Young America season - Royal And Derngate

Welcome
Young
America
“Little short of perfect”
★★★★★
The Daily Telegraph
on The Prime of Miss
Jean Brodie
“The funniest show
on any stage in Britain
at the moment”
Birmingham Post
on Spymonkey’s
Moby Dick
“Another triumph”
What’s On Stage on
Private Fears In
Public Places
“It’s a cracking show
that deserves a life
beyond its brief
Northampton run.”
The Guardian on
Man of the Moment
Welcome to Royal & Derngate for another season of work that is
Made in Northampton. The two rarely seen plays that form our
Young America season feature the boiling passions of youth set
against the emerging backdrop of a young United States.
We are delighted to be staging the European Premiere of Spring
Storm by Tennessee Williams and the Pulitzer Prize winning Beyond
the Horizon by Eugene O’Neill. This is a fantastic celebration of two
of the twentieth century’s most iconic writers by a rep
company featuring some of the finest young actors to be found
on the British stage.
You may be aware that this is a very special year for Royal &
Derngate as the Royal Theatre celebrates its 125th anniversary. To
mark this milestone we are looking to raise £125,000 of funds for our
future artistic programme with Challenge 125. At the time of writing
we are approaching £45,000 raised and the amount just keeps on
growing. We are well on the way and you can support us by getting
involved in any number of the fundraising events that we are holding
or by making a one-off donation to the charity. For more information
on Challenge 125, visit our website at www.royalandderngate.co.uk
or ask at the Box Office.
We look forward to a strong end to the year and hope you will join
us this Christmas for another of our spectacular family shows, Honk!
The Ugly Duckling Musical.
Martin Sutherland Laurie Sansom
&
Chief Executive Artistic Director
2009 TMA Theatre Awards nominations:
Best Performance in a Play - Anna Francolini (Title role, The Prime of Miss Jean Brodie, dir. by Laurie Sansom)
Best Lighting Design - James Farncombe (Private Fears in Public Places, dir. by Laurie Sansom)
Best Touring Production - Kneehigh Theatre’s Brief Encounter (co-produced by Royal & Derngate)
Best Director - Scott Graham and Steven Hoggett for Frantic Assembley’s Othello (co-produced by Royal & Derngate)

Royal & Derngate’s Café R&D has a new menu and some fantastic
food and drink for you to enjoy.
Whether you are looking for brunch, lunch or tea whilst out
shopping, on a break from the office or before a show, you’ll find
something on the menu to tempt you.
All our meals are prepared using only the freshest ingredients, so
you always get good food that’s Really Delicious, and with sensible
prices and comfortable surroundings, why not give it a try?
Go on, Reward yourself – you Deserve it…
Café R&D
Relish & Devour
brunch from
10.30am-12.30pm
Relax & Dine
with our main menu from
12.30-7.30pm
Refuel & De-stress
with afternoon tea from
2.00-5.00pm
Online Booking
Did you know you can select exactly where you want to sit when
buying tickets online from our website?
Try it today at www.royalandderngate.co.uk
You can also find out what we’ve got coming up in our season, get the latest news
from the theatre, read the reviews of our shows, find out how you can get more involved
with Royal & Derngate and book tickets for a show – all at the touch of a button!
Plus, sign up to our email newsletter and get up-to-date news and offers delivered straight to your inbox.
Visit www.royalandderngate.co.uk to find out more

Royal & Derngate recommends…
…a powerful new dramatisation of a classic story!
Blind Summit Theatre and BAC
NINETEEN EIGHTY FOUR
By George Orwell
Tue 17 – Sat 21 November
In a world where even your
thoughts are controlled and
revolution is just around the
corner, Julia and Winston
begin a clandestine
romance...
With its predictions of
globalisation, surveillance
paranoia and control through
language, George Orwell’s
classic futuristic tale is
acutely relevant for our time.
It is brought to life by the
sensational Blind Summit
Theatre.
This startling new production
combines physical theatre,
puppetry and music to create
a cutting-edge and thought
provoking piece of theatre.
If you liked recent shows
by Frantic Assembly and
Kneehigh Theatre, you’ll
love this!
Tickets cost from £9.50
(concessions available)
BOX OFFICE
01604 624811
www.royalandderngate.co.uk

Royal & Derngate recommends…
…a magical family musical this Christmas!
Tue 1 December – Sun 3 January
From the
writers of
Mary
Poppins
From the moment his egg
cracks open, the Ugly Duckling
knows there is something
different about him. Follow
Ugly’s adventures in Honk!, the
hilarious musical comedy
adventure based on the classic
Hans Christian Andersen
fairytale. As Ugly is lured away
from his bullying siblings by an
ever-hungry Cat, he embarks
on a mission to find his way
home, meeting a cast of
eccentric creatures along
the way!
With live music, larger than life
characters and belly laughs aplenty,
this is a delightful
Christmas spectacle for the
whole family and a sure-fire hit
follow up to last year’s record
breaking The Wizard of Oz.
Music by George Stiles
Book and Lyrics by
Anthony Drewe
Based on the Hans Christian
Anderson Fairytale
Tickets cost from £9.00
(Family, Groups and
Schools tickets available)
BOX OFFICE
01604 624811
www.royalandderngate.co.uk

Royal & Derngate recommends…
…Panto fun for everyone!
Fri 11 December – Sun 10 January
Get ready for the ultimate
Panto adventure as the Wicked
Queen, with help from her evil
Henchman, tries her hardest to
woo the Prince away from Snow
White. Journey deep into the
magical forest and meet seven
loveable and hilarious dwarfs
and find out if Snow White will
get her fairytale ending.
Our pantomimes are renowned
for combining traditional
storytelling, fantastic special
effects, dazzling sets and
costumes, sensational song and
dance routines to give you
great big helpings of fun,
laughter and audience
participation. This year is no
exception - come along and
be dazzled by our sparkling
family production!
“A WONDERFUL SPECTACLE
FROM BEGINNING TO END”
The Stage
Sponsored locally
by Heart 96.6
Tickets cost from £15
(concessions available)
BOX OFFICE
01604 624811
www.royalandderngate.co.uk

Photo: Eric Richmond & Joe Swift
background image © Charles Smith/Corbis
Royal & Derngate recommends…
…Britain’s premier contemporary dance company!
Rambert Dance Company
COMEDY OF CHANGE
TOUR 2009
Wed 2 – Fri 4 December
Rambert Dance Company,
Britain’s premier and most
popular contemporary dance
company, consistently works
with some of the world’s
most exciting choreographers
to produce dance that is
full of passion, excitement
and innovation. Bold
collaborations with
composers, designers and
visual artists come together
alongside live music from the
Rambert Orchestra to create
performances that are
stunning, witty and
enchantingly beautiful.
Rambert’s 22 exquisite
dancers bring us a major new
work, Comedy of Change, by
award-winning Artistic
Director Mark Baldwin,
a hugely popular piece,
Carnival of the Animals by
Siobhan Davies and a brand
new work, Tread Softly, by
Henri Oguike.
★★★★★
Financial Times
BOX OFFICE
01604 624811
www.royalandderngate.co.uk

BEYOND THE HORIZON
by Eugene O’Neill
Friday 9 October – Saturday 14 November
The action takes place on a farm in Connecticut in the early 20th century.
ACT ONE
Scene One: The top of a hill on the farm, twilight of a day in May.
Scene Two: The Mayo farm house, nine o’clock the same night.
ACT TWO
Scene One: The Mayo farm house, half past twelve on a midsummer afternoon,
three years later.
INTERVAL
Scene Two: The top of the hill, eleven o’clock the next morning.
ACT THREE
Scene One: The Mayo farm house, six o’clock on an October morning, five years later.
Scene Two: The top of the hill, dawn the same morning.
This production lasts approximately 2 hours and 31 minutes,
including a 20 minute interval.
By arrangement with Josef Weinberger Limited

YOUNG EUGENE
Eugene O'Neill
O’NEILL
AND THE SEA
In 1907, O’Neill was expelled after his first year at Princeton University for
“poor scholastic standing”; he had spent his year drinking and hell-raising. In
1909 he secretly married Kathleen Jenkins who was expecting his child, before
promptly abandoning her to join his first sea voyage on a gold prospecting
expedition to Honduras. When he returned, he failed to contact his wife and
was not to see his son for another 11 years. A public scandal broke out due to his
father’s profile as one of the best known stage actors of the era, and Eugene
fled once more - this time as a working passenger on the Charles Racine, one
of the last commercial sailing vessels. The crew of 35 set sail for Buenos Aires,
and during this trip he became conscious of his profound connection to the sea.
In Long Day’s Journey Into Night his alter ego Edmund, says: “When I was on
the Squarehead square the rigger, bound for Buenos Aires. Full moon in the
Trades. The old hooker driving fourteen knots. I lay on the bowspirit, facing
astern, with the water foaming into spume under me, the masts with every sail
white in the moonlight, towering high above me. I became drunk with the
beauty and singing rhythm of it, and for a moment I lost myself - actually lost
my life. I was set free! I dissolved in the sea, became white sails and flying
spray, became beauty and rhythm, became moonlight and the ship and the
high dim-starred sky! I belonged, without past or future, within peace and
unity and wild joy, within something greater than my own life, or the life of
Man, to Life itself. To God, if you want to put it that way.”
He hit rock bottom in Buenos Aires, quickly drinking his wages and spending
the next seven months in drinking den, The Sailor’s Opera and nearby
brothels. After living as a bum on the South American beach, he returned to
New York on a British tramp steamer that would become the setting for his
early one-act sea plays that were to make his reputation. Back in New York he
took up residence in a dockside flophouse known as Jimmy the Priest’s, which
became the model of the saloon bars in both Anna Christie and The Iceman
Cometh. Here he met many colourful characters and shipped with one of them
aboard a passenger steamship to Southampton. By the time he returned to
New York, he had qualified as an able-bodied seaman, an honour he was to
cherish for the rest of his life.
On his return to New York he sank back into a spiral of despair and the news
that Kathleen was to divorce him triggered an episode he rarely spoke about
in later life - a suicide attempt. After taking a lethal dose of veronal at Jimmy
the Priest’s, the unconscious Eugene was eventually found by fellow drinkers
and rushed into hospital. For a decade his life had been leading to this point
of self destruction, but it was possibly this glimpse of his own mortality that
enabled him to formulate his tragic vision of life.

Eugene O'Neill with his wife and daughter in Cape Cod, 1922
TUBERCULOSIS AND LONG
DAY’S JOURNEY INTO NIGHT
His return to the family home in New London exposed
the strains of his dysfunctional family: his mother’s
morphine addiction was at its height, he and his brother
were drinking heavily, and he was conducting a
clandestine affair with local girl Maibelle. Soon he had
developed a cough, first diagnosed as pleurisy by the
family physician. It is this period of his life that he would
dramatise in the autobiographical masterpiece Long
Day’s Journey Into Night, which explores the tensions in
the O’Neill family over one day in 1912. It portrays the
devastating impact of his mother’s addiction, his
brother’s alcoholism, his father’s excessive miserliness,
and his own battle with TB.
In early September, Eugene was sent to a state
sanatorium. Two days later he had checked himself out,
got himself to New York and confronted his father over
this shocking economy. He was soon checked into the
semi-private Gaylord Farm Sanatorium where he spent
the next five months as a model patient. He read
voraciously (especially Strindberg and Synge), and it
was here he made a commitment to pursue a vocation
as a writer.
BEYOND THE HORIZON
PRODUCTION HISTORY
Beyond The Horizon was O’Neill’s first full-length play,
although he had made a name for himself as a promising
young playwright following one-act plays produced by
a group of bohemian friends. They were premiered in
their makeshift wharf theatre in Cape Cod’s fishing
community, Provincetown, and then in a fringe theatre
in New York.
In February 1918, in the relative calm of Provincetown, he
began work on his ‘royal tramp’ play about a young man
who left home and roamed the world like Peer Gynt. This
transformed into the story of the mystical Robert Mayo.
He wrote of the play in a letter to The Times that Robert’s
instinct to experience the world was “too conscious,
intellectually diluted into a vague, intangible, romantic
wanderlust. His powers of resistance, both moral and
physical, would also probably be correspondingly
watered. He would throw away his instinctive dream and
accept the thraldom of the farm for - why almost any
nice little poetical craving - the romance of sex, say.”
It was first programmed for a series of matinee
performances in February 1920. There was a furious scramble
The Monte Cristo Cottage
was the boyhood summer
home of Eugene O'Neill
from 1900 until 1917

to rehearse the play, and O’Neill was convinced to make
significant cuts to a very long text during overnight
absinthe-fuelled sessions with lead actor Richard Bennett.
O’Neill predicted disaster, due to actors who failed to
understand his naturalistic dialogue, and old fashioned
painterly sets, but it was in fact the surprise sensation of
the season. The play took up a full Broadway run and
won O’Neill the first of four Pulitzer Prizes. His father was
seen with tears flowing down his face on the opening
night, although he did reportedly take his son to task on
the play’s grim subject matter, asking him: “What are you
trying to do - send them home to commit suicide?”
Beyond The Horizon was universally acclaimed by the
critics, who celebrated its realistic setting and dialogue,
its unsentimental tone and for introducing a radical
tragic voice to a theatre so long dominated by
melodrama, romance, burlesque and variety. It proved to
mark the beginning of a tragic lyricism in twentieth
century American drama, paving the way for writers
such as Tennessee Williams and Arthur Miller.
O’NEILL AND
THE FARM
The only house the O’Neills ever called home was in the
Connecticut coastal town of New London, between New
York and Boston, where they spent the summer months.
His father owned several farms around New London, and
The theatre in
Provincetown,
Massachusetts where
Eugene O'Neill's first
play, Bound East for
Cardiff, was performed.
Eugene had also spent several weeks with some drinking
pals in a derelict farm his father owned in the tiny hamlet
of Zion in New Jersey. The lack of electricity and running
water soon had them heading back to the city. O’Neill
must have wondered at the fate of the abandoned
farmhouse and the people who had once lived there.
He wrote the play some nine years later in Provincetown,
where the sea is always present and the Atkins and Mayo
Roads intersect. These roads commemorate two of the
most prevalent families in the area; in fact a tragic
accident, when two young friends, a Mayo and an Atkins,
were drowned together, was still being widely reported
in the area.
Other O’Neill plays set in rural America include Desire
Under The Elms and A Moon For The Misbegotten, one of
his final plays dramatising his brother James’ acute
alcoholism. O’Neill’s plays set on farms often revolve
around attitudes and battles over property and
ownership, revealing his attitude to the American
obsession of possessing both land and people.
O’NEILL AND
TRAGEDY
In 1918 O’Neill was formulating his own uniquely
American tragic vision, which found its purist expression
in his first full-length play Beyond The Horizon. He had
been very much influenced by the work of Strindberg
and Ibsen, seeing a 1907 performance of Hedda Gabler
starring Alma Nazimova on ten consecutive nights. But
his understanding of tragedy was most influenced by the
poetic and philosophical writings of Nietzsche, who
proposed a nihilistic world view that regarded belief
systems such as religion and politics as illusory
constructs, used by people to negotiate the world. He
proposes that we should seek to fully realise ourselves
and our true natures, and O’Neill explores how the
typically American drive to possess property, money and
people only serves to prevent that. Both Nietzsche and
O’Neill believed that human suffering was the necessary
crucible for man to properly realise his true nature and
achieve true nobility of spirit.

YOUNG BRITAIN
in association with Young America
As part of our diverse Creative Projects Programme,
Royal & Derngate are committed to providing an exciting
and relevant programme of work for schools and colleges.
Accompanying all of our produced work and many of our presented
productions and performances, Creative Projects for schools offer an array of
opportunities to young people and their teachers to increase their enjoyment
and understanding of our work.
Below is an outline of all of the Creative Project opportunities accompanying
our Young America season. We hope it gives you an idea of the range and
breadth of work that we provide to and with schools, in and around the county.
EMBRACING THE STORM
FRI 23 – SAT 24 OCTOBER 6.30PM
For two nights Royal & Derngate, in
collaboration with Theatre Writing
Partnership, will present five short plays
by the finest young writing talent in the
East Midlands. Performed by professional
actors before the evening performances,
Embracing The Storm will be a response
to the Young America season, focusing on
the experience of being a teenager in
Britain today.
EMBRACING THE STORM
FOR SCHOOLS
These workshops were offered free to a
selection of groups coming to watch
either of our Young America plays and will
give the opportunity for schools to have a
selection of monologues from Embracing
The Storm delivered in their classrooms
by professional actors.
Alongside these performances, students
will also have the chance to workshop and
develop their own creative writing skills
with one of Royal & Derngate’s highly
experienced associate artists.
Our recent project, Hypercom, was Highly Commended
at the 2009 National Charity Awards
EXPLORING AMERICA
MON 5 OCTOBER – THU 12 NOVEMBER
Delivered in schools throughout the
county, Exploring America gives students
the opportunity to participate in
interactive and expressive workshops,
exploring the choices faced by young
people of all cultures.
Through scene work, improvisation, and
discussion, participants will draw
connections between the US and the UK,
past and present, characters in the plays
and themselves.
PRODUCTION
DECONSTRUCTION
YOUNG AMERICA
Royal & Derngate’s Production
Deconstruction events are unique days
that allow students to get a real
understanding of exactly what goes into
producing high quality, professional theatre.
Participants get to tour the theatre
spaces, seeing everything from where we
rehearse our shows to where we build and
paint our set. Meeting members of the
Creative and Stage Management teams
along the way, workshopping with associate
artists and engaging in talkback sessions
with the cast and director; Production
Deconstruction days give the definitive
insight into the theatre making process.
If you would like more information
about any of the Creative Projects
listed above or about our work with
schools in general then please contact
our Creative Projects Manager on
01604 627566 or email
alex.soulsby@royalandderngate.co.uk

Photos © Alex Soulsby

EUGENE O’NEILL
1888 Eugene Gladstone
O’Neill is born in a Broadway
hotel room. His mother Ella
O’Neill starts taking
morphine to ease the pain of
delivery, and later becomes
addicted.
1895 Eugene O’Neill begins
his schooling at St Aloysius
Academy for Boys, a strict
Catholic boarding school.
1906 Enrolls at Princeton
University.
1907 O’Neill is removed from
Princeton “for poor
scholastic standing” due to
his drinking and womanizing.
He moves to New York to
live with his brother Jamie.
1909 Marries Kathleen
Jenkins in a secret ceremony
in Hoboken Trinity Church. In
May, Kathleen gives birth to
a son, Eugene O’Neill Jr.
1912 Eugene and Kathleen
divorce. The same year
O’Neill contracts tuberculosis
and is inspired to become a
playwright while reading
during his recovery.
1916 O’Neill debuts his first
one-act play, Bound East For
Cardiff in Provincetown,
Massachusetts.
TENNESSEE WILLIAMS
1911 26 March: Thomas
Lanier Williams born in
Columbus, Mississippi, son of
Cornelius Coffin Williams, a
travelling shoe salesman, and
clergyman’s daughter,
Edwina Dakin.
1937 Writes Spring Storm
while attending University of
Iowa. The play is dismissed
by his professor and is left
unpublished until 1996 when
it is rediscovered in the Harry
Ransom Humanities Center at
the University of Texas in Austin.
1939 A short story, A Field
Of Blue Children, is his first
work to be published under
his new name, Tennessee.
Four of his one-act plays win
a $100 prize in New York
Group Theater’s American
play contest.
1940 Battle Of Angels
staged by Theater Guild,
New York. Later re-written
as Orpheus Descending
and filmed in 1959 as
The Fugitive Kind.
1943 Works as a scriptwriter
for MGM.
1944 Has first major success
with The Glass Menagerie,
initially staged in Chicago
and a year later in New York,
where it wins the New York
Drama Critics’ Circle Award.
1918 Marries Agnes Boulton,
a writer.
1920 O’Neill’s first full-length
play, Beyond The Horizon, is
produced on Broadway at
the Morosco Theater. The
play wins Eugene his first
Pulitzer Prize.
10 August: Eugene’s father,
James O’Neill dies in New
London, Connecticut.
27 December: The Emperor
Jones opens on Broadway.
1922 28 February: Eugene’s
mother, Ella O’Neill dies of a
brain tumour.
1947 A Streetcar Named
Desire receives the New York
Drama Critics’ Circle Award
and a Pulitzer Prize.
1948 Summer And Smoke.
Beginning of relationship
with Frank Merlo.
1950 First novel, The Roman
Spring Of Mrs Stone published.
1951 The Rose Tattoo opens
in New York and wins a Tony
Award. Film version of
A Streetcar Named Desire,
directed by Elia Kazan, is
released starring Marlon
Brando as Stanley Kowalski
and Vivien Leigh as
Blanche DuBois.
21 May: Anna Christie, a play
about a prostitute returning
to her seafaring father and
falling in love with a sailor,
wins O’Neill his second
Pulitzer Prize.
1923 Eugene’s older brother
Jamie O’Neill dies, having
spent his last few years in a
sanatorium. Eugene will base
his play A Moon For The
Misbegotten on his
experiences.
1924 Desire Under The Elms
premieres at the Greenwich
Village Theater.
1953 Camino Real.
1955 Cat On A Hot Tin Roof
opens and runs for 694
performances, winning the
New York Drama Critics’
Circle Award and a
Pulitzer Prize.
1956 Baby Doll released on
film. The film provokes a
storm of outrage because of
its child-bride theme.
1957 Orpheus Descending.
Cornelius Williams dies.
1958 Garden District, a
double bill of Something
Unspoken and Suddenly Last
Summer, opens off-Broadway

1928 Wins his third Pulitzer
Prize for Strange Interlude,
a play in nine acts that
catalogues the life of a
woman.
1929 O’Neill divorces Agnes
Boulton and marries Carlotta
Monterey.
1931 Writes Mourning
Becomes Electra, an
adaptation of the Greek
play Oresteia.
1933 Ah, Wilderness! opens
at the Guild Theatre on
Broadway, O’Neill’s only
comedy.
and later in London. Cat On
A Hot Tin Roof, directed by
Peter Hall with the author’s
original text, opens at the
Comedy Theatre, London. As
the play had been banned by
the Lord Chamberlain, the
theatre is made into a club.
The play is also released as
a film, directed by Richard
Brooks.
1959 Sweet Bird Of Youth; it
is released as a film three
years later.
1960 Period Of Adjustment.
The Glass Menagerie
released on film.
1936 Awarded the Nobel
Prize in Literature.
1939 Writes The Iceman
Cometh, a play about a
group of drunken derelicts.
1941 Writes Long Day’s
Journey Into Night, his
signature play, which
dramatises the embattled
relationship of his parents.
1943 O’Neill’s daughter
Oona, aged 18, marries
Charlie Chaplin, aged 54.
O’Neill rejects the marriage
and refuses to see his
daughter again.
1961 The Night Of The Iguana
wins the 1962 New York
Drama Critics’ Circle Award.
1963 The Milk Train Doesn’t
Stop Here Any More.
1967 The Two Character Play
opens at the Hampstead
Theatre, London.
1968 Seven Descents Of
Myrtle.
1969 In The Bar Of A Tokyo
Hotel. On the advice of his
brother, Dakin, Williams
enters a psychiatric hospital
for his drink and drugs
problem.
1945 O’Neill gives text of
Long Day’s Journey Into
Night to Random House
publishers and stipulates
that the play must not be
published until 25 years after
his death.
1946 The Iceman Cometh
opens on Broadway.
1948 Shane O’Neill is
arrested for heroin
possession. Eugene O’Neill
never again has contact with
his younger son.
1950 Eugene O’Neill Jr
commits suicide. His note
reads: “Never let it be said of
1972 Small Craft Warnings.
1973 Out Cry.
1975 Moise And The World
Of Reason, a novel, and
memoirs published. Red
Devil Battery Sign staged
in Boston.
1977 Vieux Carré.
1979 A Lovely Sunday
For Crève Coeur.
1980 Clothes For
A Summer Hotel.
O’Neill that he failed to finish
a bottle.” His father, in failing
health, does not attend the
funeral of his oldest child.
1953 O’Neill dies in the
Shelton Hotel in Boston,
having spent his last
years suffering from a
neuromuscular disorder
that robbed him of the
ability to write.
© John Good
1981 Something Cloudy,
Something Clear.
1982 A House Not Meant
To Stand opens in Chicago.
1983 Tennessee Williams
dies in New York on
24 February.
Unless otherwise noted,
dates given are of New York
play openings.
© John Good

YOUNG AMERICA
Two Plays by Eugene O’Neill and Tennessee Williams
BEYOND THE HORIZON
SPRING STORM

CAST
JOANNA BACON
Sarah Atkins (Beyond The Horizon)
Aunt Lila (Spring Storm)
ROBIN BOWERMAN
Captain Dick Scott/Dr Fawcett
(Beyond The Horizon)
GAVIN HARRISON
Ben (Beyond The Horizon)
Henry/Ralph (Spring Storm)
JAMES JORDAN
James Mayo (Beyond The Horizon)
Oliver Critchfield (Spring Storm)
JACQUELINE KING
Kate Mayo (Beyond The Horizon)
Esmeralda Critchfield (Spring Storm)
MICHAEL MALARKEY
Robert Mayo (Beyond The Horizon)
Arthur Shannon (Spring Storm)
Royal & Derngate would like to thank the following:
JACK HADDON THE FLORISTS
FIONA BARROW, VIOLINIST
ROYAL & DERNGATE YOUTH THEATRE
ROYAL & DERNGATE
COMMUNITY CHOIR
TOM ERHARDT AT
CASAROTTO RAMSAY
ROBERT BURGESS AND CHERYL ROY FROM
WORKBRIDGE CERAMICS for the donation
of pottery items for Beyond The Horizon
JANICE McKENZIE
Mrs Lamphrey/Birdie Schlagmann
(Spring Storm)
MICHAEL THOMSON
Andrew Mayo (Beyond The Horizon)
Dick Miles (Spring Storm)
ANNA TOLPUTT
Hertha Neilson (Spring Storm)
LIZ WHITE
Ruth Atkins (Beyond The Horizon)
Heavenly Critchfield (Spring Storm)
COMMUNITY ACTORS
HANNAH BROWN/
ERIN O’CALLAGHAN
Mary Mayo (Beyond The Horizon)
LAURA PATERSON
Mabel (Spring Storm)
CREATIVE TEAM
LAURIE SANSOM
Director
SARA PERKS
Designer
JON NICHOLLS
Composer
CHRIS DAVEY
Lighting Designer
CHRISTOPHER SHUTT
Sound Designer
REBECCA CAREY
Dialect Coach
KAY MAGSON CDG
Casting Director
DARREN ABEL
Deputy Stage Manager
(Beyond The Horizon)
ROBYN HARDY
Deputy Stage Manager (Spring Storm)
Scenery, set painting, properties, costuming,
wigs and make-up by Royal & Derngate
workshops and facilitated by in-house stage
management and technical teams.

SPRING STORM
by Tennessee Williams
Thursday 15 October -
Saturday 14 November
The action takes place in Spring 1937
in Port Tyler, a small Mississippi town
on the Mississippi River.
ACT ONE
A high bluff overlooking the Mississippi
River on a spring afternoon.
ACT TWO
Scene One: The Critchfield home,
Friday afternoon, the same week.
Scene Two: Same, that evening.
Scene Three: Same, three in the morning.
INTERVAL
ACT THREE
Scene One: Lawn of the Lamphrey
residence, the next evening, a party in
full swing.
Scene Two: The Port Tyler Carnegie Public
Library, the same evening.
Scene Three: The Critchfield home, late
afternoon of the next day.
This production lasts approximately
2 hours and 40 minutes, including
a 20 minute interval.
Presented through special arrangement with
The University of the South, Sewanee, Tennessee

YOUNG TENNESSEE
WILLIAMS AND
THE SOUTH
Tennessee Williams, known as Tom to
his family and friends, spent his early
years in the Mississippi Delta, a narrow
floodplain between the Mississippi and
Yazoo rivers characterised by the
cotton plantations that thrive on its
fertile soil. He wrote in his Memoirs:
“It is out of a regret for a South that no
longer exists that I write of the forces
that have destroyed it.” The lyricism of
the south coupled with its ultra
conservatism, provided the inspiration
for many of his most memorable
characters and works, despite the fact
he never lived there for a sustained
period after the age of seven.
This “dark, wide world that you can
breathe in” was associated in his mind
with sensuality. The Delta’s humidity,
fecundity of its soil and its social
repression inspired all his works set in
the south, including Cat On A Hot Tin
Roof, Orpheus Descending, and many
one-act plays and short stories. As John
Barry says in his study of the 1927
Mississippi flood: “In the sultriness of
the Delta, sex represented everything.”
Tennessee Williams

Edwina Estelle Dakin about the
time of her marriage
EDWINA DAKIN AND
CORNELIUS COFFIN WILLIAMS
In 1905, his grandparents had taken his mother Edwina to live in
Columbus, Mississippi, where they would stay until 1913.
At 21, the pretty and vivacious Edwina had developed an acute anxiety
about possible spinsterhood. She began to organise her social diary like a
battle plan, on one occasion receiving over 30 gentleman callers between
3pm and supper time. Although she seemed a flirtatious coquette, she
was actually resolutely puritanical and would remain so all her life, an
uncomfortable tension that would have psychological consequences for
both Tom and sister Rose. But soon it appeared that a rather imposing
military figure from Knoxsville, one Cornelius Coffin Williams, had serious
intentions. Once, after recovering from a fever, Edwina was impressed that
her suitor had sent a fresh bouquet of roses every day. Within months
they were married.
When his father took a management role in a shoe company in the “cold,
northern city” of St Louis, Tom despaired at this change of fortune.
Edwina was painfully conscious of their drop in social standing, and Tom
was separated from his adoring grandparents. The move to St Louis only
pushed Williams further into his imaginative world, a process that had
already begun:
“This move (to St Louis) was preceded, for me, by an illness diagnosed
by a small Mississippi town doctor as diphtheria with complications. It
lasted a year, was nearly fatal, and changed my nature... during this
period of illness and solitary games, my mother’s overly solicitous
attention planted in me the makings of a sissy, much to my father’s
discontent. I was becoming a decided hybrid, different from the family
line in frontiersmen - heroes of east Tennessee.” Memoirs
CLARKSDALE AND
THE MISSISSIPPI
The town in which Spring Storm is set closely resembles Clarksdale where
Tom lived from 1915 to 1918. The play mentions the Cutrers, who owned a
grand mansion and threw occasional lawn parties. The mansion was
owned by one Blanche Cutrer, who lived there with sister-in-law Stella.
Blanche’s handsome son was killed in an accident at Moon Lake, the site
of a notorious casino. This recurring location in Williams’ work provides

the off-stage locale for several key
incidents in his work. It is a fascinating
insight into Williams’ creative process
to see how some of the events of
Spring Storm are re-imagined to
provide Blanche DuBois with her tragic
backstory some ten years later when
writing Streetcar.
Other Delta locations in the play include
Friar’s Point, a levee town some 15 miles
north of Clarksdale. In 1927, and again in
1937, there were floods of biblical
proportions in the Delta. The flood of
1927 resulted in a national project to
improve the flood control and
navigation on the Mississippi. From 1937
the Federal government would help
bear the cost of these projects as flood
control became a national concern.
Sam Huggins saw the moment when it
breached in 1927:
“When the levee broke, the water just
come whooshing, you could just see it
coming, just see big waves of it
coming. It was coming so fast till you
just got excited, because you didn’t
have time to do nothing, nothing but
knock a hole in your ceiling and try to
get through if you could. It was rising
so fast till peoples didn’t get a chance to get nothing.
People and dogs and everything like that on top of
houses. You’d see hogs trying to get somewhere where
people could rescue them. Cows just bellowing and
swimming. A lot of those farmhouses didn’t have no
ceiling that would hold nobody.”
In spite of the government levee project, the victims of
the 1937 flood still relied heavily on charity agencies for
their survival. The Red Cross reported that it served
more than 1.5 million flood-affected people, described as
“completely dependent on the agency for every primary
necessity of life”.
St Paul's Rectory, Columbus, Mississippi, Tennessee Williams' childhood home
SOCIAL STRUCTURE
IN THE DELTA
Obsession with genealogy was characteristic of families
from the South. The area was dominated by the
aristocratic plantation owners who controlled the entire
economy of the region, whilst by the 1930s a new and
relatively small white middle class, covetous of
aristocratic status, often claimed equally prestigious
ancestry however exaggerated or fabricated. The
exploited black servant class who had barely thrown off
the shackles of slavery were paid a pittance to run their

homes. Their economic penury and
lack of civil rights meant that true
freedom for the black population had
yet to be realised.
The white middle class were perhaps
even more suspicious of the recently
arrived white working class who had
migrated to the Delta during the First
World War. They were seen as a
threat to social cohesion, as they had
both full civil liberties and a vested
interest in breaking the stranglehold
the plantation owners had on cheap
black labour.
The years of the Great Depression
were ones of great social tension in
the Delta.
WRITING
SPRING STORM
Perhaps the two single events that
had the greatest impact on Williams
as an artist were the move to St Louis
and the decline of his beloved sister
Rose’s mental health. In 1937, the year
Williams began writing Spring Storm,
she was diagnosed as having
‘dementia praecox’, which today we
would recognise as schizophrenia.
The word ‘rose’ occurs in every one
of his plays, and they are a significant
symbol of fragile beauty in many of
them. He came to believe that Rose’s
condition was a result of her natural
sensuality being tightly bound by her
Tennessee Williams (right) pictured
with his sister Rose and a friend
mother’s puritanism. Rose was
lobotomised without his knowledge
in 1945, and he would do all he could
for her for the rest of his life.
Spring Storm began life as April Is
The Cruellest Month, a title taken
from the first line of T S Eliot’s The
Wasteland. He revised the play
considerably whilst studying
playwrighting at the University of
Iowa; the recently published
Notebooks reveal that he was reading
a collection of Pulitzer-winning plays
at the time, which included O’Neill’s
Beyond The Horizon. But Williams’
script was roundly dismissed by his
classmates, his unsympathetic tutor
declaring: “Well, we all have to paint
our nudes.” The script was put aside
by Williams, although characters and
events would return in various forms
throughout his work. It was not until
Dan Isaac discovered the manuscript
amongst the Tennessee Williams
Collection in the Harry Ransom
Humanities Research Centre in
Austin, Texas, and produced a
reading in New York in 1996, that the
play reached an audience of any kind.
Its subsequent publication means the
play can finally be seen not only as a
fascinating precursor to later work,
but a surprising and passionate
drama in its own right. This
production is its European premiere.

JOANNA BACON
Sarah Atkins (BTH)
Aunt Lila (SS)
Joanna trained at the Actors
Institute in London.
Her theatre work includes:
Ladies’ Day (Garrick Theatre,
Lichfield); Ten Tiny Toes
(Everyman Theatre, Liverpool);
Frozen (Library Theatre,
Manchester); Death Of
A Salesman, Saved (Bolton
Octagon); Cancer Tales (Wolsey,
Ipswich), The Rise And Fall Of
Little Voice, House and Garden
(Salisbury Playhouse); Love
And Money (Royal Exchange
and Young Vic); The Beaver
Coat (Finborough); and
Romeo and Juliet (Battersea
Arts Centre); Ion and Seeds
Under Stones (RSC); He Who
Saw Everything (National
Theatre); Flying (National
Theatre Studio); A Taste Of
Honey (English Touring Theatre);
Made Of Stone (Royal Court);
Iphigenia (Sheffield Crucible).
Her television credits include:
Wallander, Holby City, The
Invisibles, Family Man, Little
Britain, Angel Of Death, Fifteen
Storeys High, Chambers,
A Touch of Frost, Smugglers,
Second Generation, The Bill
and American Freak for
Comedy Central USA.
Her film work includes: Easy
Virtue, RocknRolla, Last
Orders, Prince and Pauper, and
Love Actually.
ROBIN BOWERMAN
Captain Dick Scott/
Dr Fawcett (BTH)
Robin trained at Bristol Old Vic
Theatre School and began his
career here 34 years ago.
Robin’s theatre credits include:
Vertigo, Double Indemnity and
The Day That Kevin Came
(Nottingham Playhouse);
Black Comedy (the Watermill,
Newbury); The Glass Cage
(Royal & Derngate); Arsenic
And Old Lace (Kenneth Wax
Ltd – national tour); Martha,
Josie And The Chinese Elvis
(Salisbury Playhouse); House
and Garden (Harrogate
Theatre); Romeo And Juliet,
Amadeus, Blithe Spirit (Derby
Playhouse); Naked Justice,
Wild Oats, Postcards From
Rome, Tess Of The D’Urbevilles,
Happy Days, Krapp’s Last Tape,
The Taming Of The Shrew
(West Yorkshire Playhouse);
Neville’s Island, Perfect Pitch
(Octagon Theatre, Bolton);
Rebecca (Coliseum Theatre,
Oldham); A Passionate Woman
(New Vic, Stoke); Macbeth
(the Swan, Worcester); Marat
Sade, The Wind In The Willows
(Royal National Theatre);
Mansfield Park, The Norman
Conquests (the Crucible,
Sheffield); How The Other Half
Loves, The Constant Wife, Ten
Times Table, Having A Ball
(Theatre Royal Windsor); Self
Portrait (the Orange Tree,
Richmond); Invisible Friends,
Way Upstream, Season’s
Greetings, Taking Steps (Stephen
Joseph Theatre, Scarborough);
Fallen Angels (Bill Kenwright
Ltd – national tour).
His television and film credits
include: Emmerdale, Heartbeat,
The Royal Today, The Court
Room, Hollyoaks, The Bill, The
10%ers, Doctors, EastEnders,
Bugs, Love and Reason, Dead
Clever, Coronation Street
and Control.
Radio work includes: Silver
Street (BBC Asian Network)
and voiceovers for
commercial radio.
GAVIN HARRISON
Henry/Ralph (SS)
Ben (BTH)
Gavin trained at the Liverpool
Institute of Performing
Arts (LIPA).
Theatre credits include: Man
Of The Moment (Royal &
Derngate); The Revengers’
Comedies (Royal & Derngate);
Jekyll And Hyde (European
tour); Memory: One (King’s
Head Theatre); Much Ado
About Nothing (Waterside
Theatre); The Tempest (UK
tour); East (Playhouse Theatre).
Training credits include:
Romeo And Juliet, Can’t Pay?
Won’t Pay!, Oh What A Lovely
War, Antigone, 12 Angry Men
and Three Sisters.
Television credits include:
Doctors, Friends and
Crocodiles.
Film credits include:
Underwood (InVison Media);
A Gangster’s Brief (Phonyn
Films); Artificial Gift (DC
Films); Les Artistes (Partizan);
Door to Door (Scene to Seen
Productions).
In 2006, Gavin started up
Goggle Eye Theatre Company
with the premiere of his new
comedy SCAM at the Unity
Theatre, Liverpool. His latest
play, Memory: One was
produced in London to fourstar
reviews and is in its early
stages of publishing.

JAMES JORDAN
James Mayo (BTH)
Oliver Critchfield (SS)
Theatre includes: Complicit
(The Old Vic); High Society
(number one tour); Make Me
A Match, Only The Lonely and
Come Blow Your Horn (the Mill
at Sonning); A Streetcar
Named Desire (St James
Theater, New York); The Ride
Down Mount Morgan (Derby
Playhouse); Fame (two
International tours).
Television includes: D-Day To
Berlin and Cold War - History
File (BBC); series regular in
Emma Brody (Fox TV); Too
Much Sun, The 10th Kingdom,
Brookside, Out Of Sight,
McCourt Report, Ellington,
Lovejoy, Jeeves And Wooster,
Taggart, Rich Man Poor Man,
Wheels, mini-series, The Blue
And The Grey.
For US TV: Medical Centre,
Days Of Our Lives, Murder She
Wrote, The Law And Harry
McGraw, The Dukes of
Hazzard, Mike Hammer, The
Partridge Family.
Films include: Digital Jesus,
The Enemy, The Dirty Dozen
(part 4), The Great Escape.
JACQUELINE KING
Kate Mayo (BTH)
Esmeralda Critchfield (SS)
Theatre credits include: Larkin
With Women, Major Barbara,
Press Cuttings,The Madras
House (Orange Tree Theatre);
Perfect Pitch, Absent Friends,
Comic Potential, FlatSpin,
GamePlan, RolePlay, (Stephen
Joseph Theatre, Scarborough
and the Lyric and Duchess
Theatres, London); Mixed
Doubles (Watermill Theatre);
Wuthering Heights (West
Yorkshire Playhouse). Seasons
at Oxford Playhouse,
Redgrave, Farnham and
Southwold. Tours of Canada,
Kenya, UAE, Sri Lanka, Holland
and Germany.
Television credits include:
Missing, Doctors, Sylvia Noble
in Doctor Who, House Of
Sadaam, The Bill, 55 Degrees
North, Lawless, Life Begins,
Casualty, Hetty Wainthropp
Investigates, Prince Of Hearts,
Deacon Brodie, Andy Robson.
Film work includes: Gabriel
And Me, Desperate Crossing.
Voice: has recorded over 250
unabridged books.
MICHAEL
MALARKEY
Robert Mayo (BTH)
Arthur Shannon (SS)
Michael trained at LAMDA. He
has recently completed work
on the short films Contraction
and Good Morning Rachel
(Mager Stare). His theatre
company, We Buy Gold, won
this years Old Vic New
Voices/Theatre 503 Award for
their devised piece Inches
Apart. Michael is also an
independent singer/
songwriter with several
albums to his name.
JANICE McKENZIE
Mrs Lamphrey/
Birdie Schlagmann (SS)
Janice trained at the Guildhall
School of Music and Drama
and at the Royal Academy of
Music and Drama.
Her theatre credits include:
These Four Streets, Box
(Birmingham Repertory
Theatre); Great Expectations,
The Prime Of Miss Jean Brodie,
One Flew Over The Cuckoo’s
Nest, Once We Were Mothers,
A Women Of No Importance,
Romeo And Juliet, Loot,
Othello, The Tenant of Wildfell
Hall, Dead Funny (New Vic
Theatre, Stoke); The Glass
Cage, Time Of My Life, Soap,
Below The Belt (Royal &
Derngate); My Mother Said I
Never Should, Macbeth (West
Yorkshire Playhouse);
Kindertransport (Octagon
Theatre, Bolton); Brassed Off
(Birmingham Repertory Theatre
and Liverpool Playhouse);
Coolwater Murder (the
Belgrade, Coventry); Henry V
(with the RSC); After Easter,
Pentecost (with the RSC - the
Other Place); Hobson’s Choice,
My Mother Said I Never Should,
All My Sons, Romeo And Juliet,
Toad Of Toad Hall, Antony And
Cleopatra, Noises Off, East
Lynne, Big Maggi, The Tenant
Of Wildfell Hall (Birmingham
Repertory Theatre); Crime Of
The Century (Birmingham
Repertory Theatre tour); The
Trial (Young Vic); Miss Julie
(Derby Playhouse).
Television credits include:
Emmerdale, The Royal Today,
The Royal, Family Affairs,
Coronation Street, Holby City
and Doctors.
Her radio work includes:
L’Assommoir, Pick Up, Emma
Unfinished, Going Naked Is The
Best Disguise, Founder’s Day,
After Easter and Pentecost.

MICHAEL
THOMSON
Andrew Mayo (BTH)
Dick Miles (SS)
Michael trained at the London
Academy of Music and
Dramatic Art. Roles at college
included: Proctor in The
Crucible, Ernst in Spring
Awakening and various roles
in Love Play.
Professional theatre credits
include: Wagstaffe The Wind-
Up Boy (dir Janice Dunn); the
Maniac in Accidental Death of
An Anarchist (dir Gari Jones);
Achilles in IPH (dir Sue Lefton);
Mason in Journey’s End (dir
Tony Casement); Dennis in
Habeas Corpus (dir Janice
Dunn); Curly in Of Mice And
Men (dir Nikolai Foster);
Bowl, Hook and Inna in The
Resistible Rise Of Arturo Ui
(dir Janice Dunn); and Fedotik
in Three Sisters (dir David
Hunt) (all for the Mercury
Theatre Company, Colchester);
Toby in Amy’s View (dir Natalie
Wilson, Salisbury Playhouse
and Northampton Royal &
Derngate); Cameron in Mary
Rose (dir Richard Baron,
Nottingham Playhouse); and
Benvolio in Romeo And Juliet
(dir Jeff Gould, Blood in the
Alley Theatre Company).
ANNA TOLPUTT
Hertha Neilson (SS)
Theatre includes: Wish Wash
(Northampton/Polka Theatre);
Blunderbuss (Chipping Norton);
Fahrenheit 451, Christmas
Carol (TNT world tour); Le
Bourgeois Gentilhomme
(Armonico Consort); Lark Rise
To Candleford (Finborough);
A Midsummer Night’s Dream,
The Entertainer (Derby
Playhouse); The Tempest,
Great Expectations (Minack
Theatre); 1984 (Tour de Force);
Secret Garden (Nottingham
Playhouse); Miss Julie (Theatre
Royal Haymarket); The Shape
Shifter (Hampstead Theatre).
She has performed rehearsed
readings at Hampstead Theatre,
Royal Court, the Unicorn and
the Haymarket and was an
ensemble member of Jet
Theatre. She co-runs her own
company, Human Behaviour,
which recently produced an
aerial and puppetry
performance called Slug! for
Stratford Circus and Shunt.
Screen work includes principal
roles in Hellraiser: Hellworld
(Miramax/Dimension) and The
Scar Crow (Dead on Arrival),
which recently won the
London International Film
Festival Award for Best
Horror/Sci-Fi. She has also had
roles in Run Fatboy Run
(Material Entertainment),
Waterloo Road, Moving
Wallpaper and she played a
regular in Spanish–English
language TV series From Galicia.
LIZ WHITE
Ruth Atkins (BTH)
Heavenly Critchfield (SS)
Liz graduated from LIPA in 2001.
Theatre credits include: Holes
(New Wimbledon Theatre);
Masha in Dying For It (the
Almeida); Project E: An
Explosion (Bacs); References
To Salvador Dali (Arcola
Theatre); Plasticine (Royal
Court); The Woman Who
Walked Into Doors (Stephen
Joseph Theatre);
A Midsummer Night’s Dream
(Wales Actors Co).
Liz was winner of the Best
Individual Performance Award
at National Student Drama
Festival 2001.
Her television credits include:
A Short Stay In Switzerland,
Miss Marple: A Pocketful Of Rye,
The Fixer, The Empresses’s New
Clothes, Vincent, The Street, Life
On Mars (series 1 and 2), A Thing
Called Love, Angel’s Hell, Blue
Murder, Teachers, Green Wing
(pilot) Ultimate Force, A&E,
Auf Wiedersehen Pet, Hidden
City, A Good Thief.
Film work has included: New
Town Killers, Franklyn and
Vera Drake.

LAURIE SANSOM
Director
Laurie is the Artistic Director
of Royal & Derngate where he
has directed Follies (TMA
nomination Best Musical
Production, Whatsonstage
nomination, Best Regional
Production), Twelfth Night,
Soap, Time Of My Life, The
Glass Cage, Frankenstein,
The Prime Of Miss Jean Brodie,
The Wizard of Oz and Private
Fears In Public Places.
Previously, he was Alan
Ayckbourn’s Associate
Director at the Stephen
Joseph Theatre, Scarborough
where he directed over 20
productions including:
Bedtime Stories, Fields Of
Gold, I Ought To Be In
Pictures, Tissue Paper For The
Soul, Her Slightest Touch,
River’s Up, three new musicals:
Spittin’ Distance, The Jonah
Boy and A Beginner’s Guide To
Cybershopping (which he
wrote with Loz Kaye) and
Villette (with Frantic Assembly).
Other work includes: J B
Priestley’s Dangerous Corner
(West Yorkshire Playhouse
and the Garrick, West End);
Ravenhill For Breakfast
(Traverse, Edinburgh); The
Magnets: Magnetude (Assembly,
Edinburgh); Hysteria and
Children Of A Lesser God
(Salisbury Playhouse); All That
Trouble That We Had, Blue
Remembered Hills and Second
From Last In The Sack Race
(New Vic, Stoke); Frankie And
Tommy, 2:18 underground
(Lyric Hammersmith); Getting
To The Foot Of The Mountain,
Musical Youth (Birmingham
Rep); Alice Through The
Looking Glass (Creation,
Oxford); Electra (Marlowe
Society at Cambridge Arts).
SARA PERKS
Designer
Sara has designed in the
region of 70 productions, for a
wide variety of venues and
genres. She has designed 16
productions at Mercury at
Colchester where she is an
Associate (most recently
Depot, a huge multi-discipline
site specific production in a
vintage tram shed, Martin
McDonagh’s The Lonesome
West and an acclaimed
production of Journey’s End).
She was Associate Designer
for English Touring Theatre for
three years including
designing Romeo And Juliet.
Recent and notable credits
include The Wizard Of Oz,
here at Royal & Derngate,
Northampton; Neil LaBute’s
Helter Skelter/Land Of The
Dead (the Bush Theatre);
Forgotten Things (Red Ladder
- touring currently); Treasure
Island (Derby Playhouse); The
Elixir Of Love (Grange Park
Opera, co-design); Beckett’s
Rough For Theatre 1 and 2
(Arts Theatre, London); Return
To The Forbidden Planet
(national tour); Singin’ In The
Rain (Hereford); Dead Funny
(Oldham and national tour);
The Crypt Project (a site
specific piece at St Andrews
Crypt, London); Union Street -
Plymouth Theatre Royal’s
millennium project with a cast
of 230; and the original
production of the cult spacerock
musical Saucy Jack And
The Space Vixens.
JON NICHOLLS
Composer
Jon’s composed music and
sound scores for many theatre
companies including: Theatr
Clwyd, Northern Stage,
Birmingham Rep, Sheffield
Crucible, Derby Playhouse,
Manchester Library, Unicorn,
Basingstoke Haymarket, Red
Shift and Royal & Derngate,
where he composed for last
year’s Humble Boy and The
Prime Of Miss Jean Brodie.
Screen work includes: scores
for numerous documentaries
for the BBC, Channel 4 and
ITV and over 30 short films.
Work for radio drama includes:
Between Friends, Babel’s
Tower, Faust, Cat On A Hot Tin
Roof, Caesar Price Our Lord,
It’s Better With Animals, The
Quest, My Word Is My Bond,
The Histories Of Herodotus
and The Time Machine for
Radio 3 and 4, and he received
a Jury Special Mention at the
2008 Prix Italia for his music
and sound score for Radio 4’s
drama-documentary What I
Heard About Iraq. His first
opera Falling Across was
performed at the 2007 Collide
Festival in Birmingham, and
he’s also developing a series of
live performance pieces for
voice and sound score; recent
collaborators have included
novelist Patrick Gale and poet
Jackie Kay.
www.jonnicolls.com
CHRIS DAVEY
Lighting Designer
For Royal & Derngate Theatre
Chris has designed The Prime
of Miss Jean Brodie, Three
Sisters and The Seagull.
Chris has designed extensively
for the National Theatre, Royal
Shakespeare Company, Shared
Experience Theatre, Royal Court,
Hampstead Theatre, Lyric
Hammersmith, Royal Exchange,
Manchester, West Yorkshire
Playhouse, Royal Lyceum,
Edinburgh and Birmingham Rep.
Recent designs include: Dial M
For Murder, The Caucasian
Chalk Circle (West Yorkshire
Playhouse); Carlos Acosta And
Guests (London Coliseum);
The Pianist, Everyone Loves
A Winner, Carlos Acosta
(Manchester International
Festival); The Last Witch
(Edinburgh International
Festival/Traverse); Matthew
Bourne’s The Car Man
(Sadler’s Wells/Old Vic and
international tour); Peer Gynt
(National Theatre of Scotland).
Opera includes Hippolyte Et
Aricie (Nationale Reisopera
Netherlands); L’Arbore Di
Diana (Valencia); I Capuleti
E I Montecchi (Opera North,
Melbourne, Sydney Opera
House); Skellig (the Sage,

Gateshead); Aida (Houston);
Bird of Night (Royal Opera
House); Bluebeard (Bregenz);
Jephtha (English National
Opera/Welsh National Opera);
The Magic Flute (Welsh
National Opera); eight seasons
for Grange Park Opera, The
Turn Of The Screw, The Rake’s
Progress (Aldeburgh Festival);
The Picture Of Dorian Gray
(Monte Carlo).
CHRISTOPHER
SHUTT
Sound Designer
Trained: Bristol Old Vic Theatre
School; former Head of Sound
at Bristol Old Vic, Royal Court,
National Theatre.
Most recently: Judgment Day
(Almeida); for National
Theatre: War Horse, Burnt By
The Sun, Every Good Boy
Deserves Favour, Gethsemane,
Happy Days (world tour),
Coram Boy, Dream Play,
Humble Boy, Play Without
Words, Albert Speer, Not
About Nightingales, Machinal;
for Complicite: Disappearing
Number, Elephant Vanishes,
Mnemonic, Street Of
Crocodiles, The Three Lives Of
Lucie Cabrol; New York: All My
Sons, The Resistible Rise of
Arturo Ui, Moon For The
Misbegotten, Coram Boy, The
Elephant Vanishes, Humble
Boy; National Theatre of
Scotland: Bacchae, Little Otik;
Royal Court: Aunt Dan And
Lemon, Arsonists; Gate
Theatre: Nocturnal; Old Vic:
Moon For The Misbegotten, All
About My Mother; RSC: Much
Ado About Nothing, King
John, Romeo And Juliet;
Donmar: Piaf, The Man Who
Had All The Luck, Hecuba.
Radio: Tennyson’s Maud,
A Shropshire Lad. Awards:
Not About Nightingales,
Mnemonic (NY Drama Desk).
Nominations: Coram Boy, War
Horse, Piaf (Olivier Awards).
REBECCA CAREY
Dialect Coach
Rebecca Clark Carey is an
American voice, text and
dialect coach who has been
living and working in the UK
for the last six years. She has
taught at the Central School of
Speech and Drama, Italia Conti
Academy of Theatre Arts and
the Oxford School of Drama.
Currently, she teaches voice at
the Royal Academy of
Dramatic Art.
Rebecca also returns to the
States regularly as a guest
voice and text director for the
Oregon Shakespeare Festival.
Productions she has worked
on there include Hedda Gabler,
Wild Oats, King Lear, Much
Ado About Nothing, The
Taming Of The Shrew, The
Tempest, The Servant Of Two
Masters, and the world
premiere of Equivocation.
Rebecca is co-author, with her
husband David Carey, of the
Vocal Arts Workbook and DVD
and the soon to be published
Verbal Arts Workbook.
KAY MAGSON CDG
Casting Director
Theatre credits include: The
Solid Gold Cadillac (Garrick);
Dangerous Corner (West
Yorkshire Playhouse/West
End); Round The Horne…
Revisited, Dracula (National
tour); Sweeney Todd (Fesitival
Hall); Singin’ in the Rain (West
Yorkshire Playhouse, NT/
National tour); Aspects of
Love, The Witches of Eastwick,
All The Fun of the Fair, Martin
Guerre (National Tours);
Assassins, Shadowmouth,
Amadeus (Sheffield) Follies,
The Glass Cage, The Way of
the World and The Prime of
Miss Jean Brodie (Royal &
Derngate, Northampton); King
Cotton (Lowry/Liverpool
Empire), A Model Girl
(Greenwich); The Country
Wife, Alfie, Queen’s English,
Blue Orange, Dick Whittington
(Watford Palace); Ma Rainey’s
Black Bottom, Still Life/The
Astonished Heart, The Odd
Couple, Dr Faustus, Who’s
Afraid of Virginia Woolf?,
Chimps, Season’s Greetings,
The Tempest, The Lady of
Leisure, Billy Liar, The Flint
Street Nativity, Endgame,
Noises Off, Mother Goose and
Ten Tiny Toes (Liverpool
Playhouse); Tom’s Midnight
Garden, Faith Healer, Private
Lives, The Glee Club, Relatively
Speaking, Much Ado About
Nothing, Rock ‘n’ Roll and
Frozen (Manchester Library),
Charley’s Aunt (Oxford
Playhouse); London Assurance
(Watermill) Private Lives,
Merrily We Roll Along,
Moonlanding, Stepping Out
(Derby); Saved (Bolton
Octagon); Old King Cole
(Unicorn); Brassed Off
(Liverpool Playhouse/
Birmingham Rep); East is East
(York/Bolton), and 17 years of
productions for the West
Yorkshire Playhouse as
resident Casting Director
including The McKellen
Ensemble Season, Hamlet, His
Dark Materials,Monkey!, Don’t
You Leave Me Here, Flat
Stanley, The Lion, the Witch
and the Wardrobe and Privates
on Parade.
Kay is a member of the
Casting Director’s Guild of
Great Britain.

N E E D S
YO U !
We are looking for enthusiastic people to become part of our team of
volunteers at the theatre. There are many ways you can help - from assisting
customers at performances to stuffing envelopes for our mailings.
The theatre is a vibrant and exciting place to work - we would love to hear
from you if you think you could spare some time to help us.
If you are interested in volunteering, please contact: Customer Service Team,
Royal & Derngate, Guildhall Road, Northampton, NN1 1DP
or email rudi.gibbins@royalandderngate.co.uk

We would like to thank the following people for their generous support
Seats have been named by the following organisations
Name a Seat
Abbey Community Theatre • Arnold Engineering Plastics Ltd • Avon Cosmetics Ltd • Beaver Medical plc Braunston Marina
Carter Slater & Co Solicitors • Friends of Northampton Theatres • Haines Watts • Hannington Evans • Howes Percival • The Dorothy Johnson
Charitable Trust • Johnson Underwood • Likisma Presentations Ltd • Marriott Construction • Marriott Hardcastle • Matthews Millman Ltd
Montagu Players, Kimbolton • Morrisflex Ltd • Nalex Ltd • Northampton Amateur Operatic Company • Northampton Gilbert & Sullivan Group
Northampton Lady Associate Members • Northampton Notre Dame Association • NTT Stewards • Oliver Adams the Bakers
The Probus Club of Northampton • Richard Greener Estate Agents • St Peter’s Church, Weston Favell • Virani Food Products Ltd
Individual seats have been named by, for, or in memory of
A theatre lover • David Adams • Jennifer Adams • Will, Tricia, Becky & Sarah Adams • Wendy & Geoff Allen • Louis, Viscount Althorp • Lesley Anwar
Drs Ian & Jane Appleyard • Elsie Arnold • Susan Banner • Simon Andrew Barber • Alice, Angie & Pete Bason • Mrs Barbara Battey • Chloe Beauchamp
John Charles Bennett • Dorothy Beynon • Roy Biggs • Caryl Billingham • Kate & Tony Billson • Ann Binder • Linda Blatchly • Janet & Michael Brailey • Peggy Brawn
Gerald Brawn • John & Barbara Bream • John Brooks • Sharron Brooks • Mavis A Brown • Jens Buus & Manja Ronne • Caroline Canning • Cynthia & Geoff Carter
Dominic Cazenove • Ian and Meg Clarke • George & Edith Coles • Helen Mary Grahame Collins • Teresa Collyer • Andy Cooper • Revd P E Coppen • Mrs M E Coppen
Jack Coventon • Christopher John Cowper • The Crosthwaite Family • Curigwen Lewis and Andrew Cruickshank • Mr and Mrs M Dean • Janet & Jack Dove
Maurice Dunmore • Ann & Alan Elliott • Peter Ellwood • Judy Ellwood • Laurie & Gill Embury • Shirley Emery • Eric & Odette Arthur Ewens • Mrs Clare A Fieldhouse
Rex Firkin • Mr Frederick Fleming • Mrs Margery Fleming • Graham Fordyce • Janey Foster • Friends of Northampton Theatres • Philip Gardner • Andy Gibson
Mavis A Brown • John Gillespie • Sally Ann Goodenough • Kim M Grant & Stewart D Grant • Karen Graystone • Jeffrey Greenwell • Margaret Greenwell
Tim & Gillie Hadland • Jade Hallam-Matthew • Anthony Hallam-Matthew • Pam Halliwell • Geoff Hancock • Kate Hancock • Alfred Hawtin • Ella Hay • Heaney Family
G & J Hendy • Robert Heygate • Suzanne Heygate • Mrs H Hiam & Family • Muriel Hibbert • Malcolm Hickling • Sue Hickling • Mrs Jennifer Hodghton • Phil Hogg
Roger Hopwood • Margaret Jack • Tom & Ivy Jameson • John Jarvis Jasper • David & Georgina Jeyes • Jan J Jodkowski • Helen Jones • Capt. R M T Jones MN
Sian Jones • Peter & Wendy Jordan John Russell Kellam • Margaret Robin Kellam • Charles Kew • Mary Kew • Audrey & Colin Kidby • John & Mary Kirkham
Baroness Knight of Collingtree • Chris Kokta • Piers Landmann • Tony & Mary Lane • Mrs M E Larkinson • Nigel Lavender • Mary Legge • Jim + Sheila Lewis
Terence & Carolyn Libby • Christine Lloyd • David Lloyd • Elizabeth MacFadyen • Chris & Pam Mann • Marjorie and Eleanor • Mr & Mrs D Massingberd-Mundy
Elizabeth Mary Maycock • The McCormick Family • Lizzi McDonald • Pat & Mary McKeown • Freddie Mellor • Anthony Mellor • Judith Mellor • Michael & Hilary
David Middlewood • Jacqui Middlewood • Hazel & Ray Mitchell • Pamela Faye Mills • Edgar & Deirdre Mobbs • Valerie Moir • Stewart Moir
Anthony (Tony) James Moisey • Jack & Edna Morris • Donna Munday & Mark Payton • Christine Nash • Derek Needle • C G & J Nurser • Gina Ogden • Alice Oliver
Suzanne Oliver Jackie Page • Ivy & Ray Parsons • Rosie & Noel Parsons • Andrew & Louisa Pauley • Yve Peck • Brenda Perton • Herbert & Mary Pettit • Mr E R Poole
David & Fiona Ratliff • Howard & Teresa Raynor • O C Redmond (Jim) • Chris & June Ripper • Robbs Family • Eric Roberts • Margaret Roberts
Susan Grahame Roberts • David & Pat Rowden • Dianne Rowe • Noreen Royce • Sally Saker • Zelda Shutan • Christine M Smith • Roy Smith • Paul Southworth
Susan Southgate • Lady Amelia Spencer • The Countess Spencer • The Earl Spencer • The Hon Edmund Spencer • Lady Eliza Spencer • Lady Kitty Spencer
Doris Spokes • James & Alyson Spooner • Sam & Harriet Stanton • Linda Starmer • Andy & Karen Stewart • Mrs Debbie Stimpson • Anne Stinson
Bob & Jane Stubbs • Nancy Sutherland • Pat Thomas • Valerie Travis • Joe Tufnell • Jen Tufnell • Louise Torbett • Paul Underwood • MSGT Eugene Urda
Stella Waldron • Jean Waights (neé Ingle) • Brenda Watson • Fred Watson • Peter H Watson • Helen C Watson • Emma A Watson • Chris B Watson
Andrew D Watson • Gordon Weller • Keith West • Diana West • Leigh Willows • Adrian Wood • Colin & Barbara Wood • Phyllis & Frederick Wootton
Valerie Wright • Gill Wylie • Martyn Wylie
Boxes have been named by
Mr Colin & Mrs Judith Lill • MacIntyre Hudson • Shoosmiths • Variohm-Eurosensor Ltd
Why not name a seat for someone you love?
For more information on naming a seat contact us on 01604 626222 or email nameaseat@royalandderngate.co.uk

enjoy enjoy
enjoy
is Royal & Derngate’s membership scheme. We would like to extend special thanks to
the following individuals who are directly supporting our work on stage and with young
people by becoming gold enjoy members:
Mrs D P Abbott • Mr & Mrs Applegate • Mr M Aslett • Mrs V Barham • Mrs K Bartlett • Miss E L Bradley • Mrs S J Braithwaite
Rebecca Briscoe • Mr J Brooks • Mr & Mrs Cobb • Peter & Wendy Coombs • Stacey & Mark Daws • Colin Cornwell • Mr & Dr M Dean
John Dolman • Mr & Mrs A L Durling • Mr J W Eades • Mr I Edwards • Mr & Mrs R Elliott • Mrs J Ellwood • Mr P B Ellwood • Mrs S M Emery
Mrs V England • Mrs T Fitzgerald • Steve & Di Gelder • Mrs E M Gill • Mr & Mrs J L Glide • Mr A J Greenwell • Mrs M Greenwell
Mr & Mrs P Heaney • Mr & Mrs D B A Hirst • Mrs P Jacobi • Mr & Mrs D Kendrick • Mr & Mrs David Kennedy • Mrs P King • Mrs P Law
Mr D Lloyd • Mrs B Loryman • Miss E MacFadyen • Miss J M Maloney • Denis McFaul & Anne Robinson • Mr & Mrs R P Mills • Kathleen Mitchell
Mr D J Muncaster • Mr P Murphy • Mr A Nichols • Mr P Pateman • Mrs Y Prior • David Sargent • Mr C Saunby • Mr D Scholes • Maria Steele
Sharon Trasler • Mr R Turney • Mr Colin Veron • Miss M Viviani • Mrs Morcea Walker • Mr J M Waller • Mr B Ward • Mr M J Ward
Mr & Mrs F Watson • Mr G Watson • Mr L Willows • Mrs S Wood
For more information on enjoy membership please contact us on 01604 635868
Support Royal & Derngate by becoming a Business Club
member. Benefits are tailored to your business and can include:
• Use of Business Club bar
• Company logo to appear in all season brochures and
in-house programmes
• Invitations to VIP and business networking events
• Best seats available for company use
• Personal priority booking service
• Complimentary and discounted tickets on selected shows
For further information on our exclusive Business Club, and
to become a member, please contact Ronny Kimbell,
Business Development Manager
01604 655736 • ronny.kimbell@royalandderngate.co.uk
Royal & Derngate Business Club
Our current business club members include:

Board of Trustees
Chair Mr Paul Southworth Vice Chairman Mr Laurie Embury
Dr Judith Ackroyd • Ms Morag Ballantyne • Mr Magnus Bashaarat
Mr Neil Darlison • Mr Tim Hadland • Mr Jim Harker • Mrs Victoria Miles
Mrs Gina Ogden OBE • Mr David Perkins • Mr Tony Woods • Mr Martyn Wylie
Chief Executive
Martin Sutherland
Arts Team
Artistic Director
Laurie Sansom
Associate Director
Dani Parr
Creative Projects Manager
Alexander Soulsby
Youth Theatre Director
Mike Hayhurst
Arts Team Co-ordinator
Joanna Carey
Customer Services Team
Customer Service Managers
Rudi Gibbins
Kevin Musgrove
Catering Supervisor
Lorna Sayers
Cellar Delivery Person
Joseph Robertson
Stage Door Reception
Emily Bull, Bridget Clack,
Susan Gardner, Sally Hollowell
Customer Services Assistants
Janet Baber, Victoria Bernataviciute,
Julie Bilson, Joanne Blake,
Melody Brown, Lewis Byfield,
Jayne Clayton, Georgina Cowan,
Helen Crevel, Joy Dowdeswell,
Kimberley Dutton, Paul Ford,
Jan Hall, Jill Harris, Amy Harrison,
Ed Hoddle, Amy-Beth James,
Sandra Key, Antony Letts,
Damien Lord, Carrie Mallard,
Shahnaz Miah, Kate Michala,
Vinay Mistry, Samantha Moreton,
Peter O’Neal, Georgina Pearson,
Andrew Percival, Caroline Percival,
Louise Pinches, Joanne Potter,
Becky Quigley, Natasha Ranasinghe,
Wendy Rawlings, Glen Reidie,
Alexandra Rex, Lianne Robertson,
Elizabeth Shurvinton,
Adam Tartaglia, Lucy White,
Elizabeth Williams,
Jean Wimpress, Kemal Yildirim
Finance Team
Finance Director
Kim Grant
Finance Manager
Carol Dickinson
Senior Finance Assistant
Sue Wilton
Finance Assistants
Rachel Culverhouse
Christopher Wright
Operations Team
Operations Manager
Richard Clinton
Development Team
Business Development Manager
Ronny Kimbell
Human Resources &
Administration Team
HR & Administration Manager
Andrea Facey
Executive Assistant
Alexandra Robinson
Administration &
Operations Assistant
Susan Roberts
Administrative Assistant – HR
Lisa Tartaglia
ICT Manager
Alan Stratton
Programming Team
Programmer
Stephen Scrivens
Maintenance Team
Maintenance Manager
Bob Ross
Maintenance Technician
Michael Chisholm
Maintenance Assistants
Allen Bremner, Martin Chisholm,
Daryl Greenfield, Marcus Knight,
Peter Robinson, Basilidez Ross,
John Spearman, Ivan Watts
Marketing Team
Marketing & Sales Director
Jo Gordon
Marketing Manager
Emily Clarke
Press Manager
Amanda Howson
Graphic Design & New Media Manager
Becky Smith
Marketing Officer
Alexander Barrett
Audience Development Officer
Janet Gordon
Marketing Assistant
Adele Curtis
Sales Team
Sales Manager
Kathleen Smith
Sales Supervisors
Kieran Meakins
Jodie Mortern-Davies
Erica Mynard
Admin & Group Sales Advisor
Stacey Williams
Sales Advisors
James Ashworth, Ron Dansey,
Christopher East, Ellen Hacket,
Anna Holmes, Robert Nesbitt,
Laura Paterson, Catherine Pewsey,
Nicola Stagg, Linda Wesley
Technical & Production Team
Technical Manager
Dave Reeve
Production Manager
Dan Franklin
Head of Lighting and
Sound (Derngate)
Stuart West
Head of Lighting and
Sound (Royal)
Liam Matthews
Head of Stage (Derngate)
Rob Reading
Head of Stage (Royal)
David Edmunds
Senior Technicians
(Lighting and Sound)
Steven Shafer, David Middleton
Senior Technician (Stage)
Stephen Jarvis
Martin Thompson
Technicians
Greg Allen, James Delamere,
Gilles Pink
Technical Crew
Kyle Anderson, Edward Arnaboldi,
Richard Battams, Rory Bowerman,
Andrew Britten, Maureen Burns,
Jonathon Clark, James Cox,
Filip Georgieuski, Lesley Hall,
Janette Hanna, Adam Harris,
Daniel Herbert, Dwight Hewitt,
Emma Jarvis, Aidan Jones,
Stephen Groves Kirby, Alex Kliene,
Craig Marriot, Peter Oakley,
Tim Parris, Mitchell Pink,
Simon Pink, Matt Revell,
Taylor Rutter, Katie Shaw,
Lewis Smith, Kirsty Walvin,
Felicity Welsh, John Wilhare,
James Wilkins
Head of Wardrobe
Bridget Brown
Deputy Head of Wardrobe
Sarah Holland
Wardrobe Assistant
Lesley Stinson
Head of Workshop
Duncan Whittaker
Deputy Head of Workshop
Paul Beasley
Carpenter/Propmaker
Ross White
Workshop Assistant
Michael Bennett
Company Stage Manager
Meryl Couper
Deputy Stage Managers
Darren Abel, Tanith Mackenzie
Assistant Stage Manager
Robyn Hardy
Production Electrician
Andy Taylor
Freelance Carpenter
Michael Bennett
Freelance Scenic Artists
Alison Drane, Eleanor Davies,
Angela Waters, Irina Savitskaya

About Royal & Derngate
Royal & Derngate is a trading name
of the Northampton Theatres Trust
Ltd, is a registered charity and
receives substantial funding
from Arts Council England,
Northampton Borough Council and
Northamptonshire County Council in
addition to earning income from
Box Office revenue, sponsorship,
grants and trading.
Essential Information
The management reserves the right
to refuse admission and to make
any changes to the programme
without previous notice. In common
with most theatres, latecomers will
not be admitted to their seats until
a suitable break in the performance.
The taking of photographs and the
use of tape and video recorders are
prohibited in all parts of the theatre.
All mobile phones and pagers
should be switched off before
entering the auditorium. During
some performance intervals on
screen film advertising may be
shown in the Derngate auditorium.
Licensing Requirements
The public may leave at the end of
the performance by all exit doors
and such doors must be open at all
times. All gangways, passages and
staircases must be kept entirely
free from chairs or any other
obstructions. Persons shall not in
any circumstances be permitted to
stand or sit in any of the gangways.
If standing is permitted in the
gangways at the sides and rear of
the seating, it shall be strictly
limited to the number indicated in
the notices in those positions. The
Safety Curtain must be raised and
lowered in the presence of each
audience where the auditorium
configuration allows. If you have
any problems with your seating,
please advise a member of staff
before the performance begins. The
theatre permits all drinks into both
auditoria, in disposable cups.
Smoking Policy
Royal & Derngate operates a strict
no-smoking policy throughout
the building.
Data Protection Act (1984)
Royal & Derngate is registered
under the Data Protection Act 1984,
and will not make names and
addresses available outside the
theatre. Occasionally patrons will
receive literature from Royal &
Derngate and similar organisations.
Those not wishing to receive such
information should inform the
Box Office when booking.
Car Parking
The nearest car parks to the theatre
are Albion Place and St John’s open
air and multi-storey car parks.
These car parks are managed by
Northampton Borough Council and
there is a charge of 80p for parking
after 5.00pm (6.00pm in St John’s
multi-storey car park).
Access Policy for People
With Disabilities
Royal & Derngate welcomes people
with disabilities. There is easy
access throughout the building and
free disabled car parking in the
Albion Place car park, managed by
Northampton Borough Council.
For the Hard of Hearing
A state-of-the-art Sennheiser sound
enhancement system is available.
Please ask at the Theatre Shop for a
receiver and a member of staff will
explain how to use it.
Volunteers
A team of volunteers is always on
hand to make your experience an
enjoyable one. If you would like to
join our team of dedicated
volunteers who are focused on
improving our customers’
experience, we’d love to hear from
you. To find out more, contact our
Customer Service Team.
Email rudi.gibbins@
royalandderngate.co.uk or write to
Royal & Derngate, Guildhall Road,
Northampton, NN1 1DP.
Lost Property
If you have lost something on your
visit to the theatre, please contact
our Customer Service Managers on
01604 655722.
Group Bookings
We know how complicated it can
be to organise a trip for a lot of
people. We try and make your visit
as easy as possible so that it can be
as enjoyable as possible. For full
information on our comprehensive
group booking service, please call
our dedicated group booking
hotline on 01604 620066.
Royal & Derngate Mailing List
If you would like to receive
information from Royal & Derngate
about our forthcoming shows,
please call the Box Office on 01604
624811, who will add you to our
mailing list. Alternatively, you can
keep up-to-date with our news by
visiting www.royalandderngate.co.uk.
enjoy membership scheme
The membership scheme at Royal &
Derngate has an exclusive package
of benefits for its members,
including advanced notice and
priority booking period on all
About Us
shows, regular newsletters and
updates of future productions and
invitations to exclusive events. To
find out more about enjoy, contact
us on 01604 635868.
R&D Business Club
The R&D Business Club is the
corporate membership scheme at
Royal & Derngate, offering
businesses a host of incentives,
including corporate hospitality
options and marketing
opportunities. To find out more
about becoming a member of the
scheme, contact Ronny Kimbell
on 01604 655736 or email
ronny.kimbell@royalandderngate.co.uk.
Current members: Carlsberg, Grant
Thornton UK, NatWest, Ricoh,
Cygnus Associates Ltd, European
Drives & Motor Repairs Ltd, Holiday
Inn, Macintyre Hudson, shoosmiths,
Britvic Soft Drinks Ltd,
Collingwood Lighting.
Royal & Derngate is a trading
name of the Northampton
Theatres Trust Limited.
Charity No. 1075741. Company No.
3640915. VAT No. 623 5320 71.
Royal & Derngate, Guildhall Road,
Northampton, NN1 1DP.