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Cast, in order of appearance

Carrie Willow Carrie's Son Nick Willow Mrs Fazackerly Albert Sandwich Billeting Officer Hepzibah Green Louisa Evans Samuel Evans Johnny Gotobed Dilys Gotobed

Sarah Edwardson Mark Field Mark Field Laura Stevely Sam Crane Hywel Morgan Amanda Symonds Rachel Isaac Siôn Tudor Owen James Beddard Rachel Isaac

Major Cass Harper Hywel Morgan Frederick Evans Mourner Mr Rhys

of the company

Hywel Morgan James Rhodes Hywel Morgan

Other parts played by members

Ensemble/Understudies James Rhodes, Laura Stevely

Adapted by Emma Reeves Directed by Andrew Loudon Set & Costume Design by Edward Lipscomb Lighting Design by Matthew Eagland Sound Design by John Leonard Casting by Lucy Jenkins CDG Singing Supervisor Sue Appleby Fight Director Philip d'Orleans Company & Stage Manager Lindah Balfour Deputy Stage Manager Laura Amy Watson Costume Supervisor & Wardrobe Mistress Natasha Ward

First performance of this production: Lilian Baylis Theatre 23 November 2006

Photo of Sarah Edwardson by Keith Pattison

Nina Bawden

Born in 1925, Nina Mary Mabey was 14 when she was sent away with the rest of her grammar school at the beginning of the war. "I was born in a small suburb of Ilford in a rather nasty housing estate that my mother despised. She had grown up in the country, so when the war came and I was evacuated to Wales she thought I was much better off there." Bawden stayed with seven different families before returning to London in 1942 "just in time for the doodlebugs, which was very satisfactory since one felt one was taking part in everything. Of course it was totally disruptive, but some of us enjoyed it - and my friend and I did. We were just about the right age to escape from our mothers into a new, wider world." Throughout her career Bawden has concentrated on the careful depiction of character, feelings and behaviour, or what she refers to in her memoir as an "emotional landscape". "I don't think I'm cut out for what is called research," she says. More often than not, her plots revolve around what happens when such strategies fail, and awkward truths emerge. Husbands and wives lie to each other; so do parents and children. In The Peppermint Pig the secret (as in EB White's classic Charlotte's Web) is that the beloved family pet is destined for sausage meat. In A Little Love, A Little Learning (1965), three sisters are forced to face up to the fact that their mother is unmarried and that her partner is not their father. Characteristically, the novels build gradually to some sort of crisis: "I like stirring the pot - I think it's part of my duty, to shake people up a bit - make them look at things in a different way." Bawden's father was a marine engineer, who was away much of the time, and absent fathers feature in many of her books. The sense that English middle-class appearances can be deceptive recurs too. "She's extremely sharp about the way people pretend, the way they put up facades and deceive themselves as well as each other," says novelist Margaret Drabble. "She has an extraordinary recall of what it's like to be a child - the pretensions of being a child - she remembers the self-pity, the self-dramatisation. Actually it's quite Henry James - the adult reader feels sorry for the child caught up in an adult plot, so the child is seen at two levels." Author and illustrator Shirley Hughes, who drew the covers for several of Bawden's books, agrees. "There were some good writers around in the 1950s but it was a bit of a timewarp," she says. "Children's fiction hadn't really progressed beyond the war - the characters were mostly middle-class, and there were the standard clichés: the lovable tomboy and the dreamer. Nina's characters were real, highly developed, drawn from the inside out, and she described some really tough situations. In The Runaway Summer [1969], she wrote about a child behaving badly because her parents were getting divorced, and about an illegal immigrant, and when she wrote about rural life it was not in the beautiful, homecounties sense." Bawden, John Rowe Townsend and the American Robert Cormier were among the first writers to bridge the gap between children and adults, she says. "They weren't afraid to suggest that children, like adults, have disappointments, or could do wicked things. They realised that children as readers could take from books whatever it was that they were adult enough to understand. They had got over this notion of children's books as a special genre in which you could only say or depict certain things." Her characters are driven to act by feelings they often don't understand, for example in The Peppermint Pig: "Poll was the naughtiest one of the family and the dreadful thing happened on one of her naughty days; a dark day of thick, mustardy fog that had specks of grit in it she could taste on her tongue." Growing up is a central concern, and the moral of the story usually involves some progress towards self-knowledge. And she was something of a role model for younger authors. Hughes describes her as "immensely poised, immensely glamorous", while Drabble remembers her lying by a swimming pool on a writers' trip to Swanwick in the 60s and looking "beautiful - she radiated a sort of serenity... she was much more friendly than a mother, like the sort of sister you wish you'd had". For Bawden, the Second World War and being evacuated were crucial experiences. "Everyone in my generation was affected by it," she says. "It's the most important thing I can remember from being young. It happened during the most formative part of my childhood - from 14 until I was 21... it had gone on for so long, it was just part of one's life. I think most people of my age were against the war in Iraq because they grew up in wartime - we are more aware of what happens to people." By the time she returned to London to take her higher school certificate, she had abandoned an earlier plan to become an explorer and decided to be a journalist. "I wanted to be a war reporter - scrabbling around, exposing things. I didn't want to go to university, I wanted to get a job, but Auntie Beryl [her friend Jean Bennett's mother, with whom she lived for a while] said I should go to Oxford." Bawden was reading politics, philosophy and economics at Somerville when the war ended. She had been taken under the wing of the Wordsworth scholar Helen Darbishire and for the first two years the university was half empty. "We felt we owned the place," she remembers. She was a contemporary of Margaret Roberts, the future Baroness Thatcher, who stands next to her in a college photograph. George Bernard Shaw was one of Bawden's gods at school, and she joined the Labour party as a student. She wrote in her memoir of feeling "genuinely shocked that Margaret [Thatcher] had joined the Conservatives. I told her so... She and I, with our lower middle-class backgrounds, had been lucky to get into Oxford. It would be despicable to use our good fortune simply to join the ranks of the privileged!" Extract from Nina's Wars by Susanna Rustin The Guardian, Saturday November 22, 2003 Copyright Guardian News and Media Limited 2003 story/0,,1090566,00.html hen s

Observer photo hopefully

photo © Sophia Evans 2006

Nina Bawden was born in London. She was evacuated

with her school at the beginning of the Second World War to the mining valley of Aberdare in South Wales, which she found an educational and enriching experience, much more interesting than life in a suburb of London. In 1943 she won a scholarship to Somerville College, Oxford. She took a degree in Philosophy, Politics and Economics, and worked, briefly, at a number of undistinguished jobs before getting married and abandoning paid employment and setting herself down to write novels. She married twice, secondly to Austen Kark of the BBC World Service, and has two sons (one now dead), one daughter, two stepdaughters, nine grandchildren, and three great grandchildren. She wrote, in the fifties, four detective stories. Then general list novels, accompanied in 1963 by novels for children, turn and turn about, an adult novel one year, a children's novel the next. She also reviewed fiction, and was for a number of years a regular reviewer for David Holloway, the literary editor of the Daily Telegraph. Television serials and film adaptations of her novels include: CARRIE'S WAR, THE FINDING, THE PEPPERMINT PIG. And among the adaptations of her adult novels are a BBC film of CIRCLES OF DECEIT and a serial of FAMILY MONEY. This staging of CARRIE'S WAR, with adaptation by Emma Reeves, is the first time any of her novels have been turned into a play for the theatre.

Prizes are important for a novelist. She is proud that AFTERNOON OF A GOOD WOMAN won the Yorkshire Post Novel of the Year Award, and that CIRCLES OF DECEIT was short-listed for the Booker Prize. THE PEPPERMINT PIG won the Guardian Award for Children's Literature and KEPT IN THE DARK an Edgar Allan Poe Special Award. THE REAL PLATO JONES was chosen by W H Smith for its "mindboggling read" children's list, and CARRIE'S WAR won the Children's Literature Phoenix Award in 1993. In 1996 Nina was the United Kingdom nominee for the International Hans Andersen Award. Her other occupations include nine years sitting as Justice of the Peace in Surrey (which resulted in a novel, AFTERNOON OF A GOOD WOMAN) and gave her an insight into other people's lives that she has found valuable in her writing. She has always had, largely as a result of her experiences as an evacuee in Wales, an interest in politics and, along with husband Austen Kark, enjoyed frequent and energetic travelling until the railway crash at Potter's Bar in which Austen was killed and she was seriously injured. She does still go, however, to her house in Nauplion, Greece, on a regular basis, and one of her favourite children's novels, THE REAL PLATO JONES, is set there. In London she still lives in the house she and Austen bought in 1976, a five storey terrace house on the banks of the Regent Canal. Since the crash she has written a memoir, DEAR AUSTEN, and is currently working on a new novel.


CARRIE: I don't see why we have to wear these things. I mean, I'm not luggage! I can remember who I am and where I live. ALBERT: Not if you were killed. That's why we've got them. So that if the train gets bombed, they can identify your body. The evacuees were to stay in private houses, known as "billets". Those who took in child evacuees were known as "foster parents", and received small sums of money from the government and / or the children's own parents or guardians. Taking part in the scheme was compulsory. Billeting officers had examined all the houses in their area, deciding how many evacuees each householder could be made to accommodate. BILLETING OFFICER: Let's have a bit of respect now! Bit of gratitude. You come down here, expect decent people to take you in - not as if we get a choice in the matter. Most children travelled by train. Some ended up only a few miles from their home towns; others faced a long, crowded journey on a train with no toilet facilities and arrived at their destinations tired, hungry, dishevelled and dirty. It was common for the evacuees to be made to wait in a central building such as a town hall whilst prospective hosts came to look them over, picking and choosing those they liked the look of, and discarding the rest. 1939, with Britain on the brink of war with Germany, arrangements were made to evacuate vulnerable civilians from the most dangerous areas ­ those which were considered the most likely targets for German bombing raids or attempted invasions. "Evacuees" included disabled people, nursing mothers and children. ALBERT: I hate being a kid! You can never make anything happen, or stop anything bad happening. All you can do is stand there and watch and wait to find out what happens... Evacuation began on September 1st, 1939. Two days later, Britain was at war with Germany. "As if Hitler had arranged this old war for their benefit, just so that Carrie and Nick could be sent away in a train with gas masks slung over their shoulders and their names on cards round their necks. Labelled like parcels ­ Caroline Wendy Willow and Nicholas Peter Willow ­ only with no address to be sent to."

Nina Bawden, Carrie's War, Chapter One

there were evacuees from comfortable homes who were appalled to find themselves in poor, dirty houses where they might be deprived of familiar luxuries such as indoor toilets. Whatever the circumstances, host families and evacuees alike struggled to come to terms with living with strangers. "Carrie saw the marks of their rubber-soled shoes and felt guilty, though it wasn't her fault. Nick whispered, `She thinks we're poor children, too poor to have slippers', and giggled."

Nina Bawden, Carrie's War, Chapter One

Evacuation caused social upheaval on an extraordinary scale. For millions of British people, it was an unprecedented chance to see how the other half lived ­ and there were certainly positive aspects to this experience. Pictures of happy city children, enjoying the freedom and fresh air of country living, were used to encourage parents to send their own children away from the cities. The resilience of youth helped evacuee children to make themselves at home in unfamiliar surroundings; they often picked up local ways, including different regional accents. "It seemed, in fact, as if they had lived there all their lives long. Slept in that bedroom, eaten in that kitchen, used the earth privy in the daytime (Nick got constipation because of the spiders); kept out of Mr Evans' way; woken up to the pit hooter wailing; gone running to school down the hilly, main street..."

Nina Bawden, Carrie's War, Chapter Three

CARRIE: What's going on? ALBERT: A sort of cattle market, it seems. Many towns had been sent too many evacuees for the number of billets available, and some children faced the ordeal of being dragged from house to house by a billeting officer, begging for someone to agree to take them in. "...she had already begun to feel ill with shame at the fear that no one would choose her, the way she always felt when they picked teams at school. Supposing she was left to the last!"

Nina Bawden, Carrie's War, Chapter Two

For the first year of World War II, the expected devastating air raids did not happen. During this period, known as the "Phoney War", many children moved back home. When the bombing raids did begin, the impact of the Blitz triggered a second wave of evacuations in 1940. There was a third wave in 1944, when the flying bombs began to be dropped on London. But despite all the dangers, there was always a steady trickle of children returning to the cities to live with their families. NICK: I just want to go home for Christmas! In 1945, plans were finally put into place for the organised return of evacuees. There were ecstatic reunions, but for many the end of evacuation was tinged with sadness. Many children had been parted from their parents for the entire duration of the war, and some now felt closer to their foster families. "'What's your mother like?' Albert asked. `Well, she's quite tall', Carrie began, and stopped. Not because she couldn't remember, but because it was such a long time since she'd seen her and she felt strange... She thought, suppose I don't recognise her, suppose she doesn't recognise me..."

Nina Bawden, Carrie's War, Chapter One

In the late 1930s, before television and travel ironed out cultural differences, regional diversity in Britain was much more extreme than it is today. Many hosts and evacuees struggled to understand each others' unfamiliar accents: NICK: He sounds like Hitler! CARRIE: That's Welsh, not German! In a climate of mutual distrust, rumours flourished. Householders fretted that they were expected to take in evacuees who were "dirty", "hooligans", slum dwellers, riddled with head lice and ringworm, persistent bedwetters. LOU: Samuel, the boy's only a babby MR EVANS: Not too much of a babby, I hope. I won't have wet beds in this house! NICK: That's a rude thing to mention. Whilst some foster parents' fears were justified, conversely

One and a half million people were moved from Britain's major cities in a few days. Some were sent under the official Government scheme, others made their own private arrangements. A certain number of children, often known as "seavacuees", were sent abroad for the duration of the war, but the majority were evacuated to other parts of Britain. They were told to turn up at school with their suitcase, gas mask and enough food to last a day. They were issued with labels bearing their name and school, but were not told where they were going.

A great many children were sad to leave their foster homes. Some even refused to go. And, of course, for those children who had lost their homes and families in the war, there could be no happy homecoming. Photos Courtesty of the Imperial War Museum More information and Teachers' Notes are downloadable from our website:

Producer Mark Bentley Executive Producer & General Management Paul O'Leary Production Manager Leigh Porter & Matt Daw CAP Production Solutions (020 8544 8668) Press & Publicity Clióna Roberts @ CRPR (020 7704 6224 Design & Advertising Iain Lanyon @ Kean Lanyon (020 7354 3362 Marketing Dan Pursey and Jessica Davis @ Mobius Industries (020 3205 0000 Advertising Zoe Price and Duncan Hope @ DPM (020 7864 1968) Production Photos Keith Pattison BSL Signed Performance Hetty May Bailey Audio Described Performance Roz Chalmers Captioned Performance Roz Chalmers for STAGETEXT Scenery Built by Mark Wilsher @ Set Up Scenery (01763 262323) Hair styling by Louise Ricci Costumes kindly supplied by Academy Costumes and National Theatre Wardrobe

Lighting Supplied by White Light Sound Equipment Supplied by Autograph Sound Recording Transport by Paul Mathew Transport Payroll Services by Alan Wooden @ A J Wooden (023 9225 1138) Production Accountant Leonard J Siskind FCA @ Sharpe Fairbrother (020 7487 5757) Production Solicitors Barry Shaw Jeremy Manuel OBE @ Manuel Swaden ( Insurance Graham Chandler @ Walton & Parkinson (020 7929 4747) Company Massage by Paul Hancock @ This production was rehearsed at Essex Hall 020 7240 2384

gratitude, n. the quality or feeling of being grateful or thankful. Novel Theatre Company would like to thank the people who have helped bring this production to the stage: Perdita Kark, Sarah Chadwick, Alistair Spalding, Tessa Conway-Holland, Diane Costello, Amy Anderson, Kingsley Jayasekera, Katherine Styles, Lucy White, Jemma Robinson, Zahir Jaffer, Brian Kearney, Mark Hammond, Barbara, Roman Bezdyk, Sam Jones, Rachel Tackley, Nick Brooke, Libby Watson, Sharon Kean, Di Stedman and all at Arts Educational Schools, Andrew Mason, Izzy at Essex Hall, Deryk and Davey at RADA, Theatre Royal Windsor, Imperial War Museum, Luke Reidy, Jenny Paton, Richard Fitzmaurice, Phil Jackson, The Great Central Railway Loughborough for recording facilities. sing, v. 1. to utter sounds with musical modulations. 2. to produce melodious sounds. We have always included live singing in our shows,

so here's our chance to sing the praises of the unsung heroes behind the scenes of our production: Paul O'Leary for steadying hand on the tiller, Leigh Porter for making matter out of air, Iain Lanyon for inability to create anything less than exquisite presentation, Sue Appleby for making the sounds sound so glorious, Clióna Roberts for working miracles and Dan Pursey and Jess Davis for hard graft at the marketing coalface and Lindah Balfour and Laura Watson for such great care and dedication. indispensible, adj. 1. that cannot be disregarded. 2 absolutely vital. This show could not have happened at all without the extraordinary inspiration that is Nina Bawden. And eternal thanks go to Sally and Douglas Bentley for endless support, friendship and encouragement.

James Beddard Johnny Gotobed

As performer, director and writer, James has worked with many theatre companies. Theatre includes: Waiting for Godot (Tottering Bipeds), Ubu Roi, Alice in Wonderland, Volpone (Graeae), 15 Seconds (The Traverse), The Last Freak Show (Fittings). Additional appearances at Nottingham Playhouse, Stratford Theatre Royal and Manchester Royal Exchange. Jamie starred in the film version of Carrie's War, and other film credits include Quills, I.D. Skalligrigg and All the Kings Men. His TV appearances include Wonderful You, The Egg, Vicar of Dibley and Common as Muck.

Siôn Tudor Owen Samuel Evans

Sam Crane Albert Sandwich

Sam trained at LAMDA where he won the Nicholas Hytner scholarship. His theatre credits include Midnight Cowboy (Assembly Rooms), Silverland (Arcola), And Then There Were None (West End), The 24 Hour Plays (Old Vic), Ubu Roi (Young Vic Jerwood Prize), Major Barbara (Manchester Royal Exchange), Rabbit (Frantic Assembly), A Little Requiem For Kantor (ICA & SESC Sao Paulo). Television includes Midsomer Murders (ITV), The Sins and Doctors (BBC). Film includes Churchgoing (co-star with David Haig), Hypno (Invisible Films) and Celebration (Ark Pictures). Radio includes The Pretenders, The Sea The Sea, Shadowbaby and Alexander The Great (BBC)

Trained: Guildhall School of Music & Drama. Theatre includes: RSC: Hamlet ('80 and '04), Romeo & Juliet ('80 and '04), Troilus & Cressida, Ball Boys, Swan Down Gloves, Macbeth, Love Girl & The Innocent, Richard II, Richard III. Theatr Clwyd: Under Milk Wood, On The Black Hill, Accidental Death Of An Anarchist, Eddie Mostyn in I've Been Eddie Mostyn for Made In Wales, Six For Gold (King's Head), Present Laughter with Tom Conti (Theatre Royal Windsor), Mozart in Amadeus (National Tour `83/'84), Waiting (Lyric Hammersmith), Sir Barnaby Tonnage in the award-winning Bon Voyage at Notting Hill Theatre, Sgt Garcia in Zorro The Musical for AKA Productions, Baloun in Schweyk (MEN Best Supporting Actor Nominee), Mr Grimble in House directed by Martin Clunes, How Grim Is My Alley, Italian Straw Hat (Theatre of Comedy, Shaftesbury) and Shamrajev in The Seagull (Theatre Royal Northampton). TV includes: Casualty, East Enders, The Bill, Grange Hill (Mr Dean), Dirty Work (Sgt Butts), Mortimer's Law, Drovers' Gold, Just William, A Touch Of Frost, Independent Man, Los Dos Bros, Babes In The Wood, Holby City, One Summer (Series), Dr Who ('85), The Detectives, `Allo `Allo, Boon, Jackanory, Country Diary Of An Edwardian Lady, Surgical Spirit, Night Of The Golden Brain, Endless Game, Jenny's War, Now And Then, Doctors and the soon to be seen Diamond Geezer with David Jason and Dexter in Roman Mysteries. Films include: Outlanders, Highlander, Twin Town, The Return Of Sam McCloud, Experience Preferred, Aberdeen, Staggered and The Tichborne Claimant.

Sarah Edwardson Carrie Willow

Theatre Credits include: Meg March in the West End run of Little Women at The Duchess Theatre and also at The Lilian Baylis Theatre, Sadler's Wells for Novel Theatre; Misconceptions (Derby and Salisbury Playhouse co-production); Crash (Pleasance Theatre); Incarcerator (BAC - Time Out Critic's Choice Season); Verbatim (Young Vic); Everlasting Rose (Tristan Bates); Workshop performance playing Anne in Anne of Green Gables (The Soho Theatre). Television: for the BBC: Down to Earth, Holby City and Murder in Mind. Film: Target Audience

James Rhodes Mourner, Ensemble, Understudy

Trained: Arts Educational School of Acting. Theatre includes: Losing Louis (National tour directed by Robin Lefevre), Little Women (Duchess Theatre, West End), A Class Act (Sadler's Wells), Macbeth, Killing London. Television includes: Arrows of Desire (Channel 4). Film includes: Male Fantasies, Cashback, Heroes and Villains, The Train, In Time This Too Shall Pass, Live Love Learn, Wishful Thinking, A Night of Hell.

Laura Stevely Mrs Fazackerly, Ensemble, Understudy

Mark Field Nick Willow, Carrie's Son

Mark was born and grew up in Essex. In 2005 Mark graduated from The Oxford School of Drama, that year he was honoured with the first Alan Bates Bursary Award for most outstanding newcomer. Theatre credits include: An Inspector Calls directed by Stephen Daldry (RNT International tour), MayFly (Old Vic 24hr Plays) When Five Years Pass (Arcola Theatre), Twelfth Night, Macbeth (Pegasus Theatre) and After Mrs Rochester (BAC). Reading credits include: Mary Stuart (Birmingham Rep) and David Edgar's The Trial with Simon Callow (St James Piccadilly)

Laura trained at Drama Studio London and studied Music at Southampton University. Theatre credits include; Katie Maurice in Anne of Green Gables (Novel Theatre ­ Sadler's Wells); Atlanta in Jason And The Argonauts (BAC) and Elaine A'Dale in The Legend Of Robin Hood (Oddsocks Productions ­ UK tour). Roles played whilst training include Duckling in Our Country's Good, Juliet in Romeo and Juliet and Foible in The Way Of The World. Commercials include work for Nokia, Boots and McDonald's. Laura is an accomplished clarinettist and pianist.

Amanda Symonds Hepzibah Green

Rachel Isaac Louisa Evans, Dilys Gotobed

Trained: Manchester Metropolitan University School of Theatre. Theatre includes: Ghost City (UK tour and off Broadway), Medea (US tour, Broadway and Paris), Camille, Vassa, The Merchant of Venice, Innocent as Charged, Happy Birthday Brecht, Good Person of Szechaun, A Midsummer Night's Dream. TV includes: Now The Weather (regular), Casualty, Cardiff, Brief Encounters: Cake, Monkey Trousers, Murphy's Law, Holby City, The Office (series regular 2 & 3), Man and Boy, Fun at the Funeral Parlour, The Bench, I Saw You (regular), Tales from Pleasure Beach, The Secret World of Michael Fry, Dirty Work. Films include: Nine Steps To A New Start, The Low Down, Very AnnieMary.

Hywel Morgan

Billeting Officer, Major Cass Harper, Frederick Evans, Mr Rhys Hywel is a Welsh-speaking Cardiffian now living in the wilds of SE18. Theatre includes: Mill on the Floss (Shared Experience - New Ambassadors, China, Washington D.C. - Helen Hayes award) Kind Hearts & Coronets, A Man for All Seasons (Leon Sinden award), Treasure Island, Dolly West's Kitchen (Pitlochry Festival Theatre). To Reach the Clouds, Feelgood, Because it's There, A Midsummer Night's Dream (Nottingham Playhouse) Dancing at Lughnasa (Watermill/ Greenwich) Vanity Fair (Northcott) Great Expectations, (Derby & Philadelphia) A Christmas Carol, The Rivals, (Basingstoke/Greenwich) Julius Cæsar, Henry V, Romeo & Juliet (Sherman) Football (Made in Wales - Best Actor nomination - Theatre Wales awards 2005) and UK/International tours of Tartuffe, Time of my Life, Girl's Night Out, & The Town That Went Mad. Radio includes: After Eden, The Mark of Zorro, Letters to Mam, on Radio 4 and the Bisto adverts. TV includes: Casualty, Family, Pobol y Cwm. Film: Making a Killing.

Amanda trained at Guildhall School of Music and Drama. Theatre includes: Mrs Corry in Mary Poppins at the Prince Edward Theatre, Prostitute in Thatcher's Women for Paines Plough (Tricycle Theatre), The Virgin Mary in The Miracle Plays (Oxford Stage Company), Angel Gabriel and God in The Mystery Plays (Liverpool Playhouse and St Bartholomew's Church), Big Bertha in One Mo' Time, Joanne in Godspell (Barbican), Rita in Midnight Hour (Young Vic) and Zipp (Duchess Theatre). Amanda performed her own one woman show The Men I've Had (Young Vic and Jermyn St Theatre), Anitra in Peer Gynt (Royal National Theatre), Romeo and Juliet (Olivier Theatre), Anansi & The Wind for Talalwa (Queen Elizabeth Hall and Bloomsbury Theatre), Audrey in Peter Hall's As You Like It (Theatre Royal Bath & US Tour), Madame Butler in Simply Heavenly (Trafalgar Studios), 12th Night - The Musical (Edinburgh Festival), Pinocchio (Stratford East), Hippolyta in Tis Pity She's a Whore for Talawa, Jenny/Lucy in The Threepenny Opera (Bloomsbury Theatre) and The Nurse in Romeo and Juliet (Shakespeare in the Park). Film and t elevision includes: Scrubbers directed by Mai Zatterling, Slags (Comic Strip CH4), Just Sex (CH4), Mo in Dream Stuffing, Casualty, Sea of Souls, Smack the Pony, Gems, Night and Day, Crown Prosecutor, Call Me Mister and Paradise Park. The tale of the little African boy told by Hepzibah Green in "Carrie's War" feels like a story from the distant past. Sadly economic slavery remains a reality for many people in today's world. Novel Theatre supports the work of Anti-Slavery International, an organisation that campaigns for an end to all forms of slavery and bonded labour. For more information:

Andrew Loudon Director

Matthew Eagland Lighting Designer

Andrew trained as an actor at The Drama Studio London. He also has an MA in Creative Writing from the University of East Anglia and a BSC in Chemical Engineering from the University of Edinburgh. Andrew made his directorial debut in 1999 at the Pleasance, Edinburgh, with Little Women. The success of the show led to his further productions of Little Women at Sadler's Wells, Christmas 2002 and its West End run at the Duchess Theatre (2004/05). He also directed Anne of Green Gables at the Lilian Baylis Theatre, Sadler's Wells, Christmas 2004. Recent directing credits include Gertrude's Secret - monologues, starring Prunella Scales (The King's Head) and a multimedia adaptation of George Orwell's Nineteen Eighty-Four (Arts Ed), which he co-wrote with Emma Reeves. Workshop productions include Mary Barton (Norwich), Open Ground (Hampstead Theatre) and for Novel Theatre Cool Hand Luke (Garrick Theatre). His writing credits include: The Trailer and The Red Gloves, both Arts Council commissions for Snap Theatre Company; Dangerous Play (The Arts Theatre); Road Rage (Gilded Balloon main stage, Edinburgh) and in collaboration with Emma Reeves, The Adventures of Sherlock Holmes for Parisbased Theatre en Anglais and Nineteen Eighty-Four. As an actor, Andrew has performed in many adaptations, including Charles Ryder in the stage premiere production of Brideshead Revisited and John Savage in Brave New World (tours for Snap, including the RSC Swan Theatre, Stratford), The Turn of the Screw (Queen's Theatre, Hornchurch) and Richard Hannay in The 39 Steps (Pitlochry).Other theatre includes Rogers in French Without Tears and Richard in Joking Apart (Northcott Theatre, Exeter), Harcourt in Lust (Hornchurch), Geoffrey in Daphne (Haymarket, Basingstoke), Dr. MacKenzie in The Doctor and The Devils (Theatre Royal, Plymouth), Oedipus in Oedipus Rex (The Finborough), Horner in The Country Wife (Upstairs at The Gatehouse), Dangerous Play (The Arts Theatre) and Dick in Dick Daredevil (Drill Hall). TV appearances include Geoff McNeil in Peak Practice, Geoff in Absolutely Fabulous, Gavin MacMorrow in Monarch of the Glen. Plus roles in Doctors, The Bill, Next of Kin, Grange Hill and Mayday. Films include Almost Home and Channel 4 Film Busker's Odyssey.

Theatre: Copenhagen (Palace Theatre, Watford) An Hour and a Half Late (Theatre Royal, Bath) It's a Fine Life (Queen's Theatre, Hornchurch) Terre Haute (Assembly Rooms, Edinburgh) Joking Apart (Haymarket Theatre, Basingstoke) The Scarlet Pimpernel (London Children's Ballet); A Tale of Two Cities (GSMD); A Room at the Top, (QTH); Joking Apart (Northcott Theatre, Exeter); Macbeth (QTH); One Last Card Trick (Watford Palace Theatre); Private Lives (Theatre Royal Bath Productions); Cinderella (QTH); Alfie (WPT); Grind (The Generating Company); Darwin in Malibu (Birmingham Rep); Moon on a Rainbow Shawl (Nottingham Playhouse); One Under, John Bulls Other Island, Crossing Jerusalem, Ten Rounds, The Promise, A Night in November, The Wexford Trilogy (The Tricycle); Little Women (Duchess Theatre); Murderous Instincts (Savoy Theatre); Anne of Green Gables (Lilian Baylis Theatre); Dancing at Lughnasa (NT, Exeter); Femme Fatale (Warehouse Theatre); My Boy Jack (National Tour); Much Ado About Nothing (Bremer Shakespeare Company); Christmas (The Bush Theatre); The Lieutenant of Inishmore (National Tour); A Taste of Honey, The Ghost Train, Brief Encounter, Sleuth, The Good Intent, Educating Rita and A View from the Bridge. (QTH); Hay Fever (Oxford Stage Company); The Winter's Tale, (AandBC); The Arbitrary Adventures of an Accidental Terrorist, Kes (NYT); Tape (NVT, Brighton); The Changeling, The Winter's Tale (Southwark Playhouse); Hamlet, The Winter's Tale, Confusions, Ghetto, The Pool of Bethesda and Cinderella, (GSMD); The Age of Consent (Pleasance, Edinburgh); Moving On (The Bridewell). Opera: La Traviata, L'Elisir di Amore (English Touring Opera, Education); La Finta Semplice, Jacko's Hour and The Long Christmas Dinner/ The Dinner Engagement (GSMD)

John Leonard Sound Design

Emma Reeves Adaptor

Emma's adaptations for Novel Theatre include Anne of Green Gables (Lilian Baylis); Little Women (Lilian Baylis and Duchess Theatre, West End) and Donn Pearce's novel, Cool Hand Luke (workshop production, Garrick Theatre). Television work includes episodes of Young Dracula, Doctors and The Story of Tracy Beaker (all BBC1); Secret Sis (CBBC); The Murder of Princess Diana (Working Title TV) and a short film, Office Gossip (commissioned by BBC Wales). Original radio plays include Leaving This Land, On The Cusp and Clinging to Lord Nelson (all Radio 4); Stoppage Time (with Amit Sharma, Radio 3) and Something for Nothing (BBC Radio Wales). With Andrew Loudon, Emma has adapted 1984 (first performed at Arts Educational Schools 2006) and The Adventures of Sherlock Holmes for Paris-based company Théâtre En Anglais. In 2001, Emma and Helen Reeves were BBC Talent finalists with a sitcom script, Remote Control. Emma studied English at Magdalen College, Oxford, where she graduated with a First. She trained as an actor at Arts Educational and later gained an MA in Creative Writing from the University of East Anglia.

John Leonard started work in theatre sound 35 years ago, during which time he has provided soundtracks for theatres all over the world. Recent productions include: 2000 Years, Paul, The UN Inspector (National Theatre); Jumpers (National, West End and Broadway); Antony and Cleopatra, Much Ado About Nothing and The Prisoner's Dilemma (Royal Shakespeare Company); The Odd Couple, The Entertainer, Still Life, The Astonished Heart, Ma Rainey's Black Bottom, The Anniversayr, Who's Afraid Of Virginia Woolf and All My Sons (Liverpool Playhouse); Cinderella and The Dumb Waiter (Oxford Playhouse); Becket, Les Liaisons Dangereuses, Sweet Panic, Absolutely! Perhaps, The Anniversary, Losing Louis, Embers, Donkey's Years, and Summer & Smoke (West End); The Master Builder (The West End and tour); Private Lives (West End and Broadway) and How to Act Around Cops, Flush, Mercy and Colder Than Here (Soho Theatre). Recently, he has been working with Druid Theatre Company in Galway and Dublin on DruidSynge - Garry Hynes's acclaimed cycle of the six plays of J.M. Synge also presented at The Guthrie Theatre, Minneapolis and in New York as part of The Lincoln Center Festival, and also with Garry Hynes on the New York revival of Brian Friel's Translations. He has just completed a stint with Michael Bogdanov's Wales Theatre Company, working on A Child's Christmas In Wales, A Christmas Carol and the musical Amazing Grace. John has won Drama Desk and Sound Designer of the Year awards, and is an Honorary Fellow of the Guildhall School of Music and Drama. His book on Theatre Sound is now in preparation for its second edition.

Edward Lipscomb Set and Costume Design

Sue Appleby Music Supervisor

Edward trained at Wimbledon School of Art. He has designed numerous productions in Britain and abroad including:- Intimate Exchanges, Seasons Greetings (West End), A Man for All Seasons, The Importance of Being Earnest, Mrs Warren's Profession, Present Laughter, Breaking the Code, An Ideal Husband, Long Day's Journey into Night, A Voyage Round My Father (Pitlochry Festival Theatre); Cat on a Hot Tin Roof, A Midsummer Night's Dream, Dear Brutus, Feelgood, Mary Rose (Nottingham Playhouse); Honk!, The Glass Menagerie and The BFG (Byre Theatre, St Andrews); French Without Tears, The Mystery of Irma Vep, Joking Apart and Relatively Speaking (Northcott Theatre, Exeter); Way Upstream, Absent Friends (Houston, Texas), A Streetcar Named Desire, The Millionairess (Lyric, Belfast); The School for Scandal, Grand Magic, The Yellow on the Broom, Godspell (Perth Theatre); Waiting for Godot, Good (Northern Stage); Hamlet, Twelth Night (Bruton Theatre, Musselburgh); A Madman Sings to the Moon (Lyceum, Edinburgh); 1914 (London Festival Ballet); A Chorus of Disapproval, It Could be Any One of Us, Me Myself & I, Thark, His Monkey Wife, Tons of Money (Stephen Joseph Theatre, Scarborough); Hard Times (Warehouse, Croydon); Mother Goose (King's Glasgow); The Sleeping Beauty (Dundee Rep). Television work includes: Night & Day, Casualty, Precious Bane, The Temptation of Eileen Hughes and Eastenders.

Sue is primarily an actor & singer, but also an experienced singing & vocal coach. Coaching credits include: Little Women (Duchess Theatre), Anne of Green Gables (Lilian Baylis), Cool Hand Luke (Garrick Theatre) and A Christmas Carol (Avondale Theatre). She is a regular singing teacher at the Italia Conti Academy of Performing Arts. As an actor, she most recently appeared as Bobbie Ellis in the sell-out No 1 Tour of Losing Louis with Alison Steadman and Rula Lenska.

Hetty May Bailey BSL signing

Previous signed performances for Novel Theatre company: Anne of Green Gables (Lilian Baylis Theatre), and Little Women (Lilian Baylis and Duchess Theatres). Hetty May has worked extensively for the Mercury Theatre Colchester, signing 32 plays to date, and in recent years around 80 plays in London, and in Cambridge, Canterbury, Bromley and Edinburgh. She has signed operas at the Royal Opera House and Sadler's Wells Theatre, and for many concerts in London. She has also signed programmes for the BBC, and most recently for the BBC 2 film Soundproof. Hetty May appeared on the Front Row programme (BBC Radio 4) on Signing in theatre.


Artistic Director: Andrew Loudon Writer-In-Residence: Emma Reeves Producer: Mark Bentley novel, n. 1. A fictitious prose narrative, portraying characters, actions and scenes representative of real life in a plot of more or less intricacy. adj. 2. of a new kind, or different from anything seen or known before. Novel Theatre Company adapts classic and inspirational books for the stage. We are committed to live performance and theatre for all. If you have enjoyed our show, please tell a friend. We try to make ticket prices for our productions affordable, so that everyone can enjoy them. Please tell us what you thought of the show: See our website: Send us a letter: PO Box 7579, London, NW3 1WA Give us a call or fax us at: 020-7794-5887 Send us an e-mail to: [email protected]

The Second World War through the eyes of the children of Britain

Free admission

Waterloo, Lambeth North, Elephant and Castle, Southwark Lambeth Road London SE1 6HZ · 020 7416 5320/5321

Previous Productions:

Little Women

Snowman.Swan 129x190


1:08 PM

Page 1

Sadler's Wells presents

"Quite the most uplifting and good-natured evening on offer in the West End" Fiona Mountford, Evening Standard "Just right for Christmas" John Gross, Sunday Telegraph Critic's Choice "My young niece and I were enthralled from start to finish... Go and give yourselves a treat" What's On **** "Outstanding... Andrew Loudon's production is a revelation" Hello!

The Birmingham Repertory Theatre

production of


The live stage show

based on Raymond Briggs' The Snowman Music and Lyrics by Howard Blake Choreographed by Robert North Directed by Bill Alexander


`Matthew Bourne's Swan Lake is still a must-see'

Independent on Sunday


Anne of Green Gables "Attractive and thoroughly appealing... A strong contemporary relevance" Andrew Shields, Time Out "Director Andrew Loudon and writer Emma Reeves have brought the novel to the stage in the first wholly successful adaptation" John Thaxter, The Stage "Novel Theatre is beginning to develop a style that has many devoted fans" Philip Fisher, British Theatre Guide "Emma Reeves has again brought a complicated story to the stage without compromising the original" Michael Darvell, What's On ****

g Featurin

`As traditional as mince pies and Santa Claus'

Time Out

`Walking in the Air' 6 Dec `06

© Snowman Enterprises Ltd 1982, 2006

Photos: Herbie Knott

Photos: Bill Cooper

- 7 Jan `07

Only UK dates

13 Dec `06 - 21 Jan `07


8 pages

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