WELCOME

We are delighted to be working with In 2013 Playhouse Our Participation team recently award-winning writer Michael Theatre Company productions toured celebrated 40 years of creating plays Pinchbeck ( The White Album and to 27 major towns and cities across the and workshops for children, having The Ashes ) in this truly exceptional . Over more than 50 developed a strong local, national and piece that has seen Nottingham years, the Playhouse stage has played international reputation for quality Playhouse partner with ODA Theatre host to many outstanding performers and innovation. (Prishtina, Kosovo) and War and helped create generations of Theatre SARTR . This international dedicated theatre-goers. Recent Highlights this autumn include partnership, along with a cast and successes have included the European J.B. Priestley’s Time and the creative team from Bosnia and premiere of The Kite Runner , a Conways , directed by newly- Herzegovina, Kosovo, Holland, Italy, co-production with Liverpool appointed Associate Director Germany and the United Kingdom, has Everyman and Playhouse Theatre Fiona Buffini, the world premiere of truly captured the spirit of the second which broke all box office records, The Propaganda Swing by Peter Arnott city-wide European Arts and Theatre Lost Plays Revue which marked the in co-production with Belgrade Festival, neat14 . This innovative piece official naming of the Neville Studio in Theatre, Coventry and Tom Stoppard’s will take you through the stories of celebration of former Artistic Director, classic Arcadia. ’s gold-medal winning John Neville, and our co-production of routine, the music that inspired it and Steven Berkoff’s Oedipus , also with To find out more please see the explosive events that triggered Liverpool Everyman and Playhouse www.nottinghamplayhouse.co.uk or WWI and we’re certain it will leave you Theatre, travelling to the Spoleto call our Box Office on 0115 941 9419. enlightened and entertained. Festival in Charleston. In early 2014 we co-produced The Threepenny In Nottingham we welcome on average Opera with Birmingham Repertory 110,000 customers through our doors Theatre, Graeae Theatre Company, each year and create productions large New Wolsey Theatre Ipswich and West and small: timeless classics, enthralling Yorkshire Playhouse. This spring, we family shows and adventurous new welcome artists from across Europe as commissions, often touring work part of neat14 . Giles Croft Stephanie Sirr nationally and internationally. Artistic Director Chief Executive

YOUR AUTUMN SEASON AT

THE KITE RUNNER PROPAGANDA 29 AUG - 6 SEPT SWING Adapted by Matthew Spangler, 3 - 18 OCT based on the novel by Khaled Hosseini By Peter Arnott Y A D

T R E B O R

: TIME AND O

T ARCADIA O H P

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E THE CONWAYS N

N 31 OCT - 15 NOV U R

E T I K

12 - 27 SEPT By Tom Stoppard E H T By J. B. Priestley

BOX OFFICE 0115 941 9419 NOTTINGHAMPLAYHOUSE.CO.UK Photography: Julien Hughes

A NOTE FROM THE DIRECTOR

Bolero is a journey. I’ve been on We’ve rehearsed in Nottingham, I play the part of a conductor, this journey since I watched Sarajevo and Prishtina. We’ve met interpreting Bolero , keeping time. Torvill and Dean dance to Bolero in airports and online. We’ve You play the part of the audience. on the television on 14 February learned how to ice skate and how At the Opera in 1928. At the 1984. Now we’re taking you on to notate music. We’ve learned how Olympics in 1984. Tonight you’ll this journey from Nottingham to to say ‘6.0’ in Bosnian and ‘Stop’ in visit Ravel’s house, his grave and Paris to Sarajevo. From 1914 to all the languages of the UN. It’s a L’Opera Garnier where the ballet 2014, from the Opera to the biography of Bolero that follows was premiered. You’ll visit the Zetra Winter Olympics, from the First Ravel’s score note by note, bar by Stadium where Torvill and Dean World War to the Bosnian War. It bar, page by page, to the places and danced, the Olympic Mountains started with a seed. A seed that people who have been touched by and the Assassination Museum in grew into a story. There are six the music. It’s a piece of theatre Sarajevo. You’ll follow the bullet performers from across Europe inspired by the rhythm of Bolero , that triggered the First World War telling this story in different just as Ravel was inspired by the through 100 years of history. You’ll languages and in different time rhythm of gunfire in the First follow the baton of the conductor zones in search of a piece of music World War to write it. Everything as he taps his music stand and tells that is in Nottingham’s DNA. But is connected to the music and we the orchestra to stick to the tempo. it doesn’t end there. We want to ravel and unravel these threads of You’ll help us tell a story. A story tell you the story of what narrative that weave together like that grew from a seed. We hope you happened after Torvill and Dean lines left on the ice by skates after a enjoy your journey. A journey in left the ice. How seats were turned dance routine. search of Bolero . into coffins and the stadium was used as a morgue. How a requiem Michael Pinchbeck was conducted in the ruins. Director

www.michaelpinchbeck.co.uk Blog: www.makingbolero.wordpress.com | Facebook: mpinchbeck | Twitter: mdpinchbeck #makingbolero A NOTE FROM COMMUNITY CAST FUNDING

THE PRODUCER When we first perfom Bolero at Supported by the National Nottingham Playhouse on 31 Lottery through Arts Council The making of Bolero began in May and 1 June 2014, the and the British Council, 2011 when Theatre Writing following people are going to be Bolero is a co-production Partnership awarded Michael involved in the community cast: between Nottingham Playhouse, Pinchbeck one of seven Making ODA Theatre (Prishtina) and Tracks bursaries so that he could Nasua Lyamah-Arbouin (UK), Sarajevo War Theatre. Developed make two journeys; one to Paris Jack A. G. Britton (UK), Josh at Dance4, and one to Sarajevo. The aim of Curran (UK), Chloe Doherty and Primary with support from Making Tracks was to create an (UK), Malgorzata Grabowska Loughborough University and opportunity for artists to (Poland), Chris Greenhall (UK), the University of Lincoln, explore and determine the Leo Lanzoni (UK), Giada Maran Bolero began life as part of artistic terms of a new (Italy), Gwendolen Nelson (UK), Making Tracks. commissioned work. I have had Louise Pearson (UK), Sarah the opportunity to see the Helen Pretty (UK), Alice Ratcliffe original journey continue (UK), Beth Robinson (UK), geographically and artistically. Mariel Rodart (Mexico), Laura I have observed a coming Roe (UK), Alice Samuels (UK), together of many artists who Maria Savva (UK), John Skerritt have brought generosity and (UK), Katie Amanda Smith (UK), faith to the process. Far from Suleman Salim (UK) and Cora reaching its end, the journey of Vanaman (UK). Bolero now takes a new direction as it reaches audiences in Europe and beyond.

Kate Chapman Producer By Michael Pinchbeck

Taken from an interview with To help create this piece, of the same name and went onto Derek Graham at Nottingham you’ve undertaken extensive conduct Mozart’s Requiem in the Playhouse for their Backstage research and travel, and bombed-out City Hall in Sarajevo. Pass Members’ newsletter. worked closely with theatre City Hall is where Archduke Franz makers from Kosovo, Germany Ferdinand was visiting when he You’ve spoken about “letting and Bosnia & Herzegovina. was assassinated. He was only shot the music tell the story” and How has that affected the because the driver took a wrong “sticking to the tempo”: what show’s development? turn. Finally we have a character does that mean in terms of the who is a theatre director from production? It has made it richer and more Sarajevo, who tried to enter the complex but in some ways city during the siege. He went on I have been listening to Bolero to becomes more like conducting an to direct a show about Bolero . We understand the rhythm. Ravel said orchestra of different voices, tell all of these stories in our show conductors should ‘stick to the different languages and different and all of them are related in some tempo’ and we are trying to do the backgrounds. There are stories way to the music, either through a same. We do this by making the only some people can tell of living narrative connection, a visual rhythm of the text mirror the through a siege or crawling across image or through the rhythm of rhythm of the music or by letting a runway during a war and what the delivery. our footsteps and movements this project has done has opened happen in the same tempo. up a space for us to share these After two years of writing, We make noises with pencils stories and also to experiment what form does the final and batons and a typewriter that with performing each other’s production take? flirt with the rhythm of Bolero . stories. My job has been to Everything we are doing onstage conduct the process. It is a devised biography of is related to Bolero in some way Bolero . So we do read out a text and has come from my research The show throws up some which has been written down but into the music and the actors’ almost uncanny connections actually some of this is verbatim, experience of performing to it. and correspondences between taken from interviews, and the It is a biography of a piece of music different times and places. rest has been improvised by the and weaves together the stories of What for you were the most cast. It is also a multilingual Ravel writing it, Torvill and Dean striking? (Or, how have these performance in the sense that we dancing to it, the First World War helped shape the play?) speak Bosnian, French and and the Bosnian War. German as well as English. There are lots of coincidences. Archduke Franz Ferdinand lived in What do you hope attenders the Palace of Belvedere in Vienna will take away from Bolero? and Ravel’s house outside Paris is called Belvedere. Gavrilo Princip, I would like them to feel the the assassin of Franz Ferdinand, rhythm of Bolero , and even if we contracted TB and had his arm don’t play it, to think that they tied up with a piano wire. Zubin have heard it. Mehta, the conductor famously conducted Bolero for a 1973 film MAKING BOLERO Taken from www.makingbolero.wordpress.com

Towards the end of April we spent four days working at the National Ice Centre in Nottingham on the Community Cast element of Bolero . We have a fantastic team of people involved from across the East Midlands. The community cast comprises students from De Montfort University, the University of Lincoln, Loughborough University, the and members of New Art Exchange’s Yard Theatre Company. The cast were working with choreographer, Arianna Maiorani, a former ballerina who has danced to Bolero and has created a three act choreography that will correspond to, collide with and echo the performance at Nottingham Playhouse.

IN SEARCH OF BOLERO Taken from www.makingbolero.wordpress.com

In 2012, I made a journey to Paris and Sarajevo in search of Bolero where Ravel wrote the music in 1928 and Torvill and Dean danced to it in 1984. In 2014, I will premiere a performance that marks the 30th anniversary of the Winter Olympics and the centenary of the First World War. Ravel fought in the First World War and was lost in the woods outside Verdun for 10 days. Eight years after the Olympics, the Zetra Stadium where Torvill and Dean won gold was bombed during the Bosnian War. The story I am now telling travels between Paris and Sarajevo and begins and ends with these two wars.

I have been listening to Bolero for two years now and when you play it so much, you hear it even when it isn’t there. In the sound of footsteps. In the ring of a mobile phone. In the beep of traffic lights. In the rhythm of trains. Ravel is buried in Levallois-Perret outside Paris and when you visit his grave you hear the sound of trains pulling into Paris all the time, braking to the rhythm of Bolero . The mountains around Sarajevo turned the city into a speaker during the siege. The sound of gunfire reverberated so there was never silence. COMPOSING Taken from www.makingbolero.wordpress.com

Dear Monsieur Ravel, I am sitting by your tomb and You lie here in the proximity of other famous names I am listening to Bolero . As it started playing a train like Louise Michel, who led the revolution, and was passing and the sound of the train bled into the Gustav Eiffel, who defined the skyline. And yet you music. The music emerging from the mechanics. are always happy to stay in their shadow. No signs. As the lady who showed me around your house No monuments. You were always happy to let your yesterday told me, you were inspired to write music do the talking. It did not matter that other Bolero by modern machinery. By the factory people found glory and fame because your name machines of the time. Perhaps because it is so quiet lives on. Like your spirit. In your music. The music I here I am hearing notes in the music that I have not am listening to now. The music I am writing to now. heard before. The higher notes. More celestial The music I am writing my story about. Like a score. sounds. I walked around the cemetery for a while Score my story with your music. For a moment I felt trying to find your grave today. I thought there I was writing your words in your voice. In your might be a monument or a sign like the one for handwriting. It was as if the music has taken over Monsieur Eiffel. But you were perhaps more and I was carried away by the Bolero . Making this modest, I asked the man at the gate where your journey. And when the music finishes Bolero family grave was and he brought me here and said dissolves into the sound of another train. It occurs ‘Avez une bonne visite’ and when I said ‘C’est trés to me that now where you lie, you hear the rhythm modeste’ he said ‘Ce n’est pas différent de tous les of modern machinery, the rhythm of Bolero all the autres.’ It is no different to any other. A little higher time around you. Something you would not have maybe but nothing to suggest who might be heard in Montfort L’Amaury. The woman yesterday beneath. You share the tomb with your brother said you composed for years before writing it down. Edouard (1878-1960) and your father Joseph You composed in your head and in your heart. (1832-1908) and your mother Vivienne Maybe you are still composing. Still making music. (1840-1907). The woman yesterday said your family were close to you. And now they are. I am leaving you a rose that I bought in Montparnasse yesterday and took to your home in Monfort-L’Amaury and left a petal at the monument to you there. I am taking this flower to Sarajevo too and scattering petals wherever I go. The rose is unravelling to your music, in your name. It is cold here. Unforgiving. And I wonder if this is the anniversary of your interment. You died on 28 December 1937 and so you could have been laid to rest in the first two weeks of January. It would not have taken long to bring the coffin to your family grave.

We are a few metres from the gates of the cemetery. I wonder who was here. Your brother, Edouard, who inherited the house from you when you died and stayed there for a while before moving to Biarritz. He looked for someone to keep the house in his absence and found a lady in the village who was the governess of Proust. She kept the house spick and span and shipshape like the ship it resembles. And when people came to visit to pay their respects to you she would say, ‘He was not as famous as my master’.

Photography: Julien Hughes BOLERO, FROM THE BRITISH COUNCIL’S PERSPECTIVE

When Michael Pinchbeck fell over outside a chip shop in Bulwell in 1984 the British Council was fifty-five years old. When he arrived in Sarajevo in 2012 our office there had been open for 15 years. Timelines are important in Michael’s work and history is important in ours. We were established in 1934, when Europe was still recovering from one terrible war and gearing up for another. Our mission, then, was ‘promoting abroad a wider appreciation of British culture and civilization [by] encouraging cultural, educational and other interchanges between the United Kingdom and elsewhere’.

In a sense our mission is the same today although we do it in very different ways and our work is much more about mutuality. Our arts work spans architecture, creative industries, dance, design, fashion, film, literature, music, theatre and visual arts. We work in more than 100 countries and our 7000 staff engage with millions of people every year through our innovative programmes in English teaching, the arts and in education and society.

Bolero - a story about music, a chronicle of two painful periods in our shared history, the celebration of an iconic sporting triumph on ice - is an important project for us. It began, as many great ideas do, with a conversation between two artists in two countries: Michael and Nihad Kresevljakovic at Sarajevo War Theatre. It expanded to embrace a third with Giles Croft in Nottingham and then a fourth as our colleagues at British Council Kosovo came on board and Florent Mehmeti from Prishtina’s ODA Theatre became dramaturg of the production. A talented cast joined from four countries and began to make the ideas come to life. Through an inspiring collaboration with Nottingham Playhouse a cast of young people will appear in the premiere performances and more than 100 of their peers in Sarajevo and Prishtina are taking part in workshops around the production led by five actors who are now trained youth theatre practitioners. Now funds from the EU will allow the show to tour after its Sarajevo performances in June.

The British Council’s support has been modest: some introductions, some skilled enabling, lots of enthusiasm, a little money. But it is the artists, the ideas and the audiences in Sarajevo, Prishtina, Nottingham and beyond that make us want to be part of it. It’s the knowledge - gathered over 80 years - that international conversations like these can help to change the world that makes us proud that we are.

Gregory Nash , Director Arts Wider Europe, British Council www.britishcouncil.org/arts A WORLD CLASS ACT… SEE A YEAR’S GREAT THEATRE AT A BARGAIN PRICE WITH BACKSTAGE PASS

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Photo: David Bair Nottingham Playhouse Theatre Company, Sarajevo War Theatre SARTR and ODA Theatre (Prishtina) present

By Michael Pinchbeck

DEVISERS AND PERFORMERS (In alphabetical order) Benjamin Bajramović Nicki Hobday Vera Molitor Jasenko Pasic Ollie Smith Amila Terzimehic CREATIVE TEAM

Director Michael Pinchbeck

Dramaturg Florent Mehmeti

Set & Costume Designer Sarah Lewis

Producer Kate Chapman

Choreographer Arianna Maiorani

Photographer Julian Hughes

Stage Manager Anneke van de Stege

………………………………………………………………

Please ensure that all mobile phones are switched off before taking your seat.

Photography and sound recording are not permitted.

......

Thank you to: Giles Croft, Stephanie Sirr, Simon Seligman, Derek Graham, Alexandra Broughton. Jasper Gilbert, Fiona Buffini and all at Nottingham Playhouse. Amila Lagumdžija, Larisa Halilović, Emir Omeragić, Nita Qena, Michael Bird, Andrew Jones, Gregory Nash and all at the British Council. Peter Knott and Laura White at Arts Council England, East Midlands. Nihad Kreševljaković, Latifa Imamović and Sabina Šabić at Sarajevo War Theatre. Edin Numankadić at the 1984 Winter Olympics Museum. Muamera Šehić at ZOI 84 (Sarajevo). Florent Mehmeti at ODA Theatre (Prishtina). Prof. Mick Mangan at Loughborough University. Prof. Mark O’Thomas at the University of Lincoln. Matt Bradbury and Tristan Cousins at the National Ice Centre (Nottingham). Matt Chesney and Rhiannon Jones at Backlit (Nottingham). Claire Hicks at Dance4 (Nottingham). Michelle Bowen at Primary (Nottingham). Sooree Pillay at New Art Exchange. Lucille Denkinson. David Micklem. Kieran Ahern. Andy Barrett. Scotholme Primary School. Olwen Davies. Youth Theatres in Sarajevo and Prishtina. BIOGRAPHIES

BeNJAMIN BAJRAMOVIć | Performer

Benjamin was born in Zenica in 1989. He graduated at the Academy of Performing Arts in Sarajevo in 2011. He acted in and directed George Orwell's 1984 as a part of NICKI HOBDAY | Performer VeRA MOLITOR | Performer his graduate exam. This performance was taken into Sarajevo War Nicki is a contemporary Vera was born in 1981 in Münster, Theatre's regular repertoire. He theatre-maker and performer based Germany. After finishing grammar was part of several of SARTR in the North of England. She makes school she started to act in Münster‘s productions: It Was a Bright and her own performance work as well as independent theatre scene for a show Sunny Day (directed by Tanja in collaboration with other artists about Kaspar Hauser and a Miletić) in 2012 and Secret of and companies. She co-founded production of Patrick Marber‘s Raspberry Jam (directed by Selma Trace Theatre in 2007 and has Closer in a local theatre. Spahić) in 2013. worked with Drunken Chorus, Proto-type Theatre, Until Thursday She then went on to study eatre In 2011 he worked with theatre and Reckless Sleepers. She is Pedagogy at the University of Applied group Shadowcasters , based in currently working with 30 Bird on Sciences in Osnabrück. She Zagreb, on a production called Man/ Domestic Labour: A Study in Love completed her studies in 2007 with a Woman (directed by Boris Bakal and and Michael Pinchbeck on The BA and moved to Berlin, where she Katarina Pejović). He is currently Beginning , one-to-one performance now lives and works as a performer working in Hau Theatre in Berlin on Sit with Me for a Moment and and theatre teacher. In 2011 she a production called Battlefield Remember and Bolero . worked as a performer with Malte Memory (directed by Hans-Werner Schlösser on the production Kann Kroessinger). In 2014 he was part of ich Deinen Diskurs mal in den the National Theatre's production Mund nehmen? which was then The Parliament (directed by Selma performed at the TransFusionen Spahić). Festival at studiobühne Köln where she met Michael Pinchbeck and Benjamin won an award for Best joined the Bolero team. Actor at Zenica Festival in 2013.

Photography: Julien Hughes JASeNKO PAŠIć | Performer OLLIe SMITH | Performer AMILA TeRZIMeHIć | Performer Jasenko was born in Sarajevo in Ollie Smith is a performer, 1983. He graduated at the Academy theatre-maker and writer based in Amila was born in Sarajevo, Bosnia of Performing Arts in Sarajevo in Nottingham, UK He makes and Herzegovina. She graduated 2007. Since 2008 he has been a contemporary performance work as from the Academy of Performing member of the Sarajevo War Theatre a solo artist and as a collaborator. Arts in Sarajevo. In 2011 she was SARTR ensemble. His work asks questions about declared the Best Student in her year communication and relationships, at the Academy of Performing Arts. Amongst others, he has performed egos and alter-egos. Recent projects in Hamlet and Faustus directed by include nightmarish magic act Cat Amila has been practising rhythmic Haris Pašović; Woyzeck , Spring in Hell (2013) and onstage rock ‘n’ gymnastics and ballet for 13 years. Awakening , The Parliament and roll suicide 27 (2012). She was national champion in each multiple award-winning Secret of category and a candidate for the Raspberry Jam , all directed by Ollie recently directed 2Magpies Olympic team in Athens 2004. Now Selma Spahić; It Was a Bright and Theatre’s The Litvinenko Project she works at the Sarajevo War Sunny Day by Tanja Miletić; This is (2014). In addition to Bolero , Ollie Theatre and she is also a member of Ionesco , You Fool by Ferid Karajica; has collaborated with Michael MESS Dance Company. Ay, Carmela and Rabbit Hole by Pinchbeck on The end (2010) and Robert Raponja; The Cripple of The Beginning (2012). Performances at the Sarajevo War Inishmaan and The Bald Soprano Theatre include: 1984 (George by Edward Miller and Fear and The Man Upstairs (2014) is Ollie’s Orwell), Fear and Misery of the Misery of the Third Reich by first full-length written play (as Third Reich (Brecht) directed by Nermin Hamzagić. opposed to devised theatre show). Nermin Hamzagić, Odette & Odile It came runner-up in the New directed by herself and Ena Kurtalić, In 2009 he devised a dance solo Perspectives long play competition This Grave is Too Small For Me performance, Tishma Tanz , with 2014. directed by Dino Mustafić and It choreographer Jasmina Prolić in CIE Was a Bright and Beautiful Day Company in Orleans, France. In Ollie has performed nationally and directed by Tanja Miletić Oručević. 2011 he directed and acted in a internationally and has received production of 1984 , by George funding and commissions, platforms Orwell, for which he chose and and development opportunities from edited the music and video. Arts Council England, greenroom & hÅb (Manchester), Hatch He is a member of the Association (Nottingham), Emerge (Leeds), for Development and Research of circuit (Leicester), Theatre Writing Performing Arts in B&H 'Kontakt' Partnership (Nottingham), where he worked on performances of NewVolutions (Lincoln) and On the wheels and Seventh Room . Compass (Leeds).

Ollie trained at Bretton Hall, graduating with First Class honours. BIOGRAPHIES

MICHAeL PINCHBeCK | FLOReNT MeHMeTI | SARAH LeWIS | Designer Director Dramaturg Sarah trained at Nottingham Trent Michael Pinchbeck is a writer, live Florent is a theatre and film director University and since graduating in artist and theatre-maker based in based in Prishtina, Kosovo and has 2010, has forged a close relationship Nottingham (UK). He is committed been one of the founders and a with Nottingham Playhouse. She to telling stories that are personal director of ODA Theatre in Prishtina has designed sixteen different youth and powerful. He aims to find since 2003, where he currently and community productions for innovative structures to scaffold works. the Playhouse - most recently, those stories that are original and A Clockwork Orange and the risk-taking. He tells stories that take Artistic work in theatre include: main-house production, enron. place across time and space and The Rose Tattoo , The Wizard of weaves together these different Oz , The Vagina Monologues , She has also designed professional threads into a dynamic narrative. Three Fat Germans , American company pieces – last year’s Buffalo , The Town is Growing , The Lost Plays Revue , part of Michael studied eatre and Creative Doruntine and The Sworn Virgin the season celebrating the Writing at Lancaster University and (New York, Kosovo, Albania, 50th anniversary of Nottingham co-founded Metro-Boulot-Dodo Macedonia); Picnic on the Playhouse. Most recently, The eatre Company in 1996. He has battlefield , Cat on a Hot Tin Second Minute by Andy Barrett – a written two plays for Nottingham Roof , Invisible Walls (dedicated for rural touring piece, also a part of the Playhouse, e White Album public space: Holland, Prishtina, UK) neat14 Festival. (2006) and e Ashes (2011). and many others. His touring devised work has been Other design work includes: selected for the British Council’s He has worked on film and television Peter Pan and Into the Woods Edinburgh Showcase three times. projects such as: One KS Minutes (Duck Egg Theatre); Dave’s Curry He is currently finishing a PhD at (a cycle of one minute videos); House (event design for Dave UKTV Loughborough University and Three Fat Germans (TV sitcom in Leicester Comedy Festival); lectures in Drama at the University 63 episodes); Politically Incorrect This is the Night (music video for of Lincoln. (TV Show); New Neighbourhood Toploader) and White Lily (short (TV sitcom in 27 episodes) and film directed by Tristan Ofield). others. She is also a prop and puppet maker He has also been actively involved in and runs her own puppet-making law-making process and other company, Sarah Makes Puppets . cultural policy-making processes, networking in Kosovo for more than 15 years. KATe CHAPMAN | Producer ANNeKe VAN De STeGe | JULIAN HUGHeS | Stage Manager Photographer Kate Chapman is a director, dramaturg and producer of theatre and radio. She Anneke is from the Netherlands Julian is a multi-disciplinary artist and has produced audio drama for BBC and in 2013, graduated from educator based in Nottingham. His Radio 4 by writers including Amanda Loughborough University with a practice is site-specific and involves Whittington, Nick Walker, Naylah First Class Bachelor of Arts in Drama. walking as a methodology to investigate Ahmed, Sonali Bhattacharyya and Kaite She was involved with several a place, its history, the people who O’Reilly. productions by Loughborough inhabit it and the stories these tell. The Student’s Union Shakespeare Society, chance encounters, staged actions and Kate has developed new work for including Titus Andronicus which invited responses from others on his theatre, most recently in the Making was part of the Royal Shakespeare journeys are documented through Tracks programme which developed Company’s Open Stages 2011. photography and moving image. seven new theatre works (including Bolero ) by leading East Midlands She was the Lighting Designer for the Julian has worked extensively with practitioners. Kate was Director of Acadia University (Canada) student artists and organisations both regionally Theatre Writing Partnership in theatre festival Minifest 2012 and was and nationally, documenting their work Nottingham from 2009 to 2012. Her a lighting consultant for ONE WORLD for publications and exhibitions. For most recent theatre work includes Shakespeare Festival 2013 (Kuwait). the last seven years Julian has also been directing a national tour of Amanda Anneke has been working with Michael working alongside Michael Pinchbeck. Whittington’s Amateur Girl for Fifth since 2013 as a technical intern on For Bolero , Julian visited Sarajevo to Word Theatre Company and e Beginning and the technical document the performance and take co-directing Beneath the Surface , a coordinator of e Trilogy tour. portraits of the cast throughout the city. new theatre work in development based on the stories of British LGBT people from culturally diverse backgrounds. Our restaurant bar serves freshly made food cooked to ARIANNA MAIORANI | order at great prices and the bar Choreographer CA ST is a perfect place to unwind with friends, serving a range of Arianna Maiorani was born in continental beers, cocktails, Rome to two principal dancers @ cask ales, wines and champagne. of the Teatro dell’Opera. She started performing as a ballet dancer at You can also dine on our leafy sun terrace - possibly the the Teatro dell’Opera aged 9. CAST is our wonderful After graduating from the theatre’s best-kept secret in Nottingham! professional ballet school, she worked restaurant and bar, as a dancer, teacher and choreographer perfect for relaxing and For sandwiches, salad boxes, both in Italy and abroad. pastries, cakes and snacks on enjoying great food and the go or to eat in, there is also She is Senior Lecturer in Linguistics in drink, all year round. the Deli available. the School of the Arts, English and Drama at Loughborough University, where she teaches Linguistics, WELLINGTON CIRCUS, NOTTINGHAM, NG1 5AN Multimodality, Movement and Dance 0115 852 3898 | [email protected] eatre at various levels. She holds a PhD in Cultural Sciences and has published extensively and interdisciplinary on the semiotics of movement in space and communication strategies. She has guest-lectured on the semiotics of dance in various countries at HE level: Seoul (South Korea), Koper (Slovenia), Finland and Australia amongst others.

In 2012 she dance-trained some members of the British Swimming team in preparation for the . Bolero marks her first collaboration with Michael Pinchbeck. IN REHEARSAL THE JOURNEY

Photography: Julien Hughes THANK YOU TO OUR SPONSORS

Nottingham Playhouse and neat14 are very proud to work with a number of brilliant local businesses, whose support for our work is hugely important.

We would like to take this opportunity to thank the following companies and organisations who have generously sponsored the neat14 festival: CONSTRUCTION PARTICIPATION Mark Bamford Carpenter, Philip Gunn Rachel Bates Participation Administrator, Deputy Head of Construction, FIONA BUFFINI Associate Director, Julian Smith Head of Construction Allie Spencer Education Officer, Sarah Stephenson Youth Theatre Director FINANCE Martin Blee Finance Manager, PRODUCTION Jonathan Child Finance Officer, JASPeR GILBeRT Production Manager, DIRECTORS KIM GILBeRT Head of Finance and Alex Moxon, neat Production Assistant, GILeS CROFT Artistic Director, Operations, Myra Slack Senior Finance Jill Robertshaw Assistant Production STePHANIe SIRR Chief Executive Officer. Manager (Maternity Cover), Deborah Reed-Aspley Assistant Production Manager ADMINISTRATION FRONT OF HOUSE PROPS Andrew Bullett Information and Tom Barnes Usher, Nicholas Boydd Usher, Alex Hatton Deputy Head of Props, Communications Technology Manager, Emily Croxford Usher, Rebecca Dallman Nathan Rose Head of Props Beverly Clark Administration Assistant, Theatre Manager, Nicola Dawson Usher, VALeRIe eVANS Head of Administration, Clare Devine Usher, Nigel Dickinson STAGE DOOR Lucy Tregear Administration and Performance Fire Warden, Jen Ellis Usher, Louise Carney Stage Doorkeeper, Programming Co-ordinator, Bea Udeh Kristy Guest Usher, Carol Harmer Assistant Nigel Dickinson Stage Doorkeeper, Creative Producer - Diversity House Manager, Karon Hill Usher, Laura Hutchinson Usher, Lydia Jones Usher, Kristy Guest Stage Doorkeeper, Carol Harmer Stage Doorkeeper, Michelle Leek Usher, Mufaro Makubika ASSOCIATE ARTISTS Geoff Linney Stage Doorkeeper, Usher, Giada Maran Usher, James The Cutting Room, Andrew Breakwell Mufaro Makubika Stage Doorkeeper, McAndrew Usher, Hannah McBrien Usher, Giada Maran Stage Doorkeeper, Livia McLauchlan House Manager, BOX OFFICE John Noton Stage Doorkeeper, Clare Moss Usher, Paul Preston Usher/ Charlie Cox Box Office Supervisor, Karon Paul Preston Stage Doorkeeper, Performance Fire Warden, Kirk Ratcliffe Hill Box Office Assistant, Rosemary Dave Richardson Stage Doorkeeper, Performance Fire Warden, Dave Richardson Alexander Jones Box Office Assistant, Ollie Smith Stage Doorkeeper, Usher/Duty FOH Manager, Charlotte Laura Hutchinson Box Office Assistant, Michael Turton Stage Doorkeeper, Ridley Usher, Lauren Robinson Usher, Gary Miller Box Office Assistant, Alexandra Susan Yeoman Receptionist Moxon Box Office Assistant, Safiya Sabrina Shaw Usher, Ollie Smith Williams Box Office Assistant, Richard Usher/Performance Fire Warden, STAGE MANAGEMENT Surgay Customer Relations Manager, Joseph Stairs Usher/Performance Fire Kathryn Bainbridge-Wilson Assistant Jeremy Walker Box Office Assistant Warden, Heather Sykes Usher, Be Wade Stage Manager, Jane eliot-Webb Usher, Matt Williams , Usher/Performance Company and Stage Manager, Stuart CAST BAR RESTAURANT DELI Fire Warden Lambert Deputy Stage Manager. Andrea Coombs Bar Tender, Camilla Copley Deli Manager, Maxine Cunningham Bar FUNDRAISING & DEVELOPMENT TECHNICAL Staff, Sarah Currie Waiting Staff, Olwen Derek Graham Memberships Manager, Andy Bartlett Technical Manager, Davies Waitress, Jamie Goodall Second Nick Lawford Fundraising and Andy Nairn Stage Technician, Tony Sous Chef , Francesca Hess Waiting Staff, Development Manager Topping Deputy Technical Manager Reis Hussain Kitchen Porter, Mufaro Makubika Supervisor, Paige Ockendon Bar LIGHTING & SOUND NEVILLE STUDIO VOLUNTEERS Manager, Yasmin Purnell Deli Assistant, , Steph Bartle Lighting and Sound Veronica Allen, Emma Barber, Ruth Boston, Simon Radford Kitchen Porter, Aaron Technician, Drew Baumohl Deputy Head of Natelle Brown, Louise Carney, Bev Clark, Roberts Bartender, Jessica Salter Deli Lighting and Sound, Karl Bock Head of Michael Comerford, Lynn Coxon, Lisa De Assistant, Aaron Schoburgh Bar Staff, Lighting and Sound, Nick Morris Lighting Vivo, Abigail Earlie, Jasmine England, Ellen Emma Sims Deli Assistant, Nathan Taylor and Sound Technician. Fisher, Angie Hyde-Mobbs, Hywell Jones, Sous Chef, Tim Wheelhouse CAST Manager Julia Lazenbatt, Janet Mitchell, Heather MARKETING & COMMUNICATIONS Roberts, Beth Robinson, Rosy Ross, Nikita CASTING Dan Baxter Marketing Manager , Vyas, Attracta Walls, Louise White Sooki McShane CDG Casting Director, Lucy Alexandra Broughton Marketing and Jenkins CDG Casting Director Communications Assistant, David Brown VOLUNTEERS Digital Marketing Officer, Jo McLeish Nottingham Playhouse is grateful for CLEANING & MAINTENANCE Press and PR from The Media Room, services donated by the following Cindy Hutchinson Cleaning Supervisor, SIMON SeLIGMAN Head of Marketing volunteers: Sylvia Draycott, Andrew Pearce Sheila Sisson Cleaner, Michael Turton and Communications and Liz Squires Maintenance Technician, Kim Smith Cleaner, Patricia Walsh Cleaner, Paul White PAINTSHOP WARDROBE Cleaner Sarah Richard Head of Paintshop, Heather Flinders Wardrobe Assistant, Claire Thompson Deputy Head of Dani Kidson Wardrobe Assistant / Dresser, Paintshop Elaine Pearson Wardrobe Assistant, Helen Tye Head of Wardrobe Nottingham Playhouse Theatre Company, Sarajevo War Theatre SARTR and ODA Theatre (Prishtina) present

By Michael Pinchbeck

Front cover photography: Julien Hughes