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THEATRE6 AND CATHERINE SCHREIBER WITH ADAM ROEBUCK AND BRUNO WANG PRESENT

BY MOIRA BUFFINI

PAUL McGANN BELINDA LANG

JULES MELVIN ROBIN SARAH SCHOENBECK VENICE VAN SOMEREN

Directed by KATE McGREGOR Design by CARLA GOODMAN Lighting Design by WILL EVANS Music by MARIA HAÏK ESCUDERO Sound by DAVID GREGORY

Tuesday 28 March – Saturday 1 April 2017 DRAMATALK: What invigorating in rehearsals to direct hugely dramatic attracted you to the scenes only featuring women. From my perspective, story of Gabriel? that has been a real joy. There’s such a strong What made you female perspective on display here about a period want to direct it? which often focuses on a male experience of conflict KATE McGREGOR: - either going off to war, experiencing it first-hand It was the setting or reintegrating after a difficult homecoming. This is primarily. The idea completely different. It’s about survival; about living of a piece set on side by side with the German army, in this case Nazi-occupied Major Von Pfunz, played by the brilliant Paul McGann, Guernsey and not giving in. These women would have had no immediately sparked idea about when the war was likely to end and what my interest. When their future would be on Guernsey, yet they fought I first discovered the for their freedom, their identities and their land. play seven years ago, I really didn’t know DRAMATALK: How accurately does the story much about what the match the history of the occupation of Guernsey? Channel Islands went through during World War II. KATE McGREGOR: The script is based very heavily The more I read, the more intriguing it became. on actual accounts from Guernsey and many It’s rare that you find a script which has such different sources from that time. There are several pace, danger and thrill about it. The poetic, prevalent ideas for the islanders that make their romantic and yet devastating nature of the way into the narrative. It explores scenarios of what narrative really spoke to me, as did the idea of women went through during this time, with husbands, four women in a farmhouse gripping onto a sense friends and relatives fighting in the war. It looks at of normality in the face of such challenging the very sensitive issue of relations between circumstances. Direction-wise, the script has such German officers and island women. The account of wonderful, visual opportunities, and the dynamics Jeanne and Von Pfunz is completely fictionalised between the characters are so unique and but draws its inspiration from what some of the surprising, I wanted to bring it to audiences. women went through during that time. The sense It’s been 20 years since this piece was last done of desperation from the women in Gabriel is in . It felt like the right time to revive it. incredibly accurate. Estelle personifies the air of secret resistance that wove its way through this DRAMATALK: And it has a strong female cast period. Lake and Jeanne work in the supply of as well. That’s unusual for World War II dramas. black-market goods, which was incredibly KATE McGREGOR: It is unusual, yes. The fact that controversial at the time and, importantly, Lily is this is predominantly a play about women, written and directed by women about this period also makes this quite a unique production. It’s been really

IN CONVERSATION WITH DIRECTOR OF GABRIEL, KATE McGREGOR Jewish. In 1942, all Jewish residents and people who had not been born on the island were deported. Three of the Jewish women who were living on Guernsey ended up in Auschwitz and never returned. 1943 was the year of change when the war started to turn and Germany began to lose their strength; the islands began to slowly starve as food rations heavily diminished. In Europe, it was the start of the final solution. In the midst of this difficult period, our play is set. It’s certainly a haunting and provocative backdrop.

DRAMATALK: Had you worked with Moira Buffini before? KATE McGREGOR: I haven’t worked with Moira before this project but I did direct a production of Loveplay for Drama Studio London last year. There’s a sense in her work of other forces at play - spiritualism and the impact of the divine, the power of language, human morality and values, and the significance of place and environment. Moira’s work is wide-ranging and has great popular appeal, but I know that Gabriel, being her first play, is a very special one for so many reasons.

IN CONVERSATION WITH DIRECTOR OF GABRIEL, KATE McGREGOR literally underneath the soil gave me a sense of the spiritual connotations of a possible set. The strongest feeling about the play was the idea of this family living on the edge; of the continuing struggle and that everything could go disastrously wrong at any moment. They are teetering on the edge of a precipice in their world. Carla (the designer) and I put the whole house on a slant to symbolise this continuing uncertainty. We decided to give the farmhouse an unfinished feel in stark contrast to the grand ‘Hermitage’ the family have just left. We wanted their new environment to be run- down, hard to live with and barely functional. These choices really drive the drama, put ’s full focus on the plight of the characters, DRAMATALK: The production has some and amplify the magic and mystery of this play. supernatural elements to it. Is that found in the text? DRAMATALK: Why is Gabriel still relevant KATE McGREGOR: The figure of Gabriel in for today’s audiences? this play brings with him the question of the KATE McGREGOR: When we first thought of supernatural. Who is he? Where has he come producing Gabriel, we had no idea about the from? Is he there completely by chance as a social and political environment it would enter victim of war or is he actually there for some into. With all the events of the last year - the other worldly reason? Or has he, in fact, been refugee crisis, Brexit and Trump becoming sent to save them by a force beyond our president - it suddenly feels like a story of four comprehension? I don’t want to give the ending women fighting to survive in an increasingly away and, although I have my own finely tuned oppressive, morally questionable society had perception of who Gabriel is, each audience some greater relevance. Watching all the reports member will have to decide for themselves. about Syria, the suffering of ordinary people and However, there is a feeling throughout the play, their isolation from the rest of the world certainly in the way that it’s written, particularly in the drew some parallels. The characters in Gabriel too character of Estelle, that Gabriel is the angel that are stranded and receive no support from Britain she asks for at the very start when she draws or any other nation for the majority of their her ‘square of power’. At a time when hope was occupation. They are forced to work with and live in short supply, why not believe in the possibility with a force, which has committed and will go on that angels exist or at the very least that to commit huge atrocities in Europe that have salvation and redemption is still possible. deep ramifications to this day. We are being asked all the time in our current climate: what can we do DRAMATALK: How did you decide on this to help? How would you feel it you were them? set for the production? And this play does exactly the same. It asks us to KATE McGREGOR: My first idea visually was how imagine living in a world without luxuries, without the play symbolises Heaven, Earth and Hell. even basic provisions, without our own government Gabriel being kept in the attic felt like an indication to help us, with censorship, with harsh rules and of a heavenly space and certainly some of the punishments, and through no fault of our own. most hopeful moments, particularly between Lily Gabriel asks us some difficult questions and gives and Gabriel, occur here. Estelle makes many us the chance to reflect on how far we would references to the Germans tunnelling under the really go to protect ourselves and our families. house, describing the tunnels as a labyrinth. It has a feel of Hell, and reference to something happening German troops marching through slanders were forced to the streets in Guernsey, 1940 co-exist with the German soldiers, who might be Ibilleted next door or in their own homes. Many soldiers were generally conciliatory and tried to befriend the locals. They gave ice creams to the children and organised games in the summertime. Initially, people’s lives continued much as before, but as the authoritarian hand began to tighten its grip, there were many unwelcome changes.

The topography of the island still bears marks from the occupation. What we now consider to be a picturesque holiday destination was then a wartime fortress built by enemy invaders. Today, you can still walk along trenches carved into the hills and see concrete

The Priaulx Library, Guernsey Priaulx Library, The bunkers branded with small swastikas. The sandy coves where children played in pre-war innocence became pocked with mines. Coils of BALANCING barbed wire scratched at stretches of coastline.

Cut adrift from the mainland, the islanders received no ON THE protection and little guidance on how to interact with the Germans. It is important to note that islanders still refer to this time as the ‘German’ CLIFF EDGE occupation, not ‘Nazi’. These soldiers were not faceless pilots soaring high above the Channel, BY RIA JONES nor grainy figures on cinema newsreels. These were real people, many of whom did not With its beautiful coastline and quaint buildings, subscribe to the Nazi ideology. Guernsey must have felt like a charming haven to the German soldiers stationed there. For the islanders, A wave of hastily arranged however, the terrors of wartime had landed abruptly on evacuations prior to occupation saw 17,000 people leave their doorstep. As the British war cabinet had decided Guernsey. Those women that the Channel Islands were of no strategic importance, who stayed had to carry on Guernsey was demilitarised. The island was swiftly supporting their families, many invaded following the German army’s conquest in France. with husbands away fighting White flags of surrender had to be displayed outside in the Allied forces. With food supplies dwindling, they scraped homes to show compliance. Facing the realities of together meagre meals from occupation, what would you do? What could you do? vegetable peelings and potato flour. In these uncertain times, relationships between local women and the Germans were not uncommon. For many, it was a private battle between patriotism and survival. Life for the islanders became increasingly difficult as they endured daily humiliations and frequent sacrifices. For some women, having a German Guernsey Priaulx Library, The officer on their side was worth being the object of scandal. The worst possible insult was to be labelled a ‘Jerry bag’, but the treats brought by their soldiers helped to soften the harshness of deprivation. Occupation was as tedious as it was dangerous. Trips to the cinema with an officer in uniform would have added a gloss to the interminable days of work and struggle.

As war dragged on, resentment of the Germans grew. They placed restrictions on fishing and controlled food production. There are estimates that the ratio of soldiers to citizens was almost 1:1, which made it near impossible to form any kind of large-scale resistance. Some islanders still attempted to undermine German authority using words rather than weapons. The ‘V for victory’ sign was daubed on walls around the island, provoking the Germans to threaten harsh reprisals for anyone implicated in Workers on the underground forts partisan activities. Stock Photo Stock

INTERFOTO / Alamy INTERFOTO

A German light anti-aircraft gun on Guernsey, 1941 The ID card of Frank Falla who set up an underground newspaper The Priaulx Library, Guernsey Priaulx Library, The

These were small, significant acts the Germans. There is still much debate about of defiance but there were also bolder how many instances of collaboration actually displays of compassion. Any illusions about occurred. Yet accusations of complicity have cast the brutality of the regime would have been an indelible stain upon the island. crushed on seeing the severe maltreatment of the Organisation Todt slave workers. These Tense relations between the islanders and imported foreign labourers were mostly Spanish occupiers became even less amiable when over Republicans and Russians. Some courageous 2,000 British-born Guernsey citizens were islanders tried to sneak food to the emaciated deported to German internment camps. The war men, or hide those who had managed to escape. dragged on and the possibility of liberation looked increasingly hopeless. With the D-Day landings Such quiet heroism posed great personal risk. in June 1944, fortune finally seemed to favour Many islanders who tried to subvert German the Allies. This meant, however, that the fragile authority were deported to prison camps in stability of Guernsey was broken when supply Europe. The chilling ‘Untermensch’ ideologies of lines were cut. Food became even scarcer and the the Nazi regime were also inflicted on the island. whole island teetered on the brink of crisis. Long Most Jewish people had been evacuated from the queues trailed out of shops as people struggled Channel Islands before the invasion, but records to get the most basic groceries. An awful gnawing show that three Jewish women were deported hunger seized the island’s inhabitants, occupied from Guernsey and later died at the killing and occupier alike. The fate of the islanders now factory of Auschwitz. seemed inextricably linked with their captors’.

In an effort to restrict the island’s contact with the Looking out across the changeable sea towards outside world, wireless radio sets were banned. France, it was hard to know what lay on the Many were still hidden in homes and illicitly tuned horizon. The battle raged on. As muffled sounds in to the BBC. The Guernsey Underground News of gunfire rumbled in the distance and wreaths Service (GUNS) began typing and distributing of smoke appeared suspended in the sky, the uncensored news gleaned from such hidden islanders might have dared to hope. They had no radios. The members of this underground group choice but to persevere. Whatever their fate, the were eventually arrested after being betrayed to island had changed and they along with it. IN REHEARSAL Photography by HEADSHOT TOBY BY MOIRA BUFFINI

CAST

Gabriel debuted at the PAUL McGANN in 1997. Von Pfunz The first performance of the 2017 UK tour took place on Tuesday 28 March 2017 at BELINDA LANG the Jeanne Becquet The action takes place in an old farmhouse on the island of Guernsey.

JULES MELVIN February 1943. Hitler’s occupying Lake forces have been on the island for two and a half years. ROBIN MORRISSEY Gabriel The characters are Jeanne Becquet, A Widow Estelle, Her Young Daughter Lily, Her Daughter-In-Law SARAH SCHOENBECK Lake, A Housekeeper Lily Von Pfunz, A Nazi Gabriel, A Lost Man

VENICE VAN SOMEREN The performance lasts for approximately Estelle Becquet 2 hours including an interval. CREATIVE TEAM

Director Company Stage Manager Producer KATE McGREGOR MARTIN HOPE DOMINIC LINDESAY-BETHUNE Designer Deputy Stage Manager FOR THEATRE6 CARLA GOODMAN OLIVIA KERSLAKE Producer Lighting Designer Assistant Stage Manager CATHERINE SCHREIBER WILL EVANS TOM LEWER Co-producer Music Composer Wardrobe Assistant ADAM ROEBUCK MARIA HAÏK ESCUDERO FINLAY FORBES GOWER Co-producer Sound Designer BRUNO WANG DAVID GREGORY Marketing General Manager Fight Director DRESSING ROOM 5 OLIVER MACKWOOD PHILIP D’ORLÉANS Main Image Casting Director SPLASH CREATIVE LUCY CASSON PR Movement Associate AMANDA MALPASS PR CHRIS CUMING Voice and Dialect Coach CATHERINE WEATE Assistant Director MARTIN LEONARD Production Manager TOM NICKSON Forgotten Voices (); Ring Round the Moon (); The Secret Rapture (Lyric Theatre); What the Butler Saw ( Theatre/); Life x 3 (); My Boy Jack (); Things We Do for Love (); Dead Funny (Savoy Theatre); The Dark River and Two (Orange Tree); Lulu (Almeida) and Mrs Klein (). For her company, Haig Lang Productions, she has done national tours of My Boy Jack and . Other tours PAUL McGANN BELINDA LANG include: Ladies in Lavender, Von Pfunz Jeanne Becquet A Song at Twilight, The Chalk Garden and Alarms and Paul is perhaps best known Belinda Lang has, most recently, Excursions. for playing the eponymous appeared as ‘I’ in the cult classic Withnail and Her Majesty The Queen Her leading roles on television and I and the eighth Doctor in a national tour of Alan include: Bill in 2point4 Children, in Doctor Who. Bennett’s Single Spies and at Agatha Troy in The Inspector the , Dublin, as Alleyn Mysteries, Liza in Second Film credits include: Empire Mrs Culver in The Constant Thoughts, Christine Hamilton in of the Sun, Alien 3, The Three Wife. Prior to that, she appeared Justice in Wonderland, Martha Musketeers, Paper Mask, as Amanda Wingfield in The Brett in The Bretts, Kate in Dear FairyTale: a True Story, Lesbian Glass Menagerie at the Nuffield John and Beth in To Serve Them Vampire Killers and, most Theatre, Southampton, and was All My Days. recently, B&B. Aunt Eller in the national tour Her work as a director includes Television credits include: of Oklahoma! the national tours of Present series one and two of the BBC Other theatre credits include: Laughter and The Reluctant drama Luther, Hornblower of Last Resort Debutante and This Was a Man series one to four, Ripper (Tricycle Theatre/Traverse at the . Street, The Hanging Gale and Theatre); Liberty (Globe Our Mutual Friend. Theatre); The School for Scandal Theatre credits include: (); The Killing of (Duchess Theatre); Helen Sister George (); (Shakespeare’s Globe); Mourning (Haymarket Theatre Becomes Electra (National and Royal Exchange Theatre); Theatre); A Lie of the Mind, The Genius and Oi for England (Royal Court); Sabina (); (Liverpool Playhouse) and (Ambassadors). JULES MELVIN Lake

Jules trained at East 15. Theatre credits include: In , The Broken Heart and The Rape of Tamar (Lyric Hammersmith); A Chaste Maid in , Augustine’s Oak, The Taming of the Shrew, an all-female Richard III, Much Ado About Nothing and Pericles (Shakespeare’s Globe); Ursula, A House of Correction and I Saw Myself (the Wrestling School); The Devil Is an Ass and Faust parts One and Two (Royal Shakespeare Company); The Rose Tattoo (National Theatre); Private Lives (Hampstead Theatre) and Inspector Goole in (English Theatre Frankfurt). Television credits include: The Bill and Casualty. ROBIN SARAH VENICE VAN MORRISEY SCHOENBECK SOMEREN Gabriel Lily Estelle Becquet

Robin trained at RADA. Sarah trained at the Royal Venice trained at Drama Central School of Speech Centre London. Theatre credits include: and Drama. The Government Inspector Theatre credits include: (Birmingham Rep - UK tour); Theatre credits include: Thérèse Raquin (Southwark Sex and the Three Day Week Dracula (New Vic Theatre); Playhouse, London) and (Liverpool Playhouse); Juno and The Breadwinner (the Orange Can’t Stand Up for Falling the Paycock (Bristol Old Vic/ Tree); The Man Who Pays the Down (Theatre N16, London). Liverpool Playhouse); Twelfth Piper (the ) Film credits include: (Liverpool Everyman) and Snow at the End of the Silver (NFTS/BFI). and The Accrington Pals World (the Old Red Lion). (Manchester Royal Exchange). Film credits include: Marina Film credits include: Mindhorn and Adrienne. (Scott Free Productions); Cloud Television credits include: Atlas (Warner Bros Productions) regular role of Lizzie Baker and Love Bite (Ecosse Films). on 4 O’Clock Club (BBC) Television credits include: Apple and Doctors (BBC). Tree Yard (BBC); Little Crackers (Sky 1) and Holby City (BBC). Bursary at the Salisbury Past the Baltic (Nottingham Playhouse. She trained at the Playhouse); Theatre Uncut National Theatre Studio and (Traverse Theatre and UK tour); Drama Studio London. Listen, We’re Family (Wilton’s ); Ariodante (Royal Her credits include: Kinetics Academy of Music); Much and (UK tour); Grace - a New Youth Me (Bush Theatre); I Am Your Musical (New Wimbledon Neighbour ( - site- Theatre); Honest (UK tour); The specific); A New Face for Fast Mill on the Floss and Loveplay Times (); The (Tristan Bates Theatre/Drama Love Project ( and Studio London); Richard III UK tour); Nola (Underbelly, and Henry V (Sam Wanamaker Edinburgh); Step Live! (Royal Playhouse/Globe Education); Academy of Dance/Southbank Moments (Chichester Festival Centre); Mr Happiness (Old Theatre); The Water Engine and Vic Tunnels) and Bud Take Mr Happiness (Old Vic Tunnels the Wheel ( - Time Out Award-nominated); and Underbelly, Edinburgh). Dracula and Alice’s Adventures Upcoming projects include: MOIRA BUFFINI in Wonderland (London libraries As the Crow Flies (Pentabus Writer tours); The Ripple Effect and Salisbury Playhouse) and (Richmond Theatre - London a new adaptation of Pride Theatre credits include: 2012 Festival); Never Any Fruit and Prejudice by Sara Pascoe Handbagged (Tricycle Theatre (Pleasance Theatre Studio) and (Nottingham Playhouse and and West End); the musical The Double and The Devil Is an York Theatre Royal). wonder.land, created with Damon Ass (). Kate Albarn and (National is a staff director at Drama Theatre); Welcome to Thebes Studio London and Mountview (National Theatre); Dying for It, Academy of Theatre Arts. adapted from The Suicide by WILL EVANS Nikolai Erdman (Almeida); Dinner After Gabriel, Kate will be Lighting Designer (National Theatre and West End); directing new play The Lost Boy by Stephanie Dale, about Loveplay (Royal Shakespeare Will trained at the Central the refugee crisis, produced Company); Silence (Birmingham School of Speech and Drama. Rep); A Vampire Story (NT by Chester’s Theatre in Connections) and Blavatsky’s the Quarter. Recent lighting design credits Tower (Machine Room). include: Why the Whales Came (Watford Palace/Wizard Film credits include: Byzantium Presents); The Two Gentlemen (directed by Neil Jordan); CARLA of Verona, As You Like It, Romeo Jane Eyre (directed by Cary and Juliet, The Merry Wives of Fukunaga) and Tamara Drewe Windsor and The Comedy of (directed by Stephen Frears). GOODMAN Errors (Grosvenor Park Open Her original television series Designer Air Theatre, Chester); I Believe Harlots premieres on ITV in Unicorns (West End and tour); Encore in spring 2017. Carla trained in Nottingham, Far From The Sea (Theatre London and New York. Absolute and tour); Aliens Design credits include: Rise Love Underpants (Big Wooden (Old Vic New Voices); Jack and Horse/Nick Brooke Ltd, West KATE the Beanstalk (Cast Theatre, End and tour); The Canterbury Doncaster); Miss Julie (Etcetera Tales (Guildford Shakespeare McGREGOR Theatre); Company); Moominsummer Madness and How to Hide a Director (Orange Tree); Pig Farm (St James); How to Date a Feminist Lion (Polka Theatre); Hard Feelings (Finborough Theatre); Kate is artistic director and and Kitchen to Measure (Arcola Mudlarks and 66 Books (Bush founder of award-winning Theatre); Heartbreak Hotel (the Theatre, London); The Bloody Theatre6 and winner of the Jetty, Greenwich); Truce (New Ballad of Mary Maid (Theatr Noël Coward Trainee Director Wimbledon Theatre); What Flows Iolo, Chapter Arts, Cardiff); (Spanish Theatre Company) When We Were Woman (Orange Cinderella, Beauty and the Beast and Antigone (Hope Theatre). Tree Theatre); Where You Live and (Hertford Theatre); Musicals include: Zipporah (Finborough Theatre); Old Vic Dream Space (Shakespeare’s (George Wood Theatre); New Voices Writing Festival Globe); Mr Happiness and The A Time to Pull (Theatre Breaks sound designer (Old Vic Water Engine (Theatre6/Old Vic Festival) and Moments (concert Theatre); Julius Caesar (North Tunnels); Tales of the Harrow readings at Wimbledon Studio Wall Theatre); The Dogs of War Road (Soho Theatre); The Theatre and Chichester (Old Red Lion); These Trees Are Music of Festival Theatre). Made of Blood (Southwark (Showbiz Pops Orchestra/RUG) Playhouse); Tuxedo Junction Maria is currently working as and Lady Chatterley’s Lover (Watermill Theatre); The arranger for Fidel - a Musical for (Buxton Opera House, Buxton). Generation of Z: Apocalypse the People by the People (Act (Whitechapel site-specific); Will has lit many shows for I showcased at the Mayflower Secret Adversary (Watermill younger audiences including: Theatre, Southampton) and Theatre and UK tour); Contact. Monstersaurus!, Stuck, The is lyricist for musical-in- com (Park 200 Theatre); Pocket Way Back Home, The Life and development Mi Cubita Bella Comedy (Propeller Theatre Adventures of Santa Claus, (first showcased as part of the Company); Basement Grotto Don’t Let the Pigeon Stay Up Hammersmith and Arts (Shoreditch Town Hall); Five Late!, Don’t Let the Pigeon Festival and currently being (NYT, Saudi Arabia); But First Drive the Bus! and The Legend workshopped by School of This (Watermill Theatre); Next of Perseus, all for Big Wooden Performing Arts, University of Fall (); Horse. For Tall Stories, he has lit Wolverhampton). Private Peaceful, Selfie and The Snow Dragon, My Brother www.ilovepiano.org Macbeth (Ambassadors Theatre the Robot, Twinkle Twonkle, How NYT rep season, 2014); Red the Giraffe Got Its Neck, Monster Forest (Belarus Free Theatre, Hits and Does a Monster Live and Italy); Housed Next Door? DAVID GREGORY (Old Vic New Voices); and Eldorado (Arcola Will is also currently associate Sound Designer lighting designer on An Theatre); Pocket Henry V (UK Inspector Calls (national tour tour and Mexico - Propeller and West End). David trained at the Central Theatre Company); Some Girl School of Speech and Drama. I Used to Know (2014 UK tour As a sound designer, his most and Arts Theatre, London); 24 recent sound design credits Hour Celebrity Plays (Old Vic); MARIA HAÏK include: The Grapes of Wrath eBay pantomime (Players’ (UK tour/Nuffield Theatre); Theatre, Charing Cross); Lament ESCUDERO Frankenstein (Wilton’s Music opera (Tête à Tête Festival and Hall); Sleeping Beauty, Arcola); Pocket The Merchant Music Composer Frankenstein and Romeo and of Venice (Propeller Theatre Juliet (Watermill Theatre); Company); Soap Opera (Open Maria trained at Goldsmiths, Terrorism (Bush Theatre); Court, the Royal Court receiving her MA in Musical Benighted (Old Red Lion); Theatre); The Comedy of Errors Theatre Composition in 2009. Stalking Bogeyman and Luce and A Midsummer Night’s In 2010, she joined Theatre6 as (Southwark Playhouse); The Dream (Propeller Theatre resident composer and currently Grand Journey (Bombay Company world tour, 2013–2014); works as composer and lyricist Sapphire European tour); Alexandria (the Yard, Hackney); in London. Credits include: The Queens of Syria (Young Vic and Whisky and Coffee (Ovalhouse, Double (Theatre6, White Bear); UK tour); Rise (Old Vic New New Writing Festival); The Beyond Therapy (Theatre6, Voices); Much Ado About Taming of the Shrew and Twelfth Hen & Chickens); Mary Rose Nothing ( and the Night (Propeller Theatre (DogOrange, Jack Studio Faction); Alice in Wonderland Company - world tour, 2012– Theatre); Mr Happiness and The (Watermill Theatre); The First 2013); Pocket Henry 2012 Water Engine (Theatre6/Old Man (); Our Friend (Propeller Theatre Company Vic Tunnels); Mary Rose (off- the Enemy (UK and NYC tour); UK and Europe tour, 2012); West End transfer to Riverside Pocket Merchant (Propeller Henna Night ( Egg Theatre Studios); The Cherry Orchard Theatre Company UK tour); Company, Pleasance); 24 Hour (Jack Studio Theatre); Nina Plays New Voices and Celebrity Secret Adversary (Watermill As casting assistant (theatre): Plays (Old Vic Theatre Company, Theatre); King Lear (Guildford Henry V and A Midsummer 2011); Henry V and The Winter’s Shakespeare Company); The Night’s Dream (Michael Grandage Tale (Propeller Theatre Wind in the Willows (Mercury Company, West End) and Company world tour, 2011–2012); Theatre); Dial M for Murder A Midsummer Night’s Dream, The Comedy of Errors and (national tour); The Djinns of A Play for the Nation, The Richard III (Propeller Theatre Eidgah (the Royal Court); Corrie! Merchant of Venice and Othello Company world tour, 2010–2011) (international tour); Henry IV, (Royal Shakespeare Company). and 24 Hour Plays New Voices The Mysteries, A Midsummer As casting assistant (television): and Celebrity Plays (Old Vic Night’s Dream, Macbeth and Murdered by My Father (BBC) Theatre Company, 2010). Othello (Shakespeare’s Globe); and X Company seasons two Julius Caesar and I’ll Be the David recently won the TTA and three (CBC/Temple Street Devil (Royal Shakespeare Award for Sound 2015 and was Studios). Company); Cool Hand Luke a nominated finalist for the Off ( Theatre); Carrie’s War Award for (Apollo Theatre) and Sound Design 2015. (Royal Court, Liverpool). David is an associate sound at MARTIN Film credits include: King the Watermill Theatre. Arthur: Legend of the Sword For more info, please visit (Guy Ritchie); Pan (Warner LEONARD www.davidgregory.org.uk. Brothers); The Knife That Killed Assistant Director Me (Universal Pictures) and Dark Signal (independent). Martin graduated from Birkbeck with an MFA in Theatre Directing in 2016. He is a stage PHILIP director for Shakespeare LUCY CASSON Schools Festival and is an D’ORLÉANS associate director for the Fight Director Casting Director Descent New Writing Initiative, based at Rich Mix in London. He Credits as casting director Philip is a member on the Equity is also the co-founder of Vault include: To Dream Again (Theatr register of Fight Directors and Festival, an annual arts festival Clwyd); Last of the Boys and The on the teaching and examining in the tunnels underneath Seagull (Southwark Playhouse); staff of the British Academy Waterloo Station. of Stage and Screen Combat. The El Train - three one-act plays He has worked internationally, by Eugene O’Neill (); Assistant director credits alongside his regular teaching The Glass Supper (Hampstead include: All the Angels commitments for RADA, and Downstairs); Autobahn (King’s (Shakespeare’s Globe); Kes, other drama schools and Head); The Hackney Volpone Transform - Wanted, Great universities. (Rose Lipman Building); And in Expectations and Chitty Chitty the End: the Death and Life of Bang Bang (West Yorkshire Theatre credits include: The John Lennon (Jermyn Street Playhouse); Vernon God Little Kite Runner (Wyndham’s Theatre); The Art of Concealment and 13 (Arts Educational Schools Theatre); Roméo et Juliette (Riverside Studios) and Cornelius, London) and Dido and Aeneas (Korea National Opera); As The One Day of the Year, The (Coming Up Festival). Director You Like It (Chester Performs); Blood Is Strong, Laburnum credits include: Dis/Connect Kiss Me Quickstep, Robin Grove, Pack, Everyday Maps for and Rats’ Nests (Vault Festival); Hood & Marian, Gaslight, The Everyday Use, The Sluts of Fitting Room (Southwark Widowing of Mrs Holroyd and Sutton Drive, The Fear of Playhouse); Feckless (Rich The Ladykillers (New Vic); Breathing, Autumn Fire, Merrie Mix); Imaginary Playtime (LIT , As You Like It England and Through the Theatre); The Visit (Greenwood and Macbeth (Creation Theatre); Night (Finborough Theatre). Theatre) and It’ll Be Alright on , The Kite the Night (Union Theatre). Co- As casting associate: On the Runner, Robin Hood and A Skull director credits include: Pizzeria Town (Regent’s Park Open Air in Connemara (Nottingham dell’Opera (Bush Theatre) and Theatre); The Addams Family Playhouse); Robin Hood The Caucasian Chalk Circle (Old (Music & Lyrics, UK tour) and An (Chipping Norton Theatre); King Anatomy Lecture Theatre). Lear (Northern Broadsides); The American in Paris (West End). adaptation of Dostoevsky’s Cy Coleman musical, having its THEATRE6 The Double, the UK premiere of London premiere this spring at Producer Christopher Durang’s Beyond Southwark Playhouse. Therapy, Tatchell, Shortstuff, Catherine is a Tony Award winner Bender and Laundry as the four The artistic director of Theatre6 for Clybourne Park. Her five Tony plays that made up the WET rep is Kate McGregor, and the nominations include: Fiddler on the season, of which Tatchell toured executive producer is Dominic Roof, The Scottsboro Boys, Next to Oxford, and Planting David, Lindesay-Bethune. Gabriel has Fall and Peter and the Starcatcher. Super Situation, Glitch, Almost been produced by Dominic Her four Olivier Award nominations Nothing and Birthday as part Lindesay-Bethune for Theatre6. include (West End, 2016), of the Best of Festivals 2010 (2016), The Scottsboro Theatre6 is a multiple-award- season. Upcoming productions Boys and People Places and Things winning theatre company, founded include a brand-new version of (National Theatre/Headlong in 2009. Accolades include: the Jane Austen’s Persuasion. Evening Standard Best Musical production). Previous productions Award 2014 as co-producer on www.theatre6.co.uk include: The King’s Speech (West the West End transfer of Kander Twitter @Theatre_6. End and UK tour); China Doll and and Ebb’s The Scottsboro Boys; Stick Fly (Broadway); The Boy From Stage One Start-Up Award 2017 Oz - winner of the 2013 Premio for the UK tour of Gabriel; Time Luces Award for Best Musical (Peru) Out’s Top Five Shows in London CATHERINE and The Effect and Desperate for ’s The Water Writers (Off-Broadway). Current Engine and Mr Happiness, which SCHREIBER touring shows include: The also received nominations for Curious Incident of the Dog in Time Out’s Show of the Year Producer the Night-Time and Matilda. 2011; and Theatre A Phi Beta Kappa, Yale College Awards’ Best Actor in a Play Catherine is an award-winning international producer with shows graduate, Catherine is a member of Award 2011. Theatre6 productions League, the League have been described as “truly currently in the West End and on Broadway and has had national of Professional Theatre Women stunning” (Salisbury Journal and a contributing writer to The reviewing Honest), “out of this tours in the US and the UK. Catherine is most proud of Huffington Post. She is a proud world” (The Observer on The recipient of the key to the city to Scottsboro Boys) and The Water bringing Kander and Ebb’s The Scottsboro Boys to London, where Scottsboro, Alabama, for her work Engine reviewed as “an as a founding member of the inventive, vital piece of theatre”. it won the London Critics’ Circle Award, the Evening Standard Scottsboro Boys Museum and was Musicals include co-producer Award and was nominated for so honoured for the opportunity of The Scottsboro Boys and seven Olivier Awards, including to give the keynote address when Moments at Chichester Festival Best New Musical (Young Vic/ the governor of Alabama signed Theatre. Plays include: the UK ). the Scottsboro Boys Act in 2013, tour of Honest by Alice Nicholas, exonerating the Scottsboro Boys. Shiver, Chasing the Dream in the She currently joins Kenny She is a founding member of Least Harmful Way, co-producer Wax, Stage Presence, Kevin the Center Theatre Group in Los of site-specific Dracula, UK and McCollum and J J Abrams as a Angeles, a Young Vic soul mate international tour of Midnight, lead producer on the Broadway and a supporting member of the When Trumpets Cry, a new transfer of the Olivier Award- Vineyard Theatre, New York. winning The Play That Goes Catherine is also a television/ Wrong. In London, Catherine is film actress and writer. a producer on Dreamgirls and a lead producer on The Life, the catherineschreiberproductions.com Facebook: Catherine Schreiber Productions New York); Mrs Henderson ADAM ROEBUCK Presents (Noël Coward); Show OLIVER Co-producer Boat (New London); People, Places and Things (Wyndham’s); MACKWOOD Adam’s producer and/or An American in Paris investor credits on Broadway (Dominion); School of Rock (New PRODUCTIONS London); Dreamgirls (Savoy); include: Groundhog Day - the General Manager Musical, The Play That Goes (Duke of Wrong, It’s Only a Play, An Act York’s) and The Life (Southwark Originally under the guidance of of God, American Psycho - the Playhouse). Sir , Oliver Musical, - the www.brunowangproductions.com gained further experience at Musical, Godspell, Ghost - the Chichester Festival Theatre. He is Musical, The Wedding Singer www.facebook.com/ currently associate producer at - the Musical, Macbeth with BrunoWangProductions Jonathan Church Productions and Alan Cumming, How the Grinch produces independently through Stole Christmas - the Musical, Oliver Mackwood Productions. Chita Rivera: the Dancer’s Life, Allegiance and Spring TOM NICKSON Off the back of a sell-out tour, Awakening (2.0). West End Production Manager Oliver will open his first West and UK tour credits include: End production in May 2017. both , starring Sand in the Sandwiches, starring Tom spent seven years as head , and Single , brings Sir John of production at Hampstead Spies. Adam’s award-winning Betjeman’s life, sharp wit and Theatre, during which time he productions to date are his iconic poetry into focus, playing production-managed Chariots three children, Carmela, at the of Fire, Race, Hysteria, Sunny Josephine and George. and on tour across the UK Afternoon, Hello/Goodbye, (www.sandinthesandwiches.com). www.RoebuckTheatrical.com Stevie, Matchbox, Rabbit Hole, Reasons to Be Happy, The Future productions include: Mystae, Ken, Pine and Blue Madame Rubinstein with the Heart Afternoon. Park Theatre, starring ; and immersive BRUNO WANG Since then, Tom’s production opera Vixen, in collaboration management credits include: with ENO, which will open at Impossible (Noël Coward); PRODUCTIONS the Vaults in May 2017. Co-producer Sunny Afternoon ( and UK tour); Idomeneo and Previous productions include: Mack Bruno is a philanthropist, L’Italiana in Algeri (Garsington); and Mabel (Chichester Festival cultural patron and TATINOF (UK/international Theatre); Pressure, The Rehearsal businessman. He is the founder tour); Sideways (St James); and Frankie and Johnny in the of Pure Land Foundation, Pilgrims (Clwyd/HighTide); The Clair de Lune (Minerva Theatre); supporting social, spiritual and Intelligent Homosexual’s Guide Dinner With Friends (Park Theatre); emotional wellness. He is also to Capitalism and Socialism Holes () and Don the founder of Bruno Wang With a Key to the Scriptures, Giovanni (Beijing Music Festival). Wild Honey and Filthy Business Productions, investing in and co- Work as an associate producer producing distinctive, inspiring (Hampstead); Carmen, Il ritorno d’Ulisse in patria and Albert includes: Love’s Labour’s Lost and critically acclaimed Tony and Much Ado About Nothing and Olivier award-nominated Herring (the Grange Festival); Nice Fish and Who’s Afraid of (Theatre Royal Haymarket); and winning productions in the , Way Upstream West End and on Broadway Virginia Woolf? (Harold Pinter); Everyone’s Talking About and (Chichester Festival including: The Scottsboro Boys Theatre) and (Garrick); The Visit (Lyceum, Jamie (Sheffield ) and Chinglish and Dinner With (). Friends (Park Theatre). www.olivermackwood.com FOR GABRIEL

Producers Dominic Lindesay-Bethune for Theatre6 Catherine Schreiber Co-producers Adam Roebuck Bruno Wang Wardrobe Consultant Ed Parry Relights Jordan Lightfoot Graphic Design Splash Creative Artworking Rebecca Pitt Creative Promo photography Nicholas Dawkes Rehearsal photography Headshot Toby Press Amanda Malpass PR Marketing Dressing Room 5 Programme design and printing John Good Tour bookers Hutchinson Rowntree Ltd. Hair and Make Up Consultant Lauren Smith Lighting Equipment Stage Electrics Sound Equipment Sound Stage Services Production Accountant Gerard Fergal Keane Production Insurance Walton & Parkinson Longreach Limited Production Transport Paul Mathew Transport

Theatre6 would like to extend the utmost gratitude to Emma and , without whom this production would not have been possible. Theatre6 has been generously supported by The Foyle Foundation

Special Thanks Ria Jones Joseph Smith Will and Dawn Harrison-Wallace Aiden Bromley

The Producers of Gabriel wish to acknowledge financial support from Stage One. Stage One is a registered charity which exists to support commercial theatre producers in order to sustain the quality of commercial theatre throughout the UK. Stage One identifies, supports, guides and trains emerging theatre entrepreneurs whilst simultaneously encouraging creative, successful and responsible practice.

To find out more about Stage One’s programmes, please visit www.stageone.uk.com or contact Stage One, 32 Rose Street, London WC2E 9ET / 020 7557 6737 Stage One is the operating name of the Theatre Investment Fund Ltd, a registered charity no.271349