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Home , Calamity Jane (musical), Charing Cross Theatre, Curve (theatre), Dominion Theatre, Flashdance (musical), Michael Croft

National Youth Music production of

Henrietta

A New Musical by Katie Lam and Alex Parker

Commissioned by NYMT 2020

Performances: Wed 18 to Sat 21 August Michael Croft Theatre,

WELCOME BACK! NYMT’S 2021 SEASON

Established in 1976 by Jeremy James Taylor, NYMT’s productions have been seen throughout the UK and abroad. From its first show, The Ballad of Salomon Pavey, at the Edinburgh Fringe (subsequently part of Her Majesty’s Silver Jubilee celebrations in London) the company’s work has toured to Canada, Greece, Hong Kong, Japan, Norway, Taiwan and the United States winning numerous accolades and awards.

The company featured prominently at the Edinburgh Festival in the mid-1980s, premièring shows such as Richard Stilgoe’s Bodywork, highlighting NYMT’s commitment to developing new work. This has continued to this day with premières of The Kissing Dance and the dreaming by Howard Goodall and Charles Hart, Orvin by Alan Ayckbourn and Creation by Richard Taylor. In 2009 the NYMT were the first to produce a musical at Hull Truck’s brand new theatre with Melvyn Bragg’s and Howard Goodall’s The Hired Man. 2010 began with Jeremy James Taylor being awarded an OBE in recognition of his many years’ service to young people and the theatre. Then, to mark Sondheim’s 80th birthday, NYMT took his thriller, Sweeney Todd, out of the theatre and into a converted Victorian warehouse in London’s East End.

Highlights of the last few years have included an invitation from Her Majesty The Queen to perform for a reception at celebrating Young People in the Performing Arts; an unforgettable collaboration with the outstanding American composer, lyricist and playwright, , who directed a young NYMT cast in the West End première of his musical 13 at The Apollo, Shaftesbury Avenue; an epic, site-specific production of West Side Story in the vast Victoria Warehouse, , directed by Nikolai Foster and with exciting new choreography by alumnus Drew McOnie; and a huge, celebratory concert in London’s West End to mark the company’s 40th anniversary.

Recent commissions have included The Other School, by Dougal Irvine and Dominic Marsh, Prodigy by Jake Brunger and Pippa Cleary, and Brass by Benjamin Till, which was commissioned to commemorate the Great War centenary and went on to win the UK Theatre Awards title of Best Musical Production 2014. NYMT restaged the work in 2016 at to mark the 100th anniversary of the Battle of the Somme. In similar tribute, the company premièred The Battle of Boat by Jenna Donnelly and Ethan Lewis Maltby at Rose Theatre, Kingston. For their 2017 season NYMT commissioned two outstanding new works: Imaginary by Timothy Knapman and , and Billy The Kid by Ben Morales Frost and Richard Hough, which we’re proud to present in a new production this season.

The 2018 season saw the production of four British musicals – three of them new. Super Hero, by emerging writers and NYMT alumni Adam Johnson and Henry Roadnight, was a whacky and colourful comedy that delighted audiences on our mini-tour of festivals, whilst A Little Princess by Carl Miller and Marc Folan – based on the novel by Frances Hodgson Burnett – was, by contrast, a romantic and thrilling drama, combining elements of classical Indian music and dance with a rich musical theatre score. In his 70th birthday year we also presented ’s The Beautiful Game with book and lyrics by and, to round off our annual season at theatre in London, NYMT gave the première of another commission, The Legend of Sleepy Hollow by Helen Watts and Eamonn O’Dwyer. Based on the short story by Washington Irving, this exciting new musical tells of strange events, tales of witches and ghouls, of wailing banshees and headless horsemen, and, of course, the tale of the enigmatic outsider, Ichabod Crane.

Our 2019 season featured more new musicals, including Growl – The True Story of the Big Bad Wolf, by Timothy Knapman and Laurence Mark Wythe. Growl had been the choice for our developmental workshop in the summer of 2018 and was premièred at Theatre Royal, Bury St Edmunds as part of the Bury Festival and then at Rose Theatre, Kingston for the International Youth Arts Festival, and finally at Curve where, since 2016, NYMT have been Associate Artists. During rehearsals, Growl had made a great impression on a visiting youth theatre company, Fresh Vogur, from Shanghai. We were delighted to form a collaborative partnership with the company and to help facilitate their own performances of Growl in China. We look forward to developing this and other partnerships in the coming months and years. NYMT’s annual residency at London's The Other Palace had always featured vividly contrasting works, and the 2019 season comprised three outstanding musicals including a new commission from the award-winning writing partnership of writer/actor, Scott Gilmour, and composer/musical director, Claire McKenzie aka Noisemaker. Legend Trippers uses the lens of a group of mismatched school kids who all share a love of the supernatural to explore themes of social and political division, shining a light on how we treat "outsiders". This exciting production delighted audiences and received rave reviews. A short, lockdown sequel was created and recorded especially for Hallowe’en last year – one of many creative ventures to spring from the pandemic in an effort to ensure continued provision of high-quality musical theatre training and experience for young people.

Our two other productions received equally glowing reviews from the press. With a book by acclaimed playwright Alfred Uhry and a rousing, colourful and haunting score by Jason Robert Brown, Hannah Chissick’s sensitive production of shone fresh light on the issues of racial prejudice and injustice that abide today. In response to the killing of George Floyd, the cast and musicians were moved to create a virtual performance in lockdown of the song Till We Reach That Day in support of Black Lives Matter.

The third of NYMT’s 2019 productions at The Other Palace was the classic Cole Porter musical, Anything Goes. Music, dance, laughs, and the age-old tale of Boy Meets Girl – this hilarious shipboard romp, wrapped around one of Cole Porter’s most magical scores, provided an evening of laughter and jaw-dropping choreography!

And so we come to the 2020 season. It all started so well, with our nationwide auditions attracting more applicants than ever. We had cast four exciting productions, Kiss Me, Kate, Imaginary, and Henrietta, which was our new commission for the season. However, it soon became clear that our usual Easter residential rehearsals could not go ahead and, on Friday 13 March, I made a call to our board of trustees, recommending that we cancel. Ten days later, the country went into lockdown. My newsletter message began thus: In 1593 and 1594 a particularly devastating outbreak of the bubonic plague swept the country and the Privy Council exercised its authority as the queen’s advisors to close all public . Today we are again battling an invisible enemy and our theatres are closed once more. What we didn’t know then was just how long it would be before we’d see any sense of a return to normality. Our creative teams – like everyone else – quickly adapted to Zoom and Teams, and we all did our best to be innovative, offering online read- throughs, workshops, Q&A evenings with alumni, quiz nights and virtual performances. Although we certainly missed being together in the same space, it did enable us to reach the remotest parts of our islands and beyond, welcoming those who would not have been able to travel to our usual hubs and venues.

But now we are back. Tentatively, carefully returning to residential rehearsals this summer, we are understandably nervous but, above all, excited to bring together (in bubbles, of course!) our brilliant young casts, musicians and crew. We are grateful to be back at Sevenoaks School and delighted to be forming a new relationship with College and with the Michael Croft Theatre at Alleyn’s School, where we shall finally première Henrietta by Katie Lam and Alex Parker, directed by Kate Golledge, and stage an exciting new production of Billy The Kid, directed by James Robert Moore.

Inspired by the true stories of love, sacrifice and bravery in the Netherlands during the Second World War, Henrietta is about a thirst for adventure, the need we all feel to establish our identity, and how ordinary people can be capable of extraordinary courage. Based on a true story from Katie Lam’s own family history Henrietta tells the story of a young girl living in occupied Amsterdam during the second world war. Henrietta lives with her mother, father, sister and brother and wants an adventure – until she gets one she didn’t bargain for. The work asks us to consider family, individualism and what it means to be brave.

Billy the Kid, commissioned and originally produced by NYMT 2017, is an adventure story, a magical, musical comedy set in a colourful world of cowboys and bandits, cactus trees and caballeros. William Antrim is small for his age; he’s quiet and shy, which makes him an easy target for lazy bullies. But in his dreams, William Antrim is Billy the Kid, a courageous cowboy, riding the range with the sun in his eyes. An all-American hero. Now, if only his dreams could become a reality…

We’re also thrilled to have been granted the rights to perform The Hunchback of Notre Dame, based on the Victor Hugo novel with songs from the Disney film, music by , lyrics by Stephen Schwartz and book by Peter Parnell. We are grateful to Disney and to MTI for entrusting this epic masterpiece to our care, and to Anthony O’Connor, director of fundraising at Manchester Cathedral, for welcoming us to the cathedral so warmly. The heart of the stage version of Disney's The Hunchback of Notre Dame is in the song Someday, which Esmeralda sings in Act 2. In it she accepts the horrifying predicament in which she finds herself. She is powerless to change things in society but she hopes for a better future in which the Romany people are accepted and not persecuted. Director Alex Sutton says “For me that hope is exactly where theatre finds itself now. As we start to come out of the pandemic the theatre world is looking to 'reset' better, it is hopeful for a future in which all parts of it are inclusive, a theatre that engages with anti-racism, pride and with disability, that everyone working in it is employed fairly regardless of disability, race, gender and sexuality and safe from bullying, persecution and harassment.

In the script Quasimodo is deaf, and Alex has embraced the opportunity to cast a deaf actor in that role. He says “The challenge is then, how does that person sing this score? The question then becomes what is singing, what is music? As a hearing person who studied (believe it or not) analytical musicology, this challenges my very conception of music and how it is communicated. Sign language and BSL is going to permeate the entire show. Every show will start being BSL 'interpreted' at the side of the stage, but then we are going to play with that to create a truly integrated accessible version of it. Several members of the cast are deaf or are CODA's (child of deaf adult), and our wonderful choreographer Mark Smith, is a truly inspirational deaf choreographer”

Anthony O’Connor Director of Fundraising at Manchester Cathedral added ‘Manchester Cathedral is delighted to be able to host The Hunchback of Notre Dame. As we emerge from the Covid-19 pandemic this production will be a great opportunity for individuals, couples and families to gather in this medieval space to take in this wonderful production’

As we gradually recover from so many months of uncertainty, NYMT renews its commitment to provide invaluable opportunities for young people to develop existing strengths and learn new skills through regular half-term workshops and residential holiday courses. Our Creative Team Mentoring Scheme also enables aspiring directors, musical directors and choreographers to work alongside leading professionals and to play a vital role in the development of our productions.

Continuing our series of workshops of new musicals in development, NYMT again invited submissions from emerging writers with a view to taking their work forward to full production next year. We are delighted to be working this summer with Annabel Mutale Reed and Jack Trzcinski on a fully cast workshop of their new musical, A Kiss for Cinderella. The work is an adaptation of J. M. Barrie's 1916 play of the same name and follows Jane, a young girl from across the sea, and the refugee children she takes care of - Flo, Blue and Krista - in 1940s London during the Blitz. These girls have each brought their own version of the tale of Cinderella with them and are determined that Jane is the Cinderella the stories all tell about.

For 45 years NYMT has been at the forefront of the British musical theatre scene enabling thousands of youngsters across the UK to develop both their creative and personal potential, leading Andrew Lloyd Webber to dub it “the best youth music theatre in the world”.

So welcome back - I hope you enjoy the show!

Jeremy Walker – CEO & Artistic Director, NYMT Henrietta - A note from the Writer.

To Henrietta Janssen, things just don’t feel quite right. It’s more than the war - growing up in Amsterdam, by the spring of 1945, she’s used to that. It’s all the unanswered questions: why does her teacher tell her off whatever she does? Why is there never enough to eat? Why doesn’t she feel like she fits in, even with her own family? Why is the old lady on her way to school always so angry with her? And why is there a boy in her neighbour’s window, when they only have daughters?

Inspired by the true stories of love, sacrifice and bravery in the Netherlands over the Second World War, HENRIETTA is about a thirst for adventure, the need we all feel to establish our identity, and how ordinary people can be capable of extraordinary courage.

Henrietta My great-grandfather, Abraham Lam, came to the UK from the Netherlands in March 1903. His sister Kaatje (Katie) Lam stayed in Amsterdam, where they were born, until she was taken to Sobibor extermination camp and murdered in April 1943 along with almost all of the Lam family. It always moves me to think of how differently from Aunt Kaatje’s I hope my life will unfold: two people with the same name in the same family born 100 years apart. Of course, at my age, Kaatje had no expectation the world might change as it did; it’s a constant reminder to me of how fragile and precious our freedoms are.

One part of the family — a little boy and his two parents — managed to survive the war through incredible courage and sacrifice, both their own and that of others. Henrietta is inspired by their story.

It is a gross understatement to say the Second World War was devastating for Dutch Jews. Over 100,000 people were murdered, three quarters of the Dutch Jewish population (the highest proportion in Western Europe). A new memorial is currently being built to commemorate those killed, who had no proper burial, and help serve as a reminder of the drastic consequences of racism and discrimination. The monument will be on Weesperstraat, under 10 minutes’ walk from the Lam family house in Waterlooplein. My great-great-grandfather built that house with his own hands. Emptied of its inhabitants, it was pulled down later in the war by neighbours for firewood.

It is impossible to comprehend the scale of the Holocaust. All we can do is recognise every death as a horror, remember individuals where we can (Aunt Kaatje is described in family diaries and letters from the war as ‘steeds over het eten’ (‘always on about food’ - we have that in common) make the most of the freedom we are so lucky to have, and remain vigilant to anything that threatens it. I hope, in its small way, that this production of Henrietta contributes to that work all of us must do. Thank you very much for coming to see it.

Katie Lam Writer of Henrietta #WeLoveNewMusicals Henrietta from workshop to production

Welcome to Henrietta, an utterly magical new musical written by Katie Lam and Alex Parker. This is the sixth new piece I’ve supported the development of as part of NYMT’s commitment to new British musicals and it has already been on quite a journey.

NYMT has premiered a catalogue of innovative British musicals including The Other School, Brass, Prodigy, Battle of Boat, Superhero, Growl, The Legend of Sleepy Hollow, A Little Princess and Legend Trippers. In the Spring of 2019, we put a call out for young writers to submit pitches for musicals which might benefit from a workshopping process with , time and talent of the NYMT company. Alex and Katie submitted their adaptation of The Railway Children which blew the team away, but as the Railway Children doesn’t have very many younger roles we set them the task of coming up with a new idea which might work across the whole age spectrum of the NYMT company.

Developing new musicals is a complex and delicate process which even the most avid theatre lover might not know much about. It takes thought, care and time - Hamilton took seven years from first idea to first night, and Lin Manuel Miranda is on record saying that the second song alone ‘My Shot’ was the work of an entire year! As part of our dramaturgical conversations with the Henrietta company over the last two weeks we have talked about choice and how as a writer and creative you are always choosing which thread to hold, which story to tell, which characters to focus on. One of the reasons that the NYMT musical in development course is so fascinating to be a part of it is that it lets young performers understand how things come to be as they are – a process that another company are embarking on this very week with the new musical A Kiss for Cinderella.

The first workshop of Henrietta took place in the summer of 2019 and a group of 28 young performers spent a week exploring the material. It looked very different to what you’re seeing today – in fact there are only two songs which have remained as originally workshopped – although many sections have been altered and repurposed. Time was spent exploring, staging, questioning and reimagining what was at that point half of a first act and a synopsis of the rest of the show. Songs were written, rewritten, abandoned and started again. Katie wrote thousands and thousands of words a day which we tried in the room. Whole characters came into existence as a result of the wonderful young actors breathing life into them – in fact the character of Henrietta’s best friend Tom is as he is now because of the warmth and skill of the actor who played what was then a role of no more than a few lines. At that point Elisabeth didn’t exist and Hendrick was Henrietta’s brother. It was also fascinating to see which parts of the piece our young company took to and found interesting – they were curious about the question of what it means to be ‘good’ or ‘bad’, and embraced the complexity of what it means to be a child of wartime. Their input and ideas were fed back into the next phase of the writing process.

All of this highlights how three dimensional the process of making new musicals is. There’s no blueprint – the actors and I might lift Katie’s words off the page and stage them, then Alex or Charlie will introduce underscore which calls back to a different theme or character, then the actors re learn the timing of the dialogue to the underscore. We are always telling multiple stories at once and (sometimes to the actors frustration!) things never stop changing. #WeLoveNewMusicals Continued…

During 2020 we met online with another company of young performers who read the first completed script and heard the whole piece for the first time. At this point other characters started to really come into focus and the threads of friendship, sacrifice and bravery took centre stage. The ending for Mr Reitberg was different. Another round of observations were made and incorporated.

Often on the NYMT new musicals the rewriting continues all the way through rehearsals as well but maybe because this piece has already had such a fulsome development process, the script that we handed out to our company two weeks ago has remained much the same with the odd new line or new lyric. The exception to this is the final scene which was written to take place in the kitchen but which we relocated to the train station. That brilliant suggestion was made by Stewart, our designer – the kitchen furniture is bulky and harder to make appear than the train station and he and I both felt it was too late in the game for another scene change – and also we wanted to bookend the piece and bring some joy to a place that we know as being painful from the other times we visit it during Act 1. This led to some alteration of lines, new music and a very different feel to the ending of the show.

Finally, a wonderful piece of coincidence – our very first Henrietta in the workshop was a young actress called Faye Herlihy who has just finished performing in The Hunchback of Notre Dame. Faye is the older sister of Charlotte who you will see as Henrietta tonight. If it takes a village to raise a child, it takes a family to develop a musical – and the NYMT family is one of the best I know.

Kate Golledge Director, Henrietta PRODUCTION TEAM

CREATIVE TEAM PRODUCTION ASSISTANTS – CREW Katie Lam- Book and Lyrics Chloe Stimson - Assistant Stage Manager Alex Parker- Music Seb Ollivierre - Lighting Assistant Kate Golledge - Director Luke Marino - Lighting Assistant Charlie Ingles - Musical Director/Additional Arrangements Xanthe Clay-White - Wardrobe Assistant Lucinda Lawrence - Choreographer Stewart J. Charlesworth - Set and Costume Designer PASTORAL TEAM Andy Johnson - Sound Designer Ben Sheen – Head of Pastoral (Juniors) Aaron J. Dootson - Lighting Designer David Grant – Head of Pastoral (Seniors) Martin Higgins - Orchestrator Benny Simpson - Jemimah Whittaker - Wardrobe Supervisor Phoebe Weir Anne- Marie Horton - Wardrobe Amy Perry Jenni Mannion - Wardrobe Abbie Palliser Kehoe - Dance Captain NYMT Callum Martin - Dance Captain Cicero Magalhães - Administrator Kylie Vilcins – Associate Producer CREATIVE ASSISTANTS Jeremy Walker – CEO / Artistic Director Anna Hale - Assistant Director Eliza Beth Stevens - Assistant Director Samuel Richards - Assistant Musical Director Jamie Stephenson-Glynn - Assistant Musical Director

PRODUCTION TEAM Jack Boissieux – Production Manager Dan Steward– Production Associate Joshua Knight – Stage Manager Alannah Egan – Deputy Stage Manager Richard Marshall - Production Sound 1 Greg Thomson - Sound no II Sam Wright - Production LX Andrew Blumsum.- Production LX Olivia Tether – Costume Assistant Graphic Designer – Rebecca Pitt Creative CAST LIST

Ensemble/ Porter in Train Station/ Officer Hofman - Kit Colville (17) Crawley Ensemble/ Rich Lady in Train Station/ Mrs Bakker/ Mrs Reitberg - Jasmine Cairns (20) Saffron Walden Ensemble/ Man in Train Station/ Christiaan/ Jack Reitberg - Joe Butler-Smith (15), Macclesfield Ensemble/ Child in Train Station - Maisie Jackson (11), Petersfield Ensemble/ Mother in Train Station/ Mrs de Jong - Amber Davies (18), London Ensemble/ Woman in Train Station/ Suzy de Jong - Kiana Mottahedan (18), London Ensemble/ New Mother in Train Station/ Juliana de Jong - Lauren Ng (17), Hong Kong Ensemble/ Woman in Train station/ Fugitive Mother - Abbie Palliser Kehoe Ensemble/ Father in Train Station/ Sergeant - Jack Etheridge (21), Winchester Willem - Joshua Price (21), Prestatyn Rachel - Sydney Richards (19), Treorchy, Rhondda Valley Henrietta Janssen - Charlotte Herlihy (12), Ireland Mrs Janssen - Sarah Moore (20), Preston Elisabeth Janssen - Summer Currie (13), London Mr Janssen - Callum Martin (20), Dublin Johannes Janssen - Quentin Ballard (13), London Miss van de Berg - Izzy Mackie (21), London Tom - Adam Sangster (13) Mr Reitberg - Reuben Browne (21), Belfast Ensemble/ Petrus - Caspar Lloyd (14), Colchester Anna Dekker - Vita Bennett (12), Berkhamsted Ensemble/ Daan - Elliott Burges (12), Twickenham Helena - Scarlett Irish (17), Barnett Ensemble/ Adriana - Elodie Anns (12), Newbury Ensemble/ Matron/ Headmistress - Eliza Beth Stevens (22), Leeds Ensemble/ Mr Smit/ Hans - Ben Watts (17), Winchester Commissioner Dekker - Joseph Beach (21), Newmarket Hendrick Dekker - John Richmond (15), Manchester Ensemble/ Harriet - Louisa Akohene (15), Woking Ensemble/ Officer Bartelsman - George Derry (20), Bristol Ensemble/ Sickly Fugitive Boy/ Young Pilot - Laurie Jones (11), Cambridge Ensemble/ Young Fugitive Girl - Effie Lennon Ballard (11), MUSICIANS

Charlie Ingles - Musical Director and Conductor

Constance Froment (19), London - Flute, Piccolo, Alto Flute Hugo Maughan (18), Sevenoaks - Clarinet, Eb Clarinet, Bass Clarinet Niamh Connellan (16), Ardingly - Oboe, Cor Anglais Jude Crofton (22), London - Bassoon Ellen Bailey (18), Ashby de la Zouch - Horn Sebastian Foxwell (16), Southam - Trumpet/Flügelhorn Dylan Rennie-Carter (17), London - Trombone Sophie Warner (17), London - Percussion Bethan Cole (15), Casnewydd - Harp Dylan Edge - Violin I/Leader Alicia Li-Yan Hui (13), Cambridge - Violin II Joel Colyer (18), Manchester - Viola Aakash Jansari (16), Lincoln - Cello Oscar Ho (18), Ashington - Double Bass John Haslam (17), London - Keyboards Sam Richards - Keyboards

MUSICAL NUMBERS

ACT 1 ACT 2

Prologue Opening Of Act 2 Good Morning World Simply Free Run And Hide True Feast Papers Dance The Arrest Keep In Line Soar Absolution Will There Still Be Rain Good Morning World (Reprise) Impossible The Escape Home Brave Spring Finale: Brave (Reprise) CREATIVE TEAM KATE GOLLEDGE - DIRECTOR

Kate is a director & dramaturg specialising in the development of new musicals. She is currently working on JACK AND THE BEANSTALK for the New Wolsey Theatre as well as a roster of unique and brilliant new shows that you will be able to see in about five years from now. #WeLoveNewMusicals but they do take a long time to develop!

She is passionate about mentoring the next generation of theatre makers and is thrilled to be back with NYMT for a sixth year following productions of LEGEND TRIPPERS (The Other Palace); BILLY THE KID (Leicester Curve); SUPERHERO (UK Tour); THE BATTLE OF BOAT (Kingston Rose) and PRODIGY (St James Theatre).

As director: ALADDIN (New Wolsey Theatre); Errol’s Garden (UK Tour); MIDNIGHT (Union Theatre & Korea); Don’t Tell Me Not To Fly (Underbelly, Edinburgh Festival); That’s Jewish Entertainment (Upstairs At The Gatehouse); Red Riding Hood (Pleasance London); Jerry’s Girls (St James Theatre & Jermyn Street); Stroke Of Luck (); Celeste (Capitol Club, Rome); CLAUS (Landor); Passport To Pimlico (Site Specific, Southwestfest); Men Are From Mars, Women Are From Venus (UK Tour & Edinburgh); The Road To Qatar! (Landor & Edinburgh Festival) Parade and Spring Awakening (Pleasance London); Daisy Pulls It Off (Lost Theatre); Betwixt! (King’s Head & Ambassadors Theatre); Six Women With Brain Death (Edinburgh Pleasance & Studio); Sweethearts (Finborough); Newsrevue (Canal Café); Be The Star You Are (, 2 Boroughs Project); The Short Film Born Yesterday. Opera Includes: A Promenade Production of Carmen (Opera La Goziniere). As Associate Artist of Singapore Repertory Theatre she has directed The Gingerbread Man, Nursery Crimes, Chicken Little, Charlotte’s Web, Treasure Island, Junior Claus, The Nightingale, Red Riding Hood & Fantastic Mr Fox.

As Associate/ Resident Director: IMPOSSIBLE (World Tour / Noel Coward Theatre); THE WIZARD OF OZ (); SWEET CHARITY ( / ); EDUCATING RITA & SHIRLEY VALENTINE (Menier Chocolate Factory / Trafalgar Studios); BRIDGETOWER – A FABLE OF 1807 (English Touring Opera). As Assistant: DADDY COOL (); JULIUS CAESAR (Barbican). For drama schools: LEGALLY BLONDE (Chichester University); KISS ME, KATE (Mountview); THE SUNSHINE GANG (The MTA); HONK, ONCE ON THIS ISLAND & A HOLLYWOOD PARTY (Trinity College of Music); BACK TO BEFORE, FOOTLOOSE, PRINCESS IDA (Arts Ed). Kate was a 2009 JMK Trust Award finalist with THE CRUCIBLE.

Training: Liverpool Institute for the Performing Arts. www.kategolledge.co.uk CHARLIE INGLES – MUSICAL DIRECTOR Training: Goldsmiths College, University Of London, National Youth Music Theatre.

As Musical Director: Tweedy’s Reduced Panto: Cheltenham Everyman, Before After: , Club Tropicana: UK Tour. Daddy Long Legs: Barn Theatre. Guys & Dolls: Mill At Sonning. Sweet Charity: Watermill Theatre. Sleepy Hollow: The Other Palace. Top Hat: Upstairs At The Gatehouse. Billy The Kid: Leicester Curve. Imaginary, A New Musical: The Other Palace. High Society: The Mill At Sonning. Forbidden Broadway: GSA. The MGM Story: Gatehouse & UK Tour. The List (Workshop): Park Theatre. Red Riding Hood, A New Musical: Pleasance Theatre London and International Tour. The King, Peter Schaufuss: International Tour. Company: Shoreditch Town Hall.

As Assistant Musical Director: The Musical: UK Tour. Emma: A New Musical (Workshop). Ragtime: . The Battle Of Boat: Rose Kingston. The Mikado: Battersea Barge. The Hired Man: St James Theatre. Prodigy: A New Musical – St James Theatre, Thoroughly Modern Millie (48Hour Challenge) – .

As Associate Musical Director/Cover Conductor: Laila – A New Musical: UK Tour. Braille Legacy: Charing Cross Theatre.

As Musical Supervisor: Guys And Dolls: Mill At Sonning. : Mill At Sonning. Nice Work If You Can Get It: Gatehouse Theatre.

Orchestration/Vocal Arrangement: Singin’ In The Rain: Mill At Sonning, A Little Night Music: Italia Conti, Tweedy’s Reduced Panto: Cheltenham Everyman, Cinderella: Cheltenham Everyman, Proms (Co-Orchestrator). Guys & Dolls: Mill At Sonning, Sweet Charity: Watermill, High Society: Mill At Sonning, Promises Promises: Southwark Playhouse (Co-Orchestrator), Imaginary - A New Musical (NYMT), Superhero The Musical (NYMT). My Fair Lady: Mill At Sonning, Forbidden Broadway GSA.

Education: A Little Night Music: Italia Conti, Spring Awakening: RWCMD, Sweeney Todd: RWCMD, Forbidden Broadway: GSA.

Music Preparation: Treasure Island The Musical: Singapore Rep Theatre. Red Riding Hood – A New Musical: SRT, R&H Theatricals. Promises Promises: Southwark Playhouse. Ragtime: Charing Cross Theatre.

Original Cast Recordings: Prodigy: A New Musical Imaginary: Original Cast Recording Billy The Kid: Original Cast Recording Sleepy Hollow: Original Cast Recording

W: www.charlieinglesmusic.co.uk | T: @cjimusic

LUCINDA LAWRENCE - CHOREOGRAPHER

Lucinda has worked for NYMT on ‘13’ and ‘West Side Story’ as assistant choreographer. From an early age she began choreographing for National Youth Ballet (Punch and Judy, The Greatest Show On Earth) and then went on to train as an actress at Arts Ed. Alongside her acting career she’s choreographed college productions including A Chorus Line, Hair, and Oklahoma. As an assistant choreographer and dance captain she has worked on Chicago (Leicester Curve), Dames at Sea (Union Theatre) and Liverbirds Flying Home (The Royal Court, Liverpool).

Acting credits include; Roz Keith in 9 to 5 (UK Tour) Velma Von Tussle in (UK Tour); Young Beryl in Liver Birds Flying Home (Royal Court, Liverpool); Cherry Sundae in Charlie And The Chocolate Factory (Theatre Royal Dury Lane); Rhoda in White Christmas (); Mimi, u/s Adelaide in Guys & Dolls (Chichester Festival Theatre); Rhonda in Cool Rider (); Vodka in Drunk (Leicester Curve & ); Kiss Me Kate (Old Vic); Gladys U/S and played Peggy Sawyer in (Leicester Curve, Chichester Festival Theatre); Mary Poppins (UK Tour).

Lucinda is currently the narrator of BBC 1’s Garden Rescue, and can also be heard as a vocalist on cast recordings of 9 to 5, Cool Rider, and Drunk! STEWART J. CHARLESWORTH – SET AND COSTUME DESIGNER

Musicals include Dusty - the Dusty Springfield Musical onboard the P&O Azura; Mel Brooks The Producers (Asia Tour), West Side Story (Bishopsgate Institute), Respect La Diva (), Carousel (), Me and the Girls (Bury St Edmunds and Tour), Bat Boy (Southwark Playhouse), Title of Show and Musical of Musicals the Musical (Above the Stag), Legally Blonde (), Seussical the Musical (Pleasance London) and (Bridewell Theatre).

Plays include Yes Prime Minister (Theatre Clwyd); The Country Wife (Southwark Playhouse); Cissie and Ada; A Hysterical Rectomy (UK Tour), Macbeth (UAE Tour), By The Bog of Cats (BGAC), Our Mutual Friend (Tower Theatre), and Goodbye Norma Jeanne (Above the Stag)

Dance includes Tribute for Acosta Danza and Carlos Acosta and Pure Dance:Ave Maria for Natalia Osipova for Sadlers Wells/New York City Centre.

Opera includes Don Giovanni, Cosi Fan Tutte and Acis and Galatea (Dorset Opera 2021); Don Giovanni and The Marriage of Fiagro ( Garden Opera) and associate designer for Nabucco and Lucia Di Lammaour (Dorset Opera).

Stewart regularly designs for several established drama and with previous productions including Little Women and Addams Family double bill for Trinity Laban and The Secret Garden and the Wild Party double bill for Guildford School of Acting. w: www.stewartjcharlesworth.com | Instagram - stewart_j_charlesworth

AARON J. DOOTSON – LIGHTING DESIGNER Training: Wimbledon College of Art (Lighting Design and Practice, Distinction, 2009).

Credits include: Pippin (Charing Cross Theatre); Forever Plaid (Upstairs at the Gatehouse); Fame, Jekyll & Hyde (The Hammond); Parade, Legend Trippers & Anything Goes (Other Palace - NYMT); Jerry Springer The Opera (Hope Mill Theatre); Legally Blonde (The Hammond); The Exonerated (Hope Mill Theatre); Cabaret (The Hammond); Aspects of Love (Southwark Playhouse); Rise & Fall (Page One Theatre); Betty Blue Eyes (GSA); Illusion (HOME); Wind In The Willows (Polka Theatre); The Return Of The Soldier (Hope Mill Theatre); Feed (Pleasance Dome); Aspects Of Love (Hope Mill Theatre); Notre Dame (Alexandra Theatre); Double Act (Polka Theatre); For The Fallen (Ballakermeen Theatre); Happy Warriors (Upstairs at the Gatehouse); Night at the Oscars (Upstairs at the Gatehouse); Illuminate (Manchester Central Library); Snow Queen (Polka Theatre); Hamlet (Wyllyotts Theatre); My Brother, My Sister & Me (Polka Theatre); Decade (Assembly Theatre); Pippin (Southwark Playhouse/Hope Mill Theatre); Hatch (Polka Theatre); YANK!! (Charing Cross Theatre and Hope Mill Theatre); Sarah & Duck (Polka Theatre and UK Tour); Stags & Hens and Earthquakes in London (Alexandra Theatre); A Christmas Carol (Corby Cube); Four in Rep (GSA); Love Play (Assembly Theatre); En Folkenfiende (Pleasance Edinburgh); Flip (Arts Ed); Parade (Hope Mill Theatre); Origins (Lowry Theatre); Happy Harry’s Cafe(Polka Theatre); Parallel (Harrogate Theatre); Spring Awakening (Platform Theatre); Molly (Pleasance Theatre); The Rise and Fall of Little Voice and The Last Five Years (King’s Arms Theatre, Salford); Wink (); The Goodbye Girl, There’s a Guy Works Down The Chip Shop Swears He’s Elvis, Singin’ In The Rain, The Blonde Bombshells of 1943 and Romeo and Juliet (Upstairs at the Gatehouse); Long Story Short and Ushers(Charing Cross Theatre); Only Us (Bristol Old Vic); Romeo and Juliet (Theatre Royal, Northampton); Green Form (); Bluebird (Cockpit Theatre); This is How it Goes (King’s Head Theatre); After The Accident (Soho Theatre) and Acteon (Dartington Summer School).

Associate Lighting Designer credits include: The Perfect Murder (UK Tour, 2016); In The Heights (King’s Cross Theatre); Dead Simple (UK Tour, 2015); Jacques Brel Is Alive And Well And Living In and Lost Boy (Charing Cross Theatre) and Fallen Angels (Theatre Royal, Windsor).

T: @aaronjdoots W: www.aaronjdootson.co.uk THANKS We are grateful to all those who have supported NYMT and our participants this year

Alexander L'Estrange Mrs Gillian Karaviotis /Marlow Festival of Music & Drama Angharad Lee Paula Garfield and Definitely Theatre Chetham’s School of Music Ralph Bogard Curve, Theatre Reiss Martin Scenic Creative Technology Sevenoaks School Daniel Lauro Sennocked Service Ltd. Edward Cadbury Trust Static Light Company Static Lighting Gaby Gerrard PR St Loes Exhibition Fund The Gyde Charity Stroud and Rodborough Educational Trust Grantees Stage Westminster Under School Had Edge Band/John Turnbull Percussion James Morton We would like to extend our thanks to Musical Director Jamie Platt Lewis Bell and Choreographer Philip Joel who were both Kate Baiden and all at Graeae Theatre Company Lottie Lawrence-Moodie part of the Henrietta workshop creative team in 2019 and to the entire Henrietta Company of 2020. NATIONAL YOUTH MUSIC THEATRE

President HRH, The Earl of Wessex, KG, GCVO Chair of the Friends Jasper Britton

Founder Jeremy James Taylor OBE Patrons - Jason Robert Brown, Tom Chambers, Idris Elba, OBE, Howard Goodall CBE, Chair Paul Munden , Toby Jones, Jude Law, Amy Nutall, OBE. Trustees Jenny Cooke OBE Ebere Okereke David Reitman (Senior Independent Director) Benjamin Sheen To become a friend of the National Freddie Tapner (Treasurer) Youth Music Theatre, please scan the Danielle Tarento (Deputy Chair) code below. Jeremy Walker, FRSA

Leadership Team Kylie Vilcins David Grant Benjamin Sheen Chris Cuming

Administrator Cicero Magalhães

Associate Producer Kylie Vilcins

Artistic Director & CEO Jeremy Walker

@NYMT UK www.nymt.org.uk