ROYAL ALEXANDRA THEATRE
September/November 2019
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R O Y A L A L E X A N D R A T H E A T R E
David Mirvish presentsthe 2019-2020 Mainstage Subscription Season
Tristan Baker & Charlie Parsons for Duluth Holdings Ltd on behalf of Runaway EntertainmentSteven Lappin, Sony Music Entertainment UK, David Mirvish and The Old Vic
present
Written and Directed by Music and Lyrics by
CONOR MCPHERSON BOB DYLAN
DANIEL BAILEY COLIN BATES KATIE BRAYBEN ANNA-JANE CASEY NICHOLLE CHERRIE DAVID GANLY SIMON GORDON STEFFAN HARRI
DAVID HAYDN RACHEL JOHN SIDNEY KEAN FINBAR LYNCH DONALD SAGE MACKAY GLORIA OBIANYO FERDY ROBERTS
WENDY SOMERVILLE GEMMA SUTTON SHAQ TAYLOR ALAN VICARY
Consultant Producer, CanadaPAUL ELLIOTT
General Manager Executive Producer RUNAWAY ENTERTAINMENT AARON LUSTBADER
Casting Director Production Manager, UK Production Manager, Canada JESSICA RONANE CDG DOMINIC FRASER PETE KRAMER
Movement Director Musical Director LUCY HIND IAN ROSS
Lighting Designer Sound Designer MARK HENDERSON SIMON BAKER
Orchestrator, Arranger and Musical SupervisorSIMON HALE
with additional arrangements by CONOR MCPHERSON and SIMON HALE
DesignerRAE SMITH
DirectorCONOR MCPHERSON
First performance at The Old Vic, London: 8 July 2017
First performance at Noël Coward Theatre, London: 29 December 2017
First performance at the Public Theater, New York: 11 September 2018
present
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T H E CAS T
The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.
(in alphabetical order)
Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL BAILEYGene Laine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COLIN BATESElizabeth Laine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATIE BRAYBENMrs Burke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANNA-JANE CASEYEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NICHOLLE CHERRIEMr Burke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID GANLYEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON GORDONElias Burke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEFFAN HARRIEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID HAYDNMrs Neilsen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RACHEL JOHNMr Perry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIDNEY KEANReverend Marlowe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FINBAR LYNCHNick Laine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DONALD SAGE MACKAYMarianne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GLORIA OBIANYODr Walker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FERDY ROBERTSEnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WENDY SOMERVILLEKatherine Draper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEMMA SUTTONJoe Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHAQ TAYLOREnsemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAN VICARY
UNDERSTUDIESFor Joe Scott, Elias Burke, Gene Laine — DANIEL BAILEYfor Marianne, Katherine Draper — NICHOLLE CHERRIE
for Nick Laine, Mr Burke, Reverend Marlowe — DAVID HAYDNfor Gene Laine — SIMON GORDON
for Mrs Burke, Elizabeth Laine, Mrs Neilsen — WENDY SOMERVILLEfor Dr Walker, Mr Perry — ALAN VICARY
ORCHESTRAMusical Director, Piano and Harmonium — IAN ROSS
Assistant Musical Director — MARK CAMILLERIViolin and Mandolin — TANYA CHARLES
Lap Steel Resonator, Acoustic and Nylon Steel Guitars — JASON FOWLERUpright Bass — PAT KILBRIDE
Contractor — MARK CAMILLERI
Herbal cigarette smoking, gun shots and mature subject matter
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S C E N E S & M U S I CA L N U M B E R S
Girl From The North Country has an approximate running time of 2 hours and 30 minutes, including one intermission. Due to the nature of live theatre
the running time may vary from performance to performance.
SONG LISTMusic by Bob Dylan
Setting: A guest house in Duluth, Minnesota. Winter, 1934
Act I
Sign on the Windowfrom New Morning, 1970
Went to See the Gypsyfrom New Morning, 1970
Tight Connection to My Heart (Has Anyone Seen My Love?)from Empire Burlesque, 1985
Slow Trainfrom Slow Train Coming, 1979
License to Killfrom Infidels, 1983
I Want Youfrom Blonde On Blonde, 1966
Like a Rolling Stonefrom Highway 61 Revisited, 1965
Make You Feel My Lovefrom Time Out of Mind, 1997
Like a Rolling Stone–Reprisefrom Highway 61 Revisited, 1965
Act II
What Can I Do For You?from Saved, 1980
You Ain’t Goin’ Nowherefrom The Basement Tapes, 1975
Jokermanfrom Infidels, 1983
Sweetheart Like Youfrom Infidels, 1983
True Love Tends to Forgetfrom Street-Legal, 1978
Girl from the North Countryfrom The Freewheelin’ Bob Dylan, 1963
Hurricanefrom Desire, 1976*
Idiot Windfrom Blood on the Tracks, 1975
Duquesne Whistlefrom Tempest, 2012**
Señor (Tales of Yankee Power)from Street-Legal, 1978
Is Your Love in Vain?from Street-Legal, 1978
Jokermanfrom Infidels, 1983
Forever Youngfrom Planet Waves, 1974
*written by Bob Dylan and Jacques Levy**written by Bob Dylan with Robert Hunter
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A STRANGE ENQUIRYNick Curtis talks to writer and director, Conor McPherson, about the origins ofGirl From The North Country
About four years ago the
playwright and fi lm-maker
Conor McPherson, best
known for the runaway
supernatural hit The Weir
which he wrote aged 25 in 1997,
received what he calls “a strange
enquiry”. “Would I consider using
Bob Dylan’s music in a theatre
show?” Since he’d never written
a musical, and didn’t think of
Dylan as “a musicals musician”,
he initially dismissed the idea,
which had come from the singer’s
record company.
Weeks later, walking around
his Dublin home town, McPherson
had a fl ash of an idea: a play
taking place in a guesthouse in
Dylan’s own wintry birthplace of
Duluth, Minnesota, but set in the
Depression-riven early 1930s, some
years before the musician’s birth
in 1941. It would “free the songs
from the burden of relevance
for our generation, and make
them timeless.”
He sent Dylan’s management an
outline, and received an email days
later saying “Bob Dylan has read it,
likes it and is happy for me to go
ahead. I was like, oh okay, I guess I
have to do this.” Shortly after that,
a package containing 40 Dylan
albums arrived at his door, with a
note saying that he could use any
songs in any way he liked.
When he asked Dylan’s
manager if the musician would
like to attend rehearsals, he was
told: “I think you’re better off not
having Bob in the room. Because
if he comes in and says, “Why
are you using this song or that
song?”, what are you going to say?
Because he’s Bob Dylan.” As Simon
Hale (Orchestrator, Arranger and
Musical Supervisor) pointed out,
“It was like working on a play with
music, with a composer who can
give you any song you want, but
who demands no artistic control.”
Girl from the North Country is
not a greatest-hits compilation or a
classic West End blockbuster where
the songs drive the plot. Rather, it’s
“a conversation between the songs
and the story”. The cast of 20 actors
and musicians play performers
who are broadcasting the story,
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"I was looking for songs that
had a verse, a bridge,
a chorus,a middle eight,
all that stuff, that give the
performers the chance to lean into something
emotionally and go deeper
and deeper and deeper into the music."
A STRANGE ENQUIRY
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PH
OT
O: G
ET
TY
IMA
GE
S
Conor McPherson
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as well as the characters within it.
Duets are sung into microphones
to the audience, rather than by one
character to another. McPherson
decided to use only instruments
that existed in the 1930s and
subsequently found it frustrating
when the “very strict” Hale
wouldn’t let him use a pedal steel
guitar or a Hammond organ.
The guesthouse setting brings
a broad swathe of society together,
particularly as the Depression
levelled economic, if not racial,
diff erences. It’s owned by Nick
and Elizabeth, who has dementia.
“We see her as someone who
has had her id entirely liberated,
who says exactly what she wants,
and doesn’t think about the
consequences”, says McPherson.
Their son is a drunken
would-be writer, their adopted
black daughter is pregnant and
unpartnered. Guests include
a widow with whom Nick is
involved, a couple whose adult
son has a mental age of four, a
black boxer who was unjustly
imprisoned and a bible salesman
who, McPherson says, represents
God and the Devil.
PH
OT
O: A
LAM
Y
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" Girl From The North Country is not a greatest-hits compilation or a classic West End blockbuster where the songs drive the plot. Rather, it's "a conversation between the songs and the story""
The songs, surprisingly, are
drawn from right across Dylan’s
back catalogue, not just the early,
folky protest songs inspired by his
idol Woody Guthrie, the poet of the
Depression. “A lot of fans love that
Woody Guthrie dust bowl kind of
Bob Dylan, with 16 verses and no
chorus”, says McPherson. “But what
I was looking for here were songs
with more musical development
in them, that had a verse, a bridge,
a chorus, a middle eight, all that
stuff , that give the performers the
chance to lean into something
emotionally and go deeper and
deeper and deeper into the music.”
As a music fan — McPherson
played in bands and wanted to
be a musician as a teenager, until
seeing David Mamet’s Glengarry
Glen Ross turned him onto
playwriting — he started out with
the four or fi ve Dylan albums he
knew. “But then it became more
interesting to go to places — and
I hope this is not saying anything
against Bob Dylan — that most
people don’t go, or are not that
interested in. His born-again
Christian phase in the late 70s —
during which time he made three
albums — and the albums of the
80s, which are not considered a
golden time for him.”
“In the early 90s, with Oh
Mercy and Time Out of Mind, he
had a renaissance, and now he’s
considered a national treasure or
an icon, or whatever he is now. I
tried to include songs from every
decade if I could.” Interestingly,
McPherson says Dylan looks most
dynamic in concert footage in
his born-again days, when he
was buoyed up by gospel backing
singers, and he has strived to
capture this energy for parts of the
play, though there are also songs
for a lone, unaccompanied voice.
The oldest track used is the title
number, from 1963. The newest,
2012’s “Duquesne Whistle”, sounds
like it could have been written in
the 1930s.
When the play was scheduled
for The Old Vic, Artistic Director
Matthew Warchus insisted that
McPherson should direct the show
himself. “Maybe because he didn’t
feel it was a traditional musical,
that it had its own thing that
would be ironed out by someone
who might slightly sterilise it for
public consumption”. With the
help of David Gallagher (Musicians
Contractor), Simon Hale recruited
the musicians, while McPherson
gathered a cast of frequent
collaborators — and newcomers.
"It’s a measure of Dylan’s
brilliance," he says "that To Make
You Feel My Love, which is in the
show and was a worldwide hit for
Adele, had been considered an
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album fi ller and lay there for 20
years before anybody picked it up.
McPherson began writing
plays while studying at University
College Dublin and had hits in
the early 1990s with the collection
of monologues, This Lime Tree
Bower, and the solo show, St
Nicholas performed at the Bush
in West London by Brian Cox.
I remember McPherson telling
me, when I met him in 1997,
that he wrote The Weir to prove
to critics that he could write
dialogue. That much-garlanded
and much-produced play was,
like much of his work, achingly
humane, set in contemporary
Ireland, tinged with the
supernatural, and dominated by
masculine voices. McPherson
once said he feared he’d run out
of things to say later in life. But, in
fact, his work has blossomed into
new areas and new mediums while
maintaining its singular vision.
After the similarly spooky
and arresting Dublin Carol, Port
Authority, Shining City and The
Seafarer, McPherson worked in
a historical setting and with a
predominantly female cast of
characters for The Veil at the
National Theatre in 2011. The Night
Alive, presented at the Donmar
Warehouse alongside a revival
of The Weir in 2013, showed the
impact of the arrival of a young
woman in a house of men. He wrote
his fi rst fi lm, I Went Down, in 1997,
and wrote and directed his second,
Saltwater, in 2000. He’s latterly
moved into television, initially
adapting John Banville’s Quirke
novels alongside Andrew Davies,
and more recently penning the
original drama, Paula, with a female
lead played by Denise Gough.
Now he’s written a piece full of
black and white American men and
women. “It’s probably just growing
up a bit and realising we all share
very basic consciousness,” he says.
“When you’re younger you think,
well, I only know about men from
Dublin. Then as you get older you
realise we’re not that di� erent.
People are looking for love, security.
We’re all looking for a feeling of
meaning in our lives.”
If the play chimes with our
current spirit of uncertainty,
McPherson says it’s accidental (he
started it before Brexit and Trump)
but indicative of the fact that things
go in cycles and the world has been
here before. The music, meanwhile,
supplies the transcendent
dimension that the supernatural
added to his other plays.
I ask him if Dylan is coming to
the show. “No idea,” he says. “He
didn’t even turn up for his own
Nobel Prize to begin with. When he
did, he went in through the back
door. So he might come along, but
we mightn’t know he’s there.”
Finally, has this show whetted
McPherson’s appetite? Would he like
to work on another play with music,
either with a musician’s existing
work or creating something
alongside a composer? “This is so
satisfying I think it would be very
hard to beat,” he says. “So no, I’m
not looking for that. This is fi ne
for me.”
Nick Curtis is chief theatre critic
of the London Evening Standard
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T H E CO M PA N Y
DANIEL BAILEY
Ensemble
Training: The Urdang
Academy. Theatre
credits: Jesus Christ
Superstar (Barbican
Centre); Hunk/Scarecrow in Wizard of
Oz (Pitlochry Festival Theatre); King
(Hackney Empire); Felicia in Priscilla —
Queen of the Desert (Queens Theatre,
Hornchurch); Lionel/Dad in Hair (The
Vaults); Gertie (Workshop); Motown
the Musical (Shaftesbury Theatre);
Wheel of Misfortune (The Old Red
Lion Theatre); Just a Man (Tristan
Bates Theatre); The Lion King (Lyceum
Theatre); South Pacific (UK Tour); Blues
Brothers (Erasmus Theatre, Italy); Hair
(Bronowski Productions).
COLIN BATES
Gene Laine
Training: The Juilliard
School and Baltimore
School for the Arts.
Theatre credits: Billy in
Stephen Daldry’s Billy Elliot the Musical;
The Effect (Off-Broadway, David Cromer);
Oliver! (Cameron Macintosh National
Tour); A Picture of Dorian Gray (A Noise
Within, Michael Michetti); Switzerland
(Geffen Playhouse, Mark Brokaw).
Television credits: Sneaky Pete (Amazon);
The Show (Blackpills, Jan Kounen);
Children’s Hospital (Adult Swim, Ken
Marino); One Life to Live (ABC). Colin
also recently did motion capture for Tom
Clancy’s Ghost Recon Wildlands 2. Film
credits: The Good Shepherd (Universal,
Robert De Niro); Naked Normandy
(France, Philippe Le Guay); La Prière
(France, Cédric Kahn, Silver Bear at
Berlin); Pachamama (Netflix, Juan Antin);
Nice Talking to You (SXSW, Saim Sadiq);
Dating My Mother (Amazon, Mike Roma);
T11 Incomplete (Suzanne Guacci).
KATIE BRAYBEN
Elizabeth Laine
Training: Rose Bruford.
Theatre credits: Honour
(The Park Theatre); A
Walk on The Moon (The
American Conservatory Theater in San
Francisco); The Spoils (Trafalgar Studios);
My Mother Said I Never Should (St James
Theatre); Beautiful -The Carole King
Musical (Aldwych Theatre); King Charles
III (Almeida and Wyndham’s Theatres);
American Psycho (Almeida Theatre);
Joking Apart (Nottingham and Salisbury
Playhouse); Ragtime The Musical, A
Midsummer Night’s Dream (Regent’s
Park Theatre); 13 (National Theatre);
John and Jen ( Landor); Friday 4pm
(Arcola Theatre); Company (Southwark
Playhouse); Is Everyone OK? (nabakov and
NuWrite); Counted? (UK Tour); The Great
British Country Fete (Bush); Skin Tight
(Riverside Studios); Mamma Mia! (Ten
Year Anniversary Cast, International Tour
and West End); Return To The Forbidden
Planet (UK Tour); Some Girls are Bigger
Than Others (Lyric Hammersmith/Dublin
Theatre Festival). Television credits: Luther
(BBC); The Alienist (TNT); Doctor Who
(BBC); King Charles III (BBC); Vera (ITV).
Film credits: Self Help – A Serial Killer’s
Guide To Life (Forward Motion Pictures);
This Way Out, This Love. Awards: For
Beautiful – The Carole King Musical, Best
Actress in a Musical (Olivier Award 2015
winner) and Best Musical Performance
(Evening Standard Award nomination).
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ANNA-JANE CASEY
Mrs Burke
Theatre credits: Calendar
Girls (UK Tour); Billy
Elliot (West End, UK &
International Tour);
Stepping Out (Vaudeville Theatre);
Annie Get Your Gun and Flowers For
Mrs Harris (Sheffield Crucible); Mack &
Mabel (Chichester & UK Tour); Spamalot
(Playhouse Theatre, London); Sweet Charity
and Piaf (Sheffield Crucible); Sunday in the
Park with George and Forbidden Broadway
(Menier Chocolate Factory); Hobson’s
Choice and Mack & Mabel (Watermill,
Newbury). Television credits: Family Guy;
Coronation Street; The Royal; Doctors;
EastEnders; The Bill; Heartbeat; Holby
City. Film credit: Beyond the Sea. Other
credits: Anna-Jane has performed with all
of the UK’s major orchestras and has a long
history with the John Wilson orchestra
including numerous Proms appearances
and tours. She also performs in her own
cabarets worldwide.
NICHOLLE CHERRIE
Ensemble
Training: Arts Educational
School. Theatre credits:
Percy/Green/Groom/
Queen’s Attendant in
Richard II (Shakespeare’s Globe); Viv in
Leave Taking (The Bush Theatre); Lisa in
Mamma Mia! (Cyprus), Ensemble in Jesus
Christ Superstar (Regents Park Open Air
Theatre). Television credits: Nat Higgins in
Doctors (BBC).
DAVID GANLY
Mr Burke
Theatre credits: Girl from
the North Country; On
Blueberry Hill (Dublin
Theatre Festival); Once
(Olympia Theatre); Lonesome West
(The Tron Theatre); Shakespeare in Love
(Noël Coward Theatre); Threepenny
Opera (Gate Theatre, Dublin); King Lear
(Theatre Royal Bath); Macbeth (Crucible
Theatre); Of Mice and Men (The
Watermill); The Wizard of Oz (London
Palladium); Beauty Queen of Leenane
(Young Vic); Chicago (Cambridge
Theatre, London); The Weir (Gate
Theatre, Dublin); Uncle Vanya (WYP);
The Field (Tricycle Theatre); Translations
(National Theatre); Hamlet (Theatre
Royal Northampton); The Full Monty
(The Prince of Wales Theatre). For the
Abbey Theatre, Dublin, The Plough &
The Stars; Shadow of a Gunman, Drum
Belly, Cavalcaders, Observe the Sons of
Ulster Marching Towards the Somme.
Television credits: Silent Witness (BBC);
Casualty (BBC); Citizen Charlie (RTE);
Upwardly Mobile; Doctors. Film credits:
Sunset Song; Body of Lies; Hippie Hippie
Shake; Dorothy Mills; Widows’ Peak;
Space Truckers.
SIMON GORDON
Ensemble
Training: Guildford
School of Acting. Theatre
credits: Alternate Strat
in Bat Out Of Hell The
Musical (Dominion Theatre, London
Coliseum and International Tour),
Christian in Moulin Rouge!; Julius
Caesar; Parade; Alba Nuadh (RADA).
Television credits: George Harrison
in Scrambled Eggs (Sky One); ITV’s
Superstar (Andrew Lloyd Webber–ITV).
Film credits: Prince Naljin in Roby
and The Gates of Nargara (Cannes
Film Festival); Kane in Milk (Mice in
Cream Productions).
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STEFFAN HARRI
Elias Burke
Training: Ysgol Theatr
Maldwyn and Guildford
School of Acting. Theatre
credits: Shrek in Shrek
The Musical (UK & Ireland Tour); Les
Misérables (Queens Theatre, West End);
Sir Lancelot in Monty Python’s Spamalot
(Playhouse Theatre, West End); Hollti
(Theatr Genedlaethol Cymru); Little Shop
of Horrors (Aberystwyth Arts Centre);
Children Of Eden (Prince of Wales
Theatre, London). Television credit:
Rownd a Rownd (S4C).
DAVID HAYDN
Ensemble
Training: Guildford School
of Acting. Theatre credits:
Gaslight (Ed Mirvish
Theatre, Toronto); Stones
in His Pockets (Popular Productions,
Dubai); Kinky Boots (Adelphi Theatre,
London); I Dreamed a Dream (UK Tour);
Parade (Southwark Playhouse); Fame
(UK Tour); Joseph and the Amazing
Technicolor Dreamcoat (UK Tour); The
Secret Garden (Barn Theatre, Cirencester);
The Irish Curse (Edinburgh and Dublin
Festivals); The Burnt Part Boys (Park 90);
Jamie the Saxt (Finborough Theatre,
London); The Wedding Singer and
Brick in Cat on a Hot Tin Roof (SRT,
Santa Rosa, CA).
RACHEL JOHN
Mrs Neilsen
Theatre credits: Hamilton
(Victoria Palace Theatre);
The Color Purple (Concert
– Cadogan Hall); The
Bodyguard (Dominion Theatre and Ed
Mirvish Theatre, Toronto); Memphis
(Shaftesbury Theatre), RENT (UK Tour);
We Will Rock You (Dominion Theatre and
UK Tour); Godspell (Sir George Monoux
College, London); Sister Act (London
Palladium); The Legend of the Lion
King (Disneyland Paris) and The Lion
King (Asian Tour and Lyceum Theatre).
Film credit: Running Scared. Workshop
credits: Bend It Like Beckham (Sonia
Friedman Productions); The Show Must
Go On.
SIDNEY KEAN
Mr Perry
Theatre credits: Berbarian
Sound Studio (Donmar
Warehouse); Toby Belch
is Unwell (London,
Prague, Bristol and Edinburgh, Fetch
Theatre); Fever Chart (Trafalgar Studios
and Theatre Royal, York); Legal Fictions
(Savoy Theatre); Public Interest (New
Diorama); Henry IV Part 1 (NTC); The
Odd Couple (MK Productions). Television
credits: Coronation Street; Silent Witness;
The Fear; The Long Firm; Frost; Doc
Martin; Poirot; 2Point4 Children; The Bill;
EastEnders; Brookside; Lovejoy; Grange
Hill; Blake’s 7; Robin Hood; Raphael
The Mortal God; Warship; King Oedipus
(Play for Today); Dixon of Dock Green.
Film credits: Hatton Garden the Heist;
The Village in the Woods; Orthodox;
Lifeforce; Queen of Hearts; Revelation
Hanuman; Lucas & Albert; Subverted; Gli
Zii. Radio credits: King Street and King
Street Revisited (BBC); The Government
Inspector (BBC); Travels with My Aunt
(BBC); Tinker Tailor Soldier Spy (BBC);
Agent X the Master of Disguise in the
highly acclaimed Mission Improbable (30
episodes for BBC World Service).
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FINBAR LYNCH
Reverend Marlowe
Theatre credits: Girl from
The North Country (Noël
Coward Theatre); The
Playboy of the Western
World (Abbey Theatre); Peer Gynt (Gate
Theatre ); Three Sisters (Royal Court);
Translations; Fool For Love; To The
Green Fields Beyond, Hecuba and The
Lady From The Sea (Donmar); The Fairy
Queen and Antigone (Brooklyn Academy
of Music ). For the Royal Shakespeare
Company, The Two Gentlemen Of Verona,
The Virtuoso, The Alchemist, A Woman
Killed With Kindness, Amphibions, Julius
Caesar (1994), Corialanos, A Midsummer
Nights’ Dream, Measure For Measure,
The Tempest and Julius Caesar (2006).
King Lear; Antony and Cleopatra, Not
About Nightingales, The Hothouse and
Ma Rainey’s Black Bottom (National
Theatre); The Duchess of Malfi and
Dancing at Lughnasa (Old Vic); Richard
the Third (Almeida); Miss Julie and
Othello (Greenwich Theatre). Television
credits: Treadstone; The Mallorca Files;
The Devils; The Feed; Foyle’s War;
Breathless; Game of Thrones; Silk; Richard
II; Proof. Film credits: Adventures of a
Mathematician; Black 47; Property of the
State; Suffragette; Child 44; Departure;
The Numbers Station; Matilde.
DONALD SAGE MACKAY
Nick Laine
Training: University of
California, San Diego
and the Moscow Art
Theatre. Theatre credits:
True West (Vaudeville Theatre); Angry
Alan (Edinburgh Fringe First Award,
Soho Theatre, Aspen Fringe); White Guy
on the Bus (Finborough); Moon for the
Misbegotten (Lyric, Belfast and NY);
Linda (MTC, NY); Fred’s Diner and The
Other Place (Magic, San Francisco); Our
Town (ATL); stop. reset. (Signature, NY);
Blood & Gifts and His Girl Friday (La Jolla
Playhouse); Game’s Afoot (Cleveland
Play House); Six Degrees of Separation
(Old Globe); leading roles at Shakespeare
Festivals throughout the USA. Television
credits: Deep State (recurring Seasons
1 & 2); Treadstone (recurring); Looming
Tower; Modern Family; Mad Men; Frasier;
Masters of Sex; Elementary; Blue Bloods;
The Good Wife; House; West Wing; NCIS;
Law and Order: SVU; Criminal Minds;
Weeds; The Shield; Star Trek Enterprise;
According to Jim; ER; Scrubs (recurring);
The Practice; Providence. Film credit:
Transformers: Revenge of the Fallen.
GLORIA OBIANYO
Marianne
Training: Rose Bruford.
Theatre credits: Antony
and Cleopatra alongside
Ralph Fiennes and Sophie
Okonedo (National Theatre); Jesus
Christ Superstar (Regent’s Park Open Air
Theatre); The Grinning Man (Bristol Old
Vic); The Wild Party (The Other Palace);
The Resistible Rise of Arturo Ui (Donmar
Warehouse); doubled as Olivia and Sir
Toby Belch in Kelly Hunter’s production
of Twelfth Night (Almagro Festival in
Spain); Fanny and Alexander (The Old Vic).
Television credit: Good Omens (Amazon/
BBC). Film credit: High Life appearing
alongside Robert Pattinson and Juliette
Binoche; Dune with Javier Bardem.
FERDY ROBERTS
Dr Walker
Ferdy is co-Artistic
Director of Filter Theatre.
Theatre credits for Filter:
Twelfth Night; Macbeth; A
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Midsummer Night’s Dream, Three Sisters
(Lyric, Hammersmith); Water (Lyric,
Hammersmith and BAM, New York);
Twelfth Night (Tricycle); The Caucasian
Chalk Circle (National Theatre);
Silence (RSC/Filter); Faster (London
and New York). Other Theatre credits:
Fatherland (Frantic Assembly/Royal
Exchange); Plaques and Tangles (Royal
Court); Lampedusa (Soho / Hightide);
Shakespeare in Love (West End); Open
Court and If You Don’t Let Us Dream We
Won’t Let You Sleep (Royal Court); Three
Kingdoms (Lyric / Munich Kammerspiel
/ Teater NO99); Wallenstein and The Sea
(Chichester); The Birthday Party and
The Dumb Waiter (Bristol Old Vic); Girl
in a Goldfish Bowl (Sheffield Crucible);
Playing the Victim (Told by an Idiot/Royal
Court); Another Country (West End); The
Contractor (Oxford Stage Company); The
Changeling, Beautiful Thing (Salisbury
Playhouse). Television credits: Dark
Angel; Foyle’s War; Whistleblower; The
Bill; Goldplated; Your Mother Should
Know; Holby City; Doctors; A Touch of
Frost. Film credits: What You Will; Mr
Nice; Sex & Drugs & Rock & Roll; Honest.
WENDY SOMERVILLE
Ensemble
Training: Queen Margaret
University College and
Royal Academy of Music.
Theatre credits: Mistress
Fraser in Local Hero (Royal Lyceum
Theatre); Ms. Sheinkopf in School of Rock
(Gillian Lynne Theatre); Helen in The 306:
Day (National Theatre of Scotland); Ugly
Sister in Cinderella (London Palladium);
Threepenny Opera (National Theatre);
Alternate Mrs Wilkinson in Billy Elliot
(Victoria Palace Theatre); Hairspray
(Shaftesbury Theatre and UK and Ireland
Tour); Sweeney Todd (Adelphi Theatre
and Chichester Festival Theatre); Les
Misérables (Queen’s Theatre); Writer’s
Cramp (Saint-Saëns Festival). Television
credits: Classical Brit Awards (2011); Les
Misérables (Royal Variety Performance
and 25th Anniversary Concert 2010);
Billy Elliott the Musical – Live; Hairspray
(Royal Variety Performance 2007). Radio
credit: Les Misérables 21st Birthday
Concert (BBC Radio 2–Mermaid Theatre,
London). Recording credits: Sweeney
Todd (London cast recording); Scrapbook;
Michael Ball Past and Present.
GEMMA SUTTON
Katherine Draper
Theatre credits: Blues in
the Night (Kiln Theatre);
Follies (National Theatre);
Sweet Charity (The
Watermill Theatre); The Rink (Offie Award
for Female Performance in a Musical –
Southwark Playhouse); A Christmas Carol
the Musical (LMTO); Strictly Ballroom
(West Yorkshire Playhouse/Princess of
Wales Theatre, Toronto); The Go Between
(Apollo Theatre); Gypsy (Chichester
Festival Theatre/Savoy Theatre); Carousel
(Arcola Theatre); Chicago (Leicester
Curve); Drunk (Leicester Curve/The
Bridewell); Hairspray (UK Tour); Me
and My Girl (Kilworth House); Legally
Blonde – The Musical (Savoy Theatre);
Gone with the Wind, Imagine This (New
London Theatre); A Midsummer Night’s
Dream, Macbeth, Lady Be Good, The Boy
Friend (Regent’s Park Open Air Theatre)
and Children Will Listen (Theatre Royal
Drury Lane). Television credits: West Side
Stories; Gypsy: Live at the Savoy Theatre;
Cilla. Concerts: The Music of James
Bond (The Barbican) and recordings
for Grant Olding, Theo Jamieson and
Jennifer Whyte.
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SHAQ TAYLOR
Joe Scott
Training: Arts Educational
School. Theatre credits:
Daddy Brubeck in
Sweet Charity (Donmar
Warehouse, directed by Josie Rourke);
Hadestown (National Theatre); Sweet
Charity (Nottingham Playhouse). Shaq
made his professional debut as Jean
Prouvaire in Les Misérables and went on
to play Javert (Queen’s Theatre, London);
Olivier Awards (Royal Opera House). Film
credit: The Guernsey Literary and Potato
Peel Pie Society (Blueprint Pictures/
StudioCanal). Radio credit: Friday Night
Is Music Night (BBC Radio 2). Workshop
credit: Aint No Sunshine. Other credits:
Runner-up in Stephen Sondheim
Student Performer of the Year, 2017 (Noël
Coward Theatre).
ALAN VICARY
Ensemble
Theatre credits: Monsieur
Andre in The Phantom
of the Opera (West End);
Moll Flanders (Mercury
Theatre); Mr Price in Kinky Boots
(Adelphi Theatre); Mac in A Damsel In
Distress (Chichester Festival Theatre);
The Crucible (The Old Vic); King Lear
(Chichester / New York); Goodnight
Mister Tom (Phoenix Theatre / Tour);
The Sound Of Music (Bahrain / London
Palladium); To Kill A Mockingbird
(Ashcroft, Croydon); The Secret Garden
(Birmingham Rep); The Fantasticks
(Duchess); The Power Of Yes (National
Theatre); Carousel (Savoy); Gone With
The Wind (New London); Mary Poppins
(Prince Edward); Valjean and Javert in Les
Misérables (Palace Theatre), Kiss Me Kate
(Victoria Palace). Television credits: The
Tales of Para Handy (BBC); Taggart (STV);
Timewatch (BBC). Film credit: London
Road (Cuba Pictures).
T H E C R E AT I V E T E A M
CONOR MCPHERSON
Writer & Director
Stage plays include Rum & Vodka; The
Good Thief; This Lime Tree Bower; St
Nicholas; The Weir (Olivier, Evening
Standard and Critics’ Circle Awards);
Dublin Carol; Port Authority; Shining
City (Tony Award nomination); The
Seafarer (Tony, Olivier and Evening
Standard Award nominations); The Veil
and The Night Alive (New York Drama
Critics’ Circle Award for Best Play).
BOB DYLAN
Music and Lyrics
Bob Dylan is one of our culture’s most
influential and ground-breaking
artists. Born in Duluth, Minnesota
in 1941; self-taught on piano, guitar
and harmonica, he travelled to New
York City in 1961, quickly establishing
himself as an explosive performer in
the Greenwich Village music scene.
More than half a century later, Dylan
continues to perform almost 100
concerts each year. He has released
more than 50 albums and written
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over 600 songs. He’s sold more than
125 million records and is the holder
of 11 Grammy Awards. His songs have
been covered more than 6000 times by
artists as diverse as Duke Ellington, Jimi
Hendrix, Guns N’ Roses, Stevie Wonder,
Bob Marley and Adele. He is also an
accomplished visual artist and author,
and in 2016 was awarded the Nobel Prize
for Literature – the first songwriter to
receive such a distinction.
RAE SMITH
Designer
Theatre includes: Uncle Vanya (Harold
Pinter Theatre); The Night of the Iguana
(Noël Coward Theatre); Rosmersholm
(Duke of York’s Theatre); Translations
(NT); The Barbershop Chronicles (NT
The Roundhouse and World Tour); The
Lion, the Witch and the Wardrobe (The
Bridge Theatre/Leeds Playhouse); This
House (Garrick and UK Tour); The Goat
(Theatre Royal Haymarket) and War
Horse (UK and World Tour). Previous
designs for Conor McPherson include:
The Weir (Duke of York's and Walter Kerr,
Broadway); Seafarer (NT and The Booth,
Broadway); The Birds (Gate Theatre);
The Veil (NT); Dublin Carol (The Old
Vic and Royal Court) and Shining City
(Royal Court and Gate Theatre). Other
work at the National includes Macbeth,
Wonder.land, The Light Princess, St.
Joan, Street of Crocodiles and The Visit.
Opera includes: Pelléas and Mélisande
(Scottish Opera); Cavelieri Rusticana and
Pagliacchi (Met, New York); The Ring
Cycle (Opera du Rhin) and Benvenuto
Cellini (ENO). Ballet includes: The
Tempest, Prince of Pagodas (BRB); Rite of
Spring and Petrushka (Fabulous Beast).
Design awards include: Tony/ Olivier
(War Horse); Obi (Oliver Twist) and Irish
Times (Mrs. Warren’s Profession).
SIMON HALE
Orchestrator, Arranger
and Musical Supervisor
Theatre includes: Girl from the North
Country (Old Vic, West End, Public
Theater–Drama Desk nomination);
Tootsie (Broadway–Tony nomination);
Kiss My Aztec (Berkeley Rep); Guys and
Dolls (Royal Exchange, Manchester);
Romantics Anonymous (Shakespeare’s
Globe); Spring Awakening (Broadway/
West End); Women on the Verge of
a Nervous Breakdown (West End/
Broadway–Drama Desk Nomination);
Whisper House (The Other Palace/San
Diego); Strictly Ballroom (West End/West
Yorkshire Playhouse/Toronto); Finding
Neverland (Boston/Broadway) and
Madame Sousatzka (Toronto). Film as
Orchestrator: Spectre–The Writing’s on
the Wall (Oscar and Golden Globe awards
for Best Original Song). Recordings
as arranger/orchestrator: George
Benson, Björk, Jamiroquai, Ray Davies,
Josh Groban, George Michael, Oasis,
Simply Red and Sam Smith (Grammy
nomination). Television as Orchestral
Conductor: Sam Smith at the Academy
Awards ceremony 2016. As Composer: LA
Noire video game soundtrack (BAFTA for
Best Original Music – with Andrew Hale).
MARK HENDERSON
Lighting Designer
Mark was the recipient of the 1992,
1995, 2000, 2002, 2010 and 2016 Olivier
Awards for Lighting Design, the 2013
and 2015 WhatsOnStage Awards for
Lighting Design, the 2006 Tony Award
for Best Lighting Design of a Play,
and also received a Welsh BAFTA in
2000. Theatre includes: Chitty Chitty
Bang Bang (Palladium and Hilton,
Broadway); The Judas Kiss (Almeida and
Broadhurst, Broadway); Copenhagen
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PB mirvish.com mirvish.com 21
(National Theatre, Duchess and Royale,
Broadway, CFT); Hamlet (Almeida and
Belasco, Broadway) Gypsy (Chichester
Festival Theatre and Savoy – Olivier
Award for Best Lighting Design); Funny
Girl (Menier, Savoy and UK Tour); Cat
on a Hot Tin Roof (National Theatre
and Eugene O’Neill, Broadway); The
History Boys and One Man, Two
Guvnors (National Theatre); Don Juan
in Soho (Wyndham Theatre); Lady Day
at Emerson’s Bar and Grill (Wyndham
Theatre); Les Liaisons Dangereuses
(Donmar Warehouse, Broadway); Sweet
Bird of Youth (Chichester Festival
Theatre); Girl From the North County
(The Old Vic, Broadway); Imperium I
& II (RSC & Gielgud Theatre); Young
Marx (The Bridge Theatre); Fanny and
Alexander (Old Vic); Present Laughter
(CFT); Flowers for Mrs Harris (CFT);
Copenhagen (CFT); White Christmas
(Leicester Curve); Sweet Charity
(Donmar); The Light in the Piazza
(Southbank Centre); Peter Gynt (National
Theatre); Oklahoma (CFT).
SIMON BAKER
Sound Designer
Theatre includes: Malory Towers,
Wise Children (Wise Children);
Present Laughter, A Christmas Carol,
Groundhog Day, The Caretaker, The
Master Builder, Future Conditional,
High Society, Electra, The Norman
Conquests, Hedda Gabler, The Real
Thing (The Old Vic); A Midsummer
Night’s Dream (Regent’s Park);
Standing at The Sky’s Edge (Sheffield
Crucible); Romantics Anonymous,
Twelfth Night, A Midsummer Night’s
Dream (Shakespeare’s Globe); The
Moderate Soprano, The Grinning Man,
Shakespeare in Love, Mojo (West End);
Matilda the Musical (Olivier Award for
Best Sound – worldwide); Pinocchio,
The Light Princess, Amen Corner (NT);
The Roaring Girl (RSC); Tristan & Yseult,
Brief Encounter, The Red Shoes, The
Wild Bride, Don John, Steptoe & Son,
946, Rebecca and The Flying Lovers
(Kneehigh). Simon is an Associate Artist
of Wise Children, The Old Vic, Kneehigh
and Shakespeare’s Globe, and a fellow of
the Guildhall School.
LUCY HIND
Movement Director
Theatre includes: Light in the Piazza
(Royal Festival Hall); Macbeth (Royal
Exchange); Local Hero (Lyceum
Edinburgh); The Last Ship (Toronto
and UK Tour); Calendar Girls (UK Tour);
Miss Littlewood (RSC); The Divide
(The Old Vic); Ugly Lies the Bone (NT);
Snowmaiden (Opera North); The House
of Bernada Alba (Royal Exchange/
Graeae); The Merchant of Venice (Globe
Theatre/Liverpool Playhouse/Chicago
Shakespeare Theatre); Barnbow Canaries
(West Yorkshire Playhouse); Somme
100 (national commemoration of the
Battle of the Somme, Manchester); The
Effect and This is My Family (Sheffield
Crucible); Multitudes (Tricycle); The
Jacobin (Buxton Arts Festival); Moon
Tiger (Theatre Royal Bath); Stuart: A
Life Backwards (Hightide); London 2012
Paralympic Games Opening Ceremony.
Television includes: The Snow Queen,
The Nutcracker, Peter Pan (all BBC) and
Banana (E4).
IAN ROSS
Musical Director
Ian is a Bristol (UK) based
multi-instrumentalist, an Associate
Artist of Kneehigh and Director of
Music for Wise Children. Theatre credits
as Performer and Music Director for
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Kneehigh include Brief Encounter,
The Red Shoes, Don John, The Wild
Bride, Tristan and Yseult, Dead Dog
in a Suitcase and The Flying Lovers of
Vitebsk. Theatre credits as Composer
include Twelfth Night (Shakespeare’s
Globe); Hansel and Gretel, The Very Old
Man with Enormous Wings and The
Flying Lovers of Vitebsk (Kneehigh);
Wise Children and Malory Towers
(Wise Children).
JESSICA RONANE CDG
Casting Director
Jessica is in-house Casting Director for
Matthew Warchus at the Old Vic. Theatre
credits: Lungs, Present Laughter, All
My Sons, The American Clock, SYLVIA,
A Monster Calls, Mood Music, Fanny
& Alexander, The Divide, A Christmas
Carol, Girl from the North Country
(The Old Vic and West End), Woyzeck,
Rosencrantz & Guildenstern are Dead,
King Lear, The Caretaker, The Master
Builder, Dr. Seuss’s The Lorax, The Hairy
Ape, Future Conditional (The Old Vic);
Running Wild (Regent’s Park Open
Air Theatre); Love in Idleness (Menier
Chocolate Factory). Children’s casting:
School of Rock, The Audience, Charlie
and the Chocolate Factory, Made in
Dagenham (West End); Billy Elliot the
Musical (West End/UK Tour); Matilda the
Musical (RSC/West End/UK Tour); To
Kill a Mockingbird, The Sound of Music
(Regent’s Park Open Air Theatre); Bugsy
Malone (Lyric Hammersmith); Caroline
or Change (National Theatre). Film
credits: Emma, The Kid Who Would Be
King (Working Title), Night Out (Short).
CAMPBELL YOUNG ASSOCIATES
Hair, Wigs & Make-up
Theatre includes: Rosmersholm;
All About Eve; Muriel’s Wedding
(Australia); Company; TINA – The
Tina Turner Musical (West End and
Hamburg); Allelujah!; Funny Girl; St.
Joan; One Night in Miami; City of
Angels; The Young Chekhov Trilogy;
Bend It Like Beckham; High Society;
Made In Dagenham; Gypsy; Guys &
Dolls; The Bodyguard (West End &
UK); Present Laughter, An American
Clock, A Christmas Carol, The Master
Builder, The Lorax, High Society, Electra,
Clarence Darrow, Sweet Bird of Youth,
Richard III, Kiss Me Kate and Inherit
the Wind (Old Vic); Ink, The Ferryman,
Girl from the North Country, Farinelli
and the King, Groundhog Day, Charlie
and the Chocolate Factory, Les Liaisons
Dangereueses, American Psycho, The
Cripple of Inishmaan, Matilda, Ghost,
Billy Elliot, La Bete, Private Lives, Rock
‘n’ Roll (West End / Broadway). King Lear,
Gary, To Kill A Mockingbird, Head Over
Heels, Carousel, Three Tall Women, Hello
Dolly!, 1984, Front Page, The Crucible,
Misery, Sylvia, A Delicate Balance, It’s
Only A Play, Betrayal, Mary Stuart, Les
Misérables, One Man Two Guvnors,
Spider-Man (Broadway); Opera includes:
Don Carlos, L’enfant et les sortileges
(Bolshoi Opera Moscow); Anna Nicole
(BAM); Elektra (Aix-en-Provence). Film
and TV includes: Downton Abbey, The
Americans, House of Cards, Orange Is
The New Black.
KATE BUDGEN
Associate Director
Kate trained at Birkbeck College and
on the NT Studio Directors course.
She has been a Creative Associate at
the Bush Theatre and has worked as
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Assistant and Associate Director for
The Gate Theatre, The Almeida, The
Opera Group, Pentabus Theatre, the
Bush Theatre, Opera North and for the
Michael Grandage Company. She is a
Connections Director for the National
Theatre Connections Festival and is
co-artistic director of new writing
company EQ Theatre. Selected directing
credits include: The Importance of
Being Earnest (Watermill Theatre);
Anything Is Possible If You Think
About It Hard Enough (Vaults Festival);
No Place for a Woman (Theatre 503);
Strong Arm (Underbelly/Old Vic New
Voices); The Hairy Ape (Southwark
Playhouse); Rigor Mortis (Papatango/
Finborough); Crossed Keys (Eastern
Angles); Bedbound (Lion and Unicorn);
Stoopud Fucken Animals (Traverse
Theatre); There is a War (Arts Ed); Punk
Rock (Guildford School of Acting); Anne
Boleyn (RWCMD).
JESSICA DANIELS
Resident Director
Jess recently directed A Pupil at Park
Theatre, which was nominated for an
Off West End award. Other directing
credits include The Butterfly Lion
(The Barn Theatre); Connect NOW
Monologues (The Old Vic); Conquest
(VAULT Festival/The Bunker); The
Many Crimes of Hector Cartwright
(VAULT festival); The State We’re In
(Theatre503). Jess was Resident Director
on the previous West End transfer of
Girl from the North Country, as well as
Assistant Director when it premiered
at The Old Vic. Other theatre as
Assistant Director includes Jess and
Joe Forever (Orange Tree Theatre); Rise
(The Old Vic) and Leaper: A Fish Tale
(Lyric Hammersmith).
TRISTAN BAKER
Producer
Tristan is an Olivier Award-winning
theatre producer whose recent
productions include Girl from the North
Country (The Old Vic, Noël Coward, The
Public NYC, Royal Alexandra Toronto,
Gielgud, Belasco Broadway); David
Bowie’s musical Lazarus; Lin-Manuel
Miranda’s Olivier Award-winning In
the Heights; the Olivier Award-winning
production of The Railway Children
(all King’s Cross Theatre) and Guys
and Dolls (West End and Tour). Tristan
co-produced the UK premiere of
Footloose: The Musical which has so far
completed seven UK Tours, three West
End seasons at the Novello, Playhouse
and Peacock Theatres and international
seasons in Belgium and South Africa. He
co-produced Flashdance on a UK and
international Tour and Never Forget,
the musical based on the songs of Take
That, on two UK Tours and at the Savoy
Theatre. Other productions include the
UK Tour of the multi award-winning
Broadway and West End production of
Kiss Me, Kate, the UK Tour of Love Shack
and the UK Tour of the classic musical
Calamity Jane and its subsequent
season at the Shaftesbury Theatre in the
West End.
CHARLIE PARSONS
Producer
Charlie Parsons has had a huge impact
on the international media sector
over the last 15 years, winning seven
prime-time awards and he is widely
credited with being the inventor of
reality TV with the TV show Survivor,
which he created. As co-founder of
one of television’s most influential
production companies, Planet 24,
with Bob Geldof and Lord Waheed Alli,
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he created and produced hundreds
of groundbreaking TV programmes
including The Big Breakfast and
The Word – with The Big Breakfast
reinventing the idea of a television
studio. Planet 24 was an engine for
change in British media and his
television shows were a platform for
many household names to make their
reputations, including Chris Evans, Gaby
Roslin, Lisa Tarbuck, Johnny Vaughan
and Denise Van Outen. Survivor is
being shown in dozens of editions in
countries around the world – sometimes
as Survivor, sometimes as Koh Lanta,
sometimes as Robinson. Charlie is also
Executive Producer of Survivor in the
USA and Canada where it has just begun
its 39th season. In British theatre he has
produced many acclaimed productions
of the original Take That musical
Never Forget, Guys and Dolls, David
Bowie’s musical Lazarus, Lin-Manuel
Miranda’s In the Heights and Girl from
the North Country. He also backs and
mentors creative businesses through his
company Charlie Parsons Creative Ltd.
RUNAWAY ENTERTAINMENT
Producer
Runaway Entertainment is a theatrical
production company, founded in
2011 by Tristan Baker and Charlie
Parsons, whose combined experience
spans theatre, film and television.
Runaway develops and produces
critically acclaimed, award-winning
and ambitious plays and musicals,
working with the most exciting talents
in the theatre industry. Current and
upcoming productions include Peter
Pan (Troubadour White City Theatre)
and Girl from The North Country
(Gielgud and Broadway). Previous
Productions include Girl from the North
Country (The Old Vic, Noël Coward
and The Public); David Bowie’s musical
Lazarus; Lin-Manuel Miranda’s Olivier
Award-winning In the Heights; the
Olivier Award-winning production of
The Railway Children (all at King’s Cross
Theatre); Guys and Dolls (West End and
Tour); Footloose (West End, South Africa
and UK Tours); Flashdance (UK and
international Tour) and General Manager
for Tom Fletcher’s The Christmasaurus
Live (Hammersmith Apollo).
STEVEN LAPPIN
Producer
Steven is an independent producer
working in television, film and theatre.
His recent work includes producing
feature documentaries for Liam
Gallagher As It Was and Freedom
celebrating the life and career of George
Michael, and Springsteen and I by Bruce
Springsteen. Steven also produced One
Love Manchester seen by over a billion
people. He has a proven track record
producing documentaries including
Joanna Lumley: Elvis and Me; Dara
O Briain Meets... Stephen Hawking
and Joanna Lumley Meets…Will.I.Am.
He has produced acclaimed global
music specials including A Night With
Beyoncé, One Night With Rod Stewart, An
Audience With Neil Diamond and David
Walliams Celebrates Dame Shirley Bassey.
For many years he series-produced the
talk show Parkinson and other iconic
TV shows including The BAFTA Awards
and This is Your Life. He originated the
project that subsequently became Girl
from the North Country, his first major
piece of work in theatre.
RAT10SON_GFTNC_programme.indd 26 2019-09-11 9:44 AM
26 mirvish.com mirvish.com 27
SONY MUSIC
Producer
Sony Music is home to the most loved
and commercially successful artists
in the world. In 1887, Columbia was
formed – which, to this day, remains
the oldest label in the history of the
recording industry. From there, Sony
Music evolved, amassing the best in
the business to create a world-class
record label and industry leader. In
the UK, labels such as Columbia,
RCA, Syco, Commercial Group, Red
Essential, Relentless, Black Butter and
Insanity all make up the Sony Music
family. Sony Music is the home to
the world’s greatest artists past and
present such as Beyoncé, Foo Fighters,
One Direction, Britney Spears, Usher,
Justin Timberlake, John Legend,
Meghan Trainor, Mark Ronson, Miley
Cyrus, Calvin Harris, Pharrell Williams,
George Ezra, Olly Murs, Paloma Faith,
Bob Dylan, Michael Jackson, Whitney
Houston, Elvis Presley, Johnny Cash,
Bruce Springsteen, Celine Dion, Barbra
Streisand, Luther Vandross, Dolly Parton,
AC/ DC, Manic Street Preachers and The
Clash. Sony Music Entertainment is a
global recorded music company with a
current roster that includes a broad array
of both local artists and international
superstars. The company boasts a vast
catalogue that comprises some of the
most important recordings in history.
Sony Music Entertainment is a wholly
owned subsidiary of Sony Corporation
of America.
DAVID MIRVISH
Producer
David Mirvish is a Toronto based
theatrical producer. Mr Mirvish operates
four theatres in Toronto: the Royal
Alexandra, the Princess of Wales, the Ed
Integrated Partnerships
Connect with our engaged customers through a variety
of key touch-points
PROGRAMME MAGAZINE
DIGITAL,EMAIL, PRINTADVERTISING
PRODUCT SAMPLING ANDACTIVATIONS
IN VENUE PARTNERSHIPSPARTNERSHIPS
RED CARPETEVENTS
BRIAN HIMELbrian.himel@brandsamplifi ed.com
JORY AMARjory.amar@brandsamplifi ed.com
The Exclusive SponsorshipAgency Of Mirvish Productions
RAT10SON_GFTNC_programme.indd 27 2019-09-11 9:44 AM
28 mirvish.com mirvish.com 29
Mirvish and the CAA. In 1983 Mr Mirvish
and his father, Ed Mirvish, purchased
The Old Vic Theatre in London which
they restored and operated until 1998.
Mirvish Productions, founded by David
Mirvish in 1986, is Canada’s leading
commercial theatre producer and has
produced plays and musicals for these
and other venues throughout Canada,
on Broadway and in London’s West End.
Co-production and presentation credits
include such hits as Crazy for You, Les
Misérables, The Lion King, The Sound of
Music, the North American premieres of
Priscilla Queen of the Desert and Mamma
Mia!, We Will Rock You, the national
tour of Wicked, Billy Elliot, the National
Theatre’s War Horse, Kinky Boots,
Matilda the Musical, Come From Away,
Dear Evan Hansen and Piaf/Dietrich.
THE OLD VIC
Producer
The Old Vic aims to be surprising,
unpredictable, ground-breaking,
rule-breaking, independent, accessible
and uplifting. Today, Artistic Director
Matthew Warchus is building on 200
years of creative adventure. The Old
Vic is mercurial: it can transform into a
theatre in-the-round, a space for music
and comedy, has played host to opera,
dance, cinema, music hall, classical
dramas, variety, big spectacles and
novelty acts. It was the original home
of the English National Opera, Sadler’s
Wells and the National Theatre. It has
also been a tavern, a college, a coffee
house, a lecture hall and a meeting
place. All of this is now in the bones of
the building and is as important a part
of its open-armed, inclusive, welcoming
personality as its grand historic décor
and the iconic performances and famous
productions it has housed. The Old Vic
is a not-for-profit theatre operating a
breakeven budget in a historic, Grade
II* listed building with the help of £4
million of philanthropic support every
year from our generous supporters. The
Old Vic produces and presents five to
seven diverse productions every Season,
enhanced by a vibrant programme
of One Voice monologues, Voices Off
talks, Lates and day-time events for
Families. Off stage we engage with over
10,000 people a year from across the UK
through our award-winning education,
employability and community work.
PAUL ELLIOTT
Consultant Producer, Canada
Since 1972, Paul has produced or
co-produced 56 shows with The Mirvish
Organization which include Buddy –
The Buddy Holly Story; Jolson; Stones in
His Pockets; Hedda Gabler with Glenda
Jackson; The Hollow Crown starring
Vanessa Redgrave; David Suchet in
The Last Confession; Kim Catrall and
Paul Gross in Private Lives (also on
Broadway) and the Old Vic’s production
of The Lorax. Paul has garnered 4
Olivier Awards, a Tony Award and the
Theatrical Managers’ Association Award
for his ‘Contribution to Theatrical Life’.
London productions include Run for
Your Wife (9 years); Buddy – The Buddy
Holly Story (13 years); Waiting for Godot
with Sir Ian McKellan; Thoroughly
Modern Millie; Private Lives with Alan
Rickman (London / Broadway–Tony
Award); Stones in His Pockets (Olivier
Award); Jolson (Olivier Award) Kat and
the Kings (Olivier Award); Underground
starring Raymond Burr; and Douglas
Fairbanks Jr. in The Pleasure of His
Company. In Toronto together with
Michael Harrison, Paul produced Titanic;
Chess; The Bodyguard; Mrs. Henderson
RAT10SON_GFTNC_programme.indd 28 2019-09-11 9:44 AM
28 mirvish.com mirvish.com 29
C R E D I T S & AC K N OW L E D G M E N T S
FOR GIRL FROM THE NORTH COUNTRY
Producers . . . . . . . . . . . . . . . TRISTAN BAKER & CHARLIE PARSONS
for RUNAWAY ENTERTAINMENT, STEVE LAPPIN,
SONY MUSIC, DAVID MIRVISH, THE OLD VIC
Consultant Producer, Canada . . . . . . . . . . . . . . . . . . . . PAUL ELLIOTT
Executive Producer. . . . . . . . . . . . . . . . . . . . . . . . AARON LUSTBADER
Executive General Manager . . . . . . . . . . . . . . . STELLA LITTLECHILD
General Manager, Canada . . . . . . . . . . . . . . . . . . . . . . .LISA JACKSON
Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISOBEL DAVID
Line Producer and General Manager. . . . . . . . . . . . . . . JO DANVERS
Production Accountant . . . . . . . . . . . . . . . . . . . MARK CARTWRIGHT
Associate General Manager . . . . . . . . . . . . . . . . . . . . JAMES MULLAN
Production and Development Assistant . . . . . . . . . . . . KAT PIERCE
Production Manager, U.K.. . . . . . . . . . . . . . . . . . . . .DOMINIC FRASER
Production Manager, Canada . . . . . . . . . . . . . . . . . . . . PETE KRAMER
Associate Scenic Designer . . . . . . . . . . . . . . . . . . . WILLIAM FRICKER
Associate Costume Designer . . . . . . . . . . . . . . . . . . . . . . .POPPY HALL
Associate Sound Designer . . . . . . . . . . . . . . . . . . . . . . CHARLES COES
Sound Supervisor, U.K. . . . . . . . . . . . . . . . . . . VICTORIA WILKINSON
Hair, Wigs & Make-Up . . . . . . . . . .CAMPBELL YOUNG ASSOCIATES
Head of Wardrobe, U.K. . . . . . . . . . . . . . . . . . . . . . . . . .JOANNE HAYES
Company Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUSS SPENCER
Stage Manager, USA . . . . . . . . . . . . . . . . . . . . . . . . . . .JEFF BRANCATO
Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN ANDLAW
Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . EMMA TOOZE
Sound No. 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GREG REIF
Sound No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREW KEISTER
Props Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LISA BUCKLEY
Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRET YOUNT
Production Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . DENZIL KEIM
LX Associate / Programmer . . . . . . . . . . . . . . . . . . . . . STUART CROSS
Production LX, Canada . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN STILL
Production LX, U.K.. . . . . . . . . . . . . . . . . . . . . . . . . MARTIN CHISNALL
Associate Casting Director . . . . . . . . . . . . . . . . . . . . . . . .ABBY GALVIN
Drum Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE EVANS
Harmonica Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHIL HOPKINS
Dialect Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JILL McCULLOUGH
Insurance . . . . . . . . . . . . . . . . . ROBERT ISRAEL FOR GORDON & CO
Merchandise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ARACA
P.R., U.K.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JO ALLAN PR
Marketing, U.K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMG
Set Construction . . . . . . . . . . . . . . . . . . . . . . ALL SCENE ALL PROPS,
CLOCKWORK SCENERY AND HUDSONS
Lighting and Rigging Equipment . . . . . . . . . . . . . . CHRISTIE LITES
Sound Equipment . . . . . . . . . . . . . . . . . . . . . . . . SOUND ASSOCIATES
THANKS TO
Jeff Rosen, Michael Smith, Sean Egan, Michael Perlstein, Nick
Marston, David Berlin, Fionnuala and Sumati.
FOR MIRVISH PRODUCTIONS
Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MIRVISH
Executive Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRIAN SEWELL
Managing Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MUCCI
Presents and Annie starring Downton
Abbey’s Lesley Nicol. With Karl Sydow
he produced Backbeat in Toronto and
Los Angeles, Dirty Dancing throughout
the U.K., in London’s West End, Australia
and Europe, and most recently, The Last
Ship in Toronto starring international
music icon, Sting. Paul has produced
over 450 Pantomimes in the U.K. and is
author of the comedy There’s No Place
Like a Home (three U.K. Tours) as well as
his autobiography to commemorate 60
years in show business entitled, Keeping
My Balls in the Air!
Paul was delighted to be the 2018
recipient of the ‘Special Recognition
Olivier Award for Services to the
Theatre Industry’.
AARON LUSTBADER
Executive Producer
Aaron Lustbader is a Partner & General
Manager in Foresight Theatrical. He
has worked at Foresight (previously
AWA) for nearly 20 years and currently
oversees alongside his partners, The
Phantom of the Opera, Moulin Rouge!
The Musical and the forthcoming
Broadway production of Girl from the
North Country. Aaron has consulted
on international productions in the
UK, Japan, Korea, Australia and South
Africa as well as for various arts
organizations including 10 companies
of Kinky Boots worldwide. Aaron
graduated from Cornell University
in 2000.
RAT10SON_GFTNC_programme.indd 29 2019-09-11 9:44 AM
30 mirvish.com mirvish.com PB
Director of Finance . . . . . . . . . . . . . . . . . . . . . . . . CAMILLO CASCIATO
Director of Sales & Marketing . . . . . . . . . . . . JOHN KARASTAMATIS
Director of Production . . . . . . . . . . . . . . . . . . . . . . . . .SCOT WHITHAM
Director of Labour Relations &
Business Development . . . . . . . . . . . . . . . . . . . . . . MARK LAVAWAY
Directors of Development . .KELLY ROBINSON, HANNAH MIRVISH
U .K . Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL ELLIOTT
Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . LINDA INTASCHI
Associate General Manager/Company Manager . . .CHARLES CHU
Assistant Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH SISKO
Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS PRIDEAUX
Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . NATHAN GILES
Assistant Production Manager . . . . . . . . . . . . . . .BRIANNE GWARTZ
Production Administrator . . . . . . . . . . . . . . . . . . .DESIRÉE PROVEAU
Associate Company Manager . . . . . . . . . . . . . . . . . . . . ANIKA NATER
Assistant Company Manager . . . . . . . . . . . . . . . . . . . . . JEN COOPER
Communications Manager . . . . . . . . . . . . . . . . . . . . . . . . . . SUE TOTH
Press & Public Relations Manager . . . . . . . . . .J . RANDY ALLDREAD
Marketing Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANTONIO TAN
Graphic Design Manager . . . . . . . . . . . . . . . . . . . . . . . . .OTTO PIERRE
Marketing Coordinator . . . . . . . . . . . . . . . . . .FRANCA LONGOBARDI
Web Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER JENKINS
Videographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRISTAN GOUGH
Social Media and Digital
Marketing Coordinator . . . . . . . . . . . . . . . . . . . . . . ISABELA STILLE
Program Director, CRM,
Data Insights & Ecommerce . . . . . . . . . . . . . . . . . . . AUBREY STORK
Data Intelligence Manager . . . . . . . . . . . . . . . . VICTORIA MAGINNIS
CRM & Reporting Assistant . . . . . . . . . . . . . . . . . . . . . . . . LIANNE WU
Labour Relations & HR Coordinator . . . . . . . . . . . . . . EMILY KNIGHT
Senior IT Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSIE DI LUZIO
System Administrators . . . . . . . . . . . . . . . . CHARLES BARTHMANN,
PHILLIP DREW, KATHARINE POSAVAD
Analyst/Accounting Manager . . . . . . . . . . . . . . . . . . . . REG DUNCAN
Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JASON YIP
Show Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . RACQUEL FROST
Accounting Staff . . . . . . . . . . . . . . . . . . . . . . JULIE LOGAN, KIM SITU
Payroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LILIAN SIU
Assistant to David Mirvish . . . . . . . . . . . . . . . . . . . . . LAUREL PURVIS
Office Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HELDER BRUM
FOR ED MIRVISH ENTERPRISES
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUSSELL LAZAR
FOR TICKETKING
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES ALDRIDGE
Phone Operations Manager . . . . . . . . . . . . . . . . . . . . .ALAN FORSYTH
Phone Operations Asst . Manager . . . . . . . . . . . . . . . .SUSIE MARCON
Phone Operations Supervisors . . . . . . . . . JANET KOMPARE-FRITZ,
SCOTT RICHARDSON
Administrative Services Manager . . . . . . . . . . . . . . . . MAGGIE BUSKI
Ticketing Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . KARYN KING
Administrative and Ticketing
Software Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE PELLEY
Ticketing Software Administrator . . . . . . . . . . . . . . . . .SARA RIVARD
Database Administrator . . . . . . . . . . . . . . . . . . . . APARNA ALIMINETI
FOR MIRVISH GROUP SALES & SUBSCRIPTIONS
Sales Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS DORSCHT
Group Sales Supervisor . . . . . . . . . . . . . . . . . . .NATASHA SPRINGETT
Associate Manager, Subscription Operations . . . BLAIR LEIGHTON
Associate Manager, Subscription Services . . . . . .DANIEL McLARTY
Subscriber Relations Supervisor . . . . . . . . . . . . . . . ARIKA UMME GUL
Subscriber Relations Representative . . . . . . . . . . . . . PAULYN RAMAN
Student Outreach & Education Co-ordinator . . . DENISE ANDERSON
Group Sales Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . NELIA BAIRD
Corporate Group Sales & Event Co-ordinator . . . .TIFFANY TOBIAS
Group Sales Assistant . . . . . . . . . . . . . . . . . . . BRANDON BARNSWELL
Subscriber Administration
Representatives . . . . DANIELLA FRUSTAGLIO, MUNIRA SARUAT
Subscription Service Representatives . . . . . . . . . . . MARY ASKWITH,
ERNEST CAYEMEN, MATTHEW KENNEDY, CLARA KIM,
ALEXANDRA LEAN, RICHARD McDONALD,
RYAN REEVE, MIKE RICHARDSON
FOR THE ROYAL ALEXANDRA THEATRE
General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RON JACOBSON
House Manager . . . . . . . . . . . . . . . . . . . . . . . . . .ELIZABETH MORALES
Assistant House Manager . . . . . . . . . . . . . . . . . . . . . NIKOL PAVLIDOU
Front of House Supervisor . . . . . . . . . . . . . . . . . . . . . NORA HASSAAN
FOH Supervisor/Operations Assistant . . . . . . . . . . HALEY WATSON
Box Office Staff . . . . . . . . . . . . . . KIM CASSIRAM, MARIKA CSOTAR,
ERIC KAUPPINEN, GEORGE KING
FOH Captains . . . . . . . . . . . . . . MANZOOR AHMED, ARI LEPONIEMI
Senior Maintenance Manager . . . . . . . . . . . . . . . . KEVIN McCARTHY
Head Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL PUHACZ
Head of Flies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BLAIR EGGLESTONE
Head Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN STILL
Lighting Board Operator . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL STILL
Head of Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . GUY GUALTIERI
Head of Wardrobe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAM WESTON
Assistant Head of Wardrobe . . . . . . . . . . . . . . . . . . . .MICHELE MUNN
Head of Hair and Makeup . . . . . . . . . . . . . . . . . . . . . CRAIG KILANDER
Parking Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . .ROBERT ASHLEY
FOR MIRVISH PROGRAMME
Publisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MIRVISH
Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .J . RANDY ALLDREAD
Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .OTTO PIERRE
Advertising Sales . . . . . . . . . . . . . . . . . . . . . BRANDS AMPLIFIED INC .
Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SUNVIEW PRESS LIMITED
For Mirvish Programme and Mirvish Partnership
Opportunities, please contact:
The Exclusive Sponsorship Agency of Mirvish Productions
brian .himel@brandsamplified .com
jory .amar@brandsamplified .com
Backstage and Front of House employees are
represented by the International Alliance of
Theatrical Stage Employees (or I .A .T .S .E .) .
Mirvish Productions is a member of the
Professional Association of Canadian Theatres
(PACT) and engages, under the terms of the
Canadian Theatre Agreement, actors and stage
managers who are members of the Canadian
Actors’ Equity Association .
The musicians employed in this production
are members of the Toronto Musicians’
Association, The American Federation
of Musicians .
RAT10SON_GFTNC_programme.indd 30 2019-09-11 1:22 PM
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