Young People
‘THE YOUNG VIC ALLOWS ME
TO EXPRESS MY FEELINGS
IN A DIFFERENT WAY’
Joshua, participant in Parallel Macbeth
Annual Review
2015-2016
FROM THE CHAIR OF THE BOARD
PATRICK McKENNA
For 15 years we have nurtured the talent of dozens of the UK’s most exciting directors. Over the past few years, three directors in particular have benefitted from being appointed as Genesis Fellows – full time members of staff who not only direct shows on our stages, but learn from the skills of others in the building and begin to train the next generation of talent.
2015 - 16 showcased the superb work of Carrie Cracknell, Joe Hill-Gibbins and Natalie Abrahami. First Natalie’s critically acclaimed production of Happy Days returned to the main house, enrapturing audiences for a second time. Later in the year, Joe’s virtuoso production of Measure for Measure broke new ground for one of Shakespeare’s most difficult plays. Finally, Carrie Cracknell’s Macbeth, a fascinating blend of dance and theatre, opened at the Young Vic before touring to Birmingham and Manchester. All three played to full houses and all three have ensured that these directors will be some of the most sought after in the country for years to come.
These shows also showcased the talent of some of the finest British female actresses of their generation – Juliet Stevenson, Romala Garai and Anna Maxwell Martin. Much of our work this year has been generated by exceptional women. In the Maria, huge hits A Number, La Musica, Bull and A Girl is Half Formed Thing were all written or directed by women. All our Taking Part shows this year, professionally resourced productions created by and featuring members of our local community, were directed or co-directed by women.
In this respect, as in many others, the Young Vic is industry leading, which is what makes it such an exciting place to be.
FROM THE ARTISTIC DIRECTOR
DAVID LAN
We still talk about the redesigned, redeveloped, rebuilt part of our theatre as ‘new’ – at least I do. But in fact it’s now 10 years old. So we’re all – or at least all of us who have been on this part of a longer journey – now 10 years older. So, how do we grow up but still stay young?
We have two simple ideas which seem to do the trick. The first is that we go on, year in year out, producing the shows that we don’t know how to do, pushing the boat out, flying a kite, taking leaps in the dark – whatever your favourite metaphor is. In theatre you live or die by the artistic success of the show you happen to have on at that moment. We’ve got used to living (reasonably) dangerously.
Each show we produce – and we’re still producing somewhere between 12 and 15 new shows each year – is designed to be a new adventure for the artists, encouraged to try the crazy thing they’ve never attempted before, and for the whole YV team who are primed to create, to support, to advise, to cheer on…
And the second: we try to stay connected to the real world that exists beyond The Cut in Waterloo. This last year we’ve been especially engaged by the turmoil in Europe caused by the massive movement of refugees across the continent. ‘What can we do?’, is everyone’s question. So much of the year was taken up exploring new relationships and planning our season Horizons which will play out over the next 18 months, involving writers, directors, actors – professional and non-professional – who are directly or indirectly engaged with this new long term reality. More shows will be added over future months.
Staying alive to new ways of making theatre, to new people to make it with, to new ways of living through art in the real world is key to our ability to stay young.
So it’s 10 years since we reopened our rejuvenated theatre but we feel younger than ever, with an infinite amount ahead of us to learn, to share, to enjoy.
FROM THE EXECUTIVE DIRECTOR
Lucy Woollatt
Over the course of a year shows open and close, staff move on, projects come to their end. So often at these moments, the support we give each other is thanked with tears and heartfelt words about the Young Vic ‘family’.
Each time a true feeling of achievement and joy rises through us. A confirmation of that sense that there’s nowhere quite like the Young Vic to put on a show.
This feeling is difficult to maintain - it involves caring in an order that is sometimes counter intuitive, working more hours that seem sensible, spending more time in groups when a single decision would seem quicker, or simply taking risks in those we employ and the shows we programme. However, our success – financial, critical, artistic – depends on it. Our recent trip to New York with A Streetcar Named Desire was only possible because of it. Our full season of work, 25 shows across our three stages, on tour and on transfer is testament to it.
Productions
Artists
We invite our artists to attempt with us what they’ve never attempted before,
to take a leap in the dark.
ZOË SVENDSEN
DIRECTED AND DESIGNED WORLD FACTORY
Award winning director, translator and researcher, Zoë explored contemporary consumer capitalism through World Factory’s interactive game-performance.
NATALIE ABRAHAMI
DIRECTED AH WILDERNESS!
Director of five-star hit Happy Days, Genesis Fellow and Young Vic Associate Director Natalie ‘beautifully captured the ludicrousness of youth’ in this revival of Eugene O’Neill’s play.
RICHARD JONES
DIRECTED THE TRIAL
Olivier Award-winning director, Richard Jones directed this classic, timeless tale of ordinary terror by Franz Kafka.
RORY KINNEAR
PLAYED JOSEF K IN THE TRIAL
Olivier Award-winning British actor, Rory was ‘at the peak of his powers’ playing the mesmerising role of Josef K as he slowly descended into a waking nightmare of humiliations.
HUGH SKINNER
PLAYED KYLE / BLOCK IN THE TRIAL
Hugh Skinner returned to the Young Vic for The Trial after previous roles in The Cherry Orchard and Señora Carrar's Rifles.
IVO VAN HOVE
DIRECTED SONG FROM FAR AWAY
Following the multi-award winning A View from the Bridge, Ivo produced a ‘dreamlike and deeply unsettling’ production of Simon Stephens’s first original work at the Young Vic.
NATALIA KOLIADA
CO-FOUNDER BFT, STAGING A REVOLUTION
Natalia Koliada, co-founder of the astounding Belarus Free Theatre, celebrated BFT’s 10th anniversary with this epic festival held at multiple venues across London.
JOE HILL-GIBBINS
DIRECTED MEASURE FOR MEASURE
Joe, Artistic Associate of the Young Vic, tackled Shakespeare’s dark comedy in his peerless bold style.
ROMOLA GARAI
PLAYED ISABELLA IN MEASURE FOR MEASURE
Golden Globe Nominee, Romola, was ‘in wonderfully impassioned form’ when she played the role of Isabella in Shakespeare’s dark comedy.
LIZ STEVENSON
DIRECTED BARBARIANS
2015 JMK Award Winner Liz Stevenson directed Barbarians which was nominated for an Olivier Award for ‘Outstanding Achievement in an Affiliate Theatre’.
CARRIE CRACKNELL & LUCY GUERIN
CO-DIRECTED MACBETH
Carrie & Lucy continued their their collaboration at the Young Vic with actors and dancers forming a new, ‘viscerally exciting production’ of Shakespeare’s supernatural tragedy.
LIZZIE CLACHAN
DESIGNED MACBETH
Lizzie Clachan returned to the Young Vic after designing the set for the incredible production of A Season In the Congo.
JOHN HEFFERNAN
PLAYED MACBETH
John Heffernan made his Young Vic debut in the title role of Macbeth with a ‘luminously intelligent performance’.
ANNA MAXWELL MARTIN
PLAYED LADY MACBETH
BAFTA award winning Anna Maxwell Martin played an ‘alarmingly cool, svelte Lady Macbeth’ in this new version of Shakespeare’s supernatural tragedy.
CLARE LIZZIMORE
DIRECTED BULL
Clare Lizzimore directed the return of the Olivier Award-winning piece one year after Bull’s office politics and playground bullying was first in the Maria.
PETER BROOK AND MARIE-HÉLÈNE ESTIENNE
DIRECTED BATTLEFIELD
Following their ‘spellbinding’ play The Valley Of Astonishment, Peter Brook and Marie-Hélène Estienne directed this ‘dazzling piece of theatre’.
ANNIE RYAN
ADAPTED & DIRECTED A GIRL IS A HALF-FORMED THING
Director and performer Annie Ryan brought Eimear McBride’s acclaimed novel, ‘a fearless, unflinching portrait of one girl’s turbulent journey into an adult world’ to The Maria.
AOIFE DUFFIN
PLAYED XX IN A GIRL IS A HALF-FORMED THING
Duffin takes on the role of an unnamed girl in Annie Ryans’ courageously feminist one woman masterpiece.
ALETTA COLLINS
CHOREOGRAPHED AND DIRECTED IF YOU KISS ME, KISS ME
Aletta conceived If You Kiss Me, Kiss Me with Jane Horrocks to bring this gorgeously evocative music theatre to life through her choreography and direction.
BUNNY CHRISTIE
DESIGNED IF YOU KISS ME, KISS ME
The three times Olivier Award-winning set and costume designer created the set for this dance-gig-theatre blend.
JANE HORROCKS
STARRED IN IF YOU KISS ME, KISS ME
Jane co-conceived this extraordinary part gig, part dance piece inspired by the soulful new wave music of her upbringing in the North West.
Cast & Creatives
We’re hugely grateful to work with so many talented people. Scroll through our complete list of the cast and creative teams we’ve worked with for our 2015 - 2016 productions below...
| Ah, Wilderness! |
|---|
| By | Eugene O'Neill |
| David McComber / George | David Annen |
| Muriel McComber | Georgia Bourke |
| Essie Miller | Janie Dee |
| Richard Miller | George Mackay |
| Nat Miller | Martin Marquez |
| Norah | Eleanor McLoughlin |
| Belle | Yasmin Paige |
| Tommy Miller | Lucas Pinto / Rory Stroud |
| Sid Davis | Dominic Rowan |
| Lily Miller | Susannah Wise |
| Arthur | Miller Ashley Zhangazha |
| Direction | Natalie Abrahami |
| Set | Dick Bird |
| Costumes | Sussie Juhlin-Wallén |
| Light | Charles Balfour |
| Music & Sound | Ben & Max Ringham |
| Movement | Ann Yee |
| Casting | Julia Horan CDG |
| Voice & Dialect | Richard Ryder |
| Jerwood Assistant Director | Craig Gilbert |
| Boris Karloff Trainee Assistant Director | Mona Khalili |
| Stage Manager | Maris Sharp |
| Deputy Stage Manager | Sophie Rubenstein |
| Assistant Stage Manager | Emma Ryan |
| Costume Supervisor | Holly White |
| Lighting Operator | Nell Allen |
| Sound Operator | Bryony Blackler |
| Stage Crew | Sam Shuck |
| Dresser | Nicole Ashwood |
| Wardrobe Assistant | Melissa Cooke |
| Hair & Make Up | Abbie Bridgman |
| Hair Design | Madlen Mierzwiak |
| Set built by | Miraculous Engineering Ltd |
| Dyeing & Breaking Down | Gabrielle Firth |
| Chaperones | Valerie Joyce |
| Julie Colbert | |
| Stage Management Work Placement | Lina Hallem |
| World Factory |
|---|
| METIS in co-production with the Young Vic, New Wolsey Theatre and Company of Angels |
| Performers | Naomi Christie |
| Lucy Ellinson | |
| Heather Lai | |
| Jamie Martin | |
| Direction/ Design | Zoë Svendsen & Simon Daw |
| Light | Guy Hoare |
| Sound | Matthias Kispert |
| Associate Director | Kate O'Connor |
| Finale Composer | David Paul Jones |
| Choreography Consultant | Imogen Knight |
| Software Developer | Dan Williams |
| Assistant Director | Lucy Wray |
| Game Co-Writers | Zoë Svendsen |
| Simon Daw | |
| Kate O'Connor | |
| Brian Walters | |
| David Isaacs | |
| Research Collaborators (China) | Zhao Chuan |
| Wu Meng | |
| Production Manager | Tom Albu |
| Company Stage Manager | Catherine Lewis |
| Technical Stage Manager | Anthony Hannah |
| Costume Supervisor | Clio Alphas |
| Video Programmer | Lanz |
| Lighting Operator | Seb Barresi |
| Wardrobe Assistant | Melissa Cooke |
| Set built by | Andy Latham |
| Set Blue Scenery | |
| Digital Associate (The Shirt) | Bianca Winter |
| Producer | Rachel Parslew |
| General Manager | Tara Finney |
| Administrator | Alison Cooke |
| The Trial |
|---|
| By | Franz Kafka |
| Adapted by | Nick Gill |
| Law Student / Flogger | Marc Antolin |
| Uncle Albert / Magistrate | Steven Beard |
| Male Guard / Information Assistant / Tudor | Richard Cant |
| Mrs Barrow / Information Officer | Sarah Crowden |
| Bank Clerk / Defendant in Tattooist | Charlie Folorunsho |
| Bank Clerk / Defendant in Information Office | Neil Haigh |
| Bank Clerk / Faye | Suzy King |
| Josef K | Rory Kinnear |
| Tiffany / Female Guard / Rosa / Chastity / Cherry / Girl | Kate O'Flynn |
| Comptroller / Bank Clerk / Defendant / Prostitute | Weruche Opia |
| Kyle / Block | Hugh Skinner |
| Mrs Grace / Doctor | Sian Thomas |
| Direction | Richard Jones |
| Design | Miriam Buether |
| Costumes | Nicky Gillibrand |
| Light | Mimi Jordan Sherin |
| Music | David Sawer |
| Sound | David Sawer |
| Alex Twiselton | |
| Movement | Sarah Fahie |
| Casting | Julia Horan CDG |
| Hair, Wigs & Make-Up Design | Campbell Young Associates |
| Fights | Bret Yount |
| Voice | Barbara Houseman |
| Jerwood Assistant Director | Nel Crouch |
| Boris Karloff Trainee Assistant Director | Robert Awosusi |
| Young Vic community participants include | Annie Greenslade, Antony Hampton, Barry Bowden, Boma Braide, Carol Morgan, Caroline Smith, Catherine Coker, Christina Christofi, David Mills, Declan Cooke, Drew Paterson, Jackie Kearns, Jan Teeuwisse, John Hellings, John S Watts, Kevin Bourke, Mable Muir, Michael Knight-Markiegi, Patricia Fryd, Peter Stanton, Robert Moore, Rod Brown, Stella Lee, Thelma Gordon, Val Harvey, Vince Rogers. |
| Stage Manager | Daniel Gammon |
| Deputy Stage Manager | Charlotte Hall |
| Assistant Stage Managers | Sally Inch |
| Greg Sharman | |
| Costumer Supervisor | Claire Murphy |
| Props Supervisor | Jo Maund |
| Lighting Operator | Sebastian Barresi |
| Jess Glaisher | |
| Sound Operator | Amy Bramma |
| Jamie McIntyre | |
| Automation Operators | Nell Allen |
| Zoë Cotton | |
| Stage Crew | Adam Bouras |
| Matt Fletcher | |
| Wardrobe Manager | Heather Bull |
| Wardrobe Assistant & Dresser | Claire Wardroper |
| Hair, Wigs & Make-Up | Jenny Glynn |
| Costume Assistant | Rosey Morling |
| Costume Makers | Mark Costello |
| Phil Reynolds | |
| Draughtsman | Simon Oliver |
| Stage Management Placement | Deborah Machin |
| Set built by | Miraculous Engineering Ltd |
| Automation supplied by | Canning Conveyors |
| Stage Technologies | |
| Lighting equipment supplied by | Stage Electrics |
| Sound equipment supplied by | Stage Sound Services |
| A Number | |
|---|---|
| Nuffield at Young Vic | |
| By | Caryl Churchill |
| With | John Shrapnel |
| Lex Shrapnel | |
| Direction | Michael Longhurst |
| Design | Tom Scutt |
| Light | Lee Curran |
| Sound | Richard Hammarton |
| Casting | Anna Cooper |
| Associate Director | Jack Lowe |
| Associate Designer | James Turner Donnelly |
| Production Manager | Felix Davies |
| Stage Manager | Marina Kilby |
| Deputy Stage Manager | Lauren Harvey |
| Lighting Operators | Nick Slater |
| Nicole Smith | |
| Now Is The Time To Say Nothing |
|---|
| Presented by Young Vic Taking Part |
| Direction | Caroline Williams |
| Sound Design | Keir Vine |
| Video | May Abdalla |
| Film | Reem Karssli |
| Participation Projects | Manager Sharon Kanolik |
| Production Manager | Nick Slater |
| Production Assistants | Adrian Gardner |
| Young Vic Young People | Yiga Cowie |
| Denneil Dunbar | |
| Femi Fuwad Adenola | |
| Sohaila Ferrier | |
| Edward Garlick | |
| Anastasia Ikpedighe | |
| Riona Millar | |
| Ernesto Reyes Fox | |
| Monty Taylor | |
| Alice Tyrrell | |
| Song From Far Away |
|---|
| A Toneelgroep Amsterdam production | |
| Mostra Internacional de Teatro de São Paulo co-producer | |
| Young Vic: London co-producer | |
| Text by | Simon Stephens |
| Music & Lyrics by | Mark Eitzel |
| Willem | Eelco Smits |
| Direction | Ivo van Hove |
| Design and Light | Jan Versweyveld |
| Dramaturgy | Bart van den Eynde |
| Assistant Designer | Ramón Huijbrechts |
| For the Young Vic | |
| Stage Manager | Dan Gammon |
| Lighting Operator | Seb Barresi |
| Sound Operator | Amy Bramma |
| For Toneelgroep Amsterdam | |
| Private Producer | Joachim Fleury |
| Casting | Hans Kemna |
| Translation | Rik van den Bos |
| Head of Technical and Production | Wolf-Götz Schwörer |
| Production Leader | Michiel van Schijndel |
| First Stage Manager | Sebastiaan Kruijs |
| Reyer Meeter | |
| Stage Managers | Erwin Sterk |
| Martijn Smolders | |
| Pepijn van Beek | |
| Emile Bleeker | |
| Peter Pieksma | |
| Pieter Roodbeen | |
| Ruud de Vos | |
| Zinzi Kemper | |
| Head of Costume | Wim van Vliet |
| Costumes | Farida Bouhbouh |
| Publicity | Mette Raaphorst |
| Set Built By | Kloosterboer Decor bv |
| Creditors |
|---|
| By | August Strindberg |
| In a version by | David Greig |
| With | Tekla Jolyon Coy |
| Adolph Tom Rhys Harries | |
| Gustav Gyuri Sarossy | |
| Direction | Rikki Henry |
| Set & Costumes | Petra Hjortsberg |
| Light | David Holmes |
| Music & Sound | Max Perryment |
| Casting | Louis Hammond CDG |
| Assistant Director | Sophie Moniram |
| Production Manager | Neil Mickel |
| Stage Manager | Sarah Thomas |
| Deputy Stage Manager | Jason Mills |
| Costume Supervisor | Lucy Martin |
| Lighting Programmer | Zakk Hein |
| Lighting Operator | Nell Allen |
| Production Sound Engineer | Jamie McIntyre |
| Wardrobe | Scarlet Wallis |
| Horn Emily Cunliffe | |
| Violin | Azita Mehdinejad |
| Cello | Maria Rodriguez |
| Scenic Art | Natasha Shepherd |
| Painting Tuition | Grit Eckert |
| Graphic design work | Linus Carlson |
| La Musica |
|---|
| By | Marguerite Duras |
| Translation | Barbara Bray |
| Direction | Jeff James |
| With | Emily Barclay |
| Sam Troughton | |
| Direction | Jeff James |
| Design | Ultz |
| Light Jo Joelson | Jo Joelson |
| Video | Tim Reid |
| Music & Sound | Ben & Max Ringham |
| Casting | Lotte Hines |
| Jerwood Assistant Director | Rachel Lincoln |
| Assistant Designers | Sadeysa Greenaway-Bailey |
| Mark Simmonds | |
| Stage Manager | Alicia White |
| Deputy Stage Manager | Sophie Rubenstein |
| Costume Supervisor | Lucy Martin |
| Set built by | Blackfriars Scenery |
| Sound Operator | Jamie McIntyre |
| Technician | Nell Allen |
| Scenic Artist | Erica Stoke |
| Wardrobe Maintenance | Scarlet Wallis |
| Measure for Measure |
|---|
| By | William Shakespeare |
| Provost | Hammed Animashaun |
| Pompey | Tom Edden |
| Isabella | Romola Garai |
| Claudio | Ivanno Jeremiah |
| Lucio | John Mackay |
| Escalus | Sarah Malin |
| Angelo | Paul Ready |
| Julietta | Natalie Simpson |
| Master Froth | Raphael Sowole |
| Duke Vincentio | Zubin Varla |
| Mariana | Cath Whitefield |
| Barnardine | Matthew Wynn |
| Direction | Joe Hill-Gibbins |
| Dramaturgy | Zoë Svendsen |
| Design | Miriam Buether |
| Costumes | Nicky Gillibrand |
| Video | Chris Kondek |
| Light | James Farncombe |
| Sound | Paul Arditti |
| Movement | Imogen Knight |
| Casting | Amy Ball |
| Jerwood Assistant Director | Jasmine Woodcock-Stewart |
| Boris Karloff Trainee Assistant Director | Lekan Lawal |
| Stage Manager | Sarah Alford-Smith |
| Deputy Stage Manager | Julia Slienger |
| Assistant Stage Managers | Sally Inch |
| Erin McCulloch | |
| Costumer Supervisor | Catherine Kodicek |
| Assistant Costume Supervisor | Scarlet Wallis |
| Lighting Operator | Costa Cambanakis |
| Sound Operator | Amy Bramma |
| Sound Number 2 | Duncan Arnold |
| Stage Crew | Sam Shuck |
| Dresser | Naomi Collet |
| Make Up | Sadie Hadrill |
| Scenic Drafting | Nick Murray |
| Design Assistant | Joana Dias |
| Video Programmer | Jonathon Lyle |
| Workroom Manager | Mia Wallden-Ma |
| Costume Maker | Ruth George |
| Tailor | Mark Costello |
| Andy Kapetanos | |
| Dyeing | Gabriella Firth |
| Stage Management Work Placement | Chloe Walker |
| Costume Work Placements | Megan Rarity |
| Eleanor Tippler | |
| Set built by | Bower Wood |
| Production Services | |
| Scenic art by | Charlotte Lane |
| Lighting equipment supplied by | White Light |
| Sound and Video equipment supplied by | Stage Sound Services |
| Tracking supplied by | Promptside & EEE |
| Curtains supplied by | JD McDougall |
| A View From the Bridge - Broadway |
|---|
| by | Arthur Miller |
| Louis | Richard Hansell |
| Alfieri | Michael Gould |
| Eddie | Mark Strong |
| Catherine | Phoebe Fox |
| Beatrice | Nicola Walker |
| Marco | Michael Zegen |
| Rodolpho | Russell Tovey |
| Officer | Thomas Michael Hammond |
| Understudies | |
| Catherine | Holly Curran |
| Marco/Louis | Max Woertendyke |
| Alfieri | Richard Hansell |
| Rodolpho/Officer | Zdenko Martin |
| Beatrice | Danielle Skraastad |
| Eddie | Thomas Michael Hammond |
| Direction | Ivo Van Hove |
| Design & Light | Jan Versweyveld |
| Costumes | An D'Huys |
| Sound | Tom Gibbons |
| UK Casting | Julia Horan CDG |
| Associate Director | Jeff James |
| Production Stage Manager | Martha Donaldson |
| Stage Manager | Sherry Cohen |
| Production Manager | Aurora Productions |
| Company Manager | Katrina Elliot |
| Dialect Coach | Kate Wilson |
| Producer | Scott Rudin |
| Press Representative | Philip Rinaldi |
| Macbeth |
|---|
| By | William Shakespeare |
| Duncan/Macduff | Nicholas Burns |
| Ross | Mark Ebulué |
| Murderer | Thomasin Gülgeç |
| Macbeth | John Heffernan |
| Malcolm | Ben Lamb |
| Lady Macduff/Lennox | Cassie Layton |
| Lady Macbeth | Anna Maxwell Martin |
| Witch/Child | Ana Beatriz Meireles |
| Witch/Child | Jessie Oshodi |
| Banquo | Prasanna Puwanarajah |
| Porter Ira | Mandela Siobhan |
| Witch /Child | Clemmie Sveaas |
| Direction | Carrie Cracknell & Lucy Guerin |
| Design | Lizzie Clachan |
| Costumes | Merle Hensel |
| Light | Neil Austin |
| Music | Clark |
| Sound | David McSeveney |
| Casting | Amy Ball |
| Jerwood Assistant Director | Finn den Hertog |
| Trainee Assistant Director | Michal Keyamo |
| Production Manager | Lloyd Thomas |
| Stage Manager | Rosina Kent |
| Deputy Stage Manager | Ian Andlaw |
| Assistant Stage Manager | Lizzie Donaghy |
| Costume Supervisor | Lucy Martin |
| Voice | Emma Woodvine |
| Fights | Owain Gwynn |
| Lighting Operator | Costa Cambanakis |
| Sound Operator | Jamie McIntyre |
| Stage Crew | Nick Aldrich |
| Sam Shuck | |
| Wardrobe Manager | Emily Moore |
| Dresser | Nicole Ashwood |
| Lighting Programmer | Laura Choules |
| Wig Supervisor | Laura Allen |
| Workroom Manager | Caroline Hagley |
| Costume Prop Maker | Hannah Trickett |
| Breaking Down | Gabrielle Firth |
| Scenic Drafting | Ben Austin |
| Stage Management Placement | Danni Haylett |
| Set built by | Miraculous Engineering |
| Scenic Art by | Kerry Jarrett |
| Digital Art by | Lucy Sierra |
| Lighting equipment supplied by | White Light |
| Sound equipment supplied by | Stage Sound Services |
| Scissor Lift supplied by | Delstar Engineering |
| Barbarians |
|---|
| By | Barrie Keeffe |
| Directed by | Liz Stevenson, winner of the JMK Award 2015 |
| With | Louis Fisayo Akinade |
| Jan Alex Austin | |
| Paul Brian Vernel | |
| Direction | Liz Stevenson |
| Design | Fly Davis |
| Costumes | Frankie Bradshaw |
| Light | Matt Leventhall |
| Sound | Peter Rice |
| Movement | Ayse Tashkiran |
| Casting | Charlotte Bevan |
| Fights | Kev McCurdy |
| Voice | Helen Ashton |
| Assistant Lighting Designer | Joe Price |
| Movement Placement | Ingrid McKinnon |
| Produced in association with | Paul Jellis |
| Stage Manager | Sophie Rubenstein |
| Lighting Operator | Seb Barresi |
| Wardrobe | Scarlet Wallis |
| Guitar Rob | Donnelly-Jackson |
| Football crowd | The Colne Valley Male Voice Choir |
| Voiceover | Simon Slater |
| Scenic art by | Natasha Shepherd |
| Prop radio made by | Alice Firebrace |
| Bull |
|---|
| A Supporting Wall / Young Vic co-production | |
| Originally produced by Sheffield Theatres | |
| With | Tony Max Bennett |
| Isobel Susannah Fielding | |
| Carter Nigel Lindsay | |
| Thomas Marc Wootton | |
| Direction | Clare Lizzimore |
| Design | Soutra Gilmour |
| Light | Peter Mumford |
| Sound | Christopher Shutt |
| Casting | Amy Ball |
| Associate Director | Jessica Edwards |
| Associate Designers | Aaron Maiden |
| Rachel Wingate | |
| Production Manager | Bernd Fauler |
| Stage Manager | Nic Donithorn |
| Deputy Stage Manager | Nicki Barry |
| Lighting Operator | Nell Allen |
| Wardrobe | Scarlet Wallis |
| Scenic art by | Gabi Boyd |
| Fani Parali | |
| Battlefield |
|---|
| A C.I.C.T. - Théâtre des Bouffes du Nord production Co-produced by Young Vic Theatre, Les Théâtres de la ville de Luxembourg ; PARCO Co. Ltd / Tokyo ; Grotowski Institute ; Singapore Repertory Theater ; Théâtre de Liège ; C.I.R.T. and Attiki Cultural Society | |
| Based on the Mahabharata and the play by Jean-Claude Carrière | |
| Adapted and directed by Peter Brook and Marie - Hélène Estienne | |
| With | Carole Karemera |
| Jared McNeill | |
| Ery Nzaramba | |
| Sean O'Callaghan | |
| Musician | Toshi Tsuchitori |
| Light | Philippe Vialatte |
| Music | Toshi Tsuchitori |
| Costumes | Oria Puppo |
| Stage Managers | Thomas Becelewski |
| Jason Mills | |
| Production Director | Marko Rankov |
| Production Manager | Agnès Courtay |
| Costume Maintenance | Nicki Martin-Harper |
| A Girl is a Half-formed Thing |
|---|
| The Corn Exchange at the Young Vic | |
| In association with Cusack Projects Limited | |
| By | Eimear McBride |
| Adapted for the stage by | Annie Ryan |
| With | Aoife Duffin |
| Direction | Annie Ryan |
| Music and Sound | Mel Mercier |
| Set | Lian Bell |
| Light | Sinéad Wallace |
| Costumes | Katie Crowley |
| Assistant Director | Eoghan Carrick |
| Production Manager | Adrian Mullan |
| Stage Manager | Clare Howe |
| Chief LX | Stephen Dodd |
| Sound Engineer | Anthony Hanley |
| International Tour Producer | Pádraig Cusack |
| Lighting Operator | Nell Allen |
| Sound Operator | Richard Bell |
| Wardrobe Nicki Martin-Harper | Nicki Martin-Harper |
| Scarlet Wallis | |
| Graphic Design photography | Richie Gilligan |
| Graphic Design | Aad |
| Artistic Director for The Corn Exchange | Annie Ryan |
| Producer for The Corn Exchange | Lucy Ryan |
| Living With The Lights On |
|---|
| With | Mark Lockyer |
| Direction | Ramin Gray |
| Associate Director | Rosemary McKenna |
| Company Stage Manager & Lighting Designer | Tom Kitney |
| Lighting Operator | Amy Mae Smith |
| If You Kiss Me, Kiss Me |
|---|
| Conceived by | Jane Horrocks and Aletta Collins |
| With | Fabienne Debarre |
| Conor Doyle | |
| Daniel Hay-Gordon | |
| Jane Horrocks | |
| Kipper | |
| Mark Neary | |
| Lorena Randi | |
| Rat Scabies | |
| Michael Walters | |
| Direction & Choreography | Aletta Collins |
| Musical Producer & Arrangements | Kipper |
| Design | Bunny Christie |
| Light | Andreas Fuchs |
| Sound | Paul Arditti |
| Video | Tim Reid |
| Musical Direction | Kipper |
| Jerwood Assistant Director | Joe Hancock |
| Production Manager | Marty Moore |
| Stage Manager | Rosina Kent |
| Deputy Stage Manager | Emily Porter |
| Assistant Stage Manager | Philippa Sutcliffe |
| Customer Supervisor | Deborah Andrews |
| Voice Coaches | Sumuda Jayatilaka |
| Jo Thompson | |
| Sound Operator | Jamie McIntyre |
| Sound No 2 | Gareth Tucker |
| Lighting Operator | Costa Cambanakis |
| Followspot Operator | Hannah Strudwick |
| Stage Crew | Sam Shuck |
| Rebecca McWalter | |
| Dresser | Holly Roberts |
| Wardrobe Maintenance | Scarlet Wallis |
| Lighting Programmer | Sebastian Barresi |
| Design Assistants | Ellen Nabarro |
| Verity Sadler | |
| Set built by | All Scene All Props |
| Scenic props by | Jeff Cliff Model Effects |
| Lighting equipment supplied by | Stage Electrics |
| Sound supplied by | Stage Sound Services |
| Video supplied by | Blue-i Event Technology |
| In ear monitors supplied by | ACS Custom |
| Music consultant | Nick Vivian |
| If You Kiss Me, Kiss Me choreographed in collaboration with Conor Doyle, Daniel Hay-Gordon, Lorena Randi and Michael Walters |
Taking Part
Our work with young people and our local communities is a major part of our artistic life. At a deep level, it complements and enhances each of the shows we produce.
All of this work is created by our Taking Part team, who engage with over 10,000 people a year. We offer young people and our neighbours free tickets to all our shows. We run a wide range of projects, from skills-based workshops to a chance to perform on one of our stages. We connect with some of the most vulnerable groups in society such as young people with mental health difficulties, children and adults with special needs, homeless people and people in recovery from addiction.
Much of our work this year has been with refugees and asylum seekers, living on our doorstep. Whilst the refugee crisis around the world worsens, we are doing what we can do best – making relationships with our neighbours, opening conversations with artists and our audiences, and creating work for our stages. We are learning about our world, and how different one person’s experience can be from another’s, even though we all walk the same streets and live in the same city. David Lan said of all work with and about refugees at the Young Vic; ‘This is the Young Vic’s response to the world as it is now. People in distress need help and they need to be heard. We want to provide a powerful means for audiences at home and abroad to connect with the political, social and human realities refugees face. These are the central stories of our age.’
Jeremy Corbyn said when outlining his vision for the arts; ‘Following the lead of successful programmes, such as those run by The Young Vic and the Hallé Orchestra in Manchester, we must support outreach programmes designed to involve young people both as participants and as audience members.’
We think of the Young Vic as ‘the home you didn’t know you had’. Taking Part is one of the ways in which we keep our doors wide open.
HIGHLIGHTS OF THE YEAR IN NUMBERS 2015-16
We gave 9,259 free tickets
to young people, schools
and our neighbours.
Worked with 2,696 YOUNG PEOPLE, THROUGH SEEING SHOWS, WORKSHOPS AND BEING IN PRODUCTIONS
PROVIDED 18 WORKSHOPS FOR SCHOOLS, 16 IN SCHOOL AND 2 ON THE YOUNG VIC STAGE
DEVELOPED A CPD PROGRAMME FOR TEACHERS. PROVIDED 5 WORKSHOPS ATTENDED BY 53 TEACHERS
WORKED WITH 127 REFUGEES AND ASYLUM SEEKERS ACROSS TAKING PART WORKSHOPS AND PROJECTS.
NOW IS THE TIME TO SAY NOTHING, CREATED WITH 10 YOUNG PEOPLE AND A SYRIAN FILMMAKER WAS PRESENTED AS PART OF THE SHUBBAK FESTIVAL AND THE EDINBURGH FRINGE
RAN A PROJECT FOR TEENAGERS WITH MENTAL HEALTH DIFFICULTIES, ASSISTED BY TWO YOUNG PEOPLE WHO HAD PREVIOUSLY TAKEN PART IN THIS PROJECT
YOUNG VIC YOUNG ASSOCIATES CREATED HUMAN ME WITH 9 LOCAL YOUNG PEOPLE IN RESPONSE TO THE REFUGEE CRISIS
ORGANISED BEYOND BORDERS, A CONFERENCE FOR 120 ARTISTS AND THEATRE MAKERS ABOUT HOW THEATRE CAN MAKE WORK WITH REFUGEES
TWO BOROUGHS
‘AS SOMEONE WHO CANNOT
AFFORD TO BUY TICKETS YOUR
SCHEME MAKES A BIG DIFFERENCE
Angie, participant
CREATED A BRAND NEW PLAY WITH 10 LOCAL RESIDENTS OVER 60. IN RESPONSE TO LA MUSICA, ROOM 504 WAS PERFORMED AT THE HAMPTONS BY HILTON, WATERLOO
WORKED WITH A COMMUNITY CHORUS OF 25 PEOPLE, WHO PERFORMED IN THE YOUNG VIC PRODUCTION OF THE TRIAL
WORKED WITH OVER 65 REFUGEES AND ASYLUM SEEKERS, THROUGH WORKSHOPS, SEEING SHOWS AND DEVELOPING NOW WE ARE HERE, WHICH WILL BE PERFORMED IN 2016
WORKED WITH 48 SEX WORKERS TO CREATE THE BROLLY PROJECT, A COMMUNITY SHOW BY AND ABOUT THE PARTICIPANTS
DIRECTORS PROGRAM
Launched in 2000, our Directors Program is the only scheme of its kind in the UK. Throughout 2015-16 we offered 349 activities, with over 1,700 places for emerging directors, from assistant directorships to skills-based workshops to CV clinics – all to help directors develop their craft.
Genesis Fellow
Gblolahan Obesisan
Photo ©Helen Murray
The Genesis Fellow is a two year role that enables its recipients to work closely with artistic director David Lan as they continue to develop their craft as a theatre director. Each year they also have the opportunity to direct their own show either in The Maria Theatre or Main House.
Natalie Abrahami
Ah, Wilderness! by Eugene O’Neil
GBLOLAHAN OBESISAN
Cuttin’ It by Charlene James
GENESIS FUTURE DIRECTORS AWARD
The GENESIS FUTURE DIRECTORS AWARD Award enables two emerging directors to rehearse and present a play of their choice, as part of the Young Vic’s season.
RIKKI HENRY
directed Creditors by August Strindberg in a version by David Greig
OLA INCE
Directed Dutchman by Amiri Baraka
Genesis Network supported by the Genesis Foundation
Our web-based network helps directors to discuss theatre, form groups and organise skills sharing, as well as to find information about current activities, opportunities and special ticket offers. Directing can be lonely – particularly in the early stages of a career – and the network encourages a sense of community and peer support. We now have nearly 1,000 members.
These schemes are generously supported by Genesis Foundation
JMK Award
Each year the JMK Award enables a young director to stage their production of a classic, hosted in our Clare theatre.
LIZ STEVENSON
Barbarians by Barry Keeffe
JERWOOD ASSISTANT DIRECTORS SCHEME
‘The Jerwood Assistant Directorship has allowed me the opportunity to make new work, to be challenged, take risks, learn from others and be part of a brilliant organisation with talented people. It has been a brilliant opportunity for me to learn and grow as a director and I feel very thankful for the opportunity.’
Rachel Lincoln – La Musica – Jeff James
Rachel Lincoln
Photo ©Slav Kirichok
Each year our partnership with Jerwood Charitable Foundation provides assistant directorships which include a residency at the Young Vic, an attachment to a production, an international trip to see work and meet artists and the opportunity to develop and direct a short play with a writer.
Jerwood Assistant Directors:
CRAIG GILBERT
Ah, Wilderness! - Natalie Abrahami
RACHEL LINCOLN
La Musica - Jeff James
NEL CROUCH
The Trial - Richard Jones
JASMINE WOODCOCK-STEWART
Measure for Measure - Joe Hill-Gibbins
FINN DEN HERTOG
Macbeth - Carrie Cracknell and Lucy Guerin
JOE HANCOCK
If You Kiss Me, Kiss Me - Aletta Collins
This scheme is generously supported by Jerwood Chartable Foundation
BORIS KARLOFF TRAINEE ASSISTANT DIRECTORS SCHEME
‘The Boris Karloff Trainee Assistant Director Scheme gave me the formal introduction into what it takes to make brilliant work in a brilliant theatre. I can only hope with this under my belt I can further my involvement in creating stimulating, thought- provoking and dream evoking work.’
Rob Awosusi - The Trial - Richard Jones
With the support of the Boris Karloff Charitable Foundation we seek to diversify our talent pool and find the most exciting talent. The scheme bridges the gap between training or engaging with our Taking Part department and embarking on a professional career. Many of the participants have not been through formal higher education and are from black, Asian and ethnic minority communities.
Boris Karloff Trainee Assistant Directors:
ROB AWOSUSI
The Trial - Richard Jones
Lekan Lewal
Measure for Measure - Joe Hill-Gibbins
MICHAL KEYAMO
Macbeth - Carrie Cracknell and Lucy Guerin
Highlights
Finances
Our Shows
The teams who create, produce, manage, build and sell our shows are talented and highly motivated. Our actors, writers, directors and designers are among the best in the world.
Producing our ambitious and innovative work is expensive and involves risk. Each risk we take is calculated and strategic, designed to produce long term benefit to ourselves as well as to the wider artistic world. Each show needs to work in its own right and, at the same time, research and development for the shows that come after. In other words, we respond to existing markets but also create new ones. The cost of this approach, sustained over time (we produce up to 18 shows per year with 5 or more additional shows with the community) cannot be met by ticket sales alone.
From 2013-16 our ticket prices ranged from £10 to £35 with a range of concessions available. At least 50% of the audience at each performance pay less than £20.
As we play to consistently full houses, the only way we can increase box office income is by raising prices, by abandoning concessions or by withdrawing our funded ticket schemes. For reasons outlined throughout the review, to take any of these steps would damage the benign circle “great art, low prices, diverse audience” that we have imagined, created, and sustained over the past decade.
Consequently, the balance of finance each show and each season requires can only be sought from further government investment or by raising our fundraising target to ever higher levels.
We are now celebrated as ‘one of Britain’s great producing theatres’ The Independent. In these difficult times, without persistent and imaginative fundraising, the artistic and social value we so successfully create will be threatened.
EXPENDITURE
Each year more than 90% of our total resource goes towards the shows you see on our three stages, our Taking Part activities and our flagship directors programme. Less than 10% is spent on overheads.
Of the 90%, one quarter goes on the salaries of our permanent staff – producers, heads of lighting, sound and stage, marketeers, production accountants and theatre managers. The other three quarters goes on the direct costs of our productions – the actors, the director, the designer, the set and costumes and so on.
YOUNG VIC PRODUCTIONS
& ACTIVITIES 90%
OVERHEADS 10%
INCOME
Our income comes from the sale of our tickets, our fundraising, our co-producers and our grant from the Arts Council England. Our grant makes up less than a third of our income. We generate the other two thirds by the careful marketing and pricing of our tickets and by regular and close engagement with the co-producers, individuals, trusts and corporates that support us. Each year we raise well over £1.5m million in this way and, in addition, raise substantial sums, sometimes up to £1m, by co-producing with other theatres in the UK and abroad.
GRANT 31%
DEVELOPMENT 26%
BOX OFFICE 32%
CO-PRODUCTION 5%
TRADING 4%
OTHER 2%
Current Supporters
The Young Vic is generously supported by...
Funders
PUBLIC FUNDERS
- Arts Council England
- British Council
- Creative & Cultural Skills
- Lambeth Borough Council
- Southwark Council
- Big Lottery Fund
‘MARKIT IS A HUGE SUPPORTER OF THE YOUNG VIC’S WORK IN MAKING THEATRE AVAILABLE TO ALL. THE FUNDED TICKET SCHEME, WHICH GIVES AWAY 10% OF ALL YOUNG VIC TICKETS, HAS AN ENORMOUS POSITIVE IMPACT ON LOCAL COMMUNITIES AND OPENS DOORS TO NEW EXPERIENCES AND OPPORTUNITIES.’
- Markit
CORPORATE PARTNERS
- Barclays
- Berkeley Group
- Bloomberg
- Edelman
- Markit
- Wahaca
CORPORATE MEMBERS
- Aka
- Bloomberg
- Clifford Chance LLP
- Ingenious Media Plc
- Memery Crystal
- Mishcon de Reya
- Royal Bank of Scotland and NatWest
- Wisdom Council
Individual Supporters
‘BEING A MEMBER OF THE YOUNG VIC’S ‘UPPER CIRCLE’ HAS GIVEN ME A BEHIND THE SCENES LOOK AT THE EXCEPTIONAL WORK DONE ON STAGE AND IN THE COMMUNITY. I AM PROUD TO BELONG TO A THEATRE THAT IS PASSIONATE ABOUT THEIR WORK AND COMMITTED TO SUPPORTING THE NEXT GENERATION OF ARTISTS.’
- Soul Mate
- Partners & Upper Circle
- Lionel Barber & Lionel Barber
- The Bickertons
- Tony & Gisela Bloom
- Simon and Sally Borrows
- Sandra Cavlov
- Ian & Caroline Cormack
- Manfred and Lydia Gorvy
- Patrick Handley
- Jack & Linda Keenan
- Chris & Jane Lucas
- Patrick McKenna
- Simon & Midge Palley
- Karl-Johan Persson
- Barbara Reeves
- Jon & NoraLee Sedmak
- Dasha Shenkman
- Justin Shinebourne
- Rita & Paul Skinner
- Bruno Wang
- Anda & Bill Winters
- Soul Mates
- David & Corinne Abbott
- Timothy Allen
- Jane Attias
- Clive Bannister
- Chris & Frances Bates
- Ginny & Humphrey Battcock
- Anthony & Karen Beare
- Joanne Beckett
- Royce & Rotha Bell
- Sarah Billinghurst Solomon
- Adrian & Lisa Binks
- Eva Boenders & Scott Stevens
- Beatrice Bondy
- Katie Bradford
- CJ & LM Braithwaite
- Clive & Helena Butler
- Sandra Carlisle
- Jim & Dycella Carroll
- Tim & Caroline Clark
- Kay Ellen Consolver
- Paul Curran
- Georgina David
- Howard Davies
- Miel de Botton
- Lucy & Spencer de Grey
- Annabel Duncan-Smith
- Robyn Durie
- Sean Egan
- Jennifer & Jeff Eldredge
- Don Ellwood & Sandra Johnigan
- Paul Gambaccini
- Sarah Gay Fletcher
- Jill & Jack Gerber
- Beth & Gary Glynn
- Annika Goodwille
- Timothy Allen
- Sarah and Tim Bunting
- Lysbeth Fox
- Katherine Hallgarten
- Sarah Hall
- Richard Hardman & Family
- Frances Hellman
- Nick Hern
- Marianne Hinton
- Madeleine Hodgkin
- Nik Holttum & Helen Brannigan
- Jane Horrocks
- Geraldine & Graham Huntley
- Linden Ife
- Maxine Isaacs
- Raymond Joabar
- Clive Jones
- Tom Keatinge & Tansi Aked
- John Kennedy
- Linda Keyte
- John Kinder & Gerry Downey
- Gavin Kalin
- Mr & Mrs Herbert Kretzmer
- Lady Rayne Lacey
- Carol Lake
- Martha Lane Fox
- Jude Law
- Victoria Leggett
- Peter & Colette Levy
- Ann Lewis
- Camilla Lowther
- Tony Mackintosh
- James & Sue Macmillan
- Jill & Justin Manson
- Lady Medina Marks
- Michael McCabe
- Sir Ian McKellen
- Juliet Medforth
- Barbara Minto
- Laura Montgomery
- Joseph Morgan
- Miles Morland
- Georgia Oetker
- Sally O’Neill
- Rob & Lesley O’Rahilly
- Julia Palca
- Tim & Lynn Payne
- André Ptaszynski
- Anthony & Sally Salz
- Ron & Sue Sandler
- Catherine Schreiber
- Charles & Donna Scott
- Mark Selby
- Carol Sellars
- Dr. Bhagat Sharma
- Jenny Sheridan
- Lois Sieff
- Nicola Stanhope
- Sir Patrick Stewart
- Karen Taylor
- Jan & Michael Topham
- Totally Theatre Productions
- The Ulrich Family
- Lady Marina Vaizey
- Donna & Richard Vinter
- Jimmy & Carol Walker
- Rob & Gillian Wallace
- Edgar & Judith Wallner
- George & Patricia White
- Philip Yea
- Jill Hackel Zarzycki
TRUST SUPPORTERS
‘I’M PROUD OF WHAT WE’VE DEVELOPED WITH THE YOUNG VIC. IT SHOWS THE VALUE OF SUSTAINED GIVING ON A PARTNERSHIP LEVEL. THE YOUNG VIC UNDERSTANDS THE GENESIS FOUNDATION, WHAT IT MEANS TO BE A REAL PARTNER AND IT HAS REALLY DELIVERED INNOVATIVE PROGRAMMES WITH US.’
- John Studzinski, Genesis Foundation
- 95.8 Capital FM’s Help a Capital Child
- Andor Charitable Trust
- Austin & Hope Pilkington Trust
- BBC Children in Need
- Backstage Trust
- Boris Karloff Charitable Foundation
- Boshier Hinton Foundation
- The Burford Cannell Charitable Trust
- The City Bridge Trust
- The Cleopatra Trust
- Clifford Chance Foundation
- Clore Duffield Foundation
- Cockayne – Grants for the Arts
- John S Cohen Foundation
- The Co-operative Membership Community Fund
- David Laing Foundation
- The Dr. Mortimer and Theresa Sackler Foundation
- D’Oyly Carte Charitable Trust
- Embassy of the Kingdom of the Netherlands
- Equitable Charitable Trust
- The Eranda Rothschild Foundation
- Ernest Cook Trust
- The Foyle Foundation
- Garfield Weston Foundation
- Garrick Charitable Trust
- Genesis Foundation
- Golden Bottle Trust
- Golsoncott Foundation
- Paul Hamlyn Foundation
- The Amberstone Trust
- H&M Foundation
- The Harold Hyam Wingate Foundation
- Jerwood Charitable Foundation
- Joanies Fund
- John Ellerman Foundation
- John Thaw Foundation
- J. Paul Getty Jnr. Charitable Trust
- The Kidron and Hall Family
- The Leche Trust
- The Limbourne Trust
- The London Community Foundation
- The Mackintosh Foundation
- Martin Bowley Charitable Trust
- Mrs Margaret Guido's Charitable Trust
- Newcomen Collett Foundation
- The Noel Coward Foundation
- The Nomura Charitable Trust
- The Portrack Charitable Trust
- The Rayne Trust
- The Red Hill Trust
- Richard Radcliffe Charitable Trust
- The Richenthal Foundation
- Royal Norwegian Embassy
- Royal Victoria Hall Foundation
- The Sackler Trust
- Unity Theatre Trust
- Sir Walter St John’s Educational Charity
- The Wolfson Foundation
And with thanks to all the Young Vic Friends and those donors who wish to remain anonymous.