Romeo and Juliet

BY WILLIAM SHAKESPEARE
Welcome
Hello, and welcome to the Garrick Theatre.
This is the sixth play in our season of seven, and from a personal point of view, it is perhaps inevitable
that Romeo and Juliet should be included.
It was the first Shakespeare play I saw live in a theatre, and the first Shakespeare play I directed.
Even at a distance of 40 years, I can remember vividly that first live experience of seeing the play.
It was urgent, passionate, and (to my great surprise), often very funny. To a suburban adolescent the
heady mixture of sex and violence was both glamorous and disturbing. To the astonishment of our class,
(13 year olds), we seemed to be actually understanding what this Shakespeare fellow was saying. And the
characters seemed to be recognizable to us, familiar even certainly their pre-occupations there were
plenty of lovesick teenagers amongst us. In this production there were also gangs, and fights, and parents
who seemed unable to understand anyone of our age. In short, a heightened version of our lives seemed to
be on that stage. It entertained and noisily diverted us for the afternoon of a riotous matinee. But it also
affected us, deeply. The play has affected and drawn me back ever since.
It bred a fascination in me for Shakespeare and for the theatre.
That early artistic trajectory, took another shift two years later when I saw a production of Hamlet, at the
New Theatre Oxford. It featured an actor who gave the greatest performance of the role I have ever seen.
It made me want to become an actor. A year later when I saw the production again in London this actor
was kind enough to meet me (a week away from starting drama school), and to encourage and answer
questions that I had about the hoped-for creative life ahead. That conversation between us has now been
going on for nearly 40 years and continues this evening as the great Derek Jacobi plays Mercutio.
My experiences of directing Romeo and Juliet as a first-time Shakespeare director in 1986, were also
invaluable when Rob Ashford and I came to discussing our new production here at the Garrick. This is
our third collaboration with Shakespeare, and as before, challenging or finding a period context in which
to release the imaginations of actors and audiences alike was a driving force. We, and our designer and
artistic associate, Christopher Oram, were much inspired by the looks and sounds, and mood of a Verona,
inverted from the 1590s and finding different form in the 1950s. La Dolce Vita, bursts with the life of the
street, the glamour of the night, shines with a seemingly permanent black and white movie perfection,
but for all its surface glamour it could be rotten underneath. This vividly seething period in Italys history
seemed particularly resonant with the dangerous and deadly undercurrents of this romance. The period,
which our company has researched and drawn on extensively in preparing the play, is sharply evoked by
Nicoletta Simborowski elsewhere in this programme. Also, there is an insightful look at the literary lineage
of the play by Professor Russell Jackson, who penned a different but equally compelling piece, 30 years
ago when he was a vital and valued colleague in that first engagement with Romeo and Juliet.
The personal and artistic connection with the play turns other wheels within wheels for this evenings
production. Derek Jacobis colleagues from our film of Cinderella reunite. There is no production without the
lovers at the centre of it, and for two of the most challenging roles in Shakespeare I am proud to have two
of our most exciting young actors, Richard Madden and Lily James. And I am especially proud to have so
many of our actors from other plays in this first season return to complete the company. To them and to the
brilliant Meera Syal, and Marisa Berenson, who join us for the first time, we bid a hearty welcome.
That welcome is most especially extended to you the audience.
I am aware that many of you here today will have visited other shows in our season. For that I should like
to offer my sincere gratitude. Thank you vey much for supporting Plays at the Garrick.
Kenneth Branagh
 Quite probably the greatest
theatre on the planet.
Time Out FIERY ANGEL PRESENTS
KENNETH BRANAGH THEATRE COMPANY

Romeo and Juliet BY WILLIAM SHAKESPEARE

PAID AD 3 CAST
Marisa Berenson Jack Colgrave Hirst Tom Hanson Matthew Hawksley Derek Jacobi Lily James
Taylor James Pip Jordan Ansu Kabia Richard Madden Racheal Ofori Nikki Patel Chris Porter
Zo Rainey Michael Rouse Meera Syal Samuel Valentine Kathryn Wilder

Photography (Helen McCrory) by Dean Rogers

DIRECTED BY
Helen McCrory plays Hester Rob Ashford and Kenneth Branagh
in Terence Rattigans devastating masterpiece
SET AND COSTUME DESIGN
Christopher Oram

LIGHTING DESIGNER SOUND DESIGNER

Howard Hudson Christopher Shutt

COMPOSER CASTING DIRECTOR

Patrick Doyle Lucy Bevan

CHOREOGRAPHER WIGS AND HAIR DESIGN ASSOCIATE

Rob Ashford Richard Mawbey

TEXT CONSULTANT RESIDENT DIRECTOR

Russell Jackson Nicola Samer
Original photography Guardian News & Media / Walter Doughty

ASSOCIATE CHOREOGRAPHER VOCAL COACH FIGHT DIRECTOR

Pip Jordan Barbara Houseman Bret Yount

PRESS REPRESENTATION MARKETING SEASON IMAGERY AND DESIGN

Sean OCaseys vivid portrait of life The Corner Shop PR Joe Public SWD
during Irelands Easter Rising, 1916
PRODUCTION MANAGEMENT
Jim Leaver

GENERAL MANAGEMENT
Jon Bath for Fiery Angel

Now booking
South Bank, London, SE1
Romeo and Juliet
BY WILLIAM SHAKESPEARE

CAST
BALTHASAR NIKKI PATEL
SAMPSON RACHEAL OFORI
BENVOLIO JACK COLGRAVE HIRST
TYBALT ANSU KABIA
PRINCE TAYLOR JAMES
LADY MONTAGUE ZO RAINEY
LORD MONTAGUE CHRIS PORTER
ROMEO RICHARD MADDEN
LORD CAPULET MICHAEL ROUSE
PARIS TOM HANSON

PRODUCTION IMAGE
PETER KATHRYN WILDER
ANTHONY AND FRIAR JOHN MATTHEW HAWKSLEY
POTPAN PIP JORDAN
LADY CAPULET MARISA BERENSON
NURSE MEERA SYAL
JULIET LILY JAMES
MERCUTIO DEREK JACOBI
FRIAR LAURENCE SAMUEL VALENTINE

CREATIVE TEAM
DIRECTOR AND CHOREOGRAPHER ROB ASHFORD
DIRECTOR KENNETH BRANAGH
SET AND COSTUME DESIGNER CHRISTOPHER ORAM
LIGHTING DESIGNER HOWARD HUDSON
SOUND DESIGNER CHRISTOPHER SHUTT
COMPOSER PATRICK DOYLE
CASTING DIRECTOR LUCY BEVAN
CASTING ASSOCIATE EMILY BROCKMANN
WIGS AND HAIR DESIGN ASSOCIATE RICHARD MAWBEY
TEXT CONSULTANT RUSSELL JACKSON
RESIDENT DIRECTOR NICOLA SAMER
VOCAL COACH BARBARA HOUSEMAN
FIGHT DIRECTOR BRET YOUNT
ASSOCIATE CHOREOGRAPHER PIP JORDAN
DESIGN ASSOCIATES LEE NEWBY
FRANKIE BRADSHAW
PRODUCTION RESEARCHER MAX GILL

Running time is 2 hours 45 minutes, including a 20-minute interval.

Please make sure all phones are switched off during the performance.
Strictly no video or photography.
PRODUCERS
FOR THE KENNETH BRANAGH COMPANY KENNETH BRANAGH
TAMAR THOMAS
FOR FIERY ANGEL EDWARD SNAPE
MARILYN EARDLEY
GENERAL MANAGER JON BATH

ARTISTIC DIRECTOR
KENNETH BRANAGH

ARTISTIC ASSOCIATES
ROB ASHFORD
CHRISTOPHER ORAM

COMPANY
APPLAUDING
PRODUCTION MANAGER
COSTUME SUPERVISOR
PROPS SUPERVISOR
JIM LEAVER
STEPHANIE ARDITTI
CELIA STRAINGE
EXCELLENCE.
WIGS AND HAIR DESIGN ASSOCIATE RICHARD MAWBEY
COMPANY MANAGER GEMMA TONGE Coutts is proud to support the
STAGE MANAGER TANYA GOSLING Kenneth Branagh Theatre company.
DEPUTY STAGE MANAGERS RHIANNON HARPER
FRAN ODONNELL
ASSISTANT STAGE MANAGERS SARAH COATES
STUART CAMPBELL
EMILY HARDY
HEAD OF WARDROBE TIM GRADWELL
WARDROBE DEPUTY RACHAEL McINTYRE
WARDROBE ASSISTANT BEN ENATHALLY
HEAD OF WIGS AND HAIR GEMMA FLAHERTY
HEAD OF SOUND WAYNE HARRIS
SOUND NO 2 MICHAEL ROGERSON
PRODUCTION SOUND ENGINEER KEITH HUTCHINSON
LIGHTING PROGRAMMER ROB HALLIDAY
PRODUCTION ELECTRICIAN CHRIS MENCE
DRESSERS JENNI CARVELL
SPENCER KITCHEN
DEPUTY PRODUCTION MANAGER GARY PELL
AUTOMATION OPERATOR BEN REEVES
MUSIC SUPERVISOR MAGGIE RODFORD
MUSIC ASSOCIATE BEN HOLDER
MUSIC PROGRAMMER PATRICK NEIL DOYLE
PRODUCTION COORDINATOR NICK MORRISON
PRODUCTION ASSISTANT RACHEL FRANCIS

WEALTH MANAGEMENT PRIVATE BANKING INVESTMENT MANAGEMENT

Brawling love
and loving hate
RUSSELL JACKSON explores the passionate
world of Romeo and Juliet
In the film Shakespeare in Love (1999) the young playwright is struggling to find the
plot even the title of his new play, and needs the advice of Christopher Marlowe
and a good deal of personal amatory experience before he is able to complete Romeo and
Juliet as we know it. Shakespeare in Love is certainly more engaging as a prospect than
Shakespeare Reading, but in fact his principal source was a poem by Arthur Brooke,
The Tragical History of Romeus [sic] and Juliet, published in 1562. The play was probably
written in 1595 and first published in 1597. Since then it has enjoyed an afterlife rivalled
only by that of Hamlet, including ballets, operas and symphonic poems, enduringly
influential films, and a musical that has itself become a classic, West Side Story, first
seen on stage in 1957. The plays vigorous comedy, lyrical poetry of love and powerful
tragic effect have never ceased to attract actors, directors and audiences.
The subject is in itself endlessly fascinating: young lovers who are desperate to survive
in a hostile and patriarchal society, where their families are in deadly opposition to
one another. The Verona of Romeo and Juliet is a city of wealth, fashion, style and wit,
exciting but also dangerous: Now, these hot days, is the mad blood stirring. The civic
authorities can do little to prevent brawls in which civil blood makes civil hands unclean.
The different kinds of passion are constantly compared. Before he encounters Juliet,
Romeo, obsessed with another Veronese beauty, Rosaline, immediately connects his
emotional state with the fighting of the opening scene: Heres much to do with hate, but
more with love. The conflicts of the heart are as violent as those of the quarrel, and like
them seem to be bred of an airy nothing - O brawling love, O loving hate, /O anything
of nothing first create These fierce emotions are the human equivalents of the grace
and rude will Friar Laurence identifies in the power of plants and herbs.
For all the vitality of its comic scenes, we never doubt we are witnessing a tragedy.
The plays opening chorus promises the misadventured piteous overthrows of a pair of
star-crossed lovers. What remains to be revealed is the specific nature of their death-
marked love. The play is littered with images of the heavens, in both the Christian
religious sense and in relation to astrology. On his way to the feast where he meets Juliet,
Romeo says he has had a premonition of some consequence yet hanging in the stars.
Urged to flee after the deaths of Mercutio and Tybalt, he cries O I am Fortunes fool,
and he responds to the news of Juliets supposed death with Then I defy you, stars!
The pace is rapid. Within twenty-four hours Romeo meets and marries Juliet, becomes
the unwitting cause of a valued friends death, impulsively avenges him by killing his
 DELIGHTED TO DRESS

Illustrations: Getty Images

PLAYS AT THE GARRICK FOR
THE KENNETH BRANAGH
THEATRE COMPANY
assailant, and is banished from the city as a murderer. Juliet is faced with the prospect
of another, bigamous, marriage forced on her by her father, and her beloved and trusted
Nurse betrays her by urging her to accept the situation and forget Romeo. The banished
Romeo reassures Juliet as they part after their wedding night that all these woes shall
serve/For sweet discourses in our time to come. Even so, when Juliet urges him to be
gone with More light and light it grows he answers More light and light, more dark and 1 GARRICK RD LONDON NW9 6AA
dark our woes. WWW.ANGELS.UK.COM
The lyricism of Romeo and Juliet has a muscular energy, quite different from the stale
versifying associated with Romeos wooing of Rosaline, and the rhyming of love and
dove mocked by Mercutio. Its richness and urgency complement the headlong action,
ranging from the down-to-earth prose of the Nurse to the inventive bawdy of Mercutio,
and from the wit of the sonnet that is the first exchange between Romeo and Juliet to
the erotic lyricism of Juliets soliloquy Gallop apace, you fiery footed steeds. There are
moments of extraordinary emotional and verbal expansiveness, such as her declaration
My bounty is as boundless as the sea /The more I have, the more I give to thee, /For both
are infinite. Mercutio talks of desire in the most cynical terms, but even his diatribe
against the delusions of dreamers becomes a lyrical as well as satirical fantasy.
The lovers meet and part by night. The violent contrasts that fill the plays language
and govern its action, are reflected in this opposition between darkness and light,
conjured up in the lovers two balcony scenes and in the recurrent references to sunlight
and darkness. When Romeo first sees Juliet at the Capulets old accustomed feast he
No show looks
exclaims O she doth teach the torches to burn bright. Even in the tomb he imagines good in the dark
that Juliets beauty makes /This vault a feasting presence full of light. As the play ends
the sun for sorrow will not show his head, but the glooming peace between the rival
families will be represented in the statues of pure gold promised by Montague and
Capulet. These final lines, though, look out towards the immortality granted by posterity,
For never was a story of more woe /Than this of Juliet and her Romeo. The play asserts
its own power, and that of audiences across five centuries who have participated in
granting the lovers their immortality by enjoying the two hours traffic of the stage.
Russell Jackson is Allardyce Nicoll Professor of Drama at the University of Birmingham.
His most recent publications include Shakespeare and the English-speaking Cinema
(2014) and Theatres on Film: How the Cinema Imagines the Stage (2013). Creative Solutions, Technical Excellence
Proudly supporting British Theatre since 1971
www.WhiteLight.Ltd.uk

From Devastation
to La Dolce Vita
Verona, 1950s: from amongst the debris
of a once beautiful city, there are glimmers
of renewal and rebirth, says Italian scholar,
NICOLETTA SIMBOROWSKI
In 1945 a devastated Italy emerged from war and from Fascism, bedraggled, impoverished
and humiliated. The task over the next ten years was to rebuild society, rediscover
national identity and pride and create a genuinely united country, leaving behind past
allegiances, repairing hurt, embracing reform. The question was whether such deep wounds
could be healed.
Since 1922 Mussolinis regime had imposed legislation and opposed dissent through fear
and coercion. Consensus was enforced by the vicious squadre, bands of thugs independent
of the law who roamed freely and erratically, beating and humiliating those considered
enemies within. Despite resistance, by 1929 Italy was an authoritarian police state. Fascism
became a nationalist identity, reinforced by mass education: War is to Man as Motherhood
is to Woman, Mussolini is always right, Believe. Obey. Fight. The image of the ideal Fascist
citizen permeated all institutions and daily life. Fascism functioned as a model of right wing
government, much admired in fact by sections of the British ruling class.
Photography: Getty Images
Opposition continued in Socialist and Communist organisations whilst individuals offered
passive resistance, refusing to take the Party card, make the Fascist salute or wear the black
shirt on public occasions. Any small community contained committed Fascists, as well as
those resigned to accepting the status quo and those actively opposed. Families were split,
friendships ruined in an atmosphere of fear and mistrust. The effect on social relationships
was poisonous, destroying private life and damaging normal social interactions.
When Mussolini entered the war in 1940, Italians, many opposed to their own government
and appalled by the alliance with Nazi Germany, were conscripted to fight. Badly organised
and poorly equipped, they had no appetite for battle. In 1943, the Allies invaded Italy from
the south and the Italian king together with the Fascist Grand Council itself voted to depose
Mussolini. The Germans poured troops into northern Italy reinstating the Duce in a puppet
government. Tens of thousands of anti-Fascists and Communists, men and women, formed
partisan groups and fought a guerrilla war against the Nazi occupiers. Reprisals were brutal,
with villages burnt and ten Italians executed for every German killed. Thousands died.
Meanwhile, American and British planes bombarded Italian cities. Mussolini was captured
and executed by partisans. The war was ending, but whilst the common enemy, Nazism, had
been defeated, it was by no means a liberation. The Italians suffered new humiliations at
the hands of the Allies. Waves of armies, many with dubious discipline, flooded the country
perpetrating rape and violence. The Mafia, largely eliminated during the Fascist years, helped
control the defeated territories.
Now, in these years following the war, many Italians had no idea what they stood for, except
that they desired security, peace and the best for their own families and those close to
them. This lack of moral compass was compounded by a sense of shame at the Fascist
past, at the fiasco of the war which had cost them so dear and left them often despised by
the rest of the world.
They began the painful task of rebuilding their lives amid a culture of silence about the
recent past: no discussion, bury the shame, move on.
Communism however had moral status based on the northern Communist unions heroic
resistance to Fascism and the Nazis, and was a powerful force. By 1948, the Socialists
and Communists formed a party, backed by the Soviets. Alarmed at this threat of Soviet
Communism in the heart of Europe, the Americans approved massive investment in Italy under
the Marshall Plan. At last the recovery, the economic miracle, the boom, was under way.
Bella figura, keeping up appearances, was a vital concept in 1950s Italy: order
extravagantly in restaurants but eat frugally at home, dress well even if destitute, spend not
save, revere the family whilst keeping a mistress. Beneath this beautiful veneer, corruption,
vice and injustice thrived.
The 1950s family was not necessarily the warm, supportive organism of popular
imagination. It could be manipulative, violent and repressive, marriage a trap. Women could
vote since 1945, but there was no work to offer independence, contraception was prohibited
and divorce only became legal in 1970. Arranged marriages were the unofficial norm. In a
collection of problem page letters, published in 1959, the editor writes: two young people must
please their families [] marriage becomes a question of prestige, of financial interests, of
family ancestry [].
Italys image and standing in Europe improved through the 1950s, and in a huge cultural
shift, by 1960 the concept of dolce vita, an Italy of beauty, carefree glamour, smouldering
sexuality, was fixed in the public consciousness. This glossy surface hides the reality of a still
profoundly dysfunctional society, split along regional, class and political lines, and yet to come
to terms with its turbulent past.
Nicoletta Simborowski is a Lecturer in Italian at the University of Oxford and is the author
of Secrets and Puzzles: Silence and the Unsaid in Contemporary Italian Writing (2003).
Cast
MARISA BERENSON
LADY CAPULET
Marisa Berenson is known for her work across stage,
screen and in fashion and was dubbed the It Girl
by Yves Saint Laurent in the early 1970s.
Theatre includes: Design for Living (New York),
Holiday (Ahmanson Theatre) and The Time of Your Life.
Film includes: Death in Venice, Cabaret (nominated
for Golden Globe, BAFTA and the National Board of
Review awards), S.O.B., Barry Lyndon, I Am Love,
The Love Punch and White Hunter Black Heart.
Television includes: Playing For Time, Hemingway,
Lo Scialo and Mafiosa.
Other credits include: Marisa is a UNESCO Goodwill
Ambassador, and UNESCO Artist for Peace. She is also
an ambassador for the Hpital Robert-Debr in Paris.
JACK COLGRAVE HIRST
BENVOLIO
Training: Jack graduated from RADA in 2014.
Credits while training include: Punk Rock,
Mad to Go, Mercury Fur, Twelfth Night, Measure
for Measure and Three Sisters.
Television includes: Trials of Jimmy Rose
and Lucky Man.
This Season: Clown The Winters Tale,
Tom Palmer Harlequinade.
TOM HANSON
PARIS
Training: Tom graduated from RADA in 2014.
Theatre includes: French Without Tears (Orange
Tree Theatre), The Gathered Leaves (Park Theatre)
and Posh (Nottingham and Salisbury).
Television includes: The Moorside Project (BBC).
Radio includes: Blake in Lambeth (BBC Radio 4).
MATTHEW HAWKSLEY
ANTHONY AND FRIAR JOHN
Training: Bird College.
Theatre includes: Annie (UK tour), A Damsel in Distress
(Chichester Festival Theatre), White Christmas (West
Yorkshire Playhouse) and West Side Story (UK tour).
This Season: Aegeum The Winters Tale.
DEREK JACOBI
MERCUTIO
Theatre includes: Heartbreak House, King Lear, two
productions of Twelfth Night, The Tempest, Macbeth,
Richard III and Richard II, Much Ado About Nothing,
Cyrano De Bergerac, Ivanov, Antony and Cleopatra and
three productions of Hamlet (also directed). Derek has
performed in many productions with both Chichester
Festival Theatre and NT Old Vic Theatre including:
Three Sisters, As You Like It, Loves Labours Lost,
Othello, Love For Love, Black Comedy and Hadrian VII.
Film includes: Cinderella, Grace of Monaco, The Kings
Speech, A Bunch of Amateurs, The Golden Compass,
Gosford Park, The Childrens Midsummer Nights
Dream, Gladiator, Joan of Arc: The Virgin Warrior,
Hamlet, Aladdin, Henry V, Three Sisters and Othello.
Television includes: Last Tango in Halifax, Titanic,
Joe Maddisons War, Margot, The Old Curiosity Shop,
Doctor Who: Series III, Miss Marple: Murder at the
Vicarage, The Jury, Frasier, The Secret Garden, Cyrano
De Bergerac, The Hunchback of Notre Dame, Hamlet:
Prince of Denmark, King Richard the Second, Markheim,
I, Claudius, Man of Straw, The Strauss Family, The
Pallisers and The Rivals of Sherlock Holmes.
Narration credits include: In the Night Garden, Henry
VIII, On Wings of Fire, Flora Britannica and Achilles.
LILY JAMES
JULIET
Lily James is an actress of stage and screen who
came to international prominence in Downton Abbey
as Lady Rose and has recently won acclaim for her role
in Kenneth Branaghs 2015 production of Cinderella
in which she played the title character.
Theatre includes: Othello (Sheffield Crucible), Vernon God
Little (Young Vic), Definitely the Bahamas, Play House
(Orange Tree Theatre) and The Seagull (Southwark Playhouse).
Film includes: Cinderella, Pride and Prejudice and
Zombies, Fast Girls and Clash of the Titans 2.
Television includes: War and Peace, Downton Abbey,
The Secret Diary of a Call Girl and Just William.
TAYLOR JAMES
PRINCE
Theatre includes: The Duchess of Malfi (Jamie Lloyd,
Old Vic), Dantons Death (Michael Grandage, NT),
The Little Dog Laughed (CMP, Garrick), Piaf (Donmar
Warehouse), Guys and Dolls (ATG, Michael
Grandage, Piccadilly Theatre) and Mamma Mia!
(Little Star, Phyllida Lloyd, Prince of Wales).
Film includes: Christmas Eve, Howards
Happy Place, Blitz and Mamma Mia!
Television includes: Red Dwarf, Sirens,
Material Girl and Hotel Babylon.
This Season: Capnio The Winters Tale.
PIP JORDAN
POTPAN,
DANCE CAPTAIN
AND ASSOCIATE
CHOREOGRAPHER
Theatre includes: assistant choreographer A Damsel
in Distress (Chichester Festival Theatre), associate
choreographer Shrek (UK tour), associate director
Finding Neverland (Curve, Leicester), resident dance
supervisor Shrek the Musical (Theatre Royal, Drury
Lane), associate choreographer Thursford Christmas
Spectacular, assistant choreographer Guys and Dolls
(UK tour) and Parade (Donmar Warehouse), dance
captain Love Never Dies (Adelphi), Shall We Dance
(Sadlers Wells), Joseph and the Amazing Technicolor
Dreamcoat, Evita (Adelphi), Guys and Dolls (Piccadilly),
Chicago (international tour), Thoroughly Modern Millie
(Shaftesbury), Contact (Queens Theatre), Pickwick
(Oxford Apollo) and Mack and Mabel (Piccadilly).
Film includes: UK Associate to Rob Ashford
Cinderella (dircted by Kenneth Branagh) and
Beyond the Sea (Kevin Spacey).
Television includes: Stars in Their Eyes (resident
dancer 1997-2003), and numerous Royal Variety
performances and commercials.
This Season: Shepherdess, associate choreographer
The Winters Tale.
ANSU KABIA
TYBALT
Theatre includes: To Sir With Love (Northampton Royal
& Derngate), The Merry Wives of Windsor, The Mouse and
His Child (RSC), She Rode Horses Like the Stock Exchange
(Old Vic New Voices), A Few Man Fridays (Riverside
Studios), Antony and Cleopatra, King Lear, The Grainstore,
As You Like It (RSC), The Wedding Dance (NITRO), The
Great Theatre of the World (Arcola), Romeo and Juliet
(Harlow Playhouse), Rosencrantz and Guildenstern Are
Dead (Manchester Library Theatre), Othello (Upstairs at
the Gatehouse), Blue/Orange (The Cockpit Theatre),
Much Ado About Nothing (Manchester Library Theatre),
Im An Asylum Seeker Get Me Into Here (The Rosemary
Branch) and Galileo (Playback Productions).
Television includes: Casualty, The Bill, Lizards vs
Aliens, City on Fire and 10 Days to War.
This Season: Cleomenes The Winters Tale, RACHEAL OFORI
Johnny Harlequinade. SAMPSON
Training: Graduated from Italia Conti Academy in 2013.
Theatre includes: A Midsummer Nights Dream
(Tooting Arts Club) and The Merchant of Venice
(Shakespeares Globe). Racheals debut solo show
Portrait, was performed to a sell-out audience at the
Edinburgh Fringe 2015 and subsequently transferred
RICHARD MADDEN to the Camden Peoples Theatre, Bush Theatre and
ROMEO the Southbank Centre as part of a UK tour.
Television includes: Wizards vs Aliens and
Richard Madden is best known for his compelling appearances on BBC2.
role of Robb Stark in the globally acclaimed HBO
series Game of Thrones and for his role as Prince Kit
in Kenneth Branaghs Cinderella.
Theatre includes: Romeo and Juliet (Shakespeares
Globe), Noughts and Crosses (RSC) and John Tiffanys
Be Near Me (Donmar Warehouse).
Film includes: Cinderella and Bastille Day.
Television includes: In addition to Game of Thrones, NIKKI PATEL
Medici: Masters of Florence, Birdsong, Klondike BALTHASAR
and Lady Chatterleys Lover.
Theatre includes: Nikki made her stage debut last year
in the lead role of Alia in Future Conditional (Old Vic).
Television includes: Nikki is well known for playing
Amber Kalirai in Coronation Street for which she
received an NTA nomination for Best Newcomer.
Nikki left the role in 2009 to study at the University
of Manchester and graduated with a BA in Drama
and Screen. Other television includes: Waterloo Road,
The Bright Side and The Five.
CHRIS PORTER
LORD MONTAGUE
Theatre includes: The Winters Tale, The Wind in the
Willows, Henry V, Twelfth Night, Othello, Midsummer
Nights Dream (Guildford Shakespeare), Round and
Round the Garden (The Mill at Sonning), Martine
(Finborough), What the Dickens (Gonzo Moose/Drum
Plymouth), Friend or Foe (Colchester Mercury), The
Hypochondriac (Liverpool Playhouse/ETT), Victory
(Arcola), Hard Times (Compass), Onysos the Wild (503
and Traverse), Tartuffe (Watermill), Someone Wholl
Watch Over Me (Globe Theatre, Warsaw), Angels Among
the Trees (Nottingham Playhouse), The Legend of King
Arthur, Bartleby (Red Shift), Saints Day, The Road to
Ruin (Orange Tree Theatre), The Art of Success (Arcola),
The Winters Tale, The Maids Tragedy (Shakespeares
Globe) and The Dwarfs, The Local Stigmatic, Lakeboat
(Lyric Theatre, Hammersmith/Assembly Rooms).
Film includes: The Winslow Boy.
Television includes: Bad Girls, Footballers Wives,
The Bill, Nail Bomber and The Genius of Mozart.
ZO RAINEY
LADY MONTAGUE
Theatre includes: Anything Goes (UK and Ireland
tour), The Return of the Soldier (Jermyn Street
Theatre), The Famished Land (Greenwood Theatre),
John Ferguson (Finborough Theatre), Oh! What a
Lovely War (Theatre Royal, Stratford East), Dancing
at Lughnasa (Royal and Derngate/Oxford Playhouse),
Finding Neverland (Leicester Curve), The School for
Scandal (Theatre Royal Bath), She Stoops to Conquer
(NT), The Commitments (workshop, Leicester Square
Theatre), Wicked (Victoria Apollo), Sunshine on Leith
(Dundee Rep/UK tour), Hairspray (Shaftesbury
Theatre), Gigi (Regents Park Open Air), The Sound of
Music (Larnaca Festival), Parade (Donmar Warehouse),
Guys and Dolls (UK tour), The Woman in White (Palace
Theatre), Little Women (Theatre Royal, Drury Lane),
Jekyll and Hyde (UK tour) and War Crime Tribunal
(Pleasance/Underground Theatre).
Film includes: Beauty and the Beast, Mr Holmes
and Cinderella (directed by Kenneth Brannagh).
This Season: Emilia The Winters Tale, Wardrobe
Mistress Harlequinade.
MICHAEL ROUSE
LORD CAPULET
Theatre includes: Three Men in a Boat (UK tour),
The Bodyguard (Adelphi), Carousel (Barbican),
West Side Story (Dubai), Matilda (RSC), Oklahoma
(Chichester Festival Theatre), Lord of the Rings
(Theatre Royal, Drury Lane), A Christmas Carol (Shaw
Theatre), The Boy Friend (Regents Park Open Air),
Once in a Lifetime, The Mandate, A Funny Thing
Happened on the Way to the Forum (NT), Dona Rosita:
The Spinster (Orange Tree Theatre), The Winters
Tale (Lincolns Inn), Reasons for the Fall of Emperors
(Kings Head), The Secret Garden (RSC), Sweeney Todd
(Hereford Courtyard) and Saturday Night Fever (London
Palladium).
Film and television include: Alien Autopsy,
You Might Be Wrong, The Man Who Knew Too Little,
24: Live Another Day and Mary Queen of Scots.
Other credits include: Michael has been heard
singing live on BBC Radio and as a soloist
with the Royal Philharmonic, and the London
Philharmonic Orchestras.
This Season: Gaoler The Winters Tale,
Rehearsal Pianist Harlequinade.
MEERA SYAL
NURSE
Theatre includes: Behind the Beautiful Forevers,
Rafta, Rafta, Peer Gynt (NT), If You Dont Let Us Dream,
We Wont Let You Sleep (Royal Court), Beatrice in Much
Ado About Nothing (RSC), The Killing of Sister George
(Arts Theatre), Shirley Valentine (Winner WhatsOnStage
Best Solo Performance Menier Chocolate Factory/
Trafalgar Studios), Bombay Dreams (Apollo Victoria),
The Vagina Monologues (Old Vic/West End/Madison
Square Gardens, New York), Serious Money (Royal
Court/West End/Public Theatre NY), The Great Celestial
Cow (Royal Court Upstairs/tour), Minor Complications,
True Dare Kiss, Byrthrite (Royal Court Upstairs), School
for Scandal (Bristol Old Vic), My Girl (Theatre Royal,
Stratford East), Blood Wedding (Half Moon/tour) and
The Oppressed Minorities Big Fun Show (Edinburgh
Festival/Shaw Theatre).
Film includes: A Nice Arrangement, Absolutely
Anything, All in Good Time, You Will Meet a Tall Dark
Stranger, Desert Flower, Mad, Sad & Bad, Jhoom
Barabar Jhoom, Scoop, Anita and Me, Beautiful Thing,
Sammi and Rosie Get Laid, Its Not Unusual and
Dr Strange.
Television includes: The Kumars at Number 42 (BAFTA
nominated Best Comedy Performance), Goodness
Gracious Me (BAFTA nomination Best Comedy,
winner RTS/British Comedy Awards/Peabody Award/two
international Emmys), Crackanory, Silk, Family Tree,
Hunted, The Jury, Little Crackers, Beautiful People,
Jekyll, The Amazing Mrs Pritchard, The Secretary Who
Stole 4 Million, Life Isnt All Ha Ha Hee Hee, The Boy in
the Dress, Broadchurch, Psychobitches, The Job Lot, The
Brink, Band of Gold, Absolutely Fabulous, Seans Show,
Jo Brands Through the Cakehole, My Sister Wife,
Kinsey, A Little Princess, The Secret Diary of Adrian Mole
Aged 13 3/4, The Real McCoy, Flight, Crossing the Floor,
Holding On, Midsomer Murders and The Musketeers.
Meeras third novel The House of the Hidden Mothers
is out now.
 FIERY ANGEL presents

SAMUEL VALENTINE
FRIAR LAURENCE

Theatre includes: Romeo and Juliet (Shakespeares

Globe), The Witch of Edmonton, High Society, The Sea,
Much Ado About Nothing, Poetic Bodies, The Convent
of Pleasure, Oedipus (all RADA) and Emma
rehearsed reading (Friends of Brunswick Square).
Television includes: Poldark, The Hollow Crown
and Black Mirror.
Radio includes: The Master and Margarita (Radio 3),
Tommies and Homefront (BBC).

KATHRYN WILDER

The Entertainer
ter
PETER

Training: Kathryn graduated from RADA in 2015.

This Season: Mopsa The Winters Tale and
Joyce Langland Harlequinade.

BY JOHN OSBORNE
DIRECTED BY ROB ASHFORD
CAST INCLUDES
KENNETH BRANAGH PHIL DUNSTER
JONAH HAUER-KING JOHN HURT
PIP JORDAN CRISPIN LETTS
SOPHIE McSHERA GRETA SCACCHI
KATE TYDMAN

20 AUGUST - 12 NOVEMBER
BOOK NOW branaghtheatre.com
Creative Team
KENNETH BRANAGH
DIRECTOR
Theatre includes: as an actor Another Country, Henry V,
Golden Girls, Hamlet, Loves Labours Lost, Romeo and
Juliet (also directed), Public Enemy, As You Like It, Much
Ado About Nothing, Look Back in Anger, A Midsummer
Nights Dream and King Lear (also directed), Coriolanus,
Richard III, Edmond, Ivanov, The Painkiller and Macbeth.
As a director John Sessionss The Life of Napoleon,
The American Story, Twelfth Night, Uncle Vanya, The Play
What I Wrote, Ducktastic and Macbeth.
Film includes: Henry V, Dead Again, Peters Friends, Much
Ado About Nothing, Mary Shelleys Frankenstein, In the
Bleak Midwinter, Othello, Hamlet, The Gingerbread Man,
Theory of Flight, Celebrity, Wild Wild West, El Dorado,
Loves Labours Lost, How to Kill Your Neighbours Dog,
Rabbit-Proof Fence, Harry Potter and the Chamber of
Secrets, As You Like It, The Magic Flute, Sleuth, Valkyrie,
The Boat That Rocked, Thor, My Week With Marilyn,
Jack Ryan: Shadow Recruit and Cinderella.
Television includes: The Billy Plays, The Boy in the Bush,
Fortunes of War, Shadow of a Gunman, Conspiracy,
Shackleton, Warm Springs, 10 Days to War and Wallander.
Writing includes: plays Tell Me Honestly and Public
Enemy; his autobiography Beginning; screen adaptations
of Shakespeares Henry V, Much Ado About Nothing,
Hamlet, Loves Labours Lost, As You Like It, In the Bleak
Midwinter and The Magic Flute.
This Season: The Winters Tale, Harlequinade/All On Her
Own and The Painkiller.
ROB ASHFORD
DIRECTOR
CHOREOGRAPHER
Theatre on Broadway includes: Cat on a Hot Tin Roof,
Evita (Tony Award nomination), How to Succeed in
Business Without Really Trying (Tony Award nominations
for Direction and Choreography), Promises, Promises (Tony
Award nomination), Thoroughly Modern Millie (Tony Award
for Best Choreography), John Waterss Cry Baby (Tony
Award nomination, Drama Desk, Outer Critics Circle and
Fred Astaire Awards), Curtains (Tony Award nomination)
and The Wedding Singer (Tony Award nomination).
Other credits include: Macbeth (Park Avenue Armory,
New York and Manchester International Festival), the
Olivier Award-winning productions of Anna Christie,
A Streetcar Named Desire and Parade (all Donmar
Warehouse), Shrek (London), directed and choreographed
Peter Pan Live! and The Sound of Music Live! (NBC DGA
Award nominations for both), directed The Barber of
Seville and Carousel (Lyric Opera Chicago).
He choreographed and staged the 2015 Academy Awards
with Neil Patrick Harris, the 2014 Academy Awards with
Ellen DeGeneres, and the 2013 Academy Awards with
Seth MacFarlane. For the Academy Awards 2009 he won
the Emmy Award for Best Choreography for his work on
Baz Luhrmanns production number featuring Hugh
Jackman and Beyonc. He has also choreographed the
opening number for the Tony Awards the four years it
was hosted by Neil Patrick Harris.
Film includes: choreography for Beyond the Sea, A Million
Ways to Die in the West, Ted 2 and Disneys Cinderella.
Rob is a Trustee of The Joyce Theatre in New York City.
This Season: The Winters Tale and Harlequinade/All On
Her Own.
a new production of The Phantom of the Opera
CHRISTOPHER ORAM
SET AND COSTUME DESIGN
Theatre includes: Henry V, A Midsummer Nights Dream,
The Cripple of Inishmaan (also NYC), Peter and Alice,
Privates on Parade (MGC/West End), Macbeth
(Manchester International Festival and Armoury NYC),
Cat on a Hot Tin Roof (Richard Rogers/NYC), Company
(Sheffield Crucible), The 25th Annual Putnam County
Spelling Bee, A Streetcar Named Desire, Othello, Grand
Hotel, World Music, Red, King Lear, Passion, Parade, Frost/
Nixon (Donmar Warehouse), Hamlet, Madame de Sade,
Twelfth Night, Ivanov (Donmar/Wyndhams), Man and
Superman, Summerfolk, Dantons Death, Stuff Happens,
Power, The Marriage Play/Finding the Sun (NT), Backbeat
(Glasgow Citizens), Evita (Adelphi and NYC), Guys and
Dolls (Piccadilly), King Lear/The Seagull (RSC/world tour),
Wolf Hall/Bring up the Bodies (RSC Stratford/London/NYC)
and A Damsel in Distress (Chichester).
Recipient of the Tony, Olivier, Evening Standard, Critics
Circle, Garland, Falstaff and Ovation awards for his work
in both the UK and the USA.
This Season: The Winters Tale and Harlequinade/All On
Her Own.
HOWARD HUDSON
LIGHTING DESIGN
Theatre includes: Hedda Gabler, Bedroom Farce, Separate
Tables (Salisbury Playhouse), Tell Me On A Sunday, Oliver!,
The Secret Adversary (Watermill/UK tour), The Secret Diary
of Adrian Mole Aged 13 The Musical (Leicester Curve),
Private Peaceful (Tobacco Factory, Bristol), Toro Toro
(Northcott Exeter/UK tour), The Miser (Theatre Royal
Windsor/UK tour), 1936 (Sadlers Wells), The Smallest
Show On Earth (Mercury Colchester/UK tour), Less Than
Kind (Yvonne Arnaud/UK tour), Sweet Charity (Leicester
Curve), In The Heights (and Kings Cross Theatre),
Grey Gardens, Casa Valentina, Dogfight, Titanic, Victor
Victoria, Mack and Mabel, Parade (Southwark Playhouse),
State Fair (Trafalgar Studios), Cowardy Custard (Yvonne
Arnaud/UK tour) and Spring Awakening (Rose, Kingston).
International theatre includes: Gaslight (Ed Mirvish
Theatre, Toronto), Titanic (Princess of Wales, Toronto),
(Bucharest National Opera, Romania), Death and the
Maiden, Educating Rita (English Theatre Frankfurt),
Cornelius (59E59, New York), Long Days Journey Into
Night (City Hall Theatre, Bermuda) and La Cage Aux
Folles (Aarhus Theatre, Denmark).
Opera and dance includes: Alices Adventures in
Wonderland (Royal Opera House), My First Swan Lake,
My First Sleeping Beauty (ENO/Peacock/UK tour), Fidelio,
Vert-Vert (Garsington Opera), Arianna in Crete (Royal
College of Music), Die Fledermaus, La Bohme, Lakm
(Opera Holland Park) and Egle Queen of the Serpents
(Lithuanian National Opera and Ballet, Vilnius).
www.howardhudson.co.uk
CHRISTOPHER SHUTT
SOUND DESIGN
Christopher Shutt trained at the Bristol Old Vic Theatre
School. He was Head of Sound at the Bristol Old Vic,
Royal Court Theatre and National Theatre and now
works freelance.
Most recently: Hamlet (RSC) and The Father (West End
Olivier Award Nomination). For the NT: Here We Go, The
Beaux Stratagem, Man and Superman, The James Plays
(I&II), War Horse (Tony Award, Olivier Award Nomination),
The Effect, The White Guard, Burnt by the Sun, Every Good
Boy Deserves Favour (Olivier Award Nomination), Happy
Days (also New York), Coram Boy (also New York Olivier
Award Nomination), Humble Boy (also New York and West
End) and Not About Nightingales (also New York Drama
Desk Award for Outstanding Sound Design).
For the Royal Court: Escaped Alone, hang, Love and
Information (also New York Drama Desk and Lucille
Lortel Awards Nominations), Kin, Aunt Dan and Lemon,
Serious Money and Road.
For Complicite: A Disappearing Number, The Elephant
Vanishes, Mnemonic (New York Drama Desk Award for
Outstanding Sound Design and Lucille Lortel Award)
and Street of Crocodiles.
Other theatre includes: Hamlet (Barbican Olivier Award
Nomination), Arturo Ui, All My Sons (New York), Privacy,
Philadelphia Here I Come, Piaf (Donmar Warehouse),
Bull (Sheffield Crucible/Young Vic), The Playboy of the
Western World, All About My Mother (Old Vic), Ruined,
Judgment Day (Almeida), Oppenheimer, Wendy and Peter
Pan (RSC), Macbeth (Manchester International Festival),
The Seagull (Regents Park Open Air), Riders to the Sea
(ENO), A Midsummer Nights Dream, Far Away (Bristol Old
Vic) and Drum Belly (Abbey Dublin).
This Season: The Winters Tale and Harlequinade/All On
Her Own.
PATRICK DOYLE
COMPOSER
Patrick Doyle is a classically trained composer.
He graduated from the Royal Scottish Academy of Music
in 1975 and was made a Fellow of the RSAM in 2001.
In 1989, director Sir Kenneth Branagh commissioned
Patrick to compose the score for feature film Henry V,
conducted by Sir Simon Rattle, and they have subsequently
collaborated on numerous pictures, including Much Ado
About Nothing, Hamlet, As You Like It and Cinderella.
Patrick and Branaghs collaboration within film and
theatre has continued to this day, with performances
worldwide that include Branaghs 2015 production of
The Winters Tale which ran at the Garrick Theatre in
Londons West End. Patrick has been commissioned to
score over 50 international feature films, including Harry
Potter and the Goblet of Fire, Gosford Park, Sense and
Sensibility, Indochine, Carlitos Way and A Little Princess.
His work has led to collaborations with some of the most
acclaimed directors in the world, such as Regis Wargnier,
Brian De Palma, Alfonso Cuarn, Ang Lee, Chen Kaige,
Mike Newell and Robert Altman.
Patrick has received two Oscar, two Golden Globe, one
BAFTA and two Cesar nominations, as well as winning the
1989 Ivor Novello Award for Best Film Theme for Henry V.
He has also been honoured with a Lifetime Achievement
Award from The World Soundtrack Awards and Scottish
BAFTA, the Henry Mancini Award from ASCAP and the
PRS Award for Extraordinary Achievement in Music.
In 2015 Patrick completed work on the music for
Walt Disneys live action version of Cinderella, directed
by Branagh and marking their eleventh film collaboration
to date. Patrick also completed recording a solo piano
album, made up of a collection of his film scores to date,
which was released by Varese Sarabande in July 2015. Most
recently, Patrick has completed the score for the remake of
Scottish classic Whisky Galore, set for release this year.
This Season: The Winters Tale and Harlequinade/All On
Her Own.
LUCY BEVAN
CASTING DIRECTOR
Theatre includes: Jonathan Millers Camera Obscura
(Almeida, 2002), The Boy Who Fell Into A Book (English
Touring Theatre, 2002), Casting Director at the Gate
Theatre from 2007-2009, where productions included
Hedda Gabler, Nocturnal and The Internationalist
for directors Carrie Cracknell and Natalie Abrahami.
Film includes: Cinderella (director, Kenneth Branagh),
Snowden (director, Oliver Stone), Mr Holmes (director Bill
Condon), Testament of Youth (director, James Kent), Fury
(director David Ayer), The Hundred Foot Journey (director
Lasse Halstrom), Maleficent (director Robert Stromberg),
Before Midnight and Me and Orson Welles (director
Richard Linklater), Quartet (director Dustin Hoffman),
Snow White and the Huntsman (director Rupert Sanders),
Johnny English Reborn (director Oliver Parker), Pirates of
the Caribbean: On Stranger Tides (director Rob Marshall),
Nanny McPhee Returns (director Susanna White), An
Education, One Day and Riot Club (director Lone Scherfig),
The Duchess (director Saul Dibb) and St Trinians.
Television includes: Birdsong and The Casual Vacancy.
This Season: The Winters Tale, Harlequinade/All On Her
Own and The Painkiller.
RICHARD MAWBEY
WIGS AND HAIR DESIGN ASSOCIATE
Theatre includes: Finding Neverland, Evita, La Cage Aux
Folles, Frost/Nixon, Priscilla, Chicago (Broadway),
The Maids, Richard III, The Ruling Class (Jamie Lloyd
Company), Privates on Parade, A Midsummer Nights
Dream, Madame de Sade, Twelfth Night and Ivanov
(Michael Grandage Company), Mrs Henderson Presents,
Miss Atomic Bomb, Elf, Assassins, White Christmas,
Urinetown, Forbidden Broadway, From Here To Eternity,
South Pacific, Top Hat, Hairspray, Passion, Legally Blonde,
End of the Rainbow, Piaf, Sweet Charity, Guys and Dolls,
The Producers, Kiss Me Kate, Starlight Express and
Thoroughly Modern Millie (London), Chitty Chitty Bang
Bang, We Will Rock You, Nine to Five, A Damsel in Distress
and East is East (nation-wide productions).
Opera includes: Die Soldaten (Germany/Metropolitan
Opera New York), Cos fan tutte (Aix-en-Provence)
and Death in Venice (ENO/La Monnaie Brussels).
Film includes: The Ghost Writer, Titanic, Its De-Lovely,
Star Wars, Wilde, Tomorrow Never Dies, Disneys The Santa
Clause, Tomb Raider, Mask of Zorro, Closer and
Harry Potter (Richard Harris as Dumbledore).
Television includes: Poldark, The C Word, Cilla, Vikings,
Black Sails, Ripper Street, Mr Selfridge, Little Britain,
The Catherine Tate Show, Poirot and Miss Marple.
Richard owns Londons Wig Specialities and is personal
wig-maker to Sean Connery, Kylie Minogue, Sheridan
Smith, Jessie J, Paloma Faith and Dame Edna Everage.
www.wigspecialities.com
This Season: The Winters Tale and Harlequinade/All On
Her Own.
RUSSELL JACKSON
TEXT CONSULTANT
Russell Jackson is Allardyce Nicoll Professor of Drama
at the University of Birmingham, where his research
and teaching have focused on theatre history, film and
Shakespearean performance. His publications include
Romeo and Juliet in the Shakespeare at Stratford series
(Arden Shakespeare, 2003), The Cambridge Companion
to Shakespeare on film (2nd edition, 2007), Shakespeare
Films in the Making: Vision, Production and Reception
(Cambridge 2007), Theatres on film: how the Cinema
imagines the Stage (Manchester University Press, 2013)
and Shakespeare and the English-speaking Cinema
(Oxford University Press, 2014).
Since 1986, when he worked with Kenneth Branagh on
his production of Romeo and Juliet at the Lyric Theatre
studio, Hammersmith, he has been text consultant,
working closely in rehearsal with actors and directors,
on many theatre and film productions. These have
included Kenneth Branaghs Shakespeare productions on
stage and radio and his films of Henry V, Much Ado About
Nothing, Hamlet, Loves Labours Lost and As You Like It,
and productions directed by Michael Grandage in
Sheffields Crucible Theatre and in London at the
Donmar Warehouse, Wyndhams Theatre and most
recently A Midsummer Nights Dream and Henry V in the
Michael Grandage Companys initial season at the Nol
Coward Theatre. In July 2013 he worked with Kenneth
Branagh and Rob Ashford on Macbeth, presented at the
Manchester International Festival and, in 2014, at the
Fifth Avenue Armory in New York.
This Season: The Winters Tale.
NICOLA SAMER
RESIDENT DIRECTOR
Directing includes: Going Bush (Bush Theatre), The
Suicide Shop (St James Theatre), The Power of Poison,
Lab Presentation (Old Truman Brewery), Miracle on 34th
Street (UK tour), Ruben Guthrie (New Wimbledon Studio),
Collision (Latitude/Bestival), Earthworks (Arcola), Little
Women in Concert (West End), Figaro Revival (Buxton
Opera Festival), IronBarks Theatre Ashes (Latitude),
Maman and The Edge (Theatre503), Fiddler on the Roof
(Cambridge Arts Theatre), The 52 Show (Leicester Square
Theatre), Can I Get a Kiss from Daisy? (Old Vic/Reading),
Miss Julie (Sterts Theatre, Cornwall), Scenes of a
Massacre (Custard Factory, Birmingham), The Tempest
(New Theatre, Sydney). Other credits include: Associate
Director on The Ladykillers (Liverpool Playhouse/West
End/UK tour), Once (West End), Ghost Stories (West End),
The 39 Steps (West End), Great Expectations (ETT/
Watford Palace), Flashdance (West End), My Fair Lady
(Cyprus, Malaysia, Singapore), Kes (Liverpool Everyman
Playhouse). Resident Director on UK tours of Aspects of
Love and The Witches of Eastwick, Sound of Music
(UK tour), Follies (London Palladium), A Family Affair
(Arcola) and Eugene Onegin (BYO, West End).
Nicolas production of Much Ado About Nothing with
The HandleBards is currently touring the UK ahead of an
international tour. She is co-founder and Artistic Director
of IronBark, presenting Australian Theatre in the UK.
This Season: The Winters Tale and Harlequinade/All On
Her Own.
BARBARA HOUSEMAN
VOCAL COACH
Credits as Voice and Text Coach include: The Curious
Incident of the Dog in the Night-Time (Gielgud/tour),
Peter Pan, Seven Brides for Seven Brothers, Lord of the
Flies, To Kill a Mockingbird, Pride and Prejudice, The
Winters Tale, The Sound of Music, Pericles, The Beggars
Opera, Lord of the Flies, Macbeth, The Comedy of Errors,
The Crucible, The Importance of Being Earnest, The
Tempest and Much Ado About Nothing (Regents Park
Open Air), Henry IV, Coriolanus, Trelawny of the Wells
and Julius Caesar (Donmar Warehouse), Richard III and
Macbeth (Trafalgar Studios), The Machine (Manchester
International Festival/New York), Sweet Bird of Youth,
The Duchess of Malfi, The Playboy of the Western World,
Design for Living (Old Vic), The Ladykillers (Gielgud),
Britannicus (Wiltons Music Hall), The Government
Inspector (Young Vic) and Alls Well That Ends Well
(Shakespeares Globe). Credits as personal Vocal Coach
include: for Clive Owen Old Times, for Jude Law Henry V
(Nol Coward), Anna Christie (Donmar Warehouse)
and Hamlet (West End/Broadway), for Daniel Radcliffe
The Cripple of Inishmaan (West End/Broadway), How to
Succeed in Business (Broadway) and Equus (West End/
Broadway), for Omid Djalili The Shawshank Redemption
(Edinburgh Festival) and for Will Young Cabaret (Savoy).
Credits as Associate Director Voice and Text include:
All My Sons, Hobsons Choice, Twelfth Night, Porgy
and Bess, A Midsummer Nights Dream and Ragtime
(Regents Park Open Air).
Credits as Author include: Finding Your Voice and
Tackling Text [and subtext].
This Season: The Winters Tale, Harlequinade/All On Her
Own, Red Velvet and The Painkiller.
BRET YOUNT
FIGHT DIRECTOR
Theatre includes: Ma Raineys Black Bottom (NT),
Waiting for Godot (Sheffield Crucible), Cyprus Avenue
(Peacock Theatre, Dublin), Hamlet (Barbican), Treasure
Island, A Taste of Honey, Emil and the Detectives,
The World of Extreme Happiness (NT), The Pirates of
Penzance, La Traviata, The Mastersingers of Nuremberg,
La Fanciulla, Benvenuto Cellini, Rodelinda (ENO),
The Merchant of Venice, Arden of Faversham, The Roaring
Girl, Wolf Hall, Bring Up the Bodies, Candide (RSC),
Tis Pity Shes a Whore, The Broken Heart (Sam
Wanamaker Playhouse), The Nether (Royal Court
Downstairs/West End), American Buffalo (West End),
Violence and Sons (Royal Court), Ghosts (Almeida/
Trafalgar Studios/BAM), Splendour, Roots, City of Angels
(Donmar Warehouse), All My Sons, Cannibals, Orpheus
Descending (Royal Exchange, Manchester), The Trial,
A Streetcar Named Desire, A Season in the Congo, Public
Enemy (Young Vic), Chimerica (Almeida/West End),
The Tempest (Shakespeares Globe), Bad Jews
and Fences (Theatre Royal, Bath/West End).
Other credits include: Double Feature, Moon on a
Rainbow Shawl, Men Should Weep (NT), Posh, Absent
Friends, Death and the Maiden, Clybourne Park,
The Harder They Come, The Lover/The Collection
(West End), The Low Road, In Basildon, Wastwater,
No Quarter, Belong, Remembrance Day, Redbud,
Spur of the Moment (Royal Court), The Physicists
and The Recruiting Officer (Donmar Warehouse).
Film includes: Troy.
Television includes: Quick Cuts, Against All Odds
and Blue Peter.
This Season: The Winters Tale, Harlequinade/All On Her
Own, Red Velvet and The Painkiller.
JIM LEAVER
PRODUCTION MANAGER
Jim is a freelance Production Manager working for the
Kenneth Branagh Theatre Company Plays at the Garrick
season. For the National Theatre: The Beaux Stratagem,
Everyman, King Lear, The Amen Corner, Othello, People,
Cocktail Sticks, Misterman, She Stoops to Conquer, The
Veil, The Holy Rosenbergs, The Habit of Art and The Birds.
For Manchester International Festival: Tree of Codes
(Manchester, New York, Miami, Paris, Aarhaus), Macbeth
(Manchester, New York), Dr Dee (Manchester, ENO), Prima
Donna (Manchester, Toronto, New York), Monkey Journey to
the West. For Nica Burns: Medea, Feelgood, A Dangerous
Corner, One Flew Over the Cuckoos Nest, Whos Afraid of
Virginia Woolf?
For Bristol Old Vic: A Midsummer Nights Dream (Bristol,
Hong Kong, Seoul), Swallows and Amazons (Bristol,
London), Wild Oats and Far Away.
This Season: The Winters Tale, Harlequinade/All On Her
Own, Red Velvet and The Painkiller.
STEPHANIE ARDITTI
COSTUME SUPERVISOR
Theatre includes: Volpone, Henry V, Richard ll, Wolf Hall,
Bring up the Bodies, The Orphan of Zhao, Julius Caesar,
A Midsummer Nights Dream, King Lear, Merry Wives
The Musical, Alls Well That Ends Well, Othello, Macbeth
(RSC), Made in Dagenham (Adelphi), Peter and Alice,
The Cripple of Inishmaan (MGC), Spelling Bee, King Lear,
A Streetcar Named Desire, Madame de Sade, Mary Stuart
(also Apollo), Pirandellos Henry IV (Donmar Warehouse),
Man and Superman, The Curious Incident of the Dog in
the Night-Time, Children of the Sun, The Comedy of Errors,
The Cherry Orchard, Dantons Death, The White Guard,
The Power of Yes, The Enchantment, Philistines (NT),
The Turn of the Screw, Rope (Almeida), Sinatra
(Palladium/tour), Evita (Adelphi), Acorn Antiques
- The Musical (Haymarket) and Hay Fever (Nol Coward).
Opera includes: Don Giovanni (NY Met Opera).
This Season: The Painkiller.
CELIA STRAINGE
PROPS SUPERVISOR
Theatre includes: Photograph 51, Henry V, A Midsummer
Nights Dream, The Cripple of Inishmaan, Peter and Alice,
Privates on Parade (Michael Grandage Company),
Pitcairn, Frankie and Johnny in the Clair de Lune
(Chichester Festival Theatre), Zorro The Musical, Cat on
a Hot Tin Roof (West End), Macbeth, Macbett, King Lear,
Seagull, Coriolanus, Richard III, Merry Wives of Windsor,
The Winters Tale and Pericles (RSC).
Opera includes: Saul (props buyer), Die Entfhrung aus
dem Serail, Poliuto, LHeure Espagnole, The Cunning Little
Vixen (buyer), Le nozze di Figaro (buyer) and La Boheme
and La Cenrentola (Glyndebourne).
This Season: The Winters Tale, Harlequinade/All On Her
Own and Red Velvet.
BENJAMIN HOLDER
MUSIC ASSOCIATE
Ben studied Music at Oxford University and Piano
Accompaniment at the Royal Academy of Music.
Credits as a musical director in theatre include:
Laila the Musical (Watford Palace Theatre/UK tour),
Cinderella (Lyric Hammersmith, 2015), The King
(Peter Schaufuss Balletten/European tour), Sweeney Todd
(Twickenham Theatre), Brass (NYMT/City Varieties, Leeds)
and The Beautiful Game (Union Theatre).
As associate/assistant MD: Bugsy Malone
(Lyric Hammersmith) and Little Shop of Horrors
(Manchester Royal Exchange).
As a keyboard player: Jersey Boys (Piccadilly Theatre,
dep) and The Bodyguard (UK tour, dep).
Television includes: The One Show (BBC1), Youve Been
a Lovely Audience (BBC4) and Our Gay Wedding:
The Musical (Channel 4).
Ben spent the academic year 2013-14 as Associate
Musical Director at the Royal Central School of Speech
and Drama, with support from the Andrew Lloyd Webber
Foundation. He retains a strong teaching profile at
LAMDA, Arts Educational Schools and the NYMT.
PRODUCERS
KENNETH BRANAGH THEATRE COMPANY
PRODUCER
The Kenneth Branagh Theatre Company was formed
in 2013. Plays at the Garrick is the companys inaugural
season and has been two years in the planning.
Seven plays will be presented at the Garrick Theatre,
from October 2015 to November 2016: The Winters Tale United Kingdom and internationally. Current and recent
by William Shakespeare, Harlequinade/All On Her Own
by Terence Rattigan (double bill), Red Velvet by Lolita
Chakrabarti, The Painkiller by Francis Veber, adapted
by Sean Foley (first premiered in a limited run at
the opening season of the New Lyric Theatre, Belfast),
Romeo and Juliet by William Shakespeare and
The Entertainer by John Osborne.
Kenneth Branagh is partnered in the company by
producer Tamar Thomas. They first met as part of
The Renaissance Theatre Company, where Thomas
began her career as an Assistant Stage Manager.
They have since worked together for 25 years across
theatre, film and television.
PRODUCER/DIRECTOR KENNETH BRANAGH
PRODUCER TAMAR THOMAS
ASSOCIATE PRODUCER CHRISTINE GETTINS
PRODUCTION ASSISTANT TIM BRADBEER
ACCOUNTANTS BREBNERS
PUBLIC RELATIONS CHARLES McDONALD
TRAVEL BERTIE TRAVEL
FIERY ANGEL
PRODUCER
Headed by Edward Snape, Marilyn Eardley and Jon Bath,
Fiery Angel is a theatrical production company that
produces and manages drama, comedies, musicals and
event theatre in the West End, on tour throughout the
productions include: Kenneth Branagh Theatre Company
(Garrick), Ben Hur (Tricycle Theatre), The 39 Steps (touring
the UK in 2016 after nine years at the Criterion Theatre
in the West End, three years on Broadway and presented
in over 40 territories worldwide to date; Olivier, Tony
and Molire winner), To Kill a Mockingbird (UK tour and
Barbican), The Scottsboro Boys (Garrick), The Ladykillers
(Gielgud, Vaudeville and UK tour ve Olivier nominations),
Ghost Stories (Arts Theatre), Private Peaceful (UK tour),
The Painkiller (Lyric Theatre, Belfast) and Dial M for
Murder (UK tour).
As part of The Childrens Touring Partnership, a joint
venture with Chichester Festival Theatre: The Boy in the
Striped Pyjamas (UK tour), Goodnight Mister Tom (Duke of
Yorks, Phoenix and 3 UK tours Olivier Award winner)
and Swallows and Amazons (Vaudeville and UK tour).
As part of Fierylight Productions, a joint venture with
Limelight Productions: Peppa Pig Live (West End, UK tour,
US tour and Australian tour), Ben & Hollys Little Kingdom
(UK tour) and Octonauts (UK tour). Edward is a founder of
Fiery Dragons, a production and investment company that
co-produces a wide range of commercial theatre projects
including the inaugural season of work by the Kenneth
Branagh Theatre Company.
PRODUCER EDWARD SNAPE
PRODUCER MARILYN EARDLEY
HEAD OF PRODUCTION/GENERAL MANAGER JON BATH
PRODUCTION COORDINATOR HUGH DE LA BEDOYERE
PRODUCTION COORDINATOR NICK MORRISON
PRODUCTION ASSISTANT RACHEL FRANCIS
PRODUCTION ASSISTANT COURTNEY LEWIS
ASSISTANT TO THE PRODUCERS ZENA CHOI
HEAD OF FINANCE LOUISE WALDRON
PRODUCTION ACCOUNTANT HELEN MADDISON
ASSISTANT ACCOUNTANT NAOMI SHINE
HEAD OF MARKETING AND SALES BONNIE ROYAL
LICENSING CONSULTANT SUSAN VARGO
PRODUCTION ACKNOWLEDGEMENTS
SCENERY BUILT BY MIRACULOUS ENGINEERING
SCENERY PAINTED BY RICHARD NUTBOURNE
AT COOLFIGHT LTD
EFFECTS BY HOWARD EATON LIGHTING LTD
PRODUCTION CARPENTER CRAIG EMERSON
CARPENTER MARTIN RILEY
ADDITIONAL COSTUMES MADE BY

SOUND EQUIPMENT SUPPLIED BY
NICOLE SMALL, CHRIS KERR,
HANNAH TRICKETT
STAGE SOUND SERVICES
Rave reviews for
LIGHTING EQUIPMENT SUPPLIED BY
COSTUMES SUPPLIED BY
TRANSPORT
WHITE LIGHT
ANGELS
SOUTHERN VAN LINES
our Flagship service.
REHEARSAL & PRODUCTION PHOTOGRAPHY JOHAN PERSSON
PRESS REPRESENTATIVE THE CORNER SHOP
MARKETING JOE PUBLIC Enjoy lie-flat seats on every flight
ARTWORK & DESIGN SWD from the West End to Broadway.
SPECIAL THANKS
GLYNIS MURRAY AND ALL AT TOMBOY FILMS, PAUL BROWN, BRYONY RUMBLE,
BRYAN RAVEN, PHIL HURLEY, ALL AT AIR-EDEL, LINDSAY BRANAGH,
CLARE GROTEFELD, PMF METALWORK, ANNIE BREWER AND MARK WILLIAMS.

The producers of Romeo and Juliet wish to acknowledge financial support from Stage One.
Stage One is a registered charity which exists to support commercial theatre producers in order
to sustain the quality of commercial theatre throughout the UK. Stage One identifies, supports,
guides and trains emerging theatre entrepreneurs whilst simultaneously encouraging creative,
successful and responsible practice.
To find out more about Stage Ones programmes, please visit www.stageone.uk.com
or contact Stage One, 32 Rose Street, London WC2E 9ET / 020 7557 6737
Stage One is the operating name of the Theatre Investment Fund Ltd, a registered charity
no.271349

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