br />
WHEN THE RAIN STOPS FALLING<br />
“Michael Attenborough’s perfect<br />
production… some of the best acting in<br />
London”<br />
Sunday Times<br />
“Something very special”<br />
Daily Telegraph<br />
“A beautiful, subtle play that weaves a slow<br />
irresistible spell…beautifully delivered”<br />
Financial Times<br />
23
24<br />
ALMEIDA PROJECTS<br />
<strong>Almeida</strong> Projects is the <strong>Almeida</strong><br />
<strong>Theatre</strong>’s community and<br />
learning programme.<br />
“<strong>Almeida</strong> Projects provides an active, creative link between our theatre<br />
and its audience, more specifically an audience that may not have<br />
considered that the theatre might be for them.<br />
Our aim is to act as a catalyst to their energies, to their hunger to<br />
participate – celebrating the creativity of all young people in the best way<br />
we know how: by offering them our experience, our expertise and our<br />
unique theatre.”<br />
Michael Attenborough, Artistic Director.<br />
<strong>Almeida</strong> Projects’ work is inspired by the theatre’s productions and<br />
we deliver a range of high quality, innovative activities including:<br />
• A subsidised ticket scheme supported by regular teacher’s<br />
evenings, free resource packs, free introductory and curriculum<br />
workshops,<br />
• Residencies and bespoke projects in partnership with local schools<br />
and community groups,<br />
• The Young Friend of the <strong>Almeida</strong> scheme,<br />
• A Trainee Workshop Leader Programme,<br />
To book subsidised tickets, a workshop or to find out more about<br />
<strong>Almeida</strong> Projects contact Charlie, Projects Administrator, on 020<br />
7288 4916 or email projects@almeida.co.uk<br />
Into the <strong>Almeida</strong><br />
Mount Carmel RC Technology College, Islington Arts and Media<br />
School of Creativity, Elizabeth Garrett Anderson Language<br />
College, Highbury Grove School, Highbury Fields School and<br />
Central Foundation Boys’ School.<br />
<strong>Almeida</strong> Projects is working with students in Year 10 beginning<br />
their GCSE and BTEC drama courses to offer a programme of<br />
activity that introduces them to the <strong>Almeida</strong> and our Autumn<br />
season. The programme has been designed with teachers from<br />
our partner schools to offer skills development that will support<br />
the student’s studies and enable them to create links between<br />
the classroom and the world of professional theatre. Students<br />
will have the opportunity to work with professional theatre<br />
practitioners on a range of activities including: a backstage<br />
discovery tour of the <strong>Almeida</strong>; an onstage voice class<br />
investigating how actors use their voices effectively, working with<br />
the <strong>Judgment</strong> <strong>Day</strong> script; a devising skills workshop exploring the<br />
themes of Mrs Klein; and an introductory workshop and hosted<br />
visit to see Rope.<br />
Trainee Workshop Leader<br />
Programme<br />
The second year of the Trainee Workshop Leader programme<br />
launches with an intensive three-day training course to prepare<br />
trainees for their work in schools and with Young Friends.<br />
Working with experienced workshop leaders, directors, actors<br />
and writers, the trainees will undertake paid placements on<br />
durational projects enabling them to develop their skills in a<br />
practical and supportive environment. Trainees will have the<br />
opportunity to work with a range of groups over the year, gaining<br />
a breadth of experience. Monthly seminars will be tailored to the<br />
learning objectives of the group and support professional<br />
development. The programme supports the development of a<br />
pool of highly skilled workshop leaders to deliver the <strong>Almeida</strong>’s<br />
increasing programme of activities.<br />
Photos: Bridget Jones
Young Friends<br />
of the <strong>Almeida</strong><br />
Recruitment <strong>Day</strong><br />
Sunday 27 September: 10am - 4pm<br />
Your chance to find out about the huge number of FREE<br />
opportunities to participate in projects and workshops,<br />
sign up and meet other Young Friends.<br />
Whether you want to act, write, direct or explore behind<br />
the scenes they'll be a masterclass or project for you, all<br />
led by professional theatre makers.<br />
For more information about the exciting benfits of<br />
becoming a Young Friend and see a short film about what<br />
Young Friends get up to go to<br />
www.almeida.co.uk/education/young_friends<br />
To book your place on the recruitment day or<br />
to join Young Friends contact Natalie on<br />
nmitchell@almeida.co.uk or 020 7288 4937.<br />
Projects Onstage<br />
All <strong>Almeida</strong> projects offer young people the exciting opportunity to<br />
perform on the <strong>Almeida</strong> <strong>Theatre</strong> stage. In June and July 2009, we<br />
presented two fully staged productions developed especially for<br />
and by young people. Inspired directly by our work with Islington<br />
schools and the Young Friends of the <strong>Almeida</strong> scheme, All the little<br />
things we crushed and Or Nearest Offer formed a great portion of<br />
our work over the summer term.<br />
All the little things we crushed by Joel Horwood explored personal<br />
and social responsibility in the midst of a world ravaged by climate<br />
change. Performed by a professional cast on the set of Michael<br />
Attenborough’s production of When the Rain Stops Falling, the<br />
project offered free tickets to over 1,300 young people from across<br />
London over 3 days, and included a vast scheme of introductory<br />
workshops as well as a youth-led Climate Change Challenge<br />
conference, where delegates worked together to produce an<br />
‘agenda for change’ - pledges to make their schools and home<br />
environments greener and more sustainable. All the little things we<br />
crushed was part of the When the Sun Starts Shining project, made<br />
possible by the generous support of J.P.Morgan.<br />
Or Nearest Offer was performed in July as part of the <strong>Almeida</strong><br />
Summer Festival, and featured a talented cast of 15 Young Friends<br />
of the <strong>Almeida</strong> as a new company: GULP. They explored themes in<br />
all of the <strong>Almeida</strong>’s six plays in the 2008-09 season and with<br />
playwright Tanya Ronder, drew these ideas together into an hourlong<br />
piece exploring the chaos, fun, hopes and fears of the teenage<br />
experience over one hot summer in London.<br />
25
26<br />
HISTORY OF THE ALMEIDA<br />
THE ALMEIDA THEATRE is a 325 seat venue<br />
in the heart of Islington. Built in 1837,<br />
originally as the Scientific and Literary<br />
Institute of Islington, the building has<br />
undergone many reincarnations including a<br />
Victorian music hall, a Salvation Army citadel,<br />
when the balcony was most likely added, and a<br />
factory for carnival novelties.<br />
It was converted and founded as a theatre in 1980 by<br />
Pierre Audi, rapidly building up a reputation for high<br />
quality drama, particularly during the 1990s under the<br />
Artistic Directorship of Jonathan Kent and Ian<br />
McDiarmid.<br />
In 2001 the company relocated to Kings Cross, whilst<br />
major refurbishment took place, providing an entirely<br />
new front-of-house and, through massive excavation,<br />
extra back-stage space. The company returned to<br />
Islington in 2002 under the direction of present Artistic<br />
Director Michael Attenborough.<br />
The <strong>Almeida</strong> is known worldwide for producing an<br />
adventurous and diverse range of British and<br />
international drama with some of the world’s finest<br />
artists. In its unique space, uniting the epic and the<br />
intimate, the <strong>Almeida</strong> presents classics (when foreign,<br />
in newly commissioned versions) aiming to reveal<br />
them in a fresh light, alongside brand new plays from<br />
across the English-speaking world.<br />
EXPLORE THE ALMEIDA<br />
You can find out more about the history of<br />
this fascinating building on our theatre tours.<br />
Led by an experienced guide they offer the opportunity<br />
to explore the depths of the theatre including<br />
backstage, wardrobe, and technical departments.<br />
The tours also look at the history of the building<br />
through its many incarnations up to the present day.<br />
We finish the tours with a complimentary tea or coffee<br />
in the bar.<br />
For more information see www.almeida.co.uk<br />
or to book a place on a tour contact box office on<br />
020 7359 4404.
YOUR VISIT<br />
Welcome to the <strong>Almeida</strong> <strong>Theatre</strong><br />
IN THE FOYER<br />
The box office, bar, kiosk and toilets<br />
are all at foyer level.<br />
Access to the Circle is outside and<br />
upstairs through the doors on<br />
<strong>Almeida</strong> Street. Access to the Stalls<br />
is through the doors in the foyer.<br />
The following are available to buy<br />
from the kiosk in the foyer:<br />
EATING AND DRINKING<br />
• Playscripts, past & present<br />
• Programmes<br />
• Posters<br />
• Loseley Ice Creams<br />
• <strong>Almeida</strong> T-shirts<br />
• Copies of The Half by Simon Annand<br />
Infrared headsets are also available<br />
at the kiosk for a small deposit.<br />
The <strong>Almeida</strong> <strong>Theatre</strong> Bar offers simple, quality dishes prepared<br />
in our kitchen, a great wine list, fine coffees and a relaxed<br />
atmosphere, and in the evening becomes a lively bar for audiences<br />
and actors alike.<br />
Light and airy in the daytime, it is an ideal place to meet friends for lunch,<br />
make use of our free Wifi connection, or just relax and read the papers.<br />
The <strong>Theatre</strong> Bar is open to all. You can visit us from 11.30am – 11pm,<br />
Monday – Saturday, and eat with us between 12 – 7pm.<br />
To beat the rush we recommend that you pre-order your interval drinks<br />
at the bar before the performance.<br />
For further information, or enquiries about hiring the bar please call<br />
020 7288 4900 or visit www.almeida.co.uk<br />
DURING THE<br />
PERFORMANCE<br />
Please take your seats in good time.<br />
There will be a three minute bell<br />
before the start of the performance.<br />
To avoid distracting the performers<br />
and spoiling the performance for<br />
other audience members we ask that<br />
you keep noise to a minimum in the<br />
auditorium and please switch off<br />
mobile phones. We kindly request no<br />
photography or recording equipment<br />
be used in the auditorium.<br />
Plastic cups are available at the bar<br />
and from ushers to enable you to<br />
take drinks or sweets into the<br />
auditorium. We request that you do<br />
not take food in with you.<br />
Strobe lighting, smoke, and gunshots<br />
may be used in some of our<br />
productions. If you would like more<br />
information on stage effects please<br />
ask to speak to the Duty Manager.<br />
Tell us your<br />
thoughts...<br />
We'd love to hear your thoughts on your<br />
experience at the <strong>Almeida</strong> <strong>Theatre</strong> and in<br />
particular what you thought of today’s<br />
performance. Please fill in a card in the<br />
foyer, or email us on<br />
marketing@almeida.co.uk<br />
27
28<br />
JOIN THE<br />
ALMEIDA’S<br />
CIRCLE OF<br />
SUPPORTERS<br />
Every donation made through our Circle of<br />
Supporters scheme is vital to ensuring<br />
that the <strong>Almeida</strong> can continue to mount<br />
productions of outstanding quality in our<br />
beautifully refurbished theatre.<br />
IN ADDITION YOU CAN BENEFIT FROM:<br />
• Priority booking<br />
• Advance mailing<br />
• Exclusive events<br />
• Quarterly newsletter<br />
• Special offers<br />
• Programme accreditation<br />
• Personalised booking<br />
• Access to sold out shows<br />
See opposite for more details.<br />
(Benefits depend on level of support)<br />
If you would like to help us and<br />
become more involved with<br />
the theatre and its work, please<br />
join our Circle of Supporters today.<br />
For further information please call<br />
020 7288 4930 or email Lizzie Stallybrass<br />
at lstallybrass@almeida.co.uk<br />
Juliet Stevenson and Henry Goodman in<br />
Duet for One. Photo John Haynes.<br />
Toby Jones and Andrew Lincoln in Parlour Song.<br />
Photo Simon Annand<br />
Joseph Mawle in The Last <strong>Day</strong>s of Judas Iscariot.<br />
Photo Hugo Glendinning<br />
Lisa Dillon in When the Rain Stops Falling.<br />
Photo John Haynes
PLEASE SUPPORT THE ALMEIDA AT<br />
ONE OF THE FOLLOWING LEVELS:<br />
ALMEIDA FRIENDS (£50+)<br />
For a suggested donation of £50 or more we may<br />
extend the following:<br />
• Advance mailing and priority booking<br />
• Regular information about <strong>Almeida</strong> news and events<br />
• Invitations to Supporters’ evenings<br />
• Ticket offers when available<br />
DESIGNERS’ CIRCLE (£120+)<br />
For a suggested donation of £120 or more we may<br />
extend the above and the following:<br />
• Accreditation in <strong>Almeida</strong> <strong>Theatre</strong> programmes<br />
• Advance notice of <strong>Almeida</strong> Galas<br />
ACTORS’ CIRCLE (£300+)<br />
For a suggested donation of £300 or more we may<br />
extend the above and the following:<br />
• Personalised booking service through the Development Office<br />
DIRECTORS’ CIRCLE (£500+)<br />
For a suggested donation of £500 or more we may<br />
extend the above and the following:<br />
• Regular press release mailings, including latest<br />
casting updates<br />
• Opportunity of hiring the <strong>Almeida</strong> Bar for<br />
private functions (subject to availability)<br />
• Invitation to annual Directors’ Circle reception<br />
PATRONS (£1,000+)<br />
For a suggested donation of £1,000 or more we may<br />
extend the above and the following:<br />
• Invitations to selected Press Nights<br />
• Invitations to private post-show discussions with cast<br />
and creative teams<br />
• Invitation to Patrons’ lunch with the <strong>Almeida</strong>’s<br />
Artistic Director<br />
• Access to house seats when a production is<br />
officially sold-out (subject to availability)<br />
BENEFACTORS (£2,500+)<br />
For a suggested donation of £2,500 or more we may extend the<br />
above and the following:<br />
• Invitations to every Press Night<br />
• Acknowledgement on the Benefactors’ Board in<br />
the <strong>Theatre</strong> Foyer<br />
• Private Backstage Tour<br />
PRODUCTION CIRCLE (£5,000+)<br />
For a suggested donation of £5,000 or more we may extend the<br />
above and the following:<br />
• Invitations to selected dress or technical rehearsals<br />
• Draft scripts when rehearsals for productions begin<br />
• Published scripts signed by cast or creative teams<br />
(subject to availability)<br />
ARTISTIC DIRECTOR’S INNER CIRCLE (£10,000+)<br />
For a suggested donation of £10,000 or more we may extend the<br />
above and the following:<br />
A unique opportunity for a small team of individuals to become<br />
closely involved at the heart of the theatre company. Forming an<br />
exclusive partnership with the Artistic Director, members will play a<br />
crucial and active role in enabling the theatre’s programme and the<br />
artistic standards for which the <strong>Almeida</strong> is renowned.<br />
I would like to join the <strong>Almeida</strong>’s Circle of<br />
Supporters at the following level:<br />
(The amounts listed are suggested donations only)<br />
ALMEIDA FRIENDS (£50+)<br />
DESIGNERS’ CIRCLE (£120+)<br />
ACTORS’ CIRCLE (£300+)<br />
DIRECTORS’ CIRCLE (£500+)<br />
PATRONS (£1,000+)<br />
BENEFACTORS (£2,500+)<br />
PRODUCTION CIRCLE (£5,000+)<br />
ARTISTIC DIRECTOR’S INNER CIRCLE (£10,000+)<br />
Mr/Mrs/Ms/Miss<br />
Address<br />
Tel (day)<br />
Tel (eve)<br />
Please acknowledge me/us in the <strong>Almeida</strong> Programmes as:<br />
(for gifts over £120)<br />
1. BY CHEQUE<br />
I enclose a cheque made payable to The <strong>Almeida</strong> <strong>Theatre</strong> Company for<br />
£<br />
2. BY CREDIT CARD<br />
(You can also pay by calling Lizzie Stallybrass in the Development Office<br />
between 10am and 6pm Monday to Friday on 020 7288 4930)<br />
Please charge my credit card with<br />
Card No<br />
Name of cardholder<br />
Issue No (Switch only)<br />
Security Code<br />
Postcode<br />
Start date Expiry date<br />
Card Type Mastercard / American Express / Switch / Visa<br />
(please delete as appropriate)<br />
GIFT AID<br />
I am a UK taxpayer and would like the enclosed donation and any<br />
Signature Date<br />
further donations I may make to the <strong>Almeida</strong> <strong>Theatre</strong> to be tax<br />
effective under the Gift Aid scheme until I notify you otherwise.<br />
The <strong>Almeida</strong> is a registered charity no. 282167. Inland Revenue number XN 64354<br />
PLEASE RETURN THIS FORM TO:<br />
ALMEIDA CIRCLE OF SUPPORTERS, FREEPOST LON18195, LONDON N1 1BR<br />
£
30<br />
ALMEIDA SUPPORTERS<br />
The <strong>Almeida</strong> is a truly unique theatre. The world’s finest acting, writing, designing and directing talents produce<br />
some of their best work in our much loved space, ensuring that the theatre is alive each night with performances<br />
that inspire and excite our audiences.<br />
However, the freedom and the means whereby we can be bold, risk-taking and distinctive and able to produce<br />
work of the highest quality, costs money. £3.3m per annum to be precise. Every year we raise £1.2m of that<br />
ourselves – more than box office income or subsidy from Arts Council England.<br />
We are, therefore, hugely reliant upon the financial commitment of a group of very special individuals, trusts and<br />
companies who choose to become involved at the heart of our theatre. Their support ensures that we can plan<br />
ambitiously for the future with security and confidence, whilst keeping ticket prices affordable (with over 40 seats<br />
sold each night for just £8). It also means we can continue to deliver <strong>Almeida</strong> Projects - our inspirational<br />
programme of work with young people and the local community.<br />
Accordingly, we owe immense thanks to a collection of committed and enthusiastic supporters - many of whom are<br />
listed below and without whose kindness we simply could not exist. I do hope that you too might consider becoming<br />
involved with our wonderful theatre, at whatever level - helping us to continue turning our dreams into reality.<br />
Michael Attenborough<br />
Artistic Director<br />
Major Donors<br />
Ormonde & Mildred Duveen Trust<br />
Christophe Gollut<br />
The Ingram Trust<br />
Harvey & Allison McGrath<br />
Georgia Oetker<br />
The Rose Foundation<br />
Legacy Gifts<br />
Arthur Donald Fleming<br />
Clare Hope<br />
<strong>Almeida</strong> Projects Supporters<br />
The Andor Charitable Trust<br />
Sue Baring & Andre Newburg<br />
Raymond Cazalet Charitable Trust<br />
James & Erica Dickson<br />
The Foundation for Sport<br />
and the Arts<br />
Grocer’s Company Charitable Trust<br />
The Peter Harrison Foundation<br />
J.P. Morgan<br />
Mr & Mrs David Lakhdhir<br />
The Leathersellers' Company<br />
Charitable Fund<br />
The Noël Coward Foundation<br />
The Rayne Foundation<br />
Jan & Michael Topham<br />
Andrew Wilkinson, Goldman Sachs<br />
Lady Alexander of Weedon<br />
Gala Supporters<br />
Anonymous<br />
Berry Brothers & Rudd<br />
Gordon Campbell Gray<br />
Perdita Cargill-Thompson &<br />
Jonathan Martin<br />
G O Cowper-Coles<br />
Sarah & Louis Elson<br />
Eurostar<br />
Stamos J. Fafalios<br />
Joachim Fleury<br />
Mary Francis & Ian Rodger<br />
Mr & Mrs A Geczy<br />
Annie Gosney<br />
Maureen & Derek Harte<br />
Nick Jones<br />
John Kinder & Geraldine Downey<br />
Miss A Kulukundis<br />
David Lanch<br />
Anastasia Lewis<br />
Judith Loose<br />
Annette Lynton Mason<br />
Harvey & Allison McGrath<br />
Moulin Rouge, Paris<br />
Gerry Pack<br />
The Rayne Foundation<br />
The Rickety Charitable Trust<br />
Hilary Riva<br />
Jill & Paul Ruddock<br />
SG Hambros<br />
Carl & Martha Tack<br />
Robert Taylor & Michael Kallenbach<br />
Jan & Michael Topham<br />
John Torode<br />
Sarka Tourres<br />
Megan Whelan<br />
Hilary & Stuart Williams<br />
Artistic Director’s Inner Circle<br />
Eric Abraham & Sigrid Rausing<br />
Mrs Claus von Bulow<br />
Mercedes & Michael Hoffman<br />
Jack & Linda Keenan<br />
John Kinder & Geraldine Downey<br />
Rosemary Leith<br />
Midge & Simon Palley<br />
Jon & NoraLee Sedmak<br />
The Williams Charitable Trust<br />
Production Circle<br />
K.L. Breuss & G.P. Burgess<br />
Stamos J. Fafalios<br />
Joachim Fleury<br />
Cathy & Guy Gronquist<br />
The Marina Kleinwort Trust<br />
Paul & Elizabeth O’Hanlon<br />
Rachel & Anthony Williams<br />
Benefactors<br />
Arimathea Charitable Trust<br />
Steve Barnett & Alexandra Marks<br />
Anthony & Andrea Coombs<br />
Ian & Caroline Cormack<br />
Sarah & Louis Elson<br />
Tim Fosberry<br />
Mr & Mrs A Geczy<br />
Lydia & Manfred Gorvy<br />
Barbara & Michael Gwinnell<br />
Susan Hahn & Duncan Moore<br />
Matthew & Severa Hurlock<br />
Carlo Kapp<br />
Charles & Nicky Manby<br />
Wayne Rapozo<br />
Sarah & Alastair Ross Goobey<br />
Jill & Paul Ruddock<br />
Lord & Lady Simon<br />
Nicola Stanhope<br />
Jan & Michael Topham<br />
Roderick & Melanie Vere Nicoll<br />
Andrew & Juliet Wilkinson<br />
Patrons<br />
Jeffrey Archer<br />
Jane Attias<br />
Keith & Barbara Bain<br />
Iain Barbour<br />
Sue Baring & Andre Newburg<br />
Sir Tim Berners-Lee<br />
Lord & Lady Bernstein<br />
Kate & Colin Birss<br />
Jonathan & Isabel Blake<br />
Tony & Gisela Bloom<br />
Miriam Borchard
Katie Bradford<br />
Perdita Cargill-Thompson &<br />
Jonathan Martin<br />
Richard & Robin Chapman<br />
Mr William Claxton-Smith<br />
Mrs Denise Cohen<br />
Mr & Mrs Stephen Cox<br />
Felicia Crystal<br />
Mr & Mrs Dannenbaum<br />
Angus Deayton<br />
Mr Robert H.F. Devereux<br />
James & Erica Dickson<br />
Robyn Durie<br />
Joel van Dusen<br />
Richard & Linda Ely<br />
Mr Peter Englander<br />
John & Tawna Farmer<br />
Daniel Friel<br />
Jackie & Michael Gee<br />
Jacqueline & Jonathan Gestetner<br />
Richard Gildea<br />
Michael Goddard<br />
David Graham<br />
Nick Gray<br />
Byron Grote & Susan Miller<br />
Andrew Haigh<br />
Pamela, Lady Harlech<br />
Maureen & Derek Harte<br />
Alisdair & Sophie Haythornthwaite<br />
Michael & Morven Heller<br />
Dorothy Henderson<br />
Michael Holland<br />
Michael Holter<br />
Linden Ife<br />
Lady Stephanie Johnson<br />
Nicholas & Maria Jones<br />
Nicholas Josefowitz<br />
Mary Kallaher & Matteo Perale<br />
Dr & Dr C Kaplanis<br />
Mr & Mrs Philip Kingsley<br />
Mr & Mrs David Lakhdhir<br />
Anthony Mackintosh<br />
Mr Raul Margara<br />
Stephanie & Carter McClelland<br />
Mr Julian Mills<br />
Barbara Minto<br />
Diana & Alan Morgenthau<br />
Emily Thornberry MP &<br />
Christopher Nugee QC<br />
The Oyster Foundation<br />
J Francis Palamara<br />
Barrie & Catherine Pearson<br />
Andrea & Hilary Ponti<br />
The Posgate Charitable Trust<br />
The David & Elaine Potter<br />
Foundation<br />
Michele Ragazzi<br />
Timothy & Judith Ritchie<br />
William & Julie Ryan<br />
Dr Mortimer & Theresa Sackler<br />
Foundation<br />
Susie Sainsbury<br />
Mr & Mrs Richard J Schwartz<br />
Mrs Carol Sellars<br />
Jennifer Sevaux<br />
The Simon Family<br />
Antony Simpson & Susan Boster<br />
Norma & David Smith<br />
David & Tanya Steyn<br />
Adam & Sheri Sticpewich<br />
Mr R D Szpiro<br />
Ms Eileen Taylor<br />
Christian & Sarah Thun-Hohenstein<br />
Lord & Lady Tugendhat<br />
Judith Unwin<br />
Mr P Voyce<br />
Bob & India Wardrop<br />
Lady Alexander of Weedon<br />
Jack & Lina Wood<br />
Mr Neil Woodgate<br />
Michael & Kate Yates<br />
Directors’ Circle<br />
Lorraine Baldry<br />
J & A Benard<br />
Neil & Ann Benson<br />
Nicholas Berwin<br />
Sally A. Bourne<br />
Ms Diana Brant<br />
Anthony Bunker<br />
Barry Burland & Tim den Dekker<br />
Mr Simon Clark<br />
Carole & Neville Conrad<br />
John Crisp<br />
George T Dragonas<br />
Jim & Maureen Elton<br />
Mort & Frannie Fleishhacker<br />
Margaret Ford & John Stewart<br />
Mr Stephen Foss<br />
Anupam Ganguli<br />
David Gestetner &<br />
Angela Howard<br />
Mr Farzin S Ghandchi<br />
Annie Gosney & Tim McInnerny<br />
Nick & Fiona Green<br />
The Mimi & Peter Haas Fund<br />
Neville & Veronika Harris<br />
Mr Charles Henderson<br />
Gordon Holmes<br />
Sir Robin & Lady Jacob<br />
Peter & Maria Kellner<br />
London Arts Discovery Tours<br />
Lou & Tony Mallin<br />
Brenda Meldrum<br />
Maggie Mills<br />
David Mitchell<br />
Asha & Trevor Phillips<br />
John & Laurel Rafter<br />
Anthony Regan<br />
Mr Charles Russell<br />
Mr Brian D Smith<br />
Mr W J Smith-Bowers<br />
Tim & Sophia Steel<br />
Dr Miriam Stoppard<br />
Sally Walden<br />
Marilyn & Geoffrey Wilson<br />
Mr & Mrs Roger Wyand<br />
Jonathan Yudkin<br />
Actors’ Circle<br />
J Aldred<br />
Nicola Allpress<br />
Alexander Balcombe<br />
Mr & Mrs Andrew Barnett<br />
Jill Barton<br />
Susan Barty<br />
David & Primrose Bell<br />
Michael & Lesley Bennett<br />
Mr & Mrs Anthony Blee<br />
Lord and Lady Brown of Eaton-<br />
Under-Heywood<br />
Felicity Callinan<br />
Peter & Diana Cawdron<br />
Claire & Ivor Connick<br />
Juan Corbella<br />
Rosamund Shelley, Lady Cox<br />
Robert & Lynette Craig<br />
Paul Cullington<br />
Timothy & Patrcia Daunt<br />
Gill Cutbill & Ged Davies<br />
David <strong>Day</strong><br />
José and David Dent<br />
Yvonne Destribats<br />
Mr R J Dormer<br />
Mrs Denise Esfandi<br />
Mr Alan Fenton<br />
Robert & Clare Gray<br />
Brian and Rosita Green<br />
Graeme & Fiona Griffiths<br />
Sheila & John Harvey<br />
Douglas Hawkins<br />
Ms Clodagh Hayes<br />
Ms Sioban Healy<br />
Martin & Alicia Herbert<br />
Rob & Sally Hull<br />
Joyce Hytner<br />
Tamara Ingram<br />
Mr Neil King<br />
Latifa Kosta<br />
Byron Lang<br />
Mr Roger Lascelles<br />
Mr & Mrs B Lesslie<br />
Janet Martin<br />
Stephen & Nan-Yeong Matthews<br />
The Morris-Jones Family<br />
Ms Jane Norbury<br />
Mr Richard Polo<br />
Sophia Rauf<br />
Jan Ravens<br />
Mary Robey<br />
David Rocksavage<br />
Mr G C Rodopoulos<br />
Julian & Catherine Roskill<br />
Dr & Mrs Saggar<br />
Barry Serjent<br />
Dasha Shenkman<br />
Sue and Stuart Stradling<br />
Christoph & Marion Trestler<br />
Mr William Underhill<br />
Nicholas Watkinson<br />
Frank & Denie Weil<br />
Mr C C Wright<br />
Designers’ Circle<br />
Raymond A Adams<br />
Mr Aherne<br />
Mr Simon Aldridge<br />
D J <strong>Almeida</strong><br />
Mr & Mrs Arkwrighht<br />
Mrs Carole J Armstrong<br />
Zac & Lucy Barratt<br />
Christopher Benson<br />
Michael Berkeley<br />
Rita & Ian Binder<br />
Mr & Mrs Boesch<br />
Mr M R Bowley<br />
Stuart Brand<br />
Gerald Brawn<br />
Mandy Bridger<br />
Sir Rodney Brooke<br />
Mr C L Bulford<br />
Ossi & Paul Burger<br />
Dr Nigel Burton<br />
Mrs R J A Carawan<br />
Tiana Everett del Castillo<br />
Geraldine Caulfield<br />
Lady Cazalet<br />
Mr & Mrs P Chappatte<br />
Mr S J Clayman<br />
Mr T Coldrey<br />
John & Rosemary Coldwell<br />
Jonathan Crow<br />
Anthony Croxford<br />
Mr & Mrs Andrew Cunningham<br />
Mrs Pamela Curwen<br />
Professor Philip David<br />
Dr Sheilagh Davies<br />
Graham & Christine Dawson<br />
Justin & Emma Dowley<br />
Mr Kendall Duesbury<br />
Miss Sally England<br />
Mrs Joy Eve<br />
Mark Everett<br />
Lindy Fletcher<br />
Tony & Jane Fogg<br />
Mr P L Folmer<br />
Judith Foy<br />
Amanda Gestetner<br />
Bobbie Ginswick<br />
Jonathan Glasson & Jamie Lake<br />
Janine Goedert<br />
Andrew & Karen Goldstone<br />
Ms S J Goodman<br />
Mr Ian Grant<br />
Reade & Elizabeth Griffith<br />
Grouse Investment<br />
Nerissa Guest<br />
Debby Guthrie<br />
Miss Celia Hall<br />
Mr Martin John Hall<br />
Maurice & Valerie Halperin<br />
Sophie Hanscombe<br />
Rosemary Hanson<br />
Andrew and Anita Harper<br />
Crawford & Mary Harris<br />
Jonathan and Hélène Haw<br />
Polly Hester<br />
Professor Dame Joan Higgins<br />
Andy & Janelle Hill<br />
31
32<br />
Jane Hill<br />
Caroline & Charles Hebbert<br />
Mr Lew Hodges<br />
Madeleine Hodgkin<br />
Mrs Rosemary Hood<br />
Sam Howard<br />
Jacky Hyer<br />
Rachel Ingalls<br />
Dan Ison<br />
Christine Jay<br />
Professor Norman Joels<br />
Mrs M Johnston<br />
Mr Simon Jones<br />
Brian & Janet King<br />
Dr Andrew J Kisiel<br />
Sarah & Christopher Knight<br />
Ruth & Peter Kraus<br />
Kudos Film and Television<br />
Mrs A Lampert<br />
Mr David Lanch<br />
David John Langrish<br />
Jacqui Lavy<br />
Alan Leibowitz & Barbara Weiss<br />
Colette & Peter Levy<br />
Mr Dennis M Levy<br />
Susan & Steven Licht<br />
Mr & Mrs LE Linaker<br />
Paul & Brigitta Lock<br />
Mr Juan Manuel Lopez Eiris<br />
C & I Maggs<br />
Donald & Sally Main<br />
John McGinley<br />
Lynette & Willie McKechnie<br />
Ms A Millar<br />
Ms Tessa Moloney<br />
Alex & Susan de Mont<br />
Paula Morris<br />
Steve Morrison<br />
Sean Murphy<br />
Mrs VG Murray<br />
Mr & Mrs Myddleton<br />
Dr Venetia Newall<br />
Ray & Sarah O’Connell<br />
Ellie Packer & Bob Freidus<br />
Nigel Pantling<br />
Ms Sara Parkin<br />
Mrs Joyce Parsons<br />
Mr Duncan Perry<br />
Nick Perry<br />
Professor Brice Pitt<br />
Mr John Nevil Plant<br />
Preben & Annie Prebenson<br />
Oliver Prenn<br />
Mrs Caroline Price<br />
Sue Prickett<br />
Dennis Pyser<br />
Darren Quigg & Irina Hemmers<br />
Mrs E E Randall<br />
Dr Susan Rankine<br />
Ms Ruth Rattenbury<br />
Liz & Nick Reeve<br />
Mrs Kathleen Reeve<br />
Christopher Marek Rencki<br />
Mrs Mary Rendall<br />
Anthony Rhodes<br />
Clare Rich<br />
Robin Roads<br />
RobynCeleste<br />
Oliver WB Rooke<br />
Anthony Rudd<br />
Mrs Susan Rudeloff<br />
Christopher & Alison Samuel<br />
Simon & Abigail Sargent<br />
Schon Family Charitable Trust<br />
Gilly Schuster<br />
Dr Martin Seifert & Dr Jackie Morris<br />
Dr Sennett<br />
Mr Naveed Shah<br />
Mrs Susan Shammas<br />
Mr T W Sharp<br />
Justin Shinebourne & Laurence<br />
Chaussinand<br />
Elaine & English Showalter<br />
Jonathan Silver<br />
Mark Silverstein<br />
Peter & Moira Smith<br />
Mrs L Spitz<br />
We would like to thank the following individuals for their dedication and support.<br />
Ambassadors<br />
Sue Baring<br />
Sarah Elson<br />
Stamos J. Fafalios<br />
Rick Haythornthwaite<br />
Jack Keenan<br />
Georgia Oetker<br />
Jessica de Rothschild<br />
American Friends of the <strong>Almeida</strong><br />
<strong>Theatre</strong> Trustees<br />
Kenneth David Burrows<br />
A. Michael Hoffman<br />
William Palmer<br />
Corporate Council<br />
Rick Gildea<br />
Chair<br />
Joachim Fleury<br />
Frederick Goetzen<br />
Tamara Ingram<br />
Dan Ison<br />
Andrew Wilkinson<br />
Gala Committee Chairs<br />
Jamie Arkell & Lise Mayer<br />
Cabaret Gala<br />
Juliet Wilkinson<br />
Chain Play II<br />
Martha Tack<br />
A Chain Play<br />
Saffron Burrows & Sydney Finch<br />
The Hypochondriac<br />
Thelma Holt & Damian Lewis<br />
Macbeth<br />
Christophe Gollut<br />
Awake and Sing!<br />
Blood Wedding<br />
Love Counts<br />
Jessica de Rothschild<br />
The Lady From The Sea<br />
Have you ever thought about supporting the <strong>Almeida</strong> <strong>Theatre</strong> with a legacy?<br />
Leaving a legacy is a very special way of ensuring that your tradition of<br />
support for the <strong>Almeida</strong> <strong>Theatre</strong> continues for years to come, allowing<br />
us to provide enriching theatrical experiences which will engage future<br />
generations.<br />
Individual Giving Committee<br />
Martha Tack<br />
Chair<br />
Jamie Arkell<br />
Christophe Gollut<br />
Andrew Haigh<br />
Dorothy Henderson<br />
Sam Howard<br />
Linda Lakhdhir<br />
Sheri Sticpewich<br />
Nick & Louise Steidl<br />
Mr AP & Mrs M T Stirling<br />
Julian & Maria Sturdy-Morton<br />
Anne & Paul Swain<br />
Mr Andrew Taggart<br />
Peter Taylor<br />
Andrew & Deirdra Threadgold<br />
Anne & Robert Van Gieson<br />
The Lady Marina Vaizey<br />
Ms Donna Vinter<br />
Mr Andrew Wales<br />
Lady Ward<br />
Sue & Alan Warner<br />
Mr Tim Watson<br />
Mr John Welz<br />
Paul Wheeler<br />
Miss Lisa Whiffen<br />
Mr Widdis<br />
Dr Peter Willis<br />
Ms Ann E F Wingate<br />
Mr & Mrs D Woolf<br />
Richard Worts & Nicola Shackelton<br />
We would also like to thank the<br />
many generous Friends of the<br />
<strong>Almeida</strong> <strong>Theatre</strong>, whom we are<br />
unable to list individually<br />
Local Liaison Committee<br />
Nicky Manby<br />
Chair<br />
Milly Ayliffe<br />
Jenny Black<br />
Annie Edge<br />
Rob Edge<br />
Susan Hahn<br />
Caroline Hoare<br />
Linden Ife<br />
Lynn Lomas<br />
Clare Parsons<br />
Joan Rodgers<br />
Demelza Short<br />
Rod Smith<br />
Sarah Whitehead<br />
You can include the <strong>Almeida</strong> <strong>Theatre</strong> in your Will by directing your gift<br />
to the <strong>Almeida</strong> <strong>Theatre</strong> Company Limited, registered charity number<br />
282167.<br />
For any information concerning legacies please contact Lizzie Stallybrass at lstallybrass@almeida.co.uk or 020 7288 4935.<br />
Development Photographer<br />
Alex Brenner
ALMEIDA CORPORATE<br />
SUPPORTERS<br />
“A small stage where giants play” The Times<br />
The <strong>Almeida</strong> <strong>Theatre</strong>’s Corporate Supporters benefit from<br />
bespoke, mutually beneficial partnerships with the theatre<br />
that include the following:<br />
• Unique entertaining opportunities with the <strong>Almeida</strong>’s<br />
first-class casts and creative teams<br />
• Branding, marketing and profiling opportunities<br />
• Staff training and employee involvement initiatives<br />
• CSR fulfilment via <strong>Almeida</strong> Projects: the theatre’s creative<br />
exchange with young people<br />
The theatre’s name is associated with critically acclaimed,<br />
award-winning productions. Actors, directors, writers and<br />
designers of the highest calibre have produced some of their<br />
finest work at the <strong>Almeida</strong>.<br />
Principal Sponsor<br />
Major Sponsors<br />
The theatre is particularly grateful to Principal Sponsor Coutts<br />
& Co who are currently enjoying a seventh year of support. In<br />
partnership with the <strong>Almeida</strong>, Coutts & Co has benefited from<br />
exclusive client hospitality opportunities, professional<br />
development for staff and the creation of a unique film,<br />
Portrait of a Bank.<br />
To find out how the <strong>Almeida</strong> can help your business, please<br />
contact Katya Evans, Sponsorship Manager, who will be<br />
pleased to discuss your specific requirements.<br />
Telephone: 020 7288 4930<br />
Email: development@almeida.co.uk<br />
Corporate Partners Local<br />
Corporate Partners<br />
33
34<br />
THE ALMEIDA THEATRE<br />
COMPANY<br />
The <strong>Almeida</strong> Board<br />
Christopher Rodrigues CBE<br />
Chair<br />
Mary Francis CBE<br />
(Treasurer)<br />
Jill Barton<br />
David Carter<br />
Michael Gwinnell<br />
A. Michael Hoffman<br />
Giles Havergal CBE<br />
Thelma Holt CBE<br />
Artistic Directors<br />
1980 – 1990 Pierre Audi (Founder)<br />
1990 – 2002 Jonathan Kent<br />
Ian McDiarmid<br />
2002 – Michael Attenborough<br />
ADMINISTRATION<br />
General Manager<br />
Natasha Bucknor<br />
Assistant to the<br />
Directorate<br />
Rachel Barker<br />
Administrative<br />
Assistant<br />
David Swain<br />
ALMEIDA PROJECTS<br />
Director of Projects<br />
(Maternity Cover)<br />
Anne Langford<br />
Director of Projects<br />
Samantha Lane<br />
Projects Coordinator<br />
Natalie Mitchell<br />
Projects Administrator<br />
Charlie Payne<br />
Projects Trainee<br />
Workshop Leaders<br />
Amma Boateng<br />
Ellen Groves<br />
Rocio Jason-Henry<br />
Louie Keen<br />
Freddie Machin<br />
Matthew Pierce<br />
Rhiannon Sawyer<br />
Alex Thorpe<br />
BAR<br />
Bar Manager<br />
Hannah Woolhouse<br />
Deputy Bar Manager<br />
Lanre Bankole<br />
Linden Ife<br />
Tamara Ingram<br />
Rosemary Leith<br />
Ray O’Connell<br />
Rufus Olins<br />
Nigel Pantling<br />
Roy Williams OBE<br />
Bar Staff<br />
Naomi Ackie<br />
Kimberley Brewin<br />
Irene Cioni<br />
Dominique Edwards<br />
Blanca Garay<br />
Eric Geynes<br />
Emmeline Ham<br />
Sammy Hebert<br />
Neil Jones<br />
Margherita Malanchini<br />
Daniela Mangiapane<br />
Lara Rossi*<br />
Kezia Scrine<br />
Harriet Shillito*<br />
Melissa Smith*<br />
Max Sobol<br />
Luis Valentine<br />
*also Duty Bar Managers<br />
BOX OFFICE<br />
Box Office Manager<br />
Tina Farguson<br />
Box Office Supervisors<br />
Annette Butler (Maternity<br />
Cover)<br />
Wendy Taylor<br />
Suzanne Walker**<br />
Miranda Yates**<br />
** also Access Officers<br />
Box Office Assistants<br />
Maria Ferran<br />
Katie Southall<br />
Jonathan Speer<br />
Ruth Varley<br />
DEVELOPMENT<br />
Head of Development<br />
Kirsten Hughes<br />
Senior Development<br />
Manager<br />
Nadia Boujo<br />
Sponsorship Manager<br />
Katya Evans<br />
Individual Giving Manager<br />
Lizzie Stallybrass<br />
Events Officer<br />
Rebecca Lyle<br />
Development Board<br />
A. Michael Hoffman<br />
Chair<br />
Rosemary Leith<br />
Vice Chair<br />
Jamie Arkell<br />
Iain Barbour<br />
Sue Baring<br />
Jonathan Blake<br />
Georgiana Boothby<br />
Rick Gildea<br />
Christophe Gollut<br />
FINANCE<br />
Head of Finance<br />
Fraser Jopp<br />
Finance Manager<br />
Jenny Patterson<br />
Finance Officer<br />
Donika Yordanova<br />
FRONT OF HOUSE<br />
<strong>Theatre</strong> Manager<br />
Helen Noble<br />
Duty Managers<br />
Philippa Davidson<br />
Nick Durant<br />
Dervla Toal<br />
Head Ushers<br />
Jessica Carroll<br />
Geraldine Caulfield<br />
Chris Corby<br />
Sylvie Gallant<br />
Camilla Mars<br />
Ian Street<br />
Geoff White<br />
Ushers<br />
Ono Dafedjaiye<br />
Laura Evelyn<br />
Anisa Farabi<br />
Louise Glover<br />
Andrew Howard<br />
Janice Howard<br />
Louie Keen<br />
Shanice Loren<br />
Morwenna Mara<br />
Nic McQuillan<br />
Mary Okeke<br />
Anne Sheasby<br />
Jeany Spark<br />
<strong>Theatre</strong> Tour Guide<br />
Jenny Hargreaves<br />
Cleaning Staff<br />
Principle Cleaning<br />
Services<br />
Lord Hart of Chilton<br />
Matthew Hurlock<br />
John Kinder<br />
Judith Loose<br />
Nicky Manby<br />
Lise Mayer<br />
Lady Rayne<br />
Andrea Sullivan<br />
Martha Tack<br />
Andrew Wilkinson<br />
Hilary Williams<br />
Andrea Wilson<br />
MARKETING<br />
Head of Marketing<br />
& Sales (Maternity Cover)<br />
Doug Buist<br />
Head of Marketing<br />
& Sales<br />
Jane Macpherson<br />
Marketing Officer<br />
Helen Bennett<br />
Marketing Assistant<br />
Louise Glover<br />
PRESS<br />
Press Representative<br />
Janine Shalom at<br />
Premier PR<br />
020 7292 8330<br />
PRODUCTION<br />
Head of Production<br />
James Crout<br />
Company Manager<br />
Rupert Carlile<br />
Stage Manager<br />
Laura Flowers<br />
Chief Technician<br />
Jason Wescombe<br />
Lighting Technician<br />
Robin Fisher<br />
Sound Technician<br />
Howard Wood<br />
<strong>Theatre</strong> Technician<br />
Adriano Agostino<br />
Wardrobe Supervisor<br />
Catrina Richardson<br />
Wardrobe Deputy<br />
Eleanor Dolan<br />
Artistic Director<br />
Michael Attenborough<br />
Executive Director<br />
Neil Constable<br />
Artistic Associate<br />
Jenny Worton<br />
Associate Director<br />
Howard Davies<br />
Lighting Advisor<br />
Mark Henderson<br />
Sound Advisor<br />
John Leonard<br />
CONSULTANTS<br />
Scripts Advisors<br />
Simon Burt<br />
Barry McCarthy<br />
Architects<br />
Burrell Foley Fischer<br />
Structural Engineering<br />
Consultants<br />
Alan Conisbee Associates<br />
Surveyor to the <strong>Almeida</strong><br />
Hedley Merriman<br />
Auditors<br />
Haysmacintyre<br />
Solicitors<br />
Cumberland & Ellis<br />
Mishcon de Reya<br />
Wedlake Saint<br />
Production Insurance<br />
Giles Insurance Brokers<br />
Security<br />
Umair Jamil for<br />
McKenzie Arnold<br />
Security Ltd<br />
Access Consultant Group<br />
Mandy Colleran<br />
Wendy Haslam<br />
Ian Jentle<br />
Lois Keith<br />
Deborah Neve<br />
Caroline Parker<br />
Graphic Design<br />
Sarah Hyndman<br />
Dave Roberts for Cantate<br />
Programme Print<br />
Cantate
8 OCTOBER - 28 NOVEMBER 2009<br />
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Cast RUPERT EVANS KATE FLEETWOOD DAVID HOROVITCH LLOYD HUTCHINSON<br />
SHARON SMALL DAVID SMITH MALCOLM STORRY DYLAN TURNER DOMINIC WEST<br />
Director JONATHAN MUNBY Designer ANGELA DAVIES<br />
Lighting Designer NEIL AUSTIN Composer & Sound Designer DOMINIC HASLAM<br />
Composer & Musician ANSUMAN BISWAS Movement Director MIKE ASHCROFT<br />
BOX OFFICE 0844 871 7624<br />
41 EARLHAM STREET, SEVEN DIALS, LONDON WC2<br />
www.donmarwarehouse.com<br />
PRINCIPAL SPONSOR<br />
17 September - 17 October<br />
A Hampstead <strong>Theatre</strong> and Curve <strong>Theatre</strong>, Leicester production of<br />
The Fastest Clock<br />
in the Universe<br />
A black comedy of desire by Philip Ridley<br />
“It’s Cougar’s birthday. He’s having a party.<br />
And the gift he’d kill for is… youth.”<br />
Tickets: £15 - £25<br />
Box Office: 020 7722 9301<br />
Book Online: www.hampsteadtheatre.com<br />
(no booking fees)<br />
Photo: TIm Brightmore<br />
Swiss Cottage, Jubilee Line (exit 2)<br />
Just 10 mins from Bond Street<br />
39
40<br />
ALFRESCO<br />
DINING<br />
OXO Tower Restaurant, Bar and Brasserie<br />
is renowned as one of London’s finest<br />
restaurants and a best loved destination<br />
for people from all over the world. With<br />
its breathtaking views over central London,<br />
OXO Tower has become one of the most<br />
ideal places for alfresco drinks and dining.<br />
To book telephone 020 7803 3888,<br />
visit www.harveynichols.com or<br />
email oxo.reservations@harveynichols.com<br />
OXO TOWER RESTAURANT, BAR & BRASSERIE<br />
BARGE HOUSE STREET, LONDON<br />
020 7803 3888<br />
WWW.HARVEYNICHOLS.COM<br />
One secret ingredient<br />
in everything we do!<br />
Quality pure and simple.<br />
It’s always been at the centre of everything we do at Dr.Oetker.<br />
It’s what makes us market leaders. Whether it’s Ristorante’s<br />
unique Pizzeria taste, Onken’s irresistibly healthy yogurts or<br />
Dr. Oetker’s home baking inspiration.<br />
Quality is the secret ingredient. That’s what makes us<br />
everyone’s favourite.<br />
We’re proud to be supporting<br />
the <strong>Almeida</strong> <strong>Theatre</strong><br />
www.oetker.co.uk
Savills Islington<br />
94 Upper Street<br />
London N1 0NP<br />
020 7226 1313<br />
islington@savills.com<br />
savills.co.uk<br />
For reassuringly<br />
good performances<br />
from Savills<br />
Savils is proud to be a Local Corporate Partner<br />
of the <strong>Almeida</strong> and we look forward to our<br />
ongoing association with the theatre.