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Home , Bristol Hippodrome, Bristol Old Vic, Richard Cottrell, Sarah Siddons, Val May

250 YEARS OLD

Thank you for being part of one of the most significant anniversaries in the history of British theatre.

We’ve done our best to curate a programme worthy of your efforts, inspired by the astonishing creativity of the thousands of artists – from to Sally Cookson – who have delighted and entertained you and your forebears over the last 250 years.

But at heart, ours is a story of passion, survival and reinvention. All the other theatres producing plays in 1766 have fallen down or been demolished because, at some point in their history, their audiences abandoned them. This one has survived because each time it’s faced disaster, Bristolians from all over the world have given it new life.

It happened in 1800, when popular demand led to the ceiling being tipped up and the new gallery being built, increasing the capacity to an eye-watering 1,600. It happened in 1933 when Blanche Rogers initiated the campaign that the old place should be saved and become ‘’s Old Vic’. It happened in 2007 when Dick Penny held the open meeting (which many of you attended), leading to the Arts Council continuing its vital support for the theatre. And it’s happening throughout this wonderful anniversary, as you carry us towards the final stage of the refurbishment that will set us securely on our adventures over the next 250 years.

So as you read about the shows we’re staging and the projects we’re curating during our birthday year, don’t forget to give yourself a warm pat on the back for being the people who are, in the end, responsible for all of it.

With enormous thanks

Tom Morris and Emma Stenning And all the artists and staff of

bov_250_gala_programme_AW.indd 1 18/05/2016 14:48 BRISTOL OLD VIC 250TH ANNIVERSARY GALA SUNDAY 29 MAY, 2016

A SELECTION OF THIS EVENING’S HIGHLIGHTS, WITH EVEN MORE SURPRISES IN STORE

6pm — Pre-show reception with canapés and welcome drink

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7pm — Star-studded Gala Performance:

‘At the Top of the Tide’ ‘Gallop apace, you fiery-footed steeds’ A fanfare for three trumpets From Juliet and Her Romeo by David Mitcham by and Sean O’Connor

David Garrick’s prologue Extract from ‘A Small Town in the West Country’ The very first words Sound by John Leonard to be uttered on this stage Extract from ‘’ ‘Since by Man came Death’ By (Act III, Sc 2) From ‘The Messiah’ by George Frideric Handel ‘Sweet Powell’ Colloquy of voices on the beauty of Bristol Old Vic An anthem for Bristol Old Vic Theatre by Adrian Sutton, directed by Tom Williams Extract from ‘Isabella, or the Fatal Marriage’ by , 1694 Extract from ‘My Father is a Polar Bear’ Adapted by in 1757, By Michael Morpurgo immortalised by Sarah Siddons Extract from Peter O’Toole’s Memoirs, Volume II Bristol Old Vic Ghost Stories By kind permission of Kate O’Toole

‘Crazy’ by Gnarls Barkley Extract from ‘The Meaning of Zong’ Adapted and recomposed for A play in development by Giles Terera by Benji Bower from his acclaimed score for Jane Eyre The finale from ‘Swallows and Amazons’ Words and music by Neil Hannon, Extract from arranged by Sam Kenyon ‘The Consequences of a New Theatre to the City of Bristol’ Anon, 18th Century Herbert Farjeon’s prologue to ‘She Stoops to Conquer’ Spoken by Dame Sybil Thorndike, Sword and Shield Fight in character as Mrs Hardcastle Choreographed by Jonathan Howell, at the reopening of the Theatre Royal, Fight Director, Bristol Old Vic Theatre School Bristol on 11 May 1943

———

11pm — The unveiling of the evening’s spectacular finale on King Street

bov_250_gala_programme_AW.indd 2 18/05/2016 14:48 Introduced by Tom Morris Directed by John Caird Produced by Emily Blacksell Curated by Tom Morris, Emily Blacksell & John Caird

THE 250TH ANNIVERSARY GALA COMPANY

Jude Akuwudike Pippa Haywood Michael Morpurgo Alison Balsom Jack Holden Dame Siân Phillips Samantha Bond Toby Jones Tim Pigott-Smith Ross Brown Phil King Caroline Quentin Sam Clark Kwame Kwei-Armah Sir Tony Robinson Tommy Luther Greta Scacchi Erin Doherty Patrick Malahide David Emmings Melanie Marshall Adam Wright

CREATIVE AND PRODUCTION TEAM

Rod Maclachlan Video Director Brian Hargreaves Young Company Director Victoria Brennan Lighting Designer Sian Eustace Young Company Producer John Leonard Sound Operator Ali Wade Company Stage Manager Ian Penrose Sound Designer Diana Favell Show Caller Emma Cains Costume Samantha Mallinson Assistant Stage Manager Rachel Lisa Jones Hair, Make Up & Wigs Suzanne Snook Assistant Stage Manager

THE EREBUS BRISTOL OLD VIC SWALLOWS ENSEMBLE THEATRE SCHOOL COMPANY

Amy Blythe, Rory Carver, Corey Montague-Sholay Celia Adams, Alice Barclay, Millie Corser, Rose Martin, Lissie Paul, & Maanuv Thiara Dominic Gerrard, Pieter Lawman, Dave Price, Josephine Stephenson, and a rabble Tarek Merchant (Musical Director), Daisy Walford, Tom Williams Katie Moore, Bethan Nash, Zara Ramm, Stewart Wright

BRISTOL OLD VIC YOUNG COMPANY

Marco Adduocchio, Rich Ainsley, Bethan Barke, Holly Barker, Ewan Bullough, Gemma Carey, Nancy Clarke, Charlie Conway, Poppy Costello-Roberts, James D Kent, Gemma Davies, Jess Dix, Ellie Drake, Lola English, Thomas France Liva, Sadie Gray, Ted Gray, Julia Head, Hannah Hecheverria, Dan Hodges, Luke Holloway, William Hulse, Toby Ineson, Rebekah Jeffery Hughes, Sam Lavercombe, Rose McPhee, Jack Orozco Morrison, Hope Parish, Ruby Prior, Sophia Raee, Jacob Rayner Blair, Grace Rich, Ruby Sanger, Robbie Seward, Amy Smith, Louis Spaulding, Lila Stewart, India Tugwell, Orla Watkins, Callum Wood, Naomi Wood, Jess Wray, Toby Yapp and Megan Yapp.

Music by Brian Hargreaves and the Company.

bov_250_gala_programme_AW.indd 3 18/05/2016 14:48 WITH GRATEFUL THANKS TO

John Nicholson, David Mitcham, Owen Sheers, Giles Terera, Graham Bennett, Sophie Green, Ben Hamilton, John Leonard, Michael and Claire Morpurgo. Russell Hancock and Jenny Johnson at Extra Strong.

Tracy Klyne, Head of Costume, Bristol Old Vic Theatre School Judy Barratt for writing and editing. for the loan of the replica Sarah Siddons yellow dress. The dress was recreated by Bristol Old Vic Theatre School costume students Rachel Walker and Ellie Smith who researched, cut and made it.

Jo Elsworth, Heather Romaine, Jill Sullivan, Laura Gardner and all the team at the Theatre Collection for their help and expertise.

Mickleburgh Musical Instruments Limited

Bristol Costume Service

Gwenfair Hawkins and Rachel Millett for superb administrative support. Thanks to the Mercure Bristol Brigstow

LIMBIC CINEMA

For Bristol Old Vic’s 250th birthday, Limbic Cinema created a projection-mapped film to be exhibited on the outside of the theatre’s foyer on King Street. Set to music, and using a variety of 2D and 3D animation techniques, it explores the relationship between the theatre and the city. The visual journey shows the different buildings that have stood in that spot for more than 250 years, as well as a nod to the people and stories behind it, and the beautiful artwork that has adorned its posters, plans, playbills and set pieces LIMBIC CINEMA over the centuries.

Premier Screening: 9pm Monday 30 May Then every 15 minutes until 10pm

Limbic Cinema is a collective of artists who work at the intersection of technology, art and design. Based in Bristol, the artists work with moving image and projection to bring environments to life, from small spaces and intricate sculpture to large-scale architectural mapping with narrative-driven stories.

bov_250_gala_programme_AW.indd 4 18/05/2016 14:48 THANK YOU TO OUR VALUED SUPPORTERS

We have reached the incredible milestone of our 250th birthday with the generous support of many, many individuals, trusts, grant-makers and companies. Insightful individuals and organisations have helped us refurbish our beautiful auditorium, provided the means to continue this work with a huge redevelopment programme for our front-of-house areas and stunning 18th-century Coopers Hall, and given valuable support towards our activities in the building, including our home-grown productions, Ferment and Outreach.

Without your support it all simply would not have been possible.

Capital supporters: Simon Inch John James Bristol Foundation Programme Support 250th Anniversary Gold John James Bristol The Linbury Trust Principal Donors Ticket Subscribers Foundation The Foyle Foundation Michael Bakwin Dr Rosalind Kennedy The Wolfson Foundation Ken & Karen Edis Guy Lancaster & Kate Mailer, J. Paul Getty Jnr. Charitable Nisbet Family Charitable Trust New Trust Lady Susie Sainsbury John & Johanna Laycock The Kirby Laing Foundation Ann Ziff Lady Sylvia Macara Atkin Foundation Annette & Nick Mason 250th Anniversary William & Felicity Mather Twenty Twenty Silver Ticket Subscribers The Society of Merchant Club Members Major Supporters HM The Queen Venturers Jones Lang LaSalle 29th May 1961 Steve Allpress Alan Moore Osborne Clarke Charitable Trust Richard & Mara Aylmer Michael & Clare Morpurgo Adrian Palmer (Guildhall Martin & Mary Bailey Nisbet Family Charitable Trust 250th Anniversary Chambers) Michael Bakwin, New York Constantine Orbelian, Donors Andrew Fletcher Basil Brown Charitable Trust San Francisco Andrew & Christina DAC Beachcroft LLP The Bellevue Trust John & Mary Prior Brownsword D’Oyly Carte Charitable Trust Sarah Billinghurst & Howard Peter Rilett & Sonia Mills BT Plc Dunard Fund Solomon, New York Lady Susie Sainsbury Janie Cadbury Esmée Fairbairn Foundation Chris & Jackie Booy Christopher & Sarah Sharp Simon & Liesel Cooper Jerwood Charitable Bristol University Trevor & Mary Smallwood Harry & Laura Marshall Foundation John & Maoko Caird David Sproxton & Peter Lord Susan Smith-Uncles John Ellerman Foundation Mark & Hilary Davison Vanessa Stevenson Saul Rosenberg Leverhulme Trust Sir Daniel Day Lewis & Guy & Gill Stobart Barbara Rosenthal Paul Hamlyn Foundation Rebecca Miller, New York Leila Straus, New York Richard & Caroline York Quercus Trust Ken & Karen Edis Ann Ziff, New York Ronald Duncan Literary Sue Elliott Anonymous And all who have donated Foundation Dame Elizabeth Forgan to The Merchants’ Studio & Denis Burn Trusts and Foundations: Appeal and The Macara Andrew Garrad & Major Support Gallery Appeal. Emma Balfour Garfield Weston Foundation

bov_250_gala_programme_AW.indd 5 18/05/2016 14:48 Then

“A conjuror’s box varnished with 250 years of history.” SIR RICHARD EYRE

bov_250_gala_programme_AW.indd 6 18/05/2016 14:48 bov_250_gala_programme_AW.indd 7 18/05/2016 14:48 THE ROAD TO BRISTOL OLD VIC

At the start of the 16th century, Bristol emerged as a favourite haunt for ‘strolling players’ – actors who entertained and amused at the great annual fairs of the time. By 1532, visiting theatrical companies, some of which included among the greatest actors of the day, had become regular visitors to the vibrant and creative city of Bristol.

However, a dark cloud for theatre loomed. By the early 1600s, leading up to the English Civil War, Puritan influence brandished theatrical activity a sinful pastime, and actors – the purveyors of that sin – were paid not to perform in the cities. A law passed in 1642 banned theatre for five years; another condemned all actors as illegal ‘rogues’. Unsurprisingly, as a consequence many theatres were dismantled and the tradition of the annual fair was lost. It took the Civil War and the eventual Restoration of Charles II in 1660 for the fairs to resume and the actors to return. John Tillotson, Archbishop of Canterbury from 1691–1694, justified the merit of the theatre to those still opposed to its existence in the following way:

“They [plays] might be so framed, and governed by such rules, as not only to be innocently diverting, but instructive and useful to put some follies and vices out of countenance, which could not be so decently reproved, and so effectually exposed and corrected, any other way.”

An age of theatre was reborn and, by 1729, Bristol had its own well-established venue, the Jacob’s Wells. The company became so popular that by 1764 a small campaign began to build Bristol, by then a booming economic centre second in the country only to itself, a new theatre. That theatre, remarkably, would continuously enchant, enlighten and entertain theatre-goers for 250 years: one day it would become Bristol Old Vic.

bov_250_gala_programme_AW.indd 8 18/05/2016 14:48 The foundation stone for the building that would become Bristol Old Vic is laid on King Street. The stone was thought to have been uncovered in 2012 at the start of the renovation project. Starting the build wasn’t easy, however, with the 1764 Aldermen and Mayor of Bristol claiming that theatre would: ‘exceedingly eclipse the good order and government of the city, corrupt and debauch our youth and utterly ruin many apprentices and servants already unruly and licentious’. Even the merchants of Bristol opposed the build, claiming that workers would be tempted to abandon their jobs on play nights and that the theatre would corrupt their wives and daughters.

THE SILVER TICKET In the 18th century a £50 donation was Funding for the original theatre came from just 50 Bristol citizens more money than could run an entire – each of whom invested an initial £50 in the project in return for household for a year. In return for such a Silver Ticket, which would enable free entry to every play at the generosity, each of the 50 donors was theatre forever-more. Quakers, councillors and future MPs were issued a ‘silver ticket’, a token engraved 1765 among the investors. However, costs overran and 47 of the with the words: ‘The Proprietor of this original 50 investors handed over a further £30 each to ensure Ticket is Entitled to the sight of Every the project’s completion. Performance to be Exhibited in this House’ – whomever held a silver ticket could come to every performance at the theatre for the length of the theatre’s life. Bristol Old Vic honours this arrangement even today. Two In May 1766, a year later than anticipated and at a total cost of further tickets, known as gold tickets around £4,000, Bristol’s theatre opens with a capacity of 1,000. (although in reality they too were made William Powell (an actor who had trained under David Garrick of silver), were given to Edward and 1766 at Drury Lane), John Arthur, John Palmer and Nathaniel Clark Ann Crump, who made no financial are appointed its managers. donation, but who were instrumental in securing the land on which the theatre was built. Five of the silver tickets and both gold tickets now form part of the Theatre Collection held at William Powell, who had been the theatre’s co-proprietor/ Bristol University. manager and a well-regarded actor since its opening, dies of pneumonia. There is an outpouring of grief that causes actors to 1769 cry openly on stage during their performances. Powell is buried in cemetery.

bov_250_gala_programme_AW.indd 9 18/05/2016 14:48 Finally, after many years of campaigning and despite strong opposition from the Puritan movement in Bristol, the theatre is given its Royal Patent. From now on, actors and actresses can legally perform full-length drama on its stage and the 1788 theatre can take the name ‘Theatre Royal Bristol’ (which would itself become a matter of debate centuries later). The Theatre Royal Bristol stages its first legitimate play, Shakespeare’s , on 30th November that year.

William Wyatt Dimond, an actor–manager and a councillor from the nearby city of Bath, takes over the lease of the theatre. He becomes known for his scrupulous casting, and his 1800 commitment to nurturing young talent. Building works in the theatre raise the ceiling to create a new viewing gallery and more boxes – increasing the capacity to more than 1,600. The present capacity is 528.

Irishman takes over the management of the theatre. He remains manager until his death in 1829. On his opening night as manager, 29th March 1819, his son, 1819 William Charles Macready, a successful (if initially unwilling) actor, takes the title role in Othello. The younger William Macready SARAH SIDDONS would go on to establish the practice of rehearsal to enable Born in 1755, Sarah Kemble (later actors to perfect their performance before appearing in front Siddons) became one of the greatest of a paying audience. actresses of her generation. Spotting her fledgling talent, David Garrick invited her to appear at Drury Lane in William Macready dies, his ashes later being interred in Bristol London. However, her inexperienced Cathedral cemetery. performances were poorly received and she was asked to leave. 1829 The theatre appoints a new manager, Mr Richard Brunton, Determined not to give up, Sarah who brings together a company of actors, including Sarah toured the local theatres and by the Macready (William Macready’s widow) as his leading lady. time she arrived in Bristol, a mixture of However, the theatre begins to fall into debt. Brunton is caught raw talent, improved skill and a up in the scandal of his agent stealing money from ticket sales troubled marriage to William Siddons and his tenure is short-lived: by 1831 Brunton is gone. gave her acting unrivalled depth and emotion; she got noticed. Artists painted her, and audiences wept at her charged performances. Eventually, she returned triumphantly to the London stage, but she never forgot how instrumental the Theatre Royal Bristol had been to her success: ‘If I had not made my reputation in a small theatre,’ she said ‘I should never have done it.’

bov_250_gala_programme_AW.indd 10 18/05/2016 14:48 General Palmer and his manager Bellamy, from Bath, take THE LADY IN BLACK over the lease once Brunton is thrown into debtors prison. To this day, Sarah Macready’s ghost is In an attempt to reduce the number of prostitutes trading in said to walk the corridors of Bristol the upper circle they alter the theatre layout: ‘The staircase Old Vic – you might be especially likely 1831 leading to the upper side boxes are removed to another part to meet her on the back stairs. In the of the building, by which means “a certain class of females” will 1980s she’s reported to have appeared very properly be excluded from the lobby communicating with to the theatre’s security guard and his the circle of dress boxes.’ They also raise the floor in the upper dog Rex. The dog stopped still and circle slips by about 45cm and open out the little chamber in barked as the figure in a long black which the ladies (termed ‘geese’) apparently trade their wares. gown breezed past them, wafting the scent of lavender as she went. In 2009, an architect working on the redesign Following Palmer and Bellamy’s short interim management, of the building claims he saw her, Sarah Macready takes over as theatre manager. She opens with again in black, and this time smiling – a production of Thomas Morton’s Speed the Plough (1798), and perhaps a sign that she approved 1834 goes on to run the theatre – successfully – for almost 20 years. of the reinvention of the theatre she cared for for more than 20 years. Generally, though, she’s described as having a stern, intimidating presence in the building. And wherever she Sarah Macready dies in Bath. Her remains are interred in Bristol goes, there is the scent of lavender. in the Cathedral with those of her late husband.

James Henry Chute, the Macready’s son-in-law, now manager, 1853 reopens the theatre following extensive updating (including overhauling the stage machinery, extending the stage, improving the ventilation, and installing a water mains).

Social changes in Bristol mean that the riverside becomes a salubrious, undesirable place to be, with a knock-on effect for the theatre’s popularity, leading to it becoming known as the ‘Old Gaff’. Chute acquires an alternative location for a theatre, 1867 on Park Row in Clifton, which he opens as Bristol’s New Theatre on 14th October. The Chutes, with the help of comedian Arthur Wood in King Street, run the two sites simultaneously until 1881.

George and James Chute, James Chute’s sons, take over management of the Theatre Royal on King Street. They employ architects T. Pope and C.J. Phipps to shorten the stage, install new chairs and a new ceiling and again a new ventilator, as well 1878 as to provide new dressing rooms for the actors and overhauling the back-stage machinery. However, by 1881, with the theatre in dire financial straits, the Chute family abandons King Street and concentrates its efforts in the New Theatre on Park Row. Andrew Melville takes over the management of King Street.

bov_250_gala_programme_AW.indd 11 18/05/2016 14:48 Between 1893 and 1903 management transfers first to John Barker, of the Grand Theatre in Nelson, Lancashire, and then a year later to Ernest Carpenter, from the Darwen Theatre, also in Lancashire. Carpenter’s tenure sees huge improvements in 1903 the theatre structures. In 1903, maintenance work on the King Street site begins at a cost of £1,800 for the new buildings and £575 for the fittings. The work provides entrances to the theatre directly from King Street. By 1905, the theatre has electric lighting, an innovation that improves audience experience and reduces the risk of fire.

Following a period of uncertainty and erratic administration, the theatre comes under private ownership and management – Millar had leased the theatre in 1924, but at the start 1925 of 1925, with financial input from playwright–producer Robert Courtneidge and actor Milton Bode, bought it.

World War II begins. During the war years (1939–1945), many of Bristol’s historic buildings are destroyed, and yet the theatre MAKING THUNDER survives relatively unscathed. Even its original machinery A feat of 18th-century sound 1939 remains largely intact. engineering exists in the rafters above the Theatre auditorium. Take a series of heavy balls of different sizes and roll them (by hand) along a network of spiralled wooden channels to create Millar, Bode and Courtneidge sell the Theatre Royal Bristol for a thunderous noise in the theatre £10,500 to the Metal Agencies Company, who plan to turn it below. Although we know that the into a fruit-ripening warehouse. Bristolians have other ideas… Thunder Run was used as a rallying call to save the theatre in 1942, at 1942 An appeal is mounted by local businessmen and theatre some stage it fell into disrepair and supporters to revive the King Street theatre. At a crowded disuse. Now, as part of our birthday public meeting, a cannonball is released down the theatre’s celebrations, and in a nod to an 18th-century thunder-run – a ‘war-cry’ intended to rally support. astonishing heritage and a long- lived determination that has kept the Theatre Royal alive for 250 years, with the help of historian David Wilmore we have restored the Thunder Run to its former glory. The sound of The Theatre Royal re-opens with a production of Oliver thunder will rumble through the Goldsmith’s She Stoops to Conquer (1773). Its opening is in auditorium once more during the 2016 part thanks to support from the Committee for Encouragement anniversary production of King Lear, 1943 of Music and the Arts (CEMA), which later becomes The Arts starring Timothy West. Council.

bov_250_gala_programme_AW.indd 12 18/05/2016 14:48 CEMA asks London’s Old Vic to send actors to Bristol, establishing A NAME FOR BRISTOL’S THEATRE the Bristol Old Vic Company, directed by Hugh Hunt and led by Seventy years ago, the London Old Vic actors William Devlin and Pamela Brown. Its first play, George established a Bristol Old Vic Company, Farquhar’s comedy The Beaux’ Stratagem (1707), opens on a group of actors attached to a 1946 19th February 1946. regional theatre. By this reckoning, then, the name ‘Bristol Old Vic’ is opens the Bristol Old Vic Theatre School, the properly applied only to the company, first performance school of its kind. Now 70 years old, it has not to the venue itself. But, then, the nurtured some of our best-loved talent – Brian Blessed, Olivia term Theatre Royal is really only the Colman, Daniel Day-Lewis, , Phyllida Law, Pete name of the patent, an accreditation Postlethwaite, , , Greta for the King Street Theatre in Bristol. Scacchi, Jenny Seagrove, ... and so many more. So, what do we call it? When Tom Morris and Emma Stenning arrived in 2009, they were struck by the various names for the theatre and wanted to settle on just one: Bristol The Bristol Old Vic hosts the European premières of Old Vic both recognises the theatre’s the John Slade musical Salad Days and Arthur Miller’s unique place in UK theatre history and 1954 . sets it apart from other ‘theatres royal’. But, then, as Tom has said: ‘There’s no right and wrong. It’s your theatre and you can call it whatever you like.’

Peter O’Toole joins Theatre Company and soon dominates the stage in a series of roles, including a portrayal of that inspires Sir Richard Eyre, then a 15-year-old 1955 schoolboy, to go on to become a theatre director.

The Bristol Old Vic Company becomes fully independent of its London roots. Bristol City Council takes over the lease of the King Street theatre, and the Little Theatre, part of Bristol’s Colston Hall, comes under Bristol Old Vic’s government. The 1963 result is the first regional theatre company running concurrent seasons in two locations with coordinated programmes and a single artistic policy.

Bristol Old Vic celebrates its bicentenary, a birthday marked with a special production entitled 60,000 Nights that traces the history and notable performances of Britain’s oldest 1966 working theatre.

bov_250_gala_programme_AW.indd 13 18/05/2016 14:48 THE COOPERS’ HALL Built in 1743–44 to replace the original Bristol Old Vic launches an appeal for major redevelopment home of the Coopers’ Company on of the theatre, including incorporating the neighbouring the site of what became the Bristol 1967 Coopers’ Hall into the theatre building. Corn Exchange, the Coopers’ Hall was a meeting place and exchange forum for the guild of Coopers in Bristol. In 1785, the Coopers relinquished the building and it variously became The revamped entrance to the theatre is completed along an assembly room, a wine warehouse, with significant refurbishment of the interior. The architect, a chapel and a storage facility for fruit Peter Moro, comes under severe criticism, however, as experts and vegetable. It became incorporated claim that his work has made it harder for audiences to see and into the theatre entrance in 1972 as 1972 hear the actors. Moro’s design also includes a brand new studio part of William Moro’s new design for theatre – the New Vic. the theatre.

In addition, 1972 marks the beginning of an eight-year period during which The Bristol Old Vic Company runs the Bristol Old Vic, the New Vic and the Little Theatre concurrently, presenting more than 30 plays a year. This unique achievement in British theatre ends only when the Company relinquishes its management of the Little Theatre in 1980.

The Bristol Old Vic Young Company is formed, a youth theatre group, running weekly sessions during term-time, as well as special holiday sessions, for budding actors aged between 1994 5 and 25. With more than 350 members, it is now one of the largest youth theatre groups in the country.

Concerns about the theatre’s future drives a wave of change to secure Bristol Old Vic’s existence into the new millennium. The formation of a new board of trustees, including Dick Penny,

formerly managing director of Bristol’s Watershed, sparks off Blakemore Paul 2007 a £12-million redevelopment project, made possible only through donations and fundraising. Photography Photography

Tom Morris is appointed Artistic Director and Emma Stenning 2009 becomes Chief Executive, beginning a new era for the theatre.

bov_250_gala_programme_AW.indd 14 18/05/2016 14:48 The theatre launches Ferment, a pioneering artistic development programme for new talent from Bristol and all over the South West. Creative energies are funnelled, 2011 ‘fermented’ and unleashed giving a platform for theatrical innovation before live audiences.

The first phase of Bristol Old Vic’s refurbishment is completed. The result is a fully updated auditorium, improved backstage space, new rehearsal facilities and an overall performance 2012 space that corrects some of the errors of Peter Moro’s design of the early 1970s.

Bristol City Council grants planning permission for a redesign of the theatre entrance, marking the start of a £15-million fundraising campaign. Manuel Harlan 2014 The first staging of Sally Cookson’s dramatisation of Jane Eyre, Charlotte Brontë’s novel of 1847, occurs at Bristol Old Vic. Photography Photography

The Heritage Lottery Fund confirms a £2.5 million donation to the theatre refurbishment project, recognising Bristol 2015 Old Vic’s importance as a beacon of British heritage. Paul Blakemore Paul

Bristol Old Vic turns 250 years old.

Photography Photography 2016

bov_250_gala_programme_AW.indd 15 18/05/2016 14:48 70 YEARS OF de force in Australia, where he helped Bristol in 1954. During his tenure, he set up the Australian Institute of Dramatic premièred two significant plays – Julian THE BRISTOL OLD Art. In 1960 he was appointed the first Slade’s Salad Days and The Crucible, VIC COMPANY Professor of Drama at the University of Arthur Miller’s dramatic portrait of the Manchester. He died in 1993. Salem Witch Trials. He worked in Bristol with actors that are our household names: Annette Crosbie, Phyllida Law, In the 70 years since the theatre Allan Davis 1949–1950 Peter O’Toole… to name just a few. at King Street housed the Having first worked for the Bristol Old Vic Following the tragic death of his son in company of the Bristol Old Vic, in 1947 as Assistant Director and a boating accident, he resigned his post there have been some 1,200 Production Manager under Hugh Hunt, in Bristol in 1959 to start again as Director theatre productions, brought Allan Davis was still under the age of 30 of the Welsh National Opera, where he when he took up the full post of Artistic stayed for nine years. He died in 1993. to life under the management Director in Easter 1949. Energetic and of 14 different artistic directors. single-minded, despite his relatively Rather than give you a list of young age, Davis commanded deep John Hale 1959–1961 everything we’ve ever produced, respect from the Company. His notable An ex-officer in the Royal Navy, John we thought it would be more productions included George Colman’s Hale was initially invited to Bristol Old Vic The Jealous Wife, George Bernard as a guest director, but his post was soon interesting to look at the Shaw’s and made permanent. , remarkable, creative talent Shakespeare’s As You Like It. Patrick Stewart and Peter Jeffrey were that has shaped the vision and among the distinguished actors he entertained tens of thousands directed here. His notable productions of audience members. Denis Carey 1950–1954 included Rostand’s Cyrano de Bergerac, Born in London in 1909 and probably Shakespeare’s Richard II and Ionesco’s best known as an actor, Denis Carey Rhinoceros. He died in 2011. Hugh Hunt 1946—1949 acted, produced and directed as Head Born in Camberley, Surrey, in 1911, of the Theatre Company. He is reported to Hugh Hunt was a trailblazer in world have been a quiet and unassuming man, Valentine May 1961–1975 theatre. During his time at Oxford who loved poetry. He began to establish The Guardian’s obituary of , who University he was President of the Oxford the Bristol Old Vic’s reputation as a died in 2012, positions him as the Artistic University Dramatic Society, and then company of international acclaim. In all, Director that successfully bridged the after graduation he worked at theatres he directed more than 30 plays for the gap between regional and London in Norwich, Croydon and Westminster. Company, including Shakespeare’s The theatre. Certainly, in a tenure that lasted Significantly, in 1935 he became Merry Wives of Windsor and , 14 years, he consistently moved plays Producer at the Abbey Theatre in Dublin. the 19th-century vaudeville comedy, from Bristol to the West End. His Following World War I, Hunt was The Italian Straw Hat and Ben Jonson’s première in Bristol of J.B. Priestley’s appointed Director of the newly formed 17th-century play, The Alchemist. adaptation of A Severed Head (by Iris Bristol Old Vic Company. His significant He died in 1986. Murdoch) went on to play in London and productions for the Company include in New York. He did the same with The The Beaux’ Stratagem (the Company’s Killing of Sister George by Frank Marcus. inaugural production), Shakespeare’s John Moody 1954–1959 May was responsible for celebrating King Lear and Hamlet, and a stage Born in 1906, Moody trained as an actor Bristol Old Vic’s 200th birthday with adaptation of Hardy’s Tess of the at Webber-Douglas Drama Academy. In 60,000 Nights. He doubled the size of d’Urbevilles. He left the Company in 1945 he took up a post as Director of the the Company, and following the theatre’s 1949, going on to become Director (then Sadler’s Wells Opera, leaving in 1949 to (albeit controversial) refurbishment in Artistic Director) of the Old Vic Company become Director of CEMA, itself so 1972, he brought Peter O’Toole back to in London, and then eventually – via influential in the inception of the Bristol Bristol for a three-play run that began Canada – establishing himself as a tour Old Vic Company. He became Director in with a stunning title performance in

bov_250_gala_programme_AW.indd 16 18/05/2016 14:48 Chekhov’s . May left Bristol 1988–1991 adaptations. In 2005, David Farr left the Old Vic in 1975 to direct theatre in Surrey Film, theatre and TV writer and director Company for the Lyric Hammersmith, and directed his last West End show in Paul Unwin is famously known for having with Simon taking on the role of Artistic 2000, Jeffrey Archer’s The Accused. been co-creator of the TV series Casualty. Director alone for a further two years. He is also a distinguished theatre 1975–1980 director. He became Associate Director Translator, author, teacher, and opera of the Bristol Old Vic during John David’s Tom Morris 2009– present day and theatre director, Richard Cottrell was tenure. He took up the full post of Artistic The current artistic director of Bristol born in London in 1936 and now lives Director in 1988. His notable plays for Old Vic, Tom Morris, along with Chief in Australia. He was Artistic Director of the Company include Chekhov’s The Executive Emma Stenning, has Bristol Old Vic Company for five years Cherry Orchard and Ibsen’s The Master strengthened and developed the until 1980. During his time here, his most Builder (the latter starring Timothy West), theatre’s reputation for exploration and notable productions included The David Powell’s The Three Musketeers, ambition. In addition to holding this post National Health, Once Upon a Time, and Shakespeare’s Othello. in Bristol, Tom has also been Associate and A Doll’s House, Director of the National Theatre since Dick Whittington, Old King Cole, and 2004. It was with the National and Shakespeare’s As You Like It and A Andrew Hay 1991–2001 co-director Marianne Elliott that he Midsummer Night’s Dream. Andrew Hay picked up a theatre that had conceived and co-directed , faced a difficult decade, with chronic which won five Tony awards (including underfunding and falling audience Best Director) in 2011, and had gathered John David 1980–1986 numbers. However, by the end of his audiences more than 2.7 million people John David is the first graduate from three-year tenure, he began to see the by the time the London production the Bristol Old Vic Theatre School (where tide turn, with theatre-goers returning closed. He also founded BAC (Battersea he studied in 1962) to have gone on to and new funding from the Arts Council. Arts Centre) Opera, which launched become the Company’s Artistic Director. His significant productions included Jerry Springer: The Opera and the opera After graduating, David became Assistant Up the Feeder Down the Mouth (a company Tête à Tête. His tenure at Bristol Director under Val May, but left Bristol celebration of Bristol dock industry), The Old Vic has been characterised by an Old Vic in 1972 to direct in Japan. He Duchess of Malfi, Blue Remembered Hills, inspired mix of classics, such as The travelled back and forth between Japan The Hairy Ape, The Rise and Fall of Little Crucible, innovative new writing such and the UK, until finally taking up his post Voice and A Streetcar Named Desire. as Does My Society Look Big In This? and as full Artistic Director of the Company a combination of the two: Juliet and Her in 1980. His notable productions include Romeo. In his capacity as Artistic Director Shakespeare’s King Lear and , David Farr and Simon Reade 2003– he has not only directed productions, but Wild Oats (John O’Keefe), and The 2005 and Simon Reade 2005–2007 also spearheaded successful new ideas, Resistible Rise of Arturo Ui (Bertold Brecht). The joint appointment of David Farr such as Bristol Proms and Bristol Jam, and Simon Reade as Artistic Directors a festival of improvisation. He also brought together two huge talents in launched Bristol Ferment, Bristol Old Leon Rubin 1986–1987 theatre direction, writing and production. Vic’s artist development programme, Following directorial roles for the Royal As well as driving the continued revival which provides invaluable support Shakespeare Company, the Lyric in of the theatre, Farr and Reade introduced to established and less established Belfast and the Palace Theatre in Watford, an artistic policy aimed at bringing more theatremakers in Bristol and the South as well as posts in other parts of the youth into Bristol Old Vic, dramatising West. The next great challenge for – world, Leon Rubin arrived at the Bristol stories that would ignite and inspire a and offering from – Tom will be the Old Vic for a year-long tenure that most love of theatre in the youngest of Bristol’s new musical The Grinning Man, based notably included his production of audiences. The Owl Who Was Afraid of on the novel by Victor Hugo (author George Bernard Shaw’s early 20th the Dark for younger children, and of Les Misérables), which will première at century play, The Doctor’s Dilemma. Private Peaceful (from the novel by Bristol Old Vic in October of its 250th year. He now runs an acting school affiliated Michael Morpurgo) for older children to Essex University. were among their triumphant

bov_250_gala_programme_AW.indd 17 18/05/2016 14:48 Now

“The glory of Bristol Old Vic is its astonishing intimacy. It is the most beautifully designed theatre. For both actors and audience, that intimacy is almost palpable.” SAMANTHA BOND

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Photography Philip Vile SO, HOW DO YOU CELEBRATE 250 YEARS OF THEATRE?

Sometimes you can feel the ghosts at Bristol Old Vic – whether our rare- sighted friends Sarah Siddons and Sarah Macready, both said to roam the side slips of the theatre they loved, or just the sense that for 250 years there have been characters portrayed, stories told and audiences present within the same, glorious, wood-lined room. This powerful feeling has inspired us to create a birthday programme that explores 250 years of theatre-making. Productions come from each century of the theatre’s existence, along with a Shakespeare, for whose work this playhouse was first built.

The contender for the 18th century was clear. Richard Brinsley Sheridan’s outstanding restoration comedy The Rivals predates our theatre by a single year, so demonstrates perfectly the style of work that would have delighted our very first audiences. To make it, we have joined forces with two of our favourite colleagues, Citizens Theatre Glasgow and Liverpool Everyman & Playhouse. Creatively our organisations are beautifully matched and we are really excited that this production, directed by the ever-surprising Dominic Hill from The Citz, will be shared by our audiences this Autumn.

Our drive for theatrical innovation means that the shows that represent the 19th century couldn’t be more contemporary in their form. We began the year with the return of Sally Cookson’s Jane Eyre. Familiar to Bristol audiences from 2014, it returns triumphant from a run at the National Theatre. The production is a powerful ambassador for the work that we make here in Bristol, its totally unique creative process giving us a vivid 19th-century heroine who feels in every way like our contemporary.

The 19th century is also represented in unexpected fashion, with an uproariously funny derailing of Flaubert’s tragic novel Madame Bovary. This has allowed us to work again with Liverpool, whose Artistic Director Gemma Bodinetz led this brilliant production, and in partnership with Southampton Nuffield and Royal & Derngate Northampton. The show has a Bristolian heart: it was written by John Nicholson, who lives in the city and is one half of Peepolykus, an inspired comic duo who have performed often in our Studio. Wonderfully, though, this show was their Theatre debut.

One of the shows that we’re presenting this year has been in the planning since Tom Morris and Emma Stenning took over the Directorship of the theatre in 2009. The first director whom Tom invited to Bristol was Richard Eyre, who agreed then to come to Bristol to direct his favourite play, Eugene O’Neill’s masterpiece Long Day’s Journey Into Night. Seven years later, his exquisite production starring Jeremy Irons and has paid just tribute to the work of the 20th century.

bov_250_gala_programme_AW.indd 20 18/05/2016 14:48 It was never going to be difficult for us to find a show to represent the 21st century. Bringing back Pink Mist after its short run in 2015 and sold- out transfer to The Bush in London was a foregone conclusion. The show combines so many elements that are central to the way we make shows: outstanding writing from poet Owen Sheers, a potent combination of directing excellence in the established skills of John Retallack and the breakthrough talents of George Mann, and brilliant young actors – four of whom are testament to the brilliant training at Bristol Old Vic Theatre School.

This century also sees us collaborating with Bristol’s favourite visiting company, Kneehigh, with Emma Rice directing her final show for the company as Artistic Director. The Flying Lovers of Vitebsk demonstrates how Emma’s work is always accessible, full of love and driven by hope. The story of a couple’s struggle in a troubled Europe, it is a beautiful marriage of music, movement, design and language. Staged either side of the birthday weekend, it provides our audiences with the theatrical equivalent of an embrace.

The third element of our 21st-century strand again both looks forwards and draws inspiration from the past: a brand new musical directed by Tom Morris based on a short story by Victor Hugo. The Grinning Man features an astoundingly beautiful score, ingenious puppetry from some of the original puppeteers of War Horse, and a multi-talented cast. It promises to be unlike anything else seen on stage here in this or any other year.

And, finally, to our Shakespeare. Virtually every theatre in the country is paying homage to his great genius in the 400th year since his death, but ours underlines again that relationship between the past and the future. Our King Lear is a collaboration with the organisation that bears our name and shares our values: Bristol Old Vic Theatre School. Alongside the mighty talents of Timothy West and Stephanie Cole, we offer the stars of tomorrow – the graduating class of 2016. Every aspect of this production continues the dialogue between old and new: the production design, the juxtaposition between age-old technology and cutting-edge media, and the opportunity to show off 1766’s equivalent of surround sound: the 250-year-old Thunder Run. But that’s Bristol Old Vic all over: this theatre has been looking forward for a quarter of a millennium, and we see no reason to stop now. Photography Jane Eyre by Manuel Harlan, Pink Mist by Mark Douet, The Massive We hope you enjoy joining us in 2016. of Madame Bovary! by Jonathan Keenan, Long Day’s Journey Into Night by Hugo Glendinning, King Lear by Paul Blakemore. Design The Rivals by Greenlight Creative, The Grinning Man by Extra Strong, Chloé Elwood, Executive Producer The Flying Lovers of Vitebsk by Daryl Waller.

bov_250_gala_programme_AW.indd 21 18/05/2016 14:48 King Lear 18 Jun–10 Jul

Writer William Shakespeare Director Tom Morris

The Massive Tragedy of Madame Bovary! 26 Apr–7 May

Adaptors John Nicholson & Javier Marzan Director Gemma Bodinetz

bov_250_gala_programme_AW.indd 22 18/05/2016 14:49 Jane Eyre 21 Jan–6 Feb

Based on the novel by Charlotte Brontë Devised by the company Director Sally Cookson

13 Oct–13 Nov

Book Carl Grose Director Tom Morris

bov_250_gala_programme_AW.indd 23 18/05/2016 14:49 Long Day’s Journey into Night 23 Mar–23 Apr

Writer Eugene O’Neill Director Richard Eyre

The Flying Lovers of Vitebsk 27 May–11 Jun

Writer Daniel Jamieson Director Emma Rice

bov_250_gala_programme_AW.indd 24 18/05/2016 14:49 The Rivals Pink Mist 9 Sep–2 Oct 16 Feb–5 Mar

Writer Richard Brinsley Sheridan Writer Owen Sheers Director Dominic Hill Directors John Retallack & George Mann

bov_250_gala_programme_AW.indd 25 18/05/2016 14:50 250TH BIRTHDAY WEEKEND DISCOVER THEATRE AT BRISTOL OLD VIC SAT 28 MAY

We’re throwing open our doors and offering everyone a chance to explore our beautiful working theatre with free guided tours, workshops for all ages and talks about theatre-making.

Workshops Monologues in the Macready Room Guided Tours Our Outreach team are curating a Actor David Hargreaves (The Crucible, Discover our theatre with a guided tour wonderful series of family friendly King Lear) performs a comic monologue from Bristol Old Vic’s team of experts, workshops in our rehearsal rooms. from each century of the Theatre’s life, available every half hour from 12pm– and one by Shakespeare to mark the 3.30pm. There is also an access-friendly 10.30am 400th anniversary of his death. tour at 11.30am. Movement for Young People, ages 8–14 12pm & 2.45pm 12pm A Thousand Seasons Past Screening Family Storytelling, ages 4+ Advice for the Players Sat 28 & Sun 29 May, 2pm 1.30pm William Oxberry, 18th Century Big Screen Bristol, Millennium Square The Story Cellar, ages 6–10 1pm The Evils of Tobacco We’re bringing the party to Millennium In Conversation Talks Anton Chekhov, 19th Century Square so pack your picnic and enjoy Bristol Old Vic Theatre Club bring you 2pm this screening in the centre of the Bristol. three stimulating talks to give you an The English Way of Death insight into theatre-making. Alan Bennett, 20th Century A Bristol Old Vic Young Company and Travelling Light Youth Theatre co-production 3pm 11am A Surprise! Mike Shepherd, Kneehigh Artistic Director 21st Century 12.30pm 4pm Realising the Vision Advice to the Players Bristol Old Vic’s Technical Department William Shakespeare, from Hamlet 2pm Becoming an Actor Panel includes Felix Hayes, Saikat Ahamed, Lucy Tuck and Peter Edwards.

bov_250_gala_programme_AW.indd 26 18/05/2016 14:50 PARTICIPATE IN BRISTOL’S CREATIVE HEART MON 30 MAY

On the day of our 250th birthday itself, we are celebrating the sense of imagination and play that runs through our amazing city through free showcase performances from local artists and community groups on our Theatre stage.

12pm (Studio) 4.30pm Family Theatre: Mr Gotalot’s Gotalot Shop: Wordsmiths (30 mins) The Great British Cheese Off! by Monkey Trousers Theatre In this showcase you’re invited to listen to our local writers’ Ms Barnet, the evil old landlady, is desperate to get her hands comic and sometimes thoughtful take on life in Bristol and on the bestest, cheesiest cheese ever in a bid to win the beyond through spoken word and poetry. Including Tom The Great British Cheese Off and thwart her old enemy, Dewey, Miles Chambers, Edson Burton, Shagufta Iqbal, The Hairy Mary Berry – but will Mr Gotalot’s magical shop provide Bard of Knowle West, The Silver Ticket Company. her with what she needs? Suitable for ages 3–9 years. 6.00pm 1pm Drama & Musical Theatre (45 mins) Firebird Theatre (30 mins) Bristol is full of storytellers. Sit back and enjoy this showcase Firebird Theatre are a company of experienced disabled of comic plays and music driven stories; including The Bristol performers and an Associate Artist of Bristol Old Vic. They’ve Hum, Sean Duffy & Mark Kempt, Corinne Walker, Newfrock been creating theatre for 25 years in Bristol and will perform (Kit Buchan and Jim Barne), The Russian Winter company. extracts from their past work. Their patron, Olivier Award winner Kathryn Hunter, will perform alongside the company. Line-ups in the above showcases are subject to change

2pm 7.30pm Offord Jack Yesterday’s Island Revisited (30 mins) Bristol Open Stage Finale The story of how a community musical brought St Philip’s For the finale of our Bristol Open Stage showcase series, Marsh back to life in the mid 1980s, becoming a sensation we present performances from the brilliantly energetic and

and selling out the . Told through Bristolian outfits Gurt Lush Choir and the Bristol MAN Chorus Photography scenes and songs. who will take to our stage with an array of songs to celebrate Bristol’s creative heart. 3pm Music (45 mins) They will be followed by RSVP Bhangra, Bristol’s own Bhangra Join us for a mix of music and song styles written and pioneers, who will create a shoulder shaking party vibe that will performed by Bristol musicians, just some of the talented be sure to get you dancing. artists we met through Bristol Open Stage; including Brigstowe Village Band, Sing Out Bristol, Paul Dodgson, Angus Barr, Cakes, World Out OfThis Paz Cabo Band. Cake

bov_250_gala_programme_AW.indd 27 18/05/2016 14:50 BRISTOL OPEN STAGE

As part of our 250th anniversary we’ve celebrated the sense of imagination and play that runs through our amazing city. On two Sundays in February and March we opened up the Theatre Royal stage to an array of talent that responded to the call to be in the first ever Bristol Open Stage.

Over 50 acts – featuring more than 300 people – brought performances ranging from dance to poetry, aerial circus to improvisation, sound installation to musical theatre, monologues to martial arts, and from choral singing to a giant board game.

All forms of creativity were welcomed and we’ve been proud to present:

Brigstowe Village Band, Louise Gethin, Mr Frank Starr, Corinne Walker, Grupo Mamarracho, Edson Burton, The Original Spinners with Misfits Theatre Company, Yiota Demetriou and Alexandra Hamilton-Ayres, Bristol Capoeira, Gurt Lush Choir & Bristol MAN Chorus, Lindsey Garwood, ‘The Bristol Hum’ company, Paul Dodgson, Footlights Performance Academy, The Bard of Knowle West, Nu Nu Theatre, Miles Chambers, Degrees Of Error, Nathan Keates, Caribou Theatre, The Bard Of Windmill Hill, Shirley Pegna, Angus Barr, Tight Theatre, Tom Dewey, Alana Bloom, Kate Maz & Jamie, Paz Cabo Band, Jake Cooper, David Ridley & Lucy Dreznin, Monkey Trousers Theatre, The Barton Hill Choir, Wyldwood Arts with residents of Monica Wills House & students of City of Bristol College, The Secret Poets from BCFM, Sean Duffy & Mark Kempt, Latisha Cesar-Simmons with Saias Liberdade, Lynette Quinlan & company, Ian M. Perry, Island Folk, Bristol Musical Comedy Club, Lights Out Murder Mystery, Choreographed by Bristol!, Veronica-Mae Soar, Hari Ramakrishnan, Saltings, Falstaff Theatre, Hollie Lewis, Jim Barne & Kit Buchan, The Russian Winter Company, Firebird Theatre, Yesterday’s Island Revisited, Shagufta Iqbal, Diana Taylor, Sing Out Bristol, RSVP Bhangra.

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Photography Jack Offord Next “For the sake of the audiences from Bristol, the West Country, Great Britain and abroad; it should be treasured for all time and never again be allowed to go dark or fall into disrepair.” DANIEL DAY-LEWIS

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Image Haworth Tompkins 250 YEARS YOUNG

It’s thrilling to celebrate Bristol Old Vic’s 250th birthday.

It’s a time for happy celebration, and the rather extraordinary longevity of reflection afforded to this theatre, and this theatre alone.

But, let’s not only look back, as there is so much in the future that we look forward to sharing with you!

Our long-term plans fully to refurbish Bristol Old Vic are about to enter their second, and final, phase. 2012’s completion of the beautifully restored Theatre (along with upgraded back of house and rehearsal spaces) has long-awaited the much-needed work to our front of house and Studio. Steve Tompkins, our Stirling Award winning architect, has designed for us the most extraordinary foyer; a glorious, light, open space that will draw you in from the street, showing you – for the first time – the original 1766 frontage of the Theatre. What’s more, his designs see Coopers’ Hall return to its original dynamics, with the Grand Hall lovingly restored at piano nobile level and, beneath it in the former basement, a brand new Studio Theatre.

By 2018, coming to Bristol Old Vic will be a very different experience. A building able to give you a terrific welcome, offering you great food and drink in a new front of house; not just pre-show, but throughout the day. It will be a beautiful combination of historic and new architecture; spaces that you might simply want to come and spend time in with your family and friends, and places that you might want actively to explore as we develop ways to tell our 250-year history through new artworks and activities. It’s the next chapter in a very exciting adventure.

bov_250_gala_programme_AW.indd 32 18/05/2016 14:50 And yet, there will be an awful lot that remains familiar about your Theatre, the only one that has been entertaining generations of Bristolians since 1766. The 250th Anniversary Programme has brought together a heady combination of classics, and new work, famous alumni and new talent. It’s given us a momentum that pushes us into our second quarter millennium with ambition and energy.

Added to which, it’s been important for us to recover Bristol Old Vic’s profile as a world-class theatre and, with work continuing to tour the country, transfer to London, and play at the premier international festivals, we can confidently report that there are audiences stretching from New York to Hong Kong who consider Bristol Old Vic to be their favourite theatre company.

We’re so proud to be a global ambassador for this amazingly creative city. And, prouder still that we get to call it our home. Today’s Bristol Old Vic is a vital part of our community, connecting with schools and young people from across the region through our award-winning Outreach programme, developing brilliant new work from the city’s visionary artists through the Bristol Ferment, and producing the highest quality of theatre productions, which open here before travelling the world.

At the heart of it all remains our startlingly beautiful auditorium, where we hope many will enjoy theatre for the next 250 years and beyond.

Happy Birthday Bristol Old Vic.

You’ve been the future of theatre since 1766, and may you have many happy returns.

Tom & Emma

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Image Haworth Tompkins GET INVOLVED

You can support the theatre you love by becoming a member or donating, and sharing us with your friends and family.

Bristol Old Vic only exists because of the generosity of the 50 men and women who founded the theatre in 1766. Much has changed since our theatre first opened its doors 250 years ago, however the spirit of philanthropy has always played a central role and we invite you to become part of this wonderful tradition. You can experience a special relationship with a theatrical powerhouse that enjoys national and international recognition and serves as a beacon for the city and the South West. There’s never been a better time to get involved.

Become a member Donate Own a piece of theatre history

Membership starts from £36 per year We are a registered charity and Support our capital campaign by and you can enjoy a range of benefits rely on donations to enable several owning a piece of theatre history, from priority booking, to meeting strands of our work. For example, celebrating the original 50 men members of the creative teams, to our award-winning, 350-strong Bristol and women who founded our special Jack Offord, Jon Craig Jon Offord, Jack watching a technical rehearsal from Old Vic Young Company is one of theatre. In 1766 each were presented the wings. Joining us is easy and can the largest groups of its kind in the with a ‘silver ticket’, entitling the be bought for you or as a gift. Join UK. Per year it costs £75,000 to run Proprietor to the ‘sight of every online at bristololdvic.org.uk or call and offers around 25 subsidised Performance to be Exhibited in this Photography our Box Office on 0117 987 7877. bursary places. By supporting this House’. Now 250 years on we have work you can make a real difference produced the next 50 ‘silver tickets’ to many young people’s engagement as our thank you to donors who make with the arts. gifts of £50,000. Haworth Tompkins, Tompkins, Haworth CONTACT US Image For more information on all of these opportunities and to make your donation, please contact Haworth Tompkins Haworth Zoe Crick-Tucker, Head of Development, by email [email protected] or

Image direct line 0117 317 8674. to Right) (Left

bov_250_gala_programme_AW.indd 35 18/05/2016 14:50 ONGOING THANKS TO OUR TEAM FOR ALL THEIR HARD WORK IN OUR 250TH YEAR Amanda Adams Press Manager James Molyneux Head of Stage Julia Head, Josephine Hill, Victoria Josh Albiston Chef Alan Moore Capital Campaign Director Hole, Christabel Holmes, Nigel Hook, Nicci Allt Marketing Director Catherine Morgenstern Producer Joanna Howe, Ellie Jackson, Amy Richard Brett Graphic Designer Tom Morris Artistic Director Kennedy, Stephanie Kempson, Emma Bettridge Producer, Erick Muzard Commercial Director James Kent, Matt Landau, Esther Bristol Ferment Erika Neumann Appeal Patron Volunteer Lawrence, Jen Marshall, Katie McFaul, Cameron Cheek Operations Coordinator Matt Ostrehan Marketing Assistant Fife McKenny, John Miller, Rhys Sharon Clark Literary Producer Karen Palmer Strategy and Campaign Newcombe-Jones, Maisie Newman, Chelsey Cliff Bar Supervisor Manager Rosie O’Malley, Dan Price, Dan Charlie Coombes Press Officer Ian Penrose Technician (Sound/ Radford, Gemma Reynolds, Cat Roberts, Jay Costello Roberts Senior Technician Audio Visual) Rachel Slack, Christine Taylor, Philippa (Studios) James Peries Literary Associate Till, Kizzie Tims, Dale Thrupp and Zoe Crick-Tucker Head of Development Simon Porter ICT Manager Gabrielle Williams. Robin Dallman Evening Security Lydia Robertshaw Bar Supervisor Receptionist Andrew Scrivens Master Carpenter BOARD Becky Davies Production and Ruth Sidery Company Stage Manager Dame Liz Forgan DBE (Chair) Operations Administrator Duncan Smith Marketing Officer Denis Burn (Deputy Chair) Maggie Doody Ticketing Coordinator (Campaigns) Dr Stephen Allpress (Groups and Schools) Joe Spurgeon Development Manager Cllr Simon Cook Helen Edwards Ferment Assistant Fred Stacey Workshop Supervisor Mark Dakin Producer Emma Stenning Chief Executive Gareth Edwards Jane Edwards Reynolds Theatre Andrew Stocker Duty Manager Gary Haseley-Nejrup Administrator Tim Streader Chief Electrician Michael Lea Mike Elliott Maintenance Supervisor Nu Tran HR & Admin Assistant Laura Marshall Chloé Elwood Executive Producer Marie Voller Finance Manager Paul Morrell OBE Siân Eustace Young Company Producer Sarah Watts Capital Campaign Oliver Rawlins Ben Foster Operations Assistant Coordinator Wendy Walton Nigel Gardner Finance Director Gerry Wildish Finance Assistant Dave Green Accountancy Assistant Aidan Woodburn Head of Operations ASSOCIATE ARTISTS AND COMPANIES Lisa Gregan Young Company Director Bob Yates-Tily Kitchen Assistant Sally Cookson Director David Harraway Production Director Writer Callum Harris Technician (Stage) *George Mann is supported by the Quercus Trust Firebird Theatre Colette Harris Duty Manager in partnership with the National Theatre Director James Harrison Deputy Chief Electrician Handspring Puppet Company Gwenfair Hawkins Assistant to the FRONT OF HOUSE TEAM AND Akiya Henry Actor Directors BOX OFFICE RECEPTIONISTS Toby Jones Actor Liz Hebden Front of House Manager Steven Allen, Harry Angus, Sam Bailey, Kneehigh Lucy Hunt Outreach Producer Scott Bayliss, Elana Binysh, Faye Bishop, MAYK Lucy Knowles Deputy Box Office Daniel Bogod, Zoe Brennan, Sara-Lee Vicki Mortimer Designer Manager Bull, Mia Canavan, Tom Collins, Hattie Adam Peck Writer George Mann Associate Director* De Santis, Chloe Kitching, Ellie ‘Spin’ Bruno Poet Lighting Designer Hannah Maun Ticketing & Audience Coombs, Jake Cooper, Sophie Cottle, Sacconi Quartet Insight Manager Jenny Davies, Alex Dickinson, Natasha John Retallack Writer & Director Catriona McDougall Finance Assistant Dummelow, Jack Drewry, Alex Elliot, Christopher Shutt Sound Designer Rachel Millett Programming and Ben Foster, Becky Gardner, Jennie Melly Still Director Producing Administrator Harris, Joseff Harris, Zoe Hatziantoniou, Actor

bov_250_gala_programme_AW.indd 36 18/05/2016 14:50 “The most beautiful theatre in Europe.” DAVID GARRICK, ACTOR 30 MAY 1766