Changing Destiny Programme

Check out our digital programme for Changing Destiny which is full of behind the scenes photos and videos!

Check out our digital programme for Changing Destiny which is full of behind the scenes photos and videos!


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BEN OKRI<br />



CAST<br />

Character Joan Iyiola<br />

Character Ashley Zhangazha<br />

Across the performance run, cast members Joan Iyiola and Ashley Zhangazha<br />

will share the role of Sinuhe, with a game played on stage at the start of each<br />

performance dictating who will play the role in that show.


Writer<br />

Ben Okri<br />

Director<br />

Kwame Kwei-Armah<br />

Set and Costume Designer<br />

Sir David Adjaye<br />

and Adjaye Associates<br />

Lighting Designer<br />

Jackie Shemesh<br />

Sound Designer<br />

and Musical Director<br />

XANA<br />

Projection Designer<br />

Duncan McLean<br />

Composer<br />

Tunde Jegede<br />

Movement Director<br />

Rachael Nanyonjo<br />

Voice and Dialect Coach<br />

Hazel Holder<br />

Fight Director<br />

Yarit Dor<br />

Jerwood Assistant<br />

Director<br />

Khadifa Wong<br />

Boris Karloff Trainee<br />

Assistant Director<br />

Xanthus<br />

Mime Consultant<br />

Marcello Magni<br />

Casting support<br />

Charlotte Sutton CDG<br />

Additional film and voice<br />

Rakie Ayola<br />

Ebe Bambgoye<br />

Doña Croll<br />

Kobna Holdbrook-Smith<br />

Company Stage Manager<br />

Debra Tidd<br />

Deputy Stage Manager<br />

Mary O’Hanlon<br />

Assistant Stage Manager<br />

Stefani Zivanic<br />

Costume Supervisor<br />

Sarah Hamza<br />

LX <strong>Programme</strong>r<br />

Jason Addison<br />

LX <strong>Programme</strong>r and<br />

Lighting Operator<br />

Saul Richardson<br />

Sound Operator<br />

Xander Smith<br />

Wardrobe Manager<br />

Maddie Bevan<br />

Stage Operator<br />

Glyn Dodd<br />

Video <strong>Programme</strong>r<br />

and System Engineer<br />

Dan Trenchard<br />

Hair for Joan Iyiola<br />

styled by<br />

Purely Natural Salon<br />

Make Up for filming<br />

Sam Lascelle<br />

Video <strong>Programme</strong>r<br />

Jack Jewell<br />

Animators<br />

Stanley Orwin-Fraser<br />

Bradley Purnell<br />

Video Equipment Supplier<br />

Stage Sound Services<br />

Film Equipment Supplier<br />

Kagey Lightin<br />

With thanks to: Holly Aston, Duncan Wilson, Ed Cooper, Dan Bond, Sub Pac Company and Steve Snooks, Edith<br />

Nazziwa, Gertrude Najjombwe, Malwah Family, Imogen Sarre, Roman Bednarz, Enric Ortuno, Tom Ilube, Jo Braun,<br />

Primo Productions, Claw Collective, Luke Shires, Becky Pepper, TEA Creatives, LLoyd Stringer, Sarah Stratton<br />

Khadifa Wong is supported by the Jerwood Assistant Director Program at the Young Vic.<br />

Xanthus is supported by the Boris Karloff Trainee Assistant Director Program at the Young Vic.<br />



by Ben Okri<br />

This play, <strong>Changing</strong> <strong>Destiny</strong>, takes its<br />

life from a 4000-year-old poem from<br />

ancient Egypt. The poem is called Sinuhe.<br />

There are some who see the poem as the<br />

unknown precursor of many legends that<br />

are part of the world’s narrative tradition.<br />

But the poem, composed during the middle<br />

kingdom, a period considered the height<br />

of ancient Egyptian literary culture, and<br />

unread for three and a half millennia,<br />

retains an uncanny ability to speak to<br />

our times. It is this quality that makes it<br />

fascinating.<br />

Anyone who has an abiding interest in ancient<br />

Egypt would see it as part of the history of African<br />

civilisations. There seems to have been concerted<br />

attempts to separate ancient Egypt from Africa. Here<br />

we have a civilisation conceived on an exalted plane,<br />

but whose most famous literary text is about identity,<br />

immigration, social disorder, the mystery of power,<br />

changing fortunes, and the inexplicability of the deep<br />

motives of our actions. In a strange way, Sinuhe<br />

foreshadows Hamlet. In its meditation on the nature<br />

of exile and homecoming, it foreshadows The Odyssey.<br />

A casual encounter with Kwame Kwei-Armah at an<br />

event about Mandela led to a conversation about<br />

Sinuhe. The discovery of a mutual interest in this<br />

poem led to the realisation that there was something<br />

intrinsically dramatic about the poem, and that it<br />

would make a striking play that resonates powerfully<br />

with our times.<br />


The writing was begun in the spring of 2019; other drafts<br />

were written during the long lockdown. What began as a play<br />

about power, the ancient world, and immigration, became<br />

focussed on the curious destiny of Sinuhe. The play absorbed,<br />

in the indirect way these things do, many of the underlying<br />

currents of our times. It opens with conspirators plotting to<br />

assassinate a toxic leader, then it delves into the condition<br />

of exile and immigration. But at its heart is something that<br />

has fascinated us since the earliest days of civilisation: the<br />

mystery of what makes us human. What are our constituent<br />

parts, what are we made of, what is it that is most authentic<br />

about us, and what is it in us that we sacrifice on the<br />

relentless path of survival and achievement?<br />

Like all ancient cultures, the ancient Egyptians believed<br />

that human beings are composed of two selves, which they<br />

roughly designated the BA and the KA. The metaphysics<br />

of these terms are too complex to go into here, but they<br />

are a fundamental aspect of what we are. In Hinduism, in<br />

Christianity, in most African traditions, these aspects that<br />

make up human beings have their clear designation. The<br />

ancient Greeks, according to Plato, saw that we are body,<br />

pnumena, and spirit. The Chinese use the same word Chi<br />

to designate a mysterious force in us that the Igbos use to<br />

refer to one’s personal spirit. This concept runs through<br />

most cultures. It is worth remembering that the scribe in<br />

whose tomb the papyrus containing Sinuhe was found also<br />

transcribed a poem called ‘A Man’s Dialogue with his Soul.’<br />

In <strong>Changing</strong> <strong>Destiny</strong> there is the idea that one can sin<br />

against one’s spirit, that one can perform acts that separate<br />

one from one’s essential, or authentic, self. In our time we<br />

are just as haunted by the idea of authenticity. We celebrate<br />

our heroes and heroines to the degree that they live out their<br />

authentic choices.<br />

In the original poem, there is an enigma as profound and<br />

perhaps more baffling than the enigma at the heart of Hamlet<br />

or Oedipus Rex. With Hamlet it is the conundrum of the ghost<br />

and its effect on Hamlet’s constant delays in exacting revenge<br />

for the murder of his father. With Oedipus Rex it is the<br />

enigma of the immutability of destiny itself. With Sinuhe,<br />

it is the question of a mysterious flight and an assumed<br />

guilt, and the impact this has on the rest of his life. The<br />

assumption of guilt when one has not done the thing for<br />

which one feels guilty is a very modern phenomenon. Kafka<br />

is perhaps its greatest modern exponent. Sinuhe anticipates<br />

Kafka by nearly four thousand years.<br />

Such a work hints at something universal about the human<br />

condition. Since the dawn of time, we have known what it is<br />

like to have to find a way to live and thrive under a sky different<br />

from the one under which we were born. We have known what<br />

it is like to make existential decisions that alter, forever, the<br />

tone and nature of our lives. The eternal questions pursue us<br />

whether we are at home or are exiles. We all feel in our blood<br />

an attachment to our lands. We all feel that something is lost in<br />

us when we are unduly severed from it.<br />

Literature makes us aware of the invisible umbilical cords<br />

that connect us to the universe, to the land, and to our<br />

communities. In both the ancient and the modern world the<br />

nature of home is complex and undergoes constant mutation.<br />

Historical events alter all things. A single war can shift the<br />

configuration of what we call home. Today you are free, but<br />

tomorrow finds you a refugee.<br />

The fugitive nature of human certainties gives us cause to<br />

wonder. The urge to alter one’s destiny, in a world over which<br />

one has little control, is as old as humanity itself. <strong>Changing</strong><br />

<strong>Destiny</strong>, taking the poem as its starting point, explores these<br />

themes. But it leaps off into its own discoveries.<br />

A silent mantra runs through this production. It emerged in the<br />

close collaboration with Kwame Kwei-Armah and the actors.<br />

Within the lightness of the lines are sublimated worlds.<br />

All is real, yet all is dream. A person who fled for reasons that<br />

they do not know, arrives at somewhere they did not expect,<br />

where the synthesis which is at the core of a great civilisation is<br />

at the root of a new genesis.<br />


4 Photographer: Marc Brenner







Previous Young Vic: Tree, A Season In The Congo.<br />

Other theatre includes: The Duchess of Malfi, A Midsummer Night’s<br />

Dream, The White Devil, The Arden of Favesham, The Roaring Girl,<br />

The Life of Galileo, Boris Godunov, The Orphan of Zhao (RSC); Three<br />

Guineas, Boudica (Shakespeare’s Globe); The Convert, Eclipsed, The<br />

Rise and Shine of Comrade Fiasco (Gate Theatre), They Drink it in the<br />

Congo (Almeida), Omeros (Shakespeare’s Globe & St Lucia Tour).<br />

Television includes: Too Close (ITV), Enterprice S1 &2 (BBC/<br />

Netflix), Black Earth Rising (BBC/Netflix), New Blood (BBC/Netflix),<br />

Yonderland (Sky).<br />

Film includes: Twice as Good, DỌLÁPÒ . IS FINE, A Fortress Built By<br />

Nature, Don’t Come Here, Nyx, Words, Show Dogs, Denial.<br />

Joan is co-founder of The Mono Box, a non-profit arts organisation that<br />

supports and nurtures the development of emerging and professional<br />

talent with workshops and courses, digital resources and new writing<br />

opportunities most notably, RESET THE STAGE and PLAYSTART.<br />

Joan is also co-founder of Apatan Productions, under which she cowrote,<br />

produced and acted in DỌLÁPÒ . IS FINE (HBO/Netflix), and<br />

was the awarded HBO Short Film Award for 2020. Joan is part of<br />

BFI Network x BAFTA’s Crew for 2021, and is an Associate Artist at<br />

Donmar Warehouse.<br />

Previous Young Vic: Ah, Wilderness!<br />

Other theatre includes: Tina The Musical (Aldwych Theatre); Death<br />

of a Salesman, Guys & Dolls, Hamlet (Royal Exchange); Pericles<br />

(National Theatre); The Country Wife (Chichester Festival Theatre);<br />

Terror (Lyric Hammersmith); The Lottery of Love (Orange Tree<br />

Theatre); Human Animals, Belong, Truth and Reconciliation (Royal<br />

Court); A Raisin in the Sun (Sheffield Crucible/Eclipse Theatre<br />

Company); Image of an Unknown Young Woman (The Gate); Henry V<br />

(Michael Grandage Company); Fences (Duchess Theatre/Theatre Royal<br />

Bath); Macbeth (Sheffield Theatres (Crucible)); Richard II, King Lear<br />

(Donmar); Danton’s Death (National Theatre).<br />

Television includes: Darkness Rising (Channel 4), Manhunt (ITV/<br />

Buffalo Pictures), Victoria II (Mammoth Screen), Doctors (BBC),<br />

Humans (Channel 4), Ordinary Lies, Lenny Goes To Town (BBC),<br />

Axon (BBC/Illumina Digital).<br />

Radio includes: Schreber, Lorenzaccio (BBC Radio 3), Rasselas, Prince<br />

of Abyssinia (BBC Radio 4).<br />

Film includes: Parlour Games (Short).<br />

Ashley won the UK Theatre Award for Best Performance in a Musical<br />

for Guys and Dolls at the Royal Exchange, and the Ian Charleson Award<br />

for Macbeth at the Sheffield Crucible. He trained at the Guildhall<br />

School of Music and Drama.<br />



We commissioned photography by artist,<br />

photographer and former Young Vic Young<br />

Associate Jamel Duane Alatise<br />


BEN OKRI<br />

WRITER<br />

Ben Okri is a poet, novelist, and<br />

playwright. His novel, The Famished<br />

Road, won the Booker Prize in 1991.<br />

His works have been translated into<br />

27 languages. He wrote a much<br />

acclaimed adaptation of Camus’s The<br />

Outsider for the Coronet in London<br />

and his play Madame Sosostris was<br />

performed to full houses at the Pullof<br />

Theatres in Lausanne, Switzerland.<br />

His latest novel is The Freedom Artist<br />

and his latest volume of stories is<br />

Prayer for the Living, both published<br />

in 2019. A new collection of his poems<br />

A Fire in my Head was published in<br />

January 2021.<br />



Kwame Kwei-Armah OBE is Artistic<br />

Director of the Young Vic theatre. He<br />

was Artistic Director of Baltimore<br />

Centerstage (2011-18) and Artistic<br />

Director of the Festival of Black Arts<br />

and Culture, Senegal (2010), where<br />

he wrote and directed the opening<br />

ceremony at Senghor stadium. As<br />

a playwright, Kwame was the first<br />

African Caribbean to have a play<br />

produced in London’s West End<br />

(Elmina’s Kitchen). His triptych of<br />

plays was produced at the National<br />

Theatre, where he later created<br />

the online resource The Black Play<br />

Archive. Kwame was Chancellor of the<br />

University of the Arts, London (2010-<br />

2015), is Patron of Ballet Black, and<br />

The Black Cultural Archives, Chair<br />

of Warwick Arts Centre Advisory<br />

Board and Fellow of Lady Margaret<br />

Hall, Oxford University. Kwame was<br />

awarded an OBE for Services to Drama<br />

in 2011, and in 2020 listed as one of<br />

100 Great Black Britons.<br />



Architecture Projects: Smithsonian<br />

National Museum of African American<br />

History & Culture (Washington DC),<br />

Abrahamic Family House (Abu Dhabi,<br />

UAE), Ruby City (San Antonio, Texas),<br />

Cherry Groce Memorial Pavilion<br />

(London, UK), Sugar Hill Mixed-Use<br />

Development (Harlem, New York),<br />

Moscow School of Management<br />

SKOLKOVO (Moscow, Russia), Aishti<br />

Foundation (Beirut, Lebanon), George<br />

Street Plaza Building (Sydney,<br />

Australia), Idea Stores (London, UK),<br />

National Cathedral of Ghana (Accra,<br />

Ghana), Edo Museum of West African<br />

Art (Benin, Nigeria), Princeton<br />

University Art Museum (Princeton,<br />

New Jersey).<br />

Exhibitions and Installations:<br />

Asaase, Social Works (Gagosian),<br />

Sankofa Pavilion: Is this Tomorrow?<br />

(Whitechapel Gallery), Ghana<br />

Freedom Pavilion (58th Venice Art<br />

Biennale), Making Memory (Design<br />

Museum), Magdalene Odundo: The<br />

Journey of Things (Sainsbury Centre<br />

for Visual Arts).<br />

Awards: RIBA Gold Medal (2021),<br />

World Economic Forum’s 27th Annual<br />

Crystal Award (2021), Isamu Noguchi<br />

Award (2020), Louis Kahn Memorial<br />

Award (2018), Ghana Legacy Honors<br />

Impact in Architecture (2017).<br />



Previous Young Vic: In the Penal<br />

Colony, Man, Oh my Sweet Land.<br />

Other theatre includes: Death of<br />

England, Hansard, Death of England:<br />

Delroy (National Theatre); Misty, The<br />

Beloved, Islands (Bush Theatre); What<br />

if Women Ruled the World, Ceremony<br />

(MIF); Vanya, Mary Stuart (Almeida);<br />

The Seagull (Jamie Lloyd Company);<br />

The Return of Danton (Collective<br />

Ma’louba).<br />

Dance includes: Heavy Handed we<br />

Crush the Moment (Jamila Johnson-<br />

Small); Run Mary Run (Sadler’s<br />

Wells); Goat (Rambert); The<br />

Murmuring, Young Men (BalletBoyz);<br />

Beheld, Hot Mess, Let’s Talk About<br />

Dis (Candoco Danc); Girl A (Scottish<br />

Dance Theatre); Lunatic (NDC Wales).<br />

Other collaborations include:<br />

Il ritorno d’Ulisse in patria (Grange<br />

Opera); Recital for Cathy, From<br />

Canyons to Stars (Hamburg Symphony<br />

Orchestra); TUTBU TV, JRMIP<br />

(Hebbel Berlin;) Sante (LSO).<br />

jackieshemesh.com<br />

XANA<br />



Previous Young Vic: TWENTY,<br />

TWENTY, Fairview, Ivan and the<br />

Dogs.<br />

Other theatre includes:<br />

The Body Remembers (Fuel<br />

Theatre); Strange Fruit (Bush<br />

Theatre); Blood Knot (Orange<br />

Tree Theatre); Burgerz (Hackney<br />

Showroom).<br />

Installation includes: Joy Inside<br />

Our Tears (Harold Offeh, Wellcome<br />

Collection).<br />

Film includes: A Reunion of<br />

Hands (Sonny Nwachukwu, dir. Myah<br />

Jeffers Brownton Abbey), Reset the<br />

Stage (Mono Box Productions), House<br />

Made of Tin (Raisa Kabir), Hope<br />

and Her Two Daughters (dir. Tobore<br />

Dafiaga), A Response to your message<br />

(Somalia Seaton).<br />



Previous Young Vic: Tree (Mif/<br />

Young Vic) and The Jungle.<br />

West End theatre includes: Magic<br />

Goes Wrong (Vaudeville); Labour Of<br />

Love (Noël Coward); Big Fish (The<br />

Other Palace); Committee, Saint Joan,<br />

Limehouse, One Night In Miami...,<br />

Privacy, City Of Angels and Phyllida<br />

Lloyd’s Shakespeare Trilogy, Julius<br />

Caesar, Henry VI and The Tempest<br />

(Donmar Warehouse);All My Sons, The<br />

Hairy Ape, A Flea in Her Ear, The<br />

Tempest, The Real Thing, The Norman<br />

Conquests and All About My Mother<br />

(Old Vic); Shrek The Musical (Theatre<br />

Royal Drury Lane/UK Tour); Derren<br />

Brown – Infamous (Palace/UK Tour);<br />

All New People (Duke Of York’s/UK<br />

Tour);Frost/Nixon (Gielgud).<br />

New York theatre includes: Matthew<br />

Bourne’s The Red Shoes and Swan<br />

Lake (City Center); Privacy (Public<br />

Theater); The Jungle and The Tempest<br />

(St Ann’s Warehouse); Let It Be (St<br />

James).<br />

International theatre includes:<br />

Starlight Express (Bochum, Germany);<br />

Chess (Japan); Bodyguard The Musical<br />

(Australia/North America/Europe/<br />

China/Korea); Evita (International<br />

Tour); Ghost The Musical (Germany).<br />




Theatre includes: Who Am I?; Emidy:<br />

He Who Dared To Dream; The Griot’s<br />

Tale; African Messiah; Tell Them<br />

That I Am Young And Beautiful;<br />

Red Fortress; Baby Balloon; Cry of<br />

Innocence; The Prophet; Othello.<br />

Television includes: African<br />

Apocalypse; Winged Bull in the<br />

Elephant Case; Hopes on the Horizon;<br />

Africa I Remember.<br />

Film includes: African Apocalypse;<br />

Khartoum Offside; In Search of<br />

Voodoo: Roots to Heaven; 93 Days;<br />

Mission Impossible: Rogue Nation;<br />

Waking At Dawn; Agadez, The Music<br />

and the Rebellion; The First Grader;<br />

Ara’s Sojourn; The Nanny Diaries; Our<br />

Story, Our Voice; To The Unknown;<br />

Life & Lyrics; The Idea; 500 Years<br />

Later; Fantôme Afrique; Tunde; Franz<br />

Fanon: Black Skin, White Mask.<br />

www.tundejegede.org<br />



Previous Young Vic: In a Word,<br />

American Dream, The Jumper Factory<br />

(Young Vic, Bristol Old Vic).<br />

Other theatre includes: Death of a<br />

Black Man (Hampstead Theatre);<br />

Cinderella (Nottingham Playhouse);<br />

Spine (20 Stories High); Great<br />

Expectations (National Youth Theatre<br />

at Southwark Playhouse); Either<br />

(Hampstead); Two Trains Running<br />

(ETT – Royal & Derngate);Does My<br />

Bomb Look Big In This (Soho Theatre,<br />

Tara Arts); Babylon Beyond Borders<br />

(The Bush Theatre); Macbeth (Orange<br />

Tree); Misty (Trafalgar Studios)<br />

Olivier Award Nominated; Sleeping<br />

Beauty (Theatre Royal Stratford<br />

East) Nominated For The Black<br />

British Theatre Best Choreographer<br />

Award; After It Rains (National Youth<br />

Theatre); Shebeen (Nottingham<br />

Playhouse & Theatre Royal Stratford<br />

East); Bernstein’s Mass (Royal<br />

Festival Hall, Southbank Centre);<br />

Twilight (Gate Theatre); The Divide,<br />

Cover My Tracks (Old Vic).<br />

Television include: CBeebies:<br />

Christmas In Storyland (BBC, 2020).<br />

Film includes: The Statistical<br />

Probability of Love at First Sight<br />

(Ace Entertainment, 2021); Pirates<br />

(Hillbilly Films/ BBC/BFI, 2020).<br />



Previous Young Vic: Death of a<br />

Salesman, The Convert, Fairview, The<br />

Emperor, The Mountaintop, Cuttin’ It,<br />

The Sleeping Beauty.<br />

Other theatre includes: Uncle Vanya<br />

(Harold Pinter); Pass Over (Kiln);<br />

Death of England: Delroy, Death of<br />

England, Small Island, Nine Night,<br />

Barber Shop Chronicles, Pericles,<br />

Angels in America, Les Blancs<br />

and Ma Rainey’s Black Bottom<br />

(National Theatre); Richard II (Sam<br />

Wannamaker Playhouse); Dreamgirls<br />

(Resident Director) (Savoy); Ear for<br />

Eye, Poet in Da Corner, Father Comes<br />

Home from the Wars (Royal Court).<br />

TV includes: The Power.<br />

Film includes: Small Axe; Silent<br />

Twins; Death on the Nile (Letitia<br />

Wright).<br />



Previous Young Vic: Death of A<br />

Salesman (Young Vic & West End<br />

Transfer also credited as additional<br />

movement support and Intimacy<br />

Director), Wild East (also Movement<br />

Director).<br />

Other theatre includes: Richard<br />

II, Hamlet, As You Like It, Much<br />

Ado About Nothing (Shakespeare’s<br />

Globe); Miss Julie (Storyhouse),<br />

Strange Fruit (Bush Theatre); Daddy<br />

(Almeida); Macbeth (Royal Exchange<br />

Manchester); Assata Taught Me (Gate<br />

Theatre); The Effect (Boulevard<br />

Theatre); Romeo & Juliet, As You<br />

Like It, Midsummer Night’s Dream<br />

(Shakespeare In The Square); Little<br />

Voice, Disgraced (Park Theatre);<br />

Titus Andronicus (Greenwich<br />

Theatre).<br />

Dance includes: Rooms (Rambert);<br />

Between A Self And An Other, Leah,<br />

2B, Sunday Morning (all Hagit Yakira<br />

Company)<br />

Television includes: Adult Material,<br />

Atlanta Season 3, Superhoe,<br />

Girlfriend Experience 3, The Wheel of<br />

Time, Spanish Princess 2, Becoming<br />

Elizabeth, Domina, White Lines,<br />

Starstruck.<br />

Film includes: The Colour Room, Born<br />

of Hope.<br />




Other theatre includes: HOW I<br />


ROPE, La Gringa, Adventurous (Jermyn<br />

Street Theatre), BLACK WOMEN<br />

DATING WHITE MEN (Hollywood<br />

Fringe, The Drayton Arms).<br />

Film includes: Uprooted – The Journey<br />

of Jazz Dance.<br />

The Jerwood Assistant Director Program<br />

is made possible by<br />




Theatre includes: The Gin<br />

Game (Chiswick Playhouse); Love<br />

Always Wins (Uproot<br />

Productions); PYNEAPPLE (Paradise<br />

by Way of Kensal Green), So Long,<br />

Babe (CLF Arts Cafe); Care (Working<br />

Laboratory) The Bunker Theatre.<br />

Film includes: Posters (Mountview)<br />

Assisted on: A Moment’s Peace (The<br />

Hope Theatre).<br />

The Boris Karloff Trainee Assistant Director<br />

Program is made possible by the Boris Karloff<br />

Charitable Foundation.<br />



10 Photographer: Marc Brenner


<strong>Programme</strong> design: Eureka! Design Consultants Ltd<br />


We produce new plays, classics, musicals,<br />

adaptations of books, short films, digital projects<br />

and game-changing forms of theatre. We tour and<br />

co-produce within the UK and internationally.<br />


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some of the world’s finest directors, performers<br />

and creatives, making productions that say much<br />

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activities. For many years, the Young Vic has been<br />

synonymous with inclusivity, accessibility and<br />

creativity. We keep our prices low and give 10% of<br />

our tickets to young people, schools and neighbours<br />

irrespective of box office demand.<br />


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Each year we engage with over 15,000 local people –<br />

individuals and groups of all kinds including schools and<br />

colleges – by exploring theatre on and off stage. From<br />

time to time we invite our neighbours to appear on our<br />

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By co-producing with leading theatre, opera, dance,<br />

film and TV companies from London and around<br />

the world, we create shows neither partner could<br />

achieve alone.<br />

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in England No. 1188209. VAT registration No. 236 673 348<br />



Artistic Director<br />

Kwame Kwei-Armah<br />

Executive Director<br />

Despina Tsatsas<br />

Associate Artistic Director<br />

Sue Emmas<br />

Genesis Fellow / Associate Director<br />

Jennifer Tang<br />

Creative Associate<br />

Teunkie Van Der Sluijs<br />

Lead Producer (maternity leave)<br />

Holly Aston<br />

Lead Producer (maternity cover)<br />

Nisha Modhwadia<br />

General Manager<br />

Robyn Keynes<br />

Young Vic Artistic Associates<br />

Glenn Davis<br />

Alfred Enoch<br />

Anna Fleischle<br />

Marcus Gardley<br />

Kate Hewitt<br />

Afua Hirsch<br />

Kirsty Housley<br />

Alex Basco Koch<br />

Doña Kroll<br />

Gregory Maqoma<br />

Prema Mehta<br />

Duncan McLean<br />

Chinonyerem Odimba<br />

Wendell Pierce<br />

Caitriona Shoobridge<br />

Charles Randolph-Wright<br />

Charlotte Sutton<br />

XANA<br />

Associate Companies<br />

Belarus Free Theatre<br />

Crying In The Wilderness Productions<br />

Regional Theatre Young Director Scheme<br />

Sour Lemons<br />

Administration<br />

Operations Director<br />

Rathi Kumar<br />

Digital Systems Manager<br />

Damilola Senbanjo<br />

Administrator<br />

(Producing Team)<br />

Lucy Steward<br />

Executive Assistant to the Artistic Director<br />

Olivia Nwabali<br />

Directors Program Administrator<br />

Tia Begum<br />

Channel 4 playwright<br />

Lulu Raczka<br />

Development<br />

Development Director<br />

Alex Tonetta<br />

Corporate Development Manager<br />

Elisha Owen<br />

Trusts and Foundations Manager<br />

Bernadette Witham<br />

Individual Giving Manager<br />

Cameron Henderson-Begg<br />

Finance<br />

Finance Director<br />

Ivor Stockdale<br />

Finance Manager<br />

Sophie Wells<br />

Finance Officer<br />

Janine Carter<br />

Finance Assistant<br />

Sarah Lloyd<br />

Front of House<br />

Head of Theatre Operations<br />

Bryan Lewis<br />

Interim Head of Theatre Operations<br />

Kimberley Thomas-Currie<br />

Front of House Manager<br />

Will Bowden<br />

Facilities Manager (Outgoing)<br />

George Mills<br />

Facilities Manager (Incoming)<br />

Samuel Hailey-Watts<br />

Duty Managers<br />

Lauren Holden<br />

Maryam Shofowora<br />

Coral Tarran<br />

Ushers<br />

Joe Ackerman<br />

Rosemarie Akwafo<br />

Michael Asiamah<br />

Simone Bell<br />

Cassiopeia Berkeley-Agyepong<br />

Debbie Burningham<br />

Oliver Byng<br />

Shankho Chaudhuri<br />

Aran Cherkez<br />

Maurice Chung<br />

Daniella Connor<br />

Luca Criscuolo<br />

Molly-Rose Curran<br />

Andre Da Silva-Jenkins<br />

Francesca De Sica<br />

Eboni Dixon<br />

Aisha Edwards<br />

Donal Finn<br />

Albert Graver<br />

Kanishka Gupta<br />

Susan Harrold<br />

Owen Haslegrave<br />

Patrick Hatch<br />

Josh Hitchman-Pinnock<br />


Theo Hung<br />

Jess James<br />

“Newton” James Thomas Newton<br />

Hana Jennings<br />

Grace Kayibanda<br />

Aaron Kelly<br />

Urielle Klein-Mekongo<br />

Lynn Knight<br />

Melina Morris<br />

Glenn Mortimer<br />

Dynzell Muguti<br />

Taz Munyaneza<br />

Tobi Oludipe<br />

Julie Patten<br />

Grainne Pearson Cockrill<br />

Daniel Pickard<br />

Sahana Rackal<br />

Gracjana Rejmer-Canovas<br />

Thea Sandall<br />

Malika Sandover<br />

Jonathan Savage<br />

Joanna Selcott<br />

Paula Shaw<br />

Chenta Shayen Mariqueo<br />

Linden Sloan<br />

Edd Soper<br />

Tom Sparkes<br />

Lethanial Stacey-Coombe<br />

Mark Vanderstoop<br />

Isaac Vincent<br />

Kitti Wells<br />

Annys Whyatt<br />

Eve Williams<br />

Marketing & Audiences<br />

Director of Marketing and Audiences<br />

Beatrice Burrows<br />

Head of Press and Communications<br />

Emma Hardy<br />

Marketing Manager<br />

Steph Cullen<br />

Ticketing Manager<br />

Zoe Fitzpatrick<br />

Digital Marketing and<br />

Communications Officer<br />

Jarrod Jones<br />

Production<br />

Technical Director<br />

Stuart Robertson<br />

Production Manager<br />

(Technical Director from 19 July)<br />

Jaz Sandalli<br />

Head of Sound<br />

Kyle MacPherson<br />

Head of Stage<br />

Craig Tye<br />

Head of Costume<br />

Sarah Hamza<br />

Head of Lighting<br />

Sam McLeod<br />

Deputy Head of Sound<br />

Bryony Blackler<br />

Deputy Head of Stage<br />

Rhodri Sion Evans<br />

Deputy Head of Lighting<br />

Faye Hetherington<br />

Workshop Carpenter<br />

Rachel MacLoughlin<br />

Lighting Technician<br />

Saul Richardson<br />

Production Administrator<br />

Rachel Salenius<br />

Taking Part<br />

Director of Taking Part<br />

Shereen Jasmin Phillips<br />

Neighbourhood Theatre Producer<br />

Alisha Artry<br />

Participation Producer<br />

Lorna McGinty<br />

Learning Producer<br />

Melanie Anouf<br />

Taking Part Administrator<br />

Vicky Olusanya<br />

Welcome Team<br />

Welcome Team Manager<br />

Ciara O’Toole<br />

Welcome Team<br />

Johanna Kean<br />

Rory Horne<br />

Chris Gyllenhaal<br />

Max Puplett<br />

Julie Patten<br />

Edd Soper<br />




4 AUG – 13 AUG 2021<br />

Diyan Zora, Genesis Foundation<br />

Future Directors Award recipient,<br />

directs Jessica Siân’s acclaimed<br />

debut play, Klippies, a gritty<br />

coming-of-age drama about<br />

an unlikely friendship and the<br />

intensity of first love.<br />

The Genesis Future Directors Award Program<br />

is made possible by<br />

AI<br />

23 AUG – 25 AUG 2021<br />

Jennifer Tang, Genesis Fellow and<br />

YV Associate Director, directs AI<br />

– a unique collaboration between<br />

human and computer minds.<br />

Developed by Chinonyerem Odimba<br />

and Nina Segal & written alongside<br />

GPT-3 Open AI technology,<br />

this play is an exciting hybrid of<br />

research & performance.<br />

HAMLET<br />

25 SEP – 13 NOV 2021<br />

Cush Jumbo makes her YV debut<br />

as Hamlet in Greg Hersov’s muchanticipated<br />

production of the<br />

Shakespearean tragedy.<br />

YOUNGVIC.ORG 020 7922 2922 #YoungVic<br />




18 OCT – 23 OCT 2021<br />

Love Reign is a love letter to<br />

friendships, how we begin them,<br />

how we honour them and how<br />

we preserve them against all<br />

odds in our lives. Written by<br />

Director of Taking Part<br />

Shereen Jasmin Phillips and<br />

directed by Stef O’Driscoll.<br />


5 NOV – 12 NOV 2021<br />

Filling the Maria with sequins,<br />

celebratory togetherness, and a<br />

healthy dose of shade, Sundown Kiki<br />

will bring the world of theatre and<br />

ballroom together in an explosive<br />

evening of music, dance, walking,<br />

and partying. Creative direction<br />

by Jay Jay Revlon, directed by<br />

Tristan Fynn-Aiduenu, with sound<br />

and composition by XANA.<br />


2 DEC 2021 – 22 JAN 2022<br />

1968. Divided America. As<br />

two men fight to become the<br />

next President of the United<br />

States, all eyes are on the battle<br />

between two others: the cunningly<br />

conservative William F Buckley Jr.,<br />

and the iconoclastic Gore Vidal.<br />

James Graham’s new play is<br />

directed by Jeremy Herrin, in<br />

a co-production with Headlong.<br />

Inspired by the documentary by<br />

Morgan Neville and Robert Gordon.<br />




<strong>Changing</strong> <strong>Destiny</strong> Tue 17 Aug, 7.30pm<br />

Hamlet Tue 2 Nov, 7pm<br />

Best of Enemies Thu 13 Jan, 7.30pm<br />


<strong>Changing</strong> <strong>Destiny</strong> Thu 19 Aug, 7.30pm<br />

Hamlet Tue 19 Oct, 7pm<br />

Best of Enemies Fri 17 Dec, 7.30pm<br />


<strong>Changing</strong> <strong>Destiny</strong> Thu 5 Aug, 7.30pm<br />

Klippies Thu 12 Aug, 7.45pm<br />

Hamlet Thu 4 Nov, 7pm<br />

Best of Enemies Thu 6 Jan, 7.30pm<br />

If you would like to book an induction loop,<br />

require someone to look after your assistance<br />

dog during a performance, or have any other<br />

access requirements, please let us know in<br />

advance so we can make your visit as enjoyable<br />

as possible.<br />

For more information call: 020 7922 2922<br />

Textphone 18001 020 7922 2922<br />



Taking Part is our creative engagement department that works with young<br />

people, adults, schools, and our local community. We engage with over 15,000<br />

people a year, providing free tickets to all our shows and free creative and<br />

artistic opportunities to our participants.<br />

Our three strands, Learning, Participation, and<br />

Neighbourhood Theatre, create work that is the<br />

beating heart of the organisation. Each year<br />

Taking Part’s programme responds to a shared<br />

theme. Last year we explored ‘Home, History and<br />

Heritage’ and this year we are responding to the<br />

provocation ‘Freedom of Expression’.<br />

We think of the Young Vic as ‘the home you didn’t<br />

know you had’ – come in and join us. To find out more<br />

about our projects and how you can get involved,<br />

please visit youngvic.org/taking-part or follow<br />

@yvtakingpart on Twitter.<br />



Public Support<br />

Season Support<br />

The Young Vic’s 2021 season is also supported by the Genesis Foundation and IHS Markit.<br />

We gratefully acknowledge Ian Burford and Alec Cannell for generously supporting the Young Vic’s mission.<br />



Board of Trustees<br />

Glenn Earle (chair)<br />

Varun Chandra<br />

Nicky Dunn OBE<br />

Robert Easton<br />

Farah Ramzan Golant CBE<br />

Kobna Holdbrook-Smith MBE<br />

Ali Hossaini<br />

Kwame Kwei-Armah OBE<br />

Ebele Okobi<br />

Abigail Sewell<br />

Fiona Shaw<br />

Sita Thomas<br />

Steve Tompkins MBE<br />

Anna Williams<br />

Development Board<br />

Rachel Conlan (co-chair)<br />

Ebele Okobi (co-chair)<br />

Beatrice Bondy<br />

Gerard Crichlow<br />

Annabel Duncan-Smith<br />

Glenn Earle<br />

Sophie Hale<br />

Will Meldrum<br />

Barbara Reeves<br />

Sarah Thorpe<br />

The Young Vic gratefully recognises<br />

the following Trustees who retired from<br />

board service between March 2020<br />

and April 2021:<br />

Sean Egan<br />

David Fletcher<br />

Rory Kinnear<br />

Rita Skinner<br />



Young Vic supporters realise our mission of creating extraordinary theatre, sharing<br />

the joy of creativity with our community and investing in the artists of tomorrow.<br />

They make everything we do possible, and we are deeply grateful to them all.<br />

For their recent support we thank:<br />

£100,000+<br />

Arts Council England<br />

Bloomberg*<br />

Ian Burford & Alec Cannell<br />

Culture Recovery Fund, DCMS<br />

Glenn & Phyllida Earle<br />

Garfield Weston Foundation<br />

Genesis Foundation<br />

IHS Markit<br />

Patrick & Sholpan McKenna<br />

£50,000 – £99,999<br />

Backstage Trust<br />

Bank of America*<br />

Jo Braun<br />

The Charlotte Aitken Trust<br />

Robert Easton & Elza Blankenburgs<br />

Southwark Council<br />

£20,000 – £49,999<br />

Anonymous (1)<br />

American Express<br />

Audible<br />

The Austin & Hope Pilkington Trust<br />

Sarah & Tim Bunting<br />

Calouste Gulbenkian Foundation<br />

Cockayne – Grants for the Arts<br />

H&M Foundation<br />

Sophie Hale & Roland Rudd<br />

Jerwood Arts<br />

Lambeth Council<br />

Paul Hamlyn Foundation<br />

Karl-Johan Persson<br />

Clive & Sally Sherling<br />

Rita & Paul Skinner<br />

and all our members and supporters,<br />

whose generosity strengthens and<br />

sustains our work.<br />

*Young Vic Corporate Member<br />

Listing current as of 25 June 2021.<br />


£10,000 – £19,999<br />

Bankside Hotel<br />

Lionel Barber &<br />

Victoria Greenwood<br />

The Boris Karloff<br />

Charitable Foundation<br />

Sandra Cavlov<br />

Ian & Caroline Cormack<br />

Lin & Ken Craig<br />

Manfred & Lydia Gorvy<br />

The Harold Hyam<br />

Wingate Foundation<br />

Tracey, Eloise & Max Mayerson<br />

Ingenious Media Plc*<br />

Jack & Linda Keenan<br />

Adam Kenwright<br />

Kidron Hall Charitable Trust<br />

Sarah & Dominic Murphy<br />

Richenthal Foundation<br />

Sea Containers London*<br />

Jon & NoraLee Sedmak<br />

Dasha Shenkman<br />

United St Saviour’s Charity<br />

Dominic Wallington<br />

£1,000 – £9,999<br />

Anonymous (3)<br />

The 29th of May 1961 Charitable<br />

Trust<br />

AKA*<br />

The Andor Charitable Trust<br />

Jennifer Bailey<br />

Chris & Frances Bates<br />

Lady Primrose Bell<br />

Sarah Billinghurst Solomon<br />

Adrian & Lisa Binks<br />

Tony & Gisela Bloom<br />

Beatrice Bondy<br />

Simon & Sally Borrows<br />

The Boshier-Hinton Foundation<br />

Katie Bradford<br />

CJ & LM Braithwaite<br />

Dr Neil & Sarah Brener<br />

Sylvie & Leon Bressler<br />

Clive & Helena Butler<br />

Monkey Chambers<br />

Chapman Charitable Trust<br />

The Charlotte Bonham-Carter<br />

Charitable Trust<br />

The Cleopatra Trust<br />

The John S Cohen Foundation<br />

Rachel Conlan<br />

Victoria Corcoran<br />

Lord Mervyn Davies<br />

Roger & Alison De Haan<br />

Scott M Delman<br />

Annabel Duncan-Smith<br />

Robyn Durie<br />

Marielle Ednalino & Ken Lamb<br />

Jennifer & Jeff Eldredge<br />

Sir Vernon & Lady Ellis<br />

Don Ellwood & Sandra Johnigan<br />

Embassy of Spain<br />

David Fein & Liz Oestreich<br />

Finsbury Glover Hering*<br />

Adam Freudenheim<br />

Gillian Frumkin<br />

The Golden Bottle Trust<br />

The Golsoncott Foundation<br />

Alan & Ros Haigh<br />

Sarah Hall<br />

Katherine Hallgarten<br />

Frances Hellman & Warren Breslau<br />

Nick Hern<br />

Madeleine Hodgkin<br />

Nik Holttum & Helen Brannigan<br />

Mike & Caroline Howes<br />

The Hoxton Southwark<br />

Tom & Caron Ilube<br />

John Lyon’s Charity<br />

The John Thaw Foundation<br />

Melanie Johnson<br />

Jones Day*<br />

John & Gerry Kinder<br />

Carol Lake<br />

Ben Langworthy<br />

Victoria Leggett<br />

Clive Lewis<br />

Jill & Justin Manson<br />

The Martin Bowley Charitable Trust<br />

Memery Crystal*<br />

Barbara Minto<br />

The Lowy Mitchell Foundation<br />

Carole Neuhaus<br />

Newcomen Collett Foundation<br />

The Noël Coward Foundation<br />

Georgia Oetker<br />

Ebele Okobi<br />

Rob & Lesley O’Rahilly<br />

Simon & Midge Palley<br />

Sarig Peker<br />

Heather & Julia Randall<br />

The Red Hill Trust<br />

Barbara Reeves<br />

The Richard Radcliffe Charitable<br />

Trust<br />

The Rix-Thompson-Rothenberg<br />

Foundation<br />

Corinne Rooney<br />

Sue Roy<br />

Royal Norwegian Embassy<br />

Sir Paul & Lady Ruddock<br />

Carol Sellars<br />

Dr Bhagat Sharma<br />

Jenny Sheridan<br />

Justin Shinebourne &<br />

Laurence Chaussinand<br />

Florian Simm<br />

Demola Soremekun<br />

Jan & Michael Topham<br />

TowerBrook Foundation*<br />

Nick Tsatsas<br />

U+I Group Plc<br />

Bill Updegraff & Aliza Bartfield<br />

Katleen van Roost<br />

Walcot Foundation<br />

Rob & Gillian Wallace<br />

Edgar & Judith Wallner<br />

Bill & Anda Winters<br />

Jill Hackel Zarzycki<br />

Julia Zilberman & Maxim Seltzer<br />

and all our members and supporters,<br />

whose generosity strengthens and<br />

sustains our work.<br />

*Young Vic Corporate Member<br />

Listing current as of 25 June 2021.<br />


Join us as we present a new way to stream live theatre. Best Seat in Your House<br />

is our immersive, multi-camera broadcast designed to give you optimal choice as<br />

you watch a live show.<br />

Artistic Director Kwame Kwei-Armah:<br />

“As the pandemic year saw us engage with theatre in<br />

online spaces, I’ve been grappling with how technology<br />

could be used to heighten the liveliness that sits at the<br />

heart of the in-person theatre experience. How can<br />

we make our audience feel part of the show from their<br />

homes? How can we make the experience as flexible<br />

and accessible as possible? These are questions that<br />

shape the Young Vic’s mission as a theatre, and<br />

so must naturally extend to our digital offer.<br />

With Best Seat in Your House, we’ve taken a bold step<br />

into the future of the theatre-streaming experience.<br />

We’ve put choice at the heart of every element, giving<br />

audiences the space to engage with our streamed work<br />

in an entirely new way.”<br />


Designed with flexibility in mind, our innovative<br />

next step in live theatre streaming is designed<br />

to place you at the heart of the action, with<br />

each show feeling like a brand new experience.<br />

We give you two streaming options: Director’s Chair<br />

or Director’s Cut.<br />

Director’s Chair<br />

By taking the Director’s Chair, YOU take control<br />

of your view of the show, as you cut between any<br />

of the cameras placed around the theatre at any<br />

time throughout the live performance. The choice is<br />

yours. Whatever your preference, your view will be<br />

complemented by a high-quality audio mix of the show.<br />


Director’s Cut<br />

Alternatively, you can choose our Director’s Cut<br />

option. Sit back as we deliver a more traditional live<br />

edit of the show from the theatre to your screen,<br />

created with the show’s director and mixed by our<br />

production team.<br />


The Young Vic has famously one of the most<br />

flexible auditoriums in London, where our artists<br />

are encouraged to design without barriers. In our<br />

theatre, the seating is never quite the same from<br />

one show to the next.<br />

Similarly, the broadcast experience for each show<br />

will be designed bespoke for the production, with<br />

cameras positioned to offer exciting perspectives of<br />

our live shows.<br />

A robo-camera rig with multiple cameras will be<br />

contstructed around the auditorium to capture the<br />

performance, and these feeds will be broadcast<br />

direct to your device. Camera operators will control<br />

the robo-cameras, continually ensuring every shot<br />

gives you an exciting new perspective of the show.<br />

From the comfort of home, you will be able to pick<br />

which camera feed you watch. At any point, you can<br />

switch to a different view for a new perspective –<br />

almost as though you were able to move seats in our<br />

auditorium to continually find your favourite view!<br />


With flexibility at the centre of this new innovation,<br />

we want our broadcasts to be compatible with as many<br />

devices as possible. Stream on a phone, tablet, laptop,<br />

or even cast to your television. However, for the best<br />

experience, we recommend using a laptop.<br />


Captions, audio description and British Sign<br />

Language will be available for every performance.<br />


Visit youngvic.org/bestseatinyourhouse<br />

Best Seat in Your House is made in collaboration<br />

with YV Artistic Associate Duncan McLean.<br />

The development of Best Seat in Your House<br />

is supported by the Genesis Foundation’s Genesis<br />

Kickstart Fund.<br />


Proud sponsor<br />

of the funded ticket programme<br />

Through IHS Markit’s support, the Young Vic offers nearly<br />

10,000 free tickets to young people and many that<br />

would not otherwise be able to enjoy the theatre.<br />

Our Friends and Soul Mates receive priority booking for all of our productions and enable us to create<br />

challenging and inspiring work on our stages and with our local communities. Be right at the heart of it all.<br />

Membership starts at £40 a year. Join at the box office today or call the Development Team on 020 7922 2810.<br />

It’s a big world in here.<br />

Data and Insight for the world’s global industries<br />

ihsmarkit.com<br />


at the<br />

“The Young Vic organised a fantastic communications training event.<br />

Personally I would like everyone from GFT to go through this training.<br />

Sales Director Enterprise and Services, GFT<br />

For more information on how we can tailor a bespoke<br />

high performance workshop to your business needs contact<br />

HighPerformance@youngvic.org or call 020 7922 2813<br />

Clients include<br />




BOOK NOW<br />


/thecutbar @thecut66 @the_cut_bar<br />






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