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The Winter’s Taleby William Shakespeare

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We are delighted to present this co-production of Shakespeare’s The Winter’s Tale, Cheek by Jowl’s latest work. Since 2005 this outstanding company have been a Barbican Artistic Associate and thrilled a generation of audiences here and around the world with classic plays performed in English, Russian and French.

We warmly welcome back Artistic Director Declan Donnellan who was recently awarded a Golden Lion for Lifetime Achievement and Designer Nick Ormerod.

We hope you enjoy the show.

Toni RacklinHead of Theatre, Barbican

Welcome

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Welcome

Welcome to The Winter’s Tale.

Our English company were last here with ’Tis Pity She’s A Whore in 2014, and it’s a pleasure to be back.

We are very grateful to Toni Racklin, Leanne Cosby and the rest of the team at the Barbican for their continued support of Cheek by Jowl. Without their enthusiasm and unwavering commitment our work would simply not be possible.

We would also like to thank our other co-producers, Les Gémeaux/Sceaux/Scène Nationale, in Paris, Grand Théâtre de Luxembourg, Piccolo Teatro di Milano – Teatro d’Europa, Chicago Shakespeare Theater and Centro Dramático Nacional, in Madrid. We are also very grateful to Arts Council England.

We hope you enjoy the show.

Declan Donnellan and Nick Ormerod

Casting Director Siobhan Bracke Costume Supervisor Angie Burns Company Manager Tim Speechley Technical Director Simon Bourne Technical Stage Manager Robin Turley Smith Deputy Stage Manager Harriet Stewart Assistant Stage Manager Lou Ballard Sound Fred Riding Lighting David Salter Wardrobe Manager Rebecca Rees

With thanks to: Bret Yount, Big Wig Company, Dina & Lev Dodin, Emma Woodvine, Flybynite, Gilles Charmant, James Shapiro, Jem Talbot and Simon Kennedy of East City Films, Jennifer McClinton-Temple, Jerwood Space, Johan Persson, Neil Kutner, RADA Studios, Rebecca Greenfield, Rockit Cargo, Vanessa Kennedy, Victor Vassiliev

Produced by Cheek by Jowl in a co-production with the Barbican, London; Les Gémeaux/Sceaux/Scène Nationale; Grand Théâtre de Luxembourg; Piccolo Teatro di Milano - Teatro d’Europa; Chicago Shakespeare Theater; Centro Dramático Nacional, Madrid (INAEM)

The CompanyEmilia / Time Grace Andrews Cleomenes Joseph Black Camillo David Carr Mamillius Tom Cawte Autolycus Ryan Donaldson Dion / Live Music Supervisor Guy Hughes Leontes Orlando James Young Shepherd Sam McArdle Perdita Eleanor McLoughlin Old Shepherd / Antigonus Peter Moreton Hermione / Dorcas Natalie Radmall-Quirke Paulina / Mopsa Joy Richardson Polixenes Edward Sayer Florizel Sam Woolf

Director Declan DonnellanDesigner Nick OrmerodLighting Designer Judith Greenwood Music Paddy Cunneen Movement Director Jane Gibson Assistant Director Marcus Montgomery Roche Assistant Movement Director Elizabeth Ballinger

The Winter’s Tale by William Shakespeare

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Jealousy is a disease, love is a healthy condition. The immature mind often mistakes one for the other, or assumes that the greater the love, the greater the jealousy – in fact, they are almost incompatible; one emotion hardly leaves room for the other. Robert A. Heinlein, Stranger in a Strange Land

Orlando James and Natalie Radmall-Quirke7 8

The years 1610-11 witnessed Shakespeare’s last great solo creative burst (his plays after this would all be written collaboratively). In the course of this remarkable period he wrote three plays – Cymbeline, The Winter’s Tale, and The Tempest – markedly different from the thirty or so comedies, histories, and tragedies that preceded them. Their order of composition is unclear, and for all we know The Winter’s Tale may well have been Shakespeare’s last solo-authored play. These works – often referred to collectively as ‘Romances’ – turn, almost obsessively, on a recurrent set of concerns: jealousy, grief, surveillance, distrust, reconciliation, loss, and second chances.

In wrestling with these issues in The Winter’s Tale, Shakespeare found himself dispensing with the realism that had defined much of his earlier writing. If he had to skip sixteen years, Shakespeare was content to bring an actor onstage – and call him ‘Time’ – to tell us as much. If a character had to be violently removed from the action of the

play, Shakespeare sends him packing, pursued by a wild beast. If the situation demanded it, he can even bring, or seem to bring, the dead back to life. And if his story demanded that a land-locked country have a coastline, that too was easily arranged. It was the sort of thing that drove Ben Jonson, a champion of verisimilitude, to distraction. Years after The Winter’s Tale was first staged Jonson was still fuming that ‘Shakespeare in a play, brought in a number of men saying they had suffered shipwreck in Bohemia, where there is no sea near by some hundred miles.’

Shakespeare’s highly experimental technique extends to the play’s language, even if that meant that on occasion an actor’s words could barely be understood. So that, for example, it’s as if intelligibility itself, let alone the familiar rhythm of iambic pentameter, gets strained to the breaking point when Shakespeare tries to capture the workings of a mind tortured by jealousy:

Affection! Thy intention stabs the centre.Thou doest make possible things not so held,Communicat’st with dream (how can this be?), With what unread thou co-active art,And fellow’st nothing. Then ’tis credentThou mayst co-join with something, and thou dost(And that beyond commission), and I find it,And that to the infection of my brainsAnd hard’ning of my brows.

These lines, with their fits and starts, self-questioning, and parenthetical asides, feel as fractured as the disturbed mind of Leontes himself, who speaks them. We can only imagine what the actor who was first handed this role must have felt. As late as 1603, when Shakespeare was still regularly rehearsing and acting alongside his fellow-players, he would have been around to explain what needed explaining. But by the time he was writing The Winter’s Tale, he was no longer spending long days in the company of his fellow-players. It’s hard not to conclude that he was writing what he wanted to write, and leaving it to the players to deal with it as best they could. Happily, the greatest directors and actors have always found this speech, and others like it, extraordinary.

All of which is to say that The Winter’s Tale is a play that resists glib summary or even simple description. This was true even in Shakespeare’s day, if the report of Simon Forman, astrologer and diarist, is representative. Forman saw the play at the Globe Theatre in May 1611 and jotted down the following: ‘observe there how Leontes the King of Sicilia was overcome with jealousy of his wife with the King of Bohemia his friend…’ ‘Remember also how he sent to the oracle of Apollo, and the answer of Apollo, that she was guiltless and

The Winter’s Tale by James Shapiro

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that the King was jealous, etc.’ ‘Remember also the Rogue that came in all tattered…and how he feigned him sick and to have been robbed of all that he had, and how he cozened the poor man of all his money.’ After a good deal more of this, Forman sums things up: ‘Beware of trusting feigned beggars or fawning fellows.’

Is this all that he took away from the performance? Vapid plot-summary and a moral one might find in a fortune-cookie? What’s so infuriating about Forman’s account – especially because it’s the only contemporary one of the play to survive – is how poorly it does justice to so remarkable a work of art. But Forman is not to blame if the play disintegrates when reduced to plot summary. For how can anyone begin to account for those small moments that collectively define the play’s haunting brilliance? The ghostly presence of the dead. The small but inescapable frictions that define family life. The sexual fixation of a jealous mind. The awakening of faith. The refusal to be silenced. The pathos of offstage deaths.

Forman saw the play outdoors, at the Globe. But Shakespeare was also writing it with two other likely venues in mind, which may help explain what feels so different about the play. One of

those venues was the Jacobean court, where the play, staged there on at least five occasions, was a hit. The other and more significant venue was Blackfriars Theatre, a small indoor stage in the heart of London. After 1609 or so Shakespeare’s company performed there annually during the winter months, returning to the Globe in the summer. The Winter’s Tale, with its often dense and understated dialogue, its intense opening and closing scenes, its reliance at its climax on music, and its mysteriousness – all staged in flickering candlelight – feels like a play written with the potential of an intimate Blackfriars performance very much in Shakespeare’s mind.

A challenging work for even the most talented of contemporary directors and actors, The Winter’s Tale seems very much a play for our own day, not least of all because of what it has to say about terrible misjudgements and longed-for second chances, however unrealistic they may seem to be.

James Shapiro is Professor of English and Comparative Literature at Columbia University. He is the author of several books on Shakespeare, including 1599: A Year in the Life of William Shakespeare (2005) and Shakespeare in America: An Anthology from the Revolution until Now (2014). His most recent book is 1606: Shakespeare and the Year of Lear (Faber).

Joy Richardson, Natalie Radmall-Quirke11 12

In the Bible, Adam and Eve are banished from the Garden of Eden. In being left to their own devices, being forced to provide for themselves, they are, in their eyes at least, being abandoned by God. Abraham casts off his wife’s maidservant Hagar and their son Ishmael, abandoning them to the desert and denying them Ishmael’s birthright. Baby Moses, cast among the bulrushes for his own protection, is abandoned by his biological family into the care of another. Folklore and fairytales abound with stories of abandonment: Snow White is left alone in the forest; Romulus and Remus, the mythological founders of Rome, are placed in their cradle in the Tiber river; and of course, Hansel and Gretel are forced from their home and into the lair of a witch.

In many foundational stories of abandonment, the abandoned child returns to his or her true family in triumph, either as a leader or having earned great success in one way or another. This triumph seems to mitigate the trauma of the abandonment, implying that the abandonment resulted in some good and allowing for a happy, or at least a contented, ending. In the case of Moses, for instance, it is his abandonment that saves his life. As the Pharaoh has ordered that all male babies born to Hebrews be drowned in the Nile, Moses’s mother hid him in a basket in the river where he would be found (and ultimately adopted) by the Pharoah’s daughter. In the story of Hansel and Gretel, the children return, having killed the witch, to find that their stepmother has died and they may live happily with their father.

Abandonment by Jennifer McClinton-Temple

Abandonment is never accidental, and it is never partial. It is deliberate and it is complete. It is, perhaps, these qualities that account for the reoccurrence of the theme in folklore and mythology, in social science, and in art and literature.

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Perhaps abandonment appears so frequently in art and literature because, as some philosophers and psychologists believe, the fear of abandonment begins at birth. Sigmund Freud, the Austrian psychiatrist thought of as the father of modern psychological thought, believed that when we are born, and thus physically separated from our mothers, this trauma becomes a central force in our lives. We must, according to Freud, spend a great deal of our lives coming to terms with this separation, which we internalize as an abandonment .

Later psychologists would delve deeper than Freud into the fear of and effect of abandonment upon our young psyches. In his highly influential three volume work Attachment, Separation, and Loss (1973), British psychologist John Bowlby discusses his decades long studies of children and their attachments to their caregivers, specifically their mothers. Bowlby notes that infants seek to find their mother when she leaves the room as soon as they are able to crawl. Additionally, the child will follow any familiar adult in lieu of the mother if she is unavailable (200-202). Infants demonstrate distress upon impending

Joy Richardson

Anna Khalilulina, Igor Teplov, Alexander Arsentyev, Nikolay Kislichenko & Alexey Rakhmanov

departure of the mother as soon as they are old enough to sense the signs that she is leaving, around six to nine months of age (204). For Bowlby, the infant is exhibiting the innate fear of abandonment, which produces anxiety. Psychologist Yi Fu Tuan calls fear of abandonment a “central childhood fear” and points to the frequent use of the motif in fairytales as a method of playing on that fear and keeping control of children (Salerno 98). If this abandonment does happen and it is prolonged, the anxiety becomes a part of the infant’s, later the child’s, later the adult’s personality. He claims that adult anxiety disorders can be attributed to specific child-rearing practices; in particular, he says, frequent and regular separations, or even frequent and regular threats of abandonment bear huge consequences later in life (Salerno 97).

Modern philosophers have also considered the fear of abandonment as a central component to modern consciousness. Søren Kierkegaard, 19th Century Danish philosopher, defines modern angst or anxiety as a feeling of looming danger where the source of the threat is unknown. G. W. F. Hegel, a German philosopher of the same era, claimed that the true mark of becoming

human is not to desire, but to want to be the object of someone else’s desire. Combining these theories then, and remembering as well Bowlby’s infants, can lead to the theory that humans innately fear being abandoned and that as we grow older, we are consumed by a feeling that we will lose our most prized object: another human being. In other words, we live as adults with a constant fear of being abandoned, and if we were indeed abandoned as children, either actually or metaphorically, this fear can be the source of debilitating anxiety.

© Facts On File, an imprint of Infobase Learning. Reprinted with the permission of the Publisher.

Jennifer McClinton-Temple is Professor of English and Chair of the English Department at King’s College in Wilkes-Barre, PA. She is the author of articles on Irish and Irish-American literature, writing pedagogy, and Native American literature. She is also the author and editor of the reference work Encyclopedia of Themes in Literature.

Eleanor McLoughlin, Natalie Radmall-Quirke, Joy Richardson, Grace Andrews 1615

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Thou met’st with things dying, I with things newborn.

Natalie Radmall-Quirke, Peter Moreton 18

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The CompanyGrace Andrews Emilia / Time Trained at Guildhall School of Music and Drama. Theatre includes: Tomorrow I Was Always a Lion (Arcola Theatre with Belarus Free Theatre); See What I See (Oxford Playhouse); As You Like It (Union Chapel). TV includes: Fungus the Bogeyman. Film includes: Seven Deadly Sins.

Lou Ballard Assistant Stage Manager Trained at National Youth Theatre. Theatre includes: Two Gentlemen of Verona (Shakespeare Globe Theatre International Tour); Platanov, Ivanov, The Seagull, Antony & Cleopatra, The Real Inspector Hound, The Critic, The Cherry Orchard, Nicholas Nickleby, The Syndicate (Chichester Festival Theatre); The Boy in the Striped Pyjamas (Touring Children’s Partnership); 101 Dalmatians (Chichester Festival Youth Theatre); Dial M For Murder, The 39 Steps (West End and UK Tour, Fiery Angel); NSFW (Royal Court); Globe to Globe, Cultural Olympics (Shakespeare’s Globe); The House of Bernarda Alba (Almeida Theatre); The Changeling (Southwark Playhouse); In a Forest Dark and Deep (Vaudeville Theatre).

Elizabeth Ballinger Assistant Movement Director Elizabeth is a movement tutor at LAMDA and RADA. She has also taught extensively at GSMD, Drama Centre London, Mountview, MMU and for Pennsylvanian State University and the NYT. As a Movement Director and Choreographer, theatre includes: Rhinoceros (Royal Court), Fup (National Theatre Studio); As You Like It (Watford Palace); alongside productions at the Soho Theatre, Oval Theatre, Tristan Bates Theatre and various final year productions within drama schools.

Joseph Black Cleomenes Trained at Bristol Old Vic. Theatre includes: Whose Shoes (NYT, The Lowry); Orpheus & Eurydice (NYT, Old Vic Tunnels); Twelfth Night, Much Ado About Nothing (GB Theatre Company); The Dutchman (Brewery Theatre); Serious Money, Innocent Mistress, Blue Stockings (Bristol Old Vic Theatre School).

Simon Bourne Technical Director The Winter’s Tale is the sixth production that Simon has production managed for Cheek by Jowl. Other theatre includes: Antigone (director Ivo Von Hove); School for Scandal and Julius Caesar (director Deborah Warner); The Resistible Rise of Arturo Ui (director Jonathan Church ); The Black Rider (director Robert Wilson); Jack and the Beanstalk, Mother Goose, Cinderella and Dick Whittington (director Suzie McKenna ). Television includes: Live at the London Palladium (2014, 2015); The Royal Variety Performance (2004-2015). Simon is also the Barbican Theatre (London) resident Production Manager working on all their national and international productions .

Siobhan Bracke Casting DirectorSiobhan Bracke was Head of Casting at the Royal Shakespeare Company from 1986-1991, then for Bill Alexander (Birmingham Rep), Mark Rylance (Shakespeare’s Globe), Neil Bartlett (Lyric Hammersmith), Antony Clark (Hampstead Theatre), and Corin Redgrave (Moving Theatre). Theatre includes: The Duchess of Malfi, The Changeling, Cymbeline, Troilus & Cressida, Macbeth, ’Tis Pity She’s A Whore, The Winter’s Tale (Cheek by Jowl); Nicholas Nickleby, The Father, I Am Shakespeare, Tonight at 8:30 (Chichester Festival Theatre). TV/Film includes: After the Dance; The Trials of Oz; A Doll’s House; Measure for Measure; Buddha of Surburbia; Persuasion; The Mushroom Picker; Sex Chips & Rock’n’Roll; The Fever.

Angie Burns Costume Supervisor Angie has worked with Cheek by Jowl since 1986 and has worked with Declan and Nick at the National Theatre and Royal Shakespeare Company Stratford. She has also supervised many West End shows since the late 1970s and was Costume Supervisor at Regent’s Park Open Air Theatre for 45 years.

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Joy Richardson, Orlando James

Guy Hughes

David Carr Camillo Theatre includes: Macbeth (Mercury Theatre Company); Othello (Guildford Shakespeare Company); Owen Wingrave (Aldeburgh Festival); Othello (National Theatre); American Trade, Comedy of Errors, As You Like It, Morte D’Arthur, Romeo & Juliet, The Drunks (RSC). Television includes: 4 O’clock Club; Doctors; The Five; Living It; The Family Man; The Bill; Soldier Solder. Film includes: Starfish; Green Street.

Tom Cawte Mamillius Theatre includes: Twopence to Cross the Mersey (Pulse Records); The Lone Pine Club (Pentabus); Chase – The Den (Faith Drama Productions); Waiting for Godot (The Godot Company, The Cockpit Theatre); Sandel, Boys of the Empire (Edinburgh Fringe). Television includes: Witless. Film includes: London Fields; Comeback Kid; No Trace; DUETS; Among Sweet Flowers and Shades.

Paddy Cunneen Music Paddy first worked with Cheek by Jowl in 1988, and has been an associate director with the company since 1990. As a composer and musical director he has worked on some 200 productions across The National Theatre, RSC, Abbey Dublin, Donmar Warehouse, Druid Theatre, Liverpool Everyman and many, many others, including on Broadway. He has written eight plays which have variously performed on BBC Radio, in theatres across Scotland, in Holland, at the Scatola Magica in Teatro Picolo in Milan, and at the Abbey in Dublin – with two of his plays, Fleeto and Wee Andy, winning awards at the Edinburgh, Adelaide and Brighton fringe festivals.

Ryan Donaldson Autolycus Trained at LAMDA. Theatre includes: Observe The Sons of Ulster Marching Towards the Somme (Jeremy Herrin, Headlong); Shakespeare in Love (Declan Donnellan, Noël Coward Theatre); Much Ado About Nothing, The Accrington Pals, Platonov (LAMDA). Film includes: The Huntsman.

Declan Donnellan Director Declan Donnellan is joint Artistic Director of Cheek by Jowl. As Associate Director at the National Theatre his productions included: Fuenteovejuna; Sweeney Todd; The Mandate; both parts of Angels in America. Other productions include: Le Cid (Avignon Festival); The Winter’s Tale (Maly Drama Theatre of St.Petersburg);

Shakespeare in Love (West End). Opera includes: Falstaff (Salzburg Festival). Ballet includes: Romeo and Juliet; Hamlet (Bolshoi). Film includes: Bel Ami.

In 2009, he shared the Charlemagne Prize with Craig Ventner and Archbishop Tutu. In 2016, he was awarded the Golden Lion of Venice for Lifetime Achievement. His book, The Actor and the Target, was first published in Russian in 2000 and has subsequently appeared in fifteen languages.

Jane Gibson Associate and Movement Director Jane is an Associate Director of Cheek by Jowl. She was Head of Movement at the National Theatre for 10 years. Recent Theatre includes: Shakespeare in Love (West End and Canada); King Lear, The Grinning Man (Bristol Old Vic). Television includes: Pride and Prejudice for which she was nominated for an Emmy for Outstanding Individual Achievement for Choreography; Persuasion; Mansfield Park; Cranford; Elizabeth; Mr Selfridge. Opera includes: Gawain, La Traviata ( ROH ); The Force of Destiny, Mahagonny (ENO); La Clemenza Di Tito (Glyndebourne). Film includes: A Little Chaos; Elizabeth the Golden Age; Girl With A Pearl Earring; Nanny McPhee; Pride and Prejudice; Atonement; Bel Ami; My Week With Marilyn and Oz: The Great And Powerful.

Judith Greenwood Lighting Designer Judith joined Cheek by Jowl in 1990 and is an Associate Director of the company. Theatre includes: Le Cid (Avignon Festival); Boris Gudunov, Twelfth Night, Three Sisters (Chekhov International Festival); Falstaff (Salzburg); Homebody/Kabul (Cheek by Jowl, Young Vic); King Lear (RSC Academy); Romeo and Juliet, Hamlet (Bolshoi Ballet, Moscow); Andromaque (Bouffes du Nord). Judith also writes plays for amateur theatre companies and has contributed to several books on African theatre.

Guy Hughes Dion / Live Music Supervisor Trained at the Royal Academy of Music. Theatre includes: The Merchant of Venice, Othello (RSC); Tess of the D’Urbervilles (New Wimbledon Studio Theatre); San Domino (Arcola Theatre); Beautiful Damned (Leicester Square Theatre); A Man of No Importance (Royal Academy of Music); The Two Gentlemen of Verona (Shakespeare’s Globe and Liverpool Everyman). Film Includes: The Rise and Fall of the Krays.

Orlando James Leontes Trained at Drama Centre. Theatre includes: Shakespeare in Love (Declan Donnellan Noël Coward Theatre); Macbeth, ’Tis Pity She’s a Whore (Cheek by Jowl); Another Country (Theatre Royal Bath & Chichester); The Duchess of Malfi (Eyestrings Theatre); The Madness of George III (West End). Television includes: Six Wives, Doctor Who 50th Anniversary Special (BBC).

Sam McArdle Young Shepherd Trained at Guildhall School of Music and Drama. Theatre includes: ’Tis Pity She’s a Whore (Cheek by Jowl); Turandot (The Gaiety Theatre). Television includes: Holby City. Film includes: Lady in the Van.

Eleanor McLoughlin Perdita Trained at Drama Centre. Theatre includes: Ah, Wilderness! (Young Vic); Planter’s Island (Platform Theatre); The Playboy of the Western World (Millbank Theatre). Film includes: Forgotten Man.

Peter Moreton Old Shepherd / Antigonus Trained at Guildhall School of Music and Drama. Theatre includes: Shakespeare in Love (Declan Donnellan, Noël Coward Theatre); The Resistible Rise of Arturo Ui (Chichester / West End); ’Tis Pity She’s a Whore, The Duchess of Malfi, Hamlet (Cheek by Jowl); In the Land of Uz – Sixty Six Books (Bush Theatre); The Three Musketeers (Rose Theatre); Tales from the Vienna Woods (National Theatre); The Prince of Homburg (RSC, Lyric Theatre Hammersmith); As You Like It (Sheffield Crucible / Lyric Theatre Hammersmith); Good (Donmar Warehouse); Comedy of Errors (Propeller, International Tour), Measure for Measure (Barbican, International Tour). Television includes: Doctors; Vexed; Rosemary and Thyme; The Glass; Big Bad World; Grafters; Under the Moon; Eastenders; As Time Goes By; Van Der Valk; Dead Romantic and Lovejoy. Film includes: The Secret Garden; Bodywork and Brides of Desire.

Nick Ormerod Designer Nick Ormerod is joint Artistic Director of Cheek by Jowl. For the National Theatre: Fuenteovejuna, Peer Gynt, Sweeney Todd, The Mandate, and both parts of Angels in America. For the Royal Shakespeare Company: The School for Scandal, King Lear (RSC Academy) and Great Expectations, which he also co-adapted.

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Other work includes: The Rise and Fall of the City of Mahogonny (English National Opera); Martin Guerre (Prince Edward Theatre); Hayfever (Savoy Theatre); Antigone (The Old Vic); Falstaff (Salzburg Festival); Shakespeare in Love (West End). He co-directed the film Bel Ami with Declan Donnellan.

Natalie Radmall-Quirke Hermione / Dorcas Trained at Trinity College Dublin and LAMDA. Theatre includes: Martyr (Actors’ Touring Company); Playboy of the Western World (Southwark Playhouse); Romeo and Juliet, Celebration, Jane Eyre (Gate Theatre, Dublin); Twelfth Night, No Romance, The Plough and the Stars, The Comedy of Errors, An Ideal Husband (Abbey Theatre, Dublin); The Family, Twenty Ten (THEATREclub, Project Arts Centre); Steel Magnolias (Gaiety Theatre, Dublin); White Rabbit Red Rabbit (Absolut Dublin Fringe 2012); Moment (Tall Tales, Project Arts Centre); Ellamenope Jones, Everybody Loves Sylvia, The Illusion, Eeeugh!topia (Randolf SD|The Company, Project Arts Centre); I Witness (Finborough Theatre); Footfalls (Players Theatre). Television Includes: Undeniable; Doctors; Striking Out. Film Includes: Davin; The Canal.

Rebecca Rees Wardrobe Manager Experience includes: working as a freelance costume maker, a costume technician for Disney Cruiseline. As Wardrobe Supervisor, theatre includes: Lieutenant of Inishmore, The Long Road (Curve Theatre, Leicester); The Complete Deaths (Spymonkey). As Wardrobe Mistress: Regeneration (Touring Consortium); Brassed Off (Touring Consortium); 42nd Street (UK Productions); Antigone (Barbican); The Last Mermaid (Wales Millennium Centre); A Tale of Two Cities (Touring Consortium). Joy Richardson Paulina / Mopsa Trained at Webber Douglas Academy. Theatre includes: Shakespeare in Love (Declan Donnellan); Henry V (Regents Park); Much Ado About Nothing, The Taming of the Shrew (Globe Tour), The Maids Tragedy (Globe), To Kill a Mockingbird, Ridley Walker (Manchester Royal Exchange); Welcome to Thebes, The Observer, The Oresteia, Pericles, Racing Demon, Fuente Ovejuna (National Theatre); The Royal Family (West End); Mr Puntila and his Man Matti (Almeida); From the Mississippi Delta, A Midsummer Night’s Dream (Young Vic); For Colored Girls who have considered

Suicide when the Rainbow is Enuf (Hampstead). Television includes: Walliams and Friend, Comic Strip Presents, Holby City, Doctors; Family Man; Trial & Retribution; Judge John Deed; Silent Witness. Film includes: The Ones Below, Rhinoceros, Children of Men; Tug of Love.

Fred Riding Sound Trained at De Montfort University in Music Technology and Innovation. Theatre includes: Pig Girl (Finborough Theatre); Benvento Cellini (ENO); East is East (Trafalgar Studios UK Tour); 5 (National Youth Theatre); Red Forest (Belarus Free Theatre / Young Vic); Solomon and Marion (The Print Room); Neville’s Island (Duke of York’s Theatre); Live/Revive/Lament (Silent Opera); Fear and Loathing in Las Vegas (Heritage Arts); FAME – Not the Musical, Candide, The Lyons, The Color Purple (Menier Chocolate Factory); The Limbless Knight (Graeae Theatre Company); The Sweet Smell of Success (Arcola Theatre).

Marcus Montgomery Roche Assistant Director Trained at Royal Scottish Academy of Music and Drama, and École Philippe Gaulier. Theatre (Assistant) credits include: The Odd Couple, Macbeth, Cinderella (Perth); Fleeto (Tumult in the Clouds). Directing credits include: The Agony and Ecstasy of Steve Jobs (Gilded Balloon); Vote for Me (Arches); The Night Before the Trial (Tron Theatre); Romeo and Juliet (Taganrog Opera Drama Theatre); and King Ubu (A Play, A Pie and A Pint).

David Salter Lighting Technical Management and Lighting credits include: ’Tis Pity She’s a Whore (Cheek by Jowl, International tour); Chotto Desh (Akram Khan, International tour); Maze, Tomorrow, Freedom (Jasmin Vardimon, UK tours); Christmas on Ice, Spirit of the Dance, Puttin’ on the Ritz, New Jersey Nights, Rock Around the Clock (Spirit Productions, UK and International tours); Fiend (Casson and Friends, UK tour); The Church Parables (Mahogany Opera, UK / Russian tour); Hermes Times (Royal Opera House, London). Festival and Site Specific credits include: MMMM (St Johns Forest, Ashford); Arts in Parliament (Westminster Hall, London); Pi-leau (GDF, Hastings); Cannes Cinema Club (Punch Drunk, France); The Black Diamond (Punchdrunk, London); Latitude Festival (UK); C Venues (Edinburgh) Cubitt Sessions (London); Tete a Tete: The Opera Festival (London).

Edward Sayer Polixenes Trained at Guildhall School of Music and Drama. Theatre includes: First Light (Chichester Festival Theatre).

Tim Speechley Company Manager Trained at Guildhall in Stage Management and Technical Theatre. Theatre includes: Antigone (Brooklyn Academy of Music); Birdsong (UK Tour); Fela (Lagos, Nigeria); Beauty and the Beast at the Christiania Teater Oslo; 16 productions for Theatre Royal Bath –Peter Hall season; 7 UK Tours for ‘Ladysmith Black Mambazo’; 18 world tours for Les Ballets Africains (National Dance Company of the Republic of Guinea); Oh, What a Lovely War! (UK Tour & London Roundhouse); Tower of London Festival for AEG); Annie, Amadeus, Look After Lulu, The Passion of Dracula, Iolanthe (West End); 4 European Tours for Moscow State Circus & Moscow Classical Ballet; 15 productions for the National Theatre under the direction of Peter Hall & Richard Eyre. Harriet Stewart Deputy Stage Manager Recent theatre includes: Breaking The Code, The Night Watch, So Here We Are, Anna Karenina, YEN (Manchester Royal Exchange); Rotterdam (Trafalgar Studios), Richter-Part (Manchester International Festival); Private Lives (Bolton Octagon); Twelfth Night, Translations (Sheffield Crucible, English Touring Theatre); Disgraced (Bush Theatre).

Robin Turley Smith Technical Stage Manager Theatre includes: In the Jungle of Cities (Arcola Theatre); ’Tis Pity She’s A Whore (Cheek by Jowl); 2 Pianos 4 Hands (English Theatre, Vienna – European premiere); The Big Life (Theatre Royal Stratford East); Flight of the Swan (Linbury Studio ROH). Opera includes: Garsington Opera; Opéra de Baugé. Television includes: One Man Walking (MJW Productions/Channel 4). Film includes: BUN (Gingerpod Productions).

Sam Woolf Florizel Trained at Bristol Old Vic Theatre School. Television includes: Humans. Film includes: Brief Intermission; Once a Man. Radio includes: Doctor Who Early Adventures; The Food Programme.

Grace Andrews

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14 – 31 January 2016Paris, Les Gémeaux, Sceaux, France

3 – 5 February 2016Lille, Théâtre du Nord, France

10 – 14 February 2016Madrid, Centro Dramático National, Spain

17 – 21 February 2016Milan, Piccolo Teatro, Italy

1 – 4 March 2016Luxembourg City, Grand Théâtre de la Ville de Luxembourg, Luxembourg

6 – 11 December 2016New York City, Brooklyn Academy of Music, USA

14 – 21 December 2016Chicago, Chicago Shakespeare Theater, USA

18 – 19 January 2017Nice, Théâtre National de Nice, France

24 – 28 January 2017Glasgow, Citizens Theatre, UK

31 January – 4 February 2017Cambridge, Cambridge Arts Theatre, UK

9 February 2017Murcia, Teatro Romea, Spain

12 February 2017Barcelona, Teatre-Auditori Sant Cugat, Spain

16 February 2017Bilbao, Teatro Arriaga, Spain

18 February 2017Avilés, Centro Cultural Internacional Oscar Niemeyer, Spain

22 – 25 February 2017Bath, Theatre Royal Bath, UK

28 February – 4 March 2017Oxford, Oxford Playhouse, UK

7 – 11 March 2017Coventry, Warwick Arts Centre, UK

14 – 18 March 2017Colchester, Mercury Theatre, UK

21– 25 March 2017Mold, Theatr Clwyd, UK

29 – 30 March 2017Quimper, Théâtre de Cornouaille, France

5 – 22 April 2017London, Barbican, UK

25 – 29 April 2017Bristol, Bristol Old Vic, UK

5 – 7 May 2017Athens, Megaron – The Athens Concert Hall, Greece

20 May 2017Palma, Teatre Principal De Palma, Spain

4 – 6 June 2017Moscow, Chekhov International Theatre Festival, Russia

9 – 10 June 2017Voronezh, International Platonov Festival, Russia

The Winter’s Tale Performances

25 Orlando James

Where the warlike Smalus,That noble honour’d lord,

is fear’d and lov’d?

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There is no fear in love.

John 1 4:18

‘One of the world’s most influential companies… A kiss of life’ Time Out Through a generous legacy gift from Sophie Hamilton, Cheek by Jowl has been given the opportunity to digitise and make accessible archive material from 35 years of groundbreaking productions. We are asking supporters of our work to become Patrons of Cheek by Jowl and through this, to contribute to making the company’s legacy available to all. Cheek by Jowl Patrons will be welcomed to at least two specially programmed events per year with members of the company, including Declan Donnellan and Nick Ormerod. Patrons will also receive all of the benefits of Friends and Benefactors. To become a Cheek by Jowl Patron costs just £500.

We would like to express our warm thanks to our patrons: Olga Basirov, Brenda and Mikkel Bates, Esmé Cook, June Craig, Peter de Graaf, Tom Hayhoe, Nicola Kerr, Judith Patrickson, Richard and Elizabeth Philipps, Jane Reid, Dr Lade Smith and Jonathan Chesterman, Tim Stockil, Philip Stoltzfus, Donna Vinter and Sarah Watkinson. We are very grateful for your support.

For further information on supporting Cheek by Jowl and to join our Friends’, Benefactors’ or Patrons’ Scheme please visit www.cheekbyjowl.com/support.php or contact sarah@cheekbyjowl.com

Friends’ Scheme

Simon Coates and Adrian Lester, As You Like It (1994)

Patrons’ Scheme ‘Cheek by Jowl brings fresh life to the classics using intense vivid performances like a laser of light to set the text ablaze’ The Guardian

We are calling on our audience to be part of the future of Cheek by Jowl by joining our Friends’ scheme. As a Friend you will get: • Priority booking for UK performances• Access to pre-show talks• Regular updates and news via our newsletter• The opportunity to support and sustain one of Europe’s finest companies To become a Cheek by Jowl Friend costs just £25

As a Benefactor you will get all the benefits of a Cheek by Jowl Friend, as well as an invite to one exclusive event per year with the Cheek by Jowl Artistic team. To become a Cheek by Jowl Benefactor costs just £250 per year, which can be paid in monthly instalments of less than £21 per month.

Benefactors’ Scheme

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Education Measure for Measure In 2016 Cheek by Jowl began a nationwide education project, which consisted of running a programme of AS/A Level workshops in over 30 schools and colleges around the country. To complement the workshops a digital education pack was created complete with links to the livestream recording of Measure for Measure, interviews with the cast and creatives, and essays with leading academics and theatre historians. Made possible by a generous grant from the Garfield Weston Foundation, Cheek by Jowl’s education programme has continued the company’s commitment to building the theatregoers and theatre practitioners of tomorrow.

Coming soon: The Winter’s Tale Schools groups and students coming to see The Winter’s Tale in the New Year will have access to Cheek by Jowl’s education pack, which will contain interviews with cast and creatives, essays, activities, further reading and links to video material. This pack will become available in February 2017. If you are interested in making a pre-order please contact our Education Officer.

e: dominic@cheekbyjowl.com t: + 44 (0) 207 382 7202

WorkshopsCheek by Jowl are a listed theatre practitioner to study on AS/A Level Drama specifications. We are currently offering Practitioner Workshops to schools and colleges in the UK. Please visit www.cheekbyjowl.com/education.php for more information.

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Périclès, Prince de Tyr by William Shakespeare

Directed by Declan Donnellan Designed by Nick Ormerod

‘Cheek by Jowl’s enduring gift to theatre is the ability to live in an eternal precarious present’ Daily Telegraph

In French

For more details of the production, please visit www.cheekbyjowl.com

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He straight declined, droop’d, took it deeply, Fastened and fixed the shame on’t in himself.

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Tom CawteEleanor McLoughlin

Sam Woolf David Carr, Edward Sayer

The Sophie Hamilton Archive is Cheek by Jowl’s online archive. It is a continuous ‘living’ celebration of Cheek by Jowl’s work both past and present and hosts all sorts of interesting materials such as prompt books, photographs, designs, video interviews, tour information and rehearsal notes. Since its launch two years ago, the online archive has been host to over 6,000 users from all over the world. It is the generosity of our Friends, Benefactors and Patrons that allows us to continue our archive work and bring to light new resources for students, researchers and enthusiasts alike. The archive can be found at archive.cheekbyjowl.com

1 Olivia Williams and Tom Hiddleston, The Changeling. (photo: Keith Pattison)

2 Company, As You Like It. (photo: John Haynes)

3 Gwendoline Christie, Cymbeline. (photo: Keith Pattison)

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1981 The Country Wife Wycherley

1982 Othello Shakespeare

1983 Vanity Fair BP Thackeray

1984 Pericles Shakespeare

1985 Andromache BP Racine

1985 A Midsummer Night’s Dream Shakespeare 1985 The Man of Mode Etherege

1986 The Cid BP Corneille

1986 Twelfth Night Shakespeare

1987 Macbeth Shakespeare

1988 A Family Affair BP Ostrovsky

1988 Philoctetes Sophocles

1988 The Tempest Shakespeare

1989 The Doctor of Honour Calderon

1989 Lady Betty BP Donnellan

1990 Sara BP Lessing

1990 Hamlet Shakespeare

1991 As You Like It Shakespeare

1993 Don’t Fool With Love de Musset

1993 The Blind Men BP de Ghelderode

1994 Measure for Measure Shakespeare

1994 As You Like It (revival) Shakespeare

1995 The Duchess of Malfi Webster

1997 Out Cry BP Tennesse Williams

1998 Much Ado About Nothing Shakespeare

1999 Le Cid A Corneille

2000 Boris Godunov C Pushkin

2001 Homebody/Kabul BP Kushner

2003 Twelfth Night C Shakespeare

2004 Othello Shakespeare

2005 Three Sisters C Chekhov

2006 The Changeling Middleton & Rowley

2007 Cymbeline Shakespeare

2007 Andromaque B Racine

2008 Troilus and Cressida Shakespeare

2009 Macbeth Shakespeare

2011 The Tempest C Shakespeare

2011 ’Tis Pity She’s A Whore John Ford

2012 ’Tis Pity She’s A Whore John Ford

2013 Ubu Roi Jarry

2013 Measure for Measure P Shakespeare

2014 ’Tis Pity She’s A Whore John Ford

2016 The Winter’s Tale Shakespeare

(Dates represent the year each production premiered)

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BP British premièreC Produced by Chekhov International Theatre Festival in association with Cheek by JowlB Bouffes du Nord in association with Cheek by JowlA An Avignon Festival productionP Cheek by Jowl with Pushkin Theatre, Moscow

Sophie Hamilton Archive

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Lille, Lipetsk, Lisbon, Liverpool, Ljubljana, Llantwit Major, Lochgelly, London, Los Angeles, Loth,

Loughborough, Louviers, Lowestoft, Ludwigshafen, Luton, Luxembourg, Lyon, Maastricht, Madras,

Madrid, Maidstone, Manchester, Market Drayton, Marseilles, Melbourne, Meppel, Mexico City, Meylan,

Meyrin, Middelburg, Milton Keynes, Moffat, Montevideo, Moscow, Mulhouse, Munich, Murcia, Namur,

Nancy, Nantes, Naples, Neerpelt, Nelson, Neuchatel, New York, Newcastle, Newtown, Nice, Nijmegen,

Norwich, Nottingham, Oldham, Omagh, Omsk, Ormskirk, Oslo, Oswestry, Oundle, Oxford, Paris, Pendley,

Perth, Peshawar, Petit-Quevilly, Phoenix, Pilsen, Plovdiv, Plymouth, Porto, Porto Alegre, Portsmouth,

Prague, Preston, Princes Risborough, Princeton, Pushkinskie Gory, Quimper, Recife, Recklinghausen,

Redhill, Reims, Rennes, Reykjavic, Ribadavia, Richmond, Riga, Rio de Janeiro, Roermond, Rome,

Roosendaal, Rotterdam, Rugby, Runcorn, Ryazan, St Andrews, St Austell, St. Petersburg, Sainte-Maxime,

Saint-Quentin-en-Yvelines, Salford, Salt, Santiago de Chile, San Sebastián, Samara, São Paulo, Sceaux,

Scunthorpe, Seoul, Shanghai, Sheffield, Shizuoka, Shrewsbury, Sibiu, Singapore, Sittard, Skegness,

Sochi, Sofia, Southampton, Southport, Stadskanaal, Stafford, Stamford, Stevenage, Stirling, Stockholm,

Stoke on Trent, Stony Brook, Stranraer, Strasbourg, Stratford-upon-Avon, Stratton on Fosse,

Strombeek-Bever, Sudbury, Sutton, Sydney, Taipei, Tallin, Tampere, Tamworth, Taormina, Tartu, Taunton,

Tel Aviv, Telford, Tempe, Tewkesbury, Thame, Thessaloniki, Thornhill, Tokyo, Tolworth, Torrington, Tours,

Tunbridge Wells, Turin, Turnhout, Tyumen, Uppingham, Utrecht, Valence, Valladolid, Valletta, Varna,

Venice, Venlo, Vienna, Vitoria-Gasteiz, Voronezh, Wakefield, Wallingford, Warminster, Warsaw, Warwick,

Washington, Wellington, Wells, Whitehaven, Winchester, Windsor, Withernsea, Wolverhampton, Worthing,

Wuerzburg, Yalta, Yerevan, York, Zagreb, Zaragoza, Zürich, Zutphen and Zwolle.

Cheek by Jowl has performed in…Aberdeen, Accrington, Adelaide, Aldeburgh, Aldershot, Ales, Alexandria, Alkmaar, Almada, Almagro,

Ambleside, Amersfoort, Amiens, Amstelveen, Amsterdam, Ankara, Ann Arbor, Antwerp, Apeldoorn,

Armagh, Arnhem, Assen, Athens, Aversham, Avignon, Aylesbury, Bacup, Banbury, Bangalore, Bangor,

Barcelona, Barrow, Barton upon Humber, Basildon, Basingstoke, Bath, Beauvais, Bedford, Beijing,

Belfast, Belgorod, Belo Horizonte, Bergen Op Zoom, Berkeley, Berlin, Béthune, Béziers, Biggar,

Billericay, Birmingham, Blackpool, Blois, Bogotá, Bombay, Bordeaux, Boston, Bourges, Bourne End,

Bracknell, Brasília, Bratislava, Breda, Brétigny-sur-Orge, Bridgnorth, Bridgwater, Brighton, Brisbane,

Bristol, Brno, Broadstairs, Bronte, Brussels, Bucharest, Buckingham, Budapest, Buenos Aires,

Builth Wells, Burton Upon Trent, Bury St Edmunds, Buxton, Caen, Cairo, Calcutta, Cambridge,

Canterbury, Caracas, Carlisle, Cergy, Châlons-en-Champagne, Chartres, Chateauroux, Cheltenham,

Chelyabinsk, Chertsey, Chicago, Chichester, Chipping Norton, Cleethorpes, Cluj, Colchester, Coleraine,

Cologne, Colombo, Copenhagen, Coventry, Craiova, Crawley, Créteil, Crewe, Croydon, Cuyk,

Darlington, Delhi, Den Bosch, Den Haag, Derry, Dhaka, Dilbeek, Doetinchem, Drachten, Dublin, Dudley,

Dumfries, Dundee, Durham, Düsseldorf, Eastbourne, Edinburgh, Ekaterinburg, Ellesmore, Elsinore,

Epsom, Erlangen, Evesham, Evreux-Louviers, Exeter, Fareham, Farnham, Frankfurt, Fribourg, Frome,

Gainsborough, Gap, Gatehouse, Geneva, Gerona, Glasgow, Gorinchem, Grenoble, Grimsby, Groningen,

Great Yarmouth, Guanajuato, Guildford, Gutersloh, Haaksbergen, Haarlem, Haifa, Halesowen,

Harderwijk, Harlow, Hasselt, Helmond, Helsinki, Hemel Hempstead, Hereford, Heusden-Zolder, Hexham,

High Wycombe, Hilversum, Hong Kong, Hoogeveen, Hoorn, Horsham, Hounslow, Huddersfield, Hull,

Ipswich, Irvine, Islamabad, Istanbul, Jerusalem, Kandy, Karachi, Katowice, Keswick, Kathmandu,

Kidderminster, King’s Lynn, Kirkcudbright, Kortrijk, Krakow, Krasnoyarsk, Kuala Lumpur, Kyoto, Lagos,

Lahore, Lancaster, Langholm, Leeuwarden, Leicester, Leiden, Leighton Buzzard, Le Mans, Lichfield,

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“ We know that theatre is a labour of love. To become truly alive, to breathe, a production needs a lot of love. As directors we love the story enough to believe that we can truly render it justice onstage, we love actors enough to hope that they will be able to live through the story, we love the audience enough to believe they will come to see our show. The actors love their characters enough to incarnate them. The audience loves theatre enough to come and live the story together with all of us. All this is a beautiful glorious theory – in practice it means that if there’s not enough love the performance will never become alive. It will never feel right to all those on both sides of the stage.

This is why my memory of Declan and Nick coming to do The Winter’s Tale in my theatre with my company is one of my most happy and uplifting memories. The Winter’s Tale opened in St. Petersburg at the Maly Drama Theatre on October 30th 1997. It was a labour of love and friendship. It was a coming together of people who truly knew each other: By 1997 our Russian actors had seen Cheek by Jowl’s productions and met with Declan and Nick’s company at many wonderful international festivals. Declan and Nick had seen our productions and met our actors at these very same festivals. When I was finally

able to ask Declan and Nick to do a production in St. Petersburg, with the support of the British Council in Russia, the love for theatre and our great friendship for each other was already there.

The rest is, of course, history. The Winter’s Tale has stayed in our repertoire for 19 years – in 2017 it will be 20, touch wood. In its opening season it received the highest Russian theatre award, The Golden Mask, for the best drama performance on the big stage. It has toured very successfully all around Russia and internationally, and it has always been and still is much beloved by the audience.

Most importantly The Winter’s Tale has made my actors very happy for over 19 years now. Declan and Nick were generous enough to leave a fragment of their souls, their talent, their sparkling imagination and their brilliant intellect in St. Petersburg forever. Their search for life and their love of theatre has brightened our stage, our auditorium, and the generations of the audience members who are now bringing their kids to see The Winter’s Tale.”Lev Dodin

The Winter’s Tale at the Maly Drama Theatre, 1997–In 1986, Russian theatre director Lev Dodin invited Donnellan and Ormerod to visit his company in Leningrad. Ten years later, they directed and designed The Winter’s Tale for the Maly Drama Theatre of Saint-Petersburg. Here Dodin shares his thoughts past and present on that earlier production of The Winter’s Tale, which is still running at his theatre in St. Petersburg.

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Barbican Centre BoardChairman John TomlinsonDeputy Chairman Dr Giles ShilsonBoard Members John Bennett, Russ Carr,Stuart Fraser CBE, Lucy Frew,Tom Hoffman, Emma Kane, Roly Keating,Vivienne Littlechild, Catherine McGuinness, Sir Brian McMaster,Wendy Mead, Guy Nicholson, Trevor Phillips, Judith Pleasance, Keith Salway, Tom SleighClerk to the Board Gregory Moore

Barbican Centre TrustEmma Kane, Founder and ChiefExecutive, Redleaf Polhill (Chair)Johnny BergiusLord Tim Clement-Jones, LondonManaging Partner, DLA PiperSir Roger Gifford, Head of SEB LondonSir Nicholas Kenyon, ManagingDirector, Barbican CentreBarbara MerryProfessor Dame Henrietta Moore,Chair, SHMJohn Murray, Senior Advisor to the GroupChief Executive Officer, Credit SuisseAlasdair Nisbet, Managing Director ofNatrium Capital LtdJohn Tomlinson, Chairman,Barbican Centre BoardTorsten ThieleSteven Tredget

Registered charity no. 294282

DirectorsManaging DirectorSir Nicholas KenyonChief Operating and Financial OfficerSandeep DwesarDirector of Arts Louise JeffreysDirector of Learning and EngagementSean GregoryExecutive Assistant toSir Nicholas Kenyon Jo Daly

Theatre DepartmentHead of Theatre Toni RacklinSenior Production Manager Simon BourneProducers Leanne Cosby, Marie Curtin, Jill Shelley, Angie Smith Production Managers Jamie Maisey, Lee TaskerTechnical Mangers Richard Beaton, Tony Brand, Jane Dickerson, Martin Morgan, Ashley PicklesStage Managers Lucinda Hamlin, Rachel HoggTechnical Supervisors, Martin Coates, Steve Daly, Nik Kennedy, Jamie Massey, Chris Wilby Systems and Maintenance Supervisor Kevin AtkinsPA to Head of Theatre David Green Assistant Producers Cathy Astley, Alex Jamieson, Daniel KokTheatre Administration Trainee Rikky OnefeliProduction Administrator Caroline HallProduction Assistant Lauren HamiltonTechnicians, John Gilroy, Burcham Johnson, Christian Lyons, Josh Massey, Stevie Porter, Tom Salmon, John Seston, Neil Sowerby Systems and Maintenance TechniciansSerena Scaramuzzi, Ian WatsonStage Door Julian Fox, aLbi Gravener

Creative LearningHead of Learning and ParticipationJenny Mollica Theatre and Cross Arts Producer Lauren Monaghan-Pisano

Marketing DepartmentHead of Marketing Phil NewbySenior Marketing Manager Ben Jefferies Marketing Campaigns Executive (Theatre) Leah Wainwright Marketing Campaigns Assistant (Theatre) Lily Rogers Programme Editor Lyn Haill

Media Relations DepartmentHead of CommunicationsLorna GemmellMedia Relations Manager (Theatre)Angela DiasMedia Relations ConsultantBridget ThornborrowMedia Relations Officer (Theatre)Freddie Todd Fordham

Customer ExperienceHead of Customer Experience David DuncanCustomer Experience ManagersMark Fleming, Sheree MillerTicket Sales Managers Lucy Allen,Oliver Robinson, Ben Skinner,Jane Thomas, Andy WilliamsonCentre Managers (Delivery)Rachel Cartwright, Jessica Crummy,Robert Norris, Mo ReidemanCentre Manager (Planning) Pheona KiddAudiences Event Manager Abi WoodVenue Managers Fiona Badgery,James Carruthers, Gary Hunt,Nyah Farier, Freda Pouflis,Elizabeth WilksAssistant Venue ManagersLucy Dunn, Tabitha Goble,Anna Kruczkowska, Will WarnockCrew Management James Towell,Dave Magwood, Danny HahnAccess and Licensing ManagerRebecca OliverIT Business Systems ManagerNicholas TriantafyllouSafety and Security Manager Nigel Walker

DevelopmentHead of Development Lynette Brooks

Barbican Centre

Cheek_by_jowl programme adverts V2 163x163.indd 4 10/01/2017 10:30

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Back row: Marcus Montgomery Roche, Sam Woolf, David Salter, Peter Moreton, Fred Riding, Paddy Cunneen, Tim Speechley, Joseph Black Third row: Siobhan Bracke, David Carr, Natalie Radmall-Quirke, Orlando James, Declan Donnellan, Harriet Stewart, Nick Ormerod, Tom Cawte Second row: Eleanor Lang, Teya Lanzon, Joy Richardson, Edward Sayer, Grace Andrews, Eleanor McLoughlin, Jane Gibson, Judith Greenwood, Dominic Kennedy Front row: Ryan Donaldson, Guy Hughes, Sam McArdle, Lou Ballard, Caroline Begalla

The Winter’s Tale Company

Photo: Vanessa Kennedy43

Artistic Directors Declan Donnellan, Nick OrmerodExecutive Director Eleanor LangGeneral Manager Caroline BegallaDevelopment & Marketing Manager Sarah FortescueArchivist & Education Officer Dominic Kennedy Administrator & PA to the Artistic Directors Teya Lanzon Bookkeeper Kate GrosvenorPress & PR Kate Morley PRGraphic Design Eureka! Design Consultants LtdWebsite and e-marketing Hans de Kretser Associates

Directors of Cheek by JowlRichard Philipps (Chair) Beth Byrne Alison Hindell Clare O’Brien Sameer Pabari Judith PatricksonPhilip StoltzfusEmma Stenning

Cheek by Jowl Barbican Centre, Silk StreetLondon EC2Y 8DSScottish Charity No: SCO13544

Cheek by Jowl gratefully acknowledges support from Arts Council England.Cheek by Jowl is proud to be an Artistic Associate at the Barbican.

Igor Yasulovich in The Tempest (2011). Photo: Johan Persson

For Cheek by Jowl