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ROYAL ALEXANDRA THEATRE

September/November 2019

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R O Y A L A L E X A N D R A T H E A T R E

David Mirvish presentsthe 2019-2020 Mainstage Subscription Season

Tristan Baker & Charlie Parsons for Duluth Holdings Ltd on behalf of Runaway EntertainmentSteven Lappin, Sony Music Entertainment UK, David Mirvish and The Old Vic

present

Written and Directed by Music and Lyrics by

CONOR MCPHERSON BOB DYLAN

DANIEL BAILEY COLIN BATES KATIE BRAYBEN ANNA-JANE CASEY NICHOLLE CHERRIE DAVID GANLY SIMON GORDON STEFFAN HARRI

DAVID HAYDN RACHEL JOHN SIDNEY KEAN FINBAR LYNCH DONALD SAGE MACKAY GLORIA OBIANYO FERDY ROBERTS

WENDY SOMERVILLE GEMMA SUTTON SHAQ TAYLOR ALAN VICARY

Consultant Producer, CanadaPAUL ELLIOTT

General Manager Executive Producer RUNAWAY ENTERTAINMENT AARON LUSTBADER

Casting Director Production Manager, UK Production Manager, Canada JESSICA RONANE CDG DOMINIC FRASER PETE KRAMER

Movement Director Musical Director LUCY HIND IAN ROSS

Lighting Designer Sound Designer MARK HENDERSON SIMON BAKER

Orchestrator, Arranger and Musical SupervisorSIMON HALE

with additional arrangements by CONOR MCPHERSON and SIMON HALE

DesignerRAE SMITH

DirectorCONOR MCPHERSON

First performance at The Old Vic, London: 8 July 2017

First performance at Noël Coward Theatre, London: 29 December 2017

First performance at the Public Theater, New York: 11 September 2018

present


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T H E CAS T

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.

(in alphabetical order)

Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL BAILEYGene Laine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COLIN BATESElizabeth Laine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATIE BRAYBENMrs Burke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANNA-JANE CASEYEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NICHOLLE CHERRIEMr Burke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID GANLYEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON GORDONElias Burke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEFFAN HARRIEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID HAYDNMrs Neilsen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RACHEL JOHNMr Perry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIDNEY KEANReverend Marlowe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FINBAR LYNCHNick Laine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DONALD SAGE MACKAYMarianne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GLORIA OBIANYODr Walker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FERDY ROBERTSEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WENDY SOMERVILLEKatherine Draper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEMMA SUTTONJoe Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHAQ TAYLOREnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAN VICARY

UNDERSTUDIESFor Joe Scott, Elias Burke, Gene Laine — DANIEL BAILEYfor Marianne, Katherine Draper — NICHOLLE CHERRIE

for Nick Laine, Mr Burke, Reverend Marlowe — DAVID HAYDNfor Gene Laine — SIMON GORDON

for Mrs Burke, Elizabeth Laine, Mrs Neilsen — WENDY SOMERVILLEfor Dr Walker, Mr Perry — ALAN VICARY

ORCHESTRAMusical Director, Piano and Harmonium — IAN ROSS

Assistant Musical Director — MARK CAMILLERIViolin and Mandolin — TANYA CHARLES

Lap Steel Resonator, Acoustic and Nylon Steel Guitars — JASON FOWLERUpright Bass — PAT KILBRIDE

Contractor — MARK CAMILLERI

Herbal cigarette smoking, gun shots and mature subject matter



S C E N E S & M U S I CA L N U M B E R S

Girl From The North Country has an approximate running time of 2 hours and 30 minutes, including one intermission. Due to the nature of live theatre

the running time may vary from performance to performance.

SONG LISTMusic by Bob Dylan

Setting: A guest house in Duluth, Minnesota. Winter, 1934

Act I

Sign on the Windowfrom New Morning, 1970

Went to See the Gypsyfrom New Morning, 1970

Tight Connection to My Heart (Has Anyone Seen My Love?)from Empire Burlesque, 1985

Slow Trainfrom Slow Train Coming, 1979

License to Killfrom Infidels, 1983

I Want Youfrom Blonde On Blonde, 1966

Like a Rolling Stonefrom Highway 61 Revisited, 1965

Make You Feel My Lovefrom Time Out of Mind, 1997

Like a Rolling Stone–Reprisefrom Highway 61 Revisited, 1965

Act II

What Can I Do For You?from Saved, 1980

You Ain’t Goin’ Nowherefrom The Basement Tapes, 1975

Jokermanfrom Infidels, 1983

Sweetheart Like Youfrom Infidels, 1983

True Love Tends to Forgetfrom Street-Legal, 1978

Girl from the North Countryfrom The Freewheelin’ Bob Dylan, 1963

Hurricanefrom Desire, 1976*

Idiot Windfrom Blood on the Tracks, 1975

Duquesne Whistlefrom Tempest, 2012**

Señor (Tales of Yankee Power)from Street-Legal, 1978

Is Your Love in Vain?from Street-Legal, 1978

Jokermanfrom Infidels, 1983

Forever Youngfrom Planet Waves, 1974

*written by Bob Dylan and Jacques Levy**written by Bob Dylan with Robert Hunter


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A STRANGE ENQUIRYNick Curtis talks to writer and director, Conor McPherson, about the origins ofGirl From The North Country

About four years ago the

playwright and fi lm-maker

Conor McPherson, best

known for the runaway

supernatural hit The Weir

which he wrote aged 25 in 1997,

received what he calls “a strange

enquiry”. “Would I consider using

Bob Dylan’s music in a theatre

show?” Since he’d never written

a musical, and didn’t think of

Dylan as “a musicals musician”,

he initially dismissed the idea,

which had come from the singer’s

record company.

Weeks later, walking around

his Dublin home town, McPherson

had a fl ash of an idea: a play

taking place in a guesthouse in

Dylan’s own wintry birthplace of

Duluth, Minnesota, but set in the

Depression-riven early 1930s, some

years before the musician’s birth

in 1941. It would “free the songs

from the burden of relevance

for our generation, and make

them timeless.”

He sent Dylan’s management an

outline, and received an email days

later saying “Bob Dylan has read it,

likes it and is happy for me to go

ahead. I was like, oh okay, I guess I

have to do this.” Shortly after that,

a package containing 40 Dylan

albums arrived at his door, with a

note saying that he could use any

songs in any way he liked.

When he asked Dylan’s

manager if the musician would

like to attend rehearsals, he was

told: “I think you’re better off not

having Bob in the room. Because

if he comes in and says, “Why

are you using this song or that

song?”, what are you going to say?

Because he’s Bob Dylan.” As Simon

Hale (Orchestrator, Arranger and

Musical Supervisor) pointed out,

“It was like working on a play with

music, with a composer who can

give you any song you want, but

who demands no artistic control.”

Girl from the North Country is

not a greatest-hits compilation or a

classic West End blockbuster where

the songs drive the plot. Rather, it’s

“a conversation between the songs

and the story”. The cast of 20 actors

and musicians play performers

who are broadcasting the story,


"I was looking for songs that

had a verse, a bridge,

a chorus,a middle eight,

all that stuff, that give the

performers the chance to lean into something

emotionally and go deeper

and deeper and deeper into the music."

A STRANGE ENQUIRY

mirvish.com 7

PH

OT

O: G

ET

TY

IMA

GE

S

Conor McPherson


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as well as the characters within it.

Duets are sung into microphones

to the audience, rather than by one

character to another. McPherson

decided to use only instruments

that existed in the 1930s and

subsequently found it frustrating

when the “very strict” Hale

wouldn’t let him use a pedal steel

guitar or a Hammond organ.

The guesthouse setting brings

a broad swathe of society together,

particularly as the Depression

levelled economic, if not racial,

diff erences. It’s owned by Nick

and Elizabeth, who has dementia.

“We see her as someone who

has had her id entirely liberated,

who says exactly what she wants,

and doesn’t think about the

consequences”, says McPherson.

Their son is a drunken

would-be writer, their adopted

black daughter is pregnant and

unpartnered. Guests include

a widow with whom Nick is

involved, a couple whose adult

son has a mental age of four, a

black boxer who was unjustly

imprisoned and a bible salesman

who, McPherson says, represents

God and the Devil.

PH

OT

O: A

LAM

Y


mirvish.com 9

" Girl From The North Country is not a greatest-hits compilation or a classic West End blockbuster where the songs drive the plot. Rather, it's "a conversation between the songs and the story""

The songs, surprisingly, are

drawn from right across Dylan’s

back catalogue, not just the early,

folky protest songs inspired by his

idol Woody Guthrie, the poet of the

Depression. “A lot of fans love that

Woody Guthrie dust bowl kind of

Bob Dylan, with 16 verses and no

chorus”, says McPherson. “But what

I was looking for here were songs

with more musical development

in them, that had a verse, a bridge,

a chorus, a middle eight, all that

stuff , that give the performers the

chance to lean into something

emotionally and go deeper and

deeper and deeper into the music.”

As a music fan — McPherson

played in bands and wanted to

be a musician as a teenager, until

seeing David Mamet’s Glengarry

Glen Ross turned him onto

playwriting — he started out with

the four or fi ve Dylan albums he

knew. “But then it became more

interesting to go to places — and

I hope this is not saying anything

against Bob Dylan — that most

people don’t go, or are not that

interested in. His born-again

Christian phase in the late 70s —

during which time he made three

albums — and the albums of the

80s, which are not considered a

golden time for him.”

“In the early 90s, with Oh

Mercy and Time Out of Mind, he

had a renaissance, and now he’s

considered a national treasure or

an icon, or whatever he is now. I

tried to include songs from every

decade if I could.” Interestingly,

McPherson says Dylan looks most

dynamic in concert footage in

his born-again days, when he

was buoyed up by gospel backing

singers, and he has strived to

capture this energy for parts of the

play, though there are also songs

for a lone, unaccompanied voice.

The oldest track used is the title

number, from 1963. The newest,

2012’s “Duquesne Whistle”, sounds

like it could have been written in

the 1930s.

When the play was scheduled

for The Old Vic, Artistic Director

Matthew Warchus insisted that

McPherson should direct the show

himself. “Maybe because he didn’t

feel it was a traditional musical,

that it had its own thing that

would be ironed out by someone

who might slightly sterilise it for

public consumption”. With the

help of David Gallagher (Musicians

Contractor), Simon Hale recruited

the musicians, while McPherson

gathered a cast of frequent

collaborators — and newcomers.

"It’s a measure of Dylan’s

brilliance," he says "that To Make

You Feel My Love, which is in the

show and was a worldwide hit for

Adele, had been considered an


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mirvish.com 11

album fi ller and lay there for 20

years before anybody picked it up.

McPherson began writing

plays while studying at University

College Dublin and had hits in

the early 1990s with the collection

of monologues, This Lime Tree

Bower, and the solo show, St

Nicholas performed at the Bush

in West London by Brian Cox.

I remember McPherson telling

me, when I met him in 1997,

that he wrote The Weir to prove

to critics that he could write

dialogue. That much-garlanded

and much-produced play was,

like much of his work, achingly

humane, set in contemporary

Ireland, tinged with the

supernatural, and dominated by

masculine voices. McPherson

once said he feared he’d run out

of things to say later in life. But, in

fact, his work has blossomed into

new areas and new mediums while

maintaining its singular vision.

After the similarly spooky

and arresting Dublin Carol, Port

Authority, Shining City and The

Seafarer, McPherson worked in

a historical setting and with a

predominantly female cast of

characters for The Veil at the

National Theatre in 2011. The Night

Alive, presented at the Donmar

Warehouse alongside a revival

of The Weir in 2013, showed the

impact of the arrival of a young

woman in a house of men. He wrote

his fi rst fi lm, I Went Down, in 1997,

and wrote and directed his second,

Saltwater, in 2000. He’s latterly

moved into television, initially

adapting John Banville’s Quirke

novels alongside Andrew Davies,

and more recently penning the

original drama, Paula, with a female

lead played by Denise Gough.

Now he’s written a piece full of

black and white American men and

women. “It’s probably just growing

up a bit and realising we all share

very basic consciousness,” he says.

“When you’re younger you think,

well, I only know about men from

Dublin. Then as you get older you

realise we’re not that di� erent.

People are looking for love, security.

We’re all looking for a feeling of

meaning in our lives.”

If the play chimes with our

current spirit of uncertainty,

McPherson says it’s accidental (he

started it before Brexit and Trump)

but indicative of the fact that things

go in cycles and the world has been

here before. The music, meanwhile,

supplies the transcendent

dimension that the supernatural

added to his other plays.

I ask him if Dylan is coming to

the show. “No idea,” he says. “He

didn’t even turn up for his own

Nobel Prize to begin with. When he

did, he went in through the back

door. So he might come along, but

we mightn’t know he’s there.”

Finally, has this show whetted

McPherson’s appetite? Would he like

to work on another play with music,

either with a musician’s existing

work or creating something

alongside a composer? “This is so

satisfying I think it would be very

hard to beat,” he says. “So no, I’m

not looking for that. This is fi ne

for me.”

Nick Curtis is chief theatre critic

of the London Evening Standard

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T H E CO M PA N Y

DANIEL BAILEY

Ensemble

Training: The Urdang

Academy. Theatre

credits: Jesus Christ

Superstar (Barbican

Centre); Hunk/Scarecrow in Wizard of

Oz (Pitlochry Festival Theatre); King

(Hackney Empire); Felicia in Priscilla —

Queen of the Desert (Queens Theatre,

Hornchurch); Lionel/Dad in Hair (The

Vaults); Gertie (Workshop); Motown

the Musical (Shaftesbury Theatre);

Wheel of Misfortune (The Old Red

Lion Theatre); Just a Man (Tristan

Bates Theatre); The Lion King (Lyceum

Theatre); South Pacific (UK Tour); Blues

Brothers (Erasmus Theatre, Italy); Hair

(Bronowski Productions).

COLIN BATES

Gene Laine

Training: The Juilliard

School and Baltimore

School for the Arts.

Theatre credits: Billy in

Stephen Daldry’s Billy Elliot the Musical;

The Effect (Off-Broadway, David Cromer);

Oliver! (Cameron Macintosh National

Tour); A Picture of Dorian Gray (A Noise

Within, Michael Michetti); Switzerland

(Geffen Playhouse, Mark Brokaw).

Television credits: Sneaky Pete (Amazon);

The Show (Blackpills, Jan Kounen);

Children’s Hospital (Adult Swim, Ken

Marino); One Life to Live (ABC). Colin

also recently did motion capture for Tom

Clancy’s Ghost Recon Wildlands 2. Film

credits: The Good Shepherd (Universal,

Robert De Niro); Naked Normandy

(France, Philippe Le Guay); La Prière

(France, Cédric Kahn, Silver Bear at

Berlin); Pachamama (Netflix, Juan Antin);

Nice Talking to You (SXSW, Saim Sadiq);

Dating My Mother (Amazon, Mike Roma);

T11 Incomplete (Suzanne Guacci).

KATIE BRAYBEN

Elizabeth Laine

Training: Rose Bruford.

Theatre credits: Honour

(The Park Theatre); A

Walk on The Moon (The

American Conservatory Theater in San

Francisco); The Spoils (Trafalgar Studios);

My Mother Said I Never Should (St James

Theatre); Beautiful -The Carole King

Musical (Aldwych Theatre); King Charles

III (Almeida and Wyndham’s Theatres);

American Psycho (Almeida Theatre);

Joking Apart (Nottingham and Salisbury

Playhouse); Ragtime The Musical, A

Midsummer Night’s Dream (Regent’s

Park Theatre); 13 (National Theatre);

John and Jen ( Landor); Friday 4pm

(Arcola Theatre); Company (Southwark

Playhouse); Is Everyone OK? (nabakov and

NuWrite); Counted? (UK Tour); The Great

British Country Fete (Bush); Skin Tight

(Riverside Studios); Mamma Mia! (Ten

Year Anniversary Cast, International Tour

and West End); Return To The Forbidden

Planet (UK Tour); Some Girls are Bigger

Than Others (Lyric Hammersmith/Dublin

Theatre Festival). Television credits: Luther

(BBC); The Alienist (TNT); Doctor Who

(BBC); King Charles III (BBC); Vera (ITV).

Film credits: Self Help – A Serial Killer’s

Guide To Life (Forward Motion Pictures);

This Way Out, This Love. Awards: For

Beautiful – The Carole King Musical, Best

Actress in a Musical (Olivier Award 2015

winner) and Best Musical Performance

(Evening Standard Award nomination).



ANNA-JANE CASEY

Mrs Burke

Theatre credits: Calendar

Girls (UK Tour); Billy

Elliot (West End, UK &

International Tour);

Stepping Out (Vaudeville Theatre);

Annie Get Your Gun and Flowers For

Mrs Harris (Sheffield Crucible); Mack &

Mabel (Chichester & UK Tour); Spamalot

(Playhouse Theatre, London); Sweet Charity

and Piaf (Sheffield Crucible); Sunday in the

Park with George and Forbidden Broadway

(Menier Chocolate Factory); Hobson’s

Choice and Mack & Mabel (Watermill,

Newbury). Television credits: Family Guy;

Coronation Street; The Royal; Doctors;

EastEnders; The Bill; Heartbeat; Holby

City. Film credit: Beyond the Sea. Other

credits: Anna-Jane has performed with all

of the UK’s major orchestras and has a long

history with the John Wilson orchestra

including numerous Proms appearances

and tours. She also performs in her own

cabarets worldwide.

NICHOLLE CHERRIE

Ensemble

Training: Arts Educational

School. Theatre credits:

Percy/Green/Groom/

Queen’s Attendant in

Richard II (Shakespeare’s Globe); Viv in

Leave Taking (The Bush Theatre); Lisa in

Mamma Mia! (Cyprus), Ensemble in Jesus

Christ Superstar (Regents Park Open Air

Theatre). Television credits: Nat Higgins in

Doctors (BBC).

DAVID GANLY

Mr Burke

Theatre credits: Girl from

the North Country; On

Blueberry Hill (Dublin

Theatre Festival); Once

(Olympia Theatre); Lonesome West

(The Tron Theatre); Shakespeare in Love

(Noël Coward Theatre); Threepenny

Opera (Gate Theatre, Dublin); King Lear

(Theatre Royal Bath); Macbeth (Crucible

Theatre); Of Mice and Men (The

Watermill); The Wizard of Oz (London

Palladium); Beauty Queen of Leenane

(Young Vic); Chicago (Cambridge

Theatre, London); The Weir (Gate

Theatre, Dublin); Uncle Vanya (WYP);

The Field (Tricycle Theatre); Translations

(National Theatre); Hamlet (Theatre

Royal Northampton); The Full Monty

(The Prince of Wales Theatre). For the

Abbey Theatre, Dublin, The Plough &

The Stars; Shadow of a Gunman, Drum

Belly, Cavalcaders, Observe the Sons of

Ulster Marching Towards the Somme.

Television credits: Silent Witness (BBC);

Casualty (BBC); Citizen Charlie (RTE);

Upwardly Mobile; Doctors. Film credits:

Sunset Song; Body of Lies; Hippie Hippie

Shake; Dorothy Mills; Widows’ Peak;

Space Truckers.

SIMON GORDON

Ensemble

Training: Guildford

School of Acting. Theatre

credits: Alternate Strat

in Bat Out Of Hell The

Musical (Dominion Theatre, London

Coliseum and International Tour),

Christian in Moulin Rouge!; Julius

Caesar; Parade; Alba Nuadh (RADA).

Television credits: George Harrison

in Scrambled Eggs (Sky One); ITV’s

Superstar (Andrew Lloyd Webber–ITV).

Film credits: Prince Naljin in Roby

and The Gates of Nargara (Cannes

Film Festival); Kane in Milk (Mice in

Cream Productions).


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STEFFAN HARRI

Elias Burke

Training: Ysgol Theatr

Maldwyn and Guildford

School of Acting. Theatre

credits: Shrek in Shrek

The Musical (UK & Ireland Tour); Les

Misérables (Queens Theatre, West End);

Sir Lancelot in Monty Python’s Spamalot

(Playhouse Theatre, West End); Hollti

(Theatr Genedlaethol Cymru); Little Shop

of Horrors (Aberystwyth Arts Centre);

Children Of Eden (Prince of Wales

Theatre, London). Television credit:

Rownd a Rownd (S4C).

DAVID HAYDN

Ensemble

Training: Guildford School

of Acting. Theatre credits:

Gaslight (Ed Mirvish

Theatre, Toronto); Stones

in His Pockets (Popular Productions,

Dubai); Kinky Boots (Adelphi Theatre,

London); I Dreamed a Dream (UK Tour);

Parade (Southwark Playhouse); Fame

(UK Tour); Joseph and the Amazing

Technicolor Dreamcoat (UK Tour); The

Secret Garden (Barn Theatre, Cirencester);

The Irish Curse (Edinburgh and Dublin

Festivals); The Burnt Part Boys (Park 90);

Jamie the Saxt (Finborough Theatre,

London); The Wedding Singer and

Brick in Cat on a Hot Tin Roof (SRT,

Santa Rosa, CA).

RACHEL JOHN

Mrs Neilsen

Theatre credits: Hamilton

(Victoria Palace Theatre);

The Color Purple (Concert

– Cadogan Hall); The

Bodyguard (Dominion Theatre and Ed

Mirvish Theatre, Toronto); Memphis

(Shaftesbury Theatre), RENT (UK Tour);

We Will Rock You (Dominion Theatre and

UK Tour); Godspell (Sir George Monoux

College, London); Sister Act (London

Palladium); The Legend of the Lion

King (Disneyland Paris) and The Lion

King (Asian Tour and Lyceum Theatre).

Film credit: Running Scared. Workshop

credits: Bend It Like Beckham (Sonia

Friedman Productions); The Show Must

Go On.

SIDNEY KEAN

Mr Perry

Theatre credits: Berbarian

Sound Studio (Donmar

Warehouse); Toby Belch

is Unwell (London,

Prague, Bristol and Edinburgh, Fetch

Theatre); Fever Chart (Trafalgar Studios

and Theatre Royal, York); Legal Fictions

(Savoy Theatre); Public Interest (New

Diorama); Henry IV Part 1 (NTC); The

Odd Couple (MK Productions). Television

credits: Coronation Street; Silent Witness;

The Fear; The Long Firm; Frost; Doc

Martin; Poirot; 2Point4 Children; The Bill;

EastEnders; Brookside; Lovejoy; Grange

Hill; Blake’s 7; Robin Hood; Raphael

The Mortal God; Warship; King Oedipus

(Play for Today); Dixon of Dock Green.

Film credits: Hatton Garden the Heist;

The Village in the Woods; Orthodox;

Lifeforce; Queen of Hearts; Revelation

Hanuman; Lucas & Albert; Subverted; Gli

Zii. Radio credits: King Street and King

Street Revisited (BBC); The Government

Inspector (BBC); Travels with My Aunt

(BBC); Tinker Tailor Soldier Spy (BBC);

Agent X the Master of Disguise in the

highly acclaimed Mission Improbable (30

episodes for BBC World Service).



FINBAR LYNCH

Reverend Marlowe

Theatre credits: Girl from

The North Country (Noël

Coward Theatre); The

Playboy of the Western

World (Abbey Theatre); Peer Gynt (Gate

Theatre ); Three Sisters (Royal Court);

Translations; Fool For Love; To The

Green Fields Beyond, Hecuba and The

Lady From The Sea (Donmar); The Fairy

Queen and Antigone (Brooklyn Academy

of Music ). For the Royal Shakespeare

Company, The Two Gentlemen Of Verona,

The Virtuoso, The Alchemist, A Woman

Killed With Kindness, Amphibions, Julius

Caesar (1994), Corialanos, A Midsummer

Nights’ Dream, Measure For Measure,

The Tempest and Julius Caesar (2006).

King Lear; Antony and Cleopatra, Not

About Nightingales, The Hothouse and

Ma Rainey’s Black Bottom (National

Theatre); The Duchess of Malfi and

Dancing at Lughnasa (Old Vic); Richard

the Third (Almeida); Miss Julie and

Othello (Greenwich Theatre). Television

credits: Treadstone; The Mallorca Files;

The Devils; The Feed; Foyle’s War;

Breathless; Game of Thrones; Silk; Richard

II; Proof. Film credits: Adventures of a

Mathematician; Black 47; Property of the

State; Suffragette; Child 44; Departure;

The Numbers Station; Matilde.

DONALD SAGE MACKAY

Nick Laine

Training: University of

California, San Diego

and the Moscow Art

Theatre. Theatre credits:

True West (Vaudeville Theatre); Angry

Alan (Edinburgh Fringe First Award,

Soho Theatre, Aspen Fringe); White Guy

on the Bus (Finborough); Moon for the

Misbegotten (Lyric, Belfast and NY);

Linda (MTC, NY); Fred’s Diner and The

Other Place (Magic, San Francisco); Our

Town (ATL); stop. reset. (Signature, NY);

Blood & Gifts and His Girl Friday (La Jolla

Playhouse); Game’s Afoot (Cleveland

Play House); Six Degrees of Separation

(Old Globe); leading roles at Shakespeare

Festivals throughout the USA. Television

credits: Deep State (recurring Seasons

1 & 2); Treadstone (recurring); Looming

Tower; Modern Family; Mad Men; Frasier;

Masters of Sex; Elementary; Blue Bloods;

The Good Wife; House; West Wing; NCIS;

Law and Order: SVU; Criminal Minds;

Weeds; The Shield; Star Trek Enterprise;

According to Jim; ER; Scrubs (recurring);

The Practice; Providence. Film credit:

Transformers: Revenge of the Fallen.

GLORIA OBIANYO

Marianne

Training: Rose Bruford.

Theatre credits: Antony

and Cleopatra alongside

Ralph Fiennes and Sophie

Okonedo (National Theatre); Jesus

Christ Superstar (Regent’s Park Open Air

Theatre); The Grinning Man (Bristol Old

Vic); The Wild Party (The Other Palace);

The Resistible Rise of Arturo Ui (Donmar

Warehouse); doubled as Olivia and Sir

Toby Belch in Kelly Hunter’s production

of Twelfth Night (Almagro Festival in

Spain); Fanny and Alexander (The Old Vic).

Television credit: Good Omens (Amazon/

BBC). Film credit: High Life appearing

alongside Robert Pattinson and Juliette

Binoche; Dune with Javier Bardem.

FERDY ROBERTS

Dr Walker

Ferdy is co-Artistic

Director of Filter Theatre.

Theatre credits for Filter:

Twelfth Night; Macbeth; A



Midsummer Night’s Dream, Three Sisters

(Lyric, Hammersmith); Water (Lyric,

Hammersmith and BAM, New York);

Twelfth Night (Tricycle); The Caucasian

Chalk Circle (National Theatre);

Silence (RSC/Filter); Faster (London

and New York). Other Theatre credits:

Fatherland (Frantic Assembly/Royal

Exchange); Plaques and Tangles (Royal

Court); Lampedusa (Soho / Hightide);

Shakespeare in Love (West End); Open

Court and If You Don’t Let Us Dream We

Won’t Let You Sleep (Royal Court); Three

Kingdoms (Lyric / Munich Kammerspiel

/ Teater NO99); Wallenstein and The Sea

(Chichester); The Birthday Party and

The Dumb Waiter (Bristol Old Vic); Girl

in a Goldfish Bowl (Sheffield Crucible);

Playing the Victim (Told by an Idiot/Royal

Court); Another Country (West End); The

Contractor (Oxford Stage Company); The

Changeling, Beautiful Thing (Salisbury

Playhouse). Television credits: Dark

Angel; Foyle’s War; Whistleblower; The

Bill; Goldplated; Your Mother Should

Know; Holby City; Doctors; A Touch of

Frost. Film credits: What You Will; Mr

Nice; Sex & Drugs & Rock & Roll; Honest.

WENDY SOMERVILLE

Ensemble

Training: Queen Margaret

University College and

Royal Academy of Music.

Theatre credits: Mistress

Fraser in Local Hero (Royal Lyceum

Theatre); Ms. Sheinkopf in School of Rock

(Gillian Lynne Theatre); Helen in The 306:

Day (National Theatre of Scotland); Ugly

Sister in Cinderella (London Palladium);

Threepenny Opera (National Theatre);

Alternate Mrs Wilkinson in Billy Elliot

(Victoria Palace Theatre); Hairspray

(Shaftesbury Theatre and UK and Ireland

Tour); Sweeney Todd (Adelphi Theatre

and Chichester Festival Theatre); Les

Misérables (Queen’s Theatre); Writer’s

Cramp (Saint-Saëns Festival). Television

credits: Classical Brit Awards (2011); Les

Misérables (Royal Variety Performance

and 25th Anniversary Concert 2010);

Billy Elliott the Musical – Live; Hairspray

(Royal Variety Performance 2007). Radio

credit: Les Misérables 21st Birthday

Concert (BBC Radio 2–Mermaid Theatre,

London). Recording credits: Sweeney

Todd (London cast recording); Scrapbook;

Michael Ball Past and Present.

GEMMA SUTTON

Katherine Draper

Theatre credits: Blues in

the Night (Kiln Theatre);

Follies (National Theatre);

Sweet Charity (The

Watermill Theatre); The Rink (Offie Award

for Female Performance in a Musical –

Southwark Playhouse); A Christmas Carol

the Musical (LMTO); Strictly Ballroom

(West Yorkshire Playhouse/Princess of

Wales Theatre, Toronto); The Go Between

(Apollo Theatre); Gypsy (Chichester

Festival Theatre/Savoy Theatre); Carousel

(Arcola Theatre); Chicago (Leicester

Curve); Drunk (Leicester Curve/The

Bridewell); Hairspray (UK Tour); Me

and My Girl (Kilworth House); Legally

Blonde – The Musical (Savoy Theatre);

Gone with the Wind, Imagine This (New

London Theatre); A Midsummer Night’s

Dream, Macbeth, Lady Be Good, The Boy

Friend (Regent’s Park Open Air Theatre)

and Children Will Listen (Theatre Royal

Drury Lane). Television credits: West Side

Stories; Gypsy: Live at the Savoy Theatre;

Cilla. Concerts: The Music of James

Bond (The Barbican) and recordings

for Grant Olding, Theo Jamieson and

Jennifer Whyte.



SHAQ TAYLOR

Joe Scott

Training: Arts Educational

School. Theatre credits:

Daddy Brubeck in

Sweet Charity (Donmar

Warehouse, directed by Josie Rourke);

Hadestown (National Theatre); Sweet

Charity (Nottingham Playhouse). Shaq

made his professional debut as Jean

Prouvaire in Les Misérables and went on

to play Javert (Queen’s Theatre, London);

Olivier Awards (Royal Opera House). Film

credit: The Guernsey Literary and Potato

Peel Pie Society (Blueprint Pictures/

StudioCanal). Radio credit: Friday Night

Is Music Night (BBC Radio 2). Workshop

credit: Aint No Sunshine. Other credits:

Runner-up in Stephen Sondheim

Student Performer of the Year, 2017 (Noël

Coward Theatre).

ALAN VICARY

Ensemble

Theatre credits: Monsieur

Andre in The Phantom

of the Opera (West End);

Moll Flanders (Mercury

Theatre); Mr Price in Kinky Boots

(Adelphi Theatre); Mac in A Damsel In

Distress (Chichester Festival Theatre);

The Crucible (The Old Vic); King Lear

(Chichester / New York); Goodnight

Mister Tom (Phoenix Theatre / Tour);

The Sound Of Music (Bahrain / London

Palladium); To Kill A Mockingbird

(Ashcroft, Croydon); The Secret Garden

(Birmingham Rep); The Fantasticks

(Duchess); The Power Of Yes (National

Theatre); Carousel (Savoy); Gone With

The Wind (New London); Mary Poppins

(Prince Edward); Valjean and Javert in Les

Misérables (Palace Theatre), Kiss Me Kate

(Victoria Palace). Television credits: The

Tales of Para Handy (BBC); Taggart (STV);

Timewatch (BBC). Film credit: London

Road (Cuba Pictures).

T H E C R E AT I V E T E A M

CONOR MCPHERSON

Writer & Director

Stage plays include Rum & Vodka; The

Good Thief; This Lime Tree Bower; St

Nicholas; The Weir (Olivier, Evening

Standard and Critics’ Circle Awards);

Dublin Carol; Port Authority; Shining

City (Tony Award nomination); The

Seafarer (Tony, Olivier and Evening

Standard Award nominations); The Veil

and The Night Alive (New York Drama

Critics’ Circle Award for Best Play).

BOB DYLAN

Music and Lyrics

Bob Dylan is one of our culture’s most

influential and ground-breaking

artists. Born in Duluth, Minnesota

in 1941; self-taught on piano, guitar

and harmonica, he travelled to New

York City in 1961, quickly establishing

himself as an explosive performer in

the Greenwich Village music scene.

More than half a century later, Dylan

continues to perform almost 100

concerts each year. He has released

more than 50 albums and written



over 600 songs. He’s sold more than

125 million records and is the holder

of 11 Grammy Awards. His songs have

been covered more than 6000 times by

artists as diverse as Duke Ellington, Jimi

Hendrix, Guns N’ Roses, Stevie Wonder,

Bob Marley and Adele. He is also an

accomplished visual artist and author,

and in 2016 was awarded the Nobel Prize

for Literature – the first songwriter to

receive such a distinction.

RAE SMITH

Designer

Theatre includes: Uncle Vanya (Harold

Pinter Theatre); The Night of the Iguana

(Noël Coward Theatre); Rosmersholm

(Duke of York’s Theatre); Translations

(NT); The Barbershop Chronicles (NT

The Roundhouse and World Tour); The

Lion, the Witch and the Wardrobe (The

Bridge Theatre/Leeds Playhouse); This

House (Garrick and UK Tour); The Goat

(Theatre Royal Haymarket) and War

Horse (UK and World Tour). Previous

designs for Conor McPherson include:

The Weir (Duke of York's and Walter Kerr,

Broadway); Seafarer (NT and The Booth,

Broadway); The Birds (Gate Theatre);

The Veil (NT); Dublin Carol (The Old

Vic and Royal Court) and Shining City

(Royal Court and Gate Theatre). Other

work at the National includes Macbeth,

Wonder.land, The Light Princess, St.

Joan, Street of Crocodiles and The Visit.

Opera includes: Pelléas and Mélisande

(Scottish Opera); Cavelieri Rusticana and

Pagliacchi (Met, New York); The Ring

Cycle (Opera du Rhin) and Benvenuto

Cellini (ENO). Ballet includes: The

Tempest, Prince of Pagodas (BRB); Rite of

Spring and Petrushka (Fabulous Beast).

Design awards include: Tony/ Olivier

(War Horse); Obi (Oliver Twist) and Irish

Times (Mrs. Warren’s Profession).

SIMON HALE

Orchestrator, Arranger

and Musical Supervisor

Theatre includes: Girl from the North

Country (Old Vic, West End, Public

Theater–Drama Desk nomination);

Tootsie (Broadway–Tony nomination);

Kiss My Aztec (Berkeley Rep); Guys and

Dolls (Royal Exchange, Manchester);

Romantics Anonymous (Shakespeare’s

Globe); Spring Awakening (Broadway/

West End); Women on the Verge of

a Nervous Breakdown (West End/

Broadway–Drama Desk Nomination);

Whisper House (The Other Palace/San

Diego); Strictly Ballroom (West End/West

Yorkshire Playhouse/Toronto); Finding

Neverland (Boston/Broadway) and

Madame Sousatzka (Toronto). Film as

Orchestrator: Spectre–The Writing’s on

the Wall (Oscar and Golden Globe awards

for Best Original Song). Recordings

as arranger/orchestrator: George

Benson, Björk, Jamiroquai, Ray Davies,

Josh Groban, George Michael, Oasis,

Simply Red and Sam Smith (Grammy

nomination). Television as Orchestral

Conductor: Sam Smith at the Academy

Awards ceremony 2016. As Composer: LA

Noire video game soundtrack (BAFTA for

Best Original Music – with Andrew Hale).

MARK HENDERSON

Lighting Designer

Mark was the recipient of the 1992,

1995, 2000, 2002, 2010 and 2016 Olivier

Awards for Lighting Design, the 2013

and 2015 WhatsOnStage Awards for

Lighting Design, the 2006 Tony Award

for Best Lighting Design of a Play,

and also received a Welsh BAFTA in

2000. Theatre includes: Chitty Chitty

Bang Bang (Palladium and Hilton,

Broadway); The Judas Kiss (Almeida and

Broadhurst, Broadway); Copenhagen


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(National Theatre, Duchess and Royale,

Broadway, CFT); Hamlet (Almeida and

Belasco, Broadway) Gypsy (Chichester

Festival Theatre and Savoy – Olivier

Award for Best Lighting Design); Funny

Girl (Menier, Savoy and UK Tour); Cat

on a Hot Tin Roof (National Theatre

and Eugene O’Neill, Broadway); The

History Boys and One Man, Two

Guvnors (National Theatre); Don Juan

in Soho (Wyndham Theatre); Lady Day

at Emerson’s Bar and Grill (Wyndham

Theatre); Les Liaisons Dangereuses

(Donmar Warehouse, Broadway); Sweet

Bird of Youth (Chichester Festival

Theatre); Girl From the North County

(The Old Vic, Broadway); Imperium I

& II (RSC & Gielgud Theatre); Young

Marx (The Bridge Theatre); Fanny and

Alexander (Old Vic); Present Laughter

(CFT); Flowers for Mrs Harris (CFT);

Copenhagen (CFT); White Christmas

(Leicester Curve); Sweet Charity

(Donmar); The Light in the Piazza

(Southbank Centre); Peter Gynt (National

Theatre); Oklahoma (CFT).

SIMON BAKER

Sound Designer

Theatre includes: Malory Towers,

Wise Children (Wise Children);

Present Laughter, A Christmas Carol,

Groundhog Day, The Caretaker, The

Master Builder, Future Conditional,

High Society, Electra, The Norman

Conquests, Hedda Gabler, The Real

Thing (The Old Vic); A Midsummer

Night’s Dream (Regent’s Park);

Standing at The Sky’s Edge (Sheffield

Crucible); Romantics Anonymous,

Twelfth Night, A Midsummer Night’s

Dream (Shakespeare’s Globe); The

Moderate Soprano, The Grinning Man,

Shakespeare in Love, Mojo (West End);

Matilda the Musical (Olivier Award for

Best Sound – worldwide); Pinocchio,

The Light Princess, Amen Corner (NT);

The Roaring Girl (RSC); Tristan & Yseult,

Brief Encounter, The Red Shoes, The

Wild Bride, Don John, Steptoe & Son,

946, Rebecca and The Flying Lovers

(Kneehigh). Simon is an Associate Artist

of Wise Children, The Old Vic, Kneehigh

and Shakespeare’s Globe, and a fellow of

the Guildhall School.

LUCY HIND

Movement Director

Theatre includes: Light in the Piazza

(Royal Festival Hall); Macbeth (Royal

Exchange); Local Hero (Lyceum

Edinburgh); The Last Ship (Toronto

and UK Tour); Calendar Girls (UK Tour);

Miss Littlewood (RSC); The Divide

(The Old Vic); Ugly Lies the Bone (NT);

Snowmaiden (Opera North); The House

of Bernada Alba (Royal Exchange/

Graeae); The Merchant of Venice (Globe

Theatre/Liverpool Playhouse/Chicago

Shakespeare Theatre); Barnbow Canaries

(West Yorkshire Playhouse); Somme

100 (national commemoration of the

Battle of the Somme, Manchester); The

Effect and This is My Family (Sheffield

Crucible); Multitudes (Tricycle); The

Jacobin (Buxton Arts Festival); Moon

Tiger (Theatre Royal Bath); Stuart: A

Life Backwards (Hightide); London 2012

Paralympic Games Opening Ceremony.

Television includes: The Snow Queen,

The Nutcracker, Peter Pan (all BBC) and

Banana (E4).

IAN ROSS

Musical Director

Ian is a Bristol (UK) based

multi-instrumentalist, an Associate

Artist of Kneehigh and Director of

Music for Wise Children. Theatre credits

as Performer and Music Director for


RAT19SON_Iconink_ad.indd 1 2019-09-06 1:23 PM


Kneehigh include Brief Encounter,

The Red Shoes, Don John, The Wild

Bride, Tristan and Yseult, Dead Dog

in a Suitcase and The Flying Lovers of

Vitebsk. Theatre credits as Composer

include Twelfth Night (Shakespeare’s

Globe); Hansel and Gretel, The Very Old

Man with Enormous Wings and The

Flying Lovers of Vitebsk (Kneehigh);

Wise Children and Malory Towers

(Wise Children).

JESSICA RONANE CDG

Casting Director

Jessica is in-house Casting Director for

Matthew Warchus at the Old Vic. Theatre

credits: Lungs, Present Laughter, All

My Sons, The American Clock, SYLVIA,

A Monster Calls, Mood Music, Fanny

& Alexander, The Divide, A Christmas

Carol, Girl from the North Country

(The Old Vic and West End), Woyzeck,

Rosencrantz & Guildenstern are Dead,

King Lear, The Caretaker, The Master

Builder, Dr. Seuss’s The Lorax, The Hairy

Ape, Future Conditional (The Old Vic);

Running Wild (Regent’s Park Open

Air Theatre); Love in Idleness (Menier

Chocolate Factory). Children’s casting:

School of Rock, The Audience, Charlie

and the Chocolate Factory, Made in

Dagenham (West End); Billy Elliot the

Musical (West End/UK Tour); Matilda the

Musical (RSC/West End/UK Tour); To

Kill a Mockingbird, The Sound of Music

(Regent’s Park Open Air Theatre); Bugsy

Malone (Lyric Hammersmith); Caroline

or Change (National Theatre). Film

credits: Emma, The Kid Who Would Be

King (Working Title), Night Out (Short).

CAMPBELL YOUNG ASSOCIATES

Hair, Wigs & Make-up

Theatre includes: Rosmersholm;

All About Eve; Muriel’s Wedding

(Australia); Company; TINA – The

Tina Turner Musical (West End and

Hamburg); Allelujah!; Funny Girl; St.

Joan; One Night in Miami; City of

Angels; The Young Chekhov Trilogy;

Bend It Like Beckham; High Society;

Made In Dagenham; Gypsy; Guys &

Dolls; The Bodyguard (West End &

UK); Present Laughter, An American

Clock, A Christmas Carol, The Master

Builder, The Lorax, High Society, Electra,

Clarence Darrow, Sweet Bird of Youth,

Richard III, Kiss Me Kate and Inherit

the Wind (Old Vic); Ink, The Ferryman,

Girl from the North Country, Farinelli

and the King, Groundhog Day, Charlie

and the Chocolate Factory, Les Liaisons

Dangereueses, American Psycho, The

Cripple of Inishmaan, Matilda, Ghost,

Billy Elliot, La Bete, Private Lives, Rock

‘n’ Roll (West End / Broadway). King Lear,

Gary, To Kill A Mockingbird, Head Over

Heels, Carousel, Three Tall Women, Hello

Dolly!, 1984, Front Page, The Crucible,

Misery, Sylvia, A Delicate Balance, It’s

Only A Play, Betrayal, Mary Stuart, Les

Misérables, One Man Two Guvnors,

Spider-Man (Broadway); Opera includes:

Don Carlos, L’enfant et les sortileges

(Bolshoi Opera Moscow); Anna Nicole

(BAM); Elektra (Aix-en-Provence). Film

and TV includes: Downton Abbey, The

Americans, House of Cards, Orange Is

The New Black.

KATE BUDGEN

Associate Director

Kate trained at Birkbeck College and

on the NT Studio Directors course.

She has been a Creative Associate at

the Bush Theatre and has worked as



Assistant and Associate Director for

The Gate Theatre, The Almeida, The

Opera Group, Pentabus Theatre, the

Bush Theatre, Opera North and for the

Michael Grandage Company. She is a

Connections Director for the National

Theatre Connections Festival and is

co-artistic director of new writing

company EQ Theatre. Selected directing

credits include: The Importance of

Being Earnest (Watermill Theatre);

Anything Is Possible If You Think

About It Hard Enough (Vaults Festival);

No Place for a Woman (Theatre 503);

Strong Arm (Underbelly/Old Vic New

Voices); The Hairy Ape (Southwark

Playhouse); Rigor Mortis (Papatango/

Finborough); Crossed Keys (Eastern

Angles); Bedbound (Lion and Unicorn);

Stoopud Fucken Animals (Traverse

Theatre); There is a War (Arts Ed); Punk

Rock (Guildford School of Acting); Anne

Boleyn (RWCMD).

JESSICA DANIELS

Resident Director

Jess recently directed A Pupil at Park

Theatre, which was nominated for an

Off West End award. Other directing

credits include The Butterfly Lion

(The Barn Theatre); Connect NOW

Monologues (The Old Vic); Conquest

(VAULT Festival/The Bunker); The

Many Crimes of Hector Cartwright

(VAULT festival); The State We’re In

(Theatre503). Jess was Resident Director

on the previous West End transfer of

Girl from the North Country, as well as

Assistant Director when it premiered

at The Old Vic. Other theatre as

Assistant Director includes Jess and

Joe Forever (Orange Tree Theatre); Rise

(The Old Vic) and Leaper: A Fish Tale

(Lyric Hammersmith).

TRISTAN BAKER

Producer

Tristan is an Olivier Award-winning

theatre producer whose recent

productions include Girl from the North

Country (The Old Vic, Noël Coward, The

Public NYC, Royal Alexandra Toronto,

Gielgud, Belasco Broadway); David

Bowie’s musical Lazarus; Lin-Manuel

Miranda’s Olivier Award-winning In

the Heights; the Olivier Award-winning

production of The Railway Children

(all King’s Cross Theatre) and Guys

and Dolls (West End and Tour). Tristan

co-produced the UK premiere of

Footloose: The Musical which has so far

completed seven UK Tours, three West

End seasons at the Novello, Playhouse

and Peacock Theatres and international

seasons in Belgium and South Africa. He

co-produced Flashdance on a UK and

international Tour and Never Forget,

the musical based on the songs of Take

That, on two UK Tours and at the Savoy

Theatre. Other productions include the

UK Tour of the multi award-winning

Broadway and West End production of

Kiss Me, Kate, the UK Tour of Love Shack

and the UK Tour of the classic musical

Calamity Jane and its subsequent

season at the Shaftesbury Theatre in the

West End.

CHARLIE PARSONS

Producer

Charlie Parsons has had a huge impact

on the international media sector

over the last 15 years, winning seven

prime-time awards and he is widely

credited with being the inventor of

reality TV with the TV show Survivor,

which he created. As co-founder of

one of television’s most influential

production companies, Planet 24,

with Bob Geldof and Lord Waheed Alli,


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he created and produced hundreds

of groundbreaking TV programmes

including The Big Breakfast and

The Word – with The Big Breakfast

reinventing the idea of a television

studio. Planet 24 was an engine for

change in British media and his

television shows were a platform for

many household names to make their

reputations, including Chris Evans, Gaby

Roslin, Lisa Tarbuck, Johnny Vaughan

and Denise Van Outen. Survivor is

being shown in dozens of editions in

countries around the world – sometimes

as Survivor, sometimes as Koh Lanta,

sometimes as Robinson. Charlie is also

Executive Producer of Survivor in the

USA and Canada where it has just begun

its 39th season. In British theatre he has

produced many acclaimed productions

of the original Take That musical

Never Forget, Guys and Dolls, David

Bowie’s musical Lazarus, Lin-Manuel

Miranda’s In the Heights and Girl from

the North Country. He also backs and

mentors creative businesses through his

company Charlie Parsons Creative Ltd.

RUNAWAY ENTERTAINMENT

Producer

Runaway Entertainment is a theatrical

production company, founded in

2011 by Tristan Baker and Charlie

Parsons, whose combined experience

spans theatre, film and television.

Runaway develops and produces

critically acclaimed, award-winning

and ambitious plays and musicals,

working with the most exciting talents

in the theatre industry. Current and

upcoming productions include Peter

Pan (Troubadour White City Theatre)

and Girl from The North Country

(Gielgud and Broadway). Previous

Productions include Girl from the North

Country (The Old Vic, Noël Coward

and The Public); David Bowie’s musical

Lazarus; Lin-Manuel Miranda’s Olivier

Award-winning In the Heights; the

Olivier Award-winning production of

The Railway Children (all at King’s Cross

Theatre); Guys and Dolls (West End and

Tour); Footloose (West End, South Africa

and UK Tours); Flashdance (UK and

international Tour) and General Manager

for Tom Fletcher’s The Christmasaurus

Live (Hammersmith Apollo).

STEVEN LAPPIN

Producer

Steven is an independent producer

working in television, film and theatre.

His recent work includes producing

feature documentaries for Liam

Gallagher As It Was and Freedom

celebrating the life and career of George

Michael, and Springsteen and I by Bruce

Springsteen. Steven also produced One

Love Manchester seen by over a billion

people. He has a proven track record

producing documentaries including

Joanna Lumley: Elvis and Me; Dara

O Briain Meets... Stephen Hawking

and Joanna Lumley Meets…Will.I.Am.

He has produced acclaimed global

music specials including A Night With

Beyoncé, One Night With Rod Stewart, An

Audience With Neil Diamond and David

Walliams Celebrates Dame Shirley Bassey.

For many years he series-produced the

talk show Parkinson and other iconic

TV shows including The BAFTA Awards

and This is Your Life. He originated the

project that subsequently became Girl

from the North Country, his first major

piece of work in theatre.



SONY MUSIC

Producer

Sony Music is home to the most loved

and commercially successful artists

in the world. In 1887, Columbia was

formed – which, to this day, remains

the oldest label in the history of the

recording industry. From there, Sony

Music evolved, amassing the best in

the business to create a world-class

record label and industry leader. In

the UK, labels such as Columbia,

RCA, Syco, Commercial Group, Red

Essential, Relentless, Black Butter and

Insanity all make up the Sony Music

family. Sony Music is the home to

the world’s greatest artists past and

present such as Beyoncé, Foo Fighters,

One Direction, Britney Spears, Usher,

Justin Timberlake, John Legend,

Meghan Trainor, Mark Ronson, Miley

Cyrus, Calvin Harris, Pharrell Williams,

George Ezra, Olly Murs, Paloma Faith,

Bob Dylan, Michael Jackson, Whitney

Houston, Elvis Presley, Johnny Cash,

Bruce Springsteen, Celine Dion, Barbra

Streisand, Luther Vandross, Dolly Parton,

AC/ DC, Manic Street Preachers and The

Clash. Sony Music Entertainment is a

global recorded music company with a

current roster that includes a broad array

of both local artists and international

superstars. The company boasts a vast

catalogue that comprises some of the

most important recordings in history.

Sony Music Entertainment is a wholly

owned subsidiary of Sony Corporation

of America.

DAVID MIRVISH

Producer

David Mirvish is a Toronto based

theatrical producer. Mr Mirvish operates

four theatres in Toronto: the Royal

Alexandra, the Princess of Wales, the Ed

Integrated Partnerships

Connect with our engaged customers through a variety

of key touch-points

PROGRAMME MAGAZINE

DIGITAL,EMAIL, PRINTADVERTISING

PRODUCT SAMPLING ANDACTIVATIONS

IN VENUE PARTNERSHIPSPARTNERSHIPS

RED CARPETEVENTS

BRIAN HIMELbrian.himel@brandsamplifi ed.com

JORY AMARjory.amar@brandsamplifi ed.com

The Exclusive SponsorshipAgency Of Mirvish Productions



Mirvish and the CAA. In 1983 Mr Mirvish

and his father, Ed Mirvish, purchased

The Old Vic Theatre in London which

they restored and operated until 1998.

Mirvish Productions, founded by David

Mirvish in 1986, is Canada’s leading

commercial theatre producer and has

produced plays and musicals for these

and other venues throughout Canada,

on Broadway and in London’s West End.

Co-production and presentation credits

include such hits as Crazy for You, Les

Misérables, The Lion King, The Sound of

Music, the North American premieres of

Priscilla Queen of the Desert and Mamma

Mia!, We Will Rock You, the national

tour of Wicked, Billy Elliot, the National

Theatre’s War Horse, Kinky Boots,

Matilda the Musical, Come From Away,

Dear Evan Hansen and Piaf/Dietrich.

THE OLD VIC

Producer

The Old Vic aims to be surprising,

unpredictable, ground-breaking,

rule-breaking, independent, accessible

and uplifting. Today, Artistic Director

Matthew Warchus is building on 200

years of creative adventure. The Old

Vic is mercurial: it can transform into a

theatre in-the-round, a space for music

and comedy, has played host to opera,

dance, cinema, music hall, classical

dramas, variety, big spectacles and

novelty acts. It was the original home

of the English National Opera, Sadler’s

Wells and the National Theatre. It has

also been a tavern, a college, a coffee

house, a lecture hall and a meeting

place. All of this is now in the bones of

the building and is as important a part

of its open-armed, inclusive, welcoming

personality as its grand historic décor

and the iconic performances and famous

productions it has housed. The Old Vic

is a not-for-profit theatre operating a

breakeven budget in a historic, Grade

II* listed building with the help of £4

million of philanthropic support every

year from our generous supporters. The

Old Vic produces and presents five to

seven diverse productions every Season,

enhanced by a vibrant programme

of One Voice monologues, Voices Off

talks, Lates and day-time events for

Families. Off stage we engage with over

10,000 people a year from across the UK

through our award-winning education,

employability and community work.

PAUL ELLIOTT

Consultant Producer, Canada

Since 1972, Paul has produced or

co-produced 56 shows with The Mirvish

Organization which include Buddy –

The Buddy Holly Story; Jolson; Stones in

His Pockets; Hedda Gabler with Glenda

Jackson; The Hollow Crown starring

Vanessa Redgrave; David Suchet in

The Last Confession; Kim Catrall and

Paul Gross in Private Lives (also on

Broadway) and the Old Vic’s production

of The Lorax. Paul has garnered 4

Olivier Awards, a Tony Award and the

Theatrical Managers’ Association Award

for his ‘Contribution to Theatrical Life’.

London productions include Run for

Your Wife (9 years); Buddy – The Buddy

Holly Story (13 years); Waiting for Godot

with Sir Ian McKellan; Thoroughly

Modern Millie; Private Lives with Alan

Rickman (London / Broadway–Tony

Award); Stones in His Pockets (Olivier

Award); Jolson (Olivier Award) Kat and

the Kings (Olivier Award); Underground

starring Raymond Burr; and Douglas

Fairbanks Jr. in The Pleasure of His

Company. In Toronto together with

Michael Harrison, Paul produced Titanic;

Chess; The Bodyguard; Mrs. Henderson



C R E D I T S & AC K N OW L E D G M E N T S

FOR GIRL FROM THE NORTH COUNTRY

Producers . . . . . . . . . . . . . . . TRISTAN BAKER & CHARLIE PARSONS

for RUNAWAY ENTERTAINMENT, STEVE LAPPIN,

SONY MUSIC, DAVID MIRVISH, THE OLD VIC

Consultant Producer, Canada . . . . . . . . . . . . . . . . . . . . PAUL ELLIOTT

Executive Producer. . . . . . . . . . . . . . . . . . . . . . . . AARON LUSTBADER

Executive General Manager . . . . . . . . . . . . . . . STELLA LITTLECHILD

General Manager, Canada . . . . . . . . . . . . . . . . . . . . . . .LISA JACKSON

Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISOBEL DAVID

Line Producer and General Manager. . . . . . . . . . . . . . . JO DANVERS

Production Accountant . . . . . . . . . . . . . . . . . . . MARK CARTWRIGHT

Associate General Manager . . . . . . . . . . . . . . . . . . . . JAMES MULLAN

Production and Development Assistant . . . . . . . . . . . . KAT PIERCE

Production Manager, U.K.. . . . . . . . . . . . . . . . . . . . .DOMINIC FRASER

Production Manager, Canada . . . . . . . . . . . . . . . . . . . . PETE KRAMER

Associate Scenic Designer . . . . . . . . . . . . . . . . . . . WILLIAM FRICKER

Associate Costume Designer . . . . . . . . . . . . . . . . . . . . . . .POPPY HALL

Associate Sound Designer . . . . . . . . . . . . . . . . . . . . . . CHARLES COES

Sound Supervisor, U.K. . . . . . . . . . . . . . . . . . . VICTORIA WILKINSON

Hair, Wigs & Make-Up . . . . . . . . . .CAMPBELL YOUNG ASSOCIATES

Head of Wardrobe, U.K. . . . . . . . . . . . . . . . . . . . . . . . . .JOANNE HAYES

Company Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUSS SPENCER

Stage Manager, USA . . . . . . . . . . . . . . . . . . . . . . . . . . .JEFF BRANCATO

Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN ANDLAW

Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . EMMA TOOZE

Sound No. 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GREG REIF

Sound No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREW KEISTER

Props Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LISA BUCKLEY

Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRET YOUNT

Production Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . DENZIL KEIM

LX Associate / Programmer . . . . . . . . . . . . . . . . . . . . . STUART CROSS

Production LX, Canada . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN STILL

Production LX, U.K.. . . . . . . . . . . . . . . . . . . . . . . . . MARTIN CHISNALL

Associate Casting Director . . . . . . . . . . . . . . . . . . . . . . . .ABBY GALVIN

Drum Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE EVANS

Harmonica Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHIL HOPKINS

Dialect Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JILL McCULLOUGH

Insurance . . . . . . . . . . . . . . . . . ROBERT ISRAEL FOR GORDON & CO

Merchandise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ARACA

P.R., U.K.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JO ALLAN PR

Marketing, U.K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMG

Set Construction . . . . . . . . . . . . . . . . . . . . . . ALL SCENE ALL PROPS,

CLOCKWORK SCENERY AND HUDSONS

Lighting and Rigging Equipment . . . . . . . . . . . . . . CHRISTIE LITES

Sound Equipment . . . . . . . . . . . . . . . . . . . . . . . . SOUND ASSOCIATES

THANKS TO

Jeff Rosen, Michael Smith, Sean Egan, Michael Perlstein, Nick

Marston, David Berlin, Fionnuala and Sumati.

FOR MIRVISH PRODUCTIONS

Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MIRVISH

Executive Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRIAN SEWELL

Managing Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MUCCI

Presents and Annie starring Downton

Abbey’s Lesley Nicol. With Karl Sydow

he produced Backbeat in Toronto and

Los Angeles, Dirty Dancing throughout

the U.K., in London’s West End, Australia

and Europe, and most recently, The Last

Ship in Toronto starring international

music icon, Sting. Paul has produced

over 450 Pantomimes in the U.K. and is

author of the comedy There’s No Place

Like a Home (three U.K. Tours) as well as

his autobiography to commemorate 60

years in show business entitled, Keeping

My Balls in the Air!

Paul was delighted to be the 2018

recipient of the ‘Special Recognition

Olivier Award for Services to the

Theatre Industry’.

AARON LUSTBADER

Executive Producer

Aaron Lustbader is a Partner & General

Manager in Foresight Theatrical. He

has worked at Foresight (previously

AWA) for nearly 20 years and currently

oversees alongside his partners, The

Phantom of the Opera, Moulin Rouge!

The Musical and the forthcoming

Broadway production of Girl from the

North Country. Aaron has consulted

on international productions in the

UK, Japan, Korea, Australia and South

Africa as well as for various arts

organizations including 10 companies

of Kinky Boots worldwide. Aaron

graduated from Cornell University

in 2000.


30 mirvish.com mirvish.com PB

Director of Finance . . . . . . . . . . . . . . . . . . . . . . . . CAMILLO CASCIATO

Director of Sales & Marketing . . . . . . . . . . . . JOHN KARASTAMATIS

Director of Production . . . . . . . . . . . . . . . . . . . . . . . . .SCOT WHITHAM

Director of Labour Relations &

Business Development . . . . . . . . . . . . . . . . . . . . . . MARK LAVAWAY

Directors of Development . .KELLY ROBINSON, HANNAH MIRVISH

U .K . Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL ELLIOTT

Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . LINDA INTASCHI

Associate General Manager/Company Manager . . .CHARLES CHU

Assistant Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH SISKO

Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS PRIDEAUX

Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . NATHAN GILES

Assistant Production Manager . . . . . . . . . . . . . . .BRIANNE GWARTZ

Production Administrator . . . . . . . . . . . . . . . . . . .DESIRÉE PROVEAU

Associate Company Manager . . . . . . . . . . . . . . . . . . . . ANIKA NATER

Assistant Company Manager . . . . . . . . . . . . . . . . . . . . . JEN COOPER

Communications Manager . . . . . . . . . . . . . . . . . . . . . . . . . . SUE TOTH

Press & Public Relations Manager . . . . . . . . . .J . RANDY ALLDREAD

Marketing Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANTONIO TAN

Graphic Design Manager . . . . . . . . . . . . . . . . . . . . . . . . .OTTO PIERRE

Marketing Coordinator . . . . . . . . . . . . . . . . . .FRANCA LONGOBARDI

Web Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER JENKINS

Videographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRISTAN GOUGH

Social Media and Digital

Marketing Coordinator . . . . . . . . . . . . . . . . . . . . . . ISABELA STILLE

Program Director, CRM,

Data Insights & Ecommerce . . . . . . . . . . . . . . . . . . . AUBREY STORK

Data Intelligence Manager . . . . . . . . . . . . . . . . VICTORIA MAGINNIS

CRM & Reporting Assistant . . . . . . . . . . . . . . . . . . . . . . . . LIANNE WU

Labour Relations & HR Coordinator . . . . . . . . . . . . . . EMILY KNIGHT

Senior IT Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSIE DI LUZIO

System Administrators . . . . . . . . . . . . . . . . CHARLES BARTHMANN,

PHILLIP DREW, KATHARINE POSAVAD

Analyst/Accounting Manager . . . . . . . . . . . . . . . . . . . . REG DUNCAN

Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JASON YIP

Show Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . RACQUEL FROST

Accounting Staff . . . . . . . . . . . . . . . . . . . . . . JULIE LOGAN, KIM SITU

Payroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LILIAN SIU

Assistant to David Mirvish . . . . . . . . . . . . . . . . . . . . . LAUREL PURVIS

Office Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HELDER BRUM

FOR ED MIRVISH ENTERPRISES

General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUSSELL LAZAR

FOR TICKETKING

General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES ALDRIDGE

Phone Operations Manager . . . . . . . . . . . . . . . . . . . . .ALAN FORSYTH

Phone Operations Asst . Manager . . . . . . . . . . . . . . . .SUSIE MARCON

Phone Operations Supervisors . . . . . . . . . JANET KOMPARE-FRITZ,

SCOTT RICHARDSON

Administrative Services Manager . . . . . . . . . . . . . . . . MAGGIE BUSKI

Ticketing Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . KARYN KING

Administrative and Ticketing

Software Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE PELLEY

Ticketing Software Administrator . . . . . . . . . . . . . . . . .SARA RIVARD

Database Administrator . . . . . . . . . . . . . . . . . . . . APARNA ALIMINETI

FOR MIRVISH GROUP SALES & SUBSCRIPTIONS

Sales Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS DORSCHT

Group Sales Supervisor . . . . . . . . . . . . . . . . . . .NATASHA SPRINGETT

Associate Manager, Subscription Operations . . . BLAIR LEIGHTON

Associate Manager, Subscription Services . . . . . .DANIEL McLARTY

Subscriber Relations Supervisor . . . . . . . . . . . . . . . ARIKA UMME GUL

Subscriber Relations Representative . . . . . . . . . . . . . PAULYN RAMAN

Student Outreach & Education Co-ordinator . . . DENISE ANDERSON

Group Sales Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . NELIA BAIRD

Corporate Group Sales & Event Co-ordinator . . . .TIFFANY TOBIAS

Group Sales Assistant . . . . . . . . . . . . . . . . . . . BRANDON BARNSWELL

Subscriber Administration

Representatives . . . . DANIELLA FRUSTAGLIO, MUNIRA SARUAT

Subscription Service Representatives . . . . . . . . . . . MARY ASKWITH,

ERNEST CAYEMEN, MATTHEW KENNEDY, CLARA KIM,

ALEXANDRA LEAN, RICHARD McDONALD,

RYAN REEVE, MIKE RICHARDSON

FOR THE ROYAL ALEXANDRA THEATRE

General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RON JACOBSON

House Manager . . . . . . . . . . . . . . . . . . . . . . . . . .ELIZABETH MORALES

Assistant House Manager . . . . . . . . . . . . . . . . . . . . . NIKOL PAVLIDOU

Front of House Supervisor . . . . . . . . . . . . . . . . . . . . . NORA HASSAAN

FOH Supervisor/Operations Assistant . . . . . . . . . . HALEY WATSON

Box Office Staff . . . . . . . . . . . . . . KIM CASSIRAM, MARIKA CSOTAR,

ERIC KAUPPINEN, GEORGE KING

FOH Captains . . . . . . . . . . . . . . MANZOOR AHMED, ARI LEPONIEMI

Senior Maintenance Manager . . . . . . . . . . . . . . . . KEVIN McCARTHY

Head Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL PUHACZ

Head of Flies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BLAIR EGGLESTONE

Head Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN STILL

Lighting Board Operator . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL STILL

Head of Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . GUY GUALTIERI

Head of Wardrobe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAM WESTON

Assistant Head of Wardrobe . . . . . . . . . . . . . . . . . . . .MICHELE MUNN

Head of Hair and Makeup . . . . . . . . . . . . . . . . . . . . . CRAIG KILANDER

Parking Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . .ROBERT ASHLEY

FOR MIRVISH PROGRAMME

Publisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MIRVISH

Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .J . RANDY ALLDREAD

Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .OTTO PIERRE

Advertising Sales . . . . . . . . . . . . . . . . . . . . . BRANDS AMPLIFIED INC .

Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SUNVIEW PRESS LIMITED

For Mirvish Programme and Mirvish Partnership

Opportunities, please contact:

The Exclusive Sponsorship Agency of Mirvish Productions

brian .himel@brandsamplified .com

jory .amar@brandsamplified .com

Backstage and Front of House employees are

represented by the International Alliance of

Theatrical Stage Employees (or I .A .T .S .E .) .

Mirvish Productions is a member of the

Professional Association of Canadian Theatres

(PACT) and engages, under the terms of the

Canadian Theatre Agreement, actors and stage

managers who are members of the Canadian

Actors’ Equity Association .

The musicians employed in this production

are members of the Toronto Musicians’

Association, The American Federation

of Musicians .

RAT10SON_GFTNC_programme.indd 30 2019-09-11 1:22 PM

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Documents