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Thursday 26 November, 7.30pm Friday 27 November, 2pm & 7.30pm Saturday 28 November, 7.30pm

A Midsummer Night’s Dream

By Suba Das director Guildhall School of Music & Drama Milton Court Founded in 1880 by the Situated across the road from Guildhall City of Corporation School’s Silk Street building, Milton Court offers the School state-of-the- Chairman of the Board of Governors performance and teaching spaces. Milton Vivienne Littlechild Court houses a 608-seat Concert Hall, a 223-seat , a Studio theatre, three Principal major rehearsal rooms and a TV studio suite. Lynne Williams Students, staff and visitors to the School experience outstanding training spaces as Vice-Principal & Director of Drama well as world-class performance venues. Orla O’Loughlin

Please visit our website at gsmd.ac.uk

Photographs of the final year acting are by: David Buttle (Charlie Beck, Lily Hardy, Hope Kenna, Isla Lee, Noah Marullo, Umi Myers, Felix Newman, Jidé Guildhall School is part of Culture Mile: Okunola, Sonny Pilgrem, Alyth Ross), Samuel Black (Dan culturemile.london Wolff), Harry Livingstone (Nia Towle), Wolf Marloh (Zachary Nachbar-Seckel), Clare Park (Grace Cooper Milton), Phil Sharp (Kitty Hawthorne, Sam Thorpe-Spinks), Michael Shelford (Levi Brown, Sheyi Cole, Aoife Gaston, Guildhall School is provided by the City of London Brandon Grace, Conor McLeod, Hassan Najib, Millie Smith, Corporation as part of its Tara Tijani, Dolly LeVack), David Stone (Justice Ritchie), contribution to the cultural life Faye Thomas (Caitlin Ffion Griffiths, Genevieve Lewis) of London and the nation A Midsummer Night’s Dream by William Shakespeare Suba Das director Grace Smart designer Ed Lewis composer Lucy Cullingford movement director Jack Stevens lighting designer Thomas Dixon sound designer Thursday 26, Friday 27, Saturday 28 November 2020 Live performances broadcast from Milton Court Theatre

Recording of this performance by any means whatsoever is strictly prohibited.

This production contains adult content, including depictions of drug use, violence and scenes of a sexual nature. The

A Midsummer Night’s Dream has been nights are more appropriate. Is this the explored for hundreds of years and in every midsummer night our world deserves? imaginable way. In 2016, YouGov ran a poll in Britain and found that nearly half of Secondly, the time of day. The action of the UK population had either read or seen the play supposedly takes place over just the play. In the past few years, splitting the the one night, a night of frivolity and British population 50/50 has only served light-hearted hijinks. However, modern to stoke division and mistrust between productions have recast this light and Leavers and Remainers but, in this case, it’s frothy (practically sunny) night as an pretty astonishing. According to the same ugly, dastardly old bastard of a night poll (and countless others) Midsummer is that provides the cover of darkness for all also the most performed Shakespearean sorts. In these new productions, what the play the world over. As a result of this characters in the play get up to under cover adulation, it has been imagined six ways to of night is very much in line with the Sunday. Despite this phenomenal supply of urban jungle of our contemporary world. productions, the demand never seems to let Backroom deals, shadowy conversations, up. The play is rich for re-investigation and specific and pointed acts of malice and, reassessment at every turn. perhaps most true to life, a group of unemployed actors finding somewhere However, recently, Midsummer has been free to rehearse at a ridiculous time of investigated to the point that its title starts to day (after they’ve all finished their shifts look a little ironic. in the hospitality industry, no doubt.) Has Midsummer unwittingly been re- Firstly, the time of year. Modern theatre appropriated as the Shakespearean play has seemingly rejected Shakespeare’s most that best mirrors the world as it is today? obvious stage direction and embraced the idea of bringing the summer firmly into Finally, is this really a dream? Feels more the winter. To be fair, Titania does reference like a nightmare at times. Productions have the topsy-turvy nature of the environment gone out of their way to emphasise Oberon early on in the play but you wouldn’t and Titania’s autocratic control over this know it the way either traditionalists world, presided over by a magic secret police have presented it (village fête and morris (embodied by Puck) who, despite clear dancing) nor in new productions that instructions, still seems to be able to get it properly go for ice and mud. In multiple all wrong and effectively poison the wrong high profile productions of this most person on a regular basis. Oberon and famous play, the winter has been the Puck, not satisfied with meddling in the setting for this dark and twisted tale of business of the tourists who are only passing metamorphosis; questionable ‘romantic’ through, go one step further manipulating gestures and environmental destruction. Titania into engaging in sexual activity Directors have seemingly decided that the with a half man, half donkey who, himself, darker, wetter, more miserable winter is unaware that he has been the victim

of some nefarious magic meant only to where enormous and powerful institutions, humiliate him and debase his humanity. after so many hidden transgressions, have Bottom, however, is also true to our world had to be publically called out for historic – he believes himself beautiful despite all abuses of power. And this has only happened evidence to the contrary. Presumably, the because of the bravery of courageous Daily Mail and The Sun have repeatedly individuals. told him he should reject the evidence of his own eyes in favour of some comforting So maybe the dark version of Midsummer propaganda. He is, it seems, quite happy to is what we all need? be a pawn in a game. At the very least, Midsummer, despite its The whole play has been hijacked and xxx obvious colossal appeal, needs re-imaginings reframed as a bastion of filth, deception and like the one you will watch this evening. misery. Versions where we consider the sinister nature of these characters, where we question Is that really where it deserves to be? the relationship humans have with the wild natural habitat on their doorstep, where we Is it as sinister as all that? challenge the power structures that keep us all in line. Does the play need to be so mercilessly dissected? Midsummer is, and always has been, a universal play. That couldn’t be truer In the past, Midsummer has been the than today. But maybe that universality archetypal harmless Shakespeare play, staged is not what we thought it was. Maybe the in village gardens across the country. The universality in the play is the ugly side of narrative is familiar, the characters familiar, life and, despite a balmy summer night, the setting familiar. It would be easy to maybe we have to accept that people are argue that this familiarity is exactly what getting up to all sorts of no under has made it so popular. People like what cover of darkness. they already know and have a seemingly unending appetite to keep things the same. Programme notes by Andy McNamee

Having said that, maybe keeping things the same isn’t such a good idea. Look at the state of the world today: keeping things the same has led to a sharp rise in ugly nationalism around the world. Keeping things the same and insisting on exclusive individualism that favours no one but yourself has led to a pandemic forcing continents to a standstill. Keeping things the same has led to a situation Cast

Puck Charlie Beck Lysander Levi Brown Egeus/Philostrate David Buttle* Helena Grace Cooper Milton Quince/Peaseblossom Caitlin Ffion Griffiths Titania/Snout Kitty Hawthorne Hippolyta/Cobweb Genevieve Lewis Oberon/Starveling Hassan Najib Theseus/Moth Felix Newman Demetrius Sonny Pilgrem Snug/Mustardseed Millie Smith Bottom Sam Thorpe-Spinks Hermia Tara Tijani Flute Nia Towle

Other parts played by the ensemble

* Guildhall Acting Graduate 2020

A listing of CVs for Guildhall School Final Year Actors may be viewed on the School’s website: gsmd.ac.uk/finalyearactors Production Team

Scenic Carpenter Technical Manager Deputy Stage Manager Zoe Bridger Sami Barqawi Laura Alexander-Smith

Assistant Carpenters Technical Assistant Assistant Stage Managers Charlotte Cross Rosie Roberts Olivia Hilton-Foster Robbie Lynch Emily Robertson India Mills Matthew Servant Prop Maker Max Rodriguez-Thorp Costume Supervisor Book Cover Tara Boland Samuel Dawson Assistant Prop Makers Mary Deakes Wardrobe Manager Chloe Rushbrook Additional Production Staff Livvy Meeks Scenic Artist Assistant Director Costume Assistants Rose Bailey Helena Snider Amy Hill Livvy Meeks Assistant Scenic Artists Production Managers Kate Stockwell Dani Diego Michael Cunningham Allegra Totaro-Wainwright Bob Holmes Production Electrician Molly Barron Production Sound Engineer Chief Electrician Anja Urban Aled Roberts Sound Operator Lighting Programmer Em Dethick-Jones Jonathan Chan Video Designer Production Manager Emma Horne Natalya Scase Stage Manager Samantha Liquorish

A listing of CVs for Guildhall School Final Year Production Arts students may be viewed on the School’s website: gsmd.ac.uk/finalyearPA Final year actors 2020/21

Charlie Levi Sheyi Grace Aoife Beck Brown Cole Cooper Milton Gaston

Brandon Caitlin Ffion Lily Kitty Hope Grace Griffiths Hardy Hawthorne Kenna

Isla Dolly Genevieve Noah Conor Lee LeVack Lewis Marullo McLeod Umi Zachary Hassan Felix Jidé Myers Nachbar-Seckel Najib Newman Okunola

Sonny Justice Alyth Millie Sam Pilgrem Ritchie Ross Smith Thorpe-Spinks

Tara Nia Dan Tijani Towle Wolff Biographies

Suba Das director Grace Smart designer Suba Das is an award-winning theatre Grace studied at the Liverpool Institute for director, producer and dramaturg. He is Performing Arts, gaining a First Class BA Artistic Director and Chief Executive of in Theatre Performance Design. Her set and HighTide, one of the UK’s leading new costume designs include: Susanna (Royal writing theatre companies; and a trustee Opera House); My Beautiful Laundrette/ of the North Music Trust, which operates Memoirs of an Asian Football Casual ( the iconic Sage Gateshead building and Theatre); The End of History… (Royal Court); the Royal Northern Sinfonia. Killer Joe (Trafalgar Studios); One Night in Miami (Nottingham Playhouse); Shebeen From 2012 to 2018, Suba was Associate (Nottingham Playhouse/Theatre Royal Director at Leicester Curve, one of the UK’s Stratford East); Crocodile Fever (Traverse major producing . Directing credits Theatre); Good Vibrations/The Colleen Bawn at Curve included: the world premieres of and St Joan (Lyric, Belfast); Postcards from Wipers by Ishy Din and Pink Sari Revolution the Ledge (Gaiety Theatre and Irish national by Purva Naresh, the European premiere tour); The World’s Wife (Welsh National of Shiv by Aditi Brennan Kapil, and new Opera); East is East (Northern Stage); productions of Abigail’s Party and The Cat Normal and Blasted (90 , Styx Bar); In The Hat (with and Bar Mitzvah Boy (The Gatehouse, London); the National Centre for Circus Arts). The Pier (Oxford Playhouse).

At Curve, Suba also established the She has been set designer for Here Comes prestigious Inside Out Festival, developing the Night (Lyric, Belfast) and costume new drama, dance and spoken word by designer for Wonderland (UK tour) and artists in the East Midlands, raising over Shopping and Fucking (Lyric Hammersmith). £1.5M for new work seen in Leicester and She has assisted designers including Peter internationally by over 500,000 people. McKintosh, David Farley, and Chloe Mashiter; at venues including the National Theatre, St James Theatre, Regent’s Park Open Air Theatre and Donmar Theatre, and worked as a puppeteer for productions for the Royal Shakespeare Company. Grace was the overall winner of the Linbury Prize in 2015.

Ed Lewis composer Lucy Cullingford movement director Edward studied Music at Oxford University Lucy is a Choreographer and Movement and subsequently trained as a composer and Director working in Theatre, Opera, Dance, sound designer at the Bournemouth Media and Film. She trained at Northern School School. He works in theatre, film, television of Contemporary Dance and Bretton Hall and radio. He has been nominated for University. She has an MA in Movement several Theatre Awards, and Studies from The Royal Central School of films he has worked on have won several Speech and Drama. awards at the LA International Film Festival and Filmstock International Film Festival. Lucy was Movement Practitioner in the inaugural Movement Department at the Recent theatre includes: A Christmas Carol Royal Shakespeare Company 2008 – 2010. (Wilton’s ); The Canterville Ghost Then Dance Repetiteur on the Royal (); Two Trains Running Shakespeare Company’s original production (Royal & Derngate); Cash Cow, Everyday of into the West End. I Make Greatness Happen ( She continues to work regularly with ); Killer Joe (Trafalgar Studios); Royal Shakespeare Company. Table (New Vic Theatre); The War Has Not Yet Started (Theatre Royal Plymouth); Recent Theatre productions include: Death (West End); Box Of Delights of , All of Us (National Theatre); (Wilton’s); (Watford Palace); The Wizard of Oz () and the Remarkable Invisible (Theatre By The Royal Shakespeare Company’s acclaimed Lake); Alligators (); productions of ; The Resistible Rise of Arturo Ui (Donmar Measure for Measure; Coriolanus; The Jew of Warehouse); Platinum (Hampstead Malta and Snow In Midsummer, the motion Theatre); Unfaithful (Found 111); The capture production of The Tempest and Don Vertical Hour (); Bug Quixote (Royal Shakespeare Company/ (Found 111); The Dazzle (Found 111); West End); with Ian Mckellen Baddies the Musical (Unicorn Theatre); (Chichester Theatre/West End) and Breaking the Ice (Unicorn Theatre); Chef (Royal Court/West End/UK ( Theatre); Abigail’s Party (Leicester National tour and Broadway). Curve); Hannah (Unicorn Theatre); The Cement Garden (VAULT Festival); The Speed Twins (); Eugenie Grandet (Hartshorn-Hook Productions); Cuddles (Oval House Theatre); Molly Sweeney (The Print Room/Lyric); Ignorance (Hampstead Theatre); Gravity (Birmingham Rep Theatre).

Jack Stevens lighting designer Thomas Dixon sound designer Jack is currently in his third year of the Thomas is currently in his third year of the BA (Hons) Technical Theatre Arts (Theatre BA (Hons) Technical Theatre Arts (Theatre Technology) programme at Guildhall Technology) programme at Guildhall School. School. He is working towards a career in Lighting Design and Theatre. He has Credits in sound design include: Creatures worked between events and theatre, both of the light Blackpool (Guildhall Live Events); in London and the North-west and has Blackpool Brilliance (Guildhall Live Events); worked in many different varieties of shows Living without star (Guildhall Live Events); over the years, from Installations to outdoor Somewhere In (dir. Sam Thorpe-Spinks promenade theatre shows. – Guildhall CoLAB); Ravan (dir. Chirag Benedict Lobo – Guildhall CoLAB). Lighting credits at Guildhall include: Lighting Programmer Autumn Opera Other sound credits include: Sound #1 Shallis Scenes (dir. Martin Lloyd Evans); Lighting Fest (); Sound #2 A West End Programmer Dido and Aeneas and La Bella Christmas (MAD Trust); Sound #2 West End dormente nel bosco (dir. Olivia Fuchs). Bars, Stripped to our Birthday Suits (MAD Trust); Sound #2 The Other Songs (The Other Other Credits at Guildhall include: Video Palace, ); Sound Technician Operator Summer Opera Makers (dir. John Prides Got Talent (London Pride); Sound #2 West Ramster); Head of Sound Production End Bares – Top off the tops (MAD Trust). Engineer Antigone (dir. Orla O’Loughlin); Head of Sound Production Engineer Professional Credits include: Casual Spring Opera Scenes (dir. Stephen Medcalf); Technician (The Other Palace); Lighting Production Assistant The Royale (dir. & Video Deputy (The Other Ameera Conrad); Assistant Carpenter La Palace); Lighting Deputy Magic Mike Live Fedeltà Premiata (dir. Stephen Barlow). (Hippodrome Casino); Stage Showman Amélie the Musical (The Other Palace); Casual His other credits include: Technical LX Technician (Lyric Hammersmith); LX Assistant The Three Musketeers Dukes Technician Honest Amy (Edinburgh Fringe); Williamson Park (dir. Sarah Punshon); Technical ASM London Pride (Pride Technical Assistant Dukes in London); Stage Showman The Massiah Williamson Park (dir. Joe Sumsion); (The Other Palace); Rehearsal ASM American Technical Assistant The Hobbit, Dukes Idiot UK Tour (Selladoor Worldwide). Williamson Park (dir. Joe Sumsion) which was awarded for Best Show For Children Guildhall credits include: Production Assistant And Young People (UK theatre awards). Antigone (dir. Orla O’Loughlin); Production Assistant The Angel Esmerelda (dir Martin Lloyd Evans); Wardrobe Assistant Provok’d (dir. Jamie Bradley); Video Programmer & Operator The Wheel (dir. Caroline Byrne). September — December 2020

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Join us online this autumn for a host of exciting concert broadcasts, live-streamed opera and plays, inspiring talks and masterclasses, online festivals from our Jazz and Performance & Creative Enterprise departments, and much more. The events feature outstanding Guildhall School performers and celebrated guest artists, and are available for everyone to watch on our website, free of charge.

Find out more at gsmd.ac.uk/autumn_2020 Guildhall School Scholarships Fund

Each year the Scholarships Fund enables talented young actors, musicians and theatre technicians to take up their places or continue their studies at Guildhall School. We are extremely grateful to many trusts, foundations, businesses, City livery companies and individuals who make annual donations to the Scholarships Fund, and to those people who make provision for legacy donations in support of the School in their wills. Students involved with our 2020/21 theatre productions who have received support from the Scholarships Fund and from external donors are as follows:

Nicky Bird Scholar Acting Livvy Meeks Charlie Vince- Levi Brown Stanley Olden Crowhurst Guildhall Scholars The Stanley Picker Sophie Presswell Leverhulme Sheyi Cole Trust Scholar Benedict Rattray Arts Scholars Caitlin Ffion Griffiths Felix Newman*** Maisie Roberts Samuel Dawson Lily Hardy* *also supported Rosie Roberts Em Dethick-Jones Hope Kenna directly by The Lilian Daniel Robinson Harnett Isla Lee Baylis Award Natalya Scase Amy Hill Dolly LeVack** Matt Shraga Emma Horne **also supported Hassan Najib Ema Soares Da Cunha Viktor Mileika directly by Sophie’s Jidé Okunola Andrea Støier Emily Nellis Silver Lining Trust Alyth Ross Andersen Pete Reavey Sam Thorpe-Spinks ***also supported Qian Yan Tan Jack Stevens Tara Tijani directly by The Katherine Verberne Naomi Wright The Damian Sir Ophir Westman The Vanstone Lewis Finishing Charitable Trust Adam Woodhouse Scholar Fund Scholar City of London Takiyah Campbell Justice Ritchie Production Arts Scholars The Steel Charitable City of London Guildhall Scholars Sophie Bramley Trust Scholar Scholars Laura Alexander- Dani Diego Monika Grace Cooper Milton Smith Reuben Cohen Zwierzchowska Aoife Gaston Molly Barron Sam Levy Carpenters’ Nia Towle Joshua Collins Leathersellers’ Company Noël Coward Kyra Coppini Scholar Production Arts Scholar Jack Garner-Greene Kate Stockwell Scholarship Charlie Beck Bradley Halliwell Tallow Chandlers’ Emylly Ombok Rigler-Ollerton Olivia Hilton-Foster Scholar The Salters Scholar Edward Jackson Finlay Anderson Production Arts Award Conor McLeod Devon James-Bowen Skinners’ Lawrence Bess Jones and Leigh Abu Mensah Sammy Lacey Atwell Scholar Hudson Scholar The Jane Ades Samantha Liquorish Fiona Newton Brandon Grace Eilidh Mackenzie Ingenuity Scholar B&T Scholars Rylee McDaniel Rin Akiyama Tara Boland Guildhall School Scholarships Fund

“My goal for my first year was to soak up everything the School has to offer, and thanks to my scholarship I was able to do that. For that, I thank you all so much”

Tara Tijani, BA Acting

The School has experienced a considerable increase in demand on its scholarships fund with the cost of living in London continuing to be a major hurdle for many students. Scholarships are more vital than ever before, ensuring that anyone with the talent and ambition to excel is not constrained by personal circumstances. For more information about supporting scholarships, please the Development Office on 020 7382 7179, visit our website gsmd.ac.uk/scholarshipsfund or email [email protected]

The Guildhall School Trust is a Registered Charity No. 1082472 gsmd.ac.uk

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