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The Royal Lyceum Theatre Edinburgh 2018/19 Season Press PackContents2 - An introduction to the 2018/19 season from David Greig5 - Twelfth Night (14 September – 6 October 2018)8 - Cyrano de Bergerac (12 October – 3 November 2018)10 -Wendy and Peter Pan (29 November 2018 – 5 January 2019)12- Touching the Void (World Premiere, 24 January – 16 February 2019)15 - Local Hero (World Premiere, 23 March – 20 April 2019)19 - The Duchess (of Malfi) (World Premiere, 17 May – 8 June 2019)21-Talk Show22-Love Song to Lavender Menace (Edinburgh Festival Fringe, 3 – 26 August 2018)25-Ane Satyre of The Thrie Estates (Edinburgh International Festival rehearsed reading, 7 August 2018)27- Notes to Editors Address: The Royal Lyceum Theatre Edinburgh, Grindlay Street, Edinburgh, EH3 9AXBox Office: 0131 248 4848Website: .ukFor further information, press requests, and images, please contact Harriet Mould on press@.uk / 0131 2484 822 / 0745 4816 116An Introduction to The Lyceum’s 2018/19 SeasonBy Artistic Director David GreigIn Season 2017/18 we explored plays which offered a fresh prism through which we could reflect on the world around us. There were so many high points, from the tides of laughter at Hannah Cowley’s lost comedy The Belle’s Stratagem, through to the spine-tingling operatic aria in Cockpit; from Robbie Jack’s lonely Bérenger, defiant on a tottering table-top in Rhinoceros, to the joyfully diverse celebration of the power of story itself in The Arabian Nights, I hope we have shared a season which pushed the boundaries of form and content for The Lyceum.Theatre forces us to face questions, but theatre also has the power to bring us together. As the world feels increasingly fractured, we find ourselves yearning for the community that comes from big universal stories – tales told around a campfire which somehow put us into contact with the forces that bind us all together – love, death, heroism, adventure, rebellion and belonging. With this season I want to throw the doors of The Lyceum wide open and welcome everyone in Edinburgh to a season long feast of music, story, magic and myth. So with that in mind we open with Shakespeare’s achingly beautiful tale of love and belonging, Twelfth Night. In Wils Wilson’s playful music-filled production we’ll visit the folk music and psychedelia of the 1960’s, a time when the boundaries between gender and desire, play-acting and truth felt every bit as mixed up as they feel today. It’s a play which revels in the possibilities of a world turned upside down but which, in the gloriously sad creation of Malvolio, also shows us the yearning pain of the conventional man who finds himself out of time.Next we present a classic tale of hidden love, Cyrano De Bergerac by Edmund Rostand in the wonderful Scots version by Edwin Morgan. Cyrano is one of my favourite stories. I suppose that’s hardly surprising since Cyrano is the story of the seductive power of words - which writer wouldn’t love it? In Morgan’s version it becomes a joyous exploration of hidden desire played out by a big Scottish company on an epic scale. The show will be directed by Dominic Hill and co-produced by The National Theatre of Scotland and Citizens Theatre.For Christmas we return to the quintessential children’s story of magic and escape when we stage Wendy and Peter Pan, Ella Hickson’s delightful re-telling of Peter Pan which sees the imagination of a young girl turn the simple contents of a Victorian nursery into the extraordinary world of Neverland, where she meets and spars with the eternal child at its centre - Peter Pan.‘Death’, said Peter Pan, would be ‘an awfully big adventure.’ In January we discover just how awfully big when we stage the World Premiere of Touching the Void, Joe Simpson’s extraordinary memoir of survival. Left for dead in a crevasse in the high Andes, crippled with a broken leg, Simpson somehow found within himself an almost insane drive to survive. How did he find that fire? What did it take for him to crawl back from the jaws of death? In this new adaptation, written by me and directed by Tom Morris, Simpson’s classic campfire tale of adventure and survival becomes an existential thriller asking the basic question… if life is the prize, how hard are you prepared to fight? A change of pace for the spring when we stage the centrepiece of our season, a new musical adaptation of Bill Forsyth’s 1983 film Local Hero, a story of love, longing and community set on the coast of Scotland. Local Hero is a story whose winning charm and comic heart belies a subtle astringency as it carefully unties the knots and contradictions in the way we think about value. What is a landscape worth? A marriage? A village? A beach? Directed by John Crowley, with new songs by Mark Knopfler and a script by Bill Forsyth and myself, Local Hero promises to be magical. Our last play in the season comes from Zinnie Harris who’s been tearing up UK theatre recently with her fierce explorations of women’s lives wrested from the great plays of the canon: This Restless House saw her rewrite The Oresteia, in (The Fall of) The Master Builder she took on Ibsen, now in The Duchess (Of Malfi) she turns her pen to Jacobean revenge tragedy. Zinnie, who also directs, will look afresh at Webster’s great creation, the Duchess, whose love crosses the structures of class and brings her into fatal conflict with her family. The Duchess is a bloody tale of patriarchal power and female resistance which can’t help but feel deeply resonant today.One of my favourite aspects of going to the theatre is talking about the play afterwards. Theatre raises the big questions of life and invites us to explore further. That’s the purpose of our Talk Show strand. Where post-show discussions invite us to talk to cast and creatives, Talk Show brings us the most fascinating guests from arts, science and academia to discuss ideas and themes raised by the work on stage. In the season past, for example, we saw Professor Tom Devine talk about Edinburgh’s ‘Enlightenment’ for The Belle’s Stratagem, Dr Barbara Helm discussed bird migration in relation to Enoch Powell for What Shadows, Richard Jobson of Scottish band the Skids told stories of his friendship with the extraordinary Marguerite Duras for The Lover, and Turkish journalist and documentarian Can Dündar discussed censorship and politics for Rhinoceros. Every Talk Show has a mix of top guests, great music and discussion. It’s like a whole radio show devoted to the play you just saw. You can see Talk Show before you see the show, or after, or just as a stand-alone event.As with Wind Resistance and Rhinoceros I am determined that The Lyceum, as Edinburgh’s City Theatre, should have a presence at the Festival in August. This year is no different. At the Edinburgh International Festival we partner with National Theatre of Scotland to present a workshop on Ane Satyre of The Thrie Estates directed by new Artistic Director of Newcastle’s Live Theatre, Joe Douglas. It seems that every generation of Scottish Theatre revisits this, the first great Scottish play, to both rediscover it and use it to reflect on our own times. In this new approach Joe and Edinburgh University’s Professor Ian Brown find in the Satyre a rambunctious, popular, powerful speaking of truth to power.A Final ThoughtI have always loved Bob Dylan and recently I found the chorus of Ballad of a Thin Man rattling around my head… ‘Something is happening and you don’t know what it is, do you Mr Jones.’ I wondered why it was in my head and then I realised, with a jolt, that for the first time I found I had sympathy for Mr Jones. The world is changing. Something is happening and we don’t know what it is. But fortunately, in theatre, we find both respite and a cure. As long as we are curious, we remain open to the world, and if we are open, we can find each other. Theatre is an engine of community. It is a joyful, enjoyable way to feed our curiosity, open our hearts, and bring us together before the warming, illuminating flame of a truly great story.4431030-4152902019300-19050The Royal Lyceum Theatre Edinburgh and Bristol Old Vic presentTwelfth NightBy William ShakespeareDirected by Wils WilsonWith music by Meilyr Jones Performance supported by The Lyceum Patrons14 September – 6 October 2018PRESS NIGHT: TUESDAY 18 SEPTEMBER 2018, 7:30PMA co-production between the Royal Lyceum Theatre Edinburgh and Bristol Old VicTwelfth Night will open The Lyceum’s 2018/19 season before transferring to Bristol Old VicDirected by The Lyceum’s Associate Artist Wils Wilson, this will be the director’s first ShakespeareWith original music from Welsh singer Meilyr Jones, whose debut solo album 2013 was awarded the Welsh Music Prize, last yearThe Royal Lyceum Theatre Edinburgh and Bristol Old Vic are delighted to announce that the first co-production between the award-winning theatres will be William Shakespeare’s hilarious and heartbreaking Twelfth Night. Directed by The Lyceum’s Associate Artist Wils Wilson, whose work with The Lyceum includes Wind Resistance and Cockpit, Twelfth Night is a tale of unrequited love and mistaken identity, and is widely considered to be one of Shakespeare’s greatest comedies.Mischief and mayhem abound in Illyria after twins Viola and Sebastian are separated in a shipwreck. Believing her brother to be lost forever, Viola, disguised as a man, finds herself caught between the households of the lovelorn Duke Orsino and the grieving Countess Olivia. Servants, friends and lovers entwine in a whirlwind tale of mistaken identity, misadventure and unrequited love. Will all come good in the end?Directed by The Lyceum’s Associate Artist, Wils Wilson, Twelfth Night will open The Lyceum’s 2018/19 season, before transferring to Bristol Old Vic. Her third production with the theatre, following the critically acclaimed Wind Resistance and Cockpit, Wils Wilson further directed David Greig’s The Strange Undoing of Prudencia Hart (National Theatre of Scotland), I Want My Hat Back (National Theatre of Great Britain), Scuttlers (Manchester Royal Exchange), and Candylion (National Theatre of Wales).Speaking of the production, Wils Wilson said: “I'm very excited and a little humbled to be directing this wonderful play. It’s Shakespeare's play of celebration and revelry - and like all good parties there are moments of joyful abandon, friendship, flirtation, fun, discovery and great live music - but also, confusion, thoughtless cruelty and embarrassment. I love the play for its warmth and wit, and also for its brilliant and fearless exploration of human frailty - it is a rich and complex world to dive into, one which plays with all the senses, and I can’t wait to explore it to the full. It is a play I have wanted to direct for a long time.”The Lyceum’s Artistic Director David Greig said: “I adore Twelfth Night. It has all the glorious Shakespearean tropes of twins, and lost love, and misunderstood intentions but, in Malvolio, it also has one of the most gloriously human and humane portrayals of the straight man in a world of fools. Wils Wilson is a director who consistently turns the theatre into a generous and magical space of music and transformation. I’m also delighted we’ll be working with Meilyr Jones, who will bring a warm, fuzzy psychedelic edge to this timeless story of love and belonging”Bristol Old Vic’s Executive Producer Chloe Elwood said: “Collaborating with other organisations is one of the joys of making work at BOV and we are thrilled to be working for the first time with our friends in Edinburgh on this glorious comedy. Wils Wilson is a bold and playful director who will bring her particular spark of genius to Shakespeare's mischievous story of identity, gender and love in all its forms. We can’t wait to welcome Wils and The Lyceum team to Bristol and our brand-new building.”ENDSListings informationBy William ShakespeareDirected by Wils Wilson Music by Meilyr JonesPerformance Dates: Preview: Friday 14, Saturday 15 & Monday 17 September Opening Night: Tuesday 18 September Post-Show Talk: Tuesday 25 September, 7:30pmTalk Show: Friday 5 October, 5:30pmPrices: ?10 - ?32Accessible Performances:BSL: Wednesday 26 September 2018, 7:30pmCaptioned: Saturday 29 September, 2:00pmAudio Described: Thursday 27 September, 7:30pm and Saturday 29 September, 2:00pm4431665-415290The Royal Lyceum Theatre Edinburgh, National Theatre of Scotland and Citizens Theatre presentCyrano de BergeracBy Edmond RostandTranslated by Edwin MorganDirected by Dominic HillDesign by Tom Piper MBEMusic by Nikola Kodjabashia12 October – 3 November 2018PRESS NIGHT: SATURDAY 13 OCTOBER 2018, 7:30PMA co-production between Scotland’s three major theatre companies: The Lyceum, National Theatre of Scotland, and Citizens Theatre GlasgowA new production of Edwin Morgan’s celebrated Scots translation, which returns to the stage 25 years after it was first staged by Communicado Theatre in Inverness in 1992, directed by Gerry MulgrewThe hugely romantic Cyrano de Bergerac is given a Caledonian heart in a new production of Edwin Morgan’s celebrated Glaswegian-Scots translation of the classic Rostand play. A co-production between Scotland’s three major theatre companies, The Lyceum, the National Theatre of Scotland, and the Citizens Theatre, the production will play Glasgow and Edinburgh before touring to Inverness.This new production will be brought to the stage by Citizens Theatre Artistic Director Dominic Hill, who directed No?l Coward’s Hay Fever in David Greig’s inaugural season at The Lyceum, and will be the first production by the Citizens Theatre at Glasgow’s Tramway.The swashbuckling and flamboyant Cyrano’s low self-image prevents him from revealing his love to Roxanne. Believing she would never return his affections, he lends his poetic skills instead to a handsome young nobleman named Christian, who wins Roxanne’s heart through his passionate ghost-written letters. Years pass, and throughout his wild and adventurous life, Cyrano continues to draw quill and sword alike, risking his life in the process, to express his true feelings.Award-winning director Dominic Hill (Hayfever, The Lyceum and Citizens Theatre; Oresteia: This Restless House, Citizens Theatre and National Theatre of Scotland; Crime and Punishment, Citizens Theatre and The Lyceum; Macbeth, Scottish Opera) will work with a strong creative team, including recent MBE-recipient Tom Piper, whose recent work includes The Lyceum’s acclaimed version of Ionesco’s Rhinoceros, adapted by Zinnie Harris, and the iconic poppy sculptures which toured the UK to mark the centenary of the First World War; Composer Nikola Kodjabashia (Oresteia: This Restless House, Citizens Theatre and National Theatre of Scotland; Bacchai, National Theatre of Great Britain; Romeo and Juliet, HOME; Hecuba, Donmar Warehouse), whose distinctive soundscapes have been a feature of many of Hill’s most popular productions at the Citizens Theatre. An epic ensemble of actors and musicians use Morgan’s lyrical Scots verse to create a fresh take on the enduringly popular period piece, in a vivid and joyous celebration of theatre itself. ENDS Full Listings informationCyrano de BergeracBy Edmond RostandDirected by Dominic HillDesign by Tom Piper MBEComposed by Nikola KodjabashiaPerformance Dates: Preview: Friday 12 October, 7.30pmOpening Night: Saturday 13 October, 7.30pmPost-Show Talk: Tuesday 23 October, 7:30pmTalk Show: Friday 26 October, 5:30pmPrices: ?10 - ?32Accessible Performances:BSL: Wednesday 24 October, 7:30pmCaptioned: Saturday 27 October, 2:00pmAudio Described: Thursday 25 October, 7:30pm and Saturday 27 October, 2:00pm4431030-412750The Royal Lyceum Theatre Edinburgh presentsWendy and Peter PanAdapted by Ella HicksonFrom the book by J.M.BarrieDirected by Eleanor Rhode Flying supported by Stephen Dunn29 November 2018 – 5 January 2019PRESS NIGHT: FRIDAY 30 NOVEMBER 2018, 7PMDirected by Eleanor Rhode, whose previous critically acclaimed work includes Boudica (Shakespeare’s Globe), Teddy (Southwark Playhouse), Beauty and the Beast (Watford Palace), and Terrorism (The Bush Theatre)The adaptation puts Wendy, Tinkerbell and Tiger Lilly centre stage as they fly, have fun, and fight to save the Lost Boys from the clutches of Captain HookThe production will run from 29 November 2018 – 5 January 2019Join us at The Lyceum this Christmas as we bring to life one of the world’s best loved stories about family, bravery, and a boy who never grows up, from Scottish writer JM Barrie. In a celebrated adaptation that puts her centre stage, follow the fearless Wendy as she flies with Peter to a magical world of dastardly pirates, feisty fairies, raucous lost boys, and one very hungry crocodile.When a shadowless boy appears at their nursery window, Wendy and her brothers know adventure awaits. Whisked away to Neverland as quickly as it takes to muster a happy thought, all is not as it seems when Wendy, Peter and John arrive in the kingdom of Lost Boys - Tink is up to her old tricks and the villainous Captain Hook is wreaking havoc as he hunts for Peter Pan. As the boys become caught up in playing pretend, it’s Wendy and the brilliantly brave Tiger Lilly who must stop the children of Neverland from being caught in the Captain’s trap for real...Speaking of the production, Director Eleanor Rhode said: “I’m really excited to be directing Wendy and Peter Pan for The Lyceum – Ella Hickson has shone a brilliant, funny and spirited new light on a familiar story, and this will be a production to match.? It’ll be a combination of the homemade and the spectacular, infused with a wild Scottish flavor. There’ll be adventure, sword fights and a lot of surprises along the way – a perfect show for Christmas!” All the magic and wonder of the original is retained as audiences aged 5+ can join the Darling children as they fly above the rooftops and follow the second star on the right and lose themselves in Neverland, this festive season.ENDS Full Listings informationWendy and Peter PanAdapted by Ella Hickson from the book by J.M.BarrieDirected by Eleanor RhodePerformance Dates: Preview: Thursday 29 November, 7.30pmOpening Night: Friday 30 November, 7.30pmPrices: ?10 - ?32Accessible Performances:BSL: Wednesday 12 December, 7:00pmCaptioned: Saturday 8 December, 2:00pmAudio Described: Thursday 13 December, 7:00pm and Saturday 15 December, 2:00pmRelaxed Performance: Thursday 3 January 2019, 7:00pm4431030-4152902059940-19050WORLD PREMIEREThe Royal Lyceum Theatre Edinburgh, Bristol Old Vic, Royal & Derngate, Northampton and Fuel presentTouching the VoidA new adaptation by David GreigBased on the award-winning book by Joe SimpsonDirected by Tom Morris24 January – 16 February 2019PRESS NIGHT: FRIDAY 25 JANUARY 2019, 7:30PMA World Premiere by Royal Lyceum Theatre Edinburgh, Bristol Old Vic, Royal & Derngate, and Fuel co-production, adapted for the stage by The Lyceum’s Artistic Director David GreigBased on the international bestseller, and subsequent BAFTA-winning film of the same titleDirected by Bristol Old Vic’s Artistic Director Tom MorrisPart of both theatres’ 2018/19 seasonsOpening at Bristol Old Vic in October 2018 and transferring to The Lyceum in January 2019The Lyceum and Bristol Old Vic are delighted to announce the world premiere of Touching the Void, based on the best-selling true story by British climber Joe Simpson, and adapted for the stage by David Greig.Written in 1988 before becoming a film in 2003, Touching the Void recounts the astonishing true story of Joe Simpson and Simon Yates’ near-fatal climb of the West Face of the Siula Grande in the Peruvian Andes – a feat that had previously been attempted but never achieved, and one that would nearly cost both climbers their lives. The heart of the novel is Joe Simpson’s mental battle as he teeters on the very brink of death and despair in a crevasse from which he can’t possibly climb to safety. Also unforgettable in the story is the appalling dilemma of Simon Yates, perched on an unstable snow-cliff, battered by freezing winds and desperate to rescue the injured Simpson, who hangs from a rope below him. Knowing that they will both ultimately fall into the void, he makes the critical decision to cut the rope, changing both their lives forever.Written for the stage by The Lyceum’s Artistic Director David Greig, whose plays include The Suppliant Women, The Strange Undoing of Prudencia Hart, The Events, and Midsummer; Touching the Void will be directed Bristol Old Vic’s Artistic Director Tom Morris, whose past work includes Swallows & Amazons, The Grinning Man, and the five-time Tony Award winner, War Horse.The Lyceum’s Artistic Director David Greig said: “Touching the Void is one of the great true stories of adventure and survival. It’s a tale that has reached beyond just the climbing world and become mythological. Joe Simpson made an extraordinary choice. When it would have been easier to die, he chose to live. To make that choice he had to reach into the very depths of what it is to be human: the desire to live, love and connect to others. How do you do climbing on stage? I don’t know! Whatever we do it’s going to take a thrilling theatricality to realise this book and I can’t wait to work with Tom Morris to bring it to life. It’s an existential thriller that will have audiences clinging on to the edge of their seats. And it’s got Boney M.”ENDS Full Listings informationTouching the Void Adapted by David GreigBased on the memoir by Joe SimpsonDirected by Tom MorrisPerformance Dates: Preview: Thursday 24 January, 7.30pmOpening Night: Friday 25 January, 7.30pmPost-Show Talk: Tuesday 5 February, 7:30pmTalk Show: TBCPrices: ?10 - ?32Accessible Performances:BSL: Wednesday 6 February, 7:30pmCaptioned: Saturday 9 February, 2:00pmAudio Described: Thursday 7 February, 7:30pm and Saturday 9 February, 2:00pm1539240-1276354517390-457200A co-production by the Royal Lyceum Theatre Edinburgh and The Old Vic Local Hero4864101879600Book by Bill Forsyth and David GreigMusic and lyrics by Mark KnopflerBased on the screenplay of the original film, written and directed by Bill ForsythOriginal film produced by David PuttnamDirected by John CrowleyPrinciple Production Sponsor – The Famous GrouseSupported by the Culture and Business Fund23 March – 20 April 2019Preview dates and Press Night to be announcedPhoto credit Mihaela BodlovicThe stage production of Local Hero will be adapted by David Greig and Bill Forsyth, with new music by Mark Knopfler, drawing on his original 1983 film score John Crowley will direct the World Premiere production with set and costume design by Scott Pask, lighting design by Paule Constable, sound design by Paul Arditti, video design by Luke Halls, Music Supervision by Dave Milligan, Music Direction by Phil Bateman, and casting by Will BurtonFirst release of public tickets on sale 10am, 1 May 2018 at The Lyceum Advanced booking opens at 12pm on 5 June 2018 and general booking opens at 12pm 26 June 2018 at The Old VicThe Royal Lyceum Theatre Edinburgh and The Old Vic, London are delighted to announce that John Crowley will direct the World Premiere of Local Hero, a stage adaptation of the 1983 film, co-written by David Greig and Bill Forsyth, with music and lyrics by Mark Knopfler.Local Hero will open at The Lyceum on 23 March 2019, and The Old Vic run will open in June 2019. John Crowley’s stage work includes The Present, Anton Chekhov’s Platonov adapted by Andrew Upton and starring Cate Blanchett; the London and Broadway runs of Martin McDonagh’s Tony-nominated The Pillowman starring David Tennant; McDonagh’s A Behanding in Spokane on Broadway starring Christopher Walken; the West End production of Love Song, starring Neve Campbell and Cillian Murphy, and the West End run of On An Average Day, starring Woody Harrelson and Kyle MacLachlan. He was Associate Director at the Donmar Warehouse. Crowley’s film work includes Oscar-nominated and BAFTA-winning Brooklyn, starring Saoirse Ronan, Film Four’s Boy A, starring Andrew Garfield and the upcoming film adaptation of Donna Tartt’s The Goldfinch starring Ansel Elgort, Nicole Kidman and Sarah Paulson.Crowley returns to The Lyceum having directed the 1993 production of The Master Builder starring Brian Cox.The creative team further includes Tony Award-winning Set and Costume Designer Scott Pask, whose work includes The Pillowman, directed by John Crowley, The Coast of Utopia, The Book of Mormon and more recently Tina Fey’s Mean Girls and Bernard Shaw’s Saint Joan, starring Condola Rashad.Lighting Designer Paule Constable is a National Theatre of Great Britain Associate who has won the Olivier Award for Best Lighting Design a record four times. Her work includes Follies, Angels in America, The Curious Incident of the Dog in the Night Time and War Horse.Tony and Olivier Award-winning Sound Designer Paul Arditti’s work includes Billy Elliot: The Musical, Charlie and the Chocolate Factory, The Scottsboro Boys, King Charles III and Amadeus.Video design will be by BAFTA-winning Luke Halls, whose work includes The Royal Opera House’s Don Giovanni, Metropolitan Opera’s Otello, and the National Theatre of Great Britain’s Ugly Lies The Bone, as well as the 2012 Olympic and Paralympic closing ceremonies, and video designs for tours by Adele, Beyoncé, Pet Shop Boys, U2 and Rihanna.Music Supervisor Dave Milligan is an acclaimed jazz pianist and leading figure in the diverse Scottish music scene, having co-founded Unusual Suspects and worked extensively with Celtic Connections and Edinburgh Jazz Festival. Music Director Phil Bateman’s recent work includes Bob Marley musical One Love, Bugsy Malone, The Lorax, Billy Elliot: The Musical and Made in Dagenham, and he was Vocal Arranger on the films Kinky Boots and Cemetery Junction.The stage adaptation is co-written by The Lyceum’s Artistic Director David Greig and multi-award winning director and writer Bill Forsyth, with music and lyrics by acclaimed composer and Glasgow-born producer Mark Knopfler – founder of internationally celebrated band Dire Straits, whose album Brothers in Arms is one of the top 20 highest selling albums in UK history – and who has previously composed music for films including The Princess Bride, Wag the Dog and Comfort and Joy.The Lyceum’s Artistic Director David Greig says: ‘God, this is exciting! I’m thrilled The Lyceum will be working with a team of this calibre to make Local Hero. John Crowley is a director on top of his game. From The Pillowman to Brooklyn he has shown himself a master of complex emotional material.?I was recently privileged to see his production of The Present on Broadway with Cate Blanchett and it was one of the defining experiences of my theatre-going life. Scott Pask is a visionary Stage Designer who is at home with an intimate play as he is with a huge Broadway musical. The Lyceum audience are in for a treat to see his work in our gorgeous theatre. Paul Arditti worked with me on the crazy, surreal soundscape of Willy Wonka’s Chocolate Factory and Paule Constable has lit some of the most beautiful shows in London’s West End in recent years. Together with Luke Halls’ video work having pushed boundaries at the Paralympics and in Royal Opera House, we have a world class creative team in whom to trust the legacy of Bill’s much loved film.’The Old Vic’s Artistic Director Matthew Warchus says: ‘It’s very exciting to see Bill Forsyth’s masterpiece entrusted to such a classy line-up of international creative talent.’ Local Hero is due to open at The Lyceum in Spring 2019 before transferring to The Old Vic. This production is generously supported by The National Lottery through Creative Scotland and presented by special arrangement with Neal Street Productions and Patrick Daly of Caledonia Productions.The first release of public tickets for Local Hero will go on sale at 10am on 1 May 2018 at The Lyceum. Advanced booking for Local Hero will open at 12pm on 5 June 2018 and general booking will open at 12pm on 26 June 2018 at The Old Vic. Please see full listings below for further information. ENDS Full Listings informationLocal HeroBook by Bill Forsyth and David GreigMusic and lyrics by Mark KnopflerBased on the screenplay of the original film, written and directed by Bill Forsyth Original film produced by David PuttnamDirector: John CrowleySet and Costume Designer: Scott PaskLighting Designer: Paule ConstableSound Designer: Paul ArdittiVideo Designer: Luke Halls Music Supervisor: Dave MilliganMusic Director: Phil BatemanCasting: Will Burton23 March – 20 April 2019, The Lyceum June TBC– 31 August 2019, The Old VicThe Lyceum’s Principal Production Sponsor is The Famous Grouse. The run is further supported by the Culture and Business Fund.The Royal Lyceum Theatre EdinburghAddress: The Royal Lyceum Theatre Edinburgh, Grindlay Street, Edinburgh, EH3 9AXBox Office: 0131 248 4848 / boxoffice@.ukGroup Bookings: 0131 248 4949Website: .uk The Old VicAddress: The Old Vic, 103 The Cut, London, SE1 8NBBox Office: 0844 871 7628Website: Facebook | Instagram | Twitter | YouTube: @oldvictheatre4569460-372745WORLD PREMIEREThe Royal Lyceum Theatre Edinburgh presentsThe Duchess (of Malfi)By John WebsterIn a new version by Zinnie Harris17 May – 8 June 2019PRESS NIGHT: TUESDAY 21 MAY 2019, 7:30PMDuchess (of Malfi) is a new version of John Webster’s 17th Century gory tale of revengeWritten by the award-winning Scottish playwright Zinnie Harris, The Duchess (of Malfi) will restructure the famous tragedy to celebrate the defiant, fiercely independent Duchess as she battles against her corrupt brothers and a sexist society to defend her freedom, her honour and her titleWebster’s The Duchess of Malfi is perhaps the most thrilling and chilling of the Jacobean revenge tragedies – an exploration of male rage and female resistance as two bothers try and control their sister, block her marriage and repress her agency with fatal results. It was these themes of patriarchy versus female empowerment which convinced Zinnie Harris that the play is ripe for an adaptation which chimes with our contemporary concerns surrounding #MeToo and the abuse of male power. Webster’s dark tale of bloody treachery will be fuelled and retooled by Zinnie Harris’ insight, vivid imagery and dazzling prose which have been so heralded in her great adaptation of The Oresteia, This Restless House, (Citizens Theatre and National Theatre of Scotland) and her more recently versions of Ibsen’s (The Fall of) The Master Builder (West Yorkshire Playhouse) and Ionesco’s Rhinoceros which sold out at the Edinburgh International Festival and returned to great acclaim for The Lyceum Season 201718. She’ll also be directing the show, a welcome return after her CATS award-winning production of A Number seen on The Lyceum stage in 2017.Speaking of the production, Zinnie said: “In this #MeToo age of feminist uprising in the face of toxic masculinity, now feels like the perfect time to revisit this incredible, brutal story of female determination in the face of patriarchal power. It’s an honour to be revisiting John Webster’s play as both a writer and director. The Duchess is an unapologetic, fearless character, and I’m excited to be bringing her to life for Lyceum audiences, next year.”ENDSDuchess (of Malfi) By John WebsterIn a new version by Zinnie HarrisDirected by Zinnie HarrisPerformance Dates: Preview: Friday 17, Saturday 18, Monday 20 May, 7.30pmOpening Night: Tuesday 21 May, 7.30pmPost-Show Talk: Tuesday 28 May, 7:30pmTalk Show: Friday 7 June, 5pmPrices: ?10 - ?32Accessible Performances:BSL: Wednesday 29 May, 7:30pmCaptioned: Saturday 1 June, 2pmAudio Described: Thursday 30 May, 7:30pm and Saturday 1 June, 2pm4558665-393700The Royal Lyceum Theatre Edinburgh presentsTalk ShowThe Lyceum’s Talk Show series continues, following an exploratory first year in which experts from a broad range of industries and backgrounds investigated themes raised in Lyceum productions, live on stageEach eclectic panel will take to the stage to ideas, insight and stimulation through short talks, song, music, poetry and conversation, immediately following their watching the production for the first timeThis project is supported by James and Morag AndersonThe Lyceum is delighted to be continuing Talk Show as a key part of the 2018/19 season. The free series is an exciting new addition to The Lyceum programme, in which artists, authors, and thinkers are invited to come and watch a performance before taking to the stage themselves to share their response to the themes of the play with the audience. Recent contributors include Dr Barbara Helm, who discussed bird migration in relation to Enoch Powell for What Shadows; jazz singer and Edith Piaf tribute artist Christine Bovill, who mulled over the theme of Europe for Cockpit; Richard Jobson of Scottish band the Skids told stories of his friendship with the extraordinary Marguerite Duras for The Lover; Princeton University Professor and British historian Linda Colley explored Edinburgh and The Enlightenment in response to The Belle’s Stratagem, and Turkish journalist and documentarian Can Dündar discussed censorship and politics for Rhinoceros.The final Talk Show for the current season will consider the theme State of Affairs, in response to ideas and issues raised in David Greig’s adaptation of August Strindberg’s Creditors, directed by Stewart Laing. Special guests include playwright, teacher, and academic, Dan Rebellato; author Rachel Cusk, who was named one of Granta’s Best of Young British Novelists, and whose version of Euripides’ Medea was directed by Rupert Goold and shortlisted for the Susan Blackburn Smith Award; and music from alt-folk singer Chrissy Barnacle, all of whom will watch the production for the first time just prior to taking the stage themselves to discuss their thoughts in front of a live audience.Following an explorative and insightful first season, Talk Show aims to grow and engage with the expansive themes presented in the new season, from Hidden Love in Cyrano De Bergerac to True Crime and Why Do We Want Blood (Particularly the Blood of Women) in The Duchess (of Malfi).ENDS2230120-2660654383405-340360For Edinburgh Festival Fringe James Ley in association with Royal Lyceum Theatre Edinburgh presentsLove Song to Lavender Menace358775915035By James LeyDirected by Ros Philips3 – 26 August 2018Tech Cube Zero, Summerhall Photo credit Aly WightLove Song to Lavender Menace returns to Edinburgh following a sold-out Lyceum runThe production will form part of the acclaimed Made in Scotland curated showcase, which presents world class theatre, dance and music at the Edinburgh Festival FringeWritten by Village Pub Theatre founding member James Ley, directed by Ros Philips, and produced by Dive Queer Party’s Annabel CooperLove Song to Lavender Menace is an homage to the founders of Lavender Menace, a radical LGBT and feminist bookshop that opened in 1982 on Edinburgh’s Forth Street, and explores LGBT history, activism, liberation and cultureThe production was?originally commissioned by LGBT Youth Scotland as a Cultural Commission?for LGBT History Month 2016, with funding from Creative Scotland, and first performed as a work in progress by Village Pub Theatre at Traverse Theatre. The production is funded by Creative ScotlandThe Royal Lyceum Theatre Edinburgh is delighted to celebrate the triumphant return of Love Song to Lavender Menace, which played to sold out audiences in The Lyceum Studio in October of last year. Written by Village Pub Theatre founding member James Ley (Alison & Paolo, The Boxer and Repul-sive Acts of Love, Village Pub Theatre; I Heart Maths, Oran Mor; Spain, Citizens Theatre for Glasgay!; UP, The Vault), the critically acclaimed production will run from 1 – 26 August in Summerhall’s Tech Cube Zero during the Fringe Festival, as part of this year’s esteemed Made in Scotland showcase.Described by The Stage as ‘celebratory’ and ‘a thoroughly entertaining and important piece of LGBT social history’, the production will reunite its stars, Matthew McVarish (I Heart Maths, Sweet Home Balmaha, Triumvirate and The Backpacker Blues, Oran Mor; To Kill a Kelpie, Spangle Baby and Magpies, Poorboy; The Bridge, Boilerhouse; River City, Spring Watch and Me Too!, BBC; Taggart, SMG), and Pierce Reid (Collabo- rators, Men Should Weep, and Damned by Despair, National Theatre; Hostage Song, Finborough Theatre; The Seagull, York Theatre Royal; Twelfth Night and Mother Courage, Dundee Rep), along with director Ros Philips, who has worked extensively with new writing theatres including Citizens Theatre, Dundee Rep, and the Tron, and whose adaptation of One Million Tiny Plays about Britain was selected for Made in Scotland 2011.Cast your mind back to 1982 - Thatcher sends the British Fleet to the Falklands, Channel 4 comes to the living room and Prince William is born...but this play has nothing to do with all that. This play is about activism, community and fighting for acceptance with words, music, humour and heart. On Edinburgh’s Forth Street, two friends Bob and Sigrid are opening their new lesbian, gay and feminist bookshop, Lavender Menace - a trailblazing venture that will become the beating heart for Edinburgh’s LGBT+ community. Now on the eve of the shop’s 5th birthday, sales assistants Lewis and Glen take a look back at its origins, its importance, its celebration of queer culture, how things have changed for the better (maybe) ... and straight away, the arguments begin! Love Song to Lavender Menace is a beautifully funny and moving exploration of the love and passion it takes to make something happen and the loss that is felt when you have to let go.Love Song to Lavender Menace was?commissioned by LGBT Youth Scotland as a Cultural Commission?for LGBT History Month 2016, with funding from Creative Scotland. There have been work in progress readings at Traverse Theatre with Village Pub Theatre, Tron Theatre for Playwrights’ Studio, Scotland’s Talkfest and Edinburgh International Book Festival. Playwright James Ley says: "It’s a real?privilege to be part of the Made in?Scotland showcase and to get another chance to present Love Song to Lavender Menace. It’s very exciting to have the opportunity to share this?romantic comedy that shines a light on Scotland’s LGBT history with an international audience. And we can only hope they embrace it like our Lyceum audience did in October.”Director Ros Philips says: “This is the right time to be telling this story. The argument in the play around capitalism versus community is what attracted me to it, along with the exploration of the feminist roots of Edinburgh’s LGBT activism.”Matthew McVarish, playing David, says: “I'm very proud to be a part of this play. As a gay Scotsman, this play has taught me incredible things about my own history that I'd never heard before. I'm sure many generations will be grateful to James for cataloguing these significant events in such a beautiful and fun play.”ENDSFull Listings informationLove Song to Lavender MenaceBy James LeyDirected by Ros PhilipsSet design by Mamoru IriguchiLighting design by Laura HawkinsSound design by Kevin MurrayDramaturgy by David Greig and Ros PhilipsStarring Matthew McVarish and Pierce Reid Tech Cube Zero1 SummerhallEdinburghEH9 1PLPerformance Dates: Preview: Wednesday 1 and Thursday 2 August 2018, 12:55pm - ?5 and ?7 respectivelyOpening Night: Friday 3 August 2018, 12:55pmBSL performance: Wednesday 15 August 2018, 12:55pmPrices: ?12 (?10)Twitter: @lovesongplayFacebook: /lovesongtolavendermenace2868295-3384554399280-361950The Royal Lyceum Theatre Edinburgh, Citizens Theatre and Edinburgh International Festival presentAne Satyre of The Thrie EstaitisBy Sir David LindsayDirected by Joe DouglasDramaturgy by Ian Brown7 August 2018A workshop presentation and discussion about Tyrone Guthrie’s legendary production of Sir David Lindsay’s play, performed at The StudioDirected by Live Theatre Artistic Director Joe Douglas (The Arabian Nights, The Lyceum; The Cheviot, The Stag and the Black, Black Oil, Dundee Rep and National Theatre of Scotland; Death of a Salesman, George’s Marvellous Medicine, Dundee Rep)Dramaturgy by playwright and professor Ian Brown (The Knife, The Lyceum and Edinburgh International Festival; Mary, The Lyceum; New Reekie, Traverse Theatre; Runners, Bush Theatre), author of Scottish Theatre: Diversity, Language, Continuity2018 marks the 70th anniversary of Tyrone Guthrie’s legendary production of Sir David Lindsay’s seminal 16th-century play?Ane Satyre of The Thrie Estaitis,?which was performed at Assembly Hall as part of the 1948 International Festival. Since then, numerous directors and writers have taken different approaches to this bold and, at times, contentious work.Performed only twice to royalty and commoners in Fife and Edinburgh in the 1550s,?Ane Satyre?is a breathtaking work that challenges the corruption of the church, aristocracy, business and government through its tale? of a young king tempted away from the path of wisdom by vice and debauchery.Director Joe Douglas and playwright Ian Brown – whose first original play, Carnegie, was produced at The Lyceum in 1973 - have interrogated the play and considered how it might be presented for a contemporary audience. Along with a company of actors they will prepare a presentation of rehearsed sections of the play and a discussion about the nature of this unique work and its place in 21st-century theatre.Director Joe Douglas said: ‘I hope that this 16th century satire, surprisingly rude, arresting and canny in its theatrical form, will chime with a Scottish audience in the 21st century.’ENDSFull Listings informationAne Satyre of The Thrie EstaitisBy Sir David LindsayDirected by Joe Douglas Dramaturgy by Ian BrownPerformance Dates: 7 August 2018Price: ?10Notes to EditorsThe Royal Lyceum Theatre Company is a crucible of Scottish talent, developing Scotland’s considerable indigenous artists and presenting the best of international drama from its home in a magnificent, intimate Victorian building in Edinburgh’s West End. Internationally celebrated playwright David Greig became the 8th Artistic Director of The Lyceum in 2016, following Mark Thomson’s superb 13 year reign. As part of his premiere 2016/17 season, the company is producing ten full productions, making it one of the biggest producing companies in the United Kingdom.In recent years, The Lyceum has staged co-productions with Told by an Idiot, Edinburgh International Festival, Actors Touring Company, Theatre Royal, Bath; The Bush Theatre, London; Nottingham Playhouse Theatre Company; National Theatre of Scotland; Citizens Theatre; Dundee Rep; Liverpool Everyman & Playhouse; Chichester Festival Theatre and the Lyric Hammersmith.In addition, The Lyceum also runs an award-winning, ambitious and acclaimed Creative Learning programme which engages with over 16,000 young people across Scotland annually.For more information, please visit .uk -David Greig is an acclaimed and multi award-winning playwright who became the Artistic Director of The Lyceum in 2016, and his first season included critically acclaimed works The Suppliant Women, adapted by David, which went on to The Royal Exchange, and will be at the Young Vic in November. David’s most notable plays include The Events (Traverse, Scotland and Young Vic), The Strange Undoing of Prudencia Hart (Tron, National Theatre of Scotland), Midsummer (Traverse, Soho and Tricycle), Dunsinane (RSC at Hampstead and National Theatre of Scotland), Damascus (Traverse, Scotland and Tricycle), Outlying Islands (Traverse and Royal Court), The American Pilot (RSC), Pyrenees (Paines Plough), The Cosmonaut’s Last Message to the Woman he Once Loved in the Former Soviet Union (Donmar Warehouse and Paines Plough), The Architect, and Europe (Traverse). Adaptations include Creditors (Donmar Warehouse), The Bacchae (Edinburgh International Festival and National Theatre of Scotland), Tintin in Tibet (Barbican, Playhouse and UK tour), When the Bulbul Stopped Singing (Traverse Theatre, - Amnesty International Award; TapWater Award and Herald Angel), Caligula (Donmar Warehouse) and Peter Pan (National Theatre of Scotland, Traverse and Barbican). David wrote the book for Charlie and the Chocolate Factory, which opened in the West End in 2013 and recently transferred to Broadway. Lanark opened at the Edinburgh International Festival in Summer 2015 and his adaptation of Dr Seuss’ The Lorax opened at The Old Vic for Christmas 2015.David is currently working on Cover My Tracks (Old Vic), for which he wrote the book, with Noah and the Whale’s Charlie Fink, along with an exciting Lyceum project, to be announced later in the year.TWELFTH NIGHTBristol Old Vic is the longest continuously running theatre in the UK, and celebrated its 250th anniversary in 2016. Under Artistic Director Tom Morris, the historic playhouse aims to inspire audiences with its own original productions, both at home and on tour, whilst nurturing the next generation of artists, whether that be through their 350-strong Young Company, their many outreach and education projects or their trailblazing artist development programme, Bristol Ferment.They use their funding to support experiment and innovation, to allow access to their programme for people who would not otherwise encounter it, or be able to afford it, and to keep their extraordinary heritage alive and animated.Since 2016, while the theatre continues to present work, it has simultaneously been undergoing a multi-million pound redevelopment project to transform its front of house space into a warm and welcoming public building for all of Bristol to enjoy, create a new studio theatre and open up its unique theatrical heritage to the public for the first time. The project is due to be completed in autumn 2018.For more information, please visit .ukWils Wilson is a theatre maker and director who has created performances in an abandoned house, on?a ferry,?in?a department store at night, in pubs, in and on cars and even sometimes in theatres. ?Her audiences have been invited to eat, dance, walk, sing, drink tea and do the conga?- amongst other things. ?Previous work includes the Olivier-nominated?I Want My Hat Back (National Theatre of Great Britain),?Wind Resistence?(The Lyceum and Edinburgh International Festival), for National Theatre Wales -?Praxis Makes Perfect?(Best Director, Welsh Theatre Awards)?and?Candylion?(Best Music,?Welsh Theatre Awards), for National Theatre of Scotland?– the multi-award winning?The Strange Undoing of Prudencia Hart?which?has been touring nationally and internationally since 2011,?HOME Shetland,?Gobbo?(both winners of CATS Awards), and?Ignition. Her other recent work includes?Scuttlers?(Manchester Royal Exchange),?ANON?(Welsh National Opera),?Gastronauts?(Royal Court) and?Manchester Lines?(Manchester Library Theatre). ?Until 2007?Wils was co-Artistic Director of wilson+wilson, making site-specific work across the UK, where her work included?HOUSE,?Mapping the Edge,?News from the Seventh Floor?and?Mulgrave.??She has recently become?an Associate Artist at The Lyceum.CYRANO DE BERGERACThe National Theatre of Scotland was established in 2006 and has created over 250 productions. Being a theatre without walls, the Company presents a wide variety of work that ranges from large-scale productions to projects tailored to the smallest performing spaces. In addition to classic theatres, the Company has performed in airports, schools, tower blocks, community halls, ferries and forests.The Company has toured extensively across Scotland, the rest of the UK and worldwide. Notable productions include?Black Watch?by Gregory Burke which won four Laurence Olivier Awards amongst a multitude of awards, the award-winning landmark historical trilogy?The James Plays?by Rona Munro, a radical reimagining of?Macbeth?starring Alan Cumming, presented in Glasgow and at the Lincoln Center Festival and subsequently, Broadway, New York and?Our Ladies of Perpetual Succour, adapted by Lee Hall from Alan Warner’s novel?The Sopranos?which also won an Olivier Award in 2017.The National Theatre of Scotland creates much of its work in partnership with theatre-makers, companies, venues and participants across the globe. From extraordinary projects with schools and communities, to the ground-breaking online?5 Minute Theatre?to immersive pieces such as David Greig’s?The Strange Undoing of Prudencia Hart, the National Theatre of Scotland’s aspiration is to tell the stories that need to be told and to take work to wherever audiences are to be found.-The Citizens Theatre is an iconic venue and theatre company based in the Gorbals area of Glasgow, Scotland. Take a look around our virtual tours.Their building first opened as a theatre in 1878. The Citizens Company was founded in 1943 by James Bridie, and the Citizens Theatre was permanently established in 1945. Since then it has been one of Scotland’s flagship producing theatres.The Citizens has a distinguished?history?that continues today. They aim to present a mixture of contemporary versions of classic plays and new Scottish drama. They work with writers, directors and companies that have a reputation for producing outstanding work to deliver truly inspirational live theatre. They have extensive backstage workshop facilities and make our own sets and costumes.In March 2011?Dominic Hill?was appointed as new Artistic Director. He took up post in October 2011.The Citizens Theatre is firmly rooted in its local community, working regularly with local groups and offering a? HYPERLINK "" Gorbals Card.-Dominic Hill is Artistic Director of the Citizens Theatre. Since joining the Citizens in 2011, he has directed Cinderella, The Macbeths, Oresteia: This Restless House (2017 and 2016, winner of Best Director, 2016 CATS Awards), Hay Fever, Hansel & Gretel, The Rivals, Endgame, The Choir, Fever Dream: Southside, A Christmas Carol, Hamlet, The Libertine, Miss Julie, Crime and Punishment (winner of Best Director and Best Production, 2014 CATS Awards), Far Away, Seagulls, Doctor Faustus, Sleeping Beauty, Krapp’s Last Tape, Footfalls, King Lear and Betrayal (winner of Best Director, 2012 CATS Award). Before joining the Citizens he was Artistic Director of the Traverse Theatre in Edinburgh and Joint Artistic Director of Dundee Rep. Other credits include Falstaff and Macbeth (Scottish Opera) and The City Madam (Royal Shakespeare Company). He has directed in theatres in London and throughout the UK.-Nikola Kodjabashia is considered to be one of the most eminent representatives of the Balkan and Eastern European musical avant-garde today. Theatre credits include: Hansel and Gretel, A Christmas Carol, Hamlet, Crime and Punishment (Citizens Theatre); This Restless House (Citizens Theatre/ National Theatre of Scotland); La Suite (Fabien Prioville Dance Company/Pina Bausch Foundation). Musical Director for Sir Peter Hall and Sir Harrison Birtwistle’s Bacchai (National Theatre); Kafka’s Monkey (Young Vic); The Three Musketeers and the Princess of Spain (English Touring Theatre/Traverse/Belgrade Theatre, Coventry); Inkheart, Romeo and Juliet (HOME Manchester); Scherzo for Piano and Stick, Insomnia (Riotous); Siege (Freedom Theatre); Wajdi Mouawad’s Scorched (Old Vic); Olivier Award-winning Hecuba (DONMAR Warehouse). Commissions include: La Biennale di Venezia 2004, BBC Singers 2010, National Theatre 2002/3, Macedonian National Opera 2013, Macedonian Philharmonic Orchestra 2009, Moscow Contemporary Music Ensemble 1999. TV and film credits include: Defining Fay (2012), Dance with Me (2010), Dear Ana (2011), Racism, a History, Gothica, etc. (BBC/Arena); Grandmothers of the Revolution (Petra Pan Slovenia).WENDY AND PETER PANEleanor Rhode is an Associate Artist for Hightide. Her most recent work includes the critically acclaimed world premiere of BOUDICA by Tristan Bernays for the Globe Theatre. In 2009 she co-founded Snapdragon Productions to bring neglected and unknown works to new audiences. Work for Snapdragon includes the critically acclaimed production of Toast by Richard Bean (UK Tour and New York), which was nominated for Best Touring Production at the 2016 UK Theatre Awards and the world premiere of Teddy by Tristan Bernays and Dougal Irvine, which won Best New Musical at the 2016 Off West End Awards, and which was remounted in 2018 on a UK national tour and at the Vaults, London. Other recent work includes: Frankenstein (Watermill Theatre and Wilton’s Music Hall), Terrorism (Bush Theatre), Beauty And The Beast (Watford Palace Theatre), When We Were Women (Orange Tree Theatre), Toast and Thark (both Park Theatre), Generous, The Drawer Boy, and A Life (all Finborough Theatre) and the world premiere of the musical For All That for Centerstage Theater, Seattle. Forthcoming productions include Thor And Loki, a new musical by Harry Blake (Edinburgh Festival and Hightide).TOUCHING THE VOIDBristol Old Vic is the longest continuously running theatre in the UK, and celebrated its 250th anniversary in 2016. Under Artistic Director Tom Morris, the historic playhouse aims to inspire audiences with its own original productions, both at home and on tour, whilst nurturing the next generation of artists, whether that be through their 350-strong Young Company, their many outreach and education projects or their trailblazing artist development programme, Bristol Ferment.They use their funding to support experiment and innovation, to allow access to their programme for people who would not otherwise encounter it, or be able to afford it, and to keep their extraordinary heritage alive and animated.Since 2016, while the theatre continues to present work, it has simultaneously been undergoing a multi-million pound redevelopment project to transform its front of house space into a warm and welcoming public building for all of Bristol to enjoy, create a new studio theatre and open up its unique theatrical heritage to the public for the first time. The project is due to be completed in autumn 2018.For more information, please visit .uk-Tom Morris OBE is the Tony Award-winning Artistic Director of Bristol Old Vic and Associate Director of the UK’s National Theatre. Directing credits include War Horse (NT, Lincoln Center etc) Tom Stoppard’s Every Good Boy Deserves Favour (NT), John Adams’ The Death of Klinghoffer (ENO and The Metropolitan Opera), A Midsummer Night’s Dream, The Crucible, Juliet & Her Romeo, Swallows & Amazons and The Grinning Man (Bristol Old Vic). Tom also conceived and directed the landmark Bristol Proms (2013-2015) - a festival of world class live classical music performances delivered in partnership with Universal Music. LOCAL HEROThe Old Vic is London’s independent not-for-profit theatre, creating world class entertainment on an international scale. Through our work on stage, whether it be a comedy or new musical, a dramatic work or a show for all the family; our projects with young people; our employability programmes; our social media channels; or our late night cocktail bar, we strive to remain at the centre of our community. We are almost 200 years old, and today, as we enter our third century under the leadership of Artistic Director Matthew Warchus, our goal is to be full. Full of life, full of creativity, full of people, full of opportunity, full of fun, full of hope. A collective passion, belief in the power of theatre, inclusion and sense of adventure are the long held values that still drive The Old Vic forward today. As we look to the future, we do so with optimism, courage and an irrepressible spirit. And a knowledge that the commodity that will be most prized tomorrow is creative imagination. It is what we make, share, trade in, uphold; and it is why The Old Vic is as vital today as it was in 1818 when it first opened its doors. -Bill Forsyth is the pioneering figure of Scottish Cinema. He made his first feature film, That Sinking Feeling in 1979 with ?2,000 and a co-operative of willing local film technicians and keen young performers from Glasgow Youth Theatre. It was the first indigenously produced feature film ever made in Scotland and entered the Guinness Book of Records as the cheapest feature film ever made anywhere. The film’s can-do spirit, both in its making and in its narrative, inspired subsequent generations of Scottish film makers, and within a decade Scottish film making was firmly on the map. In the following two decades Forsyth wrote and directed a succession of eccentrically engaging personal films, mostly in his native Scotland, including Gregory’s Girl, Comfort and Joy, and Local Hero a film which struck a warm chord with audiences and critics alike, winning a Best Director BAFTA and featuring in the New York Times’ best ten movies of the year. The film also won Forsyth the NY Critic’s Circle award for best script. -David Greig is a multi award-winning playwright who became the Artistic Director of The Lyceum in 2016. His first season included critically acclaimed works The Suppliant Women, adapted by David, which went on to Belfast International Festival and The Royal Exchange, before opening at the Young Vic in November; and the world premiere of Glory On Earth, by Linda McLean, which marked David’s directorial debut at the theatre. David’s most notable plays include The Events (Traverse and Young Vic), The Strange Undoing of Prudencia Hart (Tron, National Theatre of Scotland), Midsummer (Traverse, Soho and Tricycle), Dunsinane (RSC at Hampstead and National Theatre of Scotland), Damascus (Traverse, Scotland and Tricycle), Outlying Islands (Traverse and Royal Court), The American Pilot (RSC), Pyrenees (Paines Plough), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (Donmar Warehouse and Paines Plough), The Architect, and Europe (Traverse). David wrote the book for Charlie and the Chocolate Factory, which opened in the West End in 2013 and later transferred to Broadway. His adaptation of Lanark opened at the Edinburgh International Festival in Summer 2015, and his adaptation of Dr Seuss’ The Lorax opened at The Old Vic for Christmas 2015. One of the most successful singer/songwriters worldwide, Mark Knopfler retreated from the spotlight as leader of Dire Straits to make his first solo record, Golden Heart, in 1996. ?Since then he has released seven further solo albums and toured extensively.Over the years, Mark has written the music for several films, including Local Hero, Cal, The Princess Bride, Last Exit To Brooklyn and Wag The Dog and has played and recorded with a number of artists, including Bob Dylan, Van Morrison, Randy Newman and the late Chet Atkins. -John Crowley is an internationally acclaimed director whose theatre credits include The Present (Sydney Theatre Company/Broadway); A Behanding in Spokane (Broadway); The Pillowman (National Theatre/Booth Theatre - nominated for the 2005 Tony Award for Best Direction of a Play); Love Song (New Ambassadors); On An Average Day (Comedy Theatre); Fair Ladies at a Game of Poem Cards (National Theatre); Shadows (Royal Shakespeare Company); The Same Deep Water as Me, Tales from Hollywood, The Maids, How I Learned to Drive, Into the Woods (Donmar Warehouse); Juno & The Paycock (Donmar Warehouse/Gramercy Theatre); Macbeth, The Turn of the Screw (Welsh National Opera); John Hughdy/Tom John, The Blue Macushla (Druid Theatre Company); One for the Road, Phaedra (Gate Theatre, Dublin); True Lines, Double Helix (Bickerstaffe Theatre Company); The Crucible, Six Characters in Search of an Author (Abbey Theatre, Dublin). John’s film credits include the upcoming The Goldfinch, Brooklyn (BAFTA winner of Best British Film), Is Anyone There?, Boy A (BAFTA winner for Best Director), Celebration and Intermission.-Scott Pask has designed over 50 Broadway productions, and has been awarded three Tony Awards for his designs of The Book of Mormon, The Coast of Utopia, and The Pillowman. Selected credits include: The Bands Visit, Mean Girls, Oh Hello!, Saint Joan, The Little Foxes, , Blackbird, Waitress, The Father (MTC), Something Rotten, An Act of God, and Finding Neverland, The Father, Its Only a Play, The Visit - Drama Desk nominee, Airline Highway, Pippin - Tony Award Nominee, Nine, Casa Valentina, I’ll Eat You Last, with Bette Midler, A Steady Rain with Hugh Jackman and Daniel Craig, A Behanding in Spokane, The Lieutenant of Inishmore, The Coast of Utopia - Tony, Drama Desk, Outer Critics Circle and Hewes Award winner, Promises Promises, Hair, Pal Joey - Tony Nominee, Les Liaisons Dangereuses - Tony Nominee, Drama Desk Award winner, Speed-the-Plow, Take Me Out, Urinetown (Broadway); The Book of Mormon (Prince of Wales); The Same Deep Water As Me, Take Me Out, Tales from Hollywood (Donmar); The Pillowman (National Theatre); Finding Neverland (Leicester Curve); The Country Girl (Apollo); HAIR (Gielgud); Barnum(Chichester Festival Theatre/UK Tour); On An Average Day (Pinter); Albert Herring (Opera North); Bash (Almeida). He has received multiple Drama Desk, Lucille Lortel, Outer Critics Circle, Bessie, and Henry Hewes AwardsAdditional productions include Peter Grimes (Metropolitan Opera); Cirque du Soleil’s Amaluna (Worldwide, incl. Royal Albert Hall), Bottega Veneta’s Spring Summer 2018 collection show in New York, and for Netflix: John Mulaney’s Kid Gorgeous at Radio City Music Hall, and Oh Hello! Scott’s work has been featured in numerous national and international publications and textbooks, and his work has been exhibited at the Prague Quadrennial, Bruce Museum of Arts and Science, Leslie Lohman Museum in New York City, Gallery Met at the Metropolitan Opera, and is featured in the permanent collection of the McNay Art Museum in Texas. He has his bachelors of Architecture from the University of Arizona, His Masters of Fine Arts from Yale University, and Honorary Doctorate of Humane Letters from the University of Arizona. -Paule Constable’s theatre credits include: The Moderate Soprano (West End); Norma (Met Opera); Nine Night, Angels in America, Pericles, Follies, Pinocchio, Mosquitoes, Common, The Red Barn, The Threepenny Opera, The Suicide, Behind the Beautiful Forevers, The Light Princess, Table, This House, The Curious Incident of the Dog in the Night-time, A Comedy of Errors, Danton, The Power of Yes, Phédre, Death and the King’s Horseman, War Horse, Some Trace of Her, Women of Troy, Triple Bill, Saint Joan, Attempts on Her Life, Caucasian Chalk Circle, Waves, Southwark Fair, Paul, Coram Boy, Translations, The House of Bernarda Alba, His Dark Materials, Play Without Words, Three Sisters, Jumpers, Ivanov, Darker Face of the Earth, Haroun and the Sea of Stories (National Theatre of Great Britain/West End/Broadway/UK Tour/US Tour/Canada); Peter and Alice, Privates on Parade (Michael Grandage Company); Heisenberg: The Uncertainty Principle (Elliot & Harper Productions); A Midsummer Night’s Dream, The Cripple of Inishmaan, Love Never Dies, Oliver!, Evita (West End); Wolf Hall, As You Like It, The Prince of Homburg, The Seagull, Tales from Ovid, The Dispute, Uncle Vanya, Beckett’s Shorts, The Mysteries (RSC); How to Hold Your Breath, Clybourne Park, Posh, The City, Krapps Last Tape, Forty Winks, Boy Gets Girl, Night Songs, The Country, Dublin Carol, The Weir (Royal Court); Elegy, Teddy Ferrara, Luise Miller, Ivanov, The Chalk Garden, The Man Who Had All The Luck, Othello, Absurdia, The Cut, Proof, Little Foxes (Donmar); Happy Days, Feast, The Good Soul of Szechuan, Generations, Vernon God Little, The Jungle Book, As I Lay Dying, 12th Night, More Grimm Tales, Omma (Young Vic); Seventeen, Herons, Blasted, Three Sisters, The Servant, A Christmas Carol, Oliver Twist (Lyric Hammersmith); Moon for the Misbegotten, Dancing at Lughnasa, Amadeus, Playhouse Creatures (The Old Vic); The Street of Crocodiles, Out of a House Walked a Man, The Three Lives of Lucie Cabrol, A Minute Too Late, Caucasian Chalk Circle (Complicité); Don Carlos (Sheffield Crucible/West End); Les Misérables 25th Anniversary Concert (London O2 Arena/Broadway/International); Phantom of the Opera (US Tour).Opera credits include The Return of Ulysses, Carmen, Faust, Rigoletto, The Marriage of Figaro, The Magic Flute, Macbeth (Royal Opera House); Nothing, Entfuhrung Aus Dem Serail, The Marriage of Figaro, The Cunning Little Vixen, Die Meistersinger, Billy Budd, Rusalka, St Matthew Passion, Cosi Fan Tutti, Giulio Cesare, Carmen, The Double Bill, La Bohème (Glyndebourne); Benvenuto Cellini, Cosi Fan Tutti, Medea, Idomeno, Satyagraha, Clemenza di Tito, Gotterdamerung, The Rape of Lucretia, The Rakes Progress, Manon (English National Opera); Roberto Devereux, Cav and Pag, The Merry Widow, The Marriage of Figaro, Don Giovanni, Anna Bolena (Metropolitan Opera, New York); Peter Grimes, Don Giovanni, La Traviata, Magic Flute, Rosenkavaliar (Opera North); Don Giovanni, The Sacrifice, Katya Kabanova (Welsh National Opera); Tales of Hoffman (Salzburg Festival); Poppea (Theatre Champs-Elysées); Agrippina, A Midsummer Night’s Dream (La Monnaie); Cosi, The Ring Cycle (Opera National du Rhin); Tristan and Isolde (New National Opera, Tokyo); Innes di Castro, Madama Butterfly (Scottish Opera). Dance credits include Elizabeth, Pinocchio (Will Tuckett); The Goldberg Variations (Kim Brandstrup); Seven Deadly Sins (Royal Ballet); Naked (Ballet Boyz); La Baiser de la Fée (Birmingham Royal Ballet); Sleeping Beauty, Dorian Gray, Play Without Words (Matthew Bourne). Paule is an Associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourne’s New Adventures. Paule has won the Oliver Award for Best Lighting Design a record four times (for Curious Incident of the Dog in the Night-Time, The Chalk Garden, Don Carlos, His Dark Materials) and the Tony Award for Best Lighting Design twice (for Curious Incident of the Dog in the Night-Time, War Horse). She has also won the Knight of Illuminations Award for Best Lighting Design for Saint Joan, the LA Drama Desk Award for both Les Misérables and War Horse, the New York Critics Circle Award and Drama Desk Award for both Curious Incident of the Dog in the Night-Time and War Horse, was the first recipient of the Opera Award for Lighting and received the Hospital Award for Contribution to Theatre. -Paul Arditti’s work includes The Inheritance?and?The Jungle,?directed by Stephen Daldry and Justin Martin (Young Vic);?Julius Caesar?and?Young Marx,?directed by Nicholas Hytner (The Bridge Theatre);?Amadeus,?directed by Michael Longhurst (National Theatre of Great Britain);?Mary Stuart, directed by Robert Icke (Almeida, Duke of York’s Theatre);?Beginning,?directed by Polly Findlay (National Theatre of Great Britain, The Ambassadors Theatre);?Caroline, Or Change,?directed by Michael Longhurst (Chichester Theatre, Hampstead Theatre);?Absolute Hell?and?Edward II,?both directed by Joe Hill-Gibbins (National Theatre of Great Britain);?Labour Of Love,?directed by Jeremy Herrin (No?l Coward Theatre);?Hamlet, directed by Kenneth Branagh (Royal Academy for the Dramatic Arts);?Betrayal,?directed by Lekan Lawal (Derby Theatre); The Glass Menagerie,?directed by John Tiffany (Duke of York’s, Edinburgh International Festival);?The Emperor,?directed by Walter Meierjohann (Young Vic); Mosquitoes,?wonder.land,?Behind The Beautiful Forevers, London Road, The Threepenny Opera, Everyman, Macbeth, all?directed by Rufus Norris (National Theatre of Great Britain);?A Streetcar Named Desire,?directed by Benedict Andrews (Young Vic, St Anne’s Warehouse, New York);?If You Kiss Me Kiss Me,?directed by Aletta Collins (Young Vic);?Ma Rainey’s Black Bottom,?directed by Dominic Cooke (National Theatre of Great Britain);?Measure for Measure, A Midsummer Night’s Dream?and?The Changeling,?all directed by Joe Hill-Gibbins (Young Vic);?King Charles III,?directed by Rupert Goold (Almeida, Wyndham’s Theatre, UK tour and Broadway); Bakkhai?, directed by James MacDonald (Almeida);?The Audience?and?Skylight, directed by Stephen Daldry (West End and Broadway);?The Hard Problem,?Great Britain, NT50,?One Man Two Guvnors and Collaborators,?all directed by Nicholas Hytner (National Theatre of Great Britain);?Little Revolution,?directed by Joe Hill-Gibbins (Almeida);?American Psycho,?directed by Rupert Goold (Almeida);?The Scottsboro Boys,?directed by Susan Stroman (Young Vic and West End);?Charlie and The Chocolate Factory,?directed by Sam Mendes (Theatre Royal, Drury Lane);?The Most Incredible Thing, ballet by the Pet Shop Boys choreographed by Javier de Frutos (Sadler’s Wells, Charlotte Ballet, US);?Billy Elliot The Musical,?directed by Stephen Daldry (London, Broadway, and three US national tours, Holland, South Korea, Canada, Australia, Japan and UK tour).Awards and nominations include Olivier Award Nomination for Amadeus, 2017; Technical Theatre Award for Outstanding Achievement In Sound,?2013;?Tony Award Nomination for One Man, Two Guvnors, 2012;?Tony Award 2009, Drama Desk Award 2009,? Fans’ Choice Award 2009, Olivier Award 2006, Helpmann Award (Australia) nomination 2008, all for Billy Elliot The Musical; Tony Award Nomination for Mary Stuart, 2009; Olivier Award for Saint Joan, 2008;?Evening Standard Award and Olivier Award nomination for Festen, 2005; Drama Desk Award 2005 and Olivier Award nomination 2004 for The Pillowman;?Irish Times Theatre Award nomination for Crestfall, 2004; Lucille Lortel Award nomination for Far Away, 2004; Drama Desk Award nomination for The Chairs, 2003;?Drama Desk Award for Four Baboons Adoring the Sun, 1993.-Luke Halls’ theatre credits includes: The Moderate Soprano (Duke of York’s Theatre); The Great Wave, Ugly Lies the Bone, Man & Superman (National Theatre of Great Britain); Frozen, Everybody’s Talking About Jamie (West End); The Band (UK tour); Miss Saigon (Broadway/West End/Japan); Half a Sixpence (Chichester Festival/West End); Girls & Boys, Linda, 2071, The Nether (Royal Court); Hamlet (Barbican); Oil (Almeida); Desire Under the Elms (Crucible, Sheffield); Chaplin (Music Hall, Belgium).Opera includes: Otello (Metropolitan Opera, NYC); Das Liebesverbot (& Teatro Real, Madrid/Teatro Colon, Buenos Aires), Don Giovanni (& Shlomo Lahat Opera House/Barcelona Opera), Krol Roger (Royal Opera House & Sydney Opera House/Opera Australia); Marco Polo (Guangzhou Opera House); The Flying Dutchman (Finnish National Opera); Der Freischütz, The Cunning Little Vixen (Royal Danish Theatre); Carmen (Bregenzer Festspiele).Concerts & live events include: Beyoncé (Formation world tour); Adele (2016 world tour); U2 (Innocence + Experience world tour/2011 Glastonbury Festival); 2012 Olympic & Paralympic closing ceremonies; Robbie Williams (Take the Crown tour); Pet Shop Boys (Turn It On, Pandemonium & Electric world tours); Nitin Sawhney (London IMAX); Rihanna (2012 Brit & Grammy Awards performances).Awards include: Knight of Illumination Award for Video Graphic Display (Don Giovanni); BAFTA Award for Entertainment Craft Team?(The Cube).-Dave Milligan is a highly versatile musician and a leading figure in the diverse Scottish music scene. His musical imagination flows freely between multiple genres, and is in great demand all over the world as a performer, composer, arranger, musical director and educator. ?Now based near Edinburgh, Dave grew up in the Scottish Borders and went on to study at the City of Leeds College of Music, before returning to his native Scotland.Having established himself early in his career as one of the most sought-after jazz pianists in the country, Dave’s work with some of the folk and Celtic music scene’s brightest artists earned him a reputation as a hugely adaptable, creative force.As part of Glasgow’s Celtic Connections festival in 2003, he co-founded and directed – along with harpist, vocalist and composer Corrina Hewat - The Unusual Suspects, a 22-piece big-band of leading folk and jazz musicians that set the bench-mark for the wave of large-scale ensembles that followed in the contemporary folk scene. The Scotsman would later count their debut performance in a list of the top 20 gigs of all time.Dave has played a key role in countless projects and performances at Celtic Connections since its inception, most recently as musical director of the festival’s star-studded 25th anniversary opening concert. Other performances include appearances with artists such as Larry Carlton, The McCrary Sisters, Karine Polwart, Trilok Gurtu, Art Farmer, Carol Kidd and Camille O’Sullivan to name a few.Dave has performed all over the world with a diverse array of bands, including: his long-established duos with Corrina Hewat and with concertina virtuoso Simon Thoumire; as pianist and arranger with award-winning jazz trumpeter Colin Steele; as pianist and founding member of the international super group String Sisters, featuring six of the world’s top female fiddlers: Liz Carroll, Annbj?rg Lien, Liz Knowles, Emma H?rdelin, Catriona Macdonald and Mairéad Ní Mhaonaigh. String Sisters started in 2001 and have continued to dazzle audiences worldwide, from the Celtic Colours festival in Canada to the Rainforest World Music Festival in Borneo. Their latest album Between Wind and Water was released in 2018 to universal critical acclaim.-Phil Bateman is a Musical Director, Supervisor and Arranger working in theatre, film and TV. He grew up in Camberley, Surrey and trained at Birmingham University. Phil has recently been Music Supervisor/Vocal Arranger on One Love, a new musical based on the songs of Bob Marley. Written and directed by Kwame Kwei-Armah, it opened in March 2017 at Birmingham Rep and plans are ongoing for another incarnation. Previously he has been MD/Orchestrator on a new production of Bugsy Malone at Lyric Hammersmith, (nominated for Best Olivier Revival 2016) and also MD/Arranger for Dr Seuss’ The Lorax at The Old Vic (also nominated for Olivier), which returned to Old Vic and then Toronto last year. Phil has just been Music Supervisor on the US production in Minneapolis and San Diego. He was the original MD on Billy Elliot the Musical; he helped create the show and conducted the first year in the West End.Other major West End credits as Supervisor/Vocal Arranger include Our House: the Madness Musical (Cambridge), Made in Dagenham (Adelphi), Harry Hill’s X Factor Musical I Can’t Sing! (Palladium) and Imagine This (New London). As MD, credits include the new production of The Miser (Bath/ Richmond/Garrick), Hello Dolly and Gigi (both Regents Park), She Loves Me (Chichester), Human Comedy, My Dad’s a Birdman (music by Pet Shop Boys), Vernon God Little, After Miss Julie and Three Sisters (all Young Vic) and Piaf (Sheffield Crucible). He was Singing Coach/Vocal Arranger on the movies Kinky Boots and Cemetery Junction and co-composer on Gareth Malone’s Big Performance and Extreme School, both for CBBC. -Will Burton’s West End theatre credits include Everybody’s Talking about Jamie (Apollo); The Selfish Giant (Vaudeville); Matilda (Cambridge) and Ghost (Piccadilly). Associate West End theatre includes Bat Out of Hell (Dominion/Coliseum); Urinetown (Apollo); The Commitments (Palace); Hairspray (Shaftesbury); Sister Act, A Chorus Line (Palladium), and Shrek (Drury Lane). London theatre includes Fatherland, Bugsy Malone (Lyric Hammersmith); Five Guys Named Moe (Marble Arch); Jesus Christ Superstar (Regent’s Park); The Wild Party, RENT, Heathers, Bonnie & Clyde (The Other Palace); In the Heights (Kings Cross Theatre); Jekyll & Hyde, High Society (Old Vic); Working, Xanadu, Carrie, Casa Valentina, Side Show (Southwark Playhouse); The Etienne Sisters (Stratford East); Paper Dolls (Tricycle), and bare (Union). Regional theatre includes Sweet Charity (Nottingham Playhouse); The Assassination of Katie Hopkins (Theatr Clwyd); Kiss Me Kate, The Wizard of Oz, Everybody’s Talking About Jamie (Sheffield Crucible), and The Secret Diary of Adrian Mole 13 ? (Curve).TV and Film credits include Mary Poppins Returns, Beauty & the Beast (Disney); The Voice, So You Think You Can Dance?, Over The Rainbow (BBC), and Superstar (ITV).Will is a full member of The Casting Directors Guild and is represented by Curtis Brown.THE DUCHESS (OF MALFI)Zinnie Harris is a multi-award winning playwright and theatre director. Her plays include Meet Me At Dawn, (Traverse Theatre/Edinburgh International Festival 2017), This Restless House (Citizens Theatre Glasgow 2016, then Edinburgh International Festival 2017, winner of Best New Play at the Critics’ Awards for Theatre in Scotland 2016 and shortlisted for Susan Smith Blackburn Award); How To Hold Your Breath (Royal Court Theatre 2015, winner of the Berwin Lee Award 2015); The Message and On The Watch (Tricycle Theatre London 2012), The Wheel (National Theatre of Scotland 2011, joint winner of the 2011 Amnesty International Freedom of Expression Award and a Fringe First, short-listed for the Susan Smith Blackburn Award); The Panel (Tricycle Theatre London 2010); The Garden (Traverse Theatre 2009); Fall (Traverse Theatre 2008); Solstice (RSC, 2005); Midwinter (RSC 2004, winner of an Arts Foundation Fellowship Award for playwriting, and short-listed for the Susan Smith Blackburn Award); Nightingale And Chase (Royal Court 2001); and Further Than The Furthest Thing (National Theatre of Great Britain/Tron Theatre 2000/1, which was winner of the Peggy Ramsay Playwriting Award, the John Whiting Award and a Fringe First award as well as being specially commended by the Susan Smith Blackburn Award and short-listed for the Evening Standard Most Promising Playwright), By Many Wounds (Hampstead Theatre 1999, shortlisted for the Allied Domecq Award and the Meyer Whitworth Award). Adaptations include Rhinoceros (Edinburgh International Festival 2017) A Doll’s House (Donmar Warehouse 2009) and Miss Julie (National Theatre of Scotland 2006). As a director she has worked for the RSC, the Traverse Theatre, Royal Lyceum Theatre Edinbnurgh, and the Tron theatre. She won Best Director for the CATS 2017, for her direction of Caryl Churchill’s A Number at The Lyceum. She has been Associate Director at the Traverse Theatre since spring 2015. THREE ESTATESJoe Douglas is Artistic Director of Newcastle’s Live Theatre, and was previously Associate Artistic Director of Dundee Rep.Joe trained at Rose Bruford College, London, receiving a BA (Hons) Directing in 2006. In 2007, Vicky Featherstone selected him to become the first Trainee Director at the National Theatre of Scotland, under the Regional Theatre Young Director’s Scheme. For Dundee Rep, he recently directed the highly acclaimed production of John McGrath’s The Cheviot, the Stag and the Black, Black Oil, which received 5-star reviews and completed a sold-out tour of Scotland. For Dundee Rep, he has also directed Death of a Salesman, George’s Marvellous Medicine, Spoiling and The BFG. He was the Mentor Director for the Royal Shakespeare Company & Dundee Rep’s Open Stages (2014/15) and was Staff Director on Dundee Rep’s UK Tour of Peer Gynt (2009). Other work as director includes: ?The Red Shed (Mark Thomas), My Friend Selma (Terra Incognita), Letters Home (Grid Iron/Edinburgh International Book Festival), Bloody Trams (Traverse/Utter),?Dear Scotland, The Last Polar Bears,?Our Teacher’s A Troll,?Allotment?and re-directing the 2013 world tour of?Black Watch?(National Theatre of Scotland),?Our House (Royal Conservatoire of Scotland), The Course of True Love, Fat Alice, We Can All Agree to Pretend This Never Happened, The Call of the Wild, Thank You,?Videotape?and?The Sunday Lesson ?(A Play, A Pie & A Pint), The Reprobates?(HighTide), The Making of Ali & Nino, The Drowning Pond,?Jabberwocky?(YMT). He wrote and performed?Educating Ronnie (Macrobert/Utter), which was nominated for the Royal National Theatre Foundation Award in 2013 and has completed tours of Scotland (2013) and the UK (2014). His work has won three Fringe First awards for Educating Ronnie (2012), Letters Home (2014) and The Red Shed (2016).Most recently, Joe directed Dr Stirlingshire’s Discovery for The Lyceum, Grid Iron and Lung Ha, which premiered at Edinburgh Zoo in April 2017.LOVE SONG TO LAVENDER MENACEMade in Scotland is a curated showcase of high quality performance from Scotland at the world’s biggest arts festival, made possible by support from the Scottish Government’s Edinburgh Festivals Expo Fund. It is a partnership between the Festival Fringe Society, the Federation of Scottish Theatre (FST) Scottish Music Centre and Creative Scotland. James Ley is a playwright living and working in Edinburgh. James is a founder member of Village Pub Theatre - a collective of playwrights who give first readings of new short plays to new and emerging playwrights in a pub in Leith. He has written extensively for the company and his short plays have been performed at various successful VPT partner events including at The Traverse, The Lyceum, Village Pub Theatre, for National Theatre of Scotland and for Glasgay! Festival. James was the recipient of the LGBT History Month Cultural Commission in 2015/2016. Previous productions of James’s plays include I Heart Maths for Oran Mor, Spain for Glasgay! at the Citizens Theatre and Up for The Vault at the Fringe. James was on attachment to the Traverse Theatre as one of the Traverse Fifty and was awarded a Literature Residency at Cove Park by Creative Scotland. James studied Acting at RCS.-Ros Philips is a director, tutor and movement director. Trained at the Citizens Theatre, Central School of Speech & Drama and Manchester Metropolitan Theatre School.She has worked extensively in Repertory theatre and new writing with companies such as: Citizens Theatre Glasgow, Dundee Rep, the Tron, Mercury Colchester and Salisbury Playhouse. Her specialism is Ensemble and text, she regularly collaborates with writers such as Stef Smith, Craig Taylor and James Ley. Ros is associate director with Sphinx theatre and co-designed their Women Centre Stage Festival at the National Theatre this year. Ros regularly guest directs for Rose Bruford and The Royal Central School of Speech and Drama. Her core practice is to facilitate the actor’s somatic, imaginative, creative connections to text and play. Ros developed an embodied text analysis practice which she applies to her directing and dramaturgical work. Ros had been awarded bursaries and grants with ACE, Creative Scotland, FST, The Esme Fairburn Foundation, Equity Trust fund and Oppenheimer Trust. Her adaptation of One Million Tiny Plays About Britain was selected for Made In Scotland 2011.-Pierce Reid trained at RCS. His theatre credits include Collabo- rators, Men Should Weep, and Damned by Despair (National Theatre), i (Finborough Theatre) The Seagull (York Theatre Royal), Twelfth Night, Mother Courage (Dundee Rep). His film credits include Collabo- rators (NT LIVE), The Taxidermist (Charlotte Carden) and Our Father (Artur Zaremba).-Matthew McVarish has an MA and BA in Acting from RCS and QMU. His theatre credits include: I Heart Maths, Sweet Home Balmaha, Triumvirate, The Backpacker Blues (Oran Mor); To Kill a Kelpie, Spangle Baby, Magpies (Poorboy); The Bridge (Boilerhouse) and East (Pend Fringe). His TV credits include: River City, Spring Watch, Me Too! (BBC) and Taggart (SMG).Love song to Lavender Menace is Matthew’s official return to acting after five years of humanitarian activism. Matthew received an honorary doctorate, the SCVO Charity Champion award and the Glenfiddich Spirit of Scotland Top Scot award, for walking 10,000miles around Europe encouraging legislative improvements in child protection. He has since chaired discussions at the United Nations, the Council of Europe and the Global Survivor Forum for ECPAT international in Bangkok. The Scottish government recently published Matthew’s first academic paper, “The quality of silence”, examining the various sociological obstacles to reporting child sexual abuse in thirty-two countries he has worked in. ................
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