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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: [email protected] 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 [email protected]
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 [email protected]
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 [email protected]
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/