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Aladdin2005.Pdf a new version by Bille Brown Director Sean Mathias original score by Gareth Valentine Designer John Napier additional song 'I Believe in You' Choreographer Wayne McGregor music by Elton John & lyrics by Lee Hall Musical Supervisor Gareth Valentine Costumes Mark Bouman Producer David Liddiment Lighting David Hersey Executive Producer Colin Ingram Casting Director Jill Green CDG Sound Fergus O'Hare Production Manager Dominic Fraser Orchestrations Chris Walker Assistant Director Paul Warwick Griffin Assistant Choreographer Laila Diallo Musical Director Kevin Amos Additional script Paul Alexander Designs inspired bythe drawings of Flo Perry First performance at The Old Vic Wednesday 7 December 2005 CARST in ORDER F OR LADD IN 0F AP FE ARANC Am Abbanazar Roger Allam Company Manager (OVTQ Jane Semark Aladdin Neil McDermott Stage Manager Simon Ash Hanky Matthew Wolfenden Deputy Slage Manager Nicole Keighley Panky Andrew Spillett Assistant Stage Managers Martha Mamo Dim Sum Frances Barber Sarah Winborn WidowTwankey Ian McKellen Costume Supervisor Tracey Stiles Princess Kate Gillespie Head of Wardrobe (OVTQ Fiona Lehmann Emperor Paul Grunert Deputy Head of Wardrobe (OVTQ Louise Askins Genie Tee Jaye Wigs Supervisor Joanna Taylor Ensemble Marina Abdeen Head of Wigs Rick Strickland Madalena Alberto Deputy I lead of Wigs Emma Sharp Gary Amers Properties Supervisor Tracey Clarke Alistair David Head of Lighting (OVTC) Stuart Crane Steve Fortune Deputy Head of Lighting (OVTQ Andrew Taylor Emma Harris Head of Stage (OVTQ PJ Holloway Victoria Hinde Deputy Head of Stage (OVTQ Tom Humphrey Stuart Neal Production Sound Engineer Crispian Cavell Zak Nemorin Sound Operator No 1 Fergus O'Hare Daniel Redmond Sound Operator No 2 Becky Stockting Leah Sheldrick Acrobatic Staging Matthew Wolfenden Music Copying Anne Barnard Dresser to Ian McKellen Tim Gradwell Dressers Nikki Whitlock Jordan Sophie Coils Follow-spot Operators Emily Nagle SO ONGS Molly Portsmouth Board Operator Alex Stone Show Crew Katie Bazell, Danny Bowers, 1 Prologue/Anything That You Are Seeking Steve Grant, Titch Meagher, 2 Family Matters Alan Morley, Tony Portsmouth 3 I Believe in You Advertising & Marketing AKA (020 7836 4747) 4 Die! Die! Die! Press Agent Kate Morley (020 8509 8609) 5 Pantomime Production Photographer Manuel Harlan 6 Feng Yang 7 It's Not Over 8 Peace and Justice Production acknowledgements 9 There's Life in The Old Vic Yet/Panto Reprise Set construction & painting by Capital Sce ery, theatre Royal Plymouth, Bowerwood production services Cave engineering by Scena Productions . Vases & fans constructed by Extraordinary Designs . Cave construction by The Kite Studio . Cave decoration & painting Samantha Fellows . Fan & vase painting Belinda Clisham & Anna Stamper. Front cloths, walkdown & EST RA Hollywigan cloths painted by Belinda Clisham & Anna Stamper, Washing 0)RS &Peking cloths painted by Samantha Fellows . Barbary cloths painted b Visual Scene . Boudoir cloths painted by Capital Scenery. Cloths supplied Musical Director Kevin Amos by l & C Joel & Ken Creasey Ltd . Carpet supplied by Show Flooring Ltd . Associate Music Director Alan Berry Additional lighting equipment supplied by White Light Eiectrics . Additional sound equipment supplied by Autograph Sound' Human flying Flute, soprano sax, clarinet Andy Findon fx by AFX/Kirbys Flying Ballet . M .A V Walcoverings L td . Angels Fancy Clarinet, flute, alto sax Bradley Grant Dress . Costumes by Gill Linley, Stephen Harrington, Kevin Mathias, Bristol Bass clarinet, baritone sax, piccolo Colin Skinner Costume Services, Sten Vollmuller, Sasha Kier, Kit Reading, Laela Barnard, Trumpet Andy Greenwood Phil Reynolds, Hilary Wili, Paula Yeomans, Jools Feedam, Clare Banet, Mhairi McKechnie. Prop Costumes by Applied Trumpet Andrew Gathercole Sandra Griffiths, Gary Page, Arts . Dyers Gabrielle, Nicola, Penny, Hadrill . I-tats by Jenny Adey, Sean Trombone Mike Feltham Barrett, Mark Wheeler . Wigs by Mario Audello. Ian McKellen's cabaret wig Double bass, bass guitar Stephen Warner donated by Peter Owen . Prop makers Nigel Schofield at MDM Props Ltd, Drums, percussion Gary Cubberley Frank &Allan at Capital Scenery, Claire Sanderson, Damon Glitter & Mark Synthesiser Programmer Mark Warman at. Nomad Design, Lucy Griffiths, Victoria Fifield & Lynette, Laira Mason, Matt Lawrence, Pam & LJ, Sian Burston, Nazare at Angel Prints, Kate Orchestra Management Steven Hill, Musicians UK Ltd Epps, Tracey Clarke, Daisy Popham, wvw.pedal-my-car.co.uk, Guinness. Ian McKellen's costumes by Paddy Dickie . Approximate running time 2 hours 15 minutes, The Christmas tree in the foyer has been generously donated with one 1 S minute interval. by the Norwegian Embassy . FOR F0 R THE OLD VIC TH E OL D VIC T HEAT RE CO MPANY TH1 EATR E TRUST Artistic Director Kevin Spacey Trustees : Sir Elton John CBE (Chairman), Sally Greene (Chief Producer David Liddiment Executive), Lord Attenborough, Alan Banes, Robert Bourne, Executive Producer Colin Ingram Rosie Boycott, Stephen Daldry CBE, Dane Judi Dench, Associate Producer Kate Pakenham Lynn Forester de Rothschild, Kenneth Leet Marketing Director Vivien Wallace Head of Marketing Fiona Richards Chief Executive Sally Greene Special Projects Rachael Stevens General Manager Mary Rose Customer Relationship Manager Carl Petts Old Vic New Voices Kate Pakenham Production Manager Dominic Fraser Education & Outreach Officer Steven Winter Production Assistants Simon Fliegner Head of Finance Helen O'Donnell Ros Povey Production Accountants Ikram Arif Intern Miriam Gillinson Janet Stone Production Accountant Kofi Burke Assistants to Sally Greene Ash Charles Media Consultant Nicola Howson Nick Moss Legal Lawrence Harrison Assistant to theTrust Kate Mackonochie for Russell-Cooke Technical Manager Deano McCullagh Production Insurance Walton & Parkinson Ltd Assistant Technical Manager Stuart Goodier Stage Door Manager Ned Seago Stage Door Keeper Steve Nisbet The Old Vic Theatre Company gratefully acknowledges its financial investors: Fundraising Act IV OldVic Productionsplc, Michael Melnickand the Nederlander Producing Company Ltd. Special Projects Tom Hope Box Office (ATG) Ben Jackson Christian Smith Zanna Walsh Front of House Mike Power (Orion Management) Elizabeth Sillett Paul Taylor ALADDIN PROGRAMME Editor Fiona Richards Associate Editor Jonathan Croall Design Rose Photography Manuel Harlan Advertising sales & print John Good Holbrook The Old VicTheatrempany The Cut, London SE NR Box Office 0870 060 6628 Information ovt c [email protected] ©The Old Vic Theatre Company, 2005 All information is correct at the time of going to press, but may be subject to change. Making The Old Vic More Accessible The Old Vicaims to be accessible and welcoming to all and is committed to making your visit as easy and enjoyable as possible . However, the building is nearly 200years old and access is therefore limited by its current configuration . Please inform the box office at the time of b king if you are a wheelchair-user or visually impaired, and you will be offered appropriate seating If you're hearing impaired, headset and induction loops foruse with the Sennheis fra Red system are availablefrom front-of-house staff. We're reviewing access facilities andplan to add to ourcurrent services . If you have comments or would like tojoin the access mailing list, please contact mary.rose@oldvictheatre .com or 0207981 0910 . 41 li I L E JONATHAN CROALL SPENDS A DAY WATCHING THE CAST OF A RE-VAMPED ALADDIN BEING PUT THROUGH ITS PACES Above : The company . Opposite : Roger Allam, Ian McKellen, Frances Barber, Neil McDermott. 'Can you catch bird flu from toilet duck?' asks Dim Sum, aka Frances Next, musical director Kevin Amos takes the ensemble through the Barber. It's a typical moment in a gag-filled, high-octane day at the beautiful requiem song 'Peace and Justice' . No gags here, just a end of the first week of rehearsals . Guided by director Sean Mathias, the meticulous concern with getting all the nuances right: Kevin ensures Aladdin company work with obvious enjoyment and great intensity on that every comma is expressed, every consonant properly articulated. three songs, two dance numbers, a chase, and three dialogue scenes . The result is impressive, and already very moving . This is a re-modelled version of last year's original production . Apart Aladdin and the Princess then rehearse their first meeting . Even from the addition of the usual topical jokes, the story has been dressed casually in tracksuit and jeans, Neil McDermott and Kate clarified, there have been music and lyric changes, certain characters Gillespie manage to put over bags of youthful charm and sincerity, have been strengthened, while cast changes bring in a new Dim Sum, which continue to be in evidence in their romantic duet 'I Believe Aladdin and Princess . in You', written specially for the show by Elton John . In a smallish, low-ceilinged room nearThe Old Vic, the rehearsal Next we're into the chase of Aladdin by the two dim-witted policemen, begins with Dim Sum and the Emperor (Paul Grunert) working on the Hanky and Panky. New to their parts, Matthew Wolfenden and Andrew traditional 'song sheet' routine. This part of the script, where the actors Spillett are actor/acrobats, and their exuberant athleticism is a joy to are talking directly to the audience, is still open to negotiation. A couple watch. The ensemble meanwhile are playing citizens of Old Peking; the of gags are offered by the actors : one is accepted, the other Sean rates challenge here for assistant choreographer Laila Diallo is to plot their 'too risqué for the kids'. This is a constant dilemma: where to draw the moves as they go about their daily business without allowing them to line with the bawdy humour in front of a mixed-age audience . obscure the chase. Before long they find the right flow . At this point Gareth Valentine, who created the score and is also the There have also, he reveals, been significant changes to the script . musical supervisor, conducts a mini-rehearsal of the show's first 'Last year we concentrated a lot of energy on the Dame, Abbanazar moment. He wants the sound of Aladdin's name to be more wraith- and Aladdin, all of which bore fruit and was I think very clear.
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