yorkshire Evening GHOST

Photography by Anthony Robling “Let us transport you from the trials and tribulations of this year to the heart of this classic ghost tale of redemption and compassion”

warm welcome to Carol remains a fitting story for our triumphs such as Matthew Warchus’ production in order to make it available Playhouse’s times 177 years after Dickens wrote it. Peter Pan, Jude Kelly’s Singin’ in for free to schools, hospitals and care festive production of Leeds Playhouse Christmas shows the Rain and Nikolai Foster’s Annie, homes where residents and pupils A Christmas Carol. have become a major celebratory which was still touring seven years are not able to visit the Playhouse. AWe can only imagine what Charles event for the city. Last year’s magical after its performances here in 2011, We’ve been overwhelmed by the Dickens would have thought about production of The Wizard Of Oz brought and you can see why the Playhouse generosity of spirit and creativity of the 2020, but there may be a clue in his audiences flocking to follow the yellow has such a strong festive following. people of Leeds and the City Region writing as to what he might regard as brick road, and other recent festive Christmas is always a magical time over the past few months – thank you the best antidote: ‘There is nothing hits include our much-celebrated for us and this year we wanted to for your unflagging support. I also in the world so irresistibly contagious production of The Lion, the Witch share the joy with as many people as want to say a special thanks to our as laughter and good humour.’ So, let and the Wardrobe, which went on to possible. We have gifted 1,000 free production sponsors Irwin Mitchell us transport you from the trials and draw crowds at The in tickets to NHS workers as a huge thank and Caddick Group for their support tribulations of this year to the heart of London last year, Strictly Ballroom the you for their incredible work. The in bringing this production to life. this classic ghost tale of redemption Musical, which subsequently toured production features integrated British I hope you thoroughly enjoy and compassion. Bringing together to Toronto and the West End, and Sign Language, a creative technique A Christmas Carol and wish you the past, present and future, with Chitty Chitty Bang Bang, which went that worked so brilliantly in Director and your loved ones a very Merry community and kindness triumphing on a hugely successful 13-month tour Amy Leach’s last production Oliver Christmas and a Happy New Year. over greed and selfishness, A Christmas of the UK and Ireland. Add in past Twist in March. We are also filming the James Brining, Artistic Director 2

BSL Interpreter Max Gartery and Director Amy Leach in rehearsals for A Christmas Carol Photography by Anthony Robling

Coming together to make magic and memories 3

major things we’ve all missed out on in followed by the first Dementia 2020 is the shared experience – coming Friendly Performance. Since 2018, together with other people to enjoy a it has led the way in terms of audio live event. We hope our audiences will description, captioning and British enjoy not only a magical show but also Sign Language, making them an the warmth and joy of experiencing integral part of the creative fabric it surrounded by other people, albeit of the play rather than an add-on in a safe, socially distanced manner.” element. Leeds-based BSL consultant Amy’s year has been bookended by Adam Bassett and deaf cast members Dickens. She directed an adaptation Nadia Nadarajah and Stephen Collins of Oliver Twist at the start of the year, have helped to ensure this pioneering creatively exploring its central theme of work continues in A Christmas Carol, social injustice which, sadly, continues which has BSL woven throughout. to resonate over 150 years on. Now, “When we think of access elements she’s bidding farewell to 2020 with A as creative layers of the production, Christmas Carol, one of the best-loved it’s like discovering a whole new layer stories written in the English language. of paints in your paint box,” said “A Christmas Carol has got it all Amy. “It opens up new possibilities – laughter, ghosts, heartbreak, and for storytelling, new nuances to a cracking story of the redemption characters and storylines, and forces of a hard-hearted man who the whole team to think harder about rediscovers the joy in his heart and the clarity of the tale they are telling.” his love for humanity,” she said. A Christmas Carol has also provided valuable creative opportunities for artists supported by the Playhouse’s “A Christmas Carol Furnace artistic development has got it all - laughter, programme, including Associate Director Sameena Hussain, who is a ghosts, heartbreak, Resident Director at the Playhouse as part of the Regional Theatre Young and a cracking story Directors Scheme (RTYDS), and Trainee of the redemption of Assistant Director Sajidah Shabir. “We were also aware of how much a hard-hearted man deaf and disabled artists have been who rediscovers the side-lined throughout the pandemic so, along with RTYDS and Ramps on joy in his heart and his the Moon, we gave 18 deaf and disabled love for humanity” early career directors from across the country a paid opportunity to observe a day of rehearsals via Zoom. Playwright Deborah McAndrew’s We really enjoyed welcoming them all adaptation of Dickens’ classic festive tale and seeing their faces pop-up on our was first staged at the Playhouse as part large rehearsal room TV each day.” of its Pop-Up Season. Amy originally A festive family show has been top intended to recreate this well-loved of the Playhouse’s wish list during production for Christmas 2020, but this most testing of years, and with Director Amy Leach the stringent restrictions of Covid-19 the opening of A Christmas Carol meant she and designer Hayley Grindle it feels like the festivities can finally had to reimagine the entire show. begin. So, let’s pop on a party hat explains why Christmas “The original production had 60 and raise a glass to toast the season costume changes and required a lot of – and the power of togetherness. close social contact, which obviously “On his journey with the ghosts, just wouldn’t be would not be appropriate now. We Scrooge discovers the power of needed to reimagine the show to make it togetherness and mutual support,” safer and simpler, and we also wanted to said Amy. “Through the darkness of Christmas without embrace the moment; to acknowledge 2020, the best of humanity has shone what the audience and the actors have through as people have supported experienced this year. That led us to each other through hard times. We a festive family show bring the show to a close with We Wish starting the show with a ghost light surrounded by theatre ghosts who have You A Merry Christmas, which seems like a particularly apt sentiment this Jo Haywood “Making a Christmas show is a been waiting for audiences to return.” huge honour and responsibility,” Amy gathered a team of eight year. And I can honestly say that I said Amy. “For some, it might be the actors – some familiar faces and some have never wanted to wish everyone hristmas shows are always only opportunity they have all year new to the Playhouse – to create A a happy new year more in my life! a highlight of the theatre to watch a piece of live theatre. So Christmas Carol. The cast includes a “So, to all the team working on A calendar, bringing joy and you want to create something truly mix of deaf and hearing performers, Christmas Carol, to our audiences, a sense of togetherness to magical and memorable that a mix who work together to make the show to the staff at the Playhouse, to the Cpeople of all ages. Now, as we come of generations can enjoy together. accessible and enjoyable for all. artists of the region, and to all the to the end of such a tumultuous “It has been such a tough year Leeds Playhouse has been pioneering people the Playhouse seeks to serve year, it feels more important than for everyone, so it feels all the more accessible performances for many each year, I wish you a heartfelt happy ever to give audiences the gift of a important to bring festive spirit to years, staging the first ever Relaxed new year and all the best for 2021.” truly magical shared experience. audiences this Christmas. One of the Performance ten years ago, swiftly 4

Creating Christmas Jo Haywood Set and costume designer Hayley nspiration for the set design of A Christmas Carol came via a literal ‘lightbulb moment’. When theatres Grindle explains how she’s bringing were forced into lockdown in IMarch, we left a traditional ghost light in each of our auditoriums – the the spirit of the season to the stage Quarry, the Courtyard and the Bramall Rock Void – as small beacons of hope Illustrations by Hayley Grindle during an unprecedentedly dark time. These ghost lights, and the warm reaction they prompted from people who love the theatre and who were counting the days until its return, were the spark that fired the imagination of acclaimed Set and Costume Designer Hayley Grindle, becoming an integral part of her vision for A Christmas Carol. “Originally used as a practical measure on Victorian stages to keep them dimly lit when they weren’t in use, they attracted a host of superstitious stories from the start,” she explained. “It was widely believed then – and, indeed, many people still believe now – that all theatres have a ghost, and that the ghost lights appease them. Instead of cursing the theatre, they perform on the dimly lit stage.”

“Many people still believe now that all theatres have a ghost, and that the ghost lights appease them. Instead of cursing the theatre, they perform on the dimly lit stage”

The restrictions imposed as a result of Covid-19 also influenced Hayley’s design concept, encouraging her to rethink the landscape of the stage and map out a whole new way of working. “Practically, we needed a more 5

Set model and photography by Hayley Grindle fluid space with lots of entrances and character and express who they are. dramatic halt at the start of lockdown. big set changes, which we can’t do exits, and intrinsic signposting for the “I really loved the challenge of Their mutual trust, compatibility, this year, but it can instead be about cast so they know they are always two creating costumes under Covid and support and shared vision were a shift in the mood – a quiet moment metres apart,” she said. “The landscape feel very excited about the world we’ve certainly a boon when it came to that builds emotionally; a surprise that we are working in has completely produced as a result,” said Hayley. “I creating a post-lockdown festive you didn’t see coming; embracing and changed, but the essence of Dickens’ think it suits the times and, by stripping production on a tight schedule and with exploring language through signing; a traditional festive tale remains true.” everything back, I’ve had to be clearer a whole host of new restrictions in place. new colour way on stage; an inventive In a strange way, the challenges with the story-telling of the clothes. “I adore the team here at the costume, song or movement sequence. of the pandemic have actually The costume challenges posed by the Playhouse,” said Hayley. “Having that It’s about creating ideas that take the propelled Hayley down an pandemic are, in effect, what conjured inbuilt trust between us has helped audience on an emotional journey.” interesting new creative avenue. the idea of the ghosts of the theatre.” hugely and has meant we could work This year will remain in the memory “I definitely felt a new energy for the at speed while feeling we’ve got each for a long time to come. It has been piece and more of a need to be playful other’s backs. Everyone has great ideas tumultuous for everyone and, as a with the design. I love being challenged “The costume and brings so much to the table. Even result, Hayley believes we need the to think in a new way and to make challenges posed by when I’ve not been in the room, I’ve Christmasiest Christmas with a festive the seemingly impossible possible.” felt the camaraderie from afar.” show packed with seasonal spirit. A Christmas Carol audiences are the pandemic are, in Even without the additional “We definitely need that Christmassy greeted by an empty Victorian stage lit effect, what conjured challenges of a pandemic, creating a feeling this year,” she said. “I know by a single ghost light. Slowly, a company Christmas show is always a big ask. As a I’m absolutely desperate to see a of ghosts emerge from the dark, eager the idea of the ghosts designer, you want to deliver something big Christmas tree! More than that to share their story after what feels like of the theatre” impactful and memorable without though, I think we all need some a lifetime – or, indeed, an after-lifetime detracting from the much-loved – and, magic in our lives – to feel that – waiting in the wings. Each is dressed particularly this year, much-needed unmistakable burst of joy that a in stripped-back Victorian garb, the Hayley has worked with A Christmas – twinkly spirit of the festive season. wonderful festive show can bring.” undergarments, padding and shapewear Carol Director Amy Leach and the “Christmas is about delivering visual of the time providing a foundation for Playhouse team before, most recently surprises that delight audiences,” said costume additions that help build a on Oliver Twist, which was brought to a Hayley. “This doesn’t have to mean 6 behind the scenes

Above BSL Interpreter Max Gartery Right Jack Lord Photography by Anthony Robling 7

Below Lladel Bryant Bottom left Nadia Nadarajah Bottom right Tessa Parr 8

This page Right Assistant Director Sajidah Shabir Below Jack Lord, Lladel Bryant and Lisa Howard

Opposite page Right BSL Consultant Adam Bassett Below left Jack Lord and Stephen Collins Below right Jack Lord and Dan Parr

Photography by Anthony Robling 9 10 Welcome to our room with a new view Associate director of A Christmas Carol Sameena Hussain gives us a guided tour of the rehearsal room – complete with social spaces and temperature checks

beginning, however, was openness, Jo Haywood honesty and acknowledgment of where everyone was at, mentally, emotionally ehearsal rooms have always and physically. We gave ourselves time been social spaces, with to prepare for what lay ahead; for warm-up games, hugs accepting that what normally would be and mugs of tea peppered a simple and straightforward task might Rthroughout the day as the cast, creatives now be tricky to achieve. Kindness and crew work hard to get a show up to oneself, and to others sharing the on its feet. But that all changed with the space, was very much encouraged.” onset of Covid-19. Now, rehearsal rooms The most obvious change in the are still social, but at a safe distance. rehearsal room was the need for So, what was it like to be back in social distancing at all times within the rehearsal room for A Christmas the company bubble. This meant Carol after months in lockdown? that everyone – the actors, directors, “There was such a mix of emotions stage management, BSL interpreters, at play,” said Sameena. “First, there anyone in the room – had to adhere was the utmost joy and gratitude to to their own designated space. be making work again – for many of “This has thrown up some creative us, it was the first time we’d been in a challenges, which were actually quite rehearsal space for a very long time – fun and exciting to solve, but it has and then there was slight apprehension been undeniably difficult not to be at returning to something that looked able to hug, or play certain warm-up and felt so familiar yet had a whole new games, or even help each other with set of rules that we had to learn so we simple things like passing a prop. could successfully share the space. Interestingly though, the new rules – “What was present from the the daily checking in procedure, the 11

temperature checks, the designated out to each other in other ways. having a puzzle to solve. Rather than “Mostly though, the rehearsal time social spaces for people and their It has proved to be an extremely being a hindrance, it’s added another we’ve shared on A Christmas Carol has belongings – have also brought comfort warm, kind and generous room.” element to the making process. It’s been an utter joy. It’s incredible how and safety to the group. Having clarity also been particularly great to have quickly you become accustomed to has brought us all peace of mind.” “This has only Zoom in the room, so people can drop new rules and how you soon begin to Social distancing has not stopped the in and see where we’re at, enjoy the appreciate that they are actually making cast, creatives and crew from forming heightened everyone’s atmosphere and camaraderie, and work possible by ensuring that we can a strong bond. They might not be eagerness to connect feel connected to the wider team.” safely be together in the same room. We able to pass round the biscuit tin and There have, inevitably, been lows have a shared language and guidelines, settle down together for a cosy chat, and be explicit in as well as highs in the new rehearsal and that helps tremendously. but this hasn’t hindered them from process, but, thankfully, the latter “It’s not been an easy transition, but forging a strong sense of togetherness. reaching out to each have far outweighed the former. change never is easy. It is, however, “Everyone’s passion and dedication to other in other ways” “The most difficult thing about a place where we grow, transform make this show has helped us to bond,” creating a show under Covid? and learn, which means it has been said Sameena. “We might not have been Honestly, it’s missing out on those worth it. Sharing the opportunity to able to do a lot of the things we would She thinks the challenges posed by vital little moments of human create a festive show for families to have done pre-Covid, but this has only the new Covid-19 restrictions in the contact – giving someone a hug, enjoy has been a real balm, gifting heightened everyone’s eagerness to rehearsal room have actually enhanced making a cuppa together, and sharing us a feeling of togetherness at a connect and be explicit in reaching the bonding process: “We’ve loved a bit of food,” said Sameena. time when we need it the most.”

Below Jack Lord, Stephen Collins, Lisa Howard and Adam Bassett. Left RTYDS Director Sameena Hussain Photography by Anthony Robling 12

225g unsalted butter 225g dark brown sugar 100g black treacle 25g golden syrup 375g plain flour 4 tsp ground ginger 2 tsp ground cinnamon 3 medium eggs 225ml whole milk (warmed) 2 tsp bicarbonate of soda

1. Preheat oven to 180C/160C Fan 2. Grease and line a 2lb loaf tin 3. In a pan gently heat the butter, sugar, treacle and golden syrup until smooth, then let cool for 10 mins 4. In a bowl, sift the flour, ginger and cinnamon together 5. Pour in the treacle mix 6. Add in the eggs 7. Mix the bicarbonate of soda with the warm milk and allow to thicken a little 8. Add to the mixture and pour into the loaf tin 9. Bake in the oven for 50 mins - 1 hour 10. Cool in the tin for 15 mins and then cool on a wire rack

Decorate with your favourite festive delights and enjoy Recipe by Carol Watson

Across 1. Scrooge’s nephew (4) 5. Director of Leeds Playhouse’s A Christmas Carol (3, 5) 7. Scrooge’s Clerk (3, 7) 8. Scrooge’s business name, Scrooge & _ (6) 9. The ghost of Christmas _ (not present or future) (4) 11. Scrooge’s first name (8) 12. Scrooge’s gift to the Cratchits on Christmas Day (6)

Down 1. Scrooge’s first employer (8) 2. Mr & Mrs Cratchit’s youngest son (4, 3) 3. Scrooge’s profession (6) 4. Author of the original novel (7, 7) 6. Scrooge’s business partner’s first name (5) 7. Scrooge’s famous saying (3, 5) 10. A Christmas gift (7)

Answers on page 19 13 14 A CHRISTMAS CAROL

Based on the novel by Charles Dickens Adapted by Deborah McAndrew Directed by Amy Leach STAGE MANAGEMENT

Steve Cressy Company Stage Manager Julie Issott Stage Manager CAST Richard Lodge Deputy Stage Manager Lladel Bryant Dick Wilkins and Topper Kayleigh Chapman Assistant Stage Manager Stephen Collins Bob Cratchit Lisa Howard Christmas Present and Mrs Fezziwig Jack Lord Scrooge Nadia Nadarajah Mrs Cratchit Dan Parr Fred and Young Scrooge and Puppeteer Tessa Parr Christmas Past and Puppeteer Everal A Walsh Marley and Fezziwig

BSL Interpreters

Sarah Cox Max Gartery CREATIVES Van Holtom Amy Leach Director Rebekah Mills Hayley Grindle Set & Costume Designer Alexia Blohm Pain Chris Davey Lighting Designer Julie Thompson John Biddle Composer and Musical Director Dave Wycherley Ed Clarke Sound Designer Lucy Cullingford Choreographer Rachael Canning Puppet Designer Anthony Robling Rehearsal and production photography Elisa De Grey Puppet Director Sodium Rehearsal and production filming Beverley Canning Puppet Costume Maker Sameena Hussain Associate Director (supported by RTYDS) For full biographies, visit leedsplayhouse.org.uk Sajidah Shabir Trainee Assistant Director Special thanks to the cast, crew and theatre workers who created Adam Bassett BSL Consultant the original productions of A Christmas Carol at Hull Truck in Stephen Collins BSL Deviser 2017 and in the Leeds Playhouse Pop-Up Theatre in 2018. Nadia Nadarajah BSL Deviser Hear the Picture Audio description Christmas at Leeds Playhouse is sponsored by

Families Partner Access Partner 15

Dear reader,

This year has shown us, more than ever, how important our families and friends A ChrisTmas are to us, so spending time at the theatre together feels even more special. A Christmas Carol embodies the spirit of human relationships and shows how empty and sad our lives can become without them. message Compassion and kindness to others, and helping those less fortunate or able than ourselves is what makes a true community. Which is why we, at the Caddick Group, are committed to supporting organisations from our who reach out to people in Leeds who need a helping hand. As well as being a Principal Capital Partner at Leeds Playhouse, the Caddick Group is also its Families Partner. As a family-run business, this is important to us. We are delighted to support the theatre’s creative engagement family work, which runs workshops and projects for 10,000 people every year, including young people, older people, local communities and schools. to yours And now we’re neighbours too! Construction on the New York Square apartments by our sister company Moda Living is in full swing. And what’s more, it’s being delivered by Caddick Construction – so this really is a family affair. It’s all taking place next door to the Playhouse, where we’re creating SOYO – the new heart of the cultural quarter with one of the biggest green spaces in the city centre where, one day soon, we’ll be able to come together again.

We might not be able to be with everybody we want this Christmas, but they are in our hearts and minds as we look forward to a brighter future together.

From everyone at the Caddick Group, we wish you a very Merry Christmas

An actor-led audio description company

Pushing the boundaries of creative access for visually impaired audiences within theatre. We experiment creatively with different forms of audio description to take you on an immersive journey into the world of the show.

Email: [email protected] Twitter: @HearThePicture 16

ACCESS INFORMATION

This adaptation of A Christmas Carol by playwright Deborah Captioned McAndrew is directed by Amy Leach and builds on the Playhouse’s Open captioning allows attendees with varying degrees of hearing knowledge and highly acclaimed creative work in accessibility and to view the full text as it is spoken or sung, including sound effects inclusion in theatre, in partnership with Ramps on the Moon. and off stage noises. The captions appear on a scrolling screen, positioned on or at the side of the stage. Captioned performances British Sign Language on Wednesday 23 December, 7pm and Friday 8 January, 7pm All performances of A Christmas Carol will have integrated British Sign Language Relaxed Performances A relaxed performance includes technical and front-of-house Audio Described adaptations to create a suitable environment for an audience of Audio described performances are designed to improve the young people or adults with learning disabilities. This may include experience of visually impaired and blind attendees. As well as extra lighting, additional wheelchair spaces and the freedom to listening to the dialogue on stage the customer can wear a headset move to alternative seating if required. Relaxed performance on and listen to a live description of the action on stage. Performances Thursday 7 January, 2pm on Thursday 17 December, 7pm and Saturday 9 January, 2pm will feature creative audio description, courtesy of Hear the Picture

A quick Christmas quiz with Irwin Mitchell

Q: What does Christmas mean to you? Q: You’ve worked with the Playhouse for over 11 years. What have been the highlights?

Christmas is a chance to relax and spend quality time with family and We have seen a lot of positive changes and have been proud to be part of the accessibility friends. It’s a good opportunity to reflect on the past twelve months and improvements at the theatre. Our highlights include playing a key role in delivering think about the future. For Irwin Mitchell, it’s also an opportunity to a fully modernised Playhouse building with full disabled access. We were also thrilled thank our clients and colleagues and celebrate our achievements. to celebrate 500 accessible performances – a real milestone – as well as helping the Playhouse deliver their pioneering Relaxed and Dementia Friendly performances. Q: What are your plans for Christmas this year? Q: How exciting is it to see Director Amy Leach putting With the current restrictions, it’s difficult for anyone to make concrete plans, but accessibility at the heart of her theatre-making? I really hope we’ll be in a position where we can see our family and friends and enjoy a happy Christmas full of fun and laughter with all the trimmings! We fully support her vision and her commitment to putting D/deaf and disabled artists and audiences at the centre of her work. Increased diversity Q: Tell us about your role as a Principal Capital Partner and inclusivity on stage ensures that theatre is for everyone. and Access Partner of Leeds Playhouse? Q: Business sponsorship helps the Playhouse carry out pioneering work both Our relationship with the Playhouse began informally when we arranged a trip on and off stage. How does your business benefit from supporting us? to the theatre for a group of children with disabilities. Our subsequent formal partnership was secured and has been successful because both organisations Our sponsorship aligns with our strategic pillars of Colleagues, Clients and Community. promote inclusivity. Having a key role in facilitating the recent redevelopment Our people have access to productions, we can treat our clients to money-can’t-buy of the Playhouse raised our profile in the city and showed that our community experiences, and we are able to give free tickets to charity groups. We also take great values are at the heart of everything we do. Our work isn’t just about damages, it’s satisfaction in knowing that we’re supporting an iconic Leeds landmark that not only about helping people rebuild their lives and ensuring they have access to whatever brings joy to theatre goers but also supports many of the most vulnerable people in society. they need to feel fulfilled, which includes access to the arts and theatre. 17

Supporters and Thanks Leeds Playhouse is a registered charity (255460) and relies on support from a wide range of partners to make great things happen. We would like to thank all our supporters and funders for their commitment to our theatre. For more information on how you can help, visit leedsplayhouse.org.uk or email [email protected]

Major Funders

Trusts And Foundations

Arnold Burton Charitable Trust, R E Chadwick Charitable Trust, The Peter Black Charitable Trust, Charles Brotherton Charitable Trust, Society of Theatre Research

Principal Capital and Families Partner Principal Capital and Access Partner

Corporate Partners Major Donors

Sir Rodney and Dr Lady Clare Brooke

Directors’ Club Brooke Club

Artistic Directors Circle Sir Rodney Brooke CBE Diamond James and Diana Drife; Mr Roland Stross; Ruby John Duncalfe; Clive and Virginia Lloyd; Amber Anne Muers; Neil Adleman; Ed and Heather Anderson; Mr A Blackwell; Nick and Linda Brown; Hilary Curwen; Mr R Duncan; Mike Ellis; Mrs Anne Emsley; Jacqueline Harris; Gwyneth Hughes and Chris Brown DL; Sarah and Bruce Noble; Ali Rashid

Project Partners Supporters’ Club

Platinum: Ian Brown; Nicola Down

LEEDS CITY COLLEGE 18

Carl Rutherford Helen Welch Leeds Theatre Artistic Planning Premises Supervisor Attendant Trust Limited Amy Leach Amanda Brown Deborah Bartlett Honorary Associate Director Housekeeper Front of House Attendant

President Wesley Bennett-Pearce Amanda Massey Harriet Brooke Senior Producer Housekeeper Front of House Attendant Cllr Bernard Atha CBE Zoe Bailey Eddie Dube Louisa Claughton Vice Presidents Producer Housekeeper Front of House Attendant Jacqui Honess-Martin Karen Jones James Carruthers Mark Dickson, Elizabeth Minkin Literary Associate Housekeeper Front of House Attendant Trustees Rio Matchett Kevin Westwood Lucy Dyson Furnace Coordinator Day Porter Front of House Attendant Rozina Breen (Chair), Paul Wilshaw Graham Ince Laura Elder Neil Adleman (Vice-Chair), Agent for Change Alan Dix, Mike Ellis, Kevin Emsley, Theatre Manager Front of House Attendant Sarah Friskney, David Jones, Cllr Jessica Mitchell Vernals Jon Dean Charlotte Endersby Lennox, Claire Lowson, Michael Stage One Trainee Producer Nabarro, Ruth Pitt, Susan Pitter, Ali Assistant Theatre Manager Front of House Attendant Rashid, Ken Reid, Simon Walker, Sameena Hussain Sharon Watson Sheila Howarth Michael Godsall RTYDS Resident Assistant Director Front of House Assistant Manager Front of House Attendant

Creative Kat Rose-Martin Ian Brown Annie Graham Engagement Kay Mellor Fellow Duty Manager Front of House Attendant Advisory Group Rachel Greener Jack Hewitt Commercial Duty Manager Front of House Attendant Ken Reid (Chair), and Operations Connie Hodgson Sir Rodney Brooke CBE, Sally Coe, David Archer Front of House Attendant Sarah Haig, Cllr Roger Harington, Matt Bowman Attendant Tessa Mason, Jon Price, David Prosho, Commercial and Operations Director Ben Hunter Jo Speak, Emma Tregidden, Josephine Corser Front of House Attendant Cllr Chris Townsley, David Ross Attendant Sarah Westaway, Kathy Williams Buildings Services Manager Debra Felix Sahar Ijaz

Jamie Clarke Attendant Front of House Attendant Leeds Playhouse Maintenance Engineer Liam Gordon Ieuan Jones (Enterprises) Sally Stone Attendant Front of House Attendant Costume Hire Manager Limited Laura Homer Fraser McKeown Luke McDonough-Stratford Attendant Front of House Attendant Tony Sharp (Chair), Rozina Breen, Costume Hire Supervisor Mike Ellis, Kevin Emsley, Alan Dix, Philip Howarth Unique Medford Cllr Peter Gruen, Ali Rashid, Simon Lee Dennell Attendant Front of House Attendant Walker, Chris Williams Bar and Catering Manager Karen Jarman Soshain Shehadeh Fundraising and Rachel Cohen Attendant Front of House Attendant Senior Catering Supervisor Development Kyriaki Kitsa Kyriacou Mandie Thompson Owen Thomas Attendant Front of House Attendant Committee Food and Beverage Supervisor James Mason Remarn Wilkes Jacqueline Harris (Chair), Jordan Bainbridge Attendant Front of House Attendant Sir Rodney Brooke CBE, Casual - Food and Beverage Linda Brown, Kevin Emsley Allan Mawson Christopher Younger Oscar Burton Attendant Front of House Attendant Executive Casual - Food and Beverage Linda McDonough Kayleigh Wright Conferencing and Events Manager James Brining Charles Humphreys Attendant Artistic Director/Joint CEO Casual - Food and Beverage Janine Owen Robert Smith Cafe Assistant Robin Hawkes Emily Kinghorn Attendant Executive Director/Joint CEO Casual - Food and Beverage Amanda Robinson Creative Annette Ireland Kinga Kovacs Attendant PA to the Artistic Director Casual - Food and Beverage Engagement and Executive Director Brandon Robinson-Connolly Liam Sykes Attendant Alexander Ferris Casual - Food and Beverage Associate Director - Creative Nadia Saeed Engagement Tiffany Horne Attendant Premises Supervisor 19

Ruth Hannant Alan Sutcliffe Mick Cassidy Jimmy Thurston Head of Creative Engagement Interim Accountant Production Manager Props Supervisor

Gemma Woffinden Ross Bownes Bik-Yuk Wan Sarah Barry Youth Theatre Director IT Manager Production Co-ordinator Assistant Props Maker Eleanor Manners Fundraising Steve Cressy Stevie Coulson Senior Young People’s Officer Company Stage Manager Scenic Carpenter and Development Sam Erskine Michelle Booth Dominik Rogala Young People’s Officer (Outreach) Kath Russell Stage Manager Scenic Carpenter Strategic Director of Fundraising Shreena Gobey and Development Julie Issott Natalie Whitley Interim Youth Work Manager Stage Manager Scenic Metalworker Kate Jeeves Matthew Dalbert Head of Development Richard Lodge Victoria Marzetti Young People’s Officer (Youth Work) Deputy Stage Manager Head of Wardrobe Beth Knight Natalie Kyrkos Development Manager Kayleigh Chapman Kirsty Blades Young People’s Officer (Learning (Trusts and Foundations) Assistant Stage Manager Deputy Head of Wardrobe Disabilities) Dara Romaniw Chris Harrison Julie Ashworth Maddison Norton Development Administrator Head of Stage Head Cutter Young People’s Assistant Human Resources Felix Beresford Rachel Hodgson Amy Lancelot Deputy Head of Stage Cutter Creative Education Manager and Learning Tom Spencer Emma Hassall Jenny Jones Chris Coates Senior Stage Technician Wardrobe Assistant Creative Education Officer Director of Human Resources and Learning David Bennion-Pedley Carrie Clark Fiona McCulloch-Exley Head of Lighting Wigs, Hair and Make-up Supervisor Communities Manager Marketing and Paul Lovett Beth Clenton Macteld De Ruyck Communications Deputy Head of Lighting Dresser Older People’s Programme Manager Hannah Hughes Joe Izzard Les Woolford Director of Marketing Seherish Mahmood Senior Lighting Technician Freelance Tailor and Communications Creative Engagement Assistant Chloe Anne James Vicky Richards Anna Kelner Madeleine Thorne Senior Lighting Technician Freelance Maker Head of Marketing Head of Playhouse Youth George Bryant Lenka Kupkova Jessica Roper Thomas Dransfield Bramall Rock Void Technician Freelance Maker Marketing Officer Buzz Creative Arts Course Project Manager Keiran Meadowcroft Alison Turton Rachel Marriner Bramall Rock Void Technician Freelance Milliner Head of Media Jenny Sullivan Young Leaders Project Manager Martin Pickersgill Jo Haywood Head of Sound Volunteers and Media Officer Lily Craig Support Workers Special Projects Manager Tom Cuthbertson Liz Irving Deputy Head of Sound We would like to say a massive thank you Sales Manager to all the people who give up their time Finance and IT Rob Landells and support us as Volunteers at Leeds Corinne Furness Senior Sound Technician Playhouse. Without their dedication we Chris Williams Box Office Manager would be unable to carry out many of Finance Director our activities, both on and off stage. Andy Wood Terri Barns Head of Scenic Workshop Shelley Fox Box Office Team Leader If you are interested in volunteering Financial Controller at Leeds Playhouse, please contact Kevin Cassidy Lynn Hudson [email protected] Construction Manager Coleen Anderson Box Office Team Leader Senior Finance Officer Crossword Answers Ginny Whiteley Across: Isla Pearce Head Scenic Artist 1. Fred 5. Amy Leach 7. Bob Cratchit Frances Dunn Graphic Designer 8. Marley 9. Past 11. Ebenezer 12. Turkey Finance Officer Dickon Harold Production Head of Technical Design Down: Andrew Donaldson 1. Fezziwig 2. Tiny Tim 3. Banker Interim Accountant 4. Charles Dickens 6. Jacob Judith Cloke Craig Patullo 7. Bah Humbug 10. Present Technical Director Props Supervisor LEEDS PLAYHOUSE CREATIVE EST. 1970 ENGAGEMENT

Celebrating Take part in something brilliant

Creative Engagement at Leeds Playhouse offers a whole host of activities all year round for young people, older people, local communities, schools, refugees and people seeking asylum. Find out how you can get involved.

Visit leedsplayhouse.org.uk/creative-engagement Email [email protected] Phone 0113 213 7700 years

Playhouse FURNACE Supporters’ Club Are you a local artist? Make a regular donation to ensure our vital, life- Furnace Social Club at Leeds Playhouse changing work continues, is our artist development network. from £6 per month Join today to meet others, share ideas and spark something new. Leeds Playhouse is a registered charity (no. 255460) and every penny you give goes into the work we create for our stages, the way we engage with our communities and support artists. Visit leedsplayhouse.org.uk/furnace For more information and to donate: or phone 0113 213 7700 leedsplayhouse.org.uk/support-us/ or phone 0113 213 7700

leedsplayhouse.org.uk Playhouse Square, Quarry Hill, Leeds, LS2 7UP 0113 213 7700 Leeds Theatre Trust Limited Charity Number 255460 @LeedsPlayhouse VAT No. 545 4890 17 Company No. 926862, Wales