Stephanie SirrChief Executive

Giles CroftArtistic Director

BOX OFFICE 0115 941 9419NOTTINGHAMPLAYHOUSE.CO.UK

YOUR AUTUMN SEASONAT NOTTINGHAM PLAYHOUSETHE KITE RUNNER29 AUG - 6 SEPTAdapted by Matthew Spangler, based on the novel by Khaled Hosseini

TIME AND THE CONWAYS12 - 27 SEPTBy J. B. PriestleyTH

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PROPAGANDA SWING3 - 18 OCTBy Peter Arnott

ARCADIA31 OCT - 15 NOVBy Tom Stoppard

WELCOMEWe are delighted to be working withaward-winning writer MichaelPinchbeck (The White Album andThe Ashes) in this truly exceptionalpiece that has seen NottinghamPlayhouse partner with ODA Theatre(Prishtina, Kosovo) and Sarajevo WarTheatre SARTR. This internationalpartnership, along with a cast andcreative team from Bosnia andHerzegovina, Kosovo, Holland, Italy,Germany and the United Kingdom, hastruly captured the spirit of the secondcity-wide European Arts and TheatreFestival, neat14. This innovative piecewill take you through the stories ofTorvill and Dean’s gold-medal winningroutine, the music that inspired it andthe explosive events that triggeredWWI and we’re certain it will leave youenlightened and entertained.

In Nottingham we welcome on average110,000 customers through our doorseach year and create productions largeand small: timeless classics, enthrallingfamily shows and adventurous newcommissions, often touring worknationally and internationally.

In 2013 Nottingham PlayhouseTheatre Company productions touredto 27 major towns and cities across theUnited Kingdom. Over more than 50years, the Playhouse stage has playedhost to many outstanding performersand helped create generations ofdedicated theatre-goers. Recentsuccesses have included the Europeanpremiere of The Kite Runner, aco-production with LiverpoolEveryman and Playhouse Theatrewhich broke all box office records, TheLost Plays Revue which marked theofficial naming of the Neville Studio incelebration of former Artistic Director,John Neville, and our co-production ofSteven Berkoff’s Oedipus, also withLiverpool Everyman and PlayhouseTheatre, travelling to the SpoletoFestival in Charleston. In early 2014we co-produced The ThreepennyOpera with Birmingham RepertoryTheatre, Graeae Theatre Company,New Wolsey Theatre Ipswich and WestYorkshire Playhouse. This spring, wewelcome artists from across Europe aspart of neat14.

Our Participation team recentlycelebrated 40 years of creating playsand workshops for children, havingdeveloped a strong local, national andinternational reputation for qualityand innovation.

Highlights this autumn include J.B. Priestley’s Time and theConways, directed by newly-appointed Associate Director Fiona Buffini, the world premiere ofPropaganda Swing by Peter Arnottin co-production with BelgradeTheatre, Coventry and Tom Stoppard’sclassic Arcadia.

To find out more please seewww.nottinghamplayhouse.co.uk orcall our Box Office on 0115 941 9419.

Bolero is a journey. I’ve been onthis journey since I watchedTorvill and Dean dance to Boleroon the television on 14 February1984. Now we’re taking you onthis journey from Nottingham toParis to Sarajevo. From 1914 to2014, from the Opera to theWinter Olympics, from the FirstWorld War to the Bosnian War. Itstarted with a seed. A seed thatgrew into a story. There are sixperformers from across Europetelling this story in differentlanguages and in different timezones in search of a piece of musicthat is in Nottingham’s DNA. Butit doesn’t end there. We want totell you the story of whathappened after Torvill and Deanleft the ice. How seats were turnedinto coffins and the stadium wasused as a morgue. How a requiemwas conducted in the ruins.

We’ve rehearsed in Nottingham,Sarajevo and Prishtina. We’ve metin airports and online. We’velearned how to ice skate and howto notate music. We’ve learned howto say ‘6.0’ in Bosnian and ‘Stop’ inall the languages of the UN. It’s abiography of Bolero that followsRavel’s score note by note, bar bybar, page by page, to the places andpeople who have been touched bythe music. It’s a piece of theatreinspired by the rhythm of Bolero,just as Ravel was inspired by therhythm of gunfire in the FirstWorld War to write it. Everythingis connected to the music and weravel and unravel these threads ofnarrative that weave together likelines left on the ice by skates after adance routine.

I play the part of a conductor,interpreting Bolero, keeping time.You play the part of the audience.At the Opera in 1928. At theOlympics in 1984. Tonight you’llvisit Ravel’s house, his grave andL’Opera Garnier where the balletwas premiered. You’ll visit the ZetraStadium where Torvill and Deandanced, the Olympic Mountainsand the Assassination Museum inSarajevo. You’ll follow the bulletthat triggered the First World Warthrough 100 years of history. You’llfollow the baton of the conductoras he taps his music stand and tellsthe orchestra to stick to the tempo.You’ll help us tell a story. A storythat grew from a seed. We hope youenjoy your journey. A journey insearch of Bolero.

Michael PinchbeckDirector

A NOTE FROMTHE DIRECTOR

www.michaelpinchbeck.co.uk Blog: www.makingbolero.wordpress.com | Facebook: mpinchbeck | Twitter: mdpinchbeck #makingbolero

Photography: Julien Hughes

A NOTE FROM THE PRODUCERThe making of Bolero began in2011 when Theatre WritingPartnership awarded MichaelPinchbeck one of seven MakingTracks bursaries so that he couldmake two journeys; one to Parisand one to Sarajevo. The aim ofMaking Tracks was to create anopportunity for artists toexplore and determine theartistic terms of a newcommissioned work. I have hadthe opportunity to see theoriginal journey continuegeographically and artistically. I have observed a comingtogether of many artists whohave brought generosity andfaith to the process. Far fromreaching its end, the journey ofBolero now takes a newdirection as it reaches audiencesin Europe and beyond.

Kate ChapmanProducer

COMMUNITY CASTWhen we first perfom Bolero atNottingham Playhouse on 31May and 1 June 2014, thefollowing people are going to beinvolved in the community cast:

Nasua Lyamah-Arbouin (UK), Jack A. G. Britton (UK), JoshCurran (UK), Chloe Doherty(UK), Malgorzata Grabowska(Poland), Chris Greenhall (UK),Leo Lanzoni (UK), Giada Maran(Italy), Gwendolen Nelson (UK),Louise Pearson (UK), SarahHelen Pretty (UK), Alice Ratcliffe(UK), Beth Robinson (UK),Mariel Rodart (Mexico), LauraRoe (UK), Alice Samuels (UK),Maria Savva (UK), John Skerritt(UK), Katie Amanda Smith (UK),Suleman Salim (UK) and CoraVanaman (UK).

FUNDING Supported by the NationalLottery through Arts CouncilEngland and the British Council,Bolero is a co-productionbetween Nottingham Playhouse,ODA Theatre (Prishtina) andSarajevo War Theatre. Developedat Dance4, National Ice Centreand Primary with support fromLoughborough University andthe University of Lincoln,Bolero began life as part ofMaking Tracks.

Taken from an interview withDerek Graham at NottinghamPlayhouse for their Backstage Pass Members’ newsletter.

You’ve spoken about “lettingthe music tell the story” and“sticking to the tempo”: whatdoes that mean in terms of theproduction?

I have been listening to Bolero tounderstand the rhythm. Ravel saidconductors should ‘stick to thetempo’ and we are trying to do thesame. We do this by making therhythm of the text mirror therhythm of the music or by lettingour footsteps and movementshappen in the same tempo. We make noises with pencils and batons and a typewriter that flirt with the rhythm of Bolero.Everything we are doing onstage is related to Bolero in some wayand has come from my researchinto the music and the actors’experience of performing to it. It is a biography of a piece of musicand weaves together the stories ofRavel writing it, Torvill and Deandancing to it, the First World Warand the Bosnian War.

To help create this piece,you’ve undertaken extensiveresearch and travel, andworked closely with theatremakers from Kosovo, Germanyand Bosnia & Herzegovina.How has that affected theshow’s development?

It has made it richer and morecomplex but in some waysbecomes more like conducting anorchestra of different voices,different languages and differentbackgrounds. There are storiesonly some people can tell of livingthrough a siege or crawling acrossa runway during a war and whatthis project has done has openedup a space for us to share thesestories and also to experimentwith performing each other’sstories. My job has been toconduct the process.

The show throws up somealmost uncanny connectionsand correspondences betweendifferent times and places.What for you were the moststriking? (Or, how have thesehelped shape the play?)

There are lots of coincidences.Archduke Franz Ferdinand lived inthe Palace of Belvedere in Viennaand Ravel’s house outside Paris iscalled Belvedere. Gavrilo Princip,the assassin of Franz Ferdinand,contracted TB and had his armtied up with a piano wire. ZubinMehta, the conductor famouslyconducted Bolero for a 1973 film

of the same name and went ontoconduct Mozart’s Requiem in thebombed-out City Hall in Sarajevo.City Hall is where Archduke FranzFerdinand was visiting when hewas assassinated. He was only shotbecause the driver took a wrongturn. Finally we have a characterwho is a theatre director fromSarajevo, who tried to enter thecity during the siege. He went onto direct a show about Bolero. Wetell all of these stories in our showand all of them are related in someway to the music, either through anarrative connection, a visualimage or through the rhythm ofthe delivery.

After two years of writing,what form does the finalproduction take?

It is a devised biography ofBolero. So we do read out a textwhich has been written down butactually some of this is verbatim,taken from interviews, and therest has been improvised by thecast. It is also a multilingualperformance in the sense that wespeak Bosnian, French andGerman as well as English.

What do you hope attenderswill take away from Bolero?

I would like them to feel therhythm of Bolero, and even if wedon’t play it, to think that theyhave heard it.

By Michael Pinchbeck

MAKING BOLEROTaken from www.makingbolero.wordpress.com

IN SEARCH OF BOLEROTaken from www.makingbolero.wordpress.com

Towards the end of April we spent four daysworking at the National Ice Centre in Nottinghamon the Community Cast element of Bolero. Wehave a fantastic team of people involved fromacross the East Midlands. The community castcomprises students from De Montfort University,the University of Lincoln, LoughboroughUniversity, the University of Nottingham andmembers of New Art Exchange’s Yard TheatreCompany. The cast were working withchoreographer, Arianna Maiorani, a formerballerina who has danced to Bolero and hascreated a three act choreography that willcorrespond to, collide with and echo theperformance at Nottingham Playhouse.

In 2012, I made a journey to Paris andSarajevo in search of Bolero where Ravelwrote the music in 1928 and Torvill andDean danced to it in 1984. In 2014, I willpremiere a performance that marks the 30thanniversary of the Winter Olympics and thecentenary of the First World War. Ravel foughtin the First World War and was lost in the woodsoutside Verdun for 10 days. Eight years after theOlympics, the Zetra Stadium where Torvill andDean won gold was bombed during the BosnianWar. The story I am now telling travels betweenParis and Sarajevo and begins and ends with thesetwo wars.

I have been listening to Bolero for two years nowand when you play it so much, you hear it even whenit isn’t there. In the sound of footsteps. In the ring ofa mobile phone. In the beep of traffic lights. In therhythm of trains. Ravel is buried in Levallois-Perretoutside Paris and when you visit his grave you hearthe sound of trains pulling into Paris all the time,braking to the rhythm of Bolero. The mountainsaround Sarajevo turned the city into a speakerduring the siege. The sound of gunfire reverberatedso there was never silence.

Dear Monsieur Ravel, I am sitting by your tomb andI am listening to Bolero. As it started playing a trainwas passing and the sound of the train bled into themusic. The music emerging from the mechanics. As the lady who showed me around your houseyesterday told me, you were inspired to writeBolero by modern machinery. By the factorymachines of the time. Perhaps because it is so quiethere I am hearing notes in the music that I have notheard before. The higher notes. More celestialsounds. I walked around the cemetery for a whiletrying to find your grave today. I thought theremight be a monument or a sign like the one forMonsieur Eiffel. But you were perhaps moremodest, I asked the man at the gate where yourfamily grave was and he brought me here and said‘Avez une bonne visite’ and when I said ‘C’est trésmodeste’ he said ‘Ce n’est pas différent de tous lesautres.’ It is no different to any other. A little highermaybe but nothing to suggest who might bebeneath. You share the tomb with your brotherEdouard (1878-1960) and your father Joseph(1832-1908) and your mother Vivienne(1840-1907). The woman yesterday said your familywere close to you. And now they are. I am leavingyou a rose that I bought in Montparnasse yesterdayand took to your home in Monfort-L’Amaury andleft a petal at the monument to you there. I amtaking this flower to Sarajevo too and scatteringpetals wherever I go. The rose is unravelling to yourmusic, in your name. It is cold here. Unforgiving.And I wonder if this is the anniversary of yourinterment. You died on 28 December 1937 and soyou could have been laid to rest in the first twoweeks of January. It would not have taken long tobring the coffin to your family grave.

We are a few metres from the gates of the cemetery.I wonder who was here. Your brother, Edouard, whoinherited the house from you when you died andstayed there for a while before moving to Biarritz.He looked for someone to keep the house in hisabsence and found a lady in the village who was thegoverness of Proust. She kept the house spick andspan and shipshape like the ship it resembles. Andwhen people came to visit to pay their respects toyou she would say, ‘He was not as famous as mymaster’.

You lie here in the proximity of other famous nameslike Louise Michel, who led the revolution, andGustav Eiffel, who defined the skyline. And yet youare always happy to stay in their shadow. No signs.No monuments. You were always happy to let yourmusic do the talking. It did not matter that otherpeople found glory and fame because your namelives on. Like your spirit. In your music. The music Iam listening to now. The music I am writing to now.The music I am writing my story about. Like a score.Score my story with your music. For a moment I feltI was writing your words in your voice. In yourhandwriting. It was as if the music has taken overand I was carried away by the Bolero. Making thisjourney. And when the music finishes Bolerodissolves into the sound of another train. It occursto me that now where you lie, you hear the rhythmof modern machinery, the rhythm of Bolero all thetime around you. Something you would not haveheard in Montfort L’Amaury. The woman yesterdaysaid you composed for years before writing it down.You composed in your head and in your heart.Maybe you are still composing. Still making music.

COMPOSINGTaken from www.makingbolero.wordpress.com

Photography: Julien Hughes

BOLERO, FROM THE BRITISH COUNCIL’S PERSPECTIVE When Michael Pinchbeck fell over outside a chip shop in Bulwell in 1984 the BritishCouncil was fifty-five years old. When he arrived in Sarajevo in 2012 our office therehad been open for 15 years. Timelines are important in Michael’s work and history isimportant in ours. We were established in 1934, when Europe was still recoveringfrom one terrible war and gearing up for another. Our mission, then, was ‘promotingabroad a wider appreciation of British culture and civilization [by] encouragingcultural, educational and other interchanges between the United Kingdom andelsewhere’.

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

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

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

Gregory Nash, Director Arts Wider Europe, British Council

www.britishcouncil.org/arts

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Photo: David Bair

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A WORLD CLASS ACT…

Nottingham Playhouse Theatre Company,Sarajevo War Theatre SARTR and ODA Theatre (Prishtina) present

By Michael Pinchbeck

DEVISERS AND PERFORMERS(In alphabetical order)

Benjamin Bajramović

Nicki Hobday

Vera Molitor

Jasenko Pasic

Ollie Smith

Amila Terzimehic

CREATIVE TEAM

DirectorMichael Pinchbeck

DramaturgFlorent Mehmeti

Set & Costume DesignerSarah Lewis

ProducerKate Chapman

ChoreographerArianna Maiorani

PhotographerJulian Hughes

Stage ManagerAnneke van de Stege

………………………………………………………………

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

Photography and sound recording are notpermitted.

...............................................................................

Thank you to:Giles Croft, Stephanie Sirr, Simon Seligman, DerekGraham, Alexandra Broughton. Jasper Gilbert, FionaBuffini and all at Nottingham Playhouse. AmilaLagumdžija, Larisa Halilović, Emir Omeragić, NitaQena, Michael Bird, Andrew Jones, Gregory Nash andall at the British Council. Peter Knott and LauraWhite at Arts Council England, East Midlands. NihadKreševljaković, Latifa Imamović and Sabina Šabić atSarajevo War Theatre. Edin Numankadić at the 1984Winter Olympics Museum. Muamera Šehić at ZOI 84(Sarajevo). Florent Mehmeti at ODA Theatre(Prishtina). Prof. Mick Mangan at LoughboroughUniversity. Prof. Mark O’Thomas at the University ofLincoln. Matt Bradbury and Tristan Cousins at theNational Ice Centre (Nottingham). Matt Chesney andRhiannon Jones at Backlit (Nottingham). Claire Hicksat Dance4 (Nottingham). Michelle Bowen at Primary(Nottingham). Sooree Pillay at New Art Exchange.Lucille Denkinson. David Micklem. Kieran Ahern.Andy Barrett. Scotholme Primary School. OlwenDavies. Youth Theatres in Sarajevo and Prishtina.

BIOGRAPHIES

NICKI HOBDAY | Performer

Nicki is a contemporarytheatre-maker and performer basedin the North of England. She makesher own performance work as well asin collaboration with other artistsand companies. She co-foundedTrace Theatre in 2007 and hasworked with Drunken Chorus,Proto-type Theatre, Until Thursdayand Reckless Sleepers. She iscurrently working with 30 Bird onDomestic Labour: A Study in Loveand Michael Pinchbeck on TheBeginning, one-to-one performanceSit with Me for a Moment andRemember and Bolero.

BeNJAMIN BAJRAMOVIć |Performer

Benjamin was born in Zenica in1989. He graduated at the Academyof Performing Arts in Sarajevo in2011. He acted in and directedGeorge Orwell's 1984 as a part ofhis graduate exam. This performancewas taken into Sarajevo WarTheatre's regular repertoire. Hewas part of several of SARTRproductions: It Was a Bright andSunny Day (directed by TanjaMiletić) in 2012 and Secret ofRaspberry Jam (directed by SelmaSpahić) in 2013.

In 2011 he worked with theatregroup Shadowcasters, based inZagreb, on a production called Man/Woman (directed by Boris Bakal andKatarina Pejović). He is currentlyworking in Hau Theatre in Berlin ona production called BattlefieldMemory (directed by Hans-WernerKroessinger). In 2014 he was part ofthe National Theatre's productionThe Parliament (directed by SelmaSpahić).

Benjamin won an award for BestActor at Zenica Festival in 2013.

VeRA MOLITOR | Performer

Vera was born in 1981 in Münster,Germany. After finishing grammarschool she started to act in Münster‘sindependent theatre scene for a showabout Kaspar Hauser and aproduction of Patrick Marber‘sCloser in a local theatre.

She then went on to study eatrePedagogy at the University of AppliedSciences in Osnabrück. Shecompleted her studies in 2007 with aBA and moved to Berlin, where shenow lives and works as a performerand theatre teacher. In 2011 sheworked as a performer with MalteSchlösser on the production Kannich Deinen Diskurs mal in denMund nehmen? which was thenperformed at the TransFusionenFestival at studiobühne Köln whereshe met Michael Pinchbeck andjoined the Bolero team.

Photography: Julien Hughes

JASeNKO PAŠIć | Performer

Jasenko was born in Sarajevo in1983. He graduated at the Academyof Performing Arts in Sarajevo in2007. Since 2008 he has been amember of the Sarajevo War TheatreSARTR ensemble.

Amongst others, he has performedin Hamlet and Faustus directed byHaris Pašović; Woyzeck, SpringAwakening, The Parliament andmultiple award-winning Secret ofRaspberry Jam, all directed bySelma Spahić; It Was a Bright andSunny Day by Tanja Miletić; This isIonesco, You Fool by Ferid Karajica;Ay, Carmela and Rabbit Hole byRobert Raponja; The Cripple ofInishmaan and The Bald Sopranoby Edward Miller and Fear andMisery of the Third Reich byNermin Hamzagić.

In 2009 he devised a dance soloperformance, Tishma Tanz, withchoreographer Jasmina Prolić in CIECompany in Orleans, France. In2011 he directed and acted in aproduction of 1984, by GeorgeOrwell, for which he chose andedited the music and video.

He is a member of the Associationfor Development and Research ofPerforming Arts in B&H 'Kontakt'where he worked on performances ofOn the wheels and Seventh Room.

OLLIe SMITH | Performer

Ollie Smith is a performer,theatre-maker and writer based inNottingham, UK He makescontemporary performance work asa solo artist and as a collaborator.His work asks questions aboutcommunication and relationships,egos and alter-egos. Recent projectsinclude nightmarish magic act Catin Hell (2013) and onstage rock ‘n’roll suicide 27 (2012).

Ollie recently directed 2MagpiesTheatre’s The Litvinenko Project(2014). In addition to Bolero, Olliehas collaborated with MichaelPinchbeck on The end (2010) andThe Beginning (2012).

The Man Upstairs (2014) is Ollie’sfirst full-length written play (asopposed to devised theatre show).It came runner-up in the NewPerspectives long play competition2014.

Ollie has performed nationally andinternationally and has receivedfunding and commissions, platformsand development opportunities fromArts Council England, greenroom &hÅb (Manchester), Hatch(Nottingham), Emerge (Leeds),circuit (Leicester), Theatre WritingPartnership (Nottingham),NewVolutions (Lincoln) andCompass (Leeds).

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

AMILA TeRZIMeHIć |Performer

Amila was born in Sarajevo, Bosniaand Herzegovina. She graduatedfrom the Academy of PerformingArts in Sarajevo. In 2011 she wasdeclared the Best Student in her yearat the Academy of Performing Arts.

Amila has been practising rhythmicgymnastics and ballet for 13 years.She was national champion in eachcategory and a candidate for theOlympic team in Athens 2004. Nowshe works at the Sarajevo WarTheatre and she is also a member ofMESS Dance Company.

Performances at the Sarajevo WarTheatre include: 1984 (GeorgeOrwell), Fear and Misery of theThird Reich (Brecht) directed byNermin Hamzagić, Odette & Odiledirected by herself and Ena Kurtalić,This Grave is Too Small For Medirected by Dino Mustafić and ItWas a Bright and Beautiful Daydirected by Tanja Miletić Oručević.

FLOReNT MeHMeTI |Dramaturg

Florent is a theatre and film directorbased in Prishtina, Kosovo and hasbeen one of the founders and adirector of ODA Theatre in Prishtinasince 2003, where he currentlyworks.

Artistic work in theatre include: The Rose Tattoo, The Wizard ofOz, The Vagina Monologues,Three Fat Germans, AmericanBuffalo, The Town is Growing,Doruntine and The Sworn Virgin(New York, Kosovo, Albania,Macedonia); Picnic on thebattlefield, Cat on a Hot TinRoof, Invisible Walls (dedicated forpublic space: Holland, Prishtina, UK)and many others.

He has worked on film and televisionprojects such as: One KS Minutes(a cycle of one minute videos);Three Fat Germans (TV sitcom in63 episodes); Politically Incorrect(TV Show); New Neighbourhood(TV sitcom in 27 episodes) andothers.

He has also been actively involved inlaw-making process and othercultural policy-making processes,networking in Kosovo for more than15 years.

SARAH LeWIS | Designer

Sarah trained at Nottingham TrentUniversity and since graduating in2010, has forged a close relationshipwith Nottingham Playhouse. She has designed sixteen different youthand community productions for the Playhouse - most recently, A Clockwork Orange and themain-house production, enron.

She has also designed professionalcompany pieces – last year’s The Lost Plays Revue, part of the season celebrating the 50th anniversary of NottinghamPlayhouse. Most recently, TheSecond Minute by Andy Barrett – arural touring piece, also a part of theneat14 Festival.

Other design work includes: Peter Pan and Into the Woods(Duck Egg Theatre); Dave’s CurryHouse (event design for Dave UKTVLeicester Comedy Festival);This is the Night (music video forToploader) and White Lily (shortfilm directed by Tristan Ofield).

She is also a prop and puppet makerand runs her own puppet-makingcompany, Sarah Makes Puppets.

MICHAeL PINCHBeCK |Director

Michael Pinchbeck is a writer, liveartist and theatre-maker based inNottingham (UK). He is committedto telling stories that are personaland powerful. He aims to findinnovative structures to scaffoldthose stories that are original andrisk-taking. He tells stories that takeplace across time and space andweaves together these differentthreads into a dynamic narrative.

Michael studied eatre and CreativeWriting at Lancaster University andco-founded Metro-Boulot-Dodoeatre Company in 1996. He haswritten two plays for NottinghamPlayhouse, e White Album(2006) and e Ashes (2011). His touring devised work has beenselected for the British Council’sEdinburgh Showcase three times. He is currently finishing a PhD atLoughborough University andlectures in Drama at the Universityof Lincoln.

BIOGRAPHIES

ANNeKe VAN De STeGe |Stage Manager

Anneke is from the Netherlands and in 2013, graduated fromLoughborough University with a First Class Bachelor of Arts in Drama.She was involved with severalproductions by LoughboroughStudent’s Union Shakespeare Society,including Titus Andronicus whichwas part of the Royal ShakespeareCompany’s Open Stages 2011.

She was the Lighting Designer for theAcadia University (Canada) studenttheatre festival Minifest 2012 and wasa lighting consultant for ONE WORLDShakespeare Festival 2013 (Kuwait).Anneke has been working with Michaelsince 2013 as a technical intern one Beginning and the technicalcoordinator of e Trilogy tour.

KATe CHAPMAN | Producer

Kate Chapman is a director, dramaturgand producer of theatre and radio. Shehas produced audio drama for BBCRadio 4 by writers including AmandaWhittington, Nick Walker, NaylahAhmed, Sonali Bhattacharyya and KaiteO’Reilly.

Kate has developed new work fortheatre, most recently in the MakingTracks programme which developedseven new theatre works (includingBolero) by leading East Midlandspractitioners. Kate was Director ofTheatre Writing Partnership inNottingham from 2009 to 2012. Hermost recent theatre work includesdirecting a national tour of AmandaWhittington’s Amateur Girl for FifthWord Theatre Company andco-directing Beneath the Surface, anew theatre work in development basedon the stories of British LGBT peoplefrom culturally diverse backgrounds.

ARIANNA MAIORANI |Choreographer

Arianna Maiorani was born in Rome to two principal dancers of the Teatro dell’Opera. She startedperforming as a ballet dancer at the Teatro dell’Opera aged 9. After graduating from the theatre’sprofessional ballet school, she workedas a dancer, teacher and choreographerboth in Italy and abroad.

She is Senior Lecturer in Linguistics inthe School of the Arts, English andDrama at Loughborough University,where she teaches Linguistics,Multimodality, Movement and Danceeatre at various levels. She holds aPhD in Cultural Sciences and haspublished extensively andinterdisciplinary on the semiotics ofmovement in space and communicationstrategies. She has guest-lectured onthe semiotics of dance in variouscountries at HE level: Seoul (SouthKorea), Koper (Slovenia), Finland andAustralia amongst others.

In 2012 she dance-trained somemembers of the British Swimming teamin preparation for the Olympic Games.Bolero marks her first collaborationwith Michael Pinchbeck.

JULIAN HUGHeS |Photographer

Julian is a multi-disciplinary artist andeducator based in Nottingham. Hispractice is site-specific and involveswalking as a methodology to investigatea place, its history, the people whoinhabit it and the stories these tell. Thechance encounters, staged actions andinvited responses from others on hisjourneys are documented throughphotography and moving image.

Julian has worked extensively withartists and organisations both regionallyand nationally, documenting their workfor publications and exhibitions. For the last seven years Julian has also beenworking alongside Michael Pinchbeck.For Bolero, Julian visited Sarajevo todocument the performance and takeportraits of the cast throughout the city.

CAST@

WELLINGTON CIRCUS, NOTTINGHAM, NG1 5AN 0115 852 3898 | CAST@CASTNOTTINGHAM.CO.UK

Our restaurant bar servesfreshly made food cooked toorder at great prices and the baris a perfect place to unwind withfriends, serving a range ofcontinental beers, cocktails,cask ales, wines and champagne.You can also dine on our leafysun terrace - possibly thebest-kept secret in Nottingham!

For sandwiches, salad boxes,pastries, cakes and snacks onthe go or to eat in, there is alsothe Deli available.

CAST is our wonderfulrestaurant and bar,perfect for relaxing andenjoying great food anddrink, all year round.

IN REHEARSAL

THE JOURNEY

Photography: Julien Hughes

THANK YOU TO OUR SPONSORS Nottingham Playhouse and neat14 arevery proud to work with a number ofbrilliant local businesses, whose supportfor our work is hugely important.

We would like to take this opportunityto thank the following companies andorganisations who have generouslysponsored the neat14 festival:

DIRECTORSGILeS CROFT Artistic Director,STePHANIe SIRR Chief Executive

ADMINISTRATIONAndrew Bullett Information andCommunications Technology Manager,Beverly Clark Administration Assistant,VALeRIe eVANS Head of Administration,Lucy Tregear Administration andProgramming Co-ordinator, Bea UdehCreative Producer - Diversity

ASSOCIATE ARTISTSThe Cutting Room, Andrew Breakwell

BOX OFFICECharlie Cox Box Office Supervisor, KaronHill Box Office Assistant, RosemaryAlexander Jones Box Office Assistant,Laura Hutchinson Box Office Assistant,Gary Miller Box Office Assistant, AlexandraMoxon Box Office Assistant, SafiyaWilliams Box Office Assistant, RichardSurgay Customer Relations Manager,Jeremy Walker Box Office Assistant

CAST BAR RESTAURANT DELIAndrea Coombs Bar Tender, Camilla CopleyDeli Manager, Maxine Cunningham BarStaff, Sarah Currie Waiting Staff, OlwenDavies Waitress, Jamie Goodall SecondSous Chef, Francesca Hess Waiting Staff,Reis Hussain Kitchen Porter, MufaroMakubika Supervisor, Paige Ockendon BarManager, Yasmin Purnell Deli Assistant, ,Simon Radford Kitchen Porter, AaronRoberts Bartender, Jessica Salter DeliAssistant, Aaron Schoburgh Bar Staff,Emma Sims Deli Assistant, Nathan TaylorSous Chef, Tim Wheelhouse CAST Manager

CASTINGSooki McShane CDG Casting Director, LucyJenkins CDG Casting Director

CLEANING & MAINTENANCECindy Hutchinson Cleaning Supervisor,Sheila Sisson Cleaner, Michael TurtonMaintenance Technician, Kim SmithCleaner, Patricia Walsh Cleaner, Paul WhiteCleaner

CONSTRUCTIONMark Bamford Carpenter, Philip GunnDeputy Head of Construction, Julian Smith Head of Construction

FINANCEMartin Blee Finance Manager, Jonathan Child Finance Officer, KIM GILBeRT Head of Finance andOperations, Myra Slack Senior FinanceOfficer.

FRONT OF HOUSETom Barnes Usher, Nicholas Boydd Usher,Emily Croxford Usher, Rebecca DallmanTheatre Manager, Nicola Dawson Usher,Clare Devine Usher, Nigel DickinsonPerformance Fire Warden, Jen Ellis Usher,Kristy Guest Usher, Carol Harmer AssistantHouse Manager, Karon Hill Usher, LauraHutchinson Usher, Lydia Jones Usher,Michelle Leek Usher, Mufaro MakubikaUsher, Giada Maran Usher, JamesMcAndrew Usher, Hannah McBrien Usher,Livia McLauchlan House Manager, Clare Moss Usher, Paul Preston Usher/Performance Fire Warden, Kirk RatcliffePerformance Fire Warden, Dave RichardsonUsher/Duty FOH Manager, CharlotteRidley Usher, Lauren Robinson Usher,Sabrina Shaw Usher, Ollie SmithUsher/Performance Fire Warden, Joseph Stairs Usher/Performance FireWarden, Heather Sykes Usher, Be WadeUsher, Matt Williams, Usher/PerformanceFire Warden

FUNDRAISING & DEVELOPMENTDerek Graham Memberships Manager,Nick Lawford Fundraising andDevelopment Manager

LIGHTING & SOUNDSteph Bartle Lighting and SoundTechnician, Drew Baumohl Deputy Head ofLighting and Sound, Karl Bock Head ofLighting and Sound, Nick Morris Lightingand Sound Technician.

MARKETING & COMMUNICATIONSDan Baxter Marketing Manager,Alexandra Broughton Marketing andCommunications Assistant, David BrownDigital Marketing Officer, Jo McLeishPress and PR from The Media Room,SIMON SeLIGMAN Head of Marketingand Communications

PAINTSHOPSarah Richard Head of Paintshop, Claire Thompson Deputy Head ofPaintshop

PARTICIPATIONRachel Bates Participation Administrator,FIONA BUFFINI Associate Director, Allie Spencer Education Officer, Sarah Stephenson Youth Theatre Director

PRODUCTIONJASPeR GILBeRT Production Manager,Alex Moxon, neat Production Assistant, Jill Robertshaw Assistant ProductionManager (Maternity Cover), DeborahReed-Aspley Assistant Production Manager

PROPSAlex Hatton Deputy Head of Props,Nathan Rose Head of Props

STAGE DOORLouise Carney Stage Doorkeeper, Nigel Dickinson Stage Doorkeeper, Kristy Guest Stage Doorkeeper, Carol Harmer Stage Doorkeeper, Geoff Linney Stage Doorkeeper, Mufaro Makubika Stage Doorkeeper, Giada Maran Stage Doorkeeper, John Noton Stage Doorkeeper, Paul Preston Stage Doorkeeper, Dave Richardson Stage Doorkeeper, Ollie Smith Stage Doorkeeper, Michael Turton Stage Doorkeeper, Susan Yeoman Receptionist

STAGE MANAGEMENTKathryn Bainbridge-Wilson AssistantStage Manager, Jane eliot-WebbCompany and Stage Manager, StuartLambert Deputy Stage Manager.

TECHNICALAndy Bartlett Technical Manager, Andy Nairn Stage Technician, TonyTopping Deputy Technical Manager

NEVILLE STUDIO VOLUNTEERSVeronica Allen, Emma Barber, Ruth Boston,Natelle Brown, Louise Carney, Bev Clark,Michael Comerford, Lynn Coxon, Lisa DeVivo, Abigail Earlie, Jasmine England, EllenFisher, Angie Hyde-Mobbs, Hywell Jones,Julia Lazenbatt, Janet Mitchell, HeatherRoberts, Beth Robinson, Rosy Ross, NikitaVyas, Attracta Walls, Louise White

VOLUNTEERSNottingham Playhouse is grateful forservices donated by the followingvolunteers: Sylvia Draycott, Andrew Pearceand Liz Squires

WARDROBEHeather Flinders Wardrobe Assistant, Dani Kidson Wardrobe Assistant / Dresser,Elaine Pearson Wardrobe Assistant, Helen Tye Head of Wardrobe

Nottingham Playhouse Theatre Company,Sarajevo War Theatre SARTR and ODA Theatre (Prishtina) present

By Michael PinchbeckFront cover photography: Julien Hughes