by Patrick Hamilton - Almeida Theatre

y Patrick Hamilton

Bermuda • France • Ireland • Singapore • Switzerland • UK • USA
Aspen
sponsors of great performances for
seven years
at the Almeida Theatre
Aspen provides reinsurance and insurance coverage to
clients in various domestic and global markets through
wholly-owned subsidiaries and offices in Bermuda,
France, Ireland, Singapore, Switzerland, the United
Kingdom, and the United States.
Aspen is delighted to continue its relationship with
the Almeida Theatre as a Production Sponsor.
www.aspen.bm

y Patrick Hamilton
In association with Sonia
Friedman Productions

ROPE
by Patrick Hamilton
Cast in order of appearance:
Wyndham Brandon
Charles Granillo
Sabot
Kenneth Raglan
Leila Arden
Mrs Debenham
Sir Johnstone Kentley
Rupert Cadell
Director
Design
Lighting
Sound
Casting
Voice & Dialect Coach
Fight Director
Assistant Director
Blake Ritson
Alex Waldmann
Philip Arditti
Henry Lloyd-Hughes
Phoebe Waller-Bridge
Emma Dewhurst
Michael Elwyn
Bertie Carvel
Roger Michell
Mark Thompson
Rick Fisher
John Leonard
Lisa Makin
Penny Dyer
Terry King
Lotte Wakeham
The performance lasts approximately 1hr 45mins.
There will be no interval.
Production Manager Igor
Company Managers Lorna Seymour
Emma Basilico
Stage Manager
Laura Flowers
Deputy Stage Manager Harry Niland
Assistant Stage Manager Natasha Jenkins
Costume Supervisor Stephanie Arditti
Wardrobe Supervisor Catrina Richardson
Wardrobe Deputy Eleanor Dolan
Hair & Make-Up Supervisor Anna Morena
Chief Technician Jason Wescombe
Lighting Technician Robin Fisher
Sound Technician Howard Wood
Stage Crew
Ben Lee
Theatre Technician Adriano Agostino
Production Carpenter Craig Emerson
Set & auditorium built by Miraculous Engineering
Object Construction
Scenic Artists
Chris & Liz Clark
Stage management
work placement
Charlie Storey
Wardrobe work placement Charlotte Willingdale
Production photography John Haynes
3

Patrick Hamilton 1904-62
4
Like a precious metal, Patrick
Hamilton’s reputation as a writer has
been repeatedly refined in the century
or so since he published his first novel
Monday Morning when he was barely
20. Between the wars, Hamilton was a
household name known to a mass
audience with a dual career as novelist
and playwright. His critically
acclaimed novels of London life were
studies in grubby realism - he
specialised in the lives of the lost and
lonely inhabitants of shabby genteel
boarding houses and the shifting,
ephemeral population of the pub
- amidst whose ‘bottley glamour’ the
author himself spent increasing
amounts of time.
But it was on the stage rather than the
page where Hamilton really found
fame - and wealth, when he struck
gold as the hugely successful author of
two of the greatest West End hits of
the inter-war years. The plays
were Rope (1929), and the much
revived Victorian melodrama with a
psychological twist Gaslight (1939).
Fascinated by the theatre from an early
age, Hamilton’s first job was as an
Assistant Stage Manager and bit-part
actor in a touring company formed by
his actress sister Lalla, and her
husband, a briefly fashionable
dramatist with the unlikely name of
Vane Sutton Vane. His second novel
Twopence Coloured - rarely reprinted
and now almost totally forgotten - is a
charming roman a clef about just such
a troupe of strolling players,
comparable to his friend JB Priestley’s
Good Companions.
Hamilton began writing Rope in the
mid-1920s. Although he later hotly
denied it, maintaining that the plot
came from his own dark imagination,
the actual inspiration for the play was
a real life cause celebre: the
notorious 1924 Leopold and Loeb
child murder case in Chicago. Nathan
Leopold and Richard Loeb were bored
and wealthy gay playboys who - like
Patrick himself - fell under the
influence of the modish philosophy of
Friedrich Nietzsche. Believing
themselves to be ‘beyond good and
evil’ and above the ‘herd morality’ that
governed lesser beings, they killed a
young cousin of Loeb’s, Bobby Franks,
in a singularly inept and brutal
fashion. Quickly arrested thanks to
their own blunders, they were lucky to
escape with life in jail rather than the
electric chair.
Always drawn to the dark side,
Hamilton began scribbling scenes
from Rope in all-night Soho cafes while
he waited for often missed meetings
with Lily Connolly, a pretty and
lively young street walker whom he
had made the mistake of falling for.
(Lily clearly had an appeal for literary
gents; unknown to Hamilton she was
pursuing simultaneous liaisons with
the Bloomsbury Group writer Gerald
Brenan and the critic Cyril Connolly).
Lalla and Vane helped him get his new
play a try-out Sunday night production
Patrick Hamilton in the 1930s (Estate
of Bruce and Aileen Hamilton). From
Through a Glass Darkly: The Life of
Patrick Hamilton, by Nigel Jones,
Black Spring Press, 2008.
at the Strand Theatre in March 1929,
and the following month it began a
smash-hit six month run at the
Ambassadors Theatre. Hamilton had
arrived.
Productions of Rope and later Gaslight
and the films made from the plays -
Rope being accorded the honour of a
movie made by the master of the
macabre himself, Alfred Hitchcock
(1948) - made Hamilton rich. Sadly,
however, the easy money, and a near
fatal car accident, accelerated his
fondness for whisky into actual
alcoholism. Although the drinking and
the milieu that went with it provided a
rich mulch from which the dark
flowers of his imaginative work
sprang, it also fatally undermined both
his creative capability and his health.
He effectively stopped writing at 50,
and was dead of liver cirrhosis eight
years later, a sad and forgotten figure
who seemed to belong to the Age of
Anxiety between the wars rather than
the Sixties as they started to swing.
It was left to our time to re-discover
this astonishingly gifted writer. A
series of stage revivals of the plays,
reprints of his best novels, including
the atmospheric Craven House and
Hangover Square, culminated in a fullscale
BBC TV production of his
London pub-and-prostitutes trilogy
20,000 Streets Under the Sky (2005).
These show that, increasingly,
Hamilton’s world, with its undertones
of sexual violence and political
perversion is ours too.
While Rope was still running in 1929
London, Wall Street crashed and the
world tumbled into the Great
Depression, and finally into fascism
and war. The rumbling undercurrents
of violence and cruelty that
Hamilton’s ‘bat’s wing ear’ first
detected in Rope tumbled out of the
chest in which they had been hidden.
In 2009 is the Rope swinging our way
again
Nigel Jones

Oxford
‘University students (as always) celebrated
their new-found freedom by kicking over
the traces of conventional behaviour in
their own way. Particularly at that time they
formed clubs. One of the most notorious
at Oxford was the Hypocrites’ Club of
which Evelyn Waugh, John Sutro, Claud
Cockburn, Harold Acton and Peter
Quennell were members... Sutro was its
‘accomplished mimic’ and Harold Acton
was already an established student poet,
renowned for his method of reciting his
verses in rooms overlooking Christ Church
Meadows and, having provided his guests
with ‘an opulent luncheon, accompanied
by large quantities of the steaming mulled
claret’, he would declaim ‘from his
balcony...his latest poems, through a large
megaphone to crocodiles of Oxford
school-children trotting back and forth
among the trees’. Tom Driberg wrote that
the club had been the scene of some lively
and drunken revels, mainly homosexual in
character.’
From The Life of Graham Greene, by
Norman Sherry, published by Pimlico.
Reprinted by permission of The Random
House Group Ltd.
‘The hedonistic goal of this group [Oxford
‘aesthetes’] was to dispel by their dress,
their manner and their studied interest in
artistic matters the shadow of the First
World War. And they succeeded. The age
of the aesthetes saw Oxford experiencing a
self-indulgent kind of freedom from
anxiety and outside events that was all too
soon to be overtaken by the political and
economic upheavals that built towards a
second world conflict.
Overlapping with the aesthetes were the
‘Bright Young Things’ who were busy
reacting with a constant round of partying
against their parents’ Edwardian attitudes.’
From C. Day-Lewis: A Life, by Peter
Stanford, Continuum International
Publishing Group Ltd. Reproduced with
permission.
Sex
• Chaperones of the Victorian age
were discarded and young people
started meeting each other
independently - cinemas, music
halls, clubs and dances provided
ample opportunity for a good flirt.
• Courting became less about finding
a husband or wife, and more about
having fun; alcohol and cocaine
fuelled reckless behaviour, and
music and dancing became more
‘sexy’ – dances like the tango were
extremely popular.
Vilma Banky and Ronald Colman. Reproduced courtesy of goldensilents.com
Cinema
Cinema was hugely popular in the 1920s, influencing fashion, make-up, hair
styles and even the lifestyles of those who watched it. Young women in
England saw glamorous American actresses smoking and drinking on screen
and felt encouraged to do the same. In Rope, Leila Arden and Kenneth Raglan
discuss several actors, including Jack Holt, John Gilbert, Ronald Colman and
Vilma Banky, all of whom were huge stars of silent films in the 1920s.
One of the most renowned cinemas in London was the New Gallery on
Regent Street, which had an impressive Wurlitzer organ to provide music for
the silent films. Other London cinemas included the Canterbury Hall in
Lambeth, a former music hall. From 1921 it featured minor variety acts
alongside its main feature films. In Rope, Brandon describes cinemas as
“infernally stuffy”. The buildings were not well ventilated and the majority of
the audience would smoke cigarettes as they watched. Infamously, cinemagoers
at the Canterbury Hall ran the risk of being covered in sparks and ash
coming through the skylight, deposited by passing trains.
Lotte Wakeham
• Pre-marital sex boomed with new
access to forms of contraception;
statistics show a fall in the number
of marriages during the 1920s.
• Cars liberated young couples and
offered welcome moments of privacy.
• The popularity of glamorous cinema
culture was a significant inspiration;
women dressed more provocatively
and wore more make-up, now
regarded with less disapproval than
in previous decades.
• Women were now more able to pay
their own way, which changed the
etiquette of dating and reduced the
sense of obligation on either side.
• This behaviour reflected a decadent,
hedonistic lifestyle as a reaction to
the horrors of the First World War.
Henry Lloyd-Hughes &
Phoebe Waller-Bridge
5

St Patrick’s Day, 1904: Anthony Walter Patrick Hamilton born in Sussex to Ellen
and Bernard Hamilton, the youngest of three children. He spends an anxious,
unresolved childhood dominated by the vagaries of an authoritarian,
bombastic, alcoholic father and an over-anxious, adoring mother.
1919: Hamilton’s first published piece, a poem entitled Heaven, appears in
Poetry Review. He is fifteen.
1923: Hamilton’s sister Diana Hamilton (known to the family as Lalla)
introduces him to the theatre. She is romantically involved with, and later
marries, Vane Sutton Vane, whose play Outward Bound is a huge hit. Patrick is
given the role of actor-stage-manager.
Leopold and Loeb being escorted to prison
Leopold and Loeb
The crime perpetrated in Rope is alleged to have been
inspired by the real-life case of Nathan Leopold and
Richard Loeb. The murder of a 14 year-old boy in Chicago
by two teenage students captured national attention
across America in 1924, and led to a sensational court
case in which the young murderers were controversially
spared the death penalty.
1925: Hamilton’s first novel, Monday Morning, is published, the first in his
trilogy Twenty Thousand Streets Under the Sky. It borrows heavily from his
personal experience and characterises what the September 1951 Times Literary
Supplement describes as “the faithless, the uprooted, the lonely souls” that
people so much of his prose work.
1926: Publication of Craven House, a story of the inmates of a boarding house.
1927-28: Patrick has an affair
with Lily Connolly, a
prostitute. She later appears
as Jenny, in his novel The
Midnight Bell.
Like Brandon and Granillo in Rope, Leopold and Loeb
were privileged young men from prominent Chicago
families, Leopold a nineteen year old law student (shortly
to enroll at Harvard) fascinated by the ideas of
Nietzsche, and Loeb a precociously intellectual eighteen
year-old obsessed with the workings of crime.
Although exact motives were never established, it seems
the two close friends developed the desire to plan and
execute ‘the perfect crime’, seeing it as an intellectual
exercise to prove themselves above society’s moral
codes, an idea inspired by Nietzschean theory. Loeb, it is
held, was the main instigator of the plan, whilst Leopold
collaborated out of obsessive desire to please his friend.
As in Rope the two murderers chose to kidnap and kill
the son of wealthy acquaintances – in the real-life case
the victim was 14 year old Bobby Franks, whom Leopold
and Loeb lured into a car on his way home from school,
and attacked with a chisel. They then drove out into the
countryside, poured hydrochloric acid over the body and
dumped it in a drainage culvert, before returning to
Chicago and contacting the boy’s parents anonymously
with a ransom demand for $10,000.
1929: Rope is first performed
and is an immediate success.
In the same year The Midnight
Bell is published to critical
acclaim.
1930: Patrick’s father,
Bernard, dies. Shortly
afterwards Patrick marries
Lois Martin in a secret
ceremony.
1932: While walking with his
wife and sister in Earl’s Court,
Patrick is hit by a motor car
and suffers horrific injuries.
He undergoes numerous
operations but remains
physically and emotionally
scarred for the rest of his life.
Publication of The Siege of
Pleasure.
The Hamilton children (Patrick far
right).From Through a Glass Darkly: The
Life of Patrick Hamilton, by Nigel Jones,
Black Spring Press, 2008.
6
Although the body was soon discovered, the boys
might have got away with the crime, had Leopold not
accidentally dropped his glasses whilst hiding the
body; the glasses - with a rare type of hinge - were
traced, as was the ransom note, written on Leopold’s
law school typewriter. Upon questioning the boys
confessed - although each accused the other of the
actual deed of murder.
The court hearing that followed gripped America, with
prominent lawyer Clarence Darrow hired to defend Loeb
and Leopold, who entered a plea of ‘guilty’ to help their
chances of a more lenient sentence. Darrow’s defence
and the corresponding state prosecution battled on
grounds of complex psychological evidence, calling over
a hundred witnesses. Darrow vehemently argued against
a death penalty for murderers of such a young age, and
eventually succeeded, the judge allotting the boys
lengthy prison sentences instead. Loeb was killed in a
fight in prison in 1936, whilst Leopold was eventually
released in 1958.
Louise Glover
“Man is a rope,
fastened between
animal and
Superman - a rope
over an abyss”
Friedrich Nietzsche in Thus Spoke Zarathustra.

Patrick Hamilton in his twenties. From
Through a Glass Darkly: The Life of
Patrick Hamilton, by Nigel Jones, Black
Spring Press, 2008.
1933: Patrick develops a life-long interest
in Marxism, which resonates with his
compulsion to write about what he calls
the “semi-proletariat”, his term for
isolated people living on the margins.
1934: Nellie, Patrick’s mother, takes a
deliberate overdose. She has been ill for
some time and is unable to face a
forthcoming operation for cataracts.
Suspecting her mother’s act, Lalla
summons her brothers, Patrick and Bruce,
by telegram. They arrive in time to be
present for their mother’s death.
Publication of The Plains of Cement.
1935: Publication of Twenty Thousand
Streets Under the Sky: A London Trilogy.
Patrick’s friend J B Priestley writes the
book preface, signalling Patrick’s growing
literary fame. Also in the 1930s Hamilton
completes Impromptu in Moribundia
(1939), the radio play Money with Menaces
(1939) and To the Public Danger (a play -
1939).
1938: First performance of Gaslight, which
went on to play in the US for almost three
years (1942-44).
1941: Publication of Hangover Square,
generally considered to be one of
Hamilton’s finest works.
1942: Hamilton’s alcoholism accelerates.
In a letter to his brother Bruce he notes
that he is “rarely drinking less than three
bottles a day”.
1944: George Cukor’s film version of
Gaslight, starring Charles Boyer and Ingrid
Bergman, who won an Oscar for her
performance.
From Jeeves Takes Charge
by P.G. Wodehouse
‘You’re sacked!’
‘Very good, sir.’
He coughed gently.
‘As I am no longer in your employment, sir, I can speak freely without
appearing to take a liberty. In my opinion you and Lady Florence were quite
unsuitably matched. Her ladyship is of a highly determined and arbitrary
temperament, quite opposed to your own. I was in Lord Worplesdon’s service
for nearly a year, during which time I had ample opportunities of studying her
ladyship. The opinion of the servants’ hall was far from favourable to her. Her
ladyship’s temper caused a good deal of adverse comment among us. It was
at times quite impossible. You would not have been happy, sir!’
‘Get out!’
‘I think you would also have found her educational methods a little trying,
sir. I have glanced at the book her ladyship gave you — it has been lying on
your table since our arrival — and it is, in my opinion, quite unsuitable. You
would not have enjoyed it. And I have it from her ladyship’s own maid, who
happened to overhear a conversation between her ladyship and one of the
gentlemen staying here — Mr Maxwell, who is employed in an editorial
capacity by one of the reviews — that it was her intention to start you almost
immediately upon Nietzsche. You would not enjoy Nietzsche, sir. He is
fundamentally unsound.’
‘Get out!’
‘Very good, sir.’
Jeeves Takes Charge by P.G. Wodehouse, published by Arrow.
Reprinted by permission of The Random House Group Ltd
1947: Publication of The Slaves of Solitude.
1948: Alfred Hitchcock’s film version of
Rope is released. Hamilton is unhappy
with the result and goes on an alcoholic
binge ending with a stay in a nursing
home. He re-kindles a relationship with
old flame and novelist Lady Ursula
Chetwynd-Talbot (‘La’). He spends the
rest of his private life divided between Lois
and La, with disastrous personal
consequences.
1952: Publication of The West Pier, the first
of three novels tracing the career of a
psychopath, Ralph Ernest Gorse. Graham
Greene described it as “the best book
written about Brighton”.
1953: Publication of Mr Stimpson and Mr
Gorse.
1955: Publication of Unknown Assailant.
1956: Hamilton suffers a deep depression.
He undergoes a series of ECT treatments
as a cure.
1962: Hamilton dies of cirrhosis of the
liver and kidney failure.
Emma Dewhurst
‘Even literary gents, and I
suppose I must call myself one,
have their literary heroes. To me
these are those who never go to
parties nor are seen on television
nor are heard on the wireless, but
are just names on printed pages.
They never even publish portraits
or biographies of themselves on
their dust wrappers. I have
sought out and found a few… but
I have never heard anything about
the personality or appearance or
age of one of the best English
novelists, Patrick Hamilton,
whose Hangover Square, Slaves of
Solitude and Mr Stimpson and Mr
Gorse seem to me in the top class
of English novels. What is he like
Has he a moustache or is he
clean shaven Where is he now
Is he happy I am inspired to
wish him a prosperous New Year.’
John Betjeman’s ‘City and
Suburban’ column in The
Spectator, December 1956.
7

Friedrich Nietzsche
8
Noble souls revert to the innocence of the beastof-prey
conscience, like jubilant monsters, who
perhaps come from a bout of murder, arson,
rape and torture, with bravado and moral
equanimity, as though merely some wild
student’s prank had been played. At the core of
all aristocratic races is the beast of prey needing
an outlet to get loose again.
- The Genealogy of Morals (1887)
Throughout Rope, from the very conception of
the murder to the world-view of its various
protagonists, the philosophy of Nietzsche has
a stark and pervasive presence. Friedrich
Wilhelm Nietzsche (1844-1900) was a classical
philologist and radical German philosopher,
now widely acknowledged as the grandfather
of postmodernism and existentialism. While
he remained largely unread and uninfluential
during his own lifetime, by the 1920s, when
Patrick Hamilton was writing Rope, the fall-out
of Nietzsche’s extraordinary theories was
finally beginning to settle – and unsettle -
throughout Europe. Sigmund Freud was
outspoken in his admiration for Nietzsche and
Carl Jung even held seminars upon his
theories. Authors keenly influenced by
Nietzsche include Franz Kafka, D H Lawrence,
James Joyce, Eugene O Neil, and perhaps
most conspicuously, George Bernard Shaw, in
his play Man and Superman (1903). In Rope,
Nietzsche’s works have been read and
assiduously studied by a number of the
protagonists, including the character Rupert
Cadell – himself a published poet.
In the early twentieth century however, views
upon Nietzsche’s writings were far from
unanimous. In Germany, the philosopher
Martin Heidegger noted that everyone in his
day was either ‘for’ or ‘against’ Nietzsche, while
back in England, the popular writer, poet and
journalist G. K. Chesterton famously expressed
contempt for Nietzsche’s ‘heresies so horrible’.
Well before he was embraced by the Fascists
during the era of Nazi rule (1933 – 1945) and
his writings appropriated to their very specific
ends, Nietzsche was primarily associated with
the anarchist movement. Notable anarchists of
the time, such as Emile Armand and Emma
Goldman, regularly cited his avowed hatred of
the state, his disgust for the mindless social
behavior of ‘herds’ and, perhaps above all, his
suggested ‘transvaluation’ of values as a vital
source of change.
Thus spoke Zarathustra (written in four parts
between 1883-1885), often considered his
magnum opus, proved one of Nietzsche’s
most influential works, and it was here that
he made some of his most celebrated
conceptual explorations - ideas which he
would later develop in works such as Beyond
Good and Evil (1886) and On The Genealogy of
Morals (1887). Many of these ruminations
had clearly been read by Patrick Hamilton
before writing Rope as they underpin the
central premise of the play, the concept of the
motiveless murder, and also the overarching
trajectory of the play, as it hurtles towards
certain characters’ visceral confrontation with
the practicalities of Neitzschean theory.
In Thus spoke Zarathustra, Nietzsche made the
famously contentious and unadorned
statement that ‘God is Dead’. For Nietzsche,
religion is a comforting but limiting selfdelusion,
a decayed institution which has only
existed as long as it has, because it has
‘flattered the sublimest desires of the herding
animal’. For him, all values are the creations
of human beings, and it is this idea of moral
relativism – the dissolution of every
conceivable moral absolute, including God -
which theoretically allows any act potentially to
be deemed good, even, as in the case of Rope,
a motiveless murder. For Nietzsche, ‘there is
no such thing as moral phenomena, but only a
moral interpretation of phenomena’.
Throughout his writings, Neitzsche laments
the inexorable decline of Western culture as it
slides into a mass of conformity and
mediocrity that stifles man’s higher creative
impulses. One of the most novel and radical
suggestions Nietzsche makes in Thus Spoke
Zarathustra, in response to the deadening
narcotics of traditional morality, is the need
for an ‘Ubermensch’ (variously translated as a
Superman or Overman). Such an Overman
would be capable of entirely transcending the
concepts of good and evil, as he obeys no
laws – an autonomous super-moral individual
who does only the things which please him
regardless of their effect upon others.
‘He regards himself as a determiner of values; he
does not require to be approved of; he passes the
judgement. ‘What is injurious to me is injurious
in itself’.
Essentially, the difference between regular
humans and the Overman is that normal
humans feel the need to invest their faith in
something - be it God or science or truth -
while the Overman puts all his faith in
himself. The Overman faces a world without
God, but rather than finding it meaningless,
he creates and designates his own meaning.
It is just such an Overman that in Rope,
Wyndham Brandon aspires to be, in his
eschewing of all traditional morality. For
Brandon, the act of murder is entirely justified
by the very fact that he finds it an exciting
adventure; in this world divested of its moral
compass, he ascribes the values, and decides
the act of murder to be ‘good’. He hears
Nietzsche’s rallying cry to ‘embrace a
transvaluation of values, under which a
conscience should be steeled and a heart
transformed into brass’, and acts.
Brandon’s construal of cruelty as a good thing
is not in itself a radical appropriation of
Nietzsche’s writings; it is, in fact, something
which he openly defends and even advocates.
Nietzsche repudiates the squeamishness of
the modern sensibility by discussing at great
length the historical precedent of societies
incorporating and actively embracing cruelty
as a vital component of their life and
pleasures. In committing the act of murder,
Brandon and Granillo are doing no more than
following (as Nietzsche perceives it) man’s
true nature before it became polluted by the
nihilism of contemporary culture.
‘The infliction of suffering produces the highest
degree of happiness… The sight of suffering does
one good. The infliction of suffering does one
even more good.’
Indeed, in hardening themselves against any
empathetic position, the two young
murderers in Rope are simply following
Neitzsche’s own observations about the
terrible redundancy of pity, and his general
stance against ‘the modern infamous
emasculation of our emotions’
‘The exaggerated estimation in which modern
philosophers hold pity is a new phenomenon: up
to that time philosophers were unanimous as to
the worthlessness of pity. Plato, Spinoza, Kant –
united in contempt of pity.’
For Brandon and Granillo, rigorously
pursuing the purity of their Neitzschean logic,
they consider themselves above the rest of
society and obliged to absent themselves
from its moral codes and laws. When
Brandon refers to Kenneth Raglan as ‘The
most perfect specimen of ordinary humanity
obtainable’ he is openly aping Nietzsche’s
own polarization of society into the ‘noble
man’ and ‘the herd’ - the ‘ponderous,
conscience-stricken herding animals – a
fundamentally mediocre species of man with
their own morality’.
If Brandon appears entirely unrepentant in his
egoistic reduction of his fellow undergraduate
to his personal plaything, he is again drawing
from Nietzsche’s writings; this kind of
rampant egoism is something which
Nietzsche actively celebrates – vanity as the
very mark of difference, which separates the
‘noble’ and the ‘herd’.
‘Egoism belongs to the essence of the noble soul.
The unalterable belief that, to a being such as
‘we’, other beings must naturally be in
subjection and have to sacrifice themselves.’
For Nietszche, it is this unshakeable selfbelief,
so entirely lacking in modern society,
which is fundamental to the dynamic, heroic
acts for which he now pines; it is just such an
attitude, and just such an act, to which
Brandon so desperately reaches in his bid for
self-validation as the quintessential Overman.
‘The great epochs of our life are at the points
when we gain courage to rebaptize our badness
as the best in us. What we need now is a kind of
sublime malice.’
BR

Behind the Scenes at the Almeida
Production
Igor tells us about work involved as a
Production Manager in creating Rope
on the Almeida stage.
“Having firstly read the script to familiarise myself with the
play, my work really begins about three months before
rehearsals start on a production, when I get to see the
‘model box’. This is a scaled down model of the proposed
set made by the designer in consultation with the director,
and helps us gauge the feasibility of the design ideas and
begin estimating costs. At this point I also engage a
Costume Supervisor, as they are key to the final look of the
production, and the good ones get booked up quickly!
Next I begin costing the set-build with several scenery
contractors and scenic artists – I go to different contractors
for different projects, depending on what technicalities or
effects are involved. Work begins on building the set about
six weeks before the production is due to open; it is built offsite,
and painted by a scenic artist. I meet with the setbuilders
maybe once a week, calling in at the workshops to
check all is on track and that it will work when fitted up in
the theatre.
A lot of my work at this time involves the logistics of
transporting the set between builder, scenic artist and
theatre, whilst also sourcing the smaller items of set and
furniture, such as the carpets and fireplace, and in the case
of Rope auditorium furnishings such as signage and carpet.
I work closely with the team of Almeida technicians, and
also with Stage Management who are responsible for
sourcing all the props. In collaboration with the Chief
Technician I have to appoint technical staff to work on the
production such as stage crew, a wig supervisor, or a
dresser. I also ensure we have the correct licenses for fire
regulations and to allow any special effects.
When completed, the set gets constructed in the workshop,
in order to iron out initial problems before it is transported
to the Almeida. At the theatre itself the set of the previous
production is dismantled as soon as the curtain falls on its
final Saturday night; then the lighting team re-rigs, and first
thing Sunday morning the new set is brought in and the
team begins building it in situ. Rope involved some
particular challenges at this stage; getting the large balcony
pieces and a huge glass dome into place involved some
careful movement with chain hoists and lifting equipment!
On Monday morning we finish building, focus the lights,
and do a sound-check; ready for the company to begin their
The model box for the Rope set, designed by Mark Thompson.
final technical and dress rehearsals before the production
opens later in the week. The whole technical team and the
designer are on hand throughout this week – known as
“production week’ – to help iron out problems, make
adjustments and answer questions, and will stay on hand
during the ‘preview’ period the following week. It is only
after Press Night (the end of the second week), when the
production is less likely to change any further, that I can
hand over to stage management to manage the rest of
the run.”
In the Round
“As the Almeida’s first production ‘in the round’ Rope
presented a few more challenges for the Production team
than usual. At the outset the designer’s model had to be
discussed in detail and the feasibility of the extra
technology, structures, and costs assessed. We also had to
approach Islington Council about the proposal, to license it
in terms of fire regulations and audience safety. Given the
complexity of the project and the constraints of the budget
we decided to split the building work between different
contractors – one did the balcony structure to convert the
theatre auditorium into the round, another constructed the
stage floor and roof, whilst separate elements of the set
such as the chest and the door panels were split between
the two. A split build is more difficult to co-ordinate as I
have to ensure that everyone’s work fits together, but
sometimes, in order to give the Designer as much flexibility
as possible it is unavoidable. We essentially constructed a
‘project within a project’ – the set itself within the wider
construction work on the auditorium – an interesting
challenge in the Almeida space.”
9

CAST
CAST IN ORDER OF APPEARANCE
Blake Ritson
Wyndham Brandon
Theatre includes: Violet; Love is Blind
(Royal Court International Season);
Arcadia (Bristol Old Vic); Happytime
Park (Riverside Studios); In Praise of
Love (Theatre Royal, Bath); Arcadia;
Macbeth; White Chameleon (National
Theatre).
Television includes: Emma; God on
Trial; The Commander; Mansfield Park; A
Touch of Frost; The Romantics; The
Inspector Lynley Mysteries; If…; The
Wicked Waltz; Red Cap; Adventure Inc.;
The League of Gentlemen; Urban Gothic;
London’s Burning; Shooting the Past;
Knight School; Breaking the Code; No
Bananas.
Film includes: Dead Man Running; Rock
‘n Rolla; Love Hate; Out of Time; The
Cicerones; The Box; AKA; Me Without
You; Titus; Hilary and Jackie; Different for
Girls; The John Lennon Story.
Radio includes: Death in Genoa; Two on
a Tower; The Luke Files; Romeo and
Juliet.
Alex Waldmann
Charles Granillo
Theatre includes: Shraddha (Soho
Theatre); Hamlet; Twelfth Night
(Donmar Warehouse); Troilus and
Cressida (Cheek by Jowl); Angry Young
Man (Trafalgar Studios); Hobson’s
Choice (Chichester Festival Theatre);
Waltz of the Toreadors (Minerva
Theatre, Chichester); Macbeth (West
Yorkshire Playhouse); Big Love (Gate
Theatre); Romeo and Juliet
(Birmingham Repertory Theatre);
Hortensia and the Museum of Dreams
(Finborough Theatre); Fishbowl
(Theatre 503).
Film includes: When I Was Falling; One
Eyed Chloe and the Eleventh Shot.
Philip Arditti
Sabot
Theatre includes: England People Very
Nice (National Theatre); Silver Birch
House; A Family Affair (Arcola
Theatre); 1001 Nights Now
(Nottingham Playhouse/Northern
Stage); Photos of Religion (Theatre
503).
Television includes: Five Days; Father
and Son; House of Saddam; Ten Days to
War; Silent Witness; Spooks: Code Nine;
Vidiotic; Whistleblowers; Caerdydd;
Chopratown; Casualty.
10
Film includes: Happy-Go-Lucky; Really;
Chicken Soup.

Henry Lloyd-Hughes
Kenneth Raglan
Theatre includes: Punk Rock (Lyric
Hammersmith); Divine (SohoTheatre);
The Sun Also Rises (Old Vic New
Voices); Shoot/Get Treasure/Repeat:
The Odyssey; The Miracle (National
Theatre).
Television includes: The Inbetweeners;
The Olivia Lee Show; In Search of Pete
Doherty; Not Safe For Work; The Rotters’
Club; Murphy’s Law.
Film includes: Telstar; Red Tails;
Unrelated; Harry Potter and the Goblet
of Fire.
Phoebe Waller-Bridge
Leila Arden
Theatre includes: 2nd May 1997
(nabokov/Bush Theatre); Roaring
Trade (Soho Theatre); Twelfth Night
(Sprite Productions); Crazy Love
(Paines Plough); Is Everyone OK
(nabokov).
Television includes: Doctors.
Film includes: The Reward.
Phoebe is Co-Artistic Director of
DryWrite.
11

Emma Dewhurst
Mrs Debenham
Theatre includes: Medea; Jane Eyre
(West End); The Invention of Love;
Making History (National Theatre); In
Flame (Bush Theatre/West End);
Intimate Exchanges; Dangerous Corner
(Theatre Royal, Northampton); Great
Expectations (Oxford Stage Company);
Smoke (Royal Exchange Theatre,
Manchester); Tess of the D’Urbervilles
(West Yorkshire Playhouse); Sweet
Sessions (Shared Experience); In Broad
Daylight (Tricycle Theatre/Nuffield
Theatre, Southampton); Princess Ivona
(Actors’ Theatre Company/Lyric
Hammersmith/Tour).
Television includes: The Palace; Doctors;
Johnson: Dictionary Man; The Bill; In a
Wild Workshop; Casualty; Covington
Cross; The Strawberry Tree; Best Man to
Die; Births, Marriages and Deaths.
Film includes: I’ll Sleep When I’m
Dead; The Lake.
Radio includes: Medea; The Invention
of Love; Making History.
Michael Elwyn
Sir Johnstone Kentley
Theatre includes: Three Sisters; What
Every Woman Knows; Cymbeline (Royal
Exchange Theatre, Manchester); The
Long Road (Soho Theatre); The
Woman Hater; The Seagull; A Penny for
a Song; The Way To Keep Him; We The
Undersigned; The Secret Life (Orange
Tree Theatre, Richmond); The Solid
Gold Cadillac (West End); Revelations
(Hampstead Theatre); Darwin in
Malibu (Birmingham Repertory
Theatre); Broken Glass (West Yorkshire
Playhouse); Troilus and Cressida; All’s
Well That Ends Well; A Midsummer
Night’s Dream (Open Air Theatre,
Regent’s Park); Strangers on a Train
(Tour); Vertigo; Otherwise Engaged
(Yvonne Arnaud Theatre, Guildford);
Jumpers (Norwich Playhouse); Emma
(Cambridge Theatre Company Tour);
Safe In Our Hands (Belgrade Theatre
Coventry); Nothing Sacred (Theatr
Clwyd); Love on the Plastic (Half
Moon); WCPC (Liverpool Playhouse);
Dead Ernest; Golden Boy (Crucible
Theatre, Sheffield).
Television includes: The Tudors; U Be
Dead; Into the Storm; Foyle’s War; Small
Island; Ten Days to War; Robin Hood;
Suez; The Bill; Sharpe’s Challenge;
Midsomer Murders; Most Mysterious
Murders; Heartbeat; The Queen’s Sister;
Rosemary and Thyme; Dirty Filthy Love;
The Brief; Byron; Daniel Deronda; Bad
Girls; Bertie and Elizabeth; Micawber;
North Square; Plain Jane; Silent Witness;
Big Bad World; Border Café; The Knock;
Dirty Work; The Blind Date; Stagestruck;
Heat of the Sun; Life and Crimes of
W.Palmer; Soldier, Soldier; Holding On;
This Life; A Pleasant Terror; No Bananas;
The Governor; Fireworks; Between the
Lines; Inspector Alleyn; Framed; After
Henry; Kinsey; Sam Saturday; Murder
Being Done Once; Titmuss Regained;
Selling Hitler; Shrinks; The Orchid House;
Streets Apart; Monstrous; Piece of Cake;
Birmingham Six; C.A.T.S Eyes; Wilderness
Road; In This Case; The Fourth Floor; The
Winning Streak; Rumpole, The Last
Resort; What the Dickens; The Brief; Mr
Palfrey; Pinkerton’s Progress; Potter; The
Brack Report; The Mallens; Love in a Cold
Climate.
Film includes: Surveillance;
Shadowman; Dot the i; Jinnah; Half
Moon Street; Crimestrike; The French
Lieutenant’s Woman; A Touch of Class;
The Private Life of Sherlock Holmes;
Decline and Fall; Battle of Britain.
12

Bertie Carvel
Rupert Cadell
Theatre includes: The Pride (Royal
Court); The Circle (Chichester Festival
Theatre/Tour); Parade (Donmar
Warehouse); The Man of Mode; The
Life of Galileo; Coram Boy (National
Theatre); Faustus (Etcetera Theatre);
Rose Bernd; Professor Bernhardi
(Dumbfounded Theatre/Oxford Stage
Company/Arcola Theatre); Macbeth
(en masse/Union Theatre);
Revelations (Hampstead Theatre).
Television includes: Midsomer
Murders; Waking the Dead; Primeval;
John Adams; Doctor Who; Holby City;
The Genius of Beethoven; Agatha
Christie: A Life in Pictures; The Lost
World of Mitchell and Kenyon; Hawking.
Film includes: Suits and Swipes.
Radio includes: My Lovely Man; The
Duchess of Malfi; The Dig; Bajazet; Mrs
Mabb; Dombey and Son; Maurice; Life
Class; The Shocking Tale of Margaret
Seddon; Breaking Point; Rock ‘n Roll;
Duty; Brave Faces; The Crowner John
Mysteries; The Sea; The Voyage Out;
The Servant; Scenes of Seduction; Trilby;
Gilbert Without Sullivan; Falco:
Shadows in Bronze; The Diary of a
Nobody; The Kamikaze; The Odyssey;
Portugal; So Great a Crime; D-Day; The
Entertainer; Every Eye; The Pallisers.
13

CREATIVE TEAM
14
Roger Michell
Director
Theatre includes: Female of the Species
(West End); Betrayal; Old Times
(Donmar Warehouse); Landscape with
Weapon; Honour; Blue/Orange; The
Homecoming; Under Milk Wood; The
Coup (National Theatre); Some Sunny
Day (Hampstead Theatre); Some
Americans Abroad (Lincoln
Centre/Broadway); Marya (Old Vic);
Redevelopment; Restoration; Two
Shakespearean Actors; Kissing the Pope;
Some Americans Abroad; The Constant
Couple; Hamlet; Temptation; The
Merchant of Venice; The Dead Monkey
(RSC); Macbeth (Nuffield Theatre,
Southampton); The White Glove (Lyric
Hammersmith); Romeo and Juliet
(Young Vic); Private Dick (Lyric
Hammersmith/West End); Archangel
Michael (Crucible Theatre, Sheffield);
My Night With Reg; The Key Tag; The
Catch; The Morning Show (Royal Court).
Television includes: Omnibus; My
Night With Reg; The Buddha of
Suburbia; Downtown Lagos.
Film includes: The Mother; Titanic
Town; Morning Glory; Venus;
Persuasion; Enduring Love; Changing
Lanes; Notting Hill.
Mark Thompson
Design
For the Almeida: Volpone; Betrayal;
Party Time; Butterfly Kiss.
Most recent design includes: God of
Carnage (West End/Broadway);
England People Very Nice; The Rose
Tattoo; The Alchemist; Once in a
Lifetime; Henry IV, parts I & II (National
Theatre); Female of the Species; Joseph
and the Amazing Technicolor
Dreamcoat; And Then There Were None
(West End); Kean (West End/UK tour);
Piano Forte; The Woman Before; Wild
East; Mouth to Mouth (Royal Court);
Funny Girl (Chichester Festival
Theatre); Mamma Mia! (West
End/Toronto/US Tour/Broadway/
Japan/Germany/Australia); Bombay
Dreams (West End/Broadway).
Costumes for Uncle Vanya and Twelfth
Night (Donmar Warehouse/Brooklyn
Academy of Music).
For the National Theatre: The Duchess
of Malfi; Life x3 (also Old Vic &
Broadway); What The Butler Saw;
Pericles; The Day I Stood Still; Arcadia
(also Lincoln Center New York); The
Madness Of George III; The Wind In The
Willows.
For the RSC: Measure for Measure; The
Wizard of Oz; Much Ado About
Nothing; The Comedy of Errors; Hamlet;
The Unexpected Man.
For the Royal Court: Six Degrees of
Separation; Hysteria; The Kitchen;
Neverland.
For the Donmar Warehouse:
Insignificance; Company; The Front
Page; The Blue Room (also Broadway).
Other theatre includes: The Lady in the
Van (West End); Dr Dolittle
(Hammersmith Apollo); Blast
(Hammersmith Apollo/Broadway);
Art (West End/Broadway). Set only for
Follies (Broadway).
Opera includes: Carmen (L’Opera
Comique); Macbeth; Queen of Spades
(Metropolitan Opera, New York);
Falstaff (Scottish Opera); Peter Grimes
(Opera North); Ariadne auf Naxos
(Salzburg); Il Viaggio a Reims (Royal
Opera House); Hansel and Gretal
(Sydney Opera House); The Two
Widows (English National Opera).
Costumes only for Montag Aus Licht
(La Scala, Milan).
Ballet includes: Don Quixote (Royal
Ballet).
Film includes: Costume design for The
Madness of King George.
Mark is the winner of four Olivier
Awards and two Critics Circle Awards.
He has been nominated for two Tony
Awards.
Rick Fisher
Lighting
Rick is Chairman of the Association of
Lighting Designers in the UK and
winner of two Olivier Awards for Best
Lighting Design, and two Tony Awards
- for An Inspector Calls and Billy Elliot
(both on Broadway).
For the Almeida: Betrayal; Cyrano de
Bergerac; Moonlight; The L.A. Plays;
Ion; A Bolt Out of the Blue; as a
performer: Ariadne’s Afternoon.
Other theatre includes: The Fastest
Clock in the Universe (Hampstead
Theatre); An Inspector Calls (West
End); Billy Elliot (West End/Sydney/
Melbourne/ Broadway); Much Ado
about Nothing (Singapore); The Family
Reunion; Betrayal; The Philanthropist;
Old Times (Donmar Warehouse); The
Cherry Orchard (Chichester Festival
Theatre); Sweeney Todd (Gate Theatre,
Dublin); Landscape With Weapon;
Honour (National Theatre);
Resurrection Blues (Old Vic); Tin Tin
(Barbican); Jerry Springer the Opera;
Blue/Orange (National Theatre/West
End); Far Away (New York); A Number
(Royal Court); Disney’s The Hunchback
of Notre Dame (Berlin); Via Dolorosa
(Royal Court/Broadway); Matthew
Bourne’s Swan Lake (London/Los
Angeles/ Broadway/world tour).

Opera includes: The Tsarina’s Slippers;
Wozzek (Royal Opera House);
Turandot (English National Opera);
Peter Grimes (Washington); Betrothal
in a Monastery (Glyndebourne/
Valencia); Billy Budd; Radamisto; La
Boheme; Daphne; Tea; Peter Grimes;
Madame Mao (Santa Fe); The Fiery
Angel; Turandot (Bolshoi); A
Midsummer Night’s Dream (La
Fenice); Gloriana; La Bohème (Opera
North); The Little Prince
(Houston/New York/San Francisco);
three seasons at Batignano.
John Leonard
Sound
For the Almeida: Duet for One; Waste;
The Homecoming; Big White Fog; Dying
For It; Hedda Gabler; Macbeth;
Brighton Rock; Whistling Psyche; Five
Gold Rings; The Mercy Seat; I.D. and
many more.
Most recent work includes: The Power
of Yes; England People Very Nice; Much
Ado About Nothing; The Enchantment
(National Theatre); Calendar Girls;
Carrie’s War; In Celebration; Kean;
Donkey’s Years; Summer & Smoke;
Glengarry Glen Ross (West End); The
Cripple Of Inishmaan (Druid Theatre,
Tour and New York); Small Craft
Warning; Crazy Paola (Arcola Theatre);
A Month In The Country (Salisbury
Playhouse); Calendar Girls (Chichester
& national tour); Long Day’s Journey
Into Night (Druid Theatre, Galway &
Dublin); Pure Gold (Soho Theatre);
Translations (Princeton/ Broadway);
Leaves; Empress of India; The Druid
Synge (Druid Theatre, Galway/Dublin/
Edinburgh/ Minneapolis/ New York).
Other theatre includes: 2000 Years;
Paul; The UN Inspector; Jumpers
(National Theatre); Antony and
Cleopatra; Much Ado About Nothing;
The Prisoner’s Dilemma; Romeo and
Juliet (RSC); The Old Masters; The
Birthday Party (Birmingham Rep
/West End); The Odd Couple; The
Entertainer; Still Life; The Astonished
Heart; Ma Rainey’s Black Bottom; The
Anniversary and The Flint Street
Nativity (Liverpool Playhouse);
Cinderella; The Dumb Waiter (Oxford
Playhouse); The Merry Wives of
Windsor; The Merchant Of Venice;
Cymbeline; Twelfth Night (Ludlow
Festival); Becket; Les Liaisons
Dangereuses; Sweet Panic; Absolutely!
Perhaps; The Anniversary; Losing Louis;
The Master Builder (also tour); Private
Lives (also Broadway); Embers; Smaller
(West End); How to Act Around Cops;
Flush; Mercy; Colder Than Here (Soho
Theatre); Sunday Father; Born Bad; In
Arabia We’d All Be Kings; The Best Of
Friends (Hampstead Theatre).
Lisa Makin
Casting Director
For the Almeida: The Late Henry Moss.
As Head of Casting and Associate
Director of the Royal Court Theatre for
20 years, Lisa worked with many
eminent directors and playwrights,
including Michael Attenborough, Max
Stafford-Clark, Stephen Daldry, Ian
Rickson, Tom Stoppard, Trevor Nunn,
Patrick Marber, David Hare, Matthew
Warchus, Phyllida Lloyd, Harold
Pinter, Dominic Cooke, Franco
Zeffirelli, Richard Eyre and Roger
Michell.
Freelance work includes: West End
and Broadway transfers of Shopping
and F***ing; Popcorn; Closer; The Weir
Far Away; Hitchcock Blonde; Fuddy
Meers.
For Sonia Friedman Productions: Rock
‘n’ Roll; The Seagull in an adaptation by
Christopher Hampton; Boeing-Boeing;
That Face; Arcadia.
Casting for television includes: My
Night With Reg; The Changeling; La
Nona; Roots.
For Red Productions: Mine All Mine.
For the BBC: Top Girls; Auf
Wiedersehen, Pet; 20,000 Streets Under
the Sky; Aberfan.
Film credits include: Peaches.
Penny Dyer
Voice & Dialect Coach
For the Almeida: Parlour Song; In a
Dark Dark House; Nocturne; The Last
Days of Judas Iscariot; Cloud Nine;
Awake and Sing!; Big White Fog; There
Came a Gypsy Riding; Tom and Viv; An
Earthly Paradise; The Late Henry Moss;
The Mercy Seat; Camera Obscura; The
Shape of Things.
Recent theatre: A Streetcar Named
Desire; Dimetos; The Family Reunion;
Small Change; The Man Who Had All
The Luck; Parade; The Cryptogram
(Donmar Warehouse); Piaf; FrostNixon
(Donmar West End); Aunt Dan and
Lemon, The Fever; Tusk,Tusk; Wig Out!;
The Pride; Now or Later; The Girlfriend
Experience; The Vertical Hour (Royal
Court); Speed The Plow; Philadelphia
Story (Old Vic); The Little Dog
Laughed; Spring Awakening; A View
from the Bridge; Carousel; Shadowlands;
Fiddler on the Roof; Boeing, Boeing;
Swimming with Sharks; Porgy & Bess
(West End); Noughts and Crosses; King
Lear; The Winter’s Tale; The Crucible
(RSC); A Prayer for my Daughter;
Vernon God Little (Young Vic); Loot;
Doubt; Moonlight and Magnolias
(Tricycle Theatre); Aristo; I Am
Shakespeare (CFT/Tour).
Recent TV: Small Island; Margaret; A
Short Stay in Switzerland; The Take; The
Curse of Steptoe; Sincerely Yours;
Fantabuloso; The Deal; Blackpool;
Pierrepoint; Crocodiles and Masters;
North and South.
Film includes: Tamara Drewe; Special
Relationships; The Nowhere Boy;The
Queen; Cheri; FrostNixon; The Boy in
the Striped Pyjamas; The Edge of Love;
Elizabeth: The Golden Age; Infamous;
Nanny McPhee; Mrs Henderson
Presents; Dirty Pretty Things; Ladies in
Lavender; The Importance of Being
Earnest; Felicia’s Journey; The War Zone;
Elizabeth; Oscar and Lucinda.
Radio includes: A Prayer for Owen
Meany.
15

Terry King
Fight Director
For the Almeida: In a Dark Dark House;
The Homecoming; Awake and Sing!; Big
White Fog; The Late Henry Moss.
Other theatre includes: Troilus and
Cressida; Richard III; Romeo and Juliet;
Cymbeline; Pericles; Julius Caesar;
Coriolanus; Henry V; Hamlet; The White
Devil; Comedy of Errors; Twelfth Night;
Othello (RSC); Fool for Love; The
Murderers; Scenes from the Big Picture;
King Lear; Carousel; His Dark Materials;
The Riot; Battle Royal; The Talking Cure;
London Cuckolds; Duchess of Malfi; The
Homecoming; Jerry Springer the Opera
(National Theatre); Our Country is Good;
The Recruiting Officer; The Queen and I;
Duck; Sore Throats; Search and Destroy;
Ashes and Sand; Oleana; Berlin Bertie;
Ourselves Alone; Greenland (Royal
Court); The Fifteen Streets (Coventry/
West End); Peter Pan (Grand Theatre,
Leeds) True West; Fool for Love; Caligula;
Accidental Death of an Anarchist
(Donmar Warehouse); Death of a
Salesman; Les Liaison Dangereuse
(Bristol Old Vic); Lysistrata (Old Vic); On
an Average Day; Peribanez (Young Vic).
Opera and Musicals include: Porgy
and Bess; Otello; Carmen; Martin
Guerre; Jesus Christ Super Star; Oliver;
Saturday Night Fever; Spend Spend
Spend; West Side Story; Lautrec; Chitty
Chitty Bang Bang; Our House; Billy
Elliot the Musical; Lord of the Rings the
Musical; Cabaret.
Television includes: The Bill; Casualty;
Eastenders; Broken Glass; A King of
Innocence; Fell Tiger; Scold’s Bridle;
Fatal Inversion; Nerys Glas; Death of
Salesman; The Widowing of Mrs
Holroyd; Mesasure for Measure; The
Mayor of Casterbridge; Lucky Jim; Blue
Dove; Rock Face.
Lotte Wakeham
Assistant Director
Theatre includes:
As director: Thinking the Deep
Thoughts (Old Vic); Aim High (Alley
Theatre, Northern Ireland); Something
Stupid (Camden Fringe Festival);
Killing Swans/Bottoms Up! (LAByrinth,
New York); Austentatious (Landor
Theatre); The Language of Love (Rose
Theatre, Kingston); It’s Only a Game
(site specific, Camden); Sex and the
Village (Edinburgh Festival); Rain,
Steam, and Speed (Etcetera Theatre);
Dido, Queen of Carthage; Kafka’s Dick;
Attempts on Her Life; After Magritte;
Blind I; Arcadia (E.M. Forster Theatre);
The Bar (Baron’s Court Theatre); Play
on Words; Woman in Mind; The Actor’s
Nightmare (Burton Taylor Theatre);
The Threepenny Opera; Into the Woods
(Oxford Playhouse); Travesties
(O’Reilly Theatre).
As assistant director: Speaking in
Tongues (West End); The King and I
(Royal Albert Hall); Romeo and Juliet
(Shakespeare’s Globe); The Norman
Conquests; The 24 Hour Plays (Old
Vic); Psychogeography (Bush Theatre);
Fiddler on the Roof (UK tour); Voithia!
(English Touring Opera); Rita (Royal
Opera House).
Matt Granados
Matt recently graduated from
Birmingham School of Acting.
Theatre includes: What’s Wrong With
Angry (King’s Head Theatre); Lock,
Stock and Two Smoking Barrels;
Mother Clapp’s Molly House; The
Storm; Lulu; Creation Myths (T.I.E);
The Crucible (Birmingham School of
Acting).
Promotions by Chris McGill
at milktwosugars
www.milktwosugars.com
PRODUCTION
THANK YOUS
Cosprop
English Touring Theatre
Mentzendorff
Frederick’s
Diageo Archive
David Scotcher upholstery
Wayne at Hanway Print Centre
In accordance with the requirements of the Council of the London Borough of Islington, persons shall not be permitted to stand or sit in any of the
gangways intersecting the seating or to sit in any of the other gangways.
16

ASSISTED PERFORMANCES
The Almeida Theatre schedules assisted performances in order to make
theatre more accessible and enjoyable for people who may find it difficult to
see or hear everything that takes place on stage.
Captioned performances feature an electronic
screen which displays the words being spoken on
stage in time with the performance, much like
the subtitles you would see on television. Sound
effects and music are also captioned.
As part of the theatre's on-going access
programme the Almeida will be captioning
performances in house. Having now completed
Stagetext captioning training, the Almeida now
has a team of three CACDP (Council for
Advancement of Communication with Deaf
People) qualified captioners, as well as our own
caption box and equipment.
Upcoming captioned performances:
ROPE
Saturday 16 January 2010, 3pm
Tuesday 2 February 2010, 7.30pm
MEASURE FOR MEASURE
Wednesday 17 March 2010, 2.30pm
Monday 22 March 2010, 7.30pm
(followed by Speech-To-Text Talkback)
RUINED
Saturday 15 May 2010, 3pm
Tuesday 25 May 2010, 7.30pm
THROUGH A GLASS DARKLY
Saturday 10 July 2010, 3pm
Tuesday 20 July 2010, 7.30pm
Audio described performances are ideal for
audience members with visual impairment. We
provide a discreet headset, which allows you to
listen to information about the set, costumes,
body language and facial expressions of the
performers, during pauses in the action on-stage.
Prior to the performance patrons receive CDs
giving details of the set, characters and
costumes and on the day of the performance
can attend a free touch tour where they get a
chance to explore the set and costumes and
meet some of the cast.
Upcoming audio described performances:
ROPE
Saturday 30 January 2010, 3pm
(touch tour 1.30pm)
MEASURE FOR MEASURE
Saturday 27 March 2010, 2.30pm
(touch tour 1pm)
RUINED
Saturday 22 May 2010, 3pm
(touch tour 1.30pm)
THROUGH A GLASS DARKLY
Saturday 24 July 2010, 3pm
(touch tour 1.30pm)
Audio description by VocalEyes
ALMEIDA ACCESS WEEK
22-27 March 2010
events to be announced
GET IN TOUCH
If you would like any more information
about assisted performances or access,
or to book for an assisted performance,
please contact us:
020 7288 4999
email access@almeida.co.uk
or visit www.almeida.co.uk
If you would like a
large print copy of this
programme please contact us
using the details listed.
With thanks to
VocalEyes
and See-a-Voice.
17

PAST ALMEIDA PRODUCTIONS
2003
THE LADY FROM THE SEA
“The Islington powerhouse opens
with this tremendous production by
Trevor Nunn… electrifying… leaves
you reeling.”
Daily Telegraph
Sponsored by Hydro
I.D.
“A riveting production… full of
wonderful theatrical invention… a
rich and shameful period of history
and how memorably it is evoked.”
Daily Mail
Sponsored by Cadwalader,
Wickersham & Taft LLP
THE MERCY SEAT
“Michael Attenborough’s production
has a high voltage charge that never
dips for a moment. This play plumbs
the depths and deserves to be
seen.”Daily Telegraph
FIVE GOLD RINGS
“Bold, elegant, lyrical, finely wraught…
gorgeously staged and beautifully
performed.” Time Out
2004
THE GOAT, OR WHO IS
SYLVIA
“Superbly written … brilliant… flawless
production; you won’t find more
blazing acting anywhere… see it if you
see nothing else.”
Mail on Sunday
Sponsored by Aspen Re
FESTEN
“Electrifying, shocking and profoundly
moving… such talent, such skill, such
humanity. Something to celebrate.”
Sunday Times
WHISTLING PSYCHE
“An intense, haunting and
beautiful play… two remarkable
performances... marvelously
rewarding.” Mail on Sunday
BRIGHTON ROCK
“An intelligent, edgy, adult musical
which gives you something to think
about... Hooray for that...
a production of brilliant clarity...
crackles with energy and evil.” Daily
Express
THE EARTHLY PARADISE
“Gorgeous writing… very compelling,
lovely and tragic.
My play of the year.”
New Statesman
Sponsored by Cadwalader,
Wickersham & Taft LLP
2005
MACBETH
“The most powerful, chilling,
evil-feeling Macbeth since McKellen
and Dench.” The Times
Sponsored by Aspen Re
HEDDA GABLER
“An electrifying hit… a wonderful
production by Richard Eyre”
Daily Telegraph
Sponsored by Hydro
BLOOD WEDDING
“Brilliantly directed by Rufus Norris.
Another indication of how well
Michael Attenborough’s
management is doing at the Islington
playhouse.” Daily Express
ROMANCE
“You laugh uproariously... it’s a
silly person who doesn’t.” Financial
Times
THE HYPOCHONDRIAC
“Lindsay Posner’s exuberant, superbly
acted production is riotously
entertaining... has
you laughing like a drain.”
Daily Telegraph
18
Clare Higgins (Melanie Klein) in Mrs Klein, photo by John Haynes; Natasha Richardson (Ellida) in The Lady From the Sea, photo by Catherine Ashmore; Jonny Lee Miller
(Christian) and Tom Hardy (Michael) in Festen, photo by John Haynes; Simon Russell Beale (Macbeth) in Macbeth, photo by Hugo Glendinning.

2006
THE LATE HENRY MOSS
“A thrilling new play... acted up to the hilt
by a remarkable company... an
astonishingly wrought, high drama”
Evening Standard
Sponsored by Pinsent Masons
BIG WHITE FOG
“For strong gripping drama and
splendid, heartfelt acting, the show
is hard to beat... outstanding”
Daily Telegraph
“A long-lost gem…an excellent
company… a riveting production”
Daily Mail
ROSMERSHOLM
“A great production of one
of Ibsen’s greatest plays…
a masterclass in acting… book
while you can” Sunday Times
“An unadulterated delight”
Sunday Telegraph
Sponsored by Hydro
WASTE
“ An overwhelming experience”
Evening Standard
“Another forgotten gem unearthed by
the Almeida…a superlative
production” Independent on Sunday
“A spellbinding production of a
superbly rich and subtle play” Daily
Telegraph
PARLOUR SONG
“It’s a beauty, wickedly funny”
Financial Times
“It will be a vintage year if we see
a better-acted play than this”
Independent
“One of the most truthful, honest and
thought-provoking shows
I have seen in a very long time”
Sunday Telegraph
Sponsored by Aspen Re
PERIOD OF ADJUSTMENT
“You must see this play: it’s like a
diamond cut with its own stardust.”
Sunday Times
Sponsored by Aspen Re
ENEMIES
“A superb theatrical achievement...
an excellent cast...Michael
Attenborough’s admirable staging...this
is a major event in
our theatre” Financial Times
Sponsored by Cadwalader, Wickersham &
Taft LLP
TOM AND VIV
“A magnificent and superbly acted piece
of theatre...the play so powerfully
succeeds...a sublime tragedy” Sunday
Times
THE LIGHTNING PLAY
“Funny, touching and consistently
entertaining” Daily Telegraph
Sponsored by Pinsent Masons
2007
THERE CAME A GYPSY
RIDING
“A magnificent and harrowing play” The
Spectator
“Unmissable” The Observer
Sponsored by Aspen Re
Season Sponsor Cadwalader, Wickersham
& Taft LLP
AWAKE AND SING!
“Stirring and fabulously well
performed” Mail On Sunday
“Richly rewarding” Independent
CLOUD NINE
“An absolute treat…wholly heavenly”
Daily Telegraph
“Scorching stuff, and more
entertaining than anything on in the
West End” Sunday Telegraph
MARIANNE DREAMS
“A great Christmas show…
beautiful and funny” Independent
“Inspired, potent theatre”
Mail on Sunday
Sponsored by Pinsent Masons
2008
THE HOMECOMING
“A masterly production”
Sunday Times
“Exemplary…pitch perfect”
The Observer
“Michael Attenborough’s production
sparkles like a
100-carat diamond…great theatre”
Sunday Telegraph
Sponsored by Aspen Re
IN A DARK DARK HOUSE
“LaBute’s most disquieting yet…and
his most subtle”
The Observer
“Michael Attenborough gives the play
a scorching reality…pulsates with
feeling. If this is “directors’ theatre”,
I’m all for it”
Sunday Times
2009
DUET FOR ONE
“Overwhelming… the performance of
a lifetime… a triumph” Evening
Standard
“Bowled me over… a noble and deeply
moving piece of theatre…
a masterclass in acting”
Daily Telegraph
Sponsored by Pinsent Masons
WHEN THE RAIN STOPS
FALLING
“Michael Attenborough’s perfect
production… some of the best acting
in London” Sunday Times
“Something very special”
Daily Telegraph
“A beautiful, subtle play that weaves a
slow irresistible spell…beautifully
delivered” Financial Times
JUDGMENT DAY
“A cracker… a terrific cast”
Mail on Sunday
“Thoroughly hypnotic… a wonderful
restoration of a great play”
What’s On Stage
DYING FOR IT
“The rediscovery of a subversive Soviet
classic: deserves a permanent place
in the British repertory” The Guardian
“Desperately funny... beautifully written”
The Observer
Season Sponsor Cadwalader, Wickersham
& Taft LLP
THE LAST DAYS OF JUDAS
ISCARIOT
“A sensational hit…a truly epic
production” Daily Telegraph
“A great piece of theatre…go see it, do
yourself a favour” BBC 2 Newsnight
Review
A co-production with
Headlong Theatre
MRS KLEIN
“A terrifically poised revival”
Times
“A treat for admirers of fine acting”
Evening Standard
“Clare Higgins plays Melanie Klein
to perfection”
Observer
Brendan Coyle (Earl) and Trevor Cooper (Henry) in The Late Henry Moss, photo by John Haynes; Imelda Staunton (Margaret) and Eileen Atkins (Bridget) in There Came a Gypsy
Riding, photo by Mark Ellidge; Danny Sapani (Victor Mason), Ayesha Antoine (Caroline Mason) and Kedar Williams-Stirling (Phillip Mason) in Big White Fog, photo by Catherine
Ashmore; Kenneth Cranham (Max) in The Homecoming, photo by Hugo Glendinning; Will Keen (Henry Trebell) and Phoebe Nicholls (Frances Trebell) in Waste, photo by Johan
Persson; Juliet Stevenson (Stephanie Abrahams) and Henry Goodman (Dr Feldmann) in Duet for One, photo by John Haynes; Toby Jones (Ned) and Andrew Lincoln (Dale) in
Parlour Song, photo by Simon Annand; Lisa Dillon (Younger Elizabeth Law) in When the Rain Stops Falling, photo by John Haynes; Joseph Millson (Thomas Hudetz) in Judgment
Day, photo by Keith Pattison.
19

15 April – 5 June 2010
European premiere
by Lynn Nottage
Director Indhu Rubasingham
Design Robert Jones
Lighting Oliver Fenwick
Music Dominic Kanza
Sound Christopher Shutt
Jenny
Jules
Lucian
Msamati
Jenny Jules photo by Hugo Glendinning Almeida Theatre registered charity no 282167
Box Office
020 7359 4404
almeida.co.uk

THE ALMEIDA THEATRE
COMPANY
The Almeida Board
Christopher Rodrigues CBE
Chair
Mary Francis CBE
(Treasurer)
Jill Barton
David Carter
Michael Gwinnell
Giles Havergal CBE
Linden Ife
Artistic Directors
1980 – 1990 Pierre Audi (Founder)
1990 – 2002 Jonathan Kent
Ian McDiarmid
2002 – Michael Attenborough
Tamara Ingram
Jagdip Jagpal
Rosemary Leith
Ray O’Connell
Rufus Olins
Jane Thompson
Roy Williams OBE
Development Board
A. Michael Hoffman
Chair
Rosemary Leith
Vice Chair
Jamie Arkell
Iain Barbour
Jonathan Blake
Georgiana Boothby
Rick Gildea
Christophe Gollut
Lord Hart of Chilton
Matthew Hurlock
John Kinder
Judith Loose
Nicky Manby
Lise Mayer
Lady Rayne
Andrea Sullivan
Martha Tack
Andrew Wilkinson
Hilary Williams
Andrea Wilson
Artistic Director
Michael Attenborough
Executive Director
Neil Constable
Artistic Associate
Jenny Worton
Associate Director
Howard Davies
Lighting Advisor
Mark Henderson
Sound Advisor
John Leonard
Associate Artist
Femi Elufowoju, jr
ADMINISTRATION
General Manager
Natasha Bucknor
Assistant to the
Directorate
Rachel Barker
Administrative & IT
Officer
David Swain
ALMEIDA PROJECTS
Director of Projects
(Maternity Cover)
Anne Langford
Director of Projects
Samantha Lane
Projects Coordinator
Natalie Mitchell
Projects Administrator
Charlie Payne
Projects Workshop Team
Sarah Helen Ball (Central
School of Speech and
Drama placement)
Lee Barnes
Harry Blake
Amma Boateng
Kirsty Hoiles
Rocio Jason-Henry
Louie Keen
Nicholas Khan
Freddie Machin
Dan Pearce
Rhiannon Sawyer
Abdul Shayek
BAR
Bar Manager
Hannah Woolhouse
Deputy Bar Manager
Lanre Bankole
Bar Staff
Naomi Ackie
Kimberley Brewin
Irene Cioni
Dominique Edwards
Emmeline Ham
Sammy Hebert
Neil Jones
Margherita Malanchini
Daniela Mangiapane
Emma Perris
Lara Rossi*
Harriet Shillito*
Melissa Smith*
Max Sobol
James Turner
Luis Valentine
*also Duty Bar Managers
BOX OFFICE
Box Office Manager
Tina Farguson
Box Office Supervisors
Annette Butler (Maternity
Cover)
Wendy Taylor
Suzanne Walker**
Miranda Yates**
** also Access Officers
Box Office Assistants
Maria Ferran
Ruth Varley
DEVELOPMENT
Head of Development
Kirsten Hughes
Senior Development
Manager
Nadia Boujo
Sponsorship Manager
Katya Evans
Individual Giving Manager
Lizzie Stallybrass
Events Officer
Rebecca Lyle
FINANCE
Head of Finance
Fraser Jopp
Finance Manager
Jenny Patterson
Finance Officer
Donika Yordanova
FRONT OF HOUSE
Theatre Manager
Helen Noble
Duty Managers
Philippa Davidson
Simon Kenny
Dervla Toal
Head Ushers
Jessica Carroll
Geraldine Caulfield
Chris Corby
Nick Durant
Camilla Mars
Mary Okeke
Ian Street
Geoff White
Ushers
Zoe Apostolides
Sarah Attoe
Charlotte Bennett
Imogen Cooper
Ono Dafedjaiye
Laura Evelyn
Anisa Farabi
Sylvie Gallant
Eric Geynes
Louise Glover
Anna Goodwin
Otto Hills-Fletcher
Andrew Howard
Janice Howard
Louie Keen
Morwenna Mara
Anne Sheasby
Jeany Spark
Shanice Stennett
Fleur Ward
Becky Wright
Theatre Tour Guide
Jenny Hargreaves
Cleaning Staff
Principle Cleaning
Services
MARKETING
Head of Marketing
& Sales (Maternity Cover)
Doug Buist
Head of Marketing
& Sales
Jane Macpherson
Marketing Officer
Helen Bennett
Marketing Assistant
Louise Glover
PRESS
Press Representative
Janine Shalom at
Premier PR
020 7292 8330
PRODUCTION
Head of Production
James Crout
Company Manager
Emma Basilico
Interim Company
Manager
Lorna Seymour
Stage Manager
Laura Flowers
Chief Technician
Jason Wescombe
Lighting Technician
Robin Fisher
Sound Technician
Howard Wood
Theatre Technician
Adriano Agostino
Wardrobe Supervisor
Catrina Richardson
Wardrobe Deputy
Eleanor Dolan
CONSULTANTS
Scripts Advisors
Simon Burt
Barry McCarthy
Architects
Burrell Foley Fischer
Structural Engineering
Consultants
Alan Conisbee Associates
Surveyor to the Almeida
Hedley Merriman
Auditors
Haysmacintyre
Solicitors
Mishcon de Reya
Wedlake Saint
Production Insurance
Giles Insurance Brokers
Security
Umair Jamil for
McKenzie Arnold
Security Ltd
Access Consultant Group
Mandy Colleran
Wendy Haslam
Ian Jentle
Lois Keith
Deborah Neve
Caroline Parker
Graphic Design
With Relish
Dave Roberts for Cantate
Programme Print
Cantate
23

ALMEIDA PROJECTS
“Almeida Projects provides an active, creative link between our
theatre and its audience, more specifically an audience that may
not have considered that the theatre might be for them. This is not
simply to ensure an audience for the future; it is to establish the
right of every individual to self-expression, to the belief that they
possess creative potential, that theatre is a populist, collaborative
art form as available to them as to everybody else.
Whether any young person working with us goes on to become a
professional writer, actor, director, designer, administrator or
technician is of secondary interest. Our aim is to act as a catalyst to
their energies, to their hunger to participate – celebrating the
creativity of young people in the best way we know how: by offering
them our experience, our expertise and our unique theatre.”
Michael Attenborough, Artistic Director.
Almeida Projects is the Almeida Theatre’s community and learning
programme.
Our work is inspired by the theatre’s productions and we deliver a range
of high quality, innovative activities including:
• A subsidised ticket scheme supported by regular teacher’s evenings,
free resource packs, free introductory and curriculum workshops
• Residencies and bespoke projects in partnership with local schools
and community groups
• The Young Friend of the Almeida scheme
• A Trainee Workshop Leader Programme
To book subsidised tickets, a workshop or to find out more about
Almeida Projects contact Charlie, Projects Administrator, on 020 7288
4916 or email projects@almeida.co.uk
Photos by Bridget Jones
ROPED IN!
Between October and December, Almeida Projects worked with 15
year old students from one of our Partner Schools on a residency
fusing the themes of Rope with conventions of Victorian
melodrama.
Continuing our long-standing relationship with Islington Arts and
Media School, we worked closely with two groups of Year 10 BTEC
Performing Arts students in a residency spanning the Autumn
Term. The aim was to devise short performances to support their
study of the Theatre History module, in particular the genre of
melodrama.
The residency focused on an exploration of the plot and themes of
Rope, in particular the idea of audacious crime and the impact of
dramatic irony on the audience experience. Students were
encouraged to develop their acting skills, by drawing on
conventions of melodrama to create their devised responses to the
play: to explore new, larger-than-life styles of performance,
experiment with physical storytelling, and understand the dramatic
use of stock characters.
Almeida Projects supported and enhanced classroom learning by
giving students the opportunity to perform their work in a
professional theatre environment at the end of the residency. The
devised performances were marked as part of students’ BTEC
coursework and go towards their final results.
By the end of the residency, students had created their own daring
‘thrillers’, clearly exploring issues that interested them thematically
– from a haunted house to audacious gang crime - and using
historical settings and heightened performance styles to bring
them to life. Their work was performed onstage at the Almeida
Theatre on 30 November.
For more information and to see images from
the performance, please visit
www.almeida.co.uk/education and see Our
Projects.
24

Young Friend
of the Almeida
Recruitment Day
Sunday 17 January: 12noon - 4pm
Almeida Theatre
No need to book – just turn up!
Your chance to find out about the huge number of FREE
opportunities to participate in projects and workshops,
sign up and meet other Young Friends.
Whether you want to act, write, direct or explore behind
the scenes there'll be a masterclass or project for you, all
led by professional theatre makers.
For more information about the exciting benefits of
becoming a Young Friend and see a short film about what
Young Friends get up to go to
www.almeida.co.uk/education/young_friends
To book your place on the recruitment day or
to join the Young Friends contact Natalie on
nmitchell@almeida.co.uk or 020 7288 4937.
YFA Rope Mini-LAB: Psyche of a Nation
Guided by the Almeida Projects team, eighteen Young Friends of the
Almeida worked between October and December to create a sitespecific
performance inspired by Rope, taking over the Almeida’s
rehearsal room and administrative offices at 108 Upper Street.
The group began by trawling the news for stories of real life
crimes to devise their own theatrical thriller. Through
improvisation and discussion, the group investigated the moral
heart of the play: what price is on a life and can one ever get away
with murder Almost at once, the group focused on the
controversial subject of war crimes as the ultimate ‘audacious’
crimes, where rules of society are often violently subverted in
unthinking ways.
Inspired by Rope’s unconventional staging, they also decided to
challenge the accepted relationship between performers and
audience, working in collaboration with Punchdrunk Enrichment
to transform the site into a bespoke performance space. Their
intent is to create an exhilarating and immersive experience, in a
performance that explores the boundaries of the human capacity
for guilt and conscience.
The performance of the work of the Autumn Mini-LAB takes place
on Saturday 19 December. For more information about the project
and the other work of the Young Friends of the Almeida, please
visit www.almeida.co.uk/education and see Young Friends.
Coming up
YFA Projects for Spring/Summer 2010 include: a one-act
play festival featuring work written and performed by Young
Friends, Half-Term Masterclasses and the full performance
of the YFA LAB, to be written by Robin French.
25

HISTORY OF THE ALMEIDA
THE ALMEIDA THEATRE is a 321 seat venue
in the heart of Islington. Built in 1837,
originally as the Scientific and Literary
Institute of Islington, the building has
undergone many reincarnations including a
Victorian music hall, a Salvation Army citadel,
when the balcony was most likely added, and a
factory for carnival novelties.
It was converted and founded as a theatre in 1980 by
Pierre Audi, rapidly building up a reputation for high
quality drama, particularly during the 1990s under the
Artistic Directorship of Jonathan Kent and Ian
McDiarmid.
In 2001 the company relocated to Kings Cross, whilst
major refurbishment took place, providing an entirely
new front-of-house and, through massive excavation,
extra back-stage space. The company returned to
Islington in 2002 under the direction of present Artistic
Director Michael Attenborough.
The Almeida is known worldwide for producing an
adventurous and diverse range of British and
international drama with some of the world’s finest
artists. In its unique space, uniting the epic and the
intimate, the Almeida presents classics (when foreign,
in newly commissioned versions) aiming to reveal
them in a fresh light, alongside brand new plays from
across the English-speaking world.
EXPLORE THE ALMEIDA
The Almeida buiding in 1840
You can find out more about the history of
this fascinating building on our theatre tours.
Led by an experienced guide they offer the opportunity
to explore the depths of the theatre including
backstage, wardrobe, and technical departments.
The tours also look at the history of the building
through its many incarnations up to the present day.
We finish the tours with a complimentary tea or coffee
in the bar.
For more information see www.almeida.co.uk
or to book a place on a tour contact box office on
020 7359 4404.
26
Photo: Ewald van der Straeten

YOUR VISIT
Welcome to the Almeida Theatre
IN THE FOYER
The box office, bar, kiosk and toilets
are all at foyer level.
Access to the Circle is outside and
upstairs through the doors on
Almeida Street. Access to the Stalls
is through the doors in the foyer.
The following are available to buy
from the kiosk in the foyer:
• Playscripts, past & present
• Programmes
• Posters
• Loseley Ice Creams
• Almeida T-shirts
• Copies of The Half by Simon Annand
Infrared headsets are also available
at the kiosk for a small deposit.
Photo: Ewald van der Straeten
EATING AND DRINKING
The Almeida Theatre Bar offers simple, quality dishes prepared in our kitchen, a
great wine list, fine coffees and a relaxed atmosphere, and in the evening
becomes a lively bar for audiences and actors alike.
Light and airy in the daytime, it is an ideal place to meet friends for lunch,
make use of our free Wifi connection, or just relax and read the papers.
The Theatre Bar is open to all. You can visit us from 11.30am – 11pm,
Monday – Saturday, and eat with us between 12 – 7pm.
To beat the rush we recommend that you pre-order your interval drinks
at the bar before the performance.
For further information, or enquiries about hiring the bar please call
020 7288 4900 or visit www.almeida.co.uk
DURING THE
PERFORMANCE
Please take your seats in good time.
There will be a three minute bell
before the start of the performance.
To avoid distracting the performers
and spoiling the performance for
other audience members we ask that
you keep noise to a minimum in the
auditorium and please switch off
mobile phones. We kindly request no
photography or recording equipment
be used in the auditorium.
Plastic cups are available at the bar
and from ushers to enable you to
take drinks or sweets into the
auditorium. We request that you do
not take food in with you.
Strobe lighting, smoke, and gunshots
may be used in some of our
productions. If you would like more
information on stage effects please
ask to speak to the Duty Manager.
Tell us your
thoughts...
Photo: Bridget Jones
We'd love to hear your thoughts on your
experience at the Almeida Theatre and in
particular what you thought of today’s
performance. Please fill in a card in the
foyer, or email us on
marketing@almeida.co.uk
27

JOIN THE
ALMEIDA’S
CIRCLE OF
SUPPORTERS
As a registered charity, the Almeida Theatre
needs to raise £1.2m each year to enable a
programme of work that is bold, risk-taking
and of the highest quality.
With memberships starting from just £50,
you can join our Circle of Supporters scheme
and ensure the continuation of this
programme, providing the means for us to
plan ambitiously for the future.
IN ADDITION YOU CAN BENEFIT FROM:*
· Priority booking
· Advanced mailing
· Exclusive events
· Quarterly newsletter
· Special offers
· Programme accreditation
· Personalised booking
· Access to sold out shows
* Benefits depend on level of support; please
ask for further information about levels
of support and the associated benefits
If you would like to help us and become
more involved with the theatre and its work,
please join our Circle of Supporters today:
CALL Lizzie Stallybrass on 020 7288 4935
EMAIL lstallybrass@almeida.co.uk
VISIT the Almeida Theatre Box Office (Monday – Saturday, 10am – 6pm)
ONLINE almeida.co.uk/supportus
28
The Almeida Theatre is a registered charity no. 282167.
Joseph Mawle in The Last Days of Judas Iscariot.
Photo Hugo Glendinning

N
Name a Seat
“Since 1985 when I first worked at the
Almeida, I have loved acting or watching
others work in this architecturally unique gem
of a theatre. Actors and audiences love its
intimacy and that has to be paid for somehow.
Small spaces cannot survive on ticket sales
alone. For this reason, I named a seat in the
auditorium to help the Almeida continue
producing work of such fabulous quality.
Why not name your seat today too”
Harriet Walter
Minimum suggested donation £1,000
CALL Lizzie Stallybrass on 020 7288 4935
EMAIL lstallybrass@almeida.co.uk
50 seats available for naming. All seats named during the Capital Appeal remain in place. Registered charity number 282167. Photo: Alex Brenner
29

ALMEIDA SUPPORTERS
The Almeida is a truly unique theatre. The world’s finest acting, writing, designing and directing talents produce
some of their best work in our much loved space, ensuring that the theatre is alive each night with performances
that inspire and excite our audiences.
However, the freedom and the means whereby we can be bold, risk-taking and distinctive and able to produce
work of the highest quality, costs money. £3.3m per annum to be precise. Every year we raise £1.2m of that
ourselves – more than box office income or subsidy from Arts Council England.
We are, therefore, hugely reliant upon the financial commitment of a group of very special individuals, trusts and
companies who choose to become involved at the heart of our theatre. Their support ensures that we can plan
ambitiously for the future with security and confidence, whilst keeping ticket prices affordable (with over 40 seats
sold each night for just £8). It also means we can continue to deliver Almeida Projects - our inspirational
programme of work with young people and the local community.
Accordingly, we owe immense thanks to a collection of committed and enthusiastic supporters - many of whom are
listed below and without whose kindness we simply could not exist. I do hope that you too might consider becoming
involved with our wonderful theatre, at whatever level - helping us to continue turning our dreams into reality.
Michael Attenborough
Artistic Director
30
Major Donors
Ormonde & Mildred Duveen Trust
Christophe Gollut
The Ingram Trust
Harvey & Allison McGrath
Georgia Oetker
The Rose Foundation
Legacy Gifts
Arthur Donald Fleming
Clare Hope
Almeida Projects Supporters
National Lottery through Arts
Council England
Sue Baring & Andre Newburg
James & Erica Dickson
The Foundation for
Sport and the Arts
Grocer’s Company Charitable Trust
The Peter Harrison Foundation
J.P. Morgan
Mr & Mrs David Lakhdhir
The Noël Coward Foundation
Pinsent Masons
Jan & Michael Topham
Andrew Wilkinson, Goldman Sachs
Lady Alexander of Weedon
Summer Festival Supporters
American Airlines
Eranda Foundation
Gala Supporters
Anonymous
Berry Brothers & Rudd
Gordon Campbell Gray
Perdita Cargill-Thompson &
Jonathan Martin
G O Cowper-Coles
Sarah & Louis Elson
Eurostar
Stamos J. Fafalios
Joachim Fleury
Mary Francis & Ian Rodger
Mr & Mrs A Geczy
Annie Gosney
Maureen & Derek Harte
Nick Jones
John Kinder & Geraldine Downey
Miss A Kulukundis
David Lanch
Anastasia Lewis
Judith Loose
Annette Lynton Mason
Harvey & Allison McGrath
Moulin Rouge, Paris
Gerry Pack
The Rayne Foundation
The Rickety Charitable Trust
Hilary Riva
Jill & Paul Ruddock
SG Hambros
Carl & Martha Tack
Robert Taylor & Michael Kallenbach
Jan & Michael Topham
John Torode
Sarka Tourres
Megan Whelan
Hilary & Stuart Williams
Artistic Director’s Inner Circle
Eric Abraham & Sigrid Rausing
Mrs Claus von Bulow
Mercedes & Michael Hoffman
Jack & Linda Keenan
John Kinder & Geraldine Downey
Bruce & Suzie Kovner
Midge & Simon Palley
Jon & NoraLee Sedmak
The Williams Charitable Trust
Production Circle
K.L. Breuss & G.P. Burgess
Stamos J. Fafalios
Joachim Fleury
Cathy & Guy Gronquist
The Marina Kleinwort Trust
Paul & Elizabeth O’Hanlon
Rachel & Anthony Williams
Benefactors
Arimathea Charitable Trust
Steve Barnett & Alexandra Marks
Anthony & Andrea Coombs
Ian & Caroline Cormack
Sarah & Louis Elson
Tim Fosberry
Mr & Mrs A Geczy
Lydia & Manfred Gorvy
Barbara & Michael Gwinnell
Susan Hahn & Duncan Moore
Matthew & Severa Hurlock
Carlo Kapp
Charles & Nicky Manby
The David & Elaine Potter
Foundation
Wayne Rapozo
Sarah & Alastair Ross Goobey
Jill & Paul Ruddock
Lord & Lady Simon
Nicola Stanhope
Jan & Michael Topham
Roderick & Melanie Vere Nicoll
Andrew & Juliet Wilkinson
Patrons
Jeffrey Archer
Jane Attias
Keith & Barbara Bain
Iain Barbour
Sue Baring & Andre Newburg
Sir Tim Berners-Lee
Lord & Lady Bernstein
Kate & Colin Birss
Jonathan & Isabel Blake
Tony & Gisela Bloom
Miriam Borchard
Katie Bradford

Perdita Cargill-Thompson &
Jonathan Martin
Richard & Robin Chapman
Mr William Claxton-Smith
Mrs Denise Cohen
Mr & Mrs Stephen Cox
Felicia Crystal
Mr & Mrs Dannenbaum
Sarah Deaves
Angus Deayton
Mr Robert H.F. Devereux
James & Erica Dickson
Robyn Durie
Joel van Dusen
Richard & Linda Ely
Mr Peter Englander
John & Tawna Farmer
Daniel Friel
Jackie & Michael Gee
Jacqueline & Jonathan Gestetner
Richard Gildea
Michael Goddard
David Graham
Nick Gray
Byron Grote & Susan Miller
Andrew Haigh
Pamela, Lady Harlech
Maureen & Derek Harte
Alisdair & Sophie Haythornthwaite
Michael & Morven Heller
Dorothy Henderson
Michael Holland
Michael Holter
Linden Ife
Nicholas & Maria Jones
Nicholas Josefowitz
Mary Kallaher & Matteo Perale
Ralph & Patricia Kanter
Dr & Dr C Kaplanis
Mr Neil King
Mr & Mrs Philip Kingsley
Mr & Mrs David Lakhdhir
Anthony Mackintosh
Mr Raul Margara
Stephanie & Carter McClelland
Mr Julian Mills
Barbara Minto
Diana & Alan Morgenthau
Emily Thornberry MP &
Christopher Nugee QC
The Oyster Foundation
J Francis Palamara
Barrie & Catherine Pearson
Andrea & Hilary Ponti
The Posgate Charitable Trust
Michele Ragazzi
Timothy & Judith Ritchie
William & Julie Ryan
Dr Mortimer & Theresa Sackler
Foundation
Susie Sainsbury
Mr & Mrs Richard J Schwartz
Mrs Carol Sellars
Jennifer Sevaux
The Simon Family
Anthony Simpson & Susan Boster
Norma & David Smith
Rosalyn & Nicholas Springer
David & Tanya Steyn
Adam & Sheri Sticpewich
Mr R D Szpiro
Ms Eileen Taylor
Christian & Sarah Thun-Hohenstein
Lord & Lady Tugendhat
Judith Unwin
Mr P Voyce
Bob & India Wardrop
Lady Alexander of Weedon
Jack & Lina Wood
Mr Neil Woodgate
Michael & Kate Yates
Directors’ Circle
Lorraine Baldry
J & A Benard
Neil & Ann Benson
Nicholas Berwin
Sally A. Bourne
Ms Diana Brant
Anthony Bunker
Barry Burland & Tim den Dekker
Mr Simon Clark
Carole & Neville Conrad
John Crisp
George T Dragonas
Jim & Maureen Elton
Mort & Frannie Fleishhacker
Margaret Ford & John Stewart
Mr Stephen Foss
Anupam Ganguli
David Gestetner & Angela Howard
Annie Gosney & Tim McInnerny
Nick & Fiona Green
The Mimi & Peter Haas Fund
Neville & Veronika Harris
Mr Charles Henderson
Gordon Holmes
Sir Robin & Lady Jacob
Peter & Maria Kellner
London Arts Discovery Tours
Lou & Tony Mallin
Brenda Meldrum
Maggie Mills
David Mitchell
Asha & Trevor Phillips
John & Laurel Rafter
Anthony Regan
Mr Charles Russell
Mr Brian D Smith
Mr W J Smith-Bowers
Tim & Sophia Steel
Dr Miriam Stoppard
Sally Walden
Marilyn & Geoffrey Wilson
Mr & Mrs Roger Wyand
Jonathan Yudkin
Actors’ Circle
J Aldred
Nicola Allpress
Alexander Balcombe
Mr & Mrs Andrew Barnett
Jill Barton
Susan Barty
David & Primrose Bell
Michael & Lesley Bennett
Mr & Mrs Anthony Blee
Lord and Lady Brown of Eaton-
Under-Heywood
Felicity Callinan
Peter & Diana Cawdron
Claire & Ivor Connick
Juan Corbella
Rosamund Shelley, Lady Cox
Robert & Lynette Craig
Paul Cullington
Timothy & Patrcia Daunt
Gill Cutbill & Ged Davies
David Day
José & David Dent
Yvonne Destribats
Mr R J Dormer
Mrs Denise Esfandi
Mr Alan Fenton
Robert & Clare Gray
Brian & Rosita Green
Ms Judy Green
Graeme & Fiona Griffiths
Sheila & John Harvey
Douglas Hawkins
Ms Clodagh Hayes
Ms Sioban Healy
Martin & Alicia Herbert
Rob & Sally Hull
Joyce Hytner
Tamara Ingram
Latifa Kosta
Byron Lang
Mr Roger Lascelles
Mr & Mrs B Lesslie
Janet Martin
Stephen & Nan-Yeong Matthews
The Morris-Jones Family
Ms Jane Norbury
Mr Richard Polo
Sophia Rauf
Jan Ravens
Mary Robey
David Rocksavage
Mr G C Rodopoulos
Julian & Catherine Roskill
Dr & Mrs Saggar
Barry Serjent
Dasha Shenkman
Sue and Stuart Stradling
Christoph & Marion Trestler
Mr William Underhill
Nicholas Watkinson
Frank & Denie Weil
Mr C C Wright
Designers’ Circle
Raymond A Adams
Mr Aherne
Mr Simon Aldridge
D J Almeida
Mr & Mrs Arkwrighht
Mrs Carole J Armstrong
Zac & Lucy Barratt
Christopher Benson
Rita & Ian Binder
Mr & Mrs Boesch
Mr M R Bowley
Stuart Brand
Gerald Brawn
Mandy Bridger
Sir Rodney Brooke
Ossi & Paul Burger
Dr Nigel Burton
Mrs R J A Carawan
Tiana Everett del Castillo
Geraldine Caulfield
Lady Cazalet
Mr & Mrs P Chappatte
Mr S J Clayman
Mr T Coldrey
John & Rosemary Coldwell
Jonathan Crow
Mr & Mrs Andrew Cunningham
Mrs Pamela Curwen
Professor Philip David
Dr Sheilagh Davies
Graham & Christine Dawson
Justin & Emma Dowley
Mr Kendall Duesbury
Miss Sally England
Mrs Joy Eve
Mark Everett
Lindy Fletcher
Tony & Jane Fogg
Mr P L Folmer
Judith Foy
Amanda Gestetner
Bobbie Ginswick
Jonathan Glasson & Jamie Lake
Janine Goedert
Andrew & Karen Goldstone
Ms S J Goodman
Mr Ian Grant
Reade & Elizabeth Griffith
Grouse Investment
Nerissa Guest
Debby Guthrie
Miss Celia Hall
Mr Martin John Hall
Maurice & Valerie Halperin
Sophie Hanscombe
Rosemary Hanson
Dr & Mrs Michael Harding
Andrew & Anita Harper
Crawford & Mary Harris
Jonathan & Hélène Haw
Polly Hester
Professor Dame Joan Higgins
Andy & Janelle Hill
Jane Hill
Caroline & Charles Hebbert
Mr Lew Hodges
Madeleine Hodgkin
Mrs Rosemary Hood
Sam Howard
Rachel Ingalls
Dan Ison
Christine Jay
31

Professor Norman Joels
Mrs M Johnston
Mr Simon Jones
Brian & Janet King
Dr Andrew J Kisiel
Sarah & Christopher Knight
Ruth & Peter Kraus
Kudos Film and Television
Mrs A Lampert
Mr David Lanch
David John Langrish
Jacqui Lavy
Alan Leibowitz & Barbara Weiss
Colette & Peter Levy
Mr Dennis M Levy
Susan & Steven Licht
Mr & Mrs LE Linaker
Paul & Brigitta Lock
Mr Juan Manuel Lopez Eiris
C & I Maggs
Donald & Sally Main
John McGinley
Lynette & Willie McKechnie
Ms A Millar
Ms Tessa Moloney
Alex & Susan de Mont
Paula Morris
Steve Morrison
Sean Murphy
Mrs VG Murray
Mr & Mrs Myddleton
Dr Venetia Newall
Ray & Sarah O’Connell
Ellie Packer & Bob Freidus
Nigel Pantling
Ms Sara Parkin
Mrs Joyce Parsons
Mr Duncan Perry
Nick Perry
Professor Brice Pitt
Mr John Nevil Plant
Preben & Annie Prebenson
Oliver Prenn
Mrs Caroline Price
Sue Prickett
Dennis Pyser
Darren Quigg & Irina Hemmers
Mrs E E Randall
Dr Susan Rankine
Ms Ruth Rattenbury
Ms Ali Rea
Liz & Nick Reeve
Mrs Kathleen Reeve
Christopher Marek Rencki
Mrs Mary Rendall
Anthony Rhodes
Clare Rich
Robin Roads
RobynCeleste
Anthony Rudd
Mrs Susan Rudeloff
Christopher & Alison Samuel
Simon & Abigail Sargent
Schon Family Charitable Trust
Gilly Schuster
Dr Sennett
Mr Naveed Shah
Mrs Susan Shammas
Mr T W Sharp
Justin Shinebourne &
Laurence Chaussinand
Elaine & English Showalter
Jonathan Silver
Mark Silverstein
Peter & Moira Smith
Mrs L Spitz
Nick & Louise Steidl
Mr AP & Mrs M T Stirling
Julian & Maria Sturdy-Morton
Anne & Paul Swain
Peter Taylor
Andrew & Deirdra Threadgold
Monica Tross
The Lady Marina Vaizey
Anne & Robert Van Gieson
Ms Donna Vinter
Mr Andrew Wales
Lady Ward
Sue & Alan Warner
Mr Tim Watson
Mr John Welz
Paul Wheeler
Susan & Charles Whiddington
Miss Lisa Whiffen
Mr Widdis
Dr Peter Willis
Ms Ann E F Wingate
Mr & Mrs D Woolf
We would also like to thank the
many generous Friends of the
Almeida Theatre, whom we are
unable to list individually
We would like to thank the following individuals for their dedication and support.
Ambassadors
Sue Baring
Sarah Elson
Stamos J. Fafalios
Rick Haythornthwaite
Jack Keenan
Georgia Oetker
Nigel Pantling
Jessica de Rothschild
American Friends of the Almeida
Theatre Trustees
Kenneth David Burrows
A. Michael Hoffman
William Palmer
Gala Committee Chairs
Jessica de Rothschild
Shakespeare’s Women Gala
Jamie Arkell & Lise Mayer
Cabaret Gala
Juliet Wilkinson
Chain Play II
Martha Tack
A Chain Play
Saffron Burrows & Sydney Finch
The Hypochondriac
Individual Giving Committee
Martha Tack
Chair
Jamie Arkell
Christophe Gollut
Andrew Haigh
Dorothy Henderson
Sam Howard
Linda Lakhdhir
Sheri Sticpewich
Judith Unwin
Local Liaison Committee
Nicky Manby
Chair
Jenny Black
Annie Edge
Rob Edge
Susan Hahn
Caroline Hoare
Linden Ife
Lynn Lomas
Clare Parsons
Joan Rogers
Demelza Short
Sarah Whitehead
Corporate Council
Rick Gildea
Chair
Joachim Fleury
Frederick Goetzen
Tamara Ingram
Dan Ison
Elizabeth Nolan
Andrew Wilkinson
Thelma Holt & Damian Lewis
Macbeth
Christophe Gollut
Judgment Day
Awake and Sing!
Blood Wedding
Love Counts
Jessica de Rothschild
The Lady From The Sea
Have you ever thought about supporting the Almeida Theatre with a legacy
Leaving a legacy is a very special way of ensuring that your tradition of
support for the Almeida Theatre continues for years to come, allowing
us to provide enriching theatrical experiences which will engage future
generations.
Development Photographer
Alex Brenner
You can include the Almeida Theatre in your Will by directing your gift
to the Almeida Theatre Company Limited, registered charity number
282167.
32
For any information concerning legacies please contact Lizzie Stallybrass at lstallybrass@almeida.co.uk or 020 7288 4935.

ALMEIDA CORPORATE
SUPPORTERS
“A small stage where giants play” The Times
Principal Sponsor
Corporate Partners
Local
Corporate Partners
Major Sponsors
WHY SPONSOR THE ALMEIDA THEATRE
The Almeida Theatre is exceptional. Our name is associated with critically acclaimed, award-winning productions, around
which we create tailored packages for our sponsors. Corporate Supporters benefit from affordable and valuable
sponsorship and entertaining packages for small to large scale organisations that include:
• Unique entertaining opportunities with the Almeida’s first-class casts and creative teams
• Branding, marketing and profile raising opportunities
• CSR fulfilment via Almeida Projects: the theatre’s creative exchange with young people
To learn more about how the Almeida can meet your business needs, please contact Katya Evans on 020 7288 4932 or
kevans@almeida.co.uk
www.almeida.co.uk/supportus/corporatesupport
33

ISLINGTON FIRST & UNDER 30s
Be among the first to see the Almeida Theatre’s new productions
If you live or work in the Islington area or are under 30
you can take advantage of special ticket prices for our
opening performances.
Islington First: best available seats for £20
Under 30s: best available seats for £15
The offers are valid for the following performances:
MEASURE FOR MEASURE 12 – 17 February 2010
RUINED 15 – 21 April 2010
THROUGH A GLASS DARKLY 10 – 15 June 2010
These offers are based on seats usually priced £29.50 or £22.
Eligible postcodes for Islington First are N1, N4, N5, N6, N7, N19, EC1.
Proof of address (for Islington First) or age (Under 30s) will be required
when collecting tickets.
Tickets are limited and subject to availability.
A NIGHT LESS ORDINARY
Free theatre tickets for Under 26s
Through Arts Council England’s A Night Less Ordinary
initiative we are able to offer a limited number of free
tickets to people under 26 for most performances
Monday – Thursday. Tickets can be booked by phone or
in person; for full instructions, availability, terms and
conditions see almeida.co.uk/under26
15 Jan – 20 Feb
By Anton Chekhov
A version by Christopher Hampton
Directed by Sean Holmes
& Filter
Hope, despair and vodka
Together Sean Holmes and Filter distil
the essence of Chekhov’s classic
in an evocative new version.
Tickets £10 - £25
Book Now 0871 22 117 22*
www.lyric.co.uk
*Calls cost 10p per min from a BT landline, calls from other networks may vary.
No booking fees.
A LYRIC HAMMERSMITH AND FILTER PRODUCTION
Filter
34
Lyric Hammersmith, Lyric Square, King Street,
London W6 0QL Registered Charity, No. 278518
Design: ON.Studio
With thanks to: Wisconsin Historical Society

14:13
COMING NEXT TO THE DONMAR
11 FEBRUARY – 27 MARCH 2010
1 APRIL – 22 MAY 2010
Serenading Louie
by Lanford Wilson
ALSO ON TOUR IN THE UK
The Lowry, Salford Quays:
30 March - 3 April 2010
Curve, Leicester:
6 April - 10 April 2010
Hall for Cornwall, Truro:
13 April - 17 April 2010
POLAR
BEARS
by mark haddon
PRODUCTION SUPPORTER
Joanna & Daniel Friel
BOX OFFICE 0844 871 7624 | donmarwarehouse.com
41 EARLHAM STREET, SEVEN DIALS, LONDON WC2
All phone and online bookings are taken by ATG with a £2.50 transaction fee.
PRINCIPAL SPONSOR
39

For reassuringly
good performances
from Savills
Savills is proud to be a Local Corporate Partner
of the Almeida and we look forward to our
ongoing association with the theatre.
Savills Islington
94 Upper Street
London N1 0NP
020 7226 1313
islington@savills.com
savills.co.uk
40

LEGAL ADVICE IN THE SPOTLIGHT
PROUD SPONSORS OF THE ALMEIDA THEATRE
www.pinsentmasons.com
© Pinsent Masons LLP 2009