Download Mrs Henderson Presents

ROYAL ALEXANDRA THEATRE
March/April 2017
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Me and
Mrs Henderson
PHOTO: PAUL COLTAS
WRITER AND DIRECTOR TERRY JOHNSON EXPLAINS WHAT DREW HIM
TO THE STORY OF LONDON’S INFAMOUS WINDMILL THEATRE AND
ITS TRAILBLAZING MATRIARCH.
Tracie Bennett as Mrs Henderson
S
ome years ago I sat down to watch a
movie entitled Mrs Henderson Presents.
I enjoyed it a great deal, and my
enjoyment was barely tempered by the
question I was compelled to ask myself ten
minutes in, which was; “Why on earth didn’t
I think of this?”
Unfortunately I hadn’t; Bob Hoskins
had. And Norma Heyman had produced
it, and Martin Sherman had written it and
Stephen Frears had directed it. Such is life,
but I couldn’t help but feel a distinct tang of
jealousy that it had not come my way. After
all, it encompassed many themes that have
recurred in much of my own work, reflecting
my interests in (some may assert obsessions
with); the history of light entertainment,
the male gaze, the peculiarities of English
sexuality, female empowerment, and the
joys to be savoured when any of the above
are set on an entertaining collision course.
And so it was a very gratifying moment
when John Reid phoned me to ask if I
might help develop a musical of the film. I
answered with a resounding yes. A few years
later, here we are.
Mrs Henderson Presents is a fable set in
a uniquely English world. The English are
globally recognised for many things, from
tea-drinking to flag-waving, but above all for
our eccentricity, and no one could have been
more eccentric than the delightful Mrs H.
Laura Henderson was Empire, but she
was not of the ruling class. (She was trade).
She had entrepreneurial spirit and a genuine
appreciation of the arts (especially the ballet
and classical painting). She lived through
straight-laced decades but remained at heart
a Bohemian. It was this unique confluence of
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characteristics that allowed her to embrace
the concept of Revuedeville and most
especially, the Nude Tableaux. This was an
idea that established erotic entertainment
as an intrinsic part of Soho history, and
owes much to the nerve of its dauntless
instigator. It never seems to have crossed
Laura Henderson’s mind that such an outré
presentation might be deemed tawdry in
some quarters (as indeed it was). For Mrs H,
the Nude Review was always a celebratory
concept. An economically attractive one,
admittedly, but more allied to her love of art
and ballet than of profit (which was most
often as scant as the costuming).
Of course, the idea that the English
ruling class are sexually conservative is
nonsense; they have always played the
field with enthusiasm. The working class
[
Mrs Henderson’s
Revuedeville had
instant appeal; it broke
boundaries, it challenged
concepts of respectability
whilst remaining
quintessentially English
\
have maintained an appreciation of all
that is bawdy and earthy from their rural
Anglo-Saxon roots. It is the English middle
class who, as they sought to define their
aspirance and took as their models of good
behaviour the aforementioned aristocracy,
have traditionally been the most repressed.
The aristocracy were always intent on hiding
their inappropriate behaviour beneath a
veneer of respectability, and it is this veneer,
not the reality, that the middle class aped
4 mirvish.com
and adhered to. And the working classes, for
the sake of employment and appearances,
were forced to follow suit.
And so Mrs Henderson’s Revuedeville
had instant appeal; it broke boundaries, it
challenged concepts of respectability whilst
remaining quintessentially English. And
the delightfully eccentric doublethink of “If
it moves, it’s rude” expresses all you need
to know about English sex and culture at
the time.
The image of a nude woman on a stage,
however stationary, however well lit,
inevitably opens up a modern discussion
of empowerment versus exploitation. This
was never to be the over-riding theme of our
musical, nor had I any intention of ignoring
that dynamic. I have strongly held opinions
about personal liberty and indeed personal
liberation, so it was never an issue that was
going to keep me awake at nights. And I
was confident that for all their naivety, the
original Windmill Girls, and all the girls who
subsequently took up (and promptly dropped)
their mantles, were not exploited but rather
stumbled on, and eventually volunteered for,
a valuable opportunity to discover the innate
power of their own physical presence.
In the early nineties, halfway through the
first run of my play Dead Funny, David Haig
put his back out picking up Beatie Edney. It
fell to me to go on with the book. The play
opens with an excruciatingly embarrassing
scene about domestic sex therapy. It required
the male character to get naked. And so
there I stood, on the small Hampstead stage,
my play in one hand, Zoe Wanamaker in
the other, and every last item of clothing
discarded on the sofa behind me. (It was
also the signed performance for the deaf, so
technically a threesome).
It’s easily presumed that public
nudity involves the distinct possibility of
humiliation, but my abiding memory is
entirely the opposite. The enlightening
Original London cast
thing is, if you take all your clothes off in
a room full of people you do not become
the least of them, you become the most
empowered. It’s quite surprising and madly
liberating. Since that evening I’ve had little
hesitation in writing or presenting scenes
of abandon and sexuality; because whether
you’re a performer or an observer, a bit
of liberation’s good for you. It’s a theory
which held good through the rehearsals and
early performances of Mrs Henderson, and
it’s nice to be able to reassure you that the
less dressed of our company on stage this
evening feel every bit as good as they look.
One of our actresses took me aside and
confided that she had found a strength
playing a Windmill Girl that she had
not previously found in herself. I’m not
surprised, because that too must have been
the experience of the original girls, evidenced
by the quite extraordinary tales of courage
and perseverance shown by the troupe
during World War Two. That they played six
shows a day during the Blitz, that they would
work six days a week and on the seventh
pack a van with props and costumes and
drive out to airfields to entertain the boys in
the Air Force. That they took strict turns on
the roof at fire watch, that they bivouacked
in the basement, that while other doors
on Shaftesbury Avenue were barricaded,
and the nearby Café De Paris suffered a
fateful night of destruction, the theatre that
belonged to the Windmill Girls simply never
closed. This to me is their greatest testament
and the true flag of their empowerment.
So welcome to a little bit of history–to
my mind a quintessential bit. I’ve never
been much of a nationalist but this story
has changed my perceptions somewhat. As
lovely old Soho is pulled down around our
ears, as the uniqueness of Englishness is
diluted and downgraded by the corporate
puppets we have inexplicably empowered
to homogenise our lives, the Windmill
is a symbol for me of a spirit that two
World Wars failed to destroy but that our
institutional philistinism and cultural
timidity has all but extinguished.
It’s the spirit of good humour. Of the
bawdy and the beautiful. And I’m very happy
to invite you, for one night only, to step back
with us into the unique and delicious bit of
history that was The Windmill.
TERRY JOHNSON
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R OYA L A L E X A N D R A T H E AT R E
DAVID MIRVISH
Presents
based on the motion picture MRS HENDERSON PRESENTS
original Screenplay by MARTIN SHERMAN
produced by HEYMAN HOSKINS and PATHÉ
Original West End production produced by
Norma Heyman, John Reid, Theatre Royal Bath Productions
and
Michael Harrison
Book by
Lyrics by
Music by
TERRY JOHNSON
DON BLACK
GEORGE FENTON & SIMON CHAMBERLAIN
Tracie Bennett
Peter Polycarpou
Evelyn Hoskins
Piers Bate
Ross Carpenter Lucy Carter Alexander Delamere
Maria Garrett Fenton Gray Simon Green Lauren Hall
Jennifer Huxley-Golden Matthew Jeans Emily Langham
Grace McKee Matthew Malthouse Tania Newton Mark Prendergast
Kimberly Powell Adam Rhys-Charles Matt Slack
Anne Smith Tricia Adele Turner
Executive Producer (Canada)
PAUL ELLIOTT
Casting Director
Associate Choreographer
Associate Director
STEPHEN CROCKETT CDG
EMILY GOODENOUGH
KATIE PESSKIN
Musical Director
Musical Supervisor,
Dance and Vocal Arrangements
LARRY BLANK
FRANCIS GOODHAND
Orchestrations
MIKE DIXON
Hair, Wig and Make-up Design
Associate Sound Design
Sound Design
RICHARD MAWBEY
CHRIS MACE
GARETH OWEN
Lighting Design
Costume Design
Set Design
BEN ORMEROD
PAUL WILLS
TIM SHORTALL
Choreographer
ANDREW WRIGHT
Director
TERRY JOHNSON
T H E
C A S T
Mrs Laura Henderson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRACIE BENNETT
Vivian Van Damm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER POLYCARPOU
Maureen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EVELYN HOSKINS
Arthur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT SLACK
Lord Cromer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON GREEN
Eddie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATTHEW MALTHOUSE
Bertie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM RHYS-CHARLES
Peggy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRICIA ADELE TURNER
Doris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KIMBERLY POWELL
Vera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER HUXLEY-GOLDEN
Lady Conway. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TANIA NEWTON
Windmill Girls . . . . . . . . . . . . . . . . . . . . . . . MARIA GARRETT, LAUREN HALL, EMILY LANGHAM
Nigel/Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK PRENDERGAST
Frank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEXANDER DELAMERE
Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . ROSS CARPENTER, FENTON GRAY, MATTHEW JEANS,
GRACE McKEE, ANNE SMITH
Swings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PIERS BATE, LUCY CARTER
All other characters played by members of The Company
UNDERSTUDIES
For Mrs Laura Henderson — TANIA NEWTON
for Vivian Van Damm — FENTON GRAY
for Maureen — LAUREN HALL
for Arthur — ALEXANDER DELAMERE
for Lord Cromer — MARK PRENDERGAST
for Eddie — MATTHEW JEANS
for Bertie — ROSS CARPENTER
for Peggy — MARIA GARRETT
for Doris — GRACE McKEE
for Vera — EMILY LANGHAM
for Lady Conway — ANNE SMITH
Mrs Henderson Presents has a running time of approximately 2 hours 30 mins,
including a 20 minute intermission
The use of any recording device, either audio or video, and the taking of photographs,
either with or without flash, is strictly prohibited. Please turn off all electronic devices
such as cellular phones, beepers and watches.
mirvish.com 7
S C E N E S
&
M U S I C A L
N U M B E R S
The action takes place in London during World War II
ACT ONE
Everybody Loves the Windmill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arthur & the Company
Mrs Henderson Presents . . . . . . . . . . . . . . . Laura Henderson, Vivian Van Damm & the Company
Whatever Time I Have . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura
Lord Chamberlain’s Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lord Cromer, Laura & the Secretary
What a Waste of a Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie
Rubens and Renoir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Vivian, Doris, Vera & Peggy
Ordinary Girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Maureen & Laura
It Starts With a Dream . . . . . . . . . . . . . .Bertie, Maureen, Doris, Vera, Peggy & the Windmill Girls
Perfect Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . Maureen, Doris, Vera, Peggy, Laura, Lord Cromer,
Lady Conway & the Windmill Girls
Living in a Dream World. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vivian
He’s Got Another Think Coming . . . . . . . . . . . . . . . . Bertie, Arthur, Maureen & the Windmill Girls
ACT TWO
‘Women at War’ Medley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Windmill Girls
Now is Not the Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vivian
Anything But Young . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura & Vivian
We’ll Never Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Company
Whatever Time I Have (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura
What a Waste of a Moon (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maureen & Eddie
Now is Not the Time (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vivian
Innocent Soldier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Company
If Mountains Were Easy to Climb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Maureen & Laura
We'll Never Close (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Company
Walkdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Windmill Orchestra
ORCHESTRA
Musical Director/Keyboard — FRANCIS GOODHAND
Associate Conductor/Keyboard 2 — ELIZABETH BAIRD
Woodwinds 1 — HARVEY KOGEN
Woodwinds 2 — MARK PROMANE
Trumpet — JAMES RHODES
Drums/Percussion — NICK COULTER
Bass — LUC MICHAUD
Cello — TOM MUELLER
Contractor — RICK WHITELAW
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T H E
C O M P A N Y
TRACIE BENNETT
Mrs Laura Henderson
Theatre: Mrs Henderson
Presents (London), The
Hypochondriac (Theatre
Royal Bath), End of the
Rainbow (Broadway World Los Angeles Award
2013 for Best Actress in a Play (touring
production); Ivey Award for Best Actress in
a Play and Angels’ Night – Distinguished
Artist Award 2013; Outer Critics Circle
Award 2012 and Drama Desk Award 2012,
both for Outstanding Actress in a Play; and
nominated for Best Actress in a Play for
WhatsOnStage Awards 2010 and Olivier
Award for Best Actress 2011, Drama League
for Distinguished Performance Award 2012
and Tony Award 2012 Best Actress in a
Play–Northampton Royal Theatre/Trafalgar
Studios/Guthrie Theatre, Minneapolis/
Broadway); La Cage aux Folles (WhatsOnStage
Award 2009 for Best Supporting Actress in a
Musical, West End); Hairspray (Olivier Award
2008 for Best Performance in a Supporting
Role in a Musical and WhatsOnStage Award
2008 for Best Supporting Actress in a Musical
– Shaftesbury Theatre, original West End
cast); Les Misérables; Sex, Chips & Rock ‘n’
Roll (TMA 2005 Award for Best Supporting
Performance in a Musical – Royal Exchange
Theatre Company); Billy Liar (ATG); High
Society (Olivier Award nomination for Best
Performance in a Supporting Role – Open
Air Theatre); The Last Song of the Nightingale
(New End Theatre, Hampstead/Greenwich
Theatre); Honk! (tour); Guys and Dolls,
Educating Rita and Spring Awakening (Sheffield
Crucible): Saturday Night and Lucky Stiff
(Bridewell Theatre); Bedevilled (Sheffield
Crucible); Cash on Delivery (Whitehall
Theatre); Dead Funny (tour); She Loves Me
(Laurence Olivier Award for Best Supporting
Performance in a Musical – Savoy Theatre);
One for the Road (Palace Theatre, Watford); She
Stoops to Conquer (Leicester Haymarket); Ten
Tiny Fingers (Library Theatre, Manchester);
Putting on the Ritz (Leicester, Haymarket);
Breezeblock Park and Blood Brothers (Forum,
Manchester); Blood Brothers (Dublin
Olympia); Amid the Standing Corn (Joint
Stock Theatre Co); Carousel (Best Actress
at the Manchester Evening News Drama
Awards – Royal Exchange, Manchester);
Merrily We Roll Along (Best Actress at the
Manchester Evening News Drama Awards
– Manchester Forum); Chicago and Grease
(Library Theatre, Manchester); and Robinson
Crusoe (Stratford East). Tracie will next be
seen in the National Theatre’s production
of Follies. Television: Scott & Bailey (series
three and four) (ITV); Casualty (BBC); Burn
It (Red Productions); Doctors (BBC); New
Tricks (BBC); Candy Cabs (BBC); Dalziel and
Pascoe (BBC); Casualty (series 21) (BBC);
Vincent (Granada); The Royal (YTV); The Court
(Campus Manor Productions); The Long
Firm (BBC); MIT: Murder Investigation Team
(ITV); The Bill (Thames Television); Heroes
and Villains (BBC); Keen Eddie (Paramount
TV); Where the Heart Is (United); Coronation
Street (Granada Television); The Ambassador
and Verdict (YTV); Heartburn Hotel (BBC);
Heartbeat (Yorkshire Television); Next Of Kin
(two series) (BBC); The Gingerbread Girl (YTV);
Joking Apart (two series) (BBC); The Upper
Hand (Central); Rich Tea and Sympathy (YTV);
Making Out (three series) (BBC); Made in
Heaven (Granada); The Ruth Rendall Mysteries
(TVS); Brush Strokes (BBC); Alas Smith
and Jones (five episodes) (BBC); The Bretts
(Central); The Ritz (BBC); The Refuge (YTV);
Unnatural Causes (Central); Black Silk (BBC);
Boon (Central); Relative Strangers, The Rector
of Stiffkey, Going Out, Shame and Knock Knock.
mirvish.com 9
Film: Shirley Valentine, Deep Red Instant, and
Knights and Emeralds. Radio: Bridget Jones’s
Diary (Audie Award 2001), Bridget Jones: the
Edge of Reason, Babblewick Hall and People
Like Us (Radio 4). Presenting: The Bombing
of Manchester (ITV), Tracie Goes to Hollywood
(ITV), OK! TV (ITV) and Soap Fever (ITV).
PETER POLYCARPOU
Vivian Van Damm
Film and TV credits
include: Seasons 2 and
3 of Tyrant, FOX TV
playing Colonel Mahmood;
Louis Charalambous in The Lost Honour
of Christopher Jeffries (ITV). Chris
Theodopoulopoudos in Birds of A Feather
(BBCTV/Select TV); Holby City; Yiannis in
Sunburn (BBCTV); American Voices (BBCTV);
Anything Is Possible (Channel 5 – he directed
5 episodes); Mile High (SKYTV); Capitol City;
Rich Tea and Sympathy; Hammer House of
Horrors; The Professionals (ITV); Noah in Noah;
The Deluge and The Ark for BBCTV/ Discovery
screening; The Bill; Planespotting (ITV);
Eastenders; Waking The Dead; DCI Petrides in
Empathy; Casualty; The Last Days of Lehmann
Brothers; The Hustle; Threesome; Evita directed
by Alan Parker; Ali Hakim in Oklahoma!
directed by Trevor Nunn (BAFTA Winner
for RSC) and LB Mayer in De-Lovely. Peter
received two Bafta TV Awards for Cleanskin
in 2012 and Blue Iguana directed by Hadi
Hajaig in 2016. Theatre credits include: The
Choir at Glasgow Citizens Theatre; Scenes
From 68* Years at The Arcola Theatre and
Auda Abu Tayi in Ross for CFT. He starred
as Fagin in Oliver! at The Curve, Leicester;
Buddy Fidler in Josie Rourke’s production
of City Of Angels at the Donmar Warehouse;
Vernon Hines in The Pajama Game, CFT and
Shaftesbury Theatre; The Magistrate at the
Royal National Theatre; Sweeney Todd at the
Adelphi Theatre; Phil Cavilleri in Love Story
at the Duchess Theatre; Scrooge in Bryony
10 mirvish.com
Lavery’s adaptation of A Christmas Carol with
music by Jason Carr at Birmingham Rep.
Peter created the role of Daniel Warshovsky
in Imagine This at the New London Theatre;
Grease; Godspell; Toad Of Toad Hall; The Front
Page; Snoopy; You’re A Good Man Charlie
Brown; Much Ado About Nothing; Anthony And
Cleopatra; The Taming OfThe Shrew; Comic
Cuts; The Woods; Hiawatha; Emile De Beque
in South Pacific; Wuthering Heights; Sexual
Perversity in Chicago; They’re Playing Our Song
and The Happy End at Bridewell Theatre. For
the RSC he’s appeared in Titus Andronicus;
The Jew of Malta; A Question of Geography and
The New Inn. Peter was in the original cast of
Les Misérables at the Palace Theatre, London
in 1985; the original John in Miss Saigon at
the Theatre Royal Drury Lane and Phantom
in The Phantom of The Opera at Her Majesty’s
Theatre in 1991.
EVELYN HOSKINS
Maureen
Theatre Credits include:
Peter And The Starcatcher
(Royal & Derngate); Carrie
(Southwark Playhouse);
Hero’s Welcome (UK Tour, Off-Broadway);
This Is My Family (Sheffield Crucible, UK
Tour); The Boy Who Fell Into A Book (Stephen
Joseph Theatre); Peter Pan (US Tour); The
Secret Garden (Birmingham Rep); The Light
Princess, Microwave, Falklands (National
Theatre Studios); Spring Awakening (Lyric
Hammersmith, West End). Television
include: The Sound of Music Live (ITV);
Casualty, Holby City, Doctors (BBC; Misfits (E4).
Other work includes: The Hired Man (Cadogan
Hall); Christmas with the Stars (Royal Albert
Hall); Peter Pan (Adelphi); Cool Rider (Lyric,
West End).
PIERS BATE
Swing
Training: The Arts
Educational School,
London (BA Hons in
Musical Theatre). Theatre
credits include: Most recently Ensemble/
US Rolf in The Sound Of Music UK Tour;
Ensemble in Singin’ in the Rain (Kilworth
House); Ensemble/cover Adam in Love
Beyond (Wembley Arena); John Truitt in
Meet Me In St Louis (Landor); Brad/US Corny
Collins in Hairspray (UK Tour); Pish Tush
in Hot Mikado (The Landor); Jeff Bennett in
I Love You Because (Jermyn Street Theatre);
Backing Singer in Momentous Musicals (New
Wimbledon Theatre).
ROSS CARPENTER
Ensemble
Training: Laine Theatre
Arts. Theatre credits
include: Rob in An Evening
Of Dirty Dancing, Peter in
Peter Pan, Qdos Pantomimes (Northampton/
Wolverhampton), Ted in Six-Five Rock N’roll
Express, Tunbridge Wells. Whilst training;
Benji Stone in My Favourite Year, Ensemble
in Miranda Sings Leicester Square Theatre.
Workshop: Lee, Danny Hero, Perfect Pitch
Productions
LUCY CARTER
Swing
Lucy trained at Laine
Theatre Arts. Theatre
includes: Margie/Young
Stella in Follies (Royal
Albert Hall); Dance Captain on Cinderella
(Southampton/Qdos); Swing & Dance
Captain on Singin’ in the Rain (UK Tour &
Japan); Swing & Dance Captain in High
Society (UK Tour); Ensemble, Asst Chor &
Dance Captain in Wonderful Town (Royal
Exchange/UK Tour); Faust, The Tsar’s Bride
& L’Heure Espagnole (Royal Opera House);
Helga in Cabaret (Birmingham Rep/UK Tour);
Ensemble in Cinderella (Qdos). Choreographic
credits include: Cabaret — Assistant
Choreographer (BKL); Aladdin — Associate
Choreographer (Qdos/Swindon); Oh What
a Lovely War — Choreographer (BADA);
Cinderella — Associate Choreographer
(Qdos/Swindon); Curtains — Associate
Choreographer (Arts Ed).
ALEXANDER DELAMERE
Frank
Alex is overjoyed to be
visiting Toronto reprising
the role of Frank in Mrs
Henderson Presents. He was
last in Canada some 36 years ago, so he is
looking forward to new experiences and
discoveries. Most recently Alex appeared
as the Major General in Robinson Crusoe and
the Caribbean Pirates in Southend. Other
theatre credits include Alfred Hitchcock
in Terry Johnson’s Hitchcock Blonde; Falsaff
in The Merry Wives of Windsor; the Duke
in As You Like It; Gordon Brown in Nicked;
Karl in Popcorn; Joyant in Lautrec; Mr
Boundaby in Hard Times; Stiva in Anna
Karenina and Mr Braithwaite in Billy Elliot
the Musical. Television credits include recent
appearances in Emmerdale and Doctors;
Merlin; Heartbeat; Coronation Street; DCI Banks;
The Royal; Casualty; Holby City; The Bill and
various commercials including a current
campaign for prostate cancer. Film work
includes: 28 Days Later; A Christmas Carol;
Baby Wars; Smoke and Mirrors as well as
several short films. He can also be heard on
the radio in the iconic series The Archers;
Silver Street and many plays for Radio Four.
mirvish.com 11
MARIA GARRETT
Windmill Girl
Training: Harlequin
Stage School, Royal Ballet
Associate and Laine
Theatre Arts (Professional
Diploma in Musical Theatre: Trinity, London).
Theatre includes: Mary Poppins (UK Tour);
understudied and played Lisa in Mamma Mia!
(West End); Dance Captain and understudy
Jill and Fairy in Jack and the Beanstalk
(Wyvern, Swindon); My Favourite Year (Studio,
Epsom); A Stair(e) at a Time and Movin’ in Time
(Epsom Playhouse). Others works include:
Dancer with Hard-Fi during the pre-match
entertainment at the FA Cup Final 2012
(Wembley Stadium) and Giselle (Birmingham
Royal Ballet, Birmingham Hippodrome.
FENTON GRAY
Ensemble
As a performer, Fenton’s
West End credits include
Manfred/Hogeye in
Sunset Boulevard (London
Coliseum), Gus The Theatre Cat in Cats,
Pimp/Clacquesous in Les Misérables, and the
original casts of Blood Brothers and Top Hat.
Regional productions include MC in Cabaret
(Leicester Haymarket). The Producers (as Hold
Me Touch Me), Ha! Ha! Holmes (UK Tour). He
has played Ko-Ko in The Mikado numerous
times over the last 23 years, for The D’Oyly
Carte Opera Company (Sadlers Wells,
UK Tour, BBC2) and The Carl Rosa Opera
Company (Gielgud Theatre, UK & USA Tours).
Other G&S roles on national tour include
Jack Point in The Yeomen Of The Guard for the
D’Oyly Carte, Bunthorne in Patience and Sir
Joseph Porter in HMS Pinafore for the Carl
Rosa Opera Company, and the title role in
The Sorcerer for Opera Della Luna. Directing
credits include The Mikado and Iolanthe for
The D’Oyly Carte Opera Company/Raymond
Gubbay, Madama Butterfly for English Festival
12 mirvish.com
Opera at the Queen Elizabeth Hall, and
tours of La Bohême, La Traviata and Carmen.
He was Julian Clary’s director for three
years, directing productions of Cinderella
(Brighton/Richmond/Woking), and his
one-man shows Amore (West Beth Theatre,
New York) and Natural Born Mincer (Theatre
Royal, Drury Lane & National Tour). Other
notable pantomime productions include
Cinderella with Mickey Rooney, Peter Pan
with Simon Callow & Bonnie Langford, and
Sleeping Beauty with Anita Dobson and Tim
Vine at Richmond Theatre, where he also
made his debut as a pantomime dame,
playing Nurse Penny. Fenton has worked
closely with writing team Charles Miller
and Kevin Hammonds, directing the original
productions of Brenda Bly: Teen Detective,
When Midnight Strikes, Hope & RSVP ASAP.
www.fentongray.com
SIMON GREEN
Lord Cromer
Simon returns to Toronto
where he has previously
played Bruce Ismay in
Titanic (Princess of Wales
2015) and Tony in The Boyfriend (Royal
Alexandra 1984). Most recently he played
Bernadette in Priscilla, Queen Of The Desert
(UK national tour, Amsterdam, Tel Aviv
and Auckland). Other London credits
include three Sondheim original West End
productions: Sunday In The Park With George
(Menier Chocolate Factory/Wyndham’s),
Passion (Queen’s) and Young Ben in Follies
(Shaftesbury) also Sondheim At 80 – BBC
Proms and The Phantom Of The Opera 25th
Anniversary production (both Royal Albert
Hall), Titanic (Southwark Playhouse), Knight
Of The Burning Pestle (Barbican), Lumiere in
Disney’s Beauty And The Beast (Dominion),
Whizzer in March Of The Falsettos (Albery),
Elegies For Angels, Punks And Raging Queens
(Criterion), Coriolanus (Young Vic), Elmer
Gantry (Gate), The Scarlet Pimpernel (Her
Majesty’s), Lady Be Good (Regent’s Park) Tony
in The Boyfriend (Old Vic and Albery), and
for the RSC: Tin Man in The Wizard Of Oz
and Frank Schultz in Showboat (Palladium –
co-production with Opera North). Simon has
played many leading roles in many major
regional theatres, including M.Andre in
the national tour of Cameron Mackintosh’s
new production of The Phantom Of The
Opera and Henry Carr in Travesties. Recent
screen credits include: Kingsman – The Secret
Service, Mr Selfridge, 24 – Live Another Day.
Together with his longtime musical director
and arranger, David Shrubsole, Simon has
performed cabaret in many of London’s
major cabaret venues and, in New York, at
Feinstein’s, The Metropolitan Room and
Carnegie’s Weill Recital Hall. Also at 59E59
Theaters with Coward At Christmas, Travelling
Light (Drama Desk Award nomination –
Outstanding Musical Revue), So, This Then Is
Life and their 2016 sold-out show Life Is For
Living. They have recorded two CDs, Take
Me To The World and A Changing World – The
Words And Music Of Noel Coward.
LAUREN HALL
Windmill Girl
Training: Arts Educational
and Marron Theatre Arts.
Theatre includes: Winnie
Tate in Annie Get Your Gun
(Sheffield Crucible Theatre); Kiss Me Kate
(Le Theatres de la Ville de Luxembourg);
Understudy Millie in Thoroughly Modern Millie
(Killworth House); Kate/ Chutney/ Whitney
in Legally Blonde (Korea); Annie (UK Tour);
June and understudied/ played Louise in
Gypsy (The Savoy Theatre); understudied/
played Kathy Seldon in Singin’ in The Rain
(UK Tour and Tokyu Theatre Orb Japan);
Elaine in Loserville (The Garrick and West
Yorkshire Playhouse); Francine in Jersey Boys
(Prince Edward Theatre); Peggy Sawyer in
42nd Street (Chichester Festival Theatre);
Sharpay Evans in High School Musical 2
(UK Tour); The Showgirl Within (Garrick
Theatre); Maid Marian in Robin Hood, Wendy
in Peter Pan, Cinderella in Cinderella and
Princess Jill in Jack And The Beanstalk all for
Qdos Entertainment.
JENNIFER HUXLEY GOLDEN
Vera
Training: Jennifer trained
at Performance Preparation
Academy in Guildford,
graduating with distinction
receiving the 3 year Best Actor award. Roles
whilst training include: Charity in Sweet
Charity, KitKat girl in Cabaret and Ensemble
in Flashdance. Theatre: Jennifer made her
West End debut as Young Cosette in Les
Misérables (Queens Theatre), Jane Banks
in Mary Poppins (Prince Edward Theatre),
Legoland Windsor Resort Live Fireworks
Pre-Show. Television credits: Avril Franklin
in M.I.High series 3-5 (CBBC). Chute (CBBC).
Film includes: Scrutiny, Jude in Waiting (Short
Horror). Workshop: Jen in Tracks; New Musical
at the Union Theatre. Pantomimes: Cinderella
with London Contemporary Theatre,
Ensemble in PHA’s Beauty and the Beast, Fairy
Diva in Hansel and Gretel, Red in Red Riding
Hood. Voice over: Legoland Windsor Resort
attractions (Merlin Entertainments).
MATTHEW JEANS
Ensemble
Training: Urdang Academy.
Theatre includes: ensemble
in the original revival
cast of Miss Saigon (Prince
Edward); Aladdin in Aladdin (The Radlett
Centre); Fender/cover Link/Corney Collins
in Hairspray (Singapore and Kuala Lumpur);
Ensemble/cover Britney in We Will Rock
You (10th Anniversary world arena tour);
Ensemble/cover Idle Jack/Puss in Dick
mirvish.com 13
Whittington (Hackney Empire); Ensemble
in 20th Century Boy (Belgrade); Ensemble/
cover Doody/Vince Fontaine/Teen Angel in
Grease (UK Tour). Other work includes: The
Definitive Live Recording of Miss Saigon
(2014 Album), BBC coverage of the Miss
Saigon 25th Anniversary, The Royal Variety
Performance and The Olivier Awards.
EMILY LANGHAM
Windmill Girl
Emily recently graduated
from Arts Educational
Schools, London, where
she trained for a BA
Hons in Musical Theatre, on the Andrew
Lloyd-Webber Scholarship. Theatre credits
include: Rumpelteazer and cover Jellylorum/
Griddlebone in the Cats UK/European Tour;
Ensemble and cover Mabel in Mack And
Mabel at Chichester Festival Theatre and
on tour; Young Cosette in Les Misérables at
Palace Theatre and Queens Theatre. Theatre
while training includes: Polly Baker in Crazy
For You (ArtsEd); Ensemble in Wonderful Town
(ArtsEd); Olivier Awards and Follies (ArtsEd
Choir). Television credits include: Help
(BBC); Deadringers (BBC) and Stupid (CBBC).
Radio credits include: Soloist in Friday Night
is Music Night (BBC Radio 2). Workshops
include: Dancing the Night Away (Bill
Kenwright/Martin Connor/Bill Deamer).
GRACE MCKEE
Ensemble
Training: Bird College,
graduating with a 1st class
BA(Hons) degree in Dance
and Theatre Performance.
Theatre credits include: Swing/Us
Bombalurina/Jellylorum in Cats (Palladium/
UK Tour); Artilleryman’s Wife/Cover Beth in
The War of The Worlds (Dominion Theatre);
Ensemble/understudy Ella in Mack and Mabel
(Chichester Festival Theatre and UK tour),
14 mirvish.com
Swing/understudy Jellylorum/Demeter/
Bombalurina in Cats (Palladium and UK
Tour), Ensemble/understudy Dale Tremont in
the original production of Top Hat (Aldwych
and UK tour), Ensemble/dance captain
and understudy and played Eva Peron in
Evita (European and UK Tour). Television
includes: The John Bishop Christmas Show.
Recordings include: Original Cast recording,
Top Hat.
MATTHEW MALTHOUSE
Eddie
Theatre: Groundhog Day (Old
Vic) Chicago, Mary Poppins,
Anything Goes (West End),
Mrs Henderson Presents
(Theatre Royal Bath/West End), Matilda The
Musical (RSC/West End), Singin’ in the Rain
(Chichester Festival Theatre/West End/UK
tour/Tokyo), 42nd Street (Chichester Festival
Theatre), Annie Get Your Gun, My Fair Lady
(Sheffield Crucible), On Your Toes (Leicester
Haymarket/Royal Festival Hall), Beauty
and the Beast, Oh! What a Lovely War (UK
tour), Kiss Me, Kate (Theatre Luxembourg).
For Matthew Bourne’s New Adventures:
Edward Scissorhands (Sadler’s Wells/US/Asia/
Australia) and The Car Man.
TANIA NEWTON
Lady Conway
Tania trained at Mountview
Theatre School winning
the Dame Judi Dench
Scholarship. Theatre
credits: Jennyanydots and understudied
and played Grizabella in the national tour
of Cats; Mrs Potts in the international tour
of Disney’s Beauty and the Beast; Rosita in
Murderous Instincts (Savoy Theatre, London);
Bridget in Ragtime (Piccadilly Theatre,
London); Miss Dilber and Mary in Scrooge
(UK Tour); understudied and played Fantine
and Madame Thenardier in Les Misérables
(Palace Theatre, London); Mrs Potts and
Madame de la Grande Bouche in Disney’s
Beauty and the Beast (national tour 2001/2);
Servant in the premiere workshop of
Andrew Lloyd Webber’s The Woman in White
(Sydmonton Festival); Jane Thornhill in
Hogarth (Bridewell Theatre, London); Fairy
Godmother in Cinderella (Manchester Opera
House); Sister in Cinderella (Theatre Royal,
Brighton), The Good Fairy in Sleeping Beauty
(Middlesborough Little Theatre); Princess in
Aladdin (Lighthouse Theatre, Poole). Tania
also had the honour of performing in Les
Misérables at Windsor Castle for HRH Queen
Elizabeth II and President Jacques Shirac.
Opera credits: Madame Butterfly, Il Trovatore,
La Bohème and The Mikado, all for English
Festival Opera, Holland Park. Recordings
include: Singin’ in the Rain, 42nd Street, Seven
Brides for Seven Brothers, The Rocky Horror
Show (TER Records at Abbey Road Studio)
and as guest singer on Barry James’ album,
Centre Stage. Concerts: Les Misérables 25th
Anniversary Concert (02 Arena); Les Misérables
at the Odyssey Belfast, Bournemouth
International Centre, Powderham Castle and
Broadlands, Romsey; Masters of the Musicals,
Songs from the West End, Bahrain & Dubai.
KIMBERLEY POWELL
Doris
Training: Laine Theatre Arts.
Theatre Credits: Samantha
Powden in Loserville (Union
Theatre); Sally in The
Hired Man (Landor Theatre); Beatrice U/S
Miss Mona in The Best Little Whorehouse
in Texas (Union Theatre); Ensemble U/S
Sophie in Mamma Mia! (International Tour);
Sandy in Grease (European Tour); Charity
in Whistle Down the Wind (New Victoria
Theatre); Juvenile Ensemble in Show Boat
(Prince Edward Theatre); Wendy in Peter
Pan (Theatre Royal Plymouth); Lead Singer
in Red Hot Broadway (Asia Tour). Workshop
Credits: J Belle in Stalking John Barrowman
(Lost Theatre); Edith in Lost Boys (Liverpool
Playhouse). Credits Whilst Training: Bakers
Wife in Into The Woods; Kola Kola Bird in
Just So.
MARK PRENDERGAST
Nigel/Secretary
Mark trained at Langside
Glasgow. Recent Theatre:
The Marriage of Figaro, The
Lieutenant of Inishmore,
Educating Agnes, The Snow Queen, Royal
Lyceum Theatre; Crackers, Belgrade Theatre;
Valhalla, Bliss, Mud, Cannibal Women Of Mars,
Tron Theatre Company; Bunnies, Oran Mor;
The Government Inspector, Communicado;
Othello, Citizens Theatre; Bette/Cavett,
Tangerine Productions; Slick, Vox Motus;
Richard III, Glasgow Rep; Horrible Histories,
Birmingham Stage Company; The Pillowman,
Antigone, Death of a Salesman, XLC/Citizens
Theatre Co; Mother Bruce, Eeting Beauty,
Weans in the Wood, Wullie Whittington, Tron
Theatre Company; Aladdin, Kings Theatre;
Les Misérables, RSC/Cameron Mackintosh.
TV: Outlander, Sony Pictures/Starz Network,
Case Histories, BBC /Ruby Films; Trying Again,
Sky/Avalon; Garrows Law; BBC/Shed Media;
Rab C. Nesbitt, The Secret Archive, BBC /
Comedy Unit; MI High, BBC/Kudos; Forward
Slash, STV /Incorporated Media; Tommy and
The Weeks, BBC. Film: Outpost: Rise of The
Spetsnaz, Black Camel Pictures; Thawed,
11 Little Films; Running in Traffic, Jigsaw/
Dabhand Films; Turning Point, Chappelle
Productions; The Virtual Network, Parkarma,
Scene, Dabhand Films; Consequence, Adament
Productions. Radio: Eden, BBC; Blood Bus, BBC/
Comedy Unit; The Paranoia Show, Channel 4/
Comedy Unit; Asian Overground, BBC/Neon.
mirvish.com 15
ADAM RHYS-CHARLES
Bertie
Training: Arts Ed London
School of Musical Theatre.
Theatre includes: Mary
Poppins (UK Tour); Seven
Brides For Seven Brothers (Regents Park
Open Air Theatre); Anything Goes (Sheffield
Theatres & UK Tour); Kiss Me Kate BBC
Prom (Royal Albert Hall); Oliver! (Sheffield
Crucible); Gotta Sing Gotta Dance (UK Tour);
Top Hat (Aldwych Theatre & UK Tour); White
Christmas (Michael Rose Ltd.)
MATT SLACK
Arthur
Matt started his career as a
comedian/Pontins Holiday
Camp “Bluecoat”. He turned
professional after winning
a major UK talent show, Stairway to the
Stars in 1995. Since then he has headlined
in theatre variety shows, performed in the
West End and made appearances in both TV
and film. Matt made the move into musical
theatre when he was asked to play the
leading role of Roddy in Boogie Nights – 70’s
musical. This included a UK tour and then
to the Artscape Theatre in Capetown South
Africa. He then joined the cast of the multi
award-winning musical Blood Brothers on
the UK tour and made his London debut
in this show at the Phoenix. In 2010, Matt
was cast in the comedy musical Hot Flush,
starring alongside Lesley Joseph. His roll as
‘The Man’ involved playing all seventeen
male characters to great comedic effect
and rave reviews. He was asked to return
to the role in the spring of 2014 for another
sell out UK tour. Matt made his TV debut
as co-presenter and resident comic on
Westcountry TV’s Club 22:45, appeared as
PC Gregg Preston in BBC’s Eastenders, The
Captain of the Red Guard for BBC drama
series The Musketeers, and in ITV’s Law and
16 mirvish.com
Order UK. Other film and TV credits include:
The Raven starring John Cusack, The Rise
of the Krays, The Monster, Obsessions Dark
Secrets series three, Discovery Channel, and
Dr Xargle for CITV. He played himself in
The Power Game, Westcountry TV, and also
as himself in Gok Does Panto on Channel 4.
Pantomime has played a major part in Matt’s
career. 2016/17 was his eighteenth panto
for Qdos, the world’s biggest pantomime
producers and his fifth consecutive year at
the prestigious Birmingham Hippodrome.
He is now recognised as one of U.K.’s leading
pantomime comics!
ANNE SMITH
Ensemble
Theatre includes: Evita,
Svetlana in Chess and
Mamma Mia! all at Prince
Edward Theatre; Iris in Good
Rockin Tonite (Strand and Prince of Wales
theatres); Morgana in Robin Prince of Sherwood
and Dusty Springfield and Kd Lang in Only
The Lonely (Piccadilly Theatre). Favourite
roles in regional theatre include; Toine in
Piaf; Sally Bowles in Cabaret; Constanza in
Amadeus; Amy in Company. Fringe theatre
includes; Solange La Fitte in Follies (Landor
Theatre); Mrs Overdone in Measure For
Measure (Union Theatre). National tours
include; Miss Spencer in Big Bad Mouse;
Helen in Hot Flush; Hazel in Sunshine on
Leith; Agnes in I Dreamed A Dream – The
Susan Boyle Musical; Mrs Pugh in Annie 2016
National tour. Television and film includes;
Taggart (STV); Eastenders (BBC); Birds Of A
Feather (BBC) and Half Light (Universal). Anne
has played pantomime in Aberdeen and
Birmingham. Her last evil outing was as
Wicked Queen in Woking with Warwick Davis.
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TRICIA ADELE TURNER
Peggy
Tricia trained at ArtsEd,
London. Whilst training she
was selected to perform
with the Royal Philharmonic
Orchestra in the concerts Good Thing Going,
celebrating the music of Stephen Sondheim,
and at the London Coliseum in A Spoonful of
Styles and Drewe. Tricia’s first job was at the
Menier Chocolate Factory, in They’re Playing
Our Song, alongside Alistair McGowan and
Connie Fisher. Since then she has toured
around the UK, and worked in London’s West
End. Her West End theatre credits include
T H E
Vivienne in Legally Blonde (Savoy Theatre),
Laura in All the Fun of the Fair (Garrick
Theatre) with David Essex, Alternate Mrs
Lyons in Blood Brothers (Phoenix Theatre) and
Teacher/Alternate Killer Queen in We Will
Rock You (Dominion Theatre), performing
with both Brian May and Roger Taylor. Tricia
has also toured, as Lady Jane in Carnaby
Street, Gemma the Horse in Jackie the Musical,
and as the lead vocalist in An Evening of Dirty
Dancing. Recordings include A Spoonful of
Styles and Drewe (Spekulation Entertainment),
and All the Fun of the Fair with David Essex.
Tricia recently dueted with Aimie Atkinson
on her Album ’Step Inside Love’ (Jay Records).
C R E A T I V E
TERRY JOHNSON
Book and Director
Terry Johnson’s work has been performed
worldwide. He is the recipient of a dozen
major theatre awards including the Tony
Award for Best Director of a Musical 2010,
Olivier Award for Best Musical Revival and
Critics’ Circle Best Musical 2009 for La Cage
aux Folles. He also won the Olivier Award for
Best Comedy of 1994 and of 1999, Playwright
of the Year 1995, Critics’ Circle Best New
Play 1995, the League of American Theatres
and Producers Best Touring Play 2001, two
Evening Standard Theatre Awards, Time Out
Best Play Award 1995, Writers’ Guild Best
Play 1995, Writers’ Guild Best Play 1996, the
Meyer-Whitworth Award 1993 and the John
Whiting Award 1991. In addition, he has
received over a dozen further nominations
for various awards. West End credits include:
Dead Funny, The Libertine, The Duck House, End
of the Rainbow, The Prisoner of Second Avenue,
The Rise and Fall of Little Voice, La Cage aux
Folles, Rain Man, Whipping It Up, One Flew over
T E A M
the Cuckoo’s Nest, Hitchcock Blonde, Entertaining
Mr Sloane, The Graduate, Hysteria, Elton
John’s Glasses and The Memory of Water. For
Hampstead Theatre, he has recently directed
the acclaimed revival of his own play
Hysteria, Race by David Mamet and Old Money.
He has twice worked with Steppenwolf
Theatre in Chicago, directing John Malkovich
in The Libertine, which was nominated for
five Jeff Awards including Best Production,
and Lost Land (both plays by Stephen Jeffries).
For the National Theatre, he has written and
directed three productions: Cleo, Camping,
Emmanuelle and Dick, The London Cuckolds and
Sparkleshark (by Philip Ridley). He directed
the acclaimed revival of Fings Ain’t Wot They
Used T’Be at the Theatre Royal Stratford East
and Oh! What a Lovely War, which also toured
the UK. Television credits include: The Man
Who Lost His Head and Cor, Blimey! (ITV) and
Not Only But Always (Channel 4), which won
five international award nominations, Best
Film at Banff, and the Best Actor BAFTA for
Rhys Ifans. He also wrote The Bite for the BBC
mirvish.com 21
and ABC Australia. Film credits include: Way
Upstream which was chosen for the London
Film Festival and Insignificance which was the
official British entry at Cannes in 1985. He is
a former literary associate at the Royal Court
Theatre, which staged five of his own plays
– Insignificance, Cries From the Mammal House,
Hysteria, Hitchcock Blonde and Piano/Forte, and
for whom he directed two further premieres
including Joe Penhall’s Dumb Show.
DON BLACK
Lyrics
Don Black received two Tony Awards for
Best Book and Lyrics of a Musical for his
work (with Christopher Hampton) on
Sunset Boulevard, which marked his third
collaboration with Andrew Lloyd Webber.
They first joined forces to write the song
cycle Tell Me on a Sunday, which was
developed to form the basis of the stage
show Song and Dance. They were reunited
again for Aspects of Love. He also wrote the
lyrics for the Andrew Lloyd Webber-produced
Bombay Dreams. Awards include: an Oscar
for his song Born Free, five Academy Award
nominations, two Tony Awards and four
Tony nominations, six Ivor Novello Awards,
a Golden Globe, and many platinum and
gold discs. He has written a quintet of James
Bond theme songs: Thunderball, Diamonds
Are Forever, The Man With the Golden Gun,
Surrender from Tomorrow Never Dies and
The World is Not Enough. Among his many
popular songs are two US number ones – Ben
for Michael Jackson and To Sir With Love for
Lulu. He was inducted into the Songwriters
Hall of Fame in 2008 and recently honoured
in London with a BMI Icon Award. Don also
received the Order of the British Empire in
the Queen’s honours list. His last musical
was Stephen Ward, co-written with Andrew
Lloyd Webber and Christopher Hampton.
Don is a regular broadcaster and has his own
show on Radio 2.
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GEORGE FENTON
Music
Theatre work includes: for the NT: A Fair
Quarrel, Much Ado About Nothing, A Month
in the Country, Racing Demon, Don Juan, The
Collaborators and Untold Stories. For the RSC:
Twelfth Night, Othello, Antony and Cleopatra
and Good. Other credits include: As You
Like It (Nottingham), The Smoking Diaries
(Chichester), The Judas Kiss, The Ballad of Mrs
Beaton as well as all Peter Gill’s productions
at Riverside Studios. Most recently: the
music for Christopher Hampton’s The
Talking Cure in Vienna. Television credits
include: many well known signature tunes
including: Newsnight, Shoestring, Bergerac,
Omnibus, Telly Addicts, On the Record and
The Daily Politics and the music for Alan
Bennett’s Talking Heads and Telling Tales.
Series include: The Jewel in the Crown, Out,
Fox, The History Man, The Monocled Mutineer,
Beyond the Clouds and the landmark natural
history series The Blue Planet, Planet Earth and
The Frozen Planet. For the films Deep Blue and
Earth, taken from these series, the scores
were recorded by the Berlin Philharmonic,
the orchestra’s first ever film recordings,
which he conducted. He regularly conducts
concert versions of the Earth shows with
many of the world’s leading orchestras,
most recently the Philharmonic and the
Gothenburg Opera. Film credits include:
over 100 film scores and George has enjoyed
long-lasting collaborations, notably with
Richard Attenborough (Gandhi, Cry Freedom,
In Love and War and Shadowlands), Stephen
Frears (Dangerous Liaisons, Mary Reilly and
Mrs Henderson Presents), Harold Ramis
(Multiplicity and Groundhog Day), Nora Ephron
(Mixed Nuts, You’ve Got Mail, Lucky Numbers
and Bewitched), Andy Tennant (Everafter,
Anna and the King, Sweet Home Alabama and
Hitch), Nicholas Hytner (The Madness of King
George, The Crucible and The History Boys)
and Ken Loach, for whom he has scored the
last 16 films including Land and Freedom, The
Wind That Shakes the Barley, Looking for Eric
and Jimmy’s Hall, and also the film musical
Billy the Kid and the Green Baize Vampire. His
most recent films (2015) include: Wild Oats,
Absolutely Anything and The Lady in the Van.
Other work includes: Five Parts of the Dance
for trumpet, choral and piano music, and
From a Disappearing World, commissioned
by the Dallas Symphony Orchestra in 2012.
He has been nominated many times for
major awards including Grammys and
Golden Globes, and five times for the
Academy Award. He has won four BAFTAs,
seven Ivor Novellos, three Emmys, Lifetime
Achievement Awards from the Royal
Television Society and BASCA, a Classical
BRIT and the Nino Rota Prize at Venice.
SIMON CHAMBERLAIN
Music
Simon Chamberlain is an established
London-based musician, who has made
his name as a pianist and keyboard player,
composer, arranger, orchestrator and
musical director. He regularly works with
all the major UK orchestras and spends
most of his time as a studio musician,
recording for film, TV and a wide range of
artistes. In his own right as a composer, he
has a substantial catalogue of production
music albums, and has written the music
for many TV and radio commercials. He
has also composed music for film, theatre
and television. Simon has enjoyed a close
working relationship with George Fenton
for the last 30 years and is a first-choice
pianist and keyboard player for many other
Hollywood composers. Recent projects
include: Hans Zimmer (Interstellar), Craig
Armstrong (Far From the Madding Crowd and
The Great Gatsby), Alberto Iglesias (Exodus:
Gods and Kings) and James Newton Howard
(The Hunger Games series and Maleficent).
Simon was also the featured pianist on the
recent Disney film production of Stephen
Sondheim’s Into the Woods and musical
director on the original Mrs Henderson
Presents film in 2005.
ANDREW WRIGHT
Choreographer
Andrew was educated at Millfield School
(Distinguished Old Millfieldian 2015)
and trained with the NYMT and Arts Ed.
Recent choreography includes: Oliver!
(Leicester Curve), Broadway to the Bay (Wales
Millennium Centre), the world premiere
production of Mrs Henderson Presents
(Theatre Royal Bath) and Follies in Concert
(Royal Albert Hall). His choreography on Guys
and Dolls, which originated in Chichester,
toured the UK through 2016 including
seasons in London’s West End at the Savoy
and Phoenix Theatres. Other theatre work
includes: Co-Director and choreographer
on Cinderella at the London Palladium
2016/17, choreographer on Singin’ in the
Rain (Chichester Festival Theatre, Palace
Theatre, UK tour, Japan, international tour
and Russia – winner of Best Choreographer
WhatsOnStage Awards 2013 and nominated
for Best Choreographer Olivier Awards 2012
and Broadway World Awards 2011), Barnum
(Theatre in the Park, Chichester and UK tour
– Best Choreographer nomination Broadway
World Awards 2013), 42nd Street (Chichester
Festival Theatre and Curve, Leicester), The
Critic/The Real Inspector Hound (Minerva
Theatre), High Society (UK tour), Wonderful
Town (UK tour), Betty Blue Eyes (UK tour),
Saturday Night Fever (UK tour), A Little Night
Music (Palace Theatre) and co-choreographer
on Guys and Dolls alongside Carlos Acosta
(Chichester Festival Theatre – Best
Choreographer nomination Broadway World
Awards 2014), The Showgirl Within (Garrick),
A-Men and Naked Boys Singing (Arts Theatre),
Almost Like Being in Love (NT), Stepping Out
(Salisbury Playhouse), Once Upon a Time at the
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Adelphi (Liverpool Playhouse, Union Theatre
and Trafalgar Studios – Best Choreographer
nomination Broadway World Awards 2010),
By Jeeves (Landor Theatre), I Can’t Sing!
(Union Theatre) and Soul Traders (Edinburgh
Festival). He directed and choreographed
Happy Days (UK tour – Best Director/
Choreographer nomination Broadway World
Awards 2014). He was assistant director
and co-choreographer for Chess in Concert
starring Josh Groban and Idina Menzel (Royal
Albert Hall) and seven productions of The
Night of 1000 Voices (Royal Albert Hall and
Odyssey, Belfast). He choreographed The
WhatsOnStage Awards (2008, Lyric), 2009/10
(Prince of Wales) and the new Cat Stevens
musical Moonshadow (Drill Hall), Cantabile
at Christmas (Delfont Room, Prince of Wales
Theatre), Elaine Paige’s 2006 concert (Lyceum
and European tour), 1000 Voices at the Arena
(Sheffield Arena) and Robot Wars – The
Live Event (UK stadium tour). Workshops:
A Painted Lady, The Stephanie Lawrence
Project, The Ghost and Mrs Muir and Beach
Radio. Pantomimes include: directing and
choreographing Aladdin (Wyvern Theatre).
He choreographed Dick Whittington and
Cinderella (Bristol Hippodrome, Mayflower
Southampton and Wyvern Theatre), Snow
White (Opera House, Manchester and
Bristol Hippodrome) and this last season
directed and choreographed Cinderella at
Theatre Royal, Plymouth. Other credits
include: Lysistrata, Godspell, Blood Wedding,
The Canterbury Tales and Hot Mikado for Eton
College (Farrer Theatre) and Betty Blue Eyes,
Curtains, The Drowsy Chaperone, My Favorite
Year, 42nd Street, Spend, Spend, Spend, Putting
It Together and State Fair (Arts Ed) and My
Favorite Year (Guildhall School of Music and
Drama). Performance credits include: Scrooge
(London Palladium), Mary Poppins (Prince
Edward), Anything Goes (Theatre Royal, Drury
Lane), Cats (New London), Follies (Royal
Festival Hall), Disney’s Beauty and the Beast
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(Dominion and UK tour), La Cava (Piccadilly),
Mack and Mabel (Piccadilly), Oliver! (Sadler’s
Wells), Dick Whittington – London’s Musical
(Sadler’s Wells), Fred Astaire – His Daughter’s
Tribute (London Palladium), A Chorus Line
(Derby Playhouse and UK tour), Pickwick
(UK tour) and The Time of My Life (Bristol
Old Vic). He appeared in two Royal Variety
Performances and recorded five Original
London Cast Recordings.
KATIE PESSKIN
Associate Director
Katie studied English Literature at the
University of Bristol and now works
as a freelance theatre director. Whilst
living in Bristol, she directed the first
theatrical performance to take place in
the historic Bristol City Museum and Art
Gallery, a critically acclaimed production
of William Shakespeare’s Macbeth. She
has worked extensively in new musical
theatre development, working closely with
award-winning writing team George Stiles
& Anthony Drewe. Katie also founded and
ran The New Musical Project at Leicester
Square Theatre, an initiative supporting and
developing the work of new musical theatre
writers. In 2014, Katie was nominated
in the BroadwayWorld UK Awards for
Best Direction of a New Production of a
Musical for her production of Jason Robert
Brown’s acclaimed musical The Last Five
Years starring Danielle Hope & Jon Robyns
at Greenwich Theatre, London. She has
assisted at the Finborough Theatre, London,
for Changeling Theatre Company and at the
Kings Head Theatre, London. Recently, she
directed the Guinness world record holding
NewsRevue at the Edinburgh Festival Fringe.
@KatiePesskin
EMILY GOODENOUGH
Associate Choreographer
Emily trained at Corraine Collins Dance
Studios, before gaining a scholarship to
Bird College. Theatre includes: 42nd Street
(Théâtre du Châtelet); Thoroughly Modern
Millie (Kilworth House Theatre); Dance
Captain in Mrs Henderson Presents (Noel
Coward Theatre); Movement Captain in
Lion the Witch and the Wardrobe (Birmingham
Rep); Assistant Choreographer/Peggy in
Sunny Afternoon (Hampstead Theatre and
Harold Pinter Theatre); Kiss Me Kate (BBC
Proms, Royal Albert Hall); Dance Captain
in Evita (UK tour); My Fair Lady (Sheffield
Crucible); Jesus Christ Superstar (Slovenia,
Bronowski Productions); Wonderful Town
(Royal Exchange Theatre with the Halle
Orchestra); Wizard of Oz (London Palladium);
Donna in Dreamboats and Petticoats (UK tour);
Irving Berlin’s White Christmas (Plymouth
Theatre Royal and Manchester Lowry); and
understudied and played Rumpleteaser in
Cats (German tour, Cologne Musical-Dome
and Frankfurt Alte Opera). Television
includes: That Day we Sang (written and
directed by Victoria Wood.)
TIM SHORTALL
Set Design
Tim Shortall has worked internationally as
a stage designer for both set and costume.
Theatre set designs include: Terry Johnson’s
La Cage aux Folles with Douglas Hodge
(Playhouse Theatre and also on Broadway
where Tim received a Tony nomination
for Best Scenic Design of a Musical), The
Overwhelming with Andrew Garfield (NT and
New York), The Philanthropist with Simon
Russell Beale (Donmar Warehouse), Awake
and Sing with Stockard Channing (Almeida
Theatre), 900 Oneonta with Ben Daniels (Old
Vic), A New World (Shakespeare’s Globe),
Disappeared (Royal Court), set design for
Sweet Charity (Theatre Royal, Haymarket),
See How They Run (Duchess), Whipping It
Up with Richard Wilson and Telstar (both
Ambassadors Theatre), Elton John’s Glasses
(Queen’s), Body and Soul (Noël Coward),
Top Girls with Suranne Jones (Trafalgar
Studios and Chichester Festival Theatre),
Our Country’s Good (also Guthrie Theatre,
Minneapolis) and This May Hurt a Bit with
Stephanie Cole (both St James Theatre), Race
with Clarke Peters, Old Money with Maureen
Lipman and King of Hearts (all Hampstead
Theatre), These Shining Lives (Park Theatre),
The Big Fellah and Eugene Onegin (both Lyric
Hammersmith) and numerous productions
for the Menier Chocolate Factory, the most
recent being Dinner With Saddam with Steven
Berkoff. Tim has credits at most of the major
regional theatres in the UK, favourites being
Chichester Festival Theatre, Theatre Royal
Bath and Birmingham Rep, and directors with
whom he has collaborated regularly include
Terry Johnson, Max Stafford Clark and Rupert
Goold. He has also designed for ballet and
contemporary dance including Private City/
Track and Field (Sadler’s Wells, Royal Ballet),
Sonata in Time (Scottish Ballet), and Rhyme Nor
Reason and Party Game (Norwegian National
Ballet) among others. Television includes:
20th Century Blues for the BBC, with Robbie
Williams and Elton John, and The Nightingale
for Dutch National Ballet and NOS Dutch TV,
which won the RAI prize in the Prix Italia
for Best Design. He is currently working on
designs for Jackie – the Musical based on the
iconic magazine, directed by Anna Linstrum
and choreographed by Arlene Phillips, for
a UK tour. For more details please go to
timshortall.com
PAUL WILLS
Costume Design
Theatre includes: Mrs Henderson Presents,
American Buffalo, Di and Viv and Rose (West
End), Hamlet, The Two Gentlemen of Verona
(RSC), Anna Christie, Making Noise Quietly, The
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Man Who Had All the Luck, The Cut (Donmar
Warehouse), Richard II, Dr Faustus, Frontline,
The Lightning Child (Shakespeare’s Globe),
Routes, The Acid Test, Breathing Corpses (Royal
Court), Running Wild (Open Air Theatre,
Regent’s Park and UK Tour), First Light
(Chichester Festival Theatre), Barnum (UK
tour), Clay, A Human Being Died That Night
(Hampstead/The Fugard, South Africa/
Bam), Howie the Rookie (Dublin/ Barbican/
BAM), Once a Catholic (Tricycle), A Number,
Total Eclipse (Menier Chocolate Factory),
Room With A View, The Hypochondriac, A
Steady Rain, Home (Theatre Royal Bath), My
Fair Lady, Afterplay, Blue/Orange (Sheffield
Theatres), Novecento (Donmar Trafalgar), The
Indian Wants the Bronx (Young Vic), Punk Rock,
Blasted, Saved, Secret Theatre, The Chair Plays
(Lyric Hammersmith), Finding Neverland,
Buried Child (Leicester Curve), The Changeling,
Mother Courage and her Children (ETT), Orpheus
Descending, 1984, Macbeth, See How They
Run (Manchester Royal Exchange), CrestFall
(Theatre 503), Ben Hur, Little Voice (Watermill),
Treasure Island, The Second Mrs Tanqueray
(Rose Theatre, Kingston), Waiting for Godot,
Yerma (West Yorkshire Playhouse), Serious
Money (Birmingham Rep) and Pornography
(Tricycle/Birmingham Rep/Traverse), Our Few
and Evil Days, Drum Belly (Abbey Dublin), Juno
and the Paycock (Gate Theatre, Dublin). Opera
includes: Intermezzo (Buxton Opera Festival),
Rusalka (English Touring Opera), Sweetness
and Badness (Welsh National Opera) and The
Magic Flute (National Theatre of Palestine).
BEN ORMEROD
Lighting Design
Ben has worked extensively with the
Royal Shakespeare Company, the National
Theatre, English Touring Theatre, Propeller
and the Abbey Theatre, Dublin. Recent
theatre includes: The Tempest (The Print
Room), Donegal (Abbey), The Happiness
Project (Umamoove Dance Company), This
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Restless House, Hamlet and King Lear (Glasgow
Citizen’s Theatre), Trouble in Mind, The
Libertine (Bath and West End), Fings Ain’t Wot
They Used T’Be (Stratford East). Other work
includes: Intimate Apparel and the Spanish
Golden Age season (Bath) The Colleen Bawn
(Druid); Onasis and Macbeth (West End), Zorro
(West End, US, Japan and Netherlands) The
Beauty Queen of Leenane (Druid/Royal Court,
Broadway, Toronto, Sydney), the Spanish
Golden Age season (RSC) and In Remembrance
of Things Past (NT). Opera and dance credits
include: Tristan und Isolde and Der Ring des
Nibelungen (Longborough Opera), Three
Dancers (Ballet Rambert), A Mighty Wind
(NDCWales), Casse-Noisette and Les Noces
(Grand Théâtre de Genève), La Traviata
(Danish National Opera), Carmen (Lithuania
National Ballet) and productions for Scottish
Opera, ENO, Ballet Gulbenkian, Accademia
Nazionale di Santa Cecilia in Rome, Candoco
and Walker Dance Park Music. Ben is also
lighting consultant for the Calico Museum
of Textiles, Ahmedabad; directed Athol
Fugard’s Dimetos (Gate, London) and adapted
four films from Kie´slowski’s Dekalog for E15.
GARETH OWEN
Sound Design
Sound Design award highlights: Olivier
Award for Memphis, Olivier Award for Merrily
We Roll Along, Tony nomination for A Little
Night Music, Tony nomination for End of the
Rainbow, Olivier nomination for Top Hat,
Olivier nomination for End of the Rainbow
and Pro Sound Award for Best Theatre
Sound. International design highlights:
Bronx Tale (USA), Disney’s Hunchback of Notre
Dame (USA), Spring Awakening (Broadway),
Disney’s The Little Mermaid (worldwide), Secret
Garden (Broadway), Sister Act (UK, Brazil, Italy,
France, Holland), Disney’s Beauty and the Beast
(worldwide), The Bodyguard (Holland), Come
From Away (worldwide), Let It Be (Broadway,
London, Japan, China, Russia, Brazil, Italy,
Germany), Titanic (Toronto), Singin’ in the Rain
(UK, Russia, Japan, Germany, Australia), Evita
(Las Vegas, Slovenia, Lebanon), Hairspray
(UK, China, Singapore, Malaysia), Jesus Christ
Superstar (US and European arena tours),
Moeder Ik Wil De Revue (Holland), The Rocky
Horror Show (London, UK, Australia), A Chorus
Line (Israel), Fame (London, international
arena tour), Glee Live (worldwide arena
tour), Hair (Slovenia, Spain, Japan), End of the
Rainbow (Broadway, London, Los Angeles),
A Little Night Music (Broadway, London,
Hungary), The Sound of Music (Malaysia),
Grease (Lebanon, Slovenia, USA), Expert at the
Card Table (Las Vegas), Footloose (UK, South
Africa, Germany), Buddy (international arena
tour), Time Travel (Las Vegas), Saturday Night
Fever (Korea, Spain, Taiwan), Thoroughly
Modern Millie (UK, South Africa, France),
and Cats (international arena tour). West
End musical design highlights: Memphis, I
Can’t Sing, In the Heights, Impossible, Top Hat,
Merrily We Roll Along, Candide, Pippin, Midnight
Tango, Road Show, Aspects of Love, Sweet
Charity, Carousel, Shout!, Fiddler on the Roof,
Little Shop of Horrors, Forbidden Broadway, High
Society, Calamity Jane, The Big Life, Tick Tick…
Boom!, The Last Five Years and La Cage Aux
Folles. West End play design highlights: The
Importance of Being Earnest, Barking in Essex,
Uncle Vanya, Long Day’s Journey Into Night, An
Ideal Husband, The Woman in Black, Prick up
Your Ears, Jeffrey Bernard is Unwell, Epitaph for
George Dillon and Dealer’s Choice. UK tour
design highlights: The Producers, Nine to Five,
Strictly Come Dancing, The Hitchhiker’s Guide
to the Galaxy, Tell Me on a Sunday, High School
Musical 2, The Wedding Singer, Anything Goes,
Godspell, Annie Get Your Gun, Summer Holiday
and Flashdance.
CHRIS MACE
Associate Sound Designer
Production credits include: International:
Gaslight (Toronto), Moeder Ik Wil De Revue
(Holland), Titanic (Toronto), Singin’ In The Rain
(Moscow), The Bodyguard (Holland), Disney’s
Beauty & The Beast (Holland, Paris), Disney’s
Little Mermaid (Holland, Moscow), Sister Act
(UK, Italy, France, Holland, Brazil), Fame
(Monte Carlo), Grease (Cyprus, Slovenia),
Evita (Beirut), Let It Be (European tours). UK
Tours: Singin’ In The Rain, Nine To Five, Sister
Act, Strictly Come Dancing, Hairspray, Midnight
Tango, Tell Me On A Sunday, High School Musical
Two, Flashdance, Can’t Smile Without You, The
Wedding Singer, Anything Goes, Godspell, Annie
Get Your Gun, Summer Holiday, The Tempest,
Thoroughly Modern Millie, Footloose, Fame, The
Witches Of Eastwick, Jolson, The New Statesman,
Women In Black, Little Shop Of Horrors, Top
Hat, Slamdunk, Calamity Jane, The Rocky Horror
Show. West End Musicals: Cinderella at the
London Palladium, Memphis, Impossible, In
The Heights, Top Hat, Let It Be, Pippin, Midnight
Tango, Road Show, End Of The Rainbow, Aspects
Of Love, Sweet Charity, A Little Night Music,
Carousel, Shout!, Footloose, Paradise Found, Little
Shop Of Horrors, Dickens Unplugged!, Follies,
Fame, The Rocky Horror Show, High Society,
Calamity Jane, Side By Side By Sondheim, The Big
Life, Tick Tick… Boom!, Next Big Thing, The Last
Five Years, Rent Unplugged, Flamenco Flamen’ka,
I Cant Sing. West End Plays: The Importance Of
Being Earnest, A Long Days Journey Into Night,
Torch Song Trilogy, An Ideal Husband, Sign Of
The Times, Smash, The Invisible Man, Woman
In Black, Prick Up Your Ears, Dealers Choice,
Epitaph For George Dillon, Hamlet, Breakfast
With Jonny Wilkinson, An Audience With The
Mafia, Fat Pig, Entertaining Mr Sloane.
mirvish.com 27
RICHARD MAWBEY
Hair, Wig Make-Up Design
Theatre includes: New York – Finding
Neverland, Evita, La Cage aux Folles, Frost/
Nixon and Priscilla Queen of the Desert. London
– The Kenneth Branagh Season at the Garrick
Theatre, Elf the Musical, Dinner With Saddam,
The Ruling Class, Assassins, White Christmas,
Urinetown, Forbidden Broadway, Richard III,
From Here to Eternity, The Commitments,
Strangers on a Train, A Midsummer Night’s
Dream, Merrily We Roll Along, Privates on
Parade, South Pacific, Top Hat, Hairspray, Passion,
Legally Blonde, End of the Rainbow, Piaf, Sweet
Charity, Guys and Dolls, The Producers, Kiss Me,
Kate, Starlight Express and Thoroughly Modern
Millie. Regional theatre – Chitty Chitty Bang
Bang, We Will Rock You, Nine to Five, East is
East, A Damsel in Distress (Chichester Festival
Theatre) and Mrs Henderson Presents (Theatre
Royal Bath). Film includes: The Ghost Writer,
Titanic, It’s De-Lovely, Star Wars and Richard
Harris as Dumbledore in Harry Potter.
Television includes: Poldark, The C Word, Cilla,
Vikings, Black Sails, Ripper Street, Mr Selfridge,
Little Britain, The Catherine Tate Show, French
and Saunders, Poirot, Miss Marple, Gavin and
Stacey and Larkrise to Candleford. Richard is
personal wig-maker to Sir Sean Connery,
Kylie Minogue, Sheridan Smith, Frances
Barber, Iggy Azalea, Jessie J, Paloma Faith
and Dame Edna Everage. He owns London’s
Wig Specialities.
LARRY BLANK
Orchestrations
Larry has worked extensively as a conductor,
composer and orchestrator/arranger in
theatre, film, television and concerts.
Larry has received Tony and Drama Desk
nominations for his orchestrations of Catch
Me if You Can, The Drowsy Chaperone and
White Christmas. Larry also received Drama
Desk nominations for A Christmas Story
and Honeymoon in Vegas. Other Broadway
28 mirvish.com
orchestrations can be heard in the Lincoln
Center production of The Nance, Fame
Becomes Me, La Cage aux Folles, The Producers,
Thoroughly Modern Millie and Tommy Tune
– White Tie and Tails. Most recent projects
include: Holiday Inn (Roundabout, Muny and
Universal Theatrical), Seven Brides for Seven
Brothers (Regent’s Park Open Air), Mack and
Mabel (Chichester Festival Theatre), The
Importance of Being Earnest (Vaudeville) and
Guys and Dolls (Chichester, West End and
UK Tour). West End orchestrations include:
City of Angels (Donmar Warehouse), White
Christmas (Dominion), Singin’ in the Rain
(Palace Theatre, UK tour, Japan, international
tour, Australia and Russia), Carousel, Fiddler
on the Roof, The Drowsy Chaperone, Guys and
Dolls, The Producers, Beautiful and Damned
and Mack and Mabel. Film/television
orchestrations include: The Producers and
Chicago. Larry was the conductor/arranger/
orchestrator for Jerry Herman’s title song
for the film Barney’s Great Adventure sung by
Bernadette Peters, as well as orchestrating/
arranging two songs for South Park for Marc
Shaiman; music supervisor/orchestrator for
Jerry Herman’s Mrs Santa Claus with Angela
Lansbury; arranger/orchestrator for the
films What’s the Worst That Could Happen?,
The Kid, Kiss the Girls, The American President,
Forget Paris, City Slickers II: the Legend of
Curly’s Gold, The Net, That’s Entertainment!
III, All Dogs Go to Heaven 2, Bogus, North,
Speechless, I’d Do Anything, Stuart Saves His
Family, Aladdin and the King of Thieves, The
Jungle Book 2 and Cats Don’t Dance; composer
for two episodes of the television series In
the Heat of the Night, as well as music for
Sweating Bullets and the Grammys. Larry has
orchestrated and arranged for four Academy
Awards shows including parts of the (Marc
Shaiman-arranged) Billy Crystal medleys.
Larry has arranged and/or conducted for
Barbra Streisand, Michael Feinstein, Marilyn
Horne, Michael Crawford, Christine Andreas,
Joe Williams, Yanni, Marvin Hamlisch,
Bernadette Peters, Steve Lawrence, Vikki
Carr, Pete Fountain, Elaine Stritch, Lorna
Luft, Elaine Paige, Jason Alexander, Martin
Short, Georgia Brown and many others.
Larry has guest-conducted most of the
orchestras in the United States, Canada, New
Zealand and Australia. In March 1999, Larry
conducted the 20th anniversary production
of Sweeney Todd: the Demon Barber of Fleet
Street at the Ahmanson Theatre in Los
Angeles with Kelsey Grammer and Christine
Baranski, and later the 2002 Sondheim
celebration at the Kennedy Center, again
with Christine Baranski and Brian Stokes
Mitchell; at Carnegie Hall, he was conductor
for Michael Feinstein and Marvin Hamlisch,
and was music director for Carnegie Hall
Salutes the Glorious MGM Musicals and A
Musical Tribute to Judy Garland. Larry is a
regular guest conductor and orchestrator
for Friday Night is Music Night for BBC
Radio 2. He composed the anthem for the
Olivier ceremonies, as well as providing
orchestrations for the past four years. Larry
has conducted the Olivier Awards since 2015.
MIKE DIXON
Musical Supervisor, Dance and Vocal
Arrangements
Theatre includes: Oh What A Lovely War, The
Bodyguard, The Infidel, Taboo, Hair, Zorro, Never
Forget, We Will Rock You, Footloose, Grease, Jesus
Christ Superstar, Aspects of Love, Doctor Dolittle,
Joseph and the Amazing Technicolor Dreamcoat,
La Cage aux Folles, Peter Pan, Bless the Bride,
Mr Cinders, Godspell and Look to the Rainbow.
Television includes: Text Santa, Over the
Rainbow, Children in Need Rocks the Royal Albert
Hall, The Electric Proms, Ant & Dec’s Saturday
Night Takeaway, We Are Most Amused, For One
Night Only, Concert for Diana, Glastonbury 2007,
MusiCool, Pop Idol, The Royal Variety Show, Miss
World, The British Comedy Awards, Star for a
Night, Call Up the Stars, Night of a Thousand
Stars, The Brian Conley Show, The Shane Ritchie
Experience, Whatever You Want, Late Night
With Jerry Springer, We Are the Champions, The
Queen’s Jubilee Rock Concert, The Prince’s Trust
30th Anniversary Concert, BBC Proms in the
Park, Saturday Night Divas, Guilty Pleasures,
An Audience With Jimmy Tarbuck, Joan Rivers,
Audience With Shirley Bassey and Audience
With Lionel Richie…Live! Radio includes: Elvis
Forever, Elbow at Abbey Road, Andrew Lloyd
Webber’s Birthday in the Park, Friday Night is
BOND Night, Cheltenham Jazz Festival, The Billie
Holiday Story, The Billy Strayhorn Story, Jazz
Royalty, Friday Night is Music Night and BBC
Radio 2 Voice of Musical Theatre Competition.
Recordings include: The Sound of Rodgers
and Hammerstein, The Performance With Dame
Shirley Bassey, Zorro, Seven, We Will Rock You,
Grease, Doctor Dolittle, Jesus Christ Superstar,
Joseph and the Amazing Technicolor Dreamcoat,
Aspects of Love and Evita (film).
FRANCIS GOODHAND
Musical Director
Francis studied Music at the University of
Liverpool. Originally from Ipswich, Suffolk,
he was associated with the Theatre Royal,
Bury St Edmunds for five years, including
a year as Composer in Residence, before
marrying and moving to Surrey in 2006.
In 2014 he moved to Hampshire, from
where he continues to follow a varied
career as a composer, arranger, musical
director and performer. Francis has been
musical director for The Hurly Burly Show
at the Duchess Theatre, West End; David
Hasselhoff’s one-man show at Indigo2,
musically supervising his appearances on
ITV1’s Piers Morgan’s Life Stories and This
Morning; and national tours including Tell
Me On A Sunday starring Jodie Prenger, Judy
& Liza, George’s Marvellous Medicine and
Women On The Verge of HRT. He took part in
Greenwich Theatre’s Ten Minute Musical
Challenge, and was chosen as composer
mirvish.com 29
for the theatre’s Thirty Minute Musical. He
has written and arranged music and songs
for Coat Tales as part of the Elixir Festival at
Sadler›s Wells; Celtic Journey at the Churchill
Theatre, Bromley and Marlowe Theatre,
Canterbury; The Soul Bird at the Rose
Theatre, Kingston; Orchid at the Pleasure
Garden, Miami; The Chandelier for Celebrity
Cruises; The Fly Boys and The Kat Pack.
National tours include: Bleak Expectations,
The Borrowers, Coral, A Daughter Of The
Aurora, George’s Marvellous Medicine, Hansel
& Gretel, The Importance of Being Earnest,
Little Belter, Mouse & Mole, Showstopper, So
This Is Christmas, The Sorcerer’s Apprentice,
Starlight–The Dreamcatchers, The Tempest
and The Wonkey Donkey. His extensive work
with and for children and young people
includes as a composer and musical director
for the National Youth Music Theatre and
Youth Music Theatre UK. Francis has been
musical director for 17 pantomimes; for
Harrogate Theatre, Hiss & Boo Theatre
Company, Theatre Royal, Bury St Edmunds,
First Family Entertainment, Qdos and
Evolution; and including the record-breaking
productions of Peter Pan at Wimbledon
Theatre, starring David Hasselhoff and Jerry
Springer, and Cinderella starring Cilla Black
at Liverpool Empire.
STEPHEN CROCKETT CDG
Casting Director
Theatre includes: casting director for
the London, international and UK tour
productions and casting consultant on
productions in Germany, Holland, Norway,
Italy, Spain and Russia of Mamma Mia! He
is also responsible for the casting of the
multi-award-winning Jerry Springer – the
Opera in London and touring productions of
Chicago. Recent casting includes: 42nd Street
(Drury Lane & Théâtre du Châtelet), Bat Out
of Hell, Carousel (ENO), Jesus Christ Superstar
(Regents Park Theatre), Million Dollar
30 mirvish.com
Quartet UK Tour, Made in Dagenham, Matilda,
The Commitments, Urinetown, Cats, Shrek,
Hairspray, Singin’ in the Rain and Kiss Me, Kate
(Paris), Sweeney Todd: the Demon Barber of Fleet
Street (ENO) and casting for Prom versions
of My Fair Lady, Kiss Me, Kate, Fiddler on the
Roof and The Sound of Music Live (for ITV);
Sunset Boulevard (ENO); Groundhog Day (Old
Vic) and School of Rock. Film casting includes:
The Phantom of the Opera, Nine, Mamma Mia!,
Beauty and the Beast and Mary Poppins Returns.
All casting directors at David Grindrod
Associates Ltd are members of The Casting
Directors’ Guild of Great Britain.
JOHN REID
Producer
John Reid’s intention to pursue a career
in marine engineering was halted by his
passion for popular music, particularly
American soul from the Tamla Motown
Company. It was that enthusiasm and
energy which led him to a position with
EMI Records in London in 1968 and shortly
after joining he was appointed Tamla
Motown UK Label Manager at the age of
nineteen. For the next three years he worked
with artistes including Diana Ross, Stevie
Wonder and the young Michael Jackson.
A chance meeting at his EMI office with
a British singer-songwriter called Elton
John was followed by the creation of the
eponymous artiste management company,
John Reid Enterprises in 1972 and the
formation, with Elton, of the Rocket Record
Company and Rocket Music Publishing.
Throughout the 1970s, 1980s and 1990s,
John Reid was a leading force in worldwide
artiste management. Among others he
was responsible for guiding the careers
of Elton John, Queen, Lionel Ritchie, Billy
Connolly, Barry Humphries, Andrew Lloyd
Webber and Michael Flatley. Alongside his
professional career, John has been a staunch
and vigorous supporter of the arts and was
appointed Chairman of the National Youth
Theatre of Great Britain in 1992, serving
until 1995. In 2000, with Sacha Brooks, he
commissioned and produced a stage version
of the film The Graduate which ran in London
and in New York for several years. In 2005
John was invited to appear as a judge on the
hit television show The X Factor in Australia
as a testament to his 35 years of experience
in entertainment. John has also been
keenly involved with a number of charities
including CSV, Sports Aid Foundation, Music
Therapy and was co-founder of the Elton
John Aids Foundation. He also served as a
trustee of the Brit School and as a Director of
Watford Football Club.
DAVID MIRVISH
Producer
David Mirvish is a Toronto-based theatrical
producer. He owns and operates four
theatres in Toronto — the Royal Alexandra,
the Princess of Wales, the Ed Mirvish and
the Panasonic. Mirvish Productions has
produced plays and musicals for these
and other venues throughout Canada, on
Broadway and in London’s West End. In
addition, Mirvish Productions has presented
more than 500 touring productions in the
city of Toronto.
MICHAEL HARRISON
Producer
Michael Harrison’s West End productions
include the original production of The
Bodyguard, at the Adelphi Theatre and its
return to London’s Dominion Theatre, and
now currently playing at The Ed Mirvish
Theatre, Toronto; Gypsy at the Savoy
Theatre which was the recipient of four
2016 Olivier Awards including Best Musical
Revival and Mrs Henderson Presents at the
Noel Coward Theatre. The Bodyguard is now
a worldwide hit with productions on or
opening all over the world. With Cameron
Mackintosh he produced the UK tour of the
Chichester Festival Theatre production of
Barnum. His other musicals include Aspects
of Love, The Witches of Eastwick, Jolson & Co.,
Chess, I Dreamed a Dream, Titanic, Annie and
the forthcoming tours of Funny Girl and
Beautiful. In 2017, he will also produce Mel
Brooks’ Young Frankenstein, directed by Susan
Stroman. He is Managing Director of Qdos
and has created over 100 pantomimes for the
company. In 2016 he created Cinderella, the
first pantomime at the London Palladium in
nearly thirty years. In 2012 he was awarded a
companionship to the Liverpool Institute of
Performing Arts by Sir Paul McCartney.
PAUL ELLIOTT
Executive Producer (Canada)
Paul has produced or co-produced a wide
variety of shows including: a season at the
Phoenix Theatre, London; Rock Hudson
and Juliet Prowse in I Do! I Do!; Douglas
Fairbanks Jr in The Pleasure of His Company;
Lee Remick in Bus Stop; Buddy–the Buddy Holly
Story, which played for 13 years in the West
End (Victoria Palace and Strand Theatre);
Jolson (Olivier Award for Best Musical 1997
– Victoria Palace); Kat and the Kings (Olivier
Award for Best Musical 1999 – Vaudeville);
The Goodbye Girl (Albery); Run for Your Wife
(London/Toronto/Australia); Stones in His
Pockets (Olivier and Evening Standard awards
2001 – London, Toronto and the Golden
Theatre, New York) and The Shawshank
Redemption (Wyndham’s). Paul has also
produced over 450 pantomimes. Paul’s first
play, a comedy, There’s No Place Like a Home,
has been produced for three UK seasons.
His other works include co-writing Hot
Flush – four UK tours; and Rave On, Jolson:
the Fact and the Fiction and The Good, the Bad
and the Funny worldwide. With Producer
Duncan C Weldon, they have presented
over 200 productions in London and around
the world, including: Hedda Gabler, starring
mirvish.com 31
Glenda Jackson (Australia/USA/Toronto/
London); 13 Rue de L’Amour with Glynis
Johns/Louis Jourdan (Phoenix Theatre);
Richard III, starring Robert Lindsay (Savoy
Theatre); The Importance of Being Earnest with
Patricia Routledge (London and Australia);
Alan Rickman/ Lindsay Duncan in Private
Lives in London and Broadway (Tony Award
for Best Revival 2002); Stones in His Pockets
(USA); The Hollow Crown (Diana Rigg/Vanessa
Redgrave/ Derek Jacobi/Ian Richardson/
Donald Sinden); Australia, New Zealand
and Toronto); The Tempest (Derek Jacobi,
Old Vic); Thoroughly Modern Millie (Amanda
Holden/ Maureen Lipman – Shaftesbury
Theatre); Kevin Spacey in The Philadelphia
Story (Old Vic); Kristin Scott Thomas and
Bob Hoskins in As You Desire Me (Playhouse
Theatre); the Chichester Festival Theatre
productions of Nicholas Nickleby (UK tour,
Gielgud Theatre, London and Princess of
Wales Theatre, Toronto); Patrick Stewart in
Macbeth (Gielgud and Lyceum Theatre, New
York); Ian McKellen, Roger Rees, Matthew
Kelly and Ronald Pickup in Waiting for Godot
(Theatre Royal Haymarket and Australia/
New Zealand); Rupert Everett and Diana Rigg
in Pygmalion (Garrick Theatre); Private Lives,
starring Kim Cattrall (Vaudeville Theatre,
London/Royal Alexandra Theatre, Toronto
and Music Box Theatre, New York). In 2014,
they produced the world tour of The Last
Confession in the UK/ Toronto/Los Angeles/
Australia, starring David Suchet. Paul
was executive producer with Karl Sydow
for Backbeat (Toronto/Los Angeles) and is
currently executive producer with Karl
for Dirty Dancing in Italy, Australia, France
and the UK 2016/17 tour. Paul co-produced
Chess with Michael Harrison at the Princess
of Wales Theatre, Toronto, in 2011, Titanic
in 2015 and the current production of The
Bodyguard. He was made a fellow of the
Arts University Bournemouth in 2012 and
received an honorary MA in 2015.
32 mirvish.com
HEYMAN HOSKINS
Licensor
Bob Hoskins’ first collaboration with Norma
Heyman was The Honorary Consul in which he
starred alongside Michael Caine and Richard
Gere. It was the start of a long friendship. In
1998 they formed the film company Heyman
Hoskins to realise a screen adaptation of
Joseph Conrad’s The Secret Agent. Norma
produced and Bob starred, alongside Patricia
Arquette and a very young Christian Bale.
Heyman Hoskins continued developing ideas.
One fortuitous day Bob regaled Norma with
the story of Laura Henderson, the elderly
widow who started the Windmill Theatre.
Norma immediately recognised the potential
of the tale and they decided there and then
to develop it for the screen. They approached
Stephen Frears to direct and Martin Sherman
to write the screenplay. Mrs Henderson
Presents starred Judi Dench and Bob Hoskins,
and was nominated for two Academy Awards,
three Golden Globes and two BAFTAs. Dame
Judi Dench won the Screen Actors Guild
Award for Best Performance. In 2010 Heyman
Hoskins began to explore the prospect of Mrs
Henderson Presents – the musical. In April 2014
Bob Hoskins passed away after a long illness.
PATHÉ
Licensor
Pathé operates as a fully integrated film
studio in France, the UK, the Netherlands
and Switzerland. It is involved in all aspects
of film-making, from development and
production through to international sales,
distribution and exhibition. Films produced/
distributed by Pathé range from The Queen
to Slumdog Millionaire and from Philomena to
Selma. Current productions include Florence
Foster Jenkins directed by Stephen Frears and
starring Meryl Streep and Hugh Grant. In
recent years Pathé’s productions have won
15 BAFTAs (61 nominations) and 13 Oscars
(44 nominations).
C R E D I T S
&
A C K N O W L E D G M E N T S
FOR MRS HENDERSON PRESENTS
We are indebted to Bob Hoskins' passion, rigour and energy.
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAKE HINE
Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . . .MARK CAREY
Company Manager . . . . . . . . . . . . . . . . . . . . .AMANDA HILLHOUSE
Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE GALE
His big heart still beats at the centre of our show.
Original cast album available for sale in the foyer
and also on Sony Masterworks
Deputy Stage Manager. . . . . . . . . . . . . . . . . . . . . . REBECCA JAMES
FOR MIRVISH PRODUCTIONS
Assistant Stage Manager and Book Cover. . . . . .HAYLEY CRAVEN
Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID MIRVISH
Assistant Stage Manager (UK rehearsals) . . . KATHERINE TIPPINS
Executive Producer. . . . . . . . . . . . . . . . . . . . . . . . . . BRIAN SEWELL
Production Carpenter . . . . . . . . . . . . . . . . . . . . . . . . ANDY STUBBS
Managing Director . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MUCCI
Dance Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUCY CARTER
Costume Supervisor. . . . . . . . . . . . . . . . . . . . . . . MARY CHARLTON
Head of Wardrobe/
Director of Finance. . . . . . . . . . . . . . . . . . . . . . CAMILLO CASCIATO
Director of Sales & Marketing. . . . . . . . . . . JOHN KARASTAMATIS
Director of Development . . . . . . . . . . . . . . . . . . . KELLY ROBINSON
Director of Production . . . . . . . . . . . . . . . . . . . . . . SCOT WHITHAM
Associate Costume Supervisor . . . . . . . . . . .JESSICA HOUGHTON
Director of Labour Relations &
Assistant Costume Supervisor . . . . . . . . . . . . . . .KITTY HAWKINS
Business Development . . . . . . . . . . . . . . . . . . . . MARK LAVAWAY
Associate Sound Designer. . . . . . . . . . . . . . . . . . . . . . CHRIS MACE
Associate Producer. . . . . . . . . . . . . . . . . . . . . . . . . LINDA INTASCHI
Sound Operator (UK) . . . . . . . . . . . . . . . . . . . . . . . . MIKE THACKER
Associate General Manager . . . . . . . . . . . . . . . . . . . CHARLES CHU
Lighting Programmer. . . . . . . . . . . . . . . . . ANTHONY ARBLASTER
Magic Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SCOTT PENROSE
Original Props Supervisor . . . . . . . . . . . . . . . . . . LILY MOLLGAARD
Assistant Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH SISKO
General Management Associate. . . . . . . . . . . . HANNAH MIRVISH
Production Manager. . . . . . . . . . . . . . . . . . . . . . . .CHRIS PRIDEAUX
Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . NATHAN GILES
Music Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHIJ ADAMS
Production Administrator . . . . . . . . . . . . . . . . . DESIRÉE PROVEAU
Rehearsal Pianists . . . . . . . . . . . . . . . . . . ED COURT, OLI JACKSON
Communications Manager . . . . . . . . . . . . . . . . . . . . . . . .SUE TOTH
Music Copying . . . . . . . . . . . . . . . . . . . . . . . . MARK CUMBERLAND
Press & Public Relations Manager . . . . . . . . . J. RANDY ALLDREAD
Original Artwork and Design by . . . . . . . . . . . . . DEWYNTERS LTD
Digital, CRM & Loyalty Manager . . . . . . . . . . . . . . . AUBREY STORK
Original London Production Photographer . . . . . . . .PAUL COLTAS
Original Bath Photography . . . . . . . . . . . . . . . . . . . . NOBBY CLARK
UK Legal Advice . . . . . . . . . . . . . . . . . . . . HARBOTTLE AND LEWIS
Costumes supplied by . . . . . . . . . . . . . ANGELS THE COSTUMIERS
Wigs supplied by . . . . . . . . . . . . . . . . . . . . . . . . WIG SPECIALITIES
Marketing Manager . . . . . . . . . . . . . . . . . . . . . . . . . . ANTONIO TAN
Graphic Design Manager . . . . . . . . . . . . . . . . . . . . . . . OTTO PIERRE
Marketing Coordinator . . . . . . . . . . . . . . . . FRANCA LONGOBARDI
Web Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER JENKINS
Videographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TRISTAN GOUGH
Assistant Company Manager . . . . . . . . . . . . . . . . . . ANIKA NATER
Scenery . . . . . . . . . . VISUAL SCENE LIMITED, SPLINTER SCENERY,
Human Resources & Operations Assistant . . MICHAEL KATAMBA
WATER SCULPTURES, BELGRADE PRODUCTION SERVICES
IT Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSIE DI LUZIO
Drapery . . . . . . . . . . . . . . . J AND C JOEL, GERRIETS, PROMPTSIDE,
System Administrators . . . . . . . . . . . . . . .CHARLES BARTHMANN,
PHILLIP DREW, KATHARINE POSAVAD,
JD McDOUGALL
Rehearsal Space . . . . . . . . . . . DANCE ATTIC AND ALFORD HOUSE
CHARLES WATSON
Analyst/Accounting Manager . . . . . . . . . . . . . . . . . . REG DUNCAN
Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JASON YIP
FOR PAUL ELLIOTT LTD
Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TINA MARSHALL
Executive Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL ELLIOTT
Show Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . RACQUEL FROST
Financial Director. . . . . . . . . . . . . . . . . . . . . . DINESH KHANDERIA
Accounting Staff. . . . . . . . . . . . . . . . . . . . . JULIE LOGAN, KIM SITU
Associate Producer. . . . . . . . . . . . . . . . . . . . . . . . . . JONATHAN LEE
Payroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LILIAN SIU
Associate Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . LISA JACKSON
Assistant to David Mirvish . . . . . . . . . . . . . . . . . . . LAUREL PURVIS
Receptionists . . . . . . . . . . . . HELDER BRUM, AMY CUNNINGHAM,
DAN GALEA, REBECCA RAFTUS
For licensing enquiries please contact
[email protected]
WITH THANKS TO
Jane Lehrer
In memory of Susan Angel
FOR TICKETKING
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . JAMES ALDRIDGE
Phone Operations Manager. . . . . . . . . . . . . . . . . . .ALAN FORSYTH
Phone Operations Asst. Manager . . . . . . . . . . . . . . SUSIE MARCON
Phone Operations Supervisors . . . . . . . . . . . . . . . . KAREN COSTA,
SCOTT RICHARDSON,
Mrs Henderson Presents motion picture
Produced by
NORMA HEYMAN
JANET KOMPARE-FRITZ
Administrative Services Manager . . . . . . . . . . . . . MAGGIE BUSKI
Sales & Ticketing Analyst . . . . . . . . . . . . . . . .OLIVER SOUTHGATE
Ticketing Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . KARYN KING
Executive Producers for Pathe
Reporting Co-ordinator . . . . . . . . . . . . . . . . . . . . . . IAIN LIDSTONE
CAMERON McCRACKEN
Ticketing Software Administrator . . . . . . . . . . . . . . SARA RIVARD
Ticketing Software Co-ordinator . . . . . .FRANCO MARCANTONIO
Database Administrator . . . . . . . . . . . . . . . . . APARNA ALIMINETI
AND FRANCOIS IVERNEL
mirvish.com 33
FOR MIRVISH GROUP SALES & SUBSCRIPTIONS
FOR MIRVISH PROGRAMME
Sales Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS DORSCHT
Publisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID MIRVISH
Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J. RANDY ALLDREAD
Advertising Sales . . . . . . . . . . . . . . . . . . . BRANDS AMPLIFIED INC.
Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OTTO PIERRE
Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . SUNVIEW PRESS LIMITED
Group Sales Supervisor . . . . . . . . . . . . . . . . NATASHA SPRINGETT
Subscriptions Operations Manager . . . . . . . . . . . PAULYN RAMAN
Subscriptions Operations Co-ordinator. . . . . . . .BLAIR LEIGHTON
Subscriber Relations Co-ordinator/
Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE PELLEY
Subscriber Retention Co-ordinator/
Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL McLARTY
For Mirvish Programme and Mirvish Partnership
Opportunities, please contact:
Education Co-ordinator. . . . . . . . . . . . . . . . . . . DENISE ANDERSON
Group Sales Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . NELIA BAIRD
Corporate Group Sales & Event Co-ordinator . . . .TIFFANY TOBIAS
Group Sales Assistant . . . . . . . . . . . . . . . . .BRANDON BARNSWELL
Subscriber Service Representatives. . . . . . . . . . . . ERNEST AVSEEV,
DANIELLA FRUSTAGLIO, ARIKA UMME GUL, CLARA KIM,
ALEXANDRA LEAN, RICHARD McDONALD, JORDAN MECHANO,
RYAN REEVE, MIKE RICHARDSON, MUNIRA SARUAT
FOR THE ROYAL ALEXANDRA THEATRE
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . RON JACOBSON
House Manager. . . . . . . . . . . . . . . . . . . . . . . .ELIZABETH MORALES
Assistant House Manager . . . . . . . . . . . . . . . . . . NIKOL PAVLIDOU
Front of House Supervisor . . . . . . . . . . . . . . . . . . . . . . . KAREN HO
Senior Maintenance Manager. . . . . . . . . . . . . . KEVIN McCARTHY
Head Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL PUHACZ
Head Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN STILL
The Exclusive Sales Agency of Mirvish Productions
brian.himel@brandsamplified.com
jory.amar@brandsamplified.com
Backstage and Front of the House employees
are represented by the International Alliance of
Theatrical Stage Employees (or I.A.T.S.E.).
Mirvish Productions is a member of the
Professional Association of Canadian Theatres
(PACT) and engages, under the terms of the
Canadian Theatre Agreement, actors and stage
managers who are members of the Canadian
Actors’ Equity Association.
Head of Properties . . . . . . . . . . . . . . . . . . . . . . . . . . GUY GUALTIERI
Head of Flies . . . . . . . . . . . . . . . . . . . . . . . . . . . BLAIR EGGLESTONE
Head of Wardrobe. . . . . . . . . . . . . . . . . . . . . . . . . . . . LISA SHEAVES
Head of Wigs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HELEN GREGOR
Security & Parking Supervisor . . . . . . . . . . . . . . . ROBERT ASHLEY
The musicians employed in this production
are members of the Toronto Musicians’
Association, The American Federation
of Musicians.
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34 mirvish.com
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one ingredient at a time.
#feelingofäah
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