Evening GHOST yorkshire

“ Let us transport you from the trials and tribulations of this year to the heart of this classic ghost tale of redemption and compassion”

A warm welcome to

Leeds Playhouse’s

festive production of

A Christmas Carol.

We can only imagine what Charles

Dickens would have thought about

2020, but there may be a clue in his

writing as to what he might regard as

the best antidote: ‘There is nothing

in the world so irresistibly contagious

as laughter and good humour.’ So, let

us transport you from the trials and

tribulations of this year to the heart of

this classic ghost tale of redemption

and compassion. Bringing together

the past, present and future, with

community and kindness triumphing

over greed and selfishness, A Christmas

Carol remains a fitting story for our

times 177 years after Dickens wrote it.

Leeds Playhouse Christmas shows

have become a major celebratory

event for the city. Last year’s magical

production of The Wizard Of Oz brought

audiences flocking to follow the yellow

brick road, and other recent festive

hits include our much-celebrated

production of The Lion, the Witch

and the Wardrobe, which went on to

draw crowds at The Bridge Theatre in

London last year, Strictly Ballroom the

Musical, which subsequently toured

to Toronto and the West End, and

Chitty Chitty Bang Bang, which went

on a hugely successful 13-month tour

of the UK and Ireland. Add in past

Photography by Anthony Robling

yorkshire

triumphs such as Matthew Warchus’

Peter Pan, Jude Kelly’s Singin’ in

the Rain and Nikolai Foster’s Annie,

which was still touring seven years

after its performances here in 2011,

and you can see why the Playhouse

has such a strong festive following.

Christmas is always a magical time

for us and this year we wanted to

share the joy with as many people as

possible. We have gifted 1,000 free

tickets to NHS workers as a huge thank

you for their incredible work. The

production features integrated British

Sign Language, a creative technique

that worked so brilliantly in Director

Amy Leach’s last production Oliver

Twist in March. We are also filming the

production in order to make it available

for free to schools, hospitals and care

homes where residents and pupils

are not able to visit the Playhouse.

We’ve been overwhelmed by the

generosity of spirit and creativity of the

people of Leeds and the City Region

over the past few months – thank you

for your unflagging support. I also

want to say a special thanks to our

production sponsors Irwin Mitchell

and Caddick Group for their support

in bringing this production to life.

I hope you thoroughly enjoy

A Christmas Carol and wish you

and your loved ones a very Merry

Christmas and a Happy New Year.

James Brining, Artistic Director

2

Coming together to make magic and memories

BSL Interpreter Max Gartery and Director Amy Leach in rehearsals for A Christmas Carol Photography by Anthony Robling

3

Jo Haywood

Christmas shows are always

a highlight of the theatre

calendar, bringing joy and

a sense of togetherness to

people of all ages. Now, as we come

to the end of such a tumultuous

year, it feels more important than

ever to give audiences the gift of a

truly magical shared experience.

“Making a Christmas show is a

huge honour and responsibility,”

said Amy. “For some, it might be the

only opportunity they have all year

to watch a piece of live theatre. So

you want to create something truly

magical and memorable that a mix

of generations can enjoy together.

“It has been such a tough year

for everyone, so it feels all the more

important to bring festive spirit to

audiences this Christmas. One of the

major things we’ve all missed out on in

2020 is the shared experience – coming

together with other people to enjoy a

live event. We hope our audiences will

enjoy not only a magical show but also

the warmth and joy of experiencing

it surrounded by other people, albeit

in a safe, socially distanced manner.”

Amy’s year has been bookended by

Dickens. She directed an adaptation

of Oliver Twist at the start of the year,

creatively exploring its central theme of

social injustice which, sadly, continues

to resonate over 150 years on. Now,

she’s bidding farewell to 2020 with A

Christmas Carol, one of the best-loved

stories written in the English language.

“A Christmas Carol has got it all

– laughter, ghosts, heartbreak, and

a cracking story of the redemption

of a hard-hearted man who

rediscovers the joy in his heart and

his love for humanity,” she said.

“A Christmas Carol has got it all - laughter,

ghosts, heartbreak, and a cracking story of the redemption of a hard-hearted man who rediscovers the

joy in his heart and his love for humanity”

Playwright Deborah McAndrew’s

adaptation of Dickens’ classic festive tale

was first staged at the Playhouse as part

of its Pop-Up Season. Amy originally

intended to recreate this well-loved

production for Christmas 2020, but

the stringent restrictions of Covid-19

meant she and designer Hayley Grindle

had to reimagine the entire show.

“The original production had 60

costume changes and required a lot of

close social contact, which obviously

would not be appropriate now. We

needed to reimagine the show to make it

safer and simpler, and we also wanted to

embrace the moment; to acknowledge

what the audience and the actors have

experienced this year. That led us to

starting the show with a ghost light

surrounded by theatre ghosts who have

been waiting for audiences to return.”

Amy gathered a team of eight

actors – some familiar faces and some

new to the Playhouse – to create A

Christmas Carol. The cast includes a

mix of deaf and hearing performers,

who work together to make the show

accessible and enjoyable for all.

Leeds Playhouse has been pioneering

accessible performances for many

years, staging the first ever Relaxed

Performance ten years ago, swiftly

followed by the first Dementia

Friendly Performance. Since 2018,

it has led the way in terms of audio

description, captioning and British

Sign Language, making them an

integral part of the creative fabric

of the play rather than an add-on

element. Leeds-based BSL consultant

Adam Bassett and deaf cast members

Nadia Nadarajah and Stephen Collins

have helped to ensure this pioneering

work continues in A Christmas Carol,

which has BSL woven throughout.

“When we think of access elements

as creative layers of the production,

it’s like discovering a whole new layer

of paints in your paint box,” said

Amy. “It opens up new possibilities

for storytelling, new nuances to

characters and storylines, and forces

the whole team to think harder about

the clarity of the tale they are telling.”

A Christmas Carol has also provided

valuable creative opportunities for

artists supported by the Playhouse’s

Furnace artistic development

programme, including Associate

Director Sameena Hussain, who is a

Resident Director at the Playhouse as

part of the Regional Theatre Young

Directors Scheme (RTYDS), and Trainee

Assistant Director Sajidah Shabir.

“We were also aware of how much

deaf and disabled artists have been

side-lined throughout the pandemic

so, along with RTYDS and Ramps on

the Moon, we gave 18 deaf and disabled

early career directors from across

the country a paid opportunity to

observe a day of rehearsals via Zoom.

We really enjoyed welcoming them all

and seeing their faces pop-up on our

large rehearsal room TV each day.”

A festive family show has been top

of the Playhouse’s wish list during

this most testing of years, and with

the opening of A Christmas Carol

it feels like the festivities can finally

begin. So, let’s pop on a party hat

and raise a glass to toast the season

– and the power of togetherness.

“On his journey with the ghosts,

Scrooge discovers the power of

togetherness and mutual support,”

said Amy. “Through the darkness of

2020, the best of humanity has shone

through as people have supported

each other through hard times. We

bring the show to a close with We Wish

You A Merry Christmas, which seems

like a particularly apt sentiment this

year. And I can honestly say that I

have never wanted to wish everyone

a happy new year more in my life!

“So, to all the team working on A

Christmas Carol, to our audiences,

to the staff at the Playhouse, to the

artists of the region, and to all the

people the Playhouse seeks to serve

each year, I wish you a heartfelt happy

new year and all the best for 2021.”

Director Amy Leach explains why Christmas just wouldn’t be Christmas without a festive family show

4

Jo Haywood

Inspiration for the set design of A

Christmas Carol came via a literal

‘lightbulb moment’. When theatres

were forced into lockdown in

March, we left a traditional ghost

light in each of our auditoriums – the

Quarry, the Courtyard and the Bramall

Rock Void – as small beacons of hope

during an unprecedentedly dark time.

These ghost lights, and the warm

reaction they prompted from people

who love the theatre and who were

counting the days until its return, were

the spark that fired the imagination of

acclaimed Set and Costume Designer

Hayley Grindle, becoming an integral

part of her vision for A Christmas Carol.

“Originally used as a practical

measure on Victorian stages to keep

them dimly lit when they weren’t in use,

they attracted a host of superstitious

stories from the start,” she explained.

“It was widely believed then – and,

indeed, many people still believe now

– that all theatres have a ghost, and

that the ghost lights appease them.

Instead of cursing the theatre, they

perform on the dimly lit stage.”

“Many people still believe now that all

theatres have a ghost, and that the ghost

lights appease them. Instead of cursing the theatre, they perform on the dimly lit stage”

The restrictions imposed as a result

of Covid-19 also influenced Hayley’s

design concept, encouraging her to

rethink the landscape of the stage and

map out a whole new way of working.

“Practically, we needed a more

Creating Christmas

Set and costume designer Hayley Grindle explains how she’s bringing the spirit of the season to the stageIllustrations by Hayley Grindle

5

fluid space with lots of entrances and

exits, and intrinsic signposting for the

cast so they know they are always two

metres apart,” she said. “The landscape

we are working in has completely

changed, but the essence of Dickens’

traditional festive tale remains true.”

In a strange way, the challenges

of the pandemic have actually

propelled Hayley down an

interesting new creative avenue.

“I definitely felt a new energy for the

piece and more of a need to be playful

with the design. I love being challenged

to think in a new way and to make

the seemingly impossible possible.”

A Christmas Carol audiences are

greeted by an empty Victorian stage lit

by a single ghost light. Slowly, a company

of ghosts emerge from the dark, eager

to share their story after what feels like

a lifetime – or, indeed, an after-lifetime

– waiting in the wings. Each is dressed

in stripped-back Victorian garb, the

undergarments, padding and shapewear

of the time providing a foundation for

costume additions that help build a

character and express who they are.

“I really loved the challenge of

creating costumes under Covid and

feel very excited about the world we’ve

produced as a result,” said Hayley. “I

think it suits the times and, by stripping

everything back, I’ve had to be clearer

with the story-telling of the clothes.

The costume challenges posed by the

pandemic are, in effect, what conjured

the idea of the ghosts of the theatre.”

“The costume challenges posed by

the pandemic are, in effect, what conjured the idea of the ghosts

of the theatre”

Hayley has worked with A Christmas

Carol Director Amy Leach and the

Playhouse team before, most recently

on Oliver Twist, which was brought to a

dramatic halt at the start of lockdown.

Their mutual trust, compatibility,

support and shared vision were

certainly a boon when it came to

creating a post-lockdown festive

production on a tight schedule and with

a whole host of new restrictions in place.

“I adore the team here at the

Playhouse,” said Hayley. “Having that

inbuilt trust between us has helped

hugely and has meant we could work

at speed while feeling we’ve got each

other’s backs. Everyone has great ideas

and brings so much to the table. Even

when I’ve not been in the room, I’ve

felt the camaraderie from afar.”

Even without the additional

challenges of a pandemic, creating a

Christmas show is always a big ask. As a

designer, you want to deliver something

impactful and memorable without

detracting from the much-loved – and,

particularly this year, much-needed

– twinkly spirit of the festive season.

“Christmas is about delivering visual

surprises that delight audiences,” said

Hayley. “This doesn’t have to mean

Set model and photography by Hayley Grindle

big set changes, which we can’t do

this year, but it can instead be about

a shift in the mood – a quiet moment

that builds emotionally; a surprise that

you didn’t see coming; embracing and

exploring language through signing; a

new colour way on stage; an inventive

costume, song or movement sequence.

It’s about creating ideas that take the

audience on an emotional journey.”

This year will remain in the memory

for a long time to come. It has been

tumultuous for everyone and, as a

result, Hayley believes we need the

Christmasiest Christmas with a festive

show packed with seasonal spirit.

“We definitely need that Christmassy

feeling this year,” she said. “I know

I’m absolutely desperate to see a

big Christmas tree! More than that

though, I think we all need some

magic in our lives – to feel that

unmistakable burst of joy that a

wonderful festive show can bring.”

6

behind the scenes

Above BSL Interpreter Max Gartery Right Jack Lord Photography by Anthony Robling

7

Below Lladel Bryant Bottom left Nadia Nadarajah Bottom right Tessa Parr

8

This page Right Assistant Director Sajidah ShabirBelow Jack Lord, Lladel Bryant and Lisa Howard

Opposite pageRight BSL Consultant Adam BassettBelow left Jack Lord and Stephen CollinsBelow right Jack Lord and Dan Parr

Photography by Anthony Robling

9

10

Jo Haywood

Rehearsal rooms have always

been social spaces, with

warm-up games, hugs

and mugs of tea peppered

throughout the day as the cast, creatives

and crew work hard to get a show up

on its feet. But that all changed with the

onset of Covid-19. Now, rehearsal rooms

are still social, but at a safe distance.

So, what was it like to be back in

the rehearsal room for A Christmas

Carol after months in lockdown?

“There was such a mix of emotions

at play,” said Sameena. “First, there

was the utmost joy and gratitude to

be making work again – for many of

us, it was the first time we’d been in a

rehearsal space for a very long time –

and then there was slight apprehension

at returning to something that looked

and felt so familiar yet had a whole new

set of rules that we had to learn so we

could successfully share the space.

“What was present from the

beginning, however, was openness,

honesty and acknowledgment of where

everyone was at, mentally, emotionally

and physically. We gave ourselves time

to prepare for what lay ahead; for

accepting that what normally would be

a simple and straightforward task might

now be tricky to achieve. Kindness

to oneself, and to others sharing the

space, was very much encouraged.”

The most obvious change in the

rehearsal room was the need for

social distancing at all times within

the company bubble. This meant

that everyone – the actors, directors,

stage management, BSL interpreters,

anyone in the room – had to adhere

to their own designated space.

“This has thrown up some creative

challenges, which were actually quite

fun and exciting to solve, but it has

been undeniably difficult not to be

able to hug, or play certain warm-up

games, or even help each other with

simple things like passing a prop.

Interestingly though, the new rules –

the daily checking in procedure, the

Associate director of A Christmas Carol Sameena Hussain gives us a guided tour of the rehearsal room – complete with social spaces and temperature checks

Welcome to our room with a new view

11

temperature checks, the designated

social spaces for people and their

belongings – have also brought comfort

and safety to the group. Having clarity

has brought us all peace of mind.”

Social distancing has not stopped the

cast, creatives and crew from forming

a strong bond. They might not be

able to pass round the biscuit tin and

settle down together for a cosy chat,

but this hasn’t hindered them from

forging a strong sense of togetherness.

“Everyone’s passion and dedication to

make this show has helped us to bond,”

said Sameena. “We might not have been

able to do a lot of the things we would

have done pre-Covid, but this has only

heightened everyone’s eagerness to

connect and be explicit in reaching

out to each other in other ways.

It has proved to be an extremely

warm, kind and generous room.”

“This has only heightened everyone’s eagerness to connect

and be explicit in reaching out to each other in other ways”

She thinks the challenges posed by

the new Covid-19 restrictions in the

rehearsal room have actually enhanced

the bonding process: “We’ve loved

having a puzzle to solve. Rather than

being a hindrance, it’s added another

element to the making process. It’s

also been particularly great to have

Zoom in the room, so people can drop

in and see where we’re at, enjoy the

atmosphere and camaraderie, and

feel connected to the wider team.”

There have, inevitably, been lows

as well as highs in the new rehearsal

process, but, thankfully, the latter

have far outweighed the former.

“The most difficult thing about

creating a show under Covid?

Honestly, it’s missing out on those

vital little moments of human

contact – giving someone a hug,

making a cuppa together, and sharing

a bit of food,” said Sameena.

“Mostly though, the rehearsal time

we’ve shared on A Christmas Carol has

been an utter joy. It’s incredible how

quickly you become accustomed to

new rules and how you soon begin to

appreciate that they are actually making

work possible by ensuring that we can

safely be together in the same room. We

have a shared language and guidelines,

and that helps tremendously.

“It’s not been an easy transition, but

change never is easy. It is, however,

a place where we grow, transform

and learn, which means it has been

worth it. Sharing the opportunity to

create a festive show for families to

enjoy has been a real balm, gifting

us a feeling of togetherness at a

time when we need it the most.”

Below Jack Lord, Stephen Collins, Lisa Howard and Adam Bassett. Left RTYDS Director Sameena Hussain Photography by Anthony Robling

12

225g unsalted butter

225g dark brown sugar

100g black treacle

25g golden syrup

375g plain flour

4 tsp ground ginger

2 tsp ground cinnamon

3 medium eggs

225ml whole milk (warmed)

2 tsp bicarbonate of soda

1. Preheat oven to 180C/160C Fan

2. Grease and line a 2lb loaf tin

3. In a pan gently heat the butter, sugar, treacle and golden syrup until smooth, then let cool for 10 mins

4. In a bowl, sift the flour, ginger and cinnamon together

5. Pour in the treacle mix

6. Add in the eggs

7. Mix the bicarbonate of soda with the warm milk and allow to thicken a little

8. Add to the mixture and pour into the loaf tin

9. Bake in the oven for 50 mins - 1 hour

10. Cool in the tin for 15 mins and then cool on a wire rack

Decorate with your favourite festive delights and enjoy

Recipe by Carol Watson

Across

1. Scrooge’s nephew (4)

5. Director of Leeds Playhouse’s

A Christmas Carol (3, 5)

7. Scrooge’s Clerk (3, 7)

8. Scrooge’s business name, Scrooge & _ (6)

9. The ghost of Christmas _

(not present or future) (4)

11. Scrooge’s first name (8)

12. Scrooge’s gift to the Cratchits

on Christmas Day (6)

Down

1. Scrooge’s first employer (8)

2. Mr & Mrs Cratchit’s youngest son (4, 3)

3. Scrooge’s profession (6)

4. Author of the original novel (7, 7)

6. Scrooge’s business partner’s first name (5)

7. Scrooge’s famous saying (3, 5)

10. A Christmas gift (7)

Answers on page 19

13

14

Amy Leach Director

Hayley Grindle Set & Costume Designer

Chris Davey Lighting Designer

John Biddle Composer and Musical Director

Ed Clarke Sound Designer

Lucy Cullingford Choreographer

Rachael Canning Puppet Designer

Elisa De Grey Puppet Director

Beverley Canning Puppet Costume Maker

Sameena Hussain Associate Director (supported by RTYDS)

Sajidah Shabir Trainee Assistant Director

Adam Bassett BSL Consultant

Stephen Collins BSL Deviser

Nadia Nadarajah BSL Deviser

Hear the Picture Audio description

CREATIVES

CAST

Based on the novel by Charles DickensAdapted by Deborah McAndrewDirected by Amy Leach

A CHRISTMAS CAROL

Anthony Robling Rehearsal and production photography

Sodium Rehearsal and production filming

Steve Cressy Company Stage Manager

Julie Issott Stage Manager

Richard Lodge Deputy Stage Manager

Kayleigh Chapman Assistant Stage Manager

STAGE MANAGEMENT

Sarah Cox

Max Gartery

Van Holtom

Rebekah Mills

Alexia Blohm Pain

Julie Thompson

Dave Wycherley

BSL Interpreters

Christmas at Leeds Playhouse is sponsored by

Families Partner Access Partner

Lladel Bryant Dick Wilkins and Topper

Stephen Collins Bob Cratchit

Lisa Howard Christmas Present and Mrs Fezziwig

Jack Lord Scrooge

Nadia Nadarajah Mrs Cratchit

Dan Parr Fred and Young Scrooge and Puppeteer

Tessa Parr Christmas Past and Puppeteer

Everal A Walsh Marley and Fezziwig

For full biographies, visit leedsplayhouse.org.uk

Special thanks to the cast, crew and theatre workers who created the original productions of A Christmas Carol at Hull Truck in 2017 and in the Leeds Playhouse Pop-Up Theatre in 2018.

https://caddick.co.uk/https://www.irwinmitchell.com/

15

Dear reader,

This year has shown us, more than ever, how important our families and friends

are to us, so spending time at the theatre together feels even more special.

A Christmas Carol embodies the spirit of human relationships

and shows how empty and sad our lives can become without them.

Compassion and kindness to others, and helping those less fortunate

or able than ourselves is what makes a true community. Which is why

we, at the Caddick Group, are committed to supporting organisations

who reach out to people in Leeds who need a helping hand.

As well as being a Principal Capital Partner at Leeds Playhouse, the Caddick

Group is also its Families Partner. As a family-run business, this is important

to us. We are delighted to support the theatre’s creative engagement

work, which runs workshops and projects for 10,000 people every year,

including young people, older people, local communities and schools.

And now we’re neighbours too! Construction on the New York Square

apartments by our sister company Moda Living is in full swing. And what’s

more, it’s being delivered by Caddick Construction – so this really is a family

affair. It’s all taking place next door to the Playhouse, where we’re creating

SOYO – the new heart of the cultural quarter with one of the biggest green spaces

in the city centre where, one day soon, we’ll be able to come together again.

We might not be able to be with everybody we want this Christmas, but they

are in our hearts and minds as we look forward to a brighter future together.

From everyone at the Caddick Group, we wish you a very Merry Christmas

A ChrisTmas message from our family to yours

An actor-led audio description companyPushing the boundaries of creative access for visually impaired audiences within theatre. We experiment creatively with different forms of audio description to take you on an immersive journey into the world of the show.

Email: Info@hearthepicture.co.uk Twitter: @HearThePicture

16

Q: What does Christmas mean to you?

Christmas is a chance to relax and spend quality time with family and

friends. It’s a good opportunity to reflect on the past twelve months and

think about the future. For Irwin Mitchell, it’s also an opportunity to

thank our clients and colleagues and celebrate our achievements.

Q: What are your plans for Christmas this year?

With the current restrictions, it’s difficult for anyone to make concrete plans, but

I really hope we’ll be in a position where we can see our family and friends and

enjoy a happy Christmas full of fun and laughter with all the trimmings!

Q: Tell us about your role as a Principal Capital Partner

and Access Partner of Leeds Playhouse?

Our relationship with the Playhouse began informally when we arranged a trip

to the theatre for a group of children with disabilities. Our subsequent formal

partnership was secured and has been successful because both organisations

promote inclusivity. Having a key role in facilitating the recent redevelopment

of the Playhouse raised our profile in the city and showed that our community

values are at the heart of everything we do. Our work isn’t just about damages, it’s

about helping people rebuild their lives and ensuring they have access to whatever

they need to feel fulfilled, which includes access to the arts and theatre.

Q: You’ve worked with the Playhouse for over 11 years. What have been the highlights?

We have seen a lot of positive changes and have been proud to be part of the accessibility

improvements at the theatre. Our highlights include playing a key role in delivering

a fully modernised Playhouse building with full disabled access. We were also thrilled

to celebrate 500 accessible performances – a real milestone – as well as helping the

Playhouse deliver their pioneering Relaxed and Dementia Friendly performances.

Q: How exciting is it to see Director Amy Leach putting

accessibility at the heart of her theatre-making?

We fully support her vision and her commitment to putting D/deaf and

disabled artists and audiences at the centre of her work. Increased diversity

and inclusivity on stage ensures that theatre is for everyone.

Q: Business sponsorship helps the Playhouse carry out pioneering work both

on and off stage. How does your business benefit from supporting us?

Our sponsorship aligns with our strategic pillars of Colleagues, Clients and Community.

Our people have access to productions, we can treat our clients to money-can’t-buy

experiences, and we are able to give free tickets to charity groups. We also take great

satisfaction in knowing that we’re supporting an iconic Leeds landmark that not only

brings joy to theatre goers but also supports many of the most vulnerable people in society.

A quick Christmas quiz with Irwin Mitchell

ACCESS INFORMATIONThis adaptation of A Christmas Carol by playwright Deborah

McAndrew is directed by Amy Leach and builds on the Playhouse’s

knowledge and highly acclaimed creative work in accessibility and

inclusion in theatre, in partnership with Ramps on the Moon.

British Sign Language All performances of A Christmas Carol will have integrated British

Sign Language

Audio Described Audio described performances are designed to improve the

experience of visually impaired and blind attendees. As well as

listening to the dialogue on stage the customer can wear a headset

and listen to a live description of the action on stage. Performances

on Thursday 17 December, 7pm and Saturday 9 January, 2pm

will feature creative audio description, courtesy of Hear the Picture

Captioned

Open captioning allows attendees with varying degrees of hearing

to view the full text as it is spoken or sung, including sound effects

and off stage noises. The captions appear on a scrolling screen,

positioned on or at the side of the stage. Captioned performances

on Wednesday 23 December, 7pm and Friday 8 January, 7pm

Relaxed Performances A relaxed performance includes technical and front-of-house

adaptations to create a suitable environment for an audience of

young people or adults with learning disabilities. This may include

extra lighting, additional wheelchair spaces and the freedom to

move to alternative seating if required. Relaxed performance on

Thursday 7 January, 2pm

17

Supporters and Thanks

Major Funders

Trusts And Foundations

Major Donors Corporate Partners

Directors’ Club

Project Partners

Leeds Playhouse is a registered charity (255460) and relies on support from a wide range of partners to make great things happen. We would like to thank all our supporters and funders for their commitment to our theatre. For more information on how you can help, visit leedsplayhouse.org.uk or email fundraising@leedsplayhouse.org.uk

Arnold Burton Charitable Trust, R E Chadwick Charitable Trust, The Peter Black Charitable Trust, Charles Brotherton Charitable Trust, Society of Theatre Research

Principal Capital and Families Partner

Sir Rodney and Dr Lady Clare Brooke

Principal Capital and Access Partner

Supporters’ Club Platinum: Ian Brown; Nicola Down

LEEDS CITY COLLEGE

Brooke Club

Artistic Directors Circle Sir Rodney Brooke CBE Diamond James and Diana Drife; Mr Roland Stross; Ruby John Duncalfe; Clive and Virginia Lloyd; Amber Anne Muers; Neil Adleman; Ed and Heather Anderson; Mr A Blackwell; Nick and Linda Brown; Hilary Curwen; Mr R Duncan; Mike Ellis; Mrs Anne Emsley; Jacqueline Harris; Gwyneth Hughes and Chris Brown DL; Sarah and Bruce Noble; Ali Rashid

18

Leeds Theatre Trust Limited Honorary PresidentCllr Bernard Atha CBE

Vice Presidents

Mark Dickson, Elizabeth Minkin

TrusteesRozina Breen (Chair), Neil Adleman (Vice-Chair),Alan Dix, Mike Ellis, Kevin Emsley, Sarah Friskney, David Jones, Cllr Jessica Lennox, Claire Lowson, Michael Nabarro, Ruth Pitt, Susan Pitter, Ali Rashid, Ken Reid, Simon Walker,

Sharon Watson

Creative Engagement Advisory Group Ken Reid (Chair),Sir Rodney Brooke CBE, Sally Coe, Sarah Haig, Cllr Roger Harington, Tessa Mason, Jon Price, David Prosho, Jo Speak, Emma Tregidden, Cllr Chris Townsley,

Sarah Westaway, Kathy Williams

Leeds Playhouse (Enterprises) Limited Tony Sharp (Chair), Rozina Breen, Mike Ellis, Kevin Emsley, Alan Dix, Cllr Peter Gruen, Ali Rashid, Simon Walker, Chris Williams

Fundraising and Development Committee Jacqueline Harris (Chair),Sir Rodney Brooke CBE, Linda Brown, Kevin Emsley

ExecutiveJames Brining Artistic Director/Joint CEO

Robin Hawkes Executive Director/Joint CEO

Annette IrelandPA to the Artistic Director and Executive Director

Artistic Planning Amy Leach Associate Director

Wesley Bennett-PearceSenior Producer

Zoe BaileyProducer

Jacqui Honess-MartinLiterary Associate

Rio MatchettFurnace Coordinator

Paul WilshawAgent for Change

Mitchell VernalsStage One Trainee Producer

Sameena Hussain RTYDS Resident Assistant Director

Kat Rose-Martin

Kay Mellor Fellow

Commercial and OperationsMatt BowmanCommercial and Operations Director

David RossBuildings Services Manager

Jamie ClarkeMaintenance Engineer

Sally Stone Costume Hire Manager

Luke McDonough-Stratford Costume Hire Supervisor

Lee Dennell Bar and Catering Manager

Rachel Cohen Senior Catering Supervisor

Owen Thomas Food and Beverage Supervisor

Jordan Bainbridge Casual - Food and Beverage

Oscar Burton Casual - Food and Beverage Charles HumphreysCasual - Food and Beverage

Emily KinghornCasual - Food and Beverage

Kinga Kovacs Casual - Food and Beverage

Liam Sykes Casual - Food and Beverage

Tiffany Horne Premises Supervisor

Carl Rutherford Premises Supervisor

Amanda Brown Housekeeper

Amanda Massey Housekeeper

Eddie Dube Housekeeper

Karen Jones Housekeeper

Kevin Westwood Day Porter

Graham InceTheatre Manager

Jon Dean Assistant Theatre Manager

Sheila Howarth Front of House Assistant Manager

Ian BrownDuty Manager

Rachel Greener Duty Manager

David Archer Attendant

Josephine Corser Attendant

Debra Felix Attendant

Liam GordonAttendant

Laura Homer Attendant

Philip HowarthAttendant

Karen Jarman Attendant

Kyriaki Kitsa Kyriacou Attendant

James Mason Attendant

Allan MawsonAttendant

Linda McDonough Attendant

Janine OwenAttendant

Amanda RobinsonAttendant

Brandon Robinson-ConnollyAttendant

Nadia Saeed Attendant

Helen Welch Attendant

Deborah Bartlett Front of House Attendant

Harriet BrookeFront of House Attendant

Louisa Claughton Front of House Attendant

James Carruthers Front of House Attendant

Lucy Dyson Front of House Attendant

Laura Elder Front of House Attendant

Charlotte EndersbyFront of House Attendant

Michael Godsall Front of House Attendant

Annie GrahamFront of House Attendant

Jack Hewitt Front of House Attendant

Connie Hodgson Front of House Attendant

Ben Hunter Front of House Attendant

Sahar Ijaz Front of House Attendant

Ieuan Jones Front of House Attendant

Fraser McKeownFront of House Attendant

Unique Medford Front of House Attendant

Soshain Shehadeh Front of House Attendant

Mandie Thompson Front of House Attendant

Remarn Wilkes Front of House Attendant

Christopher YoungerFront of House Attendant

Kayleigh Wright Conferencing and Events Manager

Robert Smith Cafe Assistant

Creative Engagement

Alexander Ferris

Associate Director - Creative

Engagement

19

Ruth Hannant

Head of Creative Engagement

Gemma Woffinden

Youth Theatre Director

Eleanor Manners

Senior Young People’s Officer

Sam Erskine

Young People’s Officer (Outreach)

Shreena Gobey

Interim Youth Work Manager

Matthew Dalbert

Young People’s Officer (Youth Work)

Natalie Kyrkos

Young People’s Officer (Learning

Disabilities)

Maddison Norton

Young People’s Assistant

Amy Lancelot

Creative Education Manager

Jenny Jones

Creative Education Officer

Fiona McCulloch-Exley

Communities Manager

Macteld De Ruyck

Older People’s Programme Manager

Seherish Mahmood

Creative Engagement Assistant

Madeleine Thorne

Head of Playhouse Youth

Thomas Dransfield

Buzz Creative Arts Course

Project Manager

Jenny Sullivan

Young Leaders Project Manager

Lily Craig

Special Projects Manager

Finance and IT

Chris Williams

Finance Director

Shelley Fox

Financial Controller

Coleen Anderson

Senior Finance Officer

Frances Dunn

Finance Officer

Andrew Donaldson

Interim Accountant

Alan Sutcliffe

Interim Accountant

Ross Bownes

IT Manager

Fundraising and Development Kath Russell

Strategic Director of Fundraising

and Development

Kate Jeeves

Head of Development

Beth Knight

Development Manager

(Trusts and Foundations)

Dara Romaniw

Development Administrator

Human Resources and Learning Chris CoatesDirector of Human Resources and Learning

Marketing and CommunicationsHannah Hughes

Director of Marketing

and Communications

Anna Kelner

Head of Marketing

Jessica Roper

Marketing Officer

Rachel Marriner

Head of Media

Jo Haywood

Media Officer

Liz Irving

Sales Manager

Corinne Furness

Box Office Manager

Terri Barns

Box Office Team Leader

Lynn Hudson

Box Office Team Leader

Isla Pearce

Graphic Designer

Production

Judith Cloke

Technical Director

Mick Cassidy

Production Manager

Bik-Yuk Wan

Production Co-ordinator

Steve Cressy

Company Stage Manager

Michelle Booth

Stage Manager

Julie Issott

Stage Manager

Richard Lodge

Deputy Stage Manager

Kayleigh Chapman

Assistant Stage Manager

Chris Harrison

Head of Stage

Felix Beresford

Deputy Head of Stage

Tom Spencer

Senior Stage Technician

David Bennion-Pedley

Head of Lighting

Paul Lovett

Deputy Head of Lighting

Joe Izzard

Senior Lighting Technician

Chloe Anne James

Senior Lighting Technician

George Bryant

Bramall Rock Void Technician

Keiran Meadowcroft

Bramall Rock Void Technician

Martin Pickersgill

Head of Sound

Tom Cuthbertson

Deputy Head of Sound

Rob Landells

Senior Sound Technician

Andy Wood

Head of Scenic Workshop

Kevin Cassidy

Construction Manager

Ginny Whiteley

Head Scenic Artist

Dickon Harold

Head of Technical Design

Craig Patullo

Props Supervisor

Jimmy Thurston

Props Supervisor

Sarah Barry

Assistant Props Maker

Stevie Coulson

Scenic Carpenter

Dominik Rogala

Scenic Carpenter

Natalie Whitley

Scenic Metalworker

Victoria Marzetti

Head of Wardrobe

Kirsty Blades

Deputy Head of Wardrobe

Julie Ashworth

Head Cutter

Rachel Hodgson

Cutter

Emma Hassall

Wardrobe Assistant

Carrie Clark

Wigs, Hair and Make-up Supervisor

Beth Clenton

Dresser

Les Woolford

Freelance Tailor

Vicky Richards

Freelance Maker

Lenka Kupkova

Freelance Maker

Alison Turton

Freelance Milliner

Volunteers and Support WorkersWe would like to say a massive thank you to all the people who give up their time and support us as Volunteers at Leeds Playhouse. Without their dedication we would be unable to carry out many of our activities, both on and off stage.

If you are interested in volunteering at Leeds Playhouse, please contact info@leedsplayhouse.org.uk

Crossword AnswersAcross: 1. Fred 5. Amy Leach 7. Bob Cratchit 8. Marley 9. Past 11. Ebenezer 12. Turkey

Down: 1. Fezziwig 2. Tiny Tim 3. Banker 4. Charles Dickens 6. Jacob 7. Bah Humbug 10. Present

Playhouse Square, Quarry Hill, Leeds, LS2 7UP

Leeds Theatre Trust Limited Charity Number 255460

VAT No. 545 4890 17 Company No. 926862, England Wales

CREATIVE ENGAGEMENTTake part in something brilliant

Creative Engagement at Leeds Playhouse offers a whole host of activities all year round for young people, older people, local communities, schools, refugees and people seeking

asylum. Find out how you can get involved.

Visit leedsplayhouse.org.uk/creative-engagement Email engagement@leedsplayhouse.org.uk

Phone 0113 213 7700

FURNACEAre you a local artist?

Furnace Social Club at Leeds Playhouse

is our artist development network.

Join today to meet others, share ideas

and spark something new.

Visit leedsplayhouse.org.uk/furnace

or phone 0113 213 7700

Playhouse Supporters’ Club

Make a regular donation to ensure our vital, life-

changing work continues, from £6 per month

Leeds Playhouse is a registered charity (no. 255460) and every penny you give goes into the work we

create for our stages, the way we engage with our communities and support artists.

For more information and to donate: leedsplayhouse.org.uk/support-us/

or phone 0113 213 7700

EST. 1970

Celebrating

years

LEEDS PLAYHOUSE

leedsplayhouse.org.uk

0113 213 7700

@LeedsPlayhouse

https://leedsplayhouse.org.uk/creative-engagement/https://leedsplayhouse.org.uk/furnace/https://leedsplayhouse.org.uk/support-us/