Period of Adjustment Programme

PERIOD OF
ADJUSTMENT
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PERIOD OF
ADJUSTMENT
Front cover image by Sarah Hyndman (figures, house, flag Getty Images)
By Tennessee Williams
Production Sponsor
9th March - 29th April 2006
Presented by special arrangement with the
University of the South, Sewanee, Tennessee.
In association with Robert Fox and Tom McKitterick.
Coutts is delighted to be the principal
sponsor of such an innovative and
respected theatre as the Almeida.
This sponsorship forms an important
part of Coutts’ programme of support
for the performing arts, and is now in
its third season.
and later Duchess of St Albans, supported many
of London’s theatres through charitable donations
and provided a fund “for the relief of Performers who
by age or infirmities shall be oblig’d to retire from the stage”.
The relationship between Coutts and the Almeida
fits well with our history of supporting the arts.
Over time, Coutts has enjoyed a close relationship
with many famous artists, including Chopin,
Sir Henry Irving and Charles Dickens.
On behalf of everyone at Coutts, I wish the Almeida
Theatre every success with this production of
Period of Adjustment.
Indeed, from the early 18th Century, Thomas Coutts
and his second wife Harriot, herself an ex actress
After 300 years our sponsorship of the performing
arts continues today, and we are privileged that
many of its patrons, shareholders, directors and
artists continue to enjoy a relationship with us.
Sarah Deaves, Chief Executive, Coutts & Co
PERIOD OF
ADJUSTMENT
By Tennessee Williams
IN ORDER OF APPEARANCE
Ralph Bates
Isabel Haverstick
George Haverstick
Dorothea Bates
Jared Harris
Lisa Dillon
Benedict Cumberbatch
Sandy McDade
Director
Design
Lighting
Music
Sound
Casting
Dialect Coach
Assistant Director
Production Manager
Company Manager
Stage Manager
Deputy Stage Manager
Assistant Stage Manager
Costume Supervisor
Wigs and Hair Creator
Wardrobe Supervisor
Wardrobe Assistant
Wigs and Hair Supervisor
Chief Technician
Lighting Technician
Theatre Technician
Production Carpenter
Production Sound
Sound Operator
Scenic Artists
Howard Davies
Mike Britton
Mark Henderson
Paddy Cunneen
Paul Groothuis
Maggie Lunn
Joan Washington
Polly Findlay
Igor
Rupert Carlile
Suzanne Bourke
Nicole Keighley
Harry Niland
Louise Dadd
Angela Cobbin
Catrina Richardson
Jennifer Moore
Zoe Goodchild
Jason Wescombe
Robin Fisher
Howard Wood
Craig Emerson
Matthew Berry
Sarah Weltman
Charlotte Gainey
Natasha Shephard
Scott Fleary Scenery Ltd
Set Built by
Student on attachment to
Technical Department
Production Photography
Charlotte Dale
Simon Annand
CAST
Benedict Cumberbatch
George
Lisa Dillon
Isabel
Theatre: Hedda Gabler , Lady from the
Sea (Almeida Theatre), Oh What A
Lovely War, Romeo and Juliet, As You
Like It, A Midsummer Night’s Dream,
Love’s Labour’s Lost (New Shakespeare
Company).
Theatre: Hedda Gabler (Almeida
Theatre), Othello (Royal Shakespeare
Company), The Master Builder (West
End), Iphengia (Sheffield Crucible).
Television: Hawking, Cambridge Spies.
Film: Bright Young Things.
Television: To the Ends of the Earth,
Hawking, Dunkirk, Nathan Barley,
Forty Something, Spooks, Cambridge
Spies, Tipping the Velvet, Broken News,
Silent Witness, Fields of Gold.
Film: Amazing Grace, Starter For Ten,
To Kill a King, Hills Like White
Elephants.
Radio: Far Side, Mr Norris Changes
Trains, The Odyssey, Kepler, The
Sergeant’s Mate, D Day, The Cocktail
Party, Mansfield Park.
Jared Harris
Ralph
Theatre: Les Liasons Dangereuses
(Playhouse), Humble Boy (Manhattan
Theatre), Hamlet (New Jersey
Festival), More Lies About Jerzy
(Vineyard Theatre), King Lear (New
York Shakespeare Festival), Ecstasy
(The New Group), Henry IV parts I
and II (New York Shakespeare
Festival), A Clockwork Orange, Hamlet,
Romeo and Juliet, The Silent Woman
(Royal Shakespeare Company), Tis
Pity She’s A Whore (New York
Shakespeare Festival).
Television: Coup, To The Ends Of The
Earth, The Other Boleyn Girl, Two Of Us.
Film: Lady In The Water, Ocean’s
Twelve, The Ballad of Bettie Page,
Resident Evil 2, I Love Your Work,
Sylvia, Igby Goes Down, Dummy,
Mr Deeds, Perfume, How To Kill Your
Neighbour’s Dog, Lush, The Bullfighter,
Shadowmagic, The Weekend, The
Chinese Box, Trance, B. Monkey, Fathers
Day, Gold In The Streets, Sunday,
I Shot Andy Warhol, Dead Man, Blue
In The Face, Smoke, Nadja, Tall Tale,
Natural Born Killers, The Public Eye,
Last Of The Mohicans, Far and Away,
The Rachel Papers.
Sandy McDade
Dorothea
Theatre: The House of Bernada Alba,
The Striker, A Prayer for Owen Meany,
Ghetto, Peer Gynt, Fuente Ovejuna,
The Good Person of Sichuan (National
Theatre), Iron (Traverse and Royal
Court), The Rivals (Nottingham
Playhouse), Macbeth (Manchester
Royal Exchange), As I Lay Dying,
Twelfth Night (Young Vic), Life of Stuff
(Donmar Warehouse), The House of
Bernada Alba (Shared Experience),
Cyrano de Bergerac, The Hunchback
of Notre Dame (Communicado),
Tears From A Glass Eye, The Ingolstadt
Plays (Gate).
Television: Teachers, Down To Earth,
Quite Ugly One Morning, Touch of
Frost, The Office Christmas Special,
Judge John Deed, Heading Home,
Uncle Silas, Hamish Macbeth, Friday
Night Armistice, Dr Finlay, From Doon
With Death, Heading Home.
Film: Mrs Henderson Presents, One
Last Chance, Restoration.
Howard Davies
Director
Howard Davies is Associate Director
of both the Almeida Theatre and the
National Theatre, and was previously
an Associate of the Royal
Shakespeare Company. While at the
RSC he established and ran the
Warehouse Theatre where he
produced and directed 35 new plays.
Productions include: For the Almeida
Theatre: Who’s Afraid of Virginia
Woolf, The Iceman Cometh, The Play
About The Baby, Vassa. In the West
End: Private Lives, The Breath of Life.
For the National Theatre: Paul, The
President of an Empty Room, The
House of Bernada Alba, The
Shaughraun, The Secret Rapture,
Hedda Gabler, Ma Rainey’s Black
Bottom, The Crucible, Piano,
Pygmalion, The Children’s Hour, Cat
on a Hot Tin Roof, Mary Stuart, Chips
With Everything, Flight, Battle Royal,
All My Sons, The Talking Cure,
Mourning Becomes Electra. For the
Royal Shakespeare Company: Piaf,
Good, Les Liaisons Dangereuses, Troilus
and Cressida.
Opera: Idomeneo, Eugene Onegin
(WNO), I Due Foscari (Scottish
Opera), The Italian Girl in Algiers.
Television: Tales From Hollywood,
Armadillo, Copenhagen, Blue/Orange.
Film: The Secret Rapture (David
Hare’s screen play)
Mike Britton
Design
Theatre includes: Tartuffe (Watermill
Theatre and On Tour), Walk Hard
(Tricycle Theatre), Comfort Me With
Apples (Hampstead Theatre), Twelfth
Night (Plymouth Theatre Royal and
On Tour), The Comedy Of Errors
(Sheffield Crucible), The Morris, Dr
Faustus (Liverpool Everyman and
Playhouse).
Troilus and Cressida (Guildhall), John
Bull’s Other Island (Lyric Theatre
Belfast), Bird Calls (Sheffield Crucible
Studio), The Venetian Twins, The
Gentleman From Olmedo, The
Triumph of Love, Dancing at Lughnasa
(Watermill Theatre), Madness in
Valencia (RSC, The Other Place), The
Age of Consent (Pleasance, Edinburgh
Festival/ Bush Theatre), Who’s Afraid
of Virginia Woolf (Oxford Playhouse),
The Life and Adventures of Nicholas
Nickleby (Milton Keynes).
Mark Henderson
Lighting
Mark Henderson is an associate at
the National Theatre and lighting
advisor to the Almeida Theatre.
Theatre includes: For the Almeida
Theatre: The Late Henry Moss, The
Mercy Seat, Faith Healer, King Lear,
The Shape of Things, Coriolanus and
Richard II, Lulu, Phedre, Britannicus,
Naked, Plenty, Hamlet (also
Broadway).For the National Theatre:
Playing with Fire, The President of an
Empty Room, The UN Inspector, The
False Servant, The History Boys,
Mourning Becomes Electra,
Democracy, Edmond, His Girl Friday,
Henry V, All My Sons. For the
Donmar Warehouse: The Real Thing,
Suddenly Last Summer, Design for
Living. West End includes: Amy’s
View, The Iceman Cometh, The Judas
Kiss, Chitty Chitty Bang Bang (all also
on Broadway), Our House, Grease,
Spend, Spend, Spend, Neville’s Island,
Follies, Copenhagen, Passion,
Endgame, Tonight’s the Night. On
tour: The League of Gentlemen,
French and Saunders, Eddie Izzard,
Rowen Atkinson.
Opera and Dance include
productions for Rambert, The Royal
Ballet, Gyndebourne, The Royal
Opera, ENO.
Paddy Cunneen
Music
Paddy has composed music for
some 150 productions for many
companies and theatres, including
Cheek by Jowl, the National Theatre,
Royal Shakespeare Company,
Donmar Warehouse, Out of Joint,
Abbey Theatre, Gate Theatre, Druid
Theatre, Manchester Royal Exchange,
the Royal Court, Liverpool Everyman
and many others.
In addition he composes for BBC
Radio Drama, RTE Radio Drama and
has a number of TV and film credits.
He has had two plays broadcast by
BBC Radio.
Paul Groothuis
Sound
Paul trained as a stage manager at
the Central School of Speech and
Drama. Between 1984 and 2003 he
was a member of the Sound
Department at the National Theatre
where he designed the sound for
over 120 productions including His
Dark Materials, Edmond, Henry V, A
Streetcar Named Desire, The Coast of
Utopia, My Fair Lady (National
Theatre and Drury Lane), The
Oedipus Plays, Summerfolk, The
Merchant of Venice, Candide,
Oklahoma! (National Theatre/
Lyceum and Gershwin Theatre, NY),
Oh What A Lovely War, A Little Night
Music, Lady In The Dark, Guys and
Dolls, Under Milk Wood, Sunday In
The Park With George, Sweeney Todd,
The Wind In The Willows, The Night of
The Iguana, The Shaughraun.
Other credits include: The King and I
(London Palladium/ UK Tour),
Endgame (Albery), Matthew Bourne’s
The Nutcracker! (Sadler’s Wells and
on tour), CoisCeim Dance Theatre’s
Mermaids (Dublin).
Most recent productions include: A
Funny Thing Happened on the Way to
the Forum, Stuff Happens, The House
of Bernada Alba, Buried Child, Henry
IV parts I and II (National Theatre),
The Witches (Birmingham Rep and
West End), As You Desire Me, Acorn
Antiques, Highland Fling (West End).
Paul is currently working on Royal
Hunt of The Sun at the National
Theatre and the UK tour of My Fair
Lady. He will be spending Spring 06
teaching at the Hong Kong Academy
of Performing Arts. He is also an
associate to the the National Theatre
Sound Department and Sound
Consultant for Sir Peter Hall’s Rose
of Kingston Theatre project.
Polly Findlay
Assistant Director
Polly trained at LAMDA. Theatre
as a director includes: Good (Sound
Theatre), The School For Scandal,
Dublin Carol, The Unexpected Man
(Linbury Studio, LAMDA), As You Like
It (Oxford Playhouse). As Assistant:
Promises, Promises (Crucible Theatre
Sheffield), Prometheus Bound (Sound
Theatre), The Twenty Four Hour Plays
(Old Vic), No Offence (Tricycle). Polly
has also worked for Complicite and
as a research intern for
Shakespeare’s Globe.
Maggie Lunn
Casting
Maggie Lunn was Artistic Associate
and Resident Casting Director for the
Almeida Theatre for three years,
Head of Casting at the RSC and
Acting Head of Casting at the
National Theatre.
Theatre: Work for the Almeida
Theatre includes: The Hypochondriac,
Romance, Blood Wedding, The Goat,
or who is Sylvia, Festen, Hedda Gabler,
The Mercy Seat. Work for the
National Theatre includes: The Coast
of Utopia, Vincent In Brixton, Anything
Goes. Other credits include: The
Romans In Britain, The Clean House
(Sheffield Crucible), Richard II,
Hamlet (Old Vic), Skellig (Young Vic),
Chichester Festival Seasons 2003 2005, Lord of the Rinngs, Phaedra’s
Love (Bristol Old Vic/ Young Vic at
the Barbican).
Television: A for Andromeda,
Archangel, Derailed, The Family Man,
The Lavender List.
Film: Notes on a Scandal.
Tom McKitterick
Script Editor
Theatre as a performer: Fathers and
Sons (Public Theatre NY and Los
Angeles) Salt Lake City Skyline
(Public Theatre NY), Say Goodnight
Gracie (Off-Broadway), Holiday
(Los Angeles).
Film: The Warriors.
Tom also has also worked as a
photojournalist covering news,
sport and classical music. Tom was
represented worldwide by Impact
Visuals.
TENNESSEE
WILLIAMS
1911: Born Thomas Lanier Williams in
Columbus, Mississippi.
1939: Receives Group Theatre Award
for American Blues.
Williams enters a period of
depression.
1929: Enters the University of
Missouri.
1940: Students stage his one-act play
The Long Goodbye, the first of his plays
to be seen in New York.
1968: Kingdom of Earth (The Seven
Descents of Myrtle) opens in New York.
1932: Father withdraws him from the
university. Begins working at
International Shoe Company and
spends his nights writing.
1935: Claims he has a heart attack and
recuperates at his grandparents’ home
in Memphis.
Battle of Angels opens in Boston but
quickly closes after a censorship
controversy; is revised as Orpheus
Descending in 1957.
1943: Moves to California to start work
as a scriptwriter for MGM.
1936: Sees Ibsen’s Ghosts and is
inspired to be a playwright. Enrolls in
Washington University, St Louis.
1945: The Glass Menagerie opens on
Broadway and wins the New York
Drama Critics’ Circle Award.
1937: First full length plays are
produced, Candles to the Sun and
Fugitive Kind, by amateur group in St
Louis.
1947: A Streetcar Named Desire opens
in New York.
Transfers to University of Iowa to
study playwriting and production.
His sister Rose is institutionalised for
schizophrenia.
1938: Graduates with BA English from
University of Iowa.
Receives honorary degree of Doctor of
Humane Letters, University of
Missouri. Awarded National Institute
of Arts and Letters Gold Medal for
Drama.
Enters Barnes Hospital for psychiatric
care.
1971: Dismisses Audrey Wood, his
agent of 32 years.
Meets Frank Merlo.
1973: Out Cry has its New York
premiere.
1948: First collection of fiction One
Arm and Other Stories published.
1975: The Red Devil Battery Sign
opens.
Frank Merlo moves in with him
beginning a 14-year relationship.
The autobiographical Memoirs, which
deals openly with his sexuality, is
published.
1950: His novel The Roman Spring of
Mrs Stone is published.
1977: Vieux Carre opens in New York.
1951: The Rose Tattoo opens in
Chicago.
1978: A Lovely Sunday for Creve Coeur
opens.
1952: Election to National Institute of
Arts and Letters.
1980: Will Mr. Merriweather Return
from Memphis? inaugurates the
Tennessee Williams Performing Arts
Centre, Key West.
1953: Camino Real opens in New
York.
Photo by Bruce Paulson. Courtesy of New Directions Publishing Corp.
1969: In The Bar of a Tokyo Hotel
opens in New York.
1955: Cat on a Hot Tin Roof
opens in New York where it
runs for 694 performances,
winning the Pulitzer Prize
among many others.
1956: His film Baby Doll is
released by Warner Bros
1957: Orpheus Descending
opens in New York.
Father dies.
1959: Sweet Bird of Youth opens
in New York.
1960: Period of Adjustment opens
in New York.
1961: The Night of the Iguana
premieres.
1963: The Milk Train Doesn’t
Stop Here Anymore opens in
New York.
Frank Merlo dies of cancer.
Clothes For A Summer Hotel opens.
Mother dies.
1981: Production of A House Not
Meant to Stand opens.
Something Cloudy, Something Clear, his
last play to be produced in his lifetime,
opens.
1982: Receives honorary doctorate
from Harvard University.
1983: Dies at Hotel Elysee, New York
City, from choking on cap from a
medicine bottle.
Tennessee Williams died on 25 February 1983, at The Elysee Hotel
in New York. He had choked to death on the plastic cap of his
medication, an empty wine bottle beside him. He was alone. For
some it marked the final act of a life and a reputation that had been
in decline for more than two decades.
In truth, America had lost its most
distinctive playwright, a man whose
work - powerful, disturbing, deeply
original - influenced more than one
generation of playwrights. Indeed, in
subsequent years they have lined up to
acknowledge his centrality.
Sam Shepard’s first play was, he
confessed, imitation Williams. Edward
Albee’s The Zoo Story took some
inspiration from Suddenly Last Summer.
Tony Kushner “read as much Williams
as I could get my hands on”, while for
Terrence McNally, the very idea that
people would lose interest in Williams’
work was absurd: “ Not interested in
Tennessee Williams! I don’t know how
that can happen to an artist that has
given so much.”
For fellow playwright Arthur Miller,
Williams was crucial. Sitting in the
audience of the Broadway production
of A Streetcar Named Desire, Miller
heard a language that transfixed him.
Here was a man who had “printed a
licence to speak at full throat,” a licence
that liberated him to write Death of A
Salesman. Williams’s work had, he
insisted, “the surprise of reality as only
the poetic can reveal it.”
finding temporary solace in one
another at the risk of being caught commitment and escape being
mutually exclusive. In Orpheus
Descending this leads in the direction of
tragedy; in Period of Adjustment towards
comedy. Their fate is either to retreat
into fantasy and psychosis, or to suffer
a kind of crucifixion as they are
destroyed in a spasm of violence.
There was in fact a rational reason for
the sense of social paranoia to be
found in his work. In Mississippi,
where he lived until the age of twelve,
the laws against what was called
“unnatural intercourse with man or
beast” would not be overturned until
2003. He had later moved to Iowa,
where a law calling for sterilisation of
what were called “sexual perverts”
and “moral degenerates” would be on
the books until the mid 1970s. The
fact is that Williams’s homosexuality
was proscribed. Not merely was it
illegal, attracting draconian
punishments, it was at odds with
national myths to do with strenuous
masculinity and family values.
Both Miller and Williams began their
careers not in the 1940s, when their
great successes were achieved, but in
the 1930s, a radical decade in which
they saw themselves in some degree as
radicals. Williams would later protest
the US government’s withdrawal of
Miller’s passport. His own radicalism,
however, was of a different kind, even if
he did see himself as offering a critique
of a “culture sick with neon”, a
capitalist society with no time or place
for human values.
When Williams first appeared he
seemed something of an exotic, not
least because of his name. He
abandoned his given names, Thomas
Lanier (which he thought made him
sound like a tortured romantic poet) in
favour of Tennessee. But this was also
not without its problems. One Boston
reviewer dismissed an early play as the
work of a hillbilly, while Dorothy Parker
said that if he was going to call himself
Tennessee,she would call herself
Palestine. However, given that his
great-great-great-grandfather’s name
was Preserved Fish Dakin, he could
have done worse.
He celebrated the poet in a prosaic
society, the marginal, the dispossessed.
His characters are often in flight, or
It is difficult to over-estimate the
popularity of Williams’s early plays.
His first success - The Glass Menagerie -
ran for 561 performances, while
Streetcar ran for 855. By contrast, even
Arthur Miller’s great successes trailed
in his wake (All My Sons managed 328,
Death of A Salesman 742). Later, when
Williams’s reputation suffered an
eclipse in the United States, it
remained high in Britain. For Richard
Eyre, this had to do with American
attitudes to the past. The American
theatre, he suggested, “has been
robbed of continuity”, whereas British
audiences, “fed on Shakespeare, have
an appetite for writing which uses
sinewy and passionate language with
such unembarrassed enthusiasm.”
However, Tennessee Williams was in
some ways always an outsider. He
wrote a poem that captures equally the
twin poles of doom and liberation that
constituted his own sensibility. It spoke
of “the strange, the crazed, the queer,”
and imagined a time when mercy
would be shown to “the lonely and
misfit,” a time when they would be
protected for a while, “Before, with
such a tender smile,/ The earth
destroys her crooked child.”
Tennessee Williams was not a crooked
child, but he came close to being
destroyed, not least by his own
personal demons. He was, though, a
survivor, aware of the comedy as well
as the tragedy implicit in the struggle
to survive. There has never been a
writer quite like him. From his earliest
works to the last play, he was a poet
who chose theatre as the arena for his
poetry, although, as Arthur Miller
remarked, he ended “as he had begun,
on the outside looking in - as he once
put it, scratching on the glass.”
Written by Christopher Bigsby, Professor of
American Studies at the University of East
Anglia.
By 1953, most
Americans believed
they had entered an
era of well-deserved
security and prosperity.
The Korean War and McCarthyism
faded, Soviet dictator Joseph Stalin
died, and the overwhelmingly popular
Eisenhower brought a sense of security
to American life. Especially for the white
middle class, confidence in material
progress and the perfectibility of
American society coexisted along a
fervent anti-Communist ideology and
anxiety about nuclear destruction.
Following the turbulence of the last
two decades, the home seemed a safe
haven. Just as containment of
communism characterized American
foreign policy, a kind of domestic
containment, stressing traditional
gender roles and domesticity,
dominated American social life. In the
ideal suburban family, the American
mother kept house and raised the
children while her husband went off to
a white-collar job. The kids grew up with
a strong sense of American values.
But in retrospect, the fifties seem a
curiously contradictory period in
American life. Whilst on the one hand
Eisenhower practised the politics of
moderation, churches increased their
membership and family values
appeared dominant, on the other
young people – inspired by their own
emerging subculture – entered a
period of ferment. Intellectual critics
challenged the era’s conformity and
consumerism, and the Beat writers
dared to suggest that drugs, sex and
religious experiences might be more
important than patriotism.
Perhaps the biggest contradiction of all
was that despite the overall prosperity,
one in four Americans lived near or
beneath the poverty line at the end of
the decade.
Extracts from Present Tense: The United
States since 1945 by Shaller, Scharff and
Schulzinger (1996). Published by
Houghton Mifflin.1
What Allen Ginsberg
has called the System
of Shutdown began in
the early Fifties:
The move towards a closed society
where all decisions would be secret;
the paralysis caused by the use of
technological devices to invade privacy;
the perfectly paranoid atmosphere of
McCarthyism; the increasing power of
the Pentagon with its military bases
designed to contain a new enemy
supposedly (and suddenly) more
threatening than the Nazis.
The hysteria of rabid anti-Communism
was far more damaging than any
native Communism: the patriotic
blood boiling became a convenient veil
assuring a continued blindness to
domestic social conditions that
desperately needed attention. An
internal freeze gripped America in the
Fifties, an irrational hatred that created
intense fear and repression, and since
any repression feeds on oppression as
its necessary rationalization, the red
witch-hunts, the censorship of artists
and film-makers, the regimentation of
the average man began with
unparalleled momentum and design.
With the exception of the Civil War
period, never before had the sense of
hopefulness traditionally associated
with the American experience been so
damaged. The Fifties were times of
extraordinary insecurity, of profound
powerlessness as far as individual
effort was concerned, when personal
responsibility was being abdicated in
favour of corporate largeness, when
the catchwords were co-ordination
and adjustment, as if we had defeated
Germany only to become ‘good
Germans’ ourselves.
Extracts from The Rolling Stone Book of
The Beat by Holly George-Warren(1999).
Published by Bloomsbury London.2
1: Copyright permission has been sought from
Houghton Mifflin. 2: Copyright permission has been
sought from AM Heath
The election of President Eisenhower in 1953 marked a new
beginning in the lives of most contemporary Americans. With
war an increasingly distant memory, U.S. seemed at last to have
attained the kind of economic and social stability it had longed for.
Conservatism and consumerism
were the buzzwords of the decade.
In the wake of two international
conflicts (WW2 and Korea),
Americans were keen to shore up the
conventions that they believed were
the safeguards of their national
identity. Women began to marry
younger and younger: by the end of
the fifties, the average marriage age
of women in the U.S. had dropped to
twenty, and would continue to fall. In
what now seems like an astonishing
reversal of the feminist movements
that had begun to take root in the
1930s and 40s, women often viewed
a college education as simply a
means to finding the husband and
starting the family that would afford
them their real identity. ‘Of all the
accomplishments of the American
woman’, declared the Christmas
issue of Life magazine in 1956, ‘the
one she brings off with the most
spectacular success is having
babies’. By 1960, the U.S. birth rate
was beginning to overtake India’s.
Thousands of young Americans
flocked to make their homes in the
new suburban communities, which
sprang up throughout the decade in
record numbers. The innovations of
real estate developer William Levitt
characterised a trend that was
sweeping across the country.
Responding to the post-war boom
in the housing market, he set out
to build full-scale communities of
mass-produced, affordable, single
family homes. At the height of
production in the ‘Levittowns’,
which comprised up to 17,000
properties, a house was going up
every sixteen minutes. Against the
background of the Cold War and the
Space Race, and with McCarthyism
still a recent memory, Levitt made a
quip whose deliberately ironic sting
articulated precisely the selective
social focus that had ushered in the
decade’s cultural complacency: ‘No
man who owns his own house and
lot can be a communist. He has too
much to do’.
With more time and money at
America’s disposal, the fifties saw
a huge boom in the popular
entertainment industry, giving birth
to some of the last century’s most
enduring icons. Most Americans
owned a television by the end of the
decade; a large proportion of them
tuned in weekly to the hugely popular I
Love Lucy, which ran for six years (and
which has just been voted the second
greatest American TV show of all time,
behind Seinfeld.) J.D. Salinger wrote
Catcher in the Rye, Brylcreem enjoyed a
period of popularity and The Twilight
Zone premiered as the first major
science fiction show. The polio vaccine
was discovered, enabling the complete
eradication of the wild polio virus in
America; in 1954, the first organ
transplants were carried out in Boston
and in Paris. Abroad, Francis Crick
and James D. Watson discovered the
helical structure of DNA; at home,
Billy Graham was just one of the
figures leading the marked rise in
evangelical Christianity. Disneyland
opened in California in 1955.
However, despite its ostensible veneer
of secure prosperity, the decade was
arguably characterised as much by
the social fissures that were beginning
to run through it. Allen Ginsberg was
one of those who identified the
paradox at the heart of the American
dilemma, arguing that the Cold War
had created a paranoiac generation
whose fragile happiness depended
more on repression than on genuine
security. The emerging youth culture
began to provide a potentially
subversive counterbalance to the
predicated norm, and by the end of the
decade the African-American struggle
to claim equal rights was beginning to
take shape. Arguably the fifties was a
much rockier, more socially and
politically volatile period than its cleancut, picture book smile might suggest.
Written by Polly Findlay,
Assistant Director.
ASSISTED PERFORMANCES
PERIOD OF ADJUSTMENT
Tuesday 11th April 7.30pm
Captioned by STAGETEXT
PERIOD OF ADJUSTMENT
Saturday 22nd April 3pm
Audio Described by
Vocaleyes (Touch Tour 1.30pm)
PERIOD OF ADJUSTMENT
Wednesday 26th April 7.30pm
Sign Language Interpreted
by Russ Aldersson
ENEMIES
Wednesday 7th June 7.30pm
Captioned by STAGETEXT
ENEMIES
Saturday 17th June 3pm
Audio Described by
Vocaleyes (Touch Tour 1.30pm)
ENEMIES
Wednesday 21st June 7.30pm
Sign Language Interpreted
by Jeni Draper
For more detailed information on access, to book for assisted performances or for a
large-print version of this brochure please call 020 7288 4999, email
access@almeida.co.uk or visit www.almeida.co.uk
Thanks to STAGETEXT, Vocaleyes and all our interpreters.
PRODUCTION THANK YOUS
Rocket and other props made by
The Glue Factory
www.gluefactory.co.uk
Costume hire:
Carlo Manzi and Cosprop
Ladies Costumes made by
Coleman James, David Plunkett,
Cosprop.
Dyeing:
Nicola Kileen Textiles
Oberon Books
RECENT ALMEIDA
PRODUCTIONS
2
1
2003
THE LADY FROM THE SEA
“The Islington Powerhouse opens with
this tremendous production…
electrifying… leaves you reeling.”
Daily Telegraph
Sponsored by Hydro
ALMEIDA OPERA 2003
“Bags of atmosphere and dashes of
black humour” The Times on Who put Bella
in the Wych Elm
I.D.
“A riveting production… full of
wonderful theatrical invention…
a rich and shameful period of history
and how memorably it is evoked.”
Daily Mail
Sponsored by Cadwalader
THE MERCY SEAT
“Michael Attenborough’s production
has a high voltage charge that never
dips for a moment. This play plumbs
the depths and deserves to be seen.”
Daily Telegraph
FIVE GOLD RINGS
“Bold, elegant, lyrical, finely wraught…
gorgeously staged and beautifully
performed.” Time Out
1: Natasha Richardson (Ellida), John Bowe (Dr Wangel),
The Lady from the Sea, photo by Catherine Ashmore
2: Eve Best (Hedda Gabler)
Hedda Gabler, photo by John Haynes
3
4
5
HEDDA GABLER
“An electrifying hit… a wonderful
production” Daily Telegraph
Sponsored by Hydro
ALMEIDA OPERA 2005
“Eccentric, engaging, exuberant,
provocative and entertaining.”
The Times on The Cricket Recovers
BLOOD WEDDING
“Brilliantly directed by Rufus Norris.
Another indication of how well
Michael Attenborough’s management
is doing at the Islington playhouse.”
2004
THE GOAT, OR WHO IS SYLVIA?
“Superbly written…brilliant… flawless
production; you won’t find more
blazing acting anywhere… see it if
you see nothing else.” Mail on Sunday
Sponsored by Aspen Re
FESTEN
“Electrifying, shocking and profoundly
moving… such talent, such skill, such
humanity. Something to celebrate.”
Sunday Times
WHISTLING PSYCHE
“An intense, haunting and beautiful
play… two remarkable performances…
marvellously rewarding.” Mail on Sunday
ALMEIDA OPERA 2004
“Rapturously intense… the
performances are wonderfully
precise.” The Guardian on lo Passion
Daily Express
BRIGHTON ROCK
“An intelligent, edgy, adult musical
which gives you something to think
about...Hooray for that...a production
of brilliant clarity...crackles with energy
and evil.” Daily Express
THE EARTHLY PARADISE
“Gorgeous writing… very compelling,
lovely and tragic. My play of the year.”
New Statesman
Sponsored by Cadwalader
2005
MACBETH
“The most powerful, chilling, evil –
feeling Macbeth sinced McKellen
and Dench.” The Times
ROMANCE
“You laugh uproariously...it’s a silly
person who doesn’t.” Financial Times
THE HYPOCHONDRIAC
“Lindsay Posner’s exuberant,
superbly-acted production is riotously
entertaining - has you laughing like
a drain.” Daily Telegraph
2006
THE LATE HENRY MOSS
“A thrilling new play...acted up to the
hilt by a remarkable company...an
astonishingly wrought, high drama”
Evening Standard
Sponsored by Pinsent Masons
Sponsored by Aspen Re
3: Flaminia Cinque (Conchalla) and Trevor Cooper
(Henry) The Late Henry Moss, photo by John Haynes
4: Sinead Cusack (Abby), John Hannah (Ben)
The Mercy Seat, photo by John Haynes
5: Jonny Lee Miller (Christian), Tom Hardy (Michael)
Festen, photo by John Haynes
ALMEIDA
ALMEIDA OPERA
OPERA
26
26 JUNE
JUNE –– 24
24 JULY
JULY
2006
2006
Paris
Paris Opera
Opera Atelier
Atelier Lyrique
Lyrique
in
inXavier
Xavier Dayer’s
Dayer’s version
version of
Maeterlinck’s
Maeterlinck’s
LES
LES AVEUGLES
AVEUGLES
UK
UKpremiere
premiere
Michael
Michael Nyman
Nyman &
& Michael
Michael Hastings
LOVE COUNTS
COUNTS
LOVE
Raymond Yiu
Yiu &
& Lee
Lee Warren
Warren
Raymond
THE ORIGINAL
ORIGINAL
THE
CHINESE CONJUROR
CONJUROR
CHINESE
Plusconcerts
concertsand
and
Plus
specialevents
events
special
The Almeida’s annual season of new
The Almeida’s annual season of new
opera and music theatre, every June
opera and music theatre, every June
& July. Full programme announced
& July. Full programme announced
and tickets on sale 5 April.
and tickets on sale 5 April.
www.almeida.co.uk/opera
www.almeida.co.uk/opera
Almeida Opera is supported by The Peter Moores Foundation,
Almeida
Opera issupport
supported
TheFoyle
PeterFoundation.
Moores Foundation,
with additional
frombyThe
with
additional
support
The Foyleare
Foundation.
The
performances
offrom
Les Aveugles
presented with the
Thesupport
performances
of Les
Aveugles are
of Columbia
Foundation,
Sanpresented
Francisco.with the
support of Columbia Foundation, San Francisco.
To be the first to hear about our
To be the first to hear about our
events and activities, sign up to our
events and activities, sign up to our
e-mail list by sending a message to:
e-mail list by sending a message to:
opera@almeida.co.uk
opera@almeida.co.uk
Image Corbis
5th May – 24th June 2006
ENEMIES
By Maxim Gorky
A new version by David Hare
Production Sponsor
Directed by Michael Attenborough
Designed by Simon Higlett
Lighting by Tim Mitchell
Sound by Paul Arditti
Cast Includes: Martin Barron,
Amanda Drew, John Higgins,
Tony Kebbell, Edward Peel,
Amanda Root, Graham Turner,
Tony Turner, Sandra Voe,
Deka Walmsley and Robin Weaver.
Production supported by Roger Wingate
Our AUTUMN SEASON will be on sale from May 2006.
for more details see www.almeida.co.uk
Box Office 020 7359 4404 www.almeida.co.uk
ALMEIDA PROJECTS
Year 7s and the company of Sick! at Highbury Grove School. Photo by Bridget Jones.
Primary and Drayton Park took part
in workshops and then attended a
performance at Highbury Grove
School as part of a project to help
children make the transition from
primary to secondary school.
INTRODUCTORY WORKSHOPS
– Locally, nationally and online
Supporting Period of Adjustment and
the national tour of Festen, Almeida
Projects is leading participatory
workshops exploring the techniques
behind creative and rehearsal
processes. Ideas for further
exploration can be found on our
website www.almeidaprojects.co.uk
HAPPY MONDAYS
Almeida Projects draws on
the expertise of theatre
artists and brings them
into contact with our
community partners,
promoting innovative
creative exchange between
the Almeida and Islington.
SICK! @ SCHOOL
So far this season, with SICK! our
first-ever production created
especially for 11 year olds, over 2000
local young people have participated
in design, music and drama
workshops as well as attending
performances at the Almeida or in
their school. In addition, Year 6
primary school children from
Highbury Quadrant, Rotherfield
This season we are piloting an
initiative offering top price tickets for
£3 on the first Monday in the
production run to local students who
have been involved in our residency
programmes and have now left
school.
What makes a good story? What makes us laugh till we burst,
causes our blood to boil or inspires us so much we have to write
it down so that everyone can share it?
WRITE.
Between November 2005 and the end
of January 2006, 152 first-time writers
with a connection to Islington
answered our call to action. They sent
us their new ideas in the form of a 2page script. During February each
script was read three times by a panel
of 20 readers who selected a small
group of the writers to take part in a
playwriting workshop at the Almeida.
Now the writers are working on a
15-minute script ready for a second
workshop. We are looking forward to
the final phase of WRITE. in which
the most exciting, original,
provocative and inspiring of the
15-minute scripts will be produced at
the Almeida in July.
The fund has been launched in memory of
Jinny McCallister, Theatre Manager at the
Almeida from 2002-2005. Jinny had an
infectious passion for playwriting and
theatre. It is our wish to provide support,
expertise and opportunities to encourage
more playwrights like her.
THE ALMEIDA THEATRE
COMPANY
The Almeida Board
Richard Haythornthwaite
Chair
Baroness McIntosh
Mary Francis
of Hudnall
Anupam Ganguli
Rodney Milnes
Michael Gwinnell
Rufus Olins
A. Michael Hoffman
Nigel Pantling
Thelma Holt CBE
Trevor Phillips
Linden Ife
David Robbie (Treasurer)
Carol Lake
Alastair Ross-Goobey CBE
Rosemary Leith
Carl Tack
Artistic Directors
1980 – 1990 Pierre Audi(Founder)
1990 – 2002 Jonathan Kent
Ian McDiarmid
2002 –
Michael Attenborough
ADMINISTRATION
General Manager
Ros Brooke-Taylor
Assistant to the
Directorate
Morgan Tovey Frost
Administrative and
Production Assistant
Laura Pickard
ALMEIDA OPERA
Producer
Patrick Dickie
Aldeburgh Almeida Opera
Jonathan Reekie
James Brown
Music Director
David Parry
Concerts Director
John Woolrich
ALMEIDA PROJECTS
Projects Director
Rebecca Manson Jones
Projects Co-ordinator
Ned Glasier
Audience Development
Assistant
Nuala Phillips
BAR
Bar Manager
Hannah Woolhouse
Kitchen Supervisor
Dance Robinson
Deputy Bar Manager
Lanre Bankole
Duty Manager
Tim Appleby
Bar Staff
Lorrain Chow
Berry Cochrane
Hywel John
Brian Kavanagh
Joseph Kloska*
Fiona Morrell
Kenneth Olaf Hjellum
Sarah Paxton
Justin Pearson
Sammy Phillips
Melissa Smith
Tristan Tull*
Akari Ueyama
Lucia Vivanco*
* Also occasional
Duty Managers
BOX OFFICE
Box Office Manager
Rachel Tattersdill
Box Office Assistants
Justin Giles
Alison Holder
Nuala Phillips
Jonathan Speer
Sarah Tipple
Suzanne Walker
Miranda Yates
Ailsa Ilot
DEVELOPMENT
Head of Development
Elizabeth Fowler
Development Manager
Kirsten Holmes
Events Manager
Sarah Ben-Tovim
Development
Co-ordinator
Susie Parker
Development Assistant
Despina Tsatsas
Development Council
A. Michael Hoffman
Chair
Sue Baring
Georgiana Boothby
Kate Bucknell
Sarah Elson
Christophe Gollut
The Lord Hart of Chilton
John Kinder
Bruce Kovner
Rosemary Leith
Lili Mahtani
Nicky Manby
Georgia Oetker
Jessica de Rothschild
Martha Tack
Andrea Wilson
Artistic Director
Michael Attenborough
Writer in Residence
Roy Williams
Executive Director
Neil Constable
Music Advisor
Jonathan Dove
Artistic Associate
Jenny Worton
Lighting Advisor
Mark Henderson
Associate Director
Howard Davies
Sound Advisor
John Leonard
FINANCE
Head of Finance
Fraser Jopp
Finance Assistant
Joy Aitchison
Rebecca Toogood
Luke Vyner
Yu-Chen Wang
David Weinberg
Theatre Tour Guide
Jenny Hargreaves
Cleaning Staff
Excell Cleaning
Services Ltd
Mary Okeke
FRONT OF HOUSE
Theatre Manager
Helen Cooles
Duty Managers
Nick Durant
Mila Sanders
Jonathan Speer
Phillippa Cole
Head Ushers
Stephanie Bamberg
Geraldine Caulfield
Imogen Cooper
Chris Corby
Nick Durant
Alison Holder
Claire Houlton
Hannah Lee
Ailsa Ilot
Adele Salem
Mila Sanders
Jonathon Speer
Sarah Tipple
Ushers
Dom Adelaja
Sofka Amour Brown
Tanya Aiken
Judith Batchelor
Mark Bixter
Lydia Eyre
Vanessa Fogarty
Sylvie Gallant
Abigail Hollick
Andrew Howard
Janice Howard
Grainne Maguire
Mary Okeke
Julia Parr
Amos Pate
Roberta Pitre
Anne Sheasby
Dervla Whiteside
Katie Graham
Associate Actors
Simon Russell Beale
Josette Bushell-Mingo
Meera Syal
Richard Wilson
Penelope Wilton
MARKETING
Head of Marketing
Jane Macpherson
Marketing Assistant
Cherry Williams
PRESS
Press Representative
Janine Shalom at
McDonald & Rutter
020 7637 2600
PRODUCTION
Technical Director
James Crout
Production Manager
Igor
Company Manager
Rupert Carlile
Stage Manager
Suzanne Bourke
Chief Technician
Jason Wescombe
Lighting Technician
Robin Fisher
Theatre Technician
Howard Wood
Wardrobe Supervisor
Catrina Richardson
CONSULTANTS
Scripts Advisor
Barry McCarthy
Structural Engineering
Consultants
Alan Conisbee Associates
Surveyor to the Almeida
Hedley Merriman
Auditors
BDO Stoy Hayward
Solicitors
Cumberland & Ellis
Mishcon de Reya
Wedlake Saint
Production Insurance
Walton & Parkinson Ltd
Security
Secure Watch UK
Access Consultant Group
Michael Godfrey
Wendy Haslam
Ian Jentle
Lois Keith
Deborah Neve
Graphic Design
Sarah Hyndman
Programme Print
Cantate Battleys
“The country’s
hottest theatre”
Daily Telegraph
JOIN THE
ALMEIDA’S
CIRCLE OF
SUPPORTERS
Every donation made through our Circle of
Supporters scheme is vital to ensuring
that the Almeida can continue to mount
productions of outstanding quality in our
beautifully refurbished theatre.
IN ADDITION YOU CAN BENEFIT FROM:
• Priority booking
• Advance mailing
• Exclusive events
• Quarterly newsletter
• Special offers
• Programme accreditation
• Personalised booking
• Access to sold out shows
See overleaf for more details.
(Benefits depend on level of support)
If you would like to help us and become
more involved with the theatre and its
work, please join our Circle of Supporters
today.
For further information please call
020 7288 4930 or email Susie Parker at
sparker@almeida.co.uk
Jonathan Pryce in Edward Albee’s The Goat, or Who is Sylvia?
Photographer: John Haynes
PLEASE SUPPORT THE ALMEIDA AT
ONE OF THE FOLLOWING LEVELS:
I would like to join the Almeida’s Circle of
Supporters at the following level:
(The amounts listed are suggested donations only)
ALMEIDA FRIENDS (£50+)
For a suggested donation of £50 or more we may
extend the following:
• Advance mailing and priority booking
• Regular information about Almeida news and events
• Invitations to Supporters’ evenings
• Ticket offers when available
ALMEIDA FRIENDS (£50+)
DESIGNERS’ CIRCLE (£120+)
ACTORS’ CIRCLE (£300+)
DIRECTORS’ CIRCLE (£500+)
PATRONS (£1,000+)
DESIGNERS’ CIRCLE (£120+)
BENEFACTORS (£2,500+)
For a suggested donation of £120 or more we may
extend the above and the following:
• Accreditation in Almeida Theatre programmes
• Advance notice of Almeida Galas
Mr/Mrs/Ms/Miss
ACTORS’ CIRCLE (£300+)
Address
PRODUCTION CIRCLE (£5,000+)
ARTISTIC DIRECTOR’S INNER CIRCLE (£10,000+)
For a suggested donation of £300 or more we may
extend the above and the following:
• Personalised booking service through the Development Office
DIRECTORS’ CIRCLE (£500+)
For a suggested donation of £500 or more we may
extend the above and the following:
• Regular press release mailings, including latest
casting updates
• Opportunity of hiring the Almeida Bar for
private functions (subject to availability)
• Invitation to annual Directors’ Circle reception
PATRONS (£1,000+)
For a suggested donation of £1,000 or more we may
extend the above and the following:
• Invitations to selected Press Nights
• Invitations to private post-show discussions with cast
and creative teams
• Invitation to Patrons’ lunch with the Almeida’s
Artistic Director
• Access to house seats when a production is
officially sold-out (subject to availability)
BENEFACTORS (£2,500+)
For a suggested donation of £2,500 or more we may extend the
above and the following:
• Invitations to every Press Night
• Acknowledgement on the Benefactors’ Board in
the Theatre Foyer
• Private Backstage Tour
Postcode
Tel (day)
Tel (eve)
Please acknowledge me/us in the Almeida Programmes as:
(for gifts over £120)
1. BY CHEQUE
I enclose a cheque made payable to The Almeida Theatre for
£
2. BY CREDIT CARD
(You can also pay by calling Susie Parker in the Development Office
between 10am and 6pm Monday to Friday on 020 7288 4930)
Please charge my credit card with
£
Card No
Start date
Expiry date
Issue No (Switch only)
Signature
Date
PRODUCTION CIRCLE (£5,000+)
Card Type Mastercard / American Express / Switch / Visa
(please delete as appropriate)
For a suggested donation of £5,000 or more we may extend the
above and the following:
• Invitations to selected dress or technical rehearsals
• Draft scripts when rehearsals for productions begin
• Published scripts signed by cast or creative teams
(subject to availability)
GIFT AID
I am a UK taxpayer and would like the enclosed donation and any
further donations I may make to the Almeida Theatre to be tax
effective under the Gift Aid scheme until I notify you otherwise.
ARTISTIC DIRECTOR’S INNER CIRCLE (£10,000+)
Signature
For a suggested donation of £10,000 or more we may extend the
above and the following:
A unique opportunity for a small team of individuals to become
closely involved at the heart of the theatre company. Forming an
exclusive partnership with the Artistic Director, members will play a
crucial and active role in enabling the theatre’s programme and the
artistic standards for which the Almeida is renowned.
Date
PLEASE RETURN THIS FORM TO:
ALMEIDA CIRCLE OF SUPPORTERS, FREEPOST LON18195, N1 1BR
The Almeida is a registered charity no. 282167. Inland Revenue number XN 64354
ALMEIDA SUPPORTERS
We are immensely grateful to the following for their ongoing support of
the theatre and its work.
Principal Sponsor
Production Sponsor
Major Sponsors
Arts & Business
Cadwalader, Wickersham
& Taft LLP
Hydro
Pinsent Masons
Prada
Corporate Partners
Ashurst
Bloomberg LP
BP
Cumberland and Ellis
Deutsche Bank
Langsdale Crook
Linklaters
Man Group
Market Probe
Mishcon de Reya
Palamon Capital Partners, Ltd
Reed
Slaughter and May
Tulchan Communications
Local Corporate Partners
Bolt Burdon Solicitors
Frederick’s
The Gagosian Gallery, London
Ottolenghi
Major Donors
Buff & Johnnie Chace
The Columbia Foundation, San
Francisco
Ormonde & Mildred Duveen
Trust
The Esmee Fairbairn Foundation
The Genesis Foundation
The Hon. Daphne Guinness
Niarchos
The Ingram Trust
Harvey & Allison McGrath
The Laura Pels Foundation
The Tara Ulemek Foundation
The Harold Hyam Wingate
Foundation
Almeida Opera Supporters
John S. Cohen Foundation
The Columbia Foundation, San
Francisco
The Foyle Foundation
Peter Moores Foundation
Almeida Projects Supporters
Anonymous
Business Design Centre
Sir John Cass’s Foundation
Raymond Cazalet Charitable
Trust
The Goldsmiths’ Company
The Worshipful Company of
Grocers
The Paul Hamlyn Foundation
The Kreitman Foundation
JPMorgan Foundations
The Lord Mayor’s Appeal
The Mackintosh Foundation
The Mercers’ Company
The Rayne Foundation
Richard Reeve’s Foundation
The Foundation for Sport
& the Arts
The Wates Foundation
Artistic Director’s Inner Circle
Anonymous
Mrs Claus von Bulow
Jack and Linda Keenan
Ella Krasner
Midge and Simon Palley
The Rausing Abraham Arts Fund
David Robbie
Stuart and Hilary Williams
Production Circle
Susan & John Burns
Stamos J. Fafalios
Cathy & Guy Gronquist
John Kinder
The Marina Kleinwort Trust
Duncan Moore & Susan Hahn
Carl & Martha Tack
Edgar & Judith Wallner
Benefactors
Mr Clyde Cooper
Ian & Caroline Cormack
Angus Deayton
Sarah & Louis Elson
Celeste Fenichel
Beth Glynn
Marcia & Richard Grand
Barbara & Michael Gwinnell
Stephanie & Carter McClelland
Paul and Elizabeth O’Hanlon
Wayne Rapozo
Lady Jane Rayne
Lord and Lady Simon
Norma & David Smith
Jan and Michael Topham
Michael & Kate Yates
Patrons
Anonymous
Mary & Irwin Ackerman
Act Productions
Jeffrey Archer
Jamie Arkell
Arimathea Charitable Trust
Keith & Barbara Bain
Derek & Bonnie Bandeen
Sue Baring & Andre Newburg
Cornelius Barry
Steve Barnett & Alexandra Marks
Lord & Lady Bernstein
Kate & Colin Birss
Tony & Gisela Bloom
Mr & Mrs Benjamin Bonas
Miriam Borchard
Daphne & Shelley Borkum
K.L. Breuss & G.P. Burgess
Steven & Ellen Bowman
Katie Bradford
Georgina Calvey
Richard & Robin Chapman
Mr William Claxton-Smith
Mrs Denise Cohen
Coline Covington
Mr & Mrs Stephen Cox
Mr & Mrs Karl Dannenbaum
Mr Robert H.F. Devereux
Glenn & Phyllida Earle
Richard & Linda Ely
Mr Peter Englander
John & Tawna Farmer
Joachim Fleury
Tim Fosberry
Linda & Clive Fowler
Daniel Friel
Robert & Pirjo Gardiner
Mr & Mrs A Geczy
Jackie & Michael Gee
Jacqueline & Jonathan Gestetner
Lydia & Manfred Gorvy
David Graham
Nick Gray
Nick & Annette Mason
Byron Grote & Susan Miller
Andrew Haigh
Pamela, Lady Harlech
Alisdair & Sophie
Haythornthwaite
James Hayward
Michael & Morven Heller
Dorothy Henderson
Jerry & Barbara Hines
Phillip Hobbs
Clare & Bernard Horn
Christopher Hyder
Linden Ife
Dr and Dr C Kaplanis
Mr & Mrs Philip Kingsley
Christian Kwek & David Hodges
Mary Friday Leadbetter
Marsha & Alan Lee
Charles & Nicky Manby
Mr Raul Margara
Elizabeth Meyer
Jeremy Miles
Mr Julian Mills
Mrs Robin Heller Moss
Matthew Nicklin
Christopher Nugee & Emily
Thornberry
Harald Orneberg
The Oyster Foundation
Desmond Page & Asun Gelardin
J Francis Palamara
Barrie Pearson
Mr & Mrs William Plapinger
The Posgate Charitable Trust
Clare Rich & Robert Marshall
Alan Rickman
Sue & Tony Rosner
William & Julie Ryan
Dr Mortimer & Theresa
Sackler Foundation
Susie Sainsbury
Mr & Mrs Richard J Schwartz
Jon & NoraLee Sedmak
Alex Segal
Mrs Carol Sellars
Jennifer Sevaux
Rosalyn & Nicholas Springer
Richard Sykes & Penny Mason
Christian & Sarah ThunHohenstein
Sarka Tourres
Judith Unwin
Roderick & Melanie Vere Nicoll
Mr P Voyce
Eric & Katharina Walters
Bob & India Wardrop
Lady Alexander of Weedon
George & Patricia White
Rachel & Anthony Williams
Martha & David Winfield
Jack & Lina Wood
Mr Neil Woodgate
Mr CC Wright
Directors’ Circle
Countess Monika Apponyi
Cliff & Fiona Atkins
Jane Attias
Leslie Balfour-Lynn
J & A Benard
Neil and Ann Benson
Martin Black
Sally A. Bourne
Ms Diana Brant
Keith & Lauren Breslauer
Anthony Bunker
Sir Geoffrey and Lady Cass
Mr & Mrs Peter Christie
Mr Simon Clark
Mrs Licia Crystal
George T Dragonas
Winston & Jean Fletcher
Margaret Ford & John Stewart
Anupam Ganguli
Mr Farzin S Ghandchi
Michael Goddard
Mimi & Peter Haas
Abel Halpern & Helen ChungHalpern
Neville & Veronika Harris
Deborah Hay
Kari Hegarty
Mr Charles Henderson
Richard Heseltine
Jean & Don Hurley
Sir Robin & Lady Jacob
David Kaskel & Christopher
Teano
Peter & Maria Kellner
Mr & Mrs David Lakhdhir
Muriel Lambert
Lady Lever
Mark & Sophie Lewisohn
London Arts Discovery Tours
Brenda Meldrum
Elizabeth Meyer
Maggie Mills
Ms Barbara Minto
Alex & Sarah Ninian
Asha & Trevor Phillips
John & Laurel Rafter
Anthony Regan
Lyn Rothman
Mr Charles Russell
Mr & Mrs Anthony Salz
Mr R M Schlein
Lois Sieff OBE
Mark & Deirdre Simpson
Mr Brian D Smith
Tim & Sophia Steel
Adam & Sheri Sticpewich
Dr Miriam Stoppard
Mr & Mrs R D Szpiro
Ms Eileen Taylor
Sally Walden
Marilyn & Geoffrey Wilson
Miss Wendy Wolfcarius
Mr & Mrs Roger Wyand
Actors’ Circle
Brian Abbs
Alexis Abraham
J Aldred
Mr Simon Aldridge
Rosemary Astles
Alexander Balcombe
Mrs L Balfour-Lynn
Brian & Ruth Barclay
Mr Dean Barrett
Susan Barty
David & Primrose Bell
Larry & Davina Belling
Mr J R Benfield
Michael & Lesley Bennett
Mr & Mrs David M Blackburn
Mr & Mrs Anthony Blee
Charles Bonas
Katie Bradford
Ms Sandy Braun
Joshua Brody
David & Angela Brook
Sir Simon & Lady Brown
Ossi & Paul Burger
Peter & Diana Cawdron
Mrs Valerie Chinchen
Mr G F Chronnell
Mr & Mrs Musa Farhi
Robert Feit
Ferdinand Kelly Solicitors
Heidi Bradner & Fabrizio Ferrero
Mr Stephen Finch
John Coblenz
Richard Collins
Carole & Neville Conrad
Lynette & Robert Craig
Sheila Cross
Paul Cullington
Mrs Pamela Curwen
Gill Cutbill & Ged Davies
David Day
Yvonne Destribats
Mr R J Dormer
Robyn Durie
Julie Edwards
Jim & Maureen Elton
Jane Epstein
Austin & Ragna Erwin
Mr Alan Fenton
Jack & Irene Finkler
Emily & Alex Fletcher
Mr Stephen Foss
Mr Daniel Garvey
Brian Gitlin
Stuart Goldsmith & Elinor Ball
Robert & Clare Gray
Richard Greaves & Joanna
Munro
Brian and Rosita Green
Nick & Fiona Green
Graeme & Fiona Griffiths
Susan & Don Guiney
Mrs Susan Harbour
Sheila & John Harvey
Ms Clodagh Hayes
Ms Sioban Healy
Martin & Alicia Herbert
Michael & Jennifer Hershon
Michael Holter
Rob & Sally Hull
Martha Hummer-Bradley
Mr Roger Jospe
Roger Lascelles
Mr & Mrs B Lesslie
Mr Gerald Levin
Mr Charles Lister
Mr Christopher G Martin
Nan-Yeong & Stephen Matthews
Rod & Mina McManigal
Maggie Mills & Stephen Price
Nathan Mobley
Mr Peter Molyneux
The Morris-Jones Family
Despina Moschos
Michael & Mimi Naughton
Mr Philip Noel
Ms Jane Norbury
Gerald O’Leary
David C Olstein
Mr C D Organ
Jeremy & Mary Vere Parr
Julie Patten
Mr & Mrs George Pincus
Cindy Polemis & Rick Wells
Mr Richard Polo
Mr Jack Pryde
George & Karen Rathman
Guido Rauch
Stephen Reynolds
Timothy & Judith Ritchie
Mary Robey
Broocks Robertson
Mr G C Rodopoulos
Julian & Catherine Roskill
James Richard Rowe
Samuel French Ltd
Barry Serjent
Dasha Shenkman
Ms Barbara Sieratzki
Ken & Wendy Skelton
Sue and Stuart Stradling
John Stefanidis
Christoph & Marion Trestler
Monica Tross
Lord & Lady Tugendhat
Mr William Underhill
Izak Uziyel
Elizabeth & Jeremy Wagener
Nicholas Watkinson
Frank & Denie Weil
Mrs Susan Weingarten
Mr & Mrs R A M Welsford
Jeremy Willoughby OBE
Sid Wills & Alison Barty
Jonathan Yudkin
Designers’ Circle
Raymond A Adams
Nicola Allpress
D J Almeida
Miss Tabitha Alwyn
John & Joyce Ambruster
Stephen Artus
Mr Anthony Barnard
Mr & Mrs Andrew Barnett
Zac & Lucy Barratt
Bernard Barrett
Sarah Barth
Mr Joseph Becker
Christopher Benson
Rita & Ian Binder
Mrs L E Blakley
Mr & Mrs Boesch
Mr M R Bowley
Mandy Bridger
Ms E Bristow
Ms M Bromley
Mr G Brooke
Rob Brooks
Irene & Bernard
Buckman Foundation
Mr C L Bulford
Mr Claus Von Bulow
Mr & Mrs Michael Bungey
Dr Nigel Burton
Mr and Mrs Martin Buss
Belinda Cadbury
Jonathan Cameron
Mrs R J A Carawan
Mrs Calliope Caroussis
Geraldine Caulfield
Lady Cazalet
James Chesterman
Mr S J Clayman
Walter Cliff
Mrs Suzy Clode
Mr K Cohen
Mr T Coldrey
John & Rosemary Coldwell
Claire & Ivor Connick
Mr Timothy Corner
Mr J D M Cosgrove
Ms Coline Covington
Rosamund Shelley, Lady Cox
Ross & Maria Crawford
Ms Kate Crehan
John Crisp
Jonathan Crow
Anthony Croxford
Timothy & Patricia Daunt
Professor Philip David
Dr Sheilagh Davies
Roger J Davis
Graham & Christine Dawson
Mrs Anita De Lotbiniere
Ms Kim Dietzel
Mrs Denise Dix
Mr Kendall Duesbury
Mr John A. Eidinow
Avril Elgar
Miss Sally England
Mrs Joy Eve
Mark Everett
Mr & Mrs P D Falk
Christine James & Susan Flegg
Lindy Fletcher
Winston & Jean Fletcher
Tony & Jane Fogg
Mr P L Folmer
Jackie Fry
Mrs Melanie Gibson
Bobbie Ginswick
Michael Godbee
Janine Goedert
Diana & Alex Good
Julian and Heather Goodhew
Ms S J Goodman
Ms Eleanor Gordon
John Gordon
Mr Ian Grant
Ms Eva Greenspan
Linda & Richard Grosse
Grouse Investment
Nerissa Guest
Debby Guthrie
Maurice & Valerie Halperin
Mrs Isobel Hancock
Crawford & Mary Harris
Martin Harris
Neil Hart
Maureen and Derek Harte
Rosemary Hanson
Sarah Havens & Gregg Sando
Jonathan and Hélène Haw
Ms C F Hawkhead
Mr Robert J Henderson
Polly Hester
Andy & Janelle Hill
Ashley Hill
Jane Hill
Caroline Hoare & Charles
Hebbert
Andrew Hochhauser QC
& Graham Marchant
Mr Lew Hodges
Madeleine Hodgkin
Ruth Holden
Mrs Rosemary Hood
Mr Steven Horner
Mrs Rebecca Hume
Michael Hurdelbrink & Audrey
Buchanan
Jacky Hyer
Tamara Ingram
Christine Jay
Professor Norman Joels
Mrs M Johnston
Mr Simon Jones
The JP Morgan Fleming
Foundation
Mark & Margaret Kelly
Ms Katherine Wehrle Kend
Brian & Janet King
David & Gisela Kingsley
Sarah & Christopher Knight
Ruth & Peter Kraus
Katya Krausova
Kudos Film and Television
Mr Renton Laidlaw
Mr & Mrs Roger Lambert
Mr and Mrs Harald Lamotte
Mrs A Lampert
Mr David Lanch
Roger Lascelles
Jaquie Lavy
Alan Leibowitz & Barbara Weiss
Judy Lever
Mrs Joan R Levine
Colette & Peter Levy
Mr Dennis M Levy
Mrs Susan Licht
Mr & Mrs LE Linaker
Elaine Marie Lomenzo
Judith Green Loose
Mr Lawrence Lowenthal
Mr Simon MacLachlan
C & I Maggs
Donald & Sally Main
Janet Martin
Christopher & Clare McCann
John McGinley
Lynette & Willie McKechnie
Mr John Mead
Ms A Millar
Ms Francine Miller
In memory of Lorna Miller
Nathan Mobley
Mr & Mrs Modiano
Ms Tessa Moloney
Anna Moreno
Sean Murphy
Mrs VG Murray
Mr & Mrs Myddleton
Manni & Katharine Nathoo
Dr Venetia Newall
James Nicol
Mr Gareth Noonan
Clive & Annie Norton
Ms Silvia Oclander-Goldie
Maria O’Donnell
Francis Oeser
Christine Oliver
Sarah & Steve Ozin
Mr Marcelo Paes De Mello
Susan Palm
Nigel Pantling
Mrs Carolyn Parker Bowles
Ms Sara Parkin
Mrs Joyce Parsons
Miss SJ Pearce
Mr & Mrs Pedro del Castillo
Nick Perry
Ms G A Piergies
Louisa Pires
Professor Brice Pitt
Sir Mark & Lady Undine Potter
Preben & Annie Prebenson
Enid Prevezer
Mrs Caroline Price
Sue Prickett
Jane Pritchard
Dr Susan Rankine
Ms Ruth Rattenbury
Liz & Nick Reeve
Christopher Marek Rencki
Mrs Mary Rendall
Anthony Rhodes
Richard Rieser & Susie Burrows
Kathleen Roberts
Shirley & Ivan Rodriguez
John Rogan
Sir David & Lady Rowland
Anthony Rudd
Mrs Susan Rudeloff
Dr & Mrs Saggar
Simon & Abigail Sargent
Mrs Mary W M Savill
Frederic Schneider
Gilly Schuster
Babara Scott
Mr & Mrs Colin Scott-Malden
Mr & Mrs Scrase Dickins
Lucie Seaton
Dr Martin Seifert & Dr Jackie
Morris
Mrs Susan Shammas
Mr T W Sharp
Richard & Helen Sheldon
Mr M Shenfield
Diane Sheridan
Justin Shinebourne & Laurence
Chaussinand
Elaine & English Showalter
Mr Harold Shupak
Ricky Shuttleworth
Jonathon Silver
Mark Silverstein
Sir Peter & Lady Singer
Frances Smith
Peter & Moira Smith
Michael Smith
Mr & Mrs Robin Stainer
Sue Stapely
M. Stassinopoulos-Carras
Mr AP & Mrs M T Stirling
Lady Sandra Jean Sullivan
Mrs Anne-Marie Sutcliffe
Anne & Paul Swain
Miss Elizabeth Taylor
Mr D. A. Thomas
Penny Tompkins & James Lawley
Sarah Tonks
James & Sarah Treco
Mr & Mrs Chris Turner
Ms Julia Tyler
The Lady Marina Vaizey
Mr Andrew Wales
Yasmin Waljee & Gregor Lusty
Neville & Sally Walton
Lady Ward
Mrs Carolyn Ware
Sue & Alan Warner
Eva M Weininger
Mr John Welz
Miss Lisa Whiffen
Mr Widdis
Gillian Ann Williams
Dr Peter Willis
Janine Wills
Ms Ann E F Wingate
Mr & Mrs D Woolf
Richard Worts & Nicola
Shackelton
Mr CC Wright
Jeffrey & Fenella Young
We would like to thank the following individuals for their dedication and support.
Gala Committee Chairs
Saffron Burrows & Sydney Finch
The Hypochondriac
Corporate Council
Rosemary Leith
Chair
Local Liaison Committee
Nicky Manby
Chair
Thelma Holt & Damian Lewis
Macbeth
Mary Francis
Andrew Grant
Jeremy Hall
Carol Lake
Phil Ley
Henry Timms
Milly Ayliffe
Jenny Black
Katie Bradford
Annie Edge
Susan Hahn
Jessica de Rothschild
The Lady From The Sea
Jenny Hargreaves
Caroline Hoare
Jean Hurley
Linden Ife
Rachel Williams
BUILDING APPEAL
SUPPORTERS
The Almeida extends its deepest gratitude to the following individuals, organisations and trusts
whose generosity made the refurbishment of the theatre possible.
Founding Members
Anonymous
The Ingram Trust
Bruce Kovner
The Kresge Foundation
The Mackintosh Foundation
Georgia Oetker
The Garfield Weston Foundation
Principal Investors
Tony & Gisela Bloom
Bridge House Trust
The Columbia Foundation,
San Francisco
The Clore Duffield Foundation
The Ormonde & Mildred
Duveen Trust
The Foyle Foundation
Michael & Mercedes Hoffman
The Monument Trust
The Dr Mortimer & Theresa
Sackler Foundation
Platinum Supporters
Mary & Irwin Ackerman
Anonymous
Nicholas Berwin
Buff & Johnnie Chace
Michael & Clara Freeman
The John Ellerman Foundation
The Lord Hart of Chilton
Mrs Robin Heller Moss
Jack & Linda Keenan
Harvey & Allison McGrath
Midge & Simon Palley
David Robbie
The Foundation for Sport & the Arts
Carl & Martha Tack
The Thistle Trust
Deidre Whiteside
Ari Zaphiriou Zarifi
Gold Supporters
Lord & Lady Attenborough
Sue Baring & Andre Newburg
The Ron Beller & Jennifer Moses Family
Foundation
Irene Brendel
British Land Company plc
Kate Bucknell & Bob Maguire
The Noël Coward Foundation
Judy Craymer
Polly Edwards
Sarah & Louis Elson
Eric Evans Memorial Trust
Mary Friday Leadbetter
Matthew Greenburgh
Guy & Cathy Gronquist
Rick & Janeen Haythornthwaite
Mrs Drue Heinz DBE
Julie & Thomas Høegh
Carlo & Basia Kapp
Peter & Maria Kellner
Mr & Mrs H A P Kent
John Kinder
The 29th May 1961 Charitable Trust
Duncan Moore & Susan Hahn
Mr & Mrs Wilson F. Nolen
David Norwood
Mary P. Oenslager Foundation Fund
The Rayne Foundation
The Rose Foundation
Alastair & Sarah Ross Goobey
Anthony & Rachel Williams
The Harold Hyam Wingate
Foundation
The Wolfson Foundation
Michael & Kate Yates
Silver Supporters
John & Dianne Browning
Cheyne Walk Foundation
The John S Cohen Foundation
Christophe Gollut
Barbara & Michael Gwinnell
Hammerson plc
Mr & Mrs D E A Higgins
Stephanie & Carter McClelland
Neil Mendoza
Peter Soros
Michael Stone
Bronze Supporters
Keith & Barbara Bain
Rosalind M Bax
Helen Bedford
Kate & Colin Birss
Lady Boothby
Katie Bradford
Ms M Bromley
Martha (Sunny) C. Auersperg von Bulow
Raymond Cazalet Charitable Trust
Rick and Naomi Clucas
Carl & Nancy Cooper
Mrs Licia Crystal
David Day
José & David Dent
Yvonne Destribats
Simon & Liz Dingemans
Robyn Durie
Ralph Fiennes
Emily & Alex Fletcher
Ms Leslie Forbes
Marcia & Richard Grand
Grocers’ Company Charitable Trust
Jonathan & Hélène Haw
Martin & Alicia Herbert
James Hudleston
Phillip & Psiche Hughes Trust
Mrs Huter
Rob & Sherry Johnson
Mr & Mrs Philip Kingsley
The Kreitman Foundation
Mr & Mrs Harald Lamotte
Stuart & Ruth Lipton
Jeanne Linnes
Byrne & Pamela Murphy
Matthew Nicklin
Paul & Elizabeth O’Hanlon
Claudia Pierson & Michael Spies
The Posgate Charitable Trust
Mr and Mrs Andrew Pucher Esq
Philip and Sarah Richards
The Daniel Rosenblum Family Foundation
Lord Saatchi
Jez & Annabel San
Olivia Ma & Steven Schaefer
Jennifer Sevaux
Ricky Shuttleworth
Lord & Lady Simon
Rosalyn & Nicholas Springer
Clare Stracey
Mr & Mrs John Thornton
Antonia Till
Michael & Yvonne Uva
We would also like to thank the many
generous donors whom we are unable
to list individually.
Please do not smoke or eat in the auditorium.
Please remember that noise such as coughing,
rustling of programmes, the bleeping of digital
watches and the ringing of mobile phones can
be distracting to performers and also spoils the
performance for other members of the audience.
PLEASE ENSURE THAT YOUR MOBILE PHONE
IS SWITCHED OFF
The first performance of this production at the
Almeida Theatre, 9th March 2006.
The information in this publication is correct at
the time of going to press.
In accordance with the requirements of the
Council of the London Borough of Islington,
persons shall not be permitted to stand or sit in
any of the gangways intersecting the seating or
to sit in any of the other gangways.
All rights reserved.
© Almeida Theatre
Published March 2006
Registered Charity No. 282167
Please have consideration for local residents
when leaving the theatre.
The Almeida Theatre Company Ltd
Almeida Street, Islington, London N1 1TA
La Petite Auberge
French Bistro
‘Come and experience traditional French cooking
in beautiful surroundings and a relaxing atmosphere’
Mussels, exotic fish and meat dishes,
daily specials, light lunch menu
Pre-theatre Dinner menu available:
2 Courses £6.95
3 Courses £8.50
or 10% Discount from our A La Carte Menu
Please bring your theatre ticket with you
(offer not available Friday or Saturday)
OPEN 7 DAYS A WEEK, FROM 11.00AM TILL LATE
Tel: 020 7359 1046
283 Upper Street, Islington, N1 2TZ
(1 Min walk from the Almeida)
140a Upper Street, London N1 1QY
Tel: 020 7354 4088 Fax: 020 7359 7186
Le Mercury Restaurant, located just across the road from
the Almeida Theatre, cordially invites you to complete
your evening with an outstanding value pre-or post-theatre
French fare:
Starters
@ £3.45
Main Courses @ £5.95
Desserts
@ £2.95
Also, exciting Specials of the Day, Vegetarian Dishes,
great Wine List, knowledgeable and friendly Service and
romantic and cosy Candlelight.
We are open from noon until 1.00 am (last orders).
And, if you are planning a party for any grand occasion,
please let us know and we will create something really
special for you.
We look forward to welcoming you to Le Mercury and
ensuring the whole experience is entirely memorable.
‘An unmistakably
great production
of a magnificent play’
6 APRIL - 3 JUNE
Daily Telegraph
Kathleen
Turner
in
Bill
Irwin
EDWARD ALBEE’S
WHO’S AFRAID OF
VIRGINIA WOOLF?
with
MIREILLE ENOS
DAVID HARBOUR
Directed by
ANTHONY PAGE
‘The most gripping,
and often
the funniest
spectator sport
in town’
Daily Telegraph
Tom Cairns directs
Linda Bassett, Sean Campion,
Michael Feast, Clare Higgins,
Lucy-Anne Holmes, Paul Nicholls,
Marcella Plunkett, Janet Whiteside
‘Funny, ferocious,
devastating,
definitive...
an unmissable
theatrical event’
Mail on Sunday
EARLHAM ST, SEVEN DIALS, LONDON WC2
strictly limited season
www.donmarwarehouse.com
AVE,
APOLLO THEATRE SHAFTESBURY
LONDON W1
PRINCIPAL SPONSOR
BOX OFFICE 0870 890 1101 (BKG
FEE)
sponsored by
www.seevirginiawoolf.com
Photos: Carol Rosegg
BOX OFFICE 0870 060 6624
NO
BKG
FEE
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Lawyers & Independent Financial Advisors
Bolt Burdon - proud
sponsors of the Almeida
Our specialist teams work
together to give best advice
for all personal and business
needs.
Moving home
Trusts, wills and probate
Financial Planning, pensions and investments
Family, divorce and children
Employment
Business advice, agreements, property
and disputes
Phone or email for a preliminary
chat - no charge
020 7288 4700
www.boltburdon.co.uk
16 Theberton Street, Islington London N1 0QX
Tel: 020 7288 4700 Fax: 020 7288 4701
info@boltburdon.co.uk
Regulated by the Law Society. Authorised
and regulated by the Financial Services Authority.
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A leading light on
the legal stage.
One of the brightest names in commercial law, Pinsent Masons is proud to be associated with the Almeida
and wishes them well with their production of Period of Adjustment.
We’re delighted to help make things happen in the arts, just as we do on the business stage worldwide.
Enjoy the performance!
Martin Roberts, London Managing Partner.
www.pinsentmasons.com
We’ve always been happy to
be less famous than our clients
Throughout our long history, Coutts has always been
happy to be less famous than our clients. Clients such as
Sir Henry Irving, Phineas Barnum, Bram Stoker, Charles
Dickens and Frédéric Chopin to name but a few.
Coutts has a long and rich association with the performing
arts, and we are still privileged to have many individuals
from this arena amongst our clients. As a leading sponsor
of the performing arts, Coutts is pleased and proud to
support the Almeida Theatre.
For more information about Coutts, call us on 020 7753 1851
or visit our website www.coutts.com
Bath, Birmingham, Bournemouth, Bristol, Cambridge, Cardiff, Eton, Guildford,
Hampshire, Leeds, Liverpool, London, Manchester, Newcastle upon Tyne,
Nottingham, Oxford,Tunbridge Wells.
CALLS MAY BE RECORDED
Sir Henry Irving was considered to be one of
the greatest actors of his day. He played a wide
range of Shakespearean roles and was a good
friend of Thomas Coutts’ granddaughter.