LITTLE LEAP FORWARD - Horse + Bamboo Theatre...
LITTLE LEAP FORWARD - Horse + Bamboo Theatre...
LITTLE LEAP FORWARD - Horse + Bamboo Theatre...
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In a creative partnership<br />
with Barefoot Books and<br />
the Royal Exchange <strong>Theatre</strong><br />
<strong>Horse</strong> + <strong>Bamboo</strong> <strong>Theatre</strong><br />
presents<br />
<strong>LITTLE</strong><br />
<strong>LEAP</strong><br />
<strong>FORWARD</strong><br />
Royal<br />
Exchange<br />
<strong>Theatre</strong>
DIRECTOR’S NOTE<br />
FROM ALISON DUDDLE<br />
A POSTER FROM THE CHINESE<br />
CULTURAL REVOLUTION<br />
We were first given <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong> to read two years<br />
ago by Tessa Strickland, the Editor in Chief of Barefoot<br />
Books. It had not yet been published, and she was very<br />
excited about the story that Clare Farrow and Guo Yue had<br />
written. When we read it we could see why she loved it so<br />
much, and we felt instantly that it was a perfect story to tell<br />
using masks, puppets and music.<br />
We were overjoyed that Barefoot Books wanted us to work<br />
on the story, but the next important thing was to make sure<br />
that Clare and Yue were happy for us to take their very<br />
personal story and translate it into a piece of theatre. We<br />
agreed some very important things when we met them for<br />
the first time. We agreed that because Yue’s style of flute<br />
playing is so unique, the sound of the flute should only be<br />
heard in the show when he played, so, when you hear the<br />
flute in the play, it is Yue playing. We also agreed that whilst<br />
we would stick closely to the central story of the book, that<br />
we would have to leave out certain things and add in other<br />
things in order for it to work as a piece of theatre, in<br />
particular one without words.<br />
It has been a great honour and an exciting journey to make<br />
this show. We dedicate it to the millions and millions of<br />
people who have lost their lives or their freedoms as a<br />
result of oppressive regimes both in China and around the<br />
world, in the past and still today. And we offer with it a<br />
hope that everyone who sees it will feel inspired to play,<br />
paint, write or invent the very special, beautiful song that<br />
they have in their own hearts.<br />
ABOUT HORSE + BAMBOO<br />
<strong>Horse</strong> + <strong>Bamboo</strong> <strong>Theatre</strong> make theatre in which images, music and<br />
story-telling are very important. Their work is normally made<br />
without using words; instead they employ a wide range of other<br />
techniques to tell a story.<br />
<strong>Horse</strong> + <strong>Bamboo</strong> tour within the UK and internationally but also<br />
have a strong commitment to their local community in Rossendale.<br />
Their space, the Boo, is a venue and creative space for other artists,<br />
as well as a centre for visual theatre and is the workshop where<br />
<strong>Horse</strong> + <strong>Bamboo</strong> create their own productions.<br />
ABOUT BAREFOOT BOOKS<br />
The play <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong> is based on a book, written by<br />
Claire Farrow and Guo Yue, illustrated by Helen Cann and<br />
published by Barefoot Books. Publishers work with authors and<br />
illustrators to prepare and print their stories. Barefoot Books<br />
work with illustrators and storytellers from all around the<br />
world. They want to create books which are beautiful, playful<br />
and interactive, which celebrate art and story, which encourage<br />
independence, creativity and discovery and which celebrate the<br />
world’s diversity.<br />
WHY NOT? Imagine you are setting up your own<br />
publishing company. Write an advertisement to recruit<br />
artists and illustrators, telling them about the kind of<br />
books you want to produce. What themes would you<br />
like the stories you publish to focus on? What would<br />
you like your books to celebrate?
THE CHARACTERS<br />
Little Leap Forward, an 8 year old boy.<br />
Little Little, his best friend. He goes to school with<br />
him and likes to play with him at the riverbank.<br />
His mother, a teacher. She was sent away to be ‘reeducated’<br />
in the countryside, as were many educated<br />
people – doctors, teachers, dentists. Chairman Mao<br />
believed that education and ‘high culture’ separated<br />
people and made some people think they were better<br />
than others, so he had intellectuals sent to learn how<br />
to labour in the countryside.<br />
Little Leap Forward’s older sister, Victory. She makes<br />
food for the family and looks after the house. In the<br />
book, Little Leap Forward has more sisters than in<br />
the play.<br />
Clear Waves, Victory’s sweetheart, the bicycle rider.<br />
He is a sort of father figure to Little Leap Forward, as<br />
his own father, who was a talented Erhu (Chinese<br />
violin) player died before this story begins.<br />
Blue is a little girl in Little Leap Forward’s class at<br />
school. During the Cultural Revolution girls’ hair was<br />
often cut short as fancy hair was thought to be<br />
un-revolutionary.<br />
The Red Guards were a mass movement of civilians,<br />
mostly students and young people, who were<br />
mobilised by Mao Zedong in 1966 to carry out the aims<br />
of the Cultural Revolution. They carried out public<br />
‘shamings’ of people they accused of being counterrevolutionaries<br />
– often school children attacking their<br />
own teachers.<br />
CHARACTER SKETCHES FROM ALISON DUDDLE’S<br />
SKETCHBOOK<br />
WHAT IS IT LIKE TO BE IN A<br />
HORSE + BAMBOO SHOW?<br />
INTERVIEW WITH PERFORMERS<br />
MARK WHITAKER, NICKY FEARN<br />
AND FRANCES MERRIMAN<br />
What is it like to perform with a mask on?<br />
FM – At first it can seem quite daunting; because you can’t see<br />
in a mask as well as you can normally. But once you get used to<br />
wearing it, you tend to look, think and feel past the mask itself,<br />
so that you almost forget you are wearing it. Also, because it<br />
is often harder to hear in a mask, and you have much less<br />
peripheral vision, you have to develop a very heightened sense<br />
of where you are and a great awareness of other performers in<br />
the space. All your senses have to be on hyper-alert.<br />
Why do you use masks and puppets to tell the story?<br />
MW – Masks and puppets have a lot of things in common. They<br />
both rely on movement to communicate and both work better<br />
if you don’t use words. Masks and puppets also make it easier<br />
for a small number of performers to play lots of characters. In<br />
<strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong> 4 performers are able to play 11 people, 2<br />
birds, 2 dragonflies and a fish!<br />
Why do you like using masks?<br />
FM – I like performing with masks because, if you allow them<br />
to, masks can let you in to a whole new world, physically. They<br />
can release you from the constraints of your actual self – what<br />
you actually look like, and how other people see you or cast you.<br />
You can explore a character that may be a very different age<br />
from you, from a very different country, or even from a different<br />
world. I like the fact that a mask doesn’t even have to look like a<br />
person and, if used well, an audience can still believe in it and<br />
read expression on/in it. I think the same is true for puppetry.<br />
How do you make masks change their expression?<br />
NF – The masks look like they are changing expression because<br />
of the way the performers use their bodies – performers can<br />
change their body shape and head angle to make the mask<br />
appear to portray a different emotion. Lighting or music can<br />
also help to change the mask’s expression – if the audience<br />
expect to feel a particular emotion because of the lighting or<br />
sound, then they will “read” that from the mask. The audience<br />
does the work.
DESIGNING THE SET<br />
The set design had to include spaces for lots of different<br />
performance styles: film, shadow puppetry, glove and tabletop<br />
puppetry and mask performance. The designer, Bob Frith,<br />
felt that with all these performance styles, there was a<br />
danger the set might look disjointed – as if it was made up<br />
of lots of different sets that didn’t all match. To stop this<br />
from happening, the different areas needed to be visually<br />
linked, for example, by colours or shapes. Bob Frith needed a<br />
strong visual image to make this link.<br />
To find ideas, he looked at the graphics which the<br />
Communist Party used during the Cultural Revolution. These<br />
were often woodcuts – pictures printed from a carved wood<br />
block. The woodcuts were largely black and white designs<br />
with simple but powerful blocks of colour, in particular red,<br />
and strong messages about the revolution. Using woodcuts<br />
as inspiration for the set design gave Bob Frith the visual link<br />
that he was looking for to unite the different spaces. It was<br />
also a way of echoing the time and place of the story, as<br />
these woodcuts were very common in the late 60s.<br />
WHY NOT? Imagine you had to design the set<br />
for a play about Manchester in the 1940s. On your<br />
stage there needs to be a space to use puppets, a<br />
space to show films and a space to perform in masks.<br />
Research the time and place where your play is set to<br />
find a visual style which you could use to link the<br />
different spaces.<br />
MASKS<br />
Most of the shows <strong>Horse</strong> + <strong>Bamboo</strong> make use masks – usually what<br />
we call ‘helmet’ masks, like those in <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong>. They are<br />
made from papier-mache, so they are really lightweight. First of all a<br />
model of the head is made in clay, then it is covered with a layer of<br />
clingfilm (so that the mask will come off the clay afterwards!), which<br />
is in turn covered by 5 layers of heavy brown paper softened in<br />
wallpaper paste. The secret to making them strong is to really smooth<br />
the paper onto the mould and make sure there are no air bubbles.<br />
CHAIRMAN MAO’S<br />
<strong>LITTLE</strong> RED BOOK<br />
PUPPETS<br />
Puppeteer Mark Whitaker explains about the two main<br />
types of puppets used in <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong>: tabletop<br />
and Chinese hand puppets.<br />
The tabletop puppets are inspired by Japanese Bunraku<br />
puppets. These puppets are about 60cm tall and are<br />
moved on a tabletop or “playboard” by puppeteers who<br />
stand behind the puppets in full view of the audience.<br />
They are mostly operated by one person, but traditionally<br />
a Bunraku puppet would be operated by three<br />
puppeteers.<br />
The Chinese hand puppets are a traditional kind of glove<br />
puppet used in China (particularly in Beijing and Fujian<br />
province) and Taiwan. They are about 35cm tall and fit on<br />
your hand like a loose glove with your index finger inside<br />
the puppet’s neck, your thumb in one arm and your other<br />
three fingers in the other arm. With practice it is possible<br />
to make these puppets move in a realistic manner, and<br />
because they are loose on your hand, they can do<br />
impressive acrobatics and even “jump” from one hand to<br />
the other.<br />
Many of the characters in <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong> appear<br />
in different versions: as mask characters, tabletop<br />
puppets and Chinese hand puppets. By having the same<br />
characters in different sizes you can make very different<br />
pictures on stage. If you just use actors, they are mostly<br />
the same size, but masks and puppets can be really big or<br />
extremely tiny. It is possible to make characters seem very<br />
close or very far away. It also makes it possible to show<br />
the very different places in the story – from the Hutongs<br />
where Little Leap Forward lives, to the riverbank where he<br />
plays with his friends.
MUSIC<br />
Music is very important in <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong>. It is important to the<br />
team making the play, because they can use music to tell the story.<br />
Composer Loz Kaye explains:<br />
“Much of the music of <strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong> is based on Chinese<br />
traditional music, which has a quite different feel to western music. This<br />
is because of the groups of notes it uses known as the ‘pentatonic<br />
scale’. These are groups of five tones – you can get the effect by just<br />
playing on the black notes of the piano.<br />
Chinese music also has its own range of instruments. In the show you<br />
can listen out for Yue playing the bamboo flute. You can also hear the<br />
guzheng (a plucked string instrument) during the animation near the<br />
beginning, and metal percussion gongs during the school scene.<br />
Music is used to create different moods and help tell the story of the<br />
show. I create a sense of menace for the Red Guard soldiers by using a<br />
marching rhythm for instance, and use quieter gentler string sounds for<br />
the kite flying scene to make a relaxed feel.”<br />
Music is important to the characters in the story too. The Chinese<br />
Government housed people of the same profession together in the<br />
same courtyard, “like boxes of ingredients in a grocery book” it says in<br />
the book. Little Leap Forward’s father was a musician and so he grew up<br />
surrounded by musicians and is aware of the music all around him, even<br />
in the natural world. He wants to make music with his bird, Little Cloud,<br />
and his mother imagines him creating music for his silk worms to dance<br />
to. Chairman Mao understood the power of music too. The Communist<br />
Party used music and singing to influence people’s thinking. The only<br />
songs allowed were revolutionary songs which praised Chairman Mao<br />
and the Communist Party.<br />
HELEN CANN’S<br />
ILLUSTRATION<br />
FROM THE BOOK<br />
“<strong>LITTLE</strong> <strong>LEAP</strong><br />
<strong>FORWARD</strong>”<br />
DIRECTOR ALISON DUDDLE MAKING IN THE HORSE + BAMBOO WORKSHOP<br />
WHY NOT? Make up a tune just using<br />
the black notes of the piano.<br />
WHY NOT? Ask your friends or family to<br />
pick a piece of music or a song which is<br />
important to them. Ask them why that music<br />
is special – does it remind them of a<br />
particular place or person? Does it make them<br />
feel a certain way? Use their answers to create<br />
a collage of words and pictures showing all<br />
the different things that music can mean to<br />
people. You could even burn all their songs<br />
onto one CD and use your collage as the<br />
album cover.<br />
WHY NOT? Go outside with a small<br />
group, looking and listening for creatures.<br />
Look out for squirrels in the trees or even<br />
worms in the ground. Quietly watch how they<br />
move, and then back inside, try to create a<br />
piece of music to suit their movements.<br />
WHY NOT? Find a recording of<br />
traditional Chinese music to listen to. As you<br />
listen, let yourself doodle – don’t plan what<br />
you’re going to draw, just draw the images<br />
which it creates in your mind.<br />
POSTER IMAGE FROM THE CULTURAL REVOLUTION -<br />
IMAGES LIKE THESE INSPIRED THE SET DESIGN
<strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong> is inspired by Guo Yue’s real<br />
experiences as a child growing up in China. Guo Yue was<br />
born in 1958 in Beijing. His father was a violinist, and he<br />
grew up in a traditional courtyard, with his five brothers<br />
and sisters. In 1982, he came to England, to study the silver<br />
flute at the Guildhall School of Music in London. As a<br />
musician, he now travels the world performing, making<br />
recordings and playing on film soundtracks. Guo Yue wrote<br />
the book with his wife, Clare Farrow, a freelance arts writer.<br />
It is the second book they have written together, their first<br />
book was called MUSIC, FOOD AND LOVE.<br />
WHY NOT? Think about who you know who<br />
was alive in 1966 (the year when this story is set).<br />
Interview family, teachers or friends asking them<br />
what they remember about that time in their lives.<br />
How was their life in 1966 different from Yue’s?<br />
WHY NOT? Think about how important your<br />
freedom is. In the book, Little Little says, ‘wouldn’t you<br />
rather be free, just for a day than spend a life time in a<br />
cage?’. Do you think this is true? Why?<br />
WHY NOT? Draw a picture of your class, as if you<br />
could only see the back of everybody’s heads. How many<br />
different hair styles would there be in your picture? How<br />
many people have different coloured ribbons, bobbles or<br />
clips in their hair? Can you imagine what it would be<br />
like if everyone was made to look the same? Draw the<br />
same picture, this time with everyone’s hair cut so it is<br />
exactly the same.<br />
CHAIRMAN MAO AND THE<br />
CULTURAL REVOLUTION<br />
In the past, Emperors ruled China. The Emperor lived in a palace,<br />
known as the Forbidden City, and from his palace he would<br />
make rules and run the country. Emperors ruled China for<br />
thousands of years, right up until 1911. The people of China were<br />
poor, starving and unhappy. They felt their Emperor Pu Yi was<br />
not helping them. They turned against him, and he was made to<br />
give up his power. Two different groups fought to control China<br />
in the Emperor’s place. Eventually, in 1949 the Chinese<br />
Communist Party took control of the country. Their leader was<br />
Mao Zedong – also known as Chairman Mao.<br />
In the after-word to their book, Gue Yue and Claire Farrow<br />
explain what living in China under Chairman Mao was like:<br />
“…When Mao Zedong became leader of the Communist Party<br />
and founded the People’s Republic of China in 1949, he<br />
introduced socialist thinking, inspired by Russia’s revolution of<br />
1917. Mao was from a poor family in the countryside and did not<br />
trust intellectuals – people with knowledge and education. He<br />
believed that land should be taken away from rich landowners<br />
and that the countryside should be divided into communes –<br />
groups of peasants working and living together. He thought<br />
everyone should be the same…<br />
…The Cultural Revolution, which began in Beijing on the 18 th<br />
August 1966, was a further disastrous step in Mao’s thinking; he<br />
wanted to punish intellectuals, artists, writers, composers,<br />
people from wealthy backgrounds and anyone who criticised<br />
him. A few months after the Cultural Revolution started, my<br />
mother was accused of being a ‘counter-revolutionary’ and was<br />
sent by the Red Guards to the countryside to be ‘re-educated’.<br />
She had to dig heavy mud out of a river and work like a peasant<br />
farmer in the fields. Every day she was publicly criticised. She<br />
remained in the countryside for nearly three years. Only her<br />
spirit was not broken.”<br />
WHY NOT? Think about what makes you an individual – is it<br />
the way you dress? The books you read? The music you listen to? If<br />
those things were banned what would be left that is unique to you?<br />
Write a poem, using these ideas. Start by listing the things that the<br />
government could ban you from doing or having. You could research<br />
the rules the Chinese Communist Party put in place to give you some<br />
ideas. Next, list the things that can’t be taken away. To get you<br />
started, you could include:<br />
• An idea you had that you were really proud of<br />
• A memory of a time when you felt special<br />
• An imaginary friend<br />
• A dream that you remember having<br />
Imagine a place where you could hide<br />
these parts of you – it might be a<br />
place like the riverside in the play,<br />
where you feel most yourself, or a<br />
place you remember from being little,<br />
or it might not be a real place at all – it<br />
might be somewhere special in your<br />
imagination.<br />
PHOTOGRAPHS OF CHINA DURING THE<br />
CULTURAL REEVOLUTION USED BY THE<br />
COMPANY WHEN RESEARCHING THE PLAY
KITES<br />
Kites have a long history in Chinese culture – they were<br />
probably invented there around 2,800 years ago. In ancient<br />
times kites were used for lots of things besides play – for<br />
measuring distances, testing the wind, lifting men, signaling<br />
and communication. Kites were often decorated with<br />
mythological images and legendary figures; some were fitted<br />
with strings and whistles to make musical sounds while flying.<br />
During the Cultural Revolution traditional, colourful kites were<br />
banned, along with literature, non-revolutionary music and<br />
fine artistic objects – they were considered symbols of the old<br />
China and of elitism.<br />
WHY NOT? Create your own kite using a paper<br />
bag. With a hole punch, make four holes in the top of<br />
the paper bag – you might need to reinforce your<br />
holes with tape so that they don’t tear. Thread string<br />
through the holes to create two loops, and tie another<br />
piece of string to the loops – this will be the handle of<br />
your kite. Decorate your kite with pictures that<br />
represent freedom - you could use paint, crayons, pens<br />
or glitter. You might even want to attach streamers,<br />
made from strips of coloured paper. Once the glue and<br />
paint are dry, the kite can fly. Hold on tightly to the<br />
string handle and run so that the wind catches the<br />
kite. As you run, think about what freedom feels like.<br />
SKETCH SHOWING THE<br />
TWO COSTUMES WORN<br />
BY THE MOTHER<br />
ALISON DUDDLE<br />
WITH THE CAST<br />
OF <strong>LITTLE</strong><br />
<strong>LEAP</strong> <strong>FORWARD</strong><br />
FOOD<br />
Food has always been an important<br />
part of Chinese culture, but during<br />
the Cultural Revolution it was at the<br />
front of people’s minds for a couple of<br />
reasons. The main one is that people<br />
were hungry. Mao’s decision to change<br />
the way farms were managed meant<br />
there was very little food around. Food<br />
was rationed, and people could only<br />
have a certain amount of rice or flour<br />
per week. People really treasured the<br />
precious few drops of peanut and<br />
sesame oil they might have saved. Also,<br />
because it was forbidden to talk about<br />
art, music, literature or even love, people<br />
really put all their imaginations into<br />
creating amazing dishes of food with<br />
what they had, and into finding ever<br />
more poetic ways of describing it!<br />
WHY NOT? Write a recipe<br />
where you use the way you describe<br />
the food as a kind of code, to<br />
represent your feelings. Imagine<br />
you love someone but you can’t tell<br />
them and so you put all those<br />
emotions into the recipe instead.<br />
MAO SUITS<br />
The lack of individuality during the Cultural<br />
Revolution was even reflected in what people<br />
wore – many people dressed identically in blue<br />
cotton jackets and trousers. They were practical,<br />
hard wearing and unpretentious, but the style<br />
and details of the jackets also represented<br />
principles of the revolution – the four pockets<br />
represented propriety, justice, honesty and<br />
shame. The three cuff buttons represent the<br />
three principles of the people – nationalism,<br />
democracy and People’s livelihood, and the five<br />
centre buttons represent the five powers of the<br />
constitution.
THINGS TO READ<br />
<strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong>: A BOY IN BEIJING<br />
written by Guo Yue and Clare Farrow and<br />
illustrated by Helen Cann<br />
This is the book that the play <strong>LITTLE</strong> <strong>LEAP</strong><br />
<strong>FORWARD</strong> is based on. When you read the story<br />
look for differences and similarities to the play.<br />
Why do you think the theatre makers chose to<br />
leave out some parts or add others?<br />
WE’RE RIDING ON THE CARAVAN<br />
written by Laurie Krebs and illustrated by<br />
Helen Cann<br />
A rhyming tale about a Chinese family’s journey<br />
along the Silk Road, the trade road that runs<br />
thousands of miles through Asia. Work with a<br />
group or a partner to compose your own music<br />
that suits the moods and locations of the story.<br />
THE CH’I-LIN PURSE : A COLLECTION OF<br />
ANCIENT CHINESE STORIES<br />
by Linda Fang<br />
A collection of ten traditional Chinese stories<br />
translated into English. Choose your favourite of<br />
the stories and think about how you would turn it<br />
into a play performed without words. Work with a<br />
group to bring your play to life.<br />
MODERN CHINA: EYEWITNESS GUIDE<br />
by Poppy Sebag-Montifiore<br />
A fact-packed guide to the peoples, places and<br />
cultures that make up modern China. Choose a<br />
selection of photographs or illustrations from the<br />
book, and use them to inspire the set design for a<br />
play set in modern China.<br />
Royal<br />
Exchange<br />
<strong>Theatre</strong><br />
ALISON DUDDLE WITH<br />
THE MASKED AND HAND<br />
PUPPET VERSIONS OF<br />
<strong>LITTLE</strong> <strong>LEAP</strong> <strong>FORWARD</strong><br />
WHY NOT? Make your own beautiful autobiographical<br />
book. Go to the library and see how<br />
many different sizes and shapes of books you can<br />
find. See if you can you work out how the different<br />
books are made. Some books are held together<br />
with glue, others are made with folded pages held<br />
together by stitches. Books can be tied together,<br />
strung on strings, folded, rolled, and sewn in lots<br />
of different ways. What book shapes can you<br />
create? Experiment with folding and fastening<br />
paper in different ways to create new book shapes.<br />
Choose the right book shape to suit your story –<br />
include pages on where you live, who your friends<br />
and family are, what your school is like. Yue grew<br />
up to be a musician – you might want to leave the<br />
last pages of your autobiography blank, to show<br />
that the future is still to be written…<br />
Produced and edited by the Royal Exchange <strong>Theatre</strong>,<br />
with contributions from <strong>Horse</strong> + <strong>Bamboo</strong> <strong>Theatre</strong>.<br />
The work of the Education Department is supported by<br />
the Booth Charities, Crabtree North West Charitable Trust,<br />
The Co-operative, D’Oyly Carte Charitable Trust, Duchy of<br />
Lancaster Benevolent Fund, HBOS Foundation, HBOS Lex<br />
Leasing, The Idlewild Trust, John Lewis Partnership, John<br />
Thaw Foundation, Manchester Guardian Society, Norma<br />
Leigh Charitable Trust, N Smith Charitable Trust, One to<br />
One Children’s Fund, PricewaterhouseCoopers, Ralli<br />
Solicitors , Scotshill Trust and Steel Charitable Trust.<br />
Royal Exchange <strong>Theatre</strong><br />
royalexchange.co.uk<br />
<strong>Horse</strong> + <strong>Bamboo</strong> <strong>Theatre</strong><br />
horseandbamboo.org<br />
Designed by Dragonfly. All production photographs courtesy of Ian Tilton. Cover illustration courtesy of Helen Cann.<br />
Registered Charity Number 255424