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to the Liverpool stage as Elaine’s parents, Mr and Mrs Spencer and we welcome both Maya Rugen as Elaine’s sister Josie and Leona Sinama-Pongolle as Tracy to Liverpool’s Royal Court. Someone else that we welcome back is Zach Levene who plays Tracy’s hard up boyfriend Mick and you’ll see Reginald Edwards as Brezhnev himself.
Hi and welcome to Liverpool’s Royal Court and this performance of Letter To Brezhnev. In 1985 there was a film that hit that perfect beat. Over 10 years ago I met with the writer Frank Clarke and we discussed the possibility of creating a stage version of the film. The time wasn’t right. But the Royal Court’s mission is to tell Liverpool stories and put Liverpool lives on stage. For me, Letter To Brezhnev was a show we had to do. So, a couple of years ago we met up again and we both felt the time was right to bring this much loved and classic comedy romance to the stage. Our track record is much stronger and Frank felt able to trust us with his baby. Thank you for your belief Frank. So now, over 40 years since that original ship carrying Peter and Sergei arrived in Liverpool it has docked again but this time at the Royal Court. Many things have changed in the last 40 years, our majestic city has developed and celebrated its culture, docks have become tourist attractions and host top-flight football, and modern structures have joined the Three Graces transforming the Merseyside skyline. Those of you that may have seen the fireworks at the Cruise Terminal in early September will know that ships still sail in and sail out with regularity. Something else that has stayed the same is how friendship can encourage, motivate and boost you and how love can arrive and depart.
We are delighted that Nicole Behan is back directing for us. Nicole has crafted an onstage classic. Set Designer Mark Walters has recreated Kirkby and Liverpool and given us a stunning stage for bus journeys, nights out, chippies and much more. Costume Designer Mitch Fujii-Williams takes us back to the 80s with retro design and some original pieces. Physical storytelling and the 80s moves have been created by Movement Director Beverley Norris-Edmunds, and the evocative 80s sound is brought to us by Musical Director Rob Green while Kate Harvey mixes the soundscape of nights out, friendships and the chance of a life changing moment. Listen out for Kate’s award-winning (surely) seagulls. Ian Scott lights up the disco, the city and the stage while Jamie Jenkin has designed the magical AV that reminds us of dead-end days and neon nights. Liverpool has changed and stayed the same. The drinks in The State are a little more expensive when it occasionally opens for its throwback disco nights and the 21 bus from The Townie to Queen Square is now electric with USB charging sockets and WIFI, but when things look bleak and there seems to be no way forward, love and friendship can deliver surprises and change your life. Grab yourself a drink, settle in for a great night out and fall in love with Liverpool all over again. Kevin Fearon Executive Producer Liverpool’s Royal Court
Letter To Brezhnev is a love story and not least about the love of two friends Teresa and Elaine. Angela Simms and Ellie Clayton play the irrepressible bezzies while Liam Powell-Berry and Thomas Cotran disembark as Soviet sailors in Liverpool for a very special night on the town. Dominic Carter and Michelle Butterly return Letter To Brezhnev
A Liverpool's Royal Court Production Written by Frank Clarke Starring Michelle Butterly, Dominic Carter, Ellie Clayton, Thomas Cotran, Reginald Edwards, Zach Levene, Liam PowellBerry, Maya Rugen, Angela Simms, and Leona Sinama-Pongolle. Directed by Nicole Behan • Musical Direction by Rob Green • Set Design by Mark Walters Costume Design by Mitch Fujii-Williams • Lighting Design by Ian Scott • Sound Design by Kate Harvey AV Design by Jamie Jenkin • Movement Direction by Beverley Norris-Edmunds Fight Direction and Intimacy Coordination by Kaitlin Howard • Dialect Coaching by Rosemary Berkon
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Cast Mrs Spencer/Betty Taxi Driver/Dimitri/Mr Spencer/Mr Cunningham Elaine Peter Charlie/Bob Grimes/Radio Announcer/Brezhnev/Smig Mick/Rayner/Vinnie/Reporter Sergei Josie/Girl in Woodys/Girl 1 Teresa Tracy/Girl 2
Michelle Butterly Dominic Carter Ellie Clayton Thomas Cotran Reginald Edwards Zach Levene Liam Powell-Berry Maya Rugen Angela Simms Leona Sinama-Pongolle
Company Writer Director Musical Director Set Designer Costume Designer Lighting Designer Sound Designer AV Designer Movement Director Fight Director and Intimacy Coordinator Dialect Coach Production Manager Technical Manager Company Stage Manager Deputy Stage Manager Wardrobe Supervisor LX Programmer LX1 Production Electricians
Sound No. 1 Sound No. 2 AV Programmer
Frank Clarke Nicole Behan Rob Green Mark Walters Mitch Fujii-Williams Ian Scott Kate Harvey Jamie Jenkin Beverley Norris-Edmunds Kaitlin Howard Rosemary Berkon Sean Gannon Daniel Taylor Charlotte Jones Roxanne Vella Zoe Murdoch Jimmi Richardson Holly Freeman Ged Campbell Miriam Bell Sam Smith Danny Haydock Milo Kent Phil Dickinson
Workshop Workshop Manager John Kavanagh Scenic Art Manager Jen Baron
Scenic Artists Abbie Jones Christopher McCourt
Thanks to Gill Horn for wardrobe items and jewellery Alexandra Pigg for the iconic jacket Patrick Bartley Josh and the team at the Daffodil Barry and Kevin at ColourCreate Gary at Envision
Carpenters Mike Gray David Davies Connor McLeod
To Russia With Love Letter To Brezhnev writer Frank Clarke chats glasnost, George Harrison and guerilla filming with Catherine Jones The war was cold, the curtain iron and Gorby and glasnost yet to thaw EastWest relations when a young Liverpool writer sat down to craft a compelling tale of peace, love and understanding. “I thought – I’m not going to hate Russians because I’m told to,” Frank Clarke explains. “These are people like us. We might hate the politicians, but I wanted the people to be treated just like you would anyone else.” Four decades on, peace is in short supply and there’s little love lost between the West and a Russia that seems committed to blitzing and bending former Soviet states to its will. You could argue then that it’s the perfect moment for the return of Letter to Brezhnev, this time on stage as the star of the Royal Court’s autumn programme. In fact, Letter to Brezhnev has had several lives since Frank drafted the first version 45 years ago, having borrowed the title from a project being pursued by sister Margi and future poet laureate Carol Ann Duffy which had just hit the buffers.
Frank Clarke
“I’d always wanted to write a love story,” he reveals. “I don’t know why, I just did. And I wanted it to be set in Kirkby, where I grew up, and to reflect the times we were living through.” Having trawled the second-hand shops of Smithdown Road for a typewriter, hauling home a heavy interwar model to his top floor flat in Falkner Square, the 25-year-old hammered out the first version of Letter to Brezhnev over an intense three weeks.
Frank sent the script to every television company he could think of - and was knocked back by all of them, although contact with the about-to-be launched Channel 4 did lead to him joining the original Brookside writing team.
He recalls: “I didn’t eat, I didn’t drink in those days – I was just smoking ciggies one after another. And when the ciggies ran out, I’d smoke some roll-ups.
Then in September 1983, he and director friend Chris Bernard decided to stage Letter to Brezhnev as a low budget play, hiring the Unity Theatre for a five-day run and persuading Margi to come home from Paris (where she was living with artist Jamie Reid of Sex Pistols’ God Save the Queen fame) to play chicken factory worker Teresa, one of the two working-class Kirkby girls who meet a pair of Soviet sailors on a night out in Liverpool.
“Once I’d written it, it was like a huge weight had been lifted. Although it was a bit rough-looking because I’d never typed anything before.”
Its success spurred them on to take control and turn it into a film themselves; attracting vital investment from an enthusiastic brother and sister in the Isle of Man,
scraping together a small pot of additional cash and a large amount of support-in-kind, and working with the thinnest of shoestring budgets and lots of goodwill. Willy Russell paid for the film scripts and Lewis’s was prevailed upon to provide some of the costumes. Filming – described as ‘guerilla’ shooting – took place in locations across Liverpool and Kirkby, including famously an extras-packed State Ballroom in Dale Street, and at Manchester Airport after Liverpool City Council declined to give permission to film at Speke. Family and friends were co-opted: Margi was joined by ex-Brookside actor Alexandra Pigg as the love-struck Elaine, while Frank’s youngest sibling Angie reprised her stage role as Elaine’s mouthy little sister Josie, and Peter Firth – a good friend of his since they were introduced in the late 70s - agreed to play love interest Peter. Others who made fleeting appearances included Ken Campbell as a reporter and even Frank himself – persuaded to appear at short notice, Hitchcocklike, because he was the only one available with an Equity card! “I was influenced by growing up around six sisters and my mum, and by other young women I knew,” he says of the female-focused story. “The chicken factory girls were a large part of my experience of growing up in Kirkby. And there would be laughter, they’d be riotous, because they had jobs, even though they weren’t well paid jobs. “Although being a vegan now, I’m horrified by the chicken story – I wish I’d picked something else!” While he says Margi wasn’t the inspiration for Teresa, he did look to his mum Frances to inform the character of Elaine’s mother, played on film by the brilliant late Eileen Walsh. “She had a really bad perm,” he laughs. “My mum was always growing out a bad perm.” Letter to Brezhnev is a love story - and a double one at that, because in a case of life imitating art, Sandra (Alexandra Pigg) and Peter Firth are now married. But it is also, at heart, an exploration and celebration of the friendship between its two female protagonists. “Absolutely,” says its writer, who points to its ‘tender scene of deep friendship’.
Letter To Brezhnev original film poster
Michael J Fox saw it in New York and said: ‘Why don’t we make films like that anymore?’.” Frank Clarke “And Liverpool. And Kirkby. They are the other characters too in a way. They were a huge part of it.” So much so, that when it came to hold the British premiere of the film in October 1985, it was only ever going to be in one place. For one night only, the stars descended on the Kirkby Suite where the 600 guests who walked the red carpet (borrowed from the Adelphi for the occasion) included not only cast, creatives, family and friends, but also famous Liverpool faces like Echo and the Bunnymen, China Crisis and Bronski Beat – whose ‘Hit That Perfect Beat’ appeared on the soundtrack.
The story had already charmed the Venice Film Festival, where Frank found Mel Gibson sitting on the floor in front of him. And Margi and Sandra went on to jointly win ‘most promising newcomer’ at the Evening Standard British Film Awards where Frank gave up his suite in the Savoy for his parents, camping at a friend’s squat in Brixton, and they all rubbed shoulders with George Harrison at the ceremony. “It was a joyous experience,” he says. “I’m from Northwood in Kirkby and that sort of thing doesn’t happen.”
L-R: Sandra Pigg, Angela Simms, Ellie Clayton and Margi Clarke
“It resonated across the world, and I’m glad it did,” he adds of Brezhnev. “Michael J Fox saw it in New York and said: ‘Why don’t we make films like that anymore?’.”
she’s just moving into another gear in her career.”
Meanwhile here at home, Letter to Brezhnev became the ground zero for a Liverpool film industry that has blossomed over the course of 40 years to the point where the city is now the most filmed location outside London. And it all started with the story of two girls from Kirkby and two lads from Leningrad.
He also admires designer Mark Walters who has created an “absolutely mind-blowingly lovely” set, and the work done by musical director, composer and arranger Rob Green to recreate – and augment – Alan Gill’s original evocative film score for the stage.
Now Brezhnev has returned, this time in the new stage adaptation produced by the Royal Court and which builds on the theatre’s hugely successful recent resurrection of that other seismically influential 1980s screen classic Boys from the Blackstuff. Frank first approached Royal Court executive producer Kevin Fearon with the idea the best part of a decade ago, but it never got off the ground. Then two years ago, Kevin called him. “He got in touch and said: ‘Frank, how do you feel about meeting up for a coffee in town and talking about doing an adaptation of Letter to Brezhnev for the stage?’” the 71-year-old recalls. “So I said yes, and this time round I was really enthusiastic because my head was in the right space.” Having given away his original script to raise funds for an AIDS charity, he worked from a photocopied version to create the bespoke new play. Fans will certainly recognise all the key moments from the much-loved film, but there are also some tweaked or additional scenes written especially for the stage. Frank is full of praise for the cast and the creative team, not least director Nicole Behan. The first time he met her he says he was “blown away by her energy. She’s a really bright woman at the top of her game, and you can feel
Later, he adds: “I deeply admire her, I really do. She’s brought something to me. It’s optimism and enthusiasm.”
It’s now 41 years since Brezhnev burst on to the big screen, exploring ideas not only of friendship and love, but also themes of economic stagnation, hardship, and hopes, dreams, escapism and opportunity. While it’s often said the past is a different country, many of Brezhnev’s core themes continue to resonate. Meanwhile does Frank think things have changed when it comes to opportunity, particularly for young people? “I think there’s more opportunity now, but I think we’re living through some more dangerous times than we were then,” he warns. “Then, we had the Cold War, but it didn’t feel like it does now. Plus, everything you say and do is monitored, when it wasn’t then. “What a lot of people have now is a half-decent job and food in their belly. We didn’t have that then; we had s**t jobs and massive unemployment and crap food. And no hope.” Still, however life has changed over the years, for better or worse, one thing remains constant. As Elaine writes to Soviet premier Leonid Brezhnev, as she seeks to follow her heart: “Love is universal – it doesn’t belong to one country, it belongs to us all.” Words: Catherine Jones
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Cast Biographies
Michelle Butterly Mrs Spencer/Betty
Michelle Butterly trained at the Royal Central School of Speech and Drama. Television credits: Mykito, Time (Series 2), Craith, Anthony, Little Boy Blue, McMafia, Benidorm, Beautiful People, Midsomer Murders, Minder, No Angels, Eyes Down, Casualty, Dangerfield, Pie in the Sky, Hetty Wainthrop Investigates, and Soldier Soldier. Theatre credits: Cuckoo (The Royal Court, London), Betty! A Sort Of Musical, A Streetcar Named Desire, and Hamlet (Royal Exchange, Manchester); The Last Testament Of Lillian Bilocca (The Guildhall, Hull City Of Culture). Everyman (National Theatre); The Star, Hope Place, and Dead Heavy Fantastic (Liverpool Everyman); Blair’s Children (Cockpit Theatre); One For The Road (Royal & Derngate Theatre, Northampton); Gaslight (Theatr Clwyd); Road (Wolsey Theatre, Ipswich); Queen Of The Nile (Hull Truck Theatre); I Like Mine With A Kiss (Bush Theatre); Ma Vie en Rose (Young Vic); Gone To Earth (Lyric Hammersmith); and Laundry Room At The Hotel Madrid (Gate Theatre). With the Royal Shakespeare Company (RSC), her credits include: A Servant To Two Masters (also Young Vic & West End), Noughts And Crosses, A New Way To Please You, Believe What You Will, Speaking Like Magpies, and Thomas More.
Dominic Carter
Taxi Driver/Dimitri/Mr Spencer/ Mr Cunningham I am made up to be involved in telling this classic scouse love story. I remember the impact the film had on a generation and beyond, and where better to recreate it than here at the Royal Court. TV and Film: Ozzy in Going Off Big Time (Feature film); Janos Slynt in Game of Thrones (HBO); Killing Satoshi (Feature); DC Hooch in Coronation Street (ITV); The Responder (BBC); Around the World in 80 Days (BBC); Crossfire (BBC); Friday Night Dinner (Channel 4); The Children Act (Feature film); Endeavour (ITV); The Irregulars (Netflix); Casualty (BBC); Together (Feature film); Moving On (BBC); Bed Bugs (Channel 4); Murdered for Being Different (BBC); How Many Miles to Bagra? (BBC); Charlie Noades RIP (Feature film); Guilt (HBO); The Case (BBC); Drop Dead Gorgeous (BBC); Eyes Down (BBC); Holby City (BBC); My Family (BBC); Derailed (BBC); Black Books (Channel 4); The Message (Channel 4); Swing (Feature film); Doctors (BBC); Dream Team (Sky); Dalziel and Pascoe (ITV); (Sky); Dockers (Channel 4); Merseybeat (BBC); No Bananas (BBC); Pie in the Sky (BBC); Soldier Soldier (ITV); The Bill (ITV).
Theatre: The Derby Days (Liverpool Royal Court); 1984 (Hackney Town Hall); Boys from The Blackstuff (Liverpool Royal Court); Macbeth (Tricycle Theatre London); The Chance, Shopping and Fucking (Prime Cut Productions Belfast); The Dumb Waiter (Lee Strasbourg institute Los Angeles); From Bombay to Santa Fe (Arcola theatre); It’s Now or Never (Chester Gateway); The Channel 4 Sitcom Festival (Riverside Studios London); Blue Remembered Hills (Edinburgh Festival); Chalk and Talk (Edinburgh Festival); If There Was a Time (FMBM Unity Theatre) Training: RADA
Ellie Clayton Elaine
Training: The Royal Central School of Speech and Drama Theatre credits: Female MC (Magic Mike Live London Hippodrome), Scroogilicious (Peckham Theatre), Fun at The Beach Romp Bomp a Lomp (Southwark Playhouse), Peter Pan (Gordon Craig Theatre), The Peaceful Hour (Liverpool’s Royal Court), Educating Rita (The Barn Theatre), The Derby-Days (Liverpool’s Royal Court), The Peaceful Hour 2 (Liverpool’s Royal Court) TV credits: Hollyoaks; Still So Awkward (CBBC); So Awkward Acadamy (CBBC) Voiceover credits: Alrwabi School For Girls (Netflix); Midsummer Night (Netflix) Movie credits: So Awkward Kids Camp (CBBC)
Thomas Cotran Peter
To be a part of the stage adaptation of such an iconic piece of Liverpool’s cultural and creative history is an honour for Thomas. This is his first production for Liverpool’s Royal Court. Theatre credits include: Around the World in 80 Days (New Vic); The Grand Babylon Hotel (New Vic & Claybody Theatre); Cinderella (Shakespeare North Playhouse); Loves Labours Lost (Shakespeare North Playhouse/Stephen Joseph Theatre); One Man, Two Guvnors (New Vic); Song of the Sytch (Claybody Theatre); The Great Gatsby (Chester Storyhouse); A Midsummer Night’s Dream (Chester Storyhouse); Raising Agents, Red Sky at Night (Mikron Theatre); Atalanta Forever, A Dogs Tale (Mikron Theatre); The Snow Queen, HUMBUG, Aladdin and the Stolen Stories (Wrongsemble); Harvest (New Perspectives Theatre Company); Footloose (UK Tour); The Glass Menagerie, Talk to Me Like the Rain and Let Me Listen, James and the Giant Peach, Titus Andronicus, Great Expectations (Dundee Rep Theatre); Not About Heroes (Eden Court Theatre); King John (Oran Mor); Loserville (Union Theatre). Thomas has also performed in various Pantomimes with The Lawrence Batley Theatre and Theatre Royal, Wakefield.
Reginald Edwards
Charlie/Bob Grimes/Radio Announcer/Brezhnev/Smig Reg is delighted to be making his Liverpool’s Royal Court debut in Letter to Brezhnev! A Liverpudlian actor, he’s recently appeared in The Memory of Water, and The Walrus Has a Right to Adventure at the Liverpool Everyman; Great Expectations at Manchester Royal Exchange; and The Comeback Special and The Collector at the Hope Street Theatre.
Zach Levene
Mick/Rayner/Vinnie/Reporter Zach is thrilled to be performing at Liverpool’s Royal Court again after his main stage debut as Tony/Don King in Conteh. Recently, he appeared as Sol in The Responder (BBC One) and as Charlie Taylor in The Fight (Dylan Thomas Theatre, Theatr Brycheiniog and Sherman Theatre). His professional credits also include Anthony (BBC One) and multiple roles in Stage Write (Royal Court Theatre). He trained at Liverpool Media Academy (LMA), graduating with a BA (Hons) in Acting. While training, his theatre credits include: Eric in Bouncers, Shakers and Teachers (Liverpool Everyman Theatre), Joey in Road (Unity Theatre), El-Fayoumy in The Last Days of Judas Iscariot (The Black-E), Aaron McKinney in The Laramie Project (The Black-E), Caravaggio in The Seven Acts of Mercy (Liverpool Playhouse Theatre), and Felix in Frankenstein (Epstein Theatre).
Liam Powell-Berry Sergei
Liam Powell-Berry is an actor from Liverpool. He is delighted to return to Liverpool’s Royal Court as part of Letter To Brezhnev and bring to the stage such an iconic piece of Liverpool film history. Liam’s Theatre credits include Boys from the Blackstuff at Liverpool’s Royal Court, National Theatre and Garrick Theatre; Red Or Dead at Liverpool’s Royal Court; Crave at Shakespeare North Playhouse; The Comeback Special at the Epstein Theatre; A Number at Liverpool Everyman; Fear and Misery of the Third Reich at St Luke’s Bombed Out Church. Television credits include Liverpool Narcos: Ecstasy and Moving On.
Maya Rugen
Josie/Girl in Woodys/Girl 1 Maya trained at Leeds Conservatoire and graduated in 2024. Maya made her professional debut in Paranormal Activity at Leeds Playhouse (2024), she also joined the production for the transfer to The Ambassadors Theatre, London which marked her West End Debut. Recently, Maya played Young Girl in I Can Die Too at Pitlochry Festival Theatre and is excited to join back up with in November for its European premiere. Maya is thrilled to be performing back home; she is grateful for the opportunity and would like to thank her family for their continued love and support.
Angela Simms Teresa
Angela Simms is a Liverpool Actor and Writer. Angela began acting at The New Everyman Youth Theatre when she was fourteen, they couldn’t get rid of her until she was nearly twenty and they had to politely ask her to leave. She then went on to train at The Stella Adler Studio of Acting in New York – which is dead fancy. As an actor Angela’s credits include work for Lime Pictures, Radio 4, Copperwood Media and countless theatre productions. Some Theatre credits include Lady Macbeth - Macbeth, Stella Adler Studio NYC Dir Peter McElliot; Stella - Streetcar Named Desire, Williamsburg Little Theatre, Dir Angela Belucci; Linda Ladies Day - Dir Ken Alexander; Walking Through Windows - Everyman and Playhouse Dir - Thea Soltau; Gemma - Hey Bunny Get Loose Liverpool’s Royal Court Studio - Dir Emma Bird; Various - Stocking Fillers, Liverpool’s Royal Court Studio Dir Nicole Behan. Ang - The Peaceful Hour and The Peaceful Hour 2, Liverpool’s Royal Court, Dir – Emma Bird. Angela CoWrote and Starred in The Royal at Liverpool’s Royal Court. Angela has recently played ‘Jasmine’ on CBBC’s The Dumping Ground - Dir Jason Wingard. Angela is thrilled to be playing ‘Teresa’ in Letter To Brezhnev.
Leona Sinama-Pongolle Tracy/Girl 2
Leona Sinama-Pongolle began acting at the age of 11 and played Aisha in Jamie Johnson from 2020 (CBBC). She trained in Acting at LIPA Sixth Form and is currently studying Acting Screen & Digital at the Liverpool Institute for Performing Arts. She is thrilled to be part of Letter to Brezhnev and excited to be performing at Liverpool’s Royal Court.
Company Biographies Frank Clarke Writer Here’s a Letter from Frank Clarke telling us a little about his background, some of his writing moments and highlights. Hi everyone, I hope you have a wonderful afternoon or evening and enjoy the show. I was born in a tenement block called Owen House down in Kirkdale in 1955. When I was three, we moved up to Kirkby. I went to Sacred Hearts Infants and Junior School and then St Kevin’s Comprehensive, I left when I was 15 and started working in catering. I did that for quite a few years until I was done with it. In the mid to late 70s, I started knocking around with some arty gangs from town and then Peter Firth came to stay at my flat because his partner, Maya was doing a play up in LIverpool. They all left the next day for rehearsals and me and Peter were on our own. So, he said do you want to come and see a film I’m in? It was Tess Of The D’Urbervilles. I looked at Peter’s face on that screen and I was thinking I could do that, I want to be a part of that. Sometime later, Margi went to an audition at Granada for a presenter’s job and I went with her. We were sitting there with all the other hopefuls and I wrote a little scene for Margi, a little speech for her to give in the audition. It was the first time I’d ever really written anything… and she got the job. But not because of anything I’d written, she got the job because she was fantastic. But that short piece of writing did plant a little seed in my mind. Then I went on to write Letter To Brezhnev. At that time, I lived in Faulkner Square, you know, it was either do something or starve to death. It gave me a motivation to do something with my life. I wrote the script and was also Executive Producer on because I raised the finance for it, as small as it was then. I then wrote a film called Fruit Machine which was made by Granada. It was a feature film about two young lads who set a dolphin free from a dolphinarium. I felt it was ripped off, Free Willy was exactly the same film. Then I wrote Blonde Fist, which I also directed with Margi, I felt that was ripped off too as, Million Dollar Baby, it’s the same story – a woman searching for the father takes up boxing. I was so disillusioned by it all, I stopped writing. In the meantime, I sent Brezhnev to Channel 4, which hadn’t officially opened but I’d heard about it and they got back in touch and said, “We can’t make this film, but would you like to write for Brookside?” I was there for two years writing episodes. To be honest I didn’t take it seriously enough and I should have done. I did a radio play with Radio 4 with our Angela called The Dependent. That’s the bulk of what I’ve ever done, it’s not much but I’d love to write some more, even at my age. If you need me, let me know!
Nicole Behan Director Nicole Behan is a Director from Liverpool and is delighted to be returning to Liverpool’s Royal Court for Letter to Brezhnev. Previous theatre credits include: Cinderella (Shakespeare North Playhouse), The Derby-Days (Liverpool’s Royal Court), My Beautiful Laundrette (Leicester Curve and National Theatre’s Theatre Nations tour), Pass The Parcel (Liverpool’s Royal Court), Stocking Fillers (Liverpool’s Royal Court), Lemons Lemons Lemons Lemons Lemons (Liverpool Everyman), Come Closer: Memories Of Partition (Royal Exchange), Qualified (Hope Mill), Northern Flight (Liverpool Everyman) As Artistic Director of Paperwork Theatre: Lovestruck (Liverpool Everyman, Storyhouse, Shakespeare North Playhouse), Deep Blue (Liverpool Everyman), You, Me & The Goalpost (Octagon) and Christmas Countdown; Twisted, Baltic Alight, I Spy A Yeti, How May I Direct Your Call? & Shortcut To Bliss As Associate Director: Red or Dead (Liverpool’s Royal Court), Alice in Wonderland (Shakespeare North Playhouse, Ghost Caller (Headlong) As Assistant Director: Corrina, Corrina (Headlong/National Theatre workshop): Boys From The Blackstuff (Stockroom/ National Theatre workshop) and Tree (Manchester International Festival/Young Vic)
Rob Green Musical Director Rob Green is a freelance Musical Director, Composer and Creative from Nottingham, based in Leeds. He specialises in actor-musician performance and live, responsive scoring, bringing contemporary genres, improvisation and onstage musicianship into narrative theatre. Musical direction and composition credits include: Letter to Brezhnev (Liverpool’s Royal Court), Let The Sun Shine (Storyhouse), Cinderella (Shakespeare North Playhouse), Red Riding Hood: Rock ’n’ Roll Pantomime (Liverpool Everyman), for which he received a UK Pantomime Award nomination for Outstanding Contribution to Music, and the OFFIE-nominated The Snowy Day (Polka Theatre / Can’t Sit Still). He is currently developing his original musical Folklore, composing The Amazing Pablo Fanque for Norwich Theatre, and will Musically Direct Rapunzel at Storyhouse this Christmas. Rob began his theatre career as a resident Musical Director with Nottingham company Sheep Soup, where he developed a collaborative, performer-led approach to musical storytelling that continues to underpin his practice. His work aims to make actor-musicianship accessible to performers regardless of musical education, learning style or experience. Alongside theatre, he performs as recording artist ROB.GREEN, an Ivors Academy “In The Making” artist whose live credits include the BBC Proms, Glastonbury Acoustic Stage and arena performances supporting Earth, Wind & Fire.
Mark Walters Set and Costume Designer Mark was nominated for an Olivier award in 2023 for his designs on Jack and the Beanstalk at the London Palladium. He also went on to win best set deign at the Great British Pantomime awards for his design of Beauty and the beast earlier in the year. In 2005 Mark was appointed Head of Design at the Queens Theatre in Hornchurch Working alongside Olivier Award winning Artistic Director Bob Carlton on over thirty productions, these included plays, musicals and the annual pantomime. During his time here he has also worked with writer and director Chris Bond on his play Sweeney Todd. The Heather Brothers on their new musical Camp Horror, and was nominated for best set design on a new actor musician version of The Rocky Horror Show with Richard O Brian. In 2008 Mark was also appointed Resident Designer at The Royal Court Theatre in Liverpool where he has designed over twenty productions to date. During his time here he worked closely with writer Willy Russell on his shows, Shirley Valentine, Stags and Hens the Re Mix, and a new version of Our Day Out the Musical. Other set and costume designs include, Hot Flush, (UK Tour), Our House (UK Tour), The Little Shop of Horrors, (Birmingham Rep). Hormonal Housewives, (Uk Tour). Twinkle Little Star, (York Theatre Royal, (UK Tour). At The Gates Of Gaza, (The Door Birmingham Rep, Uk Tour). Jack And The Beanstalk and Dick Whittington (Nottingham Playhouse). Little Shop of Horrors, Mods And Rox and Jack and the Beanstalk, (New Wolsey Theatre Ipswich). Straight And Narrow, Simply The Best and Aladdin,( Oldham Coliseum Theatre). Krapps Last Tape, (Uk Tour), Empty Bed Blues, (Uk Tour), A Different Way Home and A Visit From Miss Prothero ( Lakeside Theatre Nottingham). I Do, Blue Eyed Sole Dance Co , (UK Tour). Park Avenue Cat, (Arts Theatre London). Hound of the Baskervilles, Dick Whittington, Jack and the Beanstalk and Cinderella (York Theatre Royal). Benidorm Live, (UK Tour), The Magical Musical Market, a new children TV show for Cheeky Chimps TV and also joined ITV and Lunar Cinema to Design Love Island the experience. Mark has designed the past four London Palladium pantomimes an is currently working on his fifth. Other recent designs include, Stratagem the Alan Partridge Arena Tour, and the UK Tour of Strictly Ballroom.
Mitch Fujii-Williams Costume Designer Mitch Fujii-Williams is an experienced costume practitioner, designer and educator with more than 25 years’ experience across theatre, opera, ballet, television and film. She is currently Head of Wardrobe at Liverpool’s Royal Court Theatre and a Lecturer in Costume Design at the University of Salford. Mitch previously spent ten years as Head of Costume and Teaching Fellow at LIPA, overseeing costumes for an extensive range of productions, including The Witches of Eastwick, Sense and Sensibility, The Government Inspector, Women Beware Women, The Sweet Science of Bruising and Spring Awakening. In 2025, she was Costume
Supervisor for Red or Dead, directed by Phillip Breen at Liverpool’s Royal Court. She also spent eight years as a Costume Technician at the Royal Opera House, working across major opera and ballet productions including Swan Lake, The Nutcracker, The Sleeping Beauty, Carmen, Tosca, La bohème and The Magic Flute. Her television and film experience includes A Gentleman in Moscow, Hollyoaks, Offside, Anaphylaxis, Under the Mud and the award-winning short film Al-Baghdadi. For this production, Mitch has incorporated original costumes and accessories from the film, creating a direct and tangible connection between the much-loved screen version and its return to Liverpool as a stage production.
Ian Scott Lighting Designer Trained at Mountview. Ian has designed the lighting for more than 50 productions at Liverpool’s Royal Court including: The Royal, Boys From The Blackstuff, A Scouse Nativity, The Legend Of Rooney’s Ring, Our Day Out, Red Or Dead, and You’ll Never Walk Alone. Other credits include: Trainspotting the Musical (Theatre Royal Haymarket); The 39 Steps (UK Tour / Trafalgar Theatre); Already Perfect (Kings Head Theatre); Cinderella (Shakespeare North); Fawlty Towers (Apollo Theatre / Phil McIntyre / UK Tour); Reasons To Be Cheerful, Blasted (Graeae); All My Sons, A Skull In Connemara (Nottingham Playhouse); Only Fools And Horses the Musical (Phil McIntyre / UK Tour); Messiah, Marco Polo (Bergen National Opera); The Solid Life of Sugar Water (Graeae / Theatre Royal, Plymouth / National Theatre); Owen Wingrave, Where The Wild Things Are, A Midsummer Night’s Dream (Aldeburgh Festival); Our Friends Up North (Northern Stage); Oh! What a Lovely War, Frogs (National Theatre); Curlew River (White Light Festival, New York / UCLA Berkeley / St. Giles, Barbican) and Observe The Sons Of Ulster Marching Towards The Somme (Abbey Theatre, Dublin).
Kate Harvey Sound Designer and Engineer A list of sound credits include: Corporate/Outdoor: Labour, Conservative, NUT. Symphony in the Park (Hoghton Tower), Liverpool Theatre Festival (Bill Elms Productions), Grimm Tales, Jungle Book, 80 Days Around the World, Alice in Wonderland, Robin Hood (Dukes Theatre, Williamson Park, Lancaster) TV: Stan James World Match Dartsplay (Sky Sports), Strictly Ballroom (ITV), Danny La Rue (BBC) Spirit of Shankly (Granada DVD) Cruises: P&O World Cruises, Island Cruises, Celebrity. Arena: Hot Ice (Stageworks Worldwide Productions), You’ll Never Walk Alone (Alterean Media and Liverpool FC) Music: The Christians, Chesney Hawkes, Sinita, Slade, Bad Manners, Toyah, Limahl, Cream UK Tour, Petula Clarke, Bobby Crush, East 17, Liberty X, Jane McDonald. Comedy: Jason Mansford, Peter Kay, Roy Walker, Jim Bowen, Brian Conley, Brendan O’Carroll, Paddy McGuiness.
Live Theatre: Aladdin, Sleeping Beauty (King Georges Hall), Mystique (Stageworks), Original TV Comedians (Blackpool Opera House), Paul Zerdin (Paradise Room Blackpool), Flags (Royal Exchange, Manchester), Mam I’m Ere (Life in Theatre), Eight Miles High, Council Depot Blues, Bouncers, Night Collar, Our Day Out, Shirley Valentine, Red or Dead, Lennon, Noises Off, Lost Soul 1&2, Girls Don’t Play Guitars, Golden Oldies, Come Together, Vernons Girls, Take Me Home County Road (Liverpool’s Royal Court) Twopence to ‘cross the Mersey, Lennons Banjo and By The Waters of Liverpool (Pulse Records) SHOUT! (Max Emmerson Productions), Out of Order and It Runs In The Family (Ray Cooney Comedy Company), Bang Bang (A production for John Cleese at Mercury Theatre, Colchester), Omnibus (Unity Theatre), Judy and Liza National Tour (Produced by Liverpool’s Royal Court), Midsummer Nights Dream (Filter Theatre Company/Lyric Hammersmith), Homebaked (Red Ladder Theatre Company), Insane Animals (HOME MCR), Cinderella (Imagine, Beck Theatre-Hayes), Kinky Boots (Storyhouse, Chester), Shirley Valentine (Liverpool Everyman), Jack and the Beanstalk ( Watford Palace Theatre), Beauty and the Beast, Robin Hood, A Christmas Carol (Dukes Playhouse, Lancaster), Cinderella, Beauty and the Beast (Imagine, Crewe Lyceum), Jungle Book (Bolton Octagon) Jack and the Beanstalk (Stafford Gatehouse, Imagine – UK PANTOMIME AWARD 2025 BEST SOUND DESIGN), Atlantis (Theatre Clywd).
Jamie Jenkin AV Designer Jamie is the in-house graphic and video designer at Liverpool’s Royal Court. Starting as marketing assistant at the theatre in 2005, he has been part of the Royal Court since it’s rebirth as a theatre in 2006. He now designs artwork for all Royal Court productions alongside working on video content for the Royal Court stage and beyond. Video Designs for Theatre include: Alan Bleasdale’s Boys From The Blackstuff by James Graham (Liverpool’s Royal Court, National Theatre and Garrick Theatre London, national tour), Come Together: The Lennon & McCartney Songbook (Liverpool’s Royal Court, national tour); Red Or Dead, Cured (Liverpool’s Royal Court in association with Birds of Paradise, national tour); A Thong For Europe, Willy Russell’s Our Day Out - The Musical, Take Me Home County Road, A Fistful Of Collars, Lennon, Ladies Day, Hitchhikers Guide to Fazakerley, Ladies Night, Canoeing for Beginners, The Scouse Nativity, Father O’Flaherty Saves Our Souls, A Miracle On Great Homer Street, Home, Going Halves, The Royal, The Scouse Cinderella, My Fairfield Lady, Bingo Star, Two Of Us, Royal Court Selection Box, Macca & Beth, The Scouse Sleeping Beauty, The Menlove Avenue Murder Mystery, The Scousetrap, The Scouse Jack & The Beanstalk, The Scouse Dick Whittington, Haunted Scouse, Sisters Of Mersey, Haunted Scouse, Girls Don’t Play Guitars, The Scouse Red Riding Hood, The Peaceful Hour and The Peaceful Hour 2 (Liverpool’s Royal Court); Masquerade, Knee Deep In Promises, Hey Bunny Get Loose, Stocking Fillers, Cosmic and Pass The Parcel (Liverpool’s Royal Court Studio); The Dream Team and VR Family (Liverpool’s Royal Court Youth Theatre); Macbeth and A Midsummer Night’s Dream (Liverpool Shakespeare Festival); Judy & Liza (National Tour); YNWA (Alterean Productions,
international tour); The Big I Am (Liverpool Everyman); Celtic The Musical (Alterean Productions, Pavilion Theatre Glasgow and SEC Glasgow); Sunderland The Musical (Alterean Productions, Empire Theatre Sunderland); Something About George (Something About Productions, Liverpool Philharmonic Hall and national tour); Something About John (Something About Productions, Liverpool Philharmonic Hall and national tour); The Salford Docker (Salford Community Theatre, Lighthouse Salford); Our Country’s Good (Hope St Theatre); and Peter Pan (Storyhouse Chester). Jamie was also Sound Designer on Hey Bunny Get Loose, Offered Up, Stocking Fillers and Cosmic (Liverpool’s Royal Court Studio) and Our Country’s Good (Hope St Theatre).
Beverley Norris-Edmunds Movement Director For Liverpool’s Royal Court: Take Me Home County Road, The Peaceful Hour and The Peaceful Hour 2, The Scouse Christmas Carol, The Derby-Days, Girls Don’t Play Guitars, Speedo Mick, Vernons Girls, The Scouse Red Riding Hood, Thong for Europe, Scouse Trap, YNWA, The Scouse Sleeping Beauty, Selection Box, Maggie May, Scouse Pacific, Lost Soul 1 and 2, The Scouse Nativity, Golden Oldies, The Royal, Father O’Flaherty Saves Our Souls, Sex in Suburbia, Canoeing for Beginners, Bouncers, Council Depo Blues, Special Measures, Our Day Out The Musical, Ladies Night, Good Golly Miss Molly, Dirty Dustin’, Nightmare on Lime Street, Little Scouse on the Prairie, Brick up the Mersey Tunnels 1 and 2, Merry Ding Dong, Slappers and Slap Heads, and Reds ‘n’ Blues. Theatre: The Grand Babylon Hotel, Christmas Carol, The Card, Bright Lights Over Bentley, The D Road (Claybody Theatre), The Hounds of The Baskervilles, Good Golly Miss Molly, The Little Mermaid, A Matter of Life and Death, The Three Musketeers, One Man, Two Guvnors, A Leap in the Dark, The Nutcracker: A Christmas Fairytale, Alice in Wonderland, Beauty and the Beast, Coppelia - A Mystery, The 39 Steps, The Prince and The Pauper, Handbagged, Much Ado About Nothing and Cyrano (co-productions with Northern Broadsides), Astley’s Astounding Adventures, Playhouse Creatures, Treasure Island, The Snow Queen (UK Theatre Award winner), Peter Pan in Scarlet, Kiss Me Quickstep, I Don’t Want To Set The World On Fire, The Hundred and One Dalmatians, The Borrowers, A Christmas Carol, Where Have I Been All My Life, The Lion, The Witch and The Wardrobe, Anna of the Five Towns, Laurel and Hardy, The Wizard of Oz, The Glee Club, Stones in His Pockets, Dancing at Lughnasa, Sweeney Todd, Oliver, Amadeus, Stepping Out, Privates on Parade, From a Jack to a King, Don Giovanni, Pump Boys and Dinettes, Carmen, Romeo and Juliet, Moll Flanders (New Vic Theatre), Pride and Prejudice, The Great Gatsby (Storyhouse Chester), Hard Times, For Love or Money, A Winter’s Tale, Loves Labours Lost, Lisa’s Sex Strike (Northern Broadsides), Romeo and Juliet, Treasure Island, The Tempest, Strange Tale (Imaginarium Theatre Company in association with Shakespeare North Playhouse), The Man Without A Past (New Perspectives Theatre Company), Wolf Red (Tmesis Theatre Company), Blues in the Night, Laurel and Hardy, Stepping Out, Sweet Charity, Oh What a Lovely War, and the first actor/musician version of Chicago - MEN Theatre Award for Best Ensemble winner (Oldham Coliseum).
Tours: The Worst Witch (Vaudeville Theatre West End and UK Olivier Award Winner 2020 Best Show), Around The World in 80 Days (UK Tour, Broadway, Florida, Royal Exchange and New Vic Theatre), Tom, Dick and Harry (Alexandre Palace and New Vic Theatre), Marvellous (SohoPlace and New Vic Theatre), Return to the Forbidden Planet, Carmen. Television: Disney’s The Evermoor Chronicles, The Reckoning, Coronation Street, Butterfly, Hollyoaks, CBeebies’ The Magic Door, Sunny D, Fernando Torres, Nike Commercial, September Song, and Across The Universe. Beverley has also worked on many productions for the Royal Exchange Theatre Manchester, Bolton Octagon, West Yorkshire Playhouse, Birmingham Rep, Liverpool Everyman & Playhouse, Belgrade Theatre Coventry, Liverpool Empire, Stephen Joseph Theatre Scarborough, Hull Truck, Haymarket Basingstoke and Harrogate Theatre.
Kaitlin Howard Fight Director and Intimacy Coordinator Kaitlin is a teaching and examining member of The Academy of Performance Combat working in many of the UK’s leading drama schools and is one of only three women on the Equity Register of Fight Directors. She is also a member of the newly established Equity Intimacy Director’s Network. Previously for Liverpool’s Royal Court: The Netherley Hillbillies, The Peaceful Hour, The Peaceful Hour 2, Cured, Taking the Piste. Fight Direction includes: Theatre: Macbeth (RSC); Anastasia The Musical (Det Ny Teater, Copenhagen); Macbeth (an undoing) (Theatre for a New Audience, New York); Single White Female (JAS Theatricals UK Tour); Death of A Salesman, Jekyll & Hyde, The Little Mermaid, Cherry Jezebel (Liverpool Everyman); Outlaws, Macbeth, The Adventures of Sherlock Holmes, The Gangs of New York, The Merry Wives of Windsor, Romeo & Juliet, The Snow Queen, Faustus: That Damned Woman, The Great Gatsby, Beauty and The Beast (Storyhouse, Chester); Sweat, A Taste of Honey (The Royal Exchange, Manchester); Crime and Punishment (Northern Broadsides); As You Write It, Two (Shakespeare North Playhouse); Around the World in 80 Days, The Jungle Book, Robin Hood (The Dukes, Lancaster); Jeeves & Worcester, The 39 Steps (Salisbury Playhouse); Habibti Driver, The Jungle Book, East is East (Bolton Octagon); Noises Off, The Whitby Rebels, Comedy of Errors (more or less), Love’s Labour’s Lost (more or less), Dracula: The Bloody Truth (Stephen Joseph Theatre, Scarborough); Life is A Dream, The Scent of Roses (Edinburgh Lyceum); Red Ellen (Northern Stage); Constellations, The Famous Five, Robin Hood, Sleeping Beauty, Twelfth Night (Theatr Clwyd); Lucrezia Borgia, I Capuleti e I Montecchi, The Rape of Lucretia (English Touring Opera); A Skull In Connemara, Jack & The Beanstalk, Aladdin, Robin Hood (Oldham Coliseum); Tom, Dick & Harry (The New Vic, Stoke-On-Trent); The Chester Mystery Plays 2023 (Chester Cathedral); Guards at The Taj, The Jungle Book (Theatre By The Lake, Keswick); Frankenstein, The Picture of Dorian Gray (Tilted Wig Productions); Singin’ In The Rain, 42nd Street (Kilworth House Theatre); The Girl on The Train, The True Adventures of Marian
& Robin Hood (Barn, Cirencester); A Midsummer Night’s Dream, Our Country’s Good (The Tobacco Factory, Bristol); Robin Hood, The Doncastrian Chalk Circle (Cast, Doncaster); Ghosts (Jermyn Street Theatre); The Comedy of Errors (Greenwich Playhouse); Killer Joe (The Pleasance Theatre, London); Dancing at Lughnasa (Sheffield Crucible); Tosca (Clonter Opera); The Void (Thunder Road Theatre); Elmet (Loading Bay Bradford). Film & TV: The Jury: Murder Trial - Series 2 & 4 (Channel 4/ ScreenDog Productions); So Awkward (CBBC); Crimewatch (BBC); Blank... (KenMor Films). Intimacy Direction includes: Theatre: Macbeth (an undoing) (Theatre for a New Audience, New York); Death of A Salesman, Jekyll & Hyde (Liverpool Everyman); A Taste of Honey (The Royal Exchange, Manchester); Single White Female (JAS Theatricals UK Tour); Robin Hood (The Dukes, Lancaster); Outlaws, Let The Sunshine In, Macbeth, The Gangs of New York, Beauty and The Beast, Cinderella, A Midsummer Night’s Dream (Storyhouse, Chester); Oppenheimer, Mary Stuart, Linda (Grosvenor Theatre, Manchester); A Pineapple, The Three Lives of Lucie Cabrol (53two, Manchester); Vincent River, The Pride (Hope Mill, Manchester); Kind of Love (Qweerdog Theatre); Elmet (Loading Bay Bradford). Film & TV: Zero Hours (Mordecai Films); Urge (Influence Films); Treading Water (Big North Films); Letters From Seville (Bloodhound Productions); Cancelled (Fade to Blood Films); Enter The Darkness (Green Finger Films).
Rosemary Berkon Dialect Coach Rosemary is a voice and dialect coach, actor and educator, working across theatre, screen and training. She helps performers develop confident communication without losing individuality. Her coaching credits include: the WhatsOnStage-nominated Through It All Together (The Leeds Playhouse), Threshold (The Royal Exchange, Manchester), The Backs(L)ide (Festivalul Internațional de Teatru de la Sibiu), TEDx speaker preparation, award-winning young screen actors recognised at the Young Artist Academy Awards, and multiple third-year productions at LIPA. Her clients’ credits include: Silence of the Lambs (UK tour), The Play That Goes Wrong (West End), Wuthering Heights (Emerald Fennell), The Hunger Games: Sunrise on the Reaping (Lionsgate), Sandokan (Fremantle) and Harry Potter and the Cursed Child (West End). She teaches Voice at LIPA and is one half of Tiring House Productions, created to provide space for actors in the North West to work and perform in-between jobs and training. She has loved collaborating with the incredible actors on Letters to Brezhev and is so thrilled to have been a part of this special Liverpool love story.
Rehearsal Photos
Meeting The Original Cast
L I V E R P O O L ’ S
R O Y A L
C O U R T
4 to 30 December Tickets from £16
Downstairs at Liverpool’s Royal Court, 1 Roe St, Liverpool L1 1HL
Royal Court Staff Executive Producer Kevin Fearon Chief Executive Gillian Miller Head of Finance & Administration Alan Hardman Head of Producing & Programming Jess Bolger Head of Marketing Kofi Ohene-Djan
Kitchen Head Chef Jack While Chefs Thomas Alexander, Billie Chisam, Maciej Gumieniuk, Harrison McLaughlin, Kieran O’Connor and Lewis While Kitchen Porters Hezekiah Abramson, Dillon Bagley, Louise Dodd, Rhiannon Griffiths, Harry Lawlor, Emmeline Linforth, Dean Robinson, Luke Sweeney and Melissa While
Head of Operations Ailsa Morris Executive Chef David Assall
Front Of House
Graphic Designer & Brand Manager Jamie Jenkin
FOH Manager Kathy Hutson
Producer Clare Carlucci
Assistant FOH Manager Paul Imrie
Assistant Producer Abigail Middleton Marketing Manager Lily Hagan
FOH Supervisors Jordan Barkley, Sammie Hunter and Katie Sherman
PR Manager Laura Marie Brown
Café 38 Supervisors Tom Patterson and Sammie Hunter
Workshop Manager John Kavanagh
Lighting Technician Holly Freeman
Front of House Staff Kane Bagnall, Hazel Bawden, Rhianna Beesley, Mustafa Bshaena, Sam Byrne, Louis CarneySmith, Emily Cook, John Donachie-Ashcroft, Holly Evans, Lily Hutson, Callum Johnstone, Raia Kiernan, Jackie Kirton, Abby Livingstone, Phil Lyne, Lukas Matuzevicius, Joseph O’Neill, Niamh Powers, Anila Rais, Isabella Renshaw, Theo Stock-Best, Aiva Tambourini, Ben Verdin, Ellie Wilcox and Samantha Woolley
Senior Sound Technician Danny Haydock
Head of Facilities Debbie Chisam
Senior Stage Technician Mark Ellis
Cleaners Joanne Kinsella, Claire Wilson and Julie Wright
Head of Technical & Production Sean Gannon Technical Manager Dan Taylor Senior Venue Technician Phil Dickinson Head of Lighting Jimmi Richardson
Scenic Art Manager Jen Baron Box Office & Sales Manager Lauren Macauley Assistant Box Office Manager Laura Lees Head of Wardrobe Mitch Fujii-Williams Management Accountant Marie Williams Purchase Ledger Izzie Litwin Venue Administrator Phil McLoughlin Executive Assistant Joe Morris Building Maintenance Technician Bob Smith Box Office Assistants Erika Drummond, Finn GouldenJennings, Carl Lees, Scarlet Lees, Amy McCormick, Anna Miller, Pat O’Neill, Susan Segar and Angela Simms Fire Officer Louis Carney-Smith Stage Door Julia D’Arcy, Allan Dodd and Sven Key
6 Nov 2026 to 16 Jan 2027 Tickets from £17 Full cast and more info here
19 February to 13 March Tickets from £17 Full cast and more info here