PRESS RELEASE

WEDNESDAY 4 MAY 2016

THE OLD VIC ANNOUNCES 2016-2017 SEASON The Old Vic today announces Artistic Director Matthew Warchus' second season, continuing a wide-ranging programme that includes world premieres, new writing, musicals, classic revivals and The Old Vic Variety Nights. There will also be a new strand of children's programming to engage the next generation of theatregoers, demonstrating Matthew's 'something for everyone' approach. Season 2 marks Glenda Jackson’s return to the stage, to play the title role in King Lear, directed by Deborah Warner. The Season opens with the world premiere of Samuel Beckett's monologue No's Knife with Lisa Dwan. Matthew directs the 20th anniversary production of Yasmina Reza's Art and John Boyega stars in a new version of Woyzeck adapted by Jack Thorne. In 2017 and beyond, look out for the return of Season 1’s dazzlingly funny, moving and inspiring show Dr. Seuss’s The Lorax, a 50th anniversary celebratory production of Rosencrantz and Guildenstern are Dead by Tom Stoppard, a world premiere adaptation of Ingmar Bergman’s classic film, Fanny and Alexander, adapted by Stephen Beresford, and a new version of Gilbert and Sullivan’s HMS Pinafore. Artistic Director Matthew Warchus commented: ‘Anyone who has visited The Old Vic in the last eight months will have felt the new wave of energy which has swept through the building. There's a completely fresh feel to the foyer, bars and café, and a completely fresh approach to how we programme our productions and events. There's much more happening, and for a much wider range of people. For a theatre without public funding this is no mean feat. It's an exciting shift, aimed at consolidating The Old Vic as a vibrant and indispensable part of London's artistic scene. With my second season, we continue our mission to be a leading creative hub in the capital, and further afield, radiating an energising and unintimidating spirit, as we celebrate the best of what theatre can be.’ Productions include: - Lisa Dwan in the world premiere of Samuel Beckett’s monologue No’s Knife

- Glenda Jackson starring in King Lear, directed by Deborah Warner, with Jane Horrocks, Rhys

Ifans, Simon Manyonda and Harry Melling

- The 20th anniversary production of Art by Yasmina Reza, directed by Matthew Warchus

- John Boyega starring in a new version of Woyzeck by Jack Thorne, directed by new Baylis

Director Joe Murphy

- Missing Light, a puppetry show created by Mark Arends, as part of a new programme of children’s

theatre at The Old Vic

- A line-up of original and exhilarating artists in the second series of The Old Vic Variety Nights

Some coming attractions for 2017 and our bicentenary season (2017-18): - A 50th anniversary celebratory production of Rosencrantz and Guildenstern are Dead by Tom

Stoppard

- Over the summer the return of the Olivier-nominated Dr. Seuss’s The Lorax, written by David

Greig and directed by the inaugural Baylis Director, and newly appointed Associate Director, Max

Webster

- A world premiere adaptation of Ingmar Bergman’s classic film, Fanny and Alexander, adapted by

Stephen Beresford and directed by Max Webster

- A new version of Gilbert and Sullivan’s HMS Pinafore, directed by Christopher Luscombe with

musical adaptation by Nigel Hess

- Further programming announcements for the season still to come

The Old Vic continues to develop the following programmes and creative opportunities: - New commissions to Stephen Beresford, Regina Taylor, Jack Thorne and Kate Prince's dance

company ZooNation

- Composer Gary Yershon joins Simon Baker, Peter Darling, David Grindrod, Manuel Harlan, Rob

Howell, Dennis Kelly, Paul Kieve, Drew McOnie, Tim Minchin, Christopher Nightingale, Kate Prince

and Hugh Vanstone as Matthew’s Associate Artists

- Joe Murphy appointed as the Baylis Director for 2016-17

- Inaugural Baylis Director Max Webster becomes Matthew’s second Associate Director, alongside

current Associate Annabel Bolton

- A new programme of daytime children’s theatre in and around The Old Vic to include a

collaboration with inclusive theatre company Chickenshed, and The Children’s Bookshow

- The Old Vic continues its transfer partnership with theatre producers Scott Rudin and Sonia

Friedman, giving Old Vic shows a potential life in the West End and on Broadway

- Art and photography exhibited in Mark’s Bar and Penny. Currently a selection of prints from the

Royal College of Art’s Folio collection are on display in Mark’s Bar and Introspection, a

photography exhibition by Ann Evelin Lawford, is showing in Penny

The Old Vic continues its top-tier corporate partnerships into a second year: - We are delighted to be continuing our three-year sponsorship with Royal Bank of Canada as The

Old Vic’s Principal Partner. Their transformational support directly enables The Old Vic to produce

more productions on our stage than ever before, celebrating creativity and innovation in the arts

- We have been thrilled with the success of the PwC £10 Previews ticketing initiative over the last

season, which has enabled nearly 13,000 people to experience our work for just £10, 44% of whom

were newcomers to The Old Vic. We look forward to continuing our partnership with PwC to

inspire new audiences and existing theatre lovers

PRODUCTION INFORMATION

NO’S KNIFE By Samuel Beckett Performed by Lisa Dwan World Premiere Previews from Thursday 29 September, press night Monday 3 October 2016 'Where would I go, if I could go, who would I be, if I could be, what would I say, if I had a voice, who says this, saying it's me?' The world premiere of No’s Knife sees Samuel Beckett, a titan of theatrical writing, exploring the powerful resilience to stay alive. Hard on the heels of a sold-out international tour of the Beckett Trilogy, Lisa Dwan presents a fresh and penetrating interpretation of this monologue. Recognised as modern theatre’s foremost adaptor of Beckett’s work, Lisa brings her unexpected and compelling voice to these hitherto unperformed writings.

KING LEAR By William Shakespeare Directed by Deborah Warner Starring Glenda Jackson and with Jane Horrocks, Rhys Ifans, Simon Manyonda and Harry Melling Previews from Tuesday 25 October, press night Friday 4 November 2016 A quarter of a century after she gave up acting for politics, double Academy Award-winning legend Glenda Jackson returns to play King Lear in Shakespeare’s greatest tragedy, alongside an outstanding company including Jane Horrocks, Rhys Ifans, Simon Manyonda and Harry Melling.

ART By Yasmina Reza Translated by Christopher Hampton Directed by Matthew Warchus Previews from Saturday 10 December 2016, press night Tuesday 3 January 2017 Three friends and a white painting. One of the most acclaimed plays of recent times, Art premiered in London twenty years ago and went on to become a phenomenon, winning Moliere, Evening Standard, Olivier and Tony Awards. Director Matthew Warchus reunites the entire original team to revisit Yasmina Reza’s dazzling study of friendship, prejudice and tolerance.

WOYZECK By Georg Büchner In a new version by Jack Thorne Directed by Joe Murphy Starring John Boyega Previews from Saturday 25 February, press night Tuesday 7 March 2017 ‘People like us are unhappy in this world and in the next: if we made it to heaven, we’d have to help make it thunder.’ The multi-award winning Jack Thorne breathes new life into Woyzeck, one of the most influential plays ever written, creating for our time what Büchner intended for his: an unforgettable howl of rage.

ROSENCRANTZ AND GUILDENSTERN ARE DEAD By Tom Stoppard Half a century after its premiere on The Old Vic stage, Rosencrantz and Guildenstern are Dead, the hugely acclaimed play that made a young Tom Stoppard’s name overnight, returns to The Old Vic in a 50th anniversary celebratory production. Against the backdrop of Shakespeare's Hamlet, this mind-bending situation comedy sees two hapless minor characters, Rosencrantz and Guildenstern, take centre stage. Increasingly out of their depth, the young double act stumble their way through as events unravel. Stoppard’s brilliantly funny, existential labyrinth offers us as window into a world where life and art collide. DR. SEUSS’S

THE LORAX Adapted by David Greig Directed by Max Webster ‘I am the Lorax. I speak for the trees!’ The irrepressible, big-hearted, moustachioed critter is back as Olivier-nominated Dr. Seuss’s The Lorax returns to The Old Vic stage. This dazzlingly funny, moving and inspiring show sees the go-getting Once-ler come face to face with the magical Lorax in a battle over the beloved truffula trees and the whole of Paradise Valley. Adapted for the stage by David Greig, Dr. Seuss’s The Lorax is a brilliant riot of eye-popping colour, gorgeous puppetry and infectious music to enchant adults and children alike.

FANNY AND ALEXANDER Adapted from the film by Ingmar Bergman by Stephen Beresford Directed by Max Webster ‘The world is a den of thieves and night is falling. So let us be kind and generous. There should be no shame in us taking pleasure in our little lives.’ Ingmar Bergman’s magical study of childhood, family and love, Fanny and Alexander is often considered one of the greatest films ever made. Now, adapted by BAFTA-winning writer Stephen Beresford, it becomes an epic theatrical event. GILBERT & SULLIVAN'S

HMS PINAFORE In a new version by Nigel Hess and Christopher Luscombe Directed by Christopher Luscombe Musical adaptation by Nigel Hess ‘We sail the ocean blue and the Pinafore's a beauty!’ Gilbert and Sullivan's classic HMS Pinafore has its decks scrubbed anew by Nigel Hess and Christopher Luscombe (composer and director of the recent West End hit Nell Gwynn) in a sparkling new adaptation which stays true to the much-loved original while borrowing from the rich Gilbert and Sullivan catalogue to create a show full of surprises.

THE OLD VIC

VARIETY NIGHTS Music. Magic. Comedy. Embracing The Old Vic’s historic roots in the great theatrical traditions of vaudeville and music hall, The Old Vic Variety Nights feature established names and the very best of the next generation of performers in vibrant mixed bills, for one-off Sunday nights of really great entertainment.

OLD VIC VOICES OFF Old Vic Voices Off explores the themes raised by the productions on our main stage in creative ways through a series of talks, conversations and debates given by leading voices in the arts, media, science and politics. Speakers in Season 1 included Shami Chakrabarti, Caroline Criado-Perez, Chris Riddell, Richard Dawkins, A. C. Grayling, Owen Jones and Rob Brydon.

CHILDREN’S THEATRE AT THE OLD VIC Theatre is a magical world of 3D stories and no child is too young to start experiencing the delight and wonder of live performance. This Season, in partnership with performers and organisations, The Old Vic brings storytelling for all ages to our theatre. TALES FROM THE SHED

Each week during term time, North London-based inclusive theatre company Chickenshed will present their hugely popular Tales From The Shed. These vibrant and interactive shows for young children aged 0-5 include puppetry, sign language, song and dance and will play weekly in Mark’s Bar at The Old Vic. MISSING LIGHT

‘You’re never too old for hopes and dreams…there’s always time for plans and schemes.’ When loneliness is replaced by a far off flickering light, two elderly friends break free on a journey to reconcile their pasts and find what remains of their futures. A newly commissioned puppetry show created by Mark Arends for Make Mend and Do Theatre, Missing Light, a daytime production for children aged 8+, will play on the main stage in 2017. THE CHILDREN’S BOOKSHOW

The Old Vic is delighted to be hosting The Children’s Bookshow on 18 November 2016. A literacy charity, The Children’s Bookshow organises an annual autumn tour at theatres around the country where children are treated to performances from acclaimed authors, illustrators and poets. This event is suitable for children aged 7-11.

THE OLD VIC BOARD The Old Vic is delighted to announce the appointment of two new Board members: Ian Powell (Chairman and Senior Partner, PwC – joining from September 2016) and Ann Pleshette Murphy (Author, Journalist and Parenting Counsellor) are the newest members to join The Old Vic Theatre Trust 2000 Board, which comprises Nick Clarry (Chairman), Alan Banes, Robert Bourne, Stephen Daldry CBE, Sally Greene OBE, Anthony Horowitz OBE, Joyce Hytner OBE, Kevin McGrath DL. Sir Elton John CBE is an Honorary Trustee. TRANSFER PARTNER A key strategic partnership for The Old Vic under Matthew Warchus’ tenure is our Transfer Partnership, which supports our ambition to expand our reach and allow more people access to our work. Producers Scott Rudin and Sonia Friedman (acting together) will make this happen, through a partnership that enables them to transfer Old Vic shows to the West End, Broadway and elsewhere in the UK and North America. This partnership enhances the work at The Old Vic and offers greater opportunity for an extended life for some of our shows after their initial run, helping us to achieve our next phase of growth and connect with new audiences. ASSOCIATE ARTISTS Simon Baker (sound design), Peter Darling (choreography), David Grindrod (casting), Manuel Harlan (photography), Rob Howell (design), Dennis Kelly (writer), Paul Kieve (magic), Drew McOnie (choreography), Tim Minchin (composer), Christopher Nightingale (composer), Kate Prince (choreography), Hugh Vanstone (lighting), and Gary Yershon (composer). ASSOCIATE DIRECTORS Inaugural Baylis Director Max Webster has been appointed as an Associate Director by Matthew Warchus, joining current Associate Annabel Bolton who was appointed in Matthew’s first season. Max’s production of Dr. Seuss’s The Lorax received an Olivier Award Nomination for Best Entertainment and Family. THE BAYLIS DIRECTORSHIP & BAYLIS ASSISTANT DIRECTORSHIP The Baylis Director is an annual post that provides a unique opportunity for one director each year. Joe Murphy is the second Baylis Director who has been selected for this twelve-month programme, during which time he will direct a full-scale production at The Old Vic, receive a fund with which to commission a new piece of work, and shadow the Artistic Director, together with using The Old Vic’s space and resources to research and develop projects. For 2016-2017 a post for a Baylis Assistant Director has also been created. The Baylis Assistant Director is a short-term residency at The Old Vic providing three unique opportunities each year for aspiring directors in the UK and one from Australia to work with and learn from seasoned professionals in the industry. This role is generously supported by Associate Artist Tim Minchin.

PARTNERSHIPS The Old Vic is a registered charity and receives no regular subsidy. We are reliant on box office receipts, philanthropic donations and support from businesses to sustain our work both on and off the stage. The Old Vic is proud to be working in partnership with The Royal Bank of Canada and PwC.

PRINCIPAL PARTNER THE ROYAL BANK OF CANADA The Royal Bank of Canada (RBC), one of the largest banks in the world and Canada’s largest bank by market capitalisation, is the theatre’s Principal Partner. As part of this three-year sponsorship, RBC commits to sponsoring more than 15 productions, directly enabling more artistic output and varied programming than ever before. Since the launch of the partnership last September, more than 170,000 visitors have come through The Old Vic’s doors, of whom 55% are newcomers to the theatre, to enjoy diverse, cutting-edge productions. Dave Thomas, CEO, RBC Capital Markets, Europe said: ‘We are proud to support The Old Vic at such a transformational time in its history. Our first season as Principal Partner has exceeded all expectations and we look forward to another exciting year ahead led by Matthew Warchus and his talented team. Our partnership with The Old Vic continues a longstanding tradition at RBC of supporting the arts and local communities.’ The Old Vic and RBC are natural partners, both committed to promoting world-class excellence in the arts and to strengthening the social fabric of communities. From visual arts and music, to performing arts, writing and filmmaking, investing in the arts is a longstanding priority of RBC as it recognises the important role they play in building vibrant communities and strong economies. Globally, RBC helps communities prosper, supporting a broad range of community initiatives through donations, community investments, sponsorship and employee volunteer activities. In 2015, it contributed more than C$121 million to causes around the world. PWC £10 PREVIEWS With PwC’s generous support and innovative vision, The Old Vic has been thrilled to see the success of the PwC £10 Previews scheme over the last year. PwC £10 Previews makes half of all seats at the first five previews of each production available for just £10, helping to realise The Old Vic and PwC’s joint ambition to inspire a new audience. PwC, one of the world's largest professional services networks, has been in partnership with The Old Vic since 2012 when it came on board to support affordable tickets for under 25s. Since launching the new PwC £10 Previews ticket initiative in September 2015, nearly 13,000 people have enjoyed first-class theatre for just £10, 44% of whom were coming to The Old Vic for the very first time. PwC’s commitment to investing in communities is shared by The Old Vic, which has long possessed a social conscience. Matthew Warchus’ philosophy is that there should be no barriers, financial or otherwise, for people who might find theatre engaging and exciting. The Old Vic should be a creative hub where there is something for everyone in our repertoire, and the £10 ticket prices allow anyone to join in and experience the invigorating and uplifting power of theatre. Ian Powell, Chairman and Senior Partner, PwC said: ‘We are delighted that our continued relationship with The Old Vic is making theatre more accessible. The introduction of the PwC £10 Previews has already attracted thousands of new theatre goers to The Old Vic and we look forward to working together in the future on this exciting initiative.’ For more information on PwC £10 Previews please visit The Old Vic website www.oldvictheatre.com/pwcpreviews

PRESS CONTACTS For production press enquiries: Jo Allan | E jo@joallanpr.com | M 07889 905 850 | T 020 7520 9392 Kitty Greenleaf | E kitty@joallanpr.com | M 07545 131 539 | T 020 7520 9392 For general Old Vic press enquiries: Amy Dowd | E amydowdpr@gmail.com | M 07737 007 016 BOX OFFICE INFORMATION Box Office 0844 871 7628 | oldvictheatre.com Facebook | Instagram | Twitter | YouTube @oldvictheatre The Old Vic, The Cut, London SE1 8NB Priority booking for No’s Knife, King Lear, Art and Woyzeck from Wed 4 May 12 noon General public booking for No’s Knife, King Lear, Art and Woyzeck from Tue 31 May 12 noon Tickets for the remainder of the season will go on sale later this year. To stay up to date with the latest news sign up to our mailing list via our website NO’S KNIFE By Samuel Beckett Thu 29 Sep - Sat 15 Oct 2016 Mon - Sat 7pm; Wed & Sat 2.30pm Press night: Mon 3 Oct 7pm [Please note there is no matinee performance on Sat 1 Oct] Captioned Performance: TBC Audio Described Performance: TBC TICKETS: £10, £15, £20, £35 For information regarding Premium Seats please call the box office KING LEAR By William Shakespeare Tue 25 Oct – Sat 3 Dec 2016 Mon - Sat 7.30pm; Wed & Sat 2.30pm Press night: Fri 4 Nov 7pm [Please note there are no matinee performances on 26 Oct, 2 Nov, 5 Nov, 9 Nov, 16 Nov, 26 Nov, 30 Nov and no evening performance Sat 29 Oct.] Captioned Performance: TBC Audio Described Performance: TBC TICKETS: £12, £16, £21, £30, £55, £65 For information regarding Premium Seats please call the box office ART By Yasmina Reza Translated by Christopher Hampton Sat 10 Dec 2016 - Sat 18 Feb 2017 Mon - Sat 7.30pm; Wed & Sat 3pm (Tue 27, Thu 29 Dec & Thu 5 Jan 3pm) Press night: Tue 3 Jan 7pm

[Please note there are no matinee performances on 10 Dec, 14 Dec, 17 Dec, 28 Dec, 4 Jan and no evening performances on 24 & 31 Dec] Captioned Performance: TBC Audio Described Performance: TBC TICKETS: £12, £16, £21, £30, £55, £65 For information regarding Premium Seats please call the box office WOYZECK By Georg Büchner In a new version by Jack Thorne Sat 25 Feb - Sat 15 Apr 2017 Mon - Sat 7.30pm; Wed & Sat 2.30pm Press night: Tue 7 Mar 7pm [Please note there are no matinee performances on 25 Feb, 1 Mar & 4 Mar] Captioned Performance: TBC Audio Described Performance: TBC TICKETS: £12, £16, £21, £30, £50, £60 For information regarding Premium Seats please call the box office Concessions for No’s Knife, King Lear, Art and Woyzeck: No’s Knife: PwC £10 Previews: Half of all seats priced at £10 for the first 3 previews, released 5 weeks in advance Senior Citizens: n/a School Groups 10+: £10 for Mon - Wed eves & Wed matinees Groups 10+: £10 off for Mon - Thu eves & Wed matinees Disabled Patrons: £21 for all performances King Lear: PwC £10 Previews: Half of all seats priced at £10 for the first 5 previews, released 5 weeks in advance Senior Citizens: Best available seats for £30 for all matinee performances only School Groups 10+: £10 for Mon - Wed eves & Wed matinees Groups 10+: £10 off for Mon - Thu eves & Wed matinees Disabled Patrons: £21 for all performances Art: PwC £10 Previews: Half of all seats priced at £10 for the first 5 previews, released 5 weeks in advance Senior Citizens: Best available seats for £30 for all matinee performances only School Groups 10+: £10 for Mon - Wed eves & mid-week matinees Groups 10+: £10 off for Mon - Thu eves & mid-week matinees Disabled Patrons: £21 for all performances Woyzeck: PwC £10 Previews: Half of all seats priced at £10 for the first 5 previews, released 5 weeks in advance Senior Citizens: Best available seats for £30 for all matinee performances only School Groups 10+: £10 for Mon - Wed eves & mid-week matinees Groups 10+: £10 off for Mon - Thu eves & mid-week matinees Disabled Patrons: £21 for all performances PwC £10 Previews: oldvictheatre.com/pwcpreviews All concessions are limited and subject to availability. All 2016/17 ticket prices (apart from the PwC £10 Previews tickets & schools tickets) include a £1 restoration levy

NOTES TO EDITORS

The Old Vic 2015-16 Season

THE CARETAKER By Harold Pinter Directed by Matthew Warchus Starring Timothy Spall, Daniel Mays and George MacKay Until 14 May 2016 Timothy Spall, Daniel Mays and George MacKay star in Harold Pinter’s The Caretaker, directed by Old Vic Artistic Director Matthew Warchus. When it premiered in 1960, The Caretaker changed the face of modern theatre. Now, Harold Pinter’s groundbreaking classic comes to The Old Vic in a new production directed by Matthew Warchus. Disturbed handyman Aston (Daniel Mays) has invited an irascible tramp (Timothy Spall) to stay with him at his brother’s jumbled London flat. At first it seems that the manipulative guest will take advantage of his vulnerable host. But when Aston’s brother Mick (George MacKay) arrives, an enigmatic power struggle emerges between the three men that is in equal parts menacing, touching and darkly comic.

JEKYLL & HYDE A new dance thriller devised, directed and choreographed by Drew McOnie Inspired by Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde Previews from 20 May 2016, press night 25 May Jekyll & Hyde, a new dance thriller, opens at The Old Vic on 25 May, with previews from 20 May, for a limited run until 28 May. Devised, directed and choreographed by Drew McOnie, Jekyll & Hyde stars Daniel Collins as Dr Jekyll, Tim Hodges as Mr Hyde and Rachel Muldoon as Dahlia. The cast also includes Ashley Andrews, Joao Carolino, Carrie Taylor Johnson, Anabel Kutay, Ebony Molina, Freya Rowley, Alexzandra Sarmiento, Barnaby Thompson and Jason Winter. One of the UK's most innovative theatre choreographers, Drew McOnie, reimagines Robert Louis Stevenson's sinister drama in an excitingly physical new dance production with music by Grant Olding. Jekyll & Hyde has been specially commissioned by The Old Vic as part of its new dance collaboration with The McOnie Company, led by Associate Artist Drew McOnie.

RISE By Deirdre Kinahan From The Old Vic Community Company Directed by Alexander Ferris Music by Dom Coyote Set Design by Carla Goodman Costume Design by Sarah Beaton Movement by Anna Morrissey Sound by David Gregory 200 Londoners will take over a brand new pop-up venue on Waterloo Millennium Green to present a kaleidoscope of ideas, discussions and stories that distil into a human, personal story exploring our relationship with the environment. With music, movement and bicycles, RISE will explore the impact of living in a city where the temperature is rising.

All 200 community participants from all walks of life will collaborate with a professional creative team to deliver a powerful production that will resonate with first-time audiences and experienced theatre-goers alike. RISE will take place from 10 to 21 August 2016. All tickets are free, with approximately 200 being made available per performance, across 10 performances.

GROUNDHOG DAY Book by Danny Rubin Music and Lyrics by Tim Minchin Directed by Matthew Warchus Choreography by Peter Darling Previews from Monday 11 July 2016, press night Tuesday 16 August 2016. Artistic Director of The Old Vic Matthew Warchus, composer and lyricist Tim Minchin, choreographer Peter Darling, and designer Rob Howell, four of the creators of the international musical sensation Matilda The Musical, have joined forces with writer Danny Rubin to collaborate on a new musical based on his 1993 hit film Groundhog Day. Groundhog Day is the story of Phil Connors (Andy Karl), a cynical Pittsburgh TV weatherman who is sent to cover the annual Groundhog Day event in the isolated small town of Punxsutawney, Pennsylvania, when he finds himself caught in a time loop, forced to repeat the same day again and again… and again. As each day plays out exactly the same as before, Phil becomes increasingly despondent, but is there a lesson to be learnt through his experiences, will he ever unlock the secret and break the cycle? The 1993 Columbia Pictures film, with a screenplay by Danny Rubin and Harold Ramis, based on a story by Rubin, and directed by Ramis, starred Bill Murray. Now widely regarded as a contemporary classic, Groundhog Day was cited by the Writers Guild of America as one of the 101 Greatest Screenplays ever written and in 2000 was voted by readers of Total Film as one of the ten best comedies of all time.

BIOGRAPHIES Matthew Warchus is a director of theatre, opera and film who has directed award-winning productions for many of the major British theatre companies. He was an Associate Director at the West Yorkshire Playhouse and was an Artistic Associate at The Old Vic before being appointed in 2014 to succeed Kevin Spacey as Artistic Director of the theatre. Matthew’s extensive theatre credits include The Master Builder, The Caretaker and Future Conditional (The Old Vic), Matilda The Musical (RSC, West End and Broadway, 7 Olivier Awards, including Best Director and Best New Musical, and 4 Tony Awards), Ghost: The Musical and La Bête (West End and Broadway); Deathtrap (West End), The Norman Conquests (West End and Broadway, Tony Award for Best Revival of a Play), God of Carnage (West End and Broadway, Tony Award for Best Play and Best Direction of a Play), Boeing Boeing (West End, Broadway and UK tour, Tony Award for Best Revival of a play and Olivier nomination for Best Revival of a Play); Speed-the-Plow (The Old Vic); the theatrical adaptation of The Lord of the Rings (also co-writer, West End), Buried Child (National Theatre), Endgame (Albery Theatre), Our House (Cambridge Theatre, Olivier Award for Best Musical), Follies (Broadway), Life x 3, (National Theatre, The Old Vic and Broadway), True West (Donmar Warehouse and Broadway, Tony nominations for Best Director and Best Play), The Unexpected Man (RSC, West End and Broadway), Art (Broadway, West End, Los Angeles, Olivier and Tony Awards for Best Play), Hamlet and Henry V (RSC), Volpone (National Theatre, Evening Standard Award for Best Director), Much Ado About Nothing (West End), Betrayal, Death of a Salesman, The Plough Beyond the Stars, Fiddler on the Roof and Who’s afraid of Virginia Woolf (West Yorkshire Playhouse). Opera credits include Falstaff and Così Fan Tutte (ENO) and The Rake’s Progress (ROH and WNO). Matthew directed feature films Pride (2014, BIFA Best British Independent Film, BAFTA and Golden Globe nominated) and Simpatico (1999). Mark Arends is an actor and theatre maker. He recently originated the role of Winston Smith in the Almeida / Headlong production of 1984 and played Proteus in The Two Gentlemen of Verona at the RSC. His theatre company, Make Mend and Do, creates inventive and enchanting theatre for young people and grown-ups. Previous work includes At The End of Everything Else and Something Very Far Away. Stephen Beresford is a writer for stage and screen. He trained at RADA and his first play The Last of the Haussmans opened at the National Theatre in 2012 to great critical and commercial success. His first screenplay was Pride (2014), directed by Matthew Warchus. It premiered at Cannes Film Festival where it closed Directors' Fortnight. The film won three British Independent Film Awards (including Best British Film) and was nominated in four further categories, received the South Bank Show Award for Best British Film, and was nominated for BAFTA Best British Film, Golden Globe Best Motion Picture and London Critic's Circle British Film of the Year. Stephen won the BAFTA Award for Outstanding Debut. Current projects include screenplays for Pathé and Fox Searchlight and a commission for the National Theatre. John Boyega trained as an actor at the Identity School of Acting. The recipient of the 2016 BAFTA Rising Star Award, John was most recently seen in Star Wars: Episode VII – The Force Awakens (2015). He is currently in production for Star Wars: Episode VIII (2017) and forthcoming releases include The Circle (2016), Imperial Dreams (2014, Sundance Film Festival Audience Award) and Watership Down (voice, 2016). Theatre includes Six Parties (National Theatre) and Category B (Tricycle Theatre). Film and feature-length dramas include Half of a Yellow Sun (2013), My Murder (2012), The Whale (2013), Attack the Block (2011, SXSW Audience Award) and Da Brick (2011). Television includes Becoming Human and Law & Order: UK. Voice work includes Major Lazer, Lego Star Wars: The Force Awakens and Disney Infinity 3.0. Chickenshed is a theatre company based in Southgate, North London, which also has a branch in Kensington and Chelsea. Chickenshed’s vision is a society that enables everyone to flourish, with a mission to create entertaining and outstanding theatre that celebrates diversity and inspires positive change. For over 40 years Chickenshed has pioneered an inclusive performance methodology and, as well as delivering performances and outreach projects throughout the year, is also an educational establishment offering Further and Higher education courses, all with the ethos of ‘Theatre Changing Lives'.

Lisa Dwan is a performer, producer and director. Originally trained in the UK as a ballet dancer, she began acting professionally in her teens and has worked extensively in theatre, film, and television, both internationally and in her native Ireland. Lisa writes, presents, lectures and teaches regularly on theatre, culture and the work of Samuel Beckett. Currently under commission with Virago to write a book on Beckett and producing and presenting a BBC Radio 4 piece on Dante, Lisa is artist in residence at NYU School for Arts and Ballet and will take up a residency at Princeton University in Spring 2017. Theatre includes last year’s workshop adaptation of Samuel Beckett’s Text for Nothing (Lincoln Center), the acclaimed international tour of the ‘Beckett Trilogy’ of Not I / Footfalls / Rockaby, Beside the Sea (South Bank Centre and tour) which Lisa adapted, produced and performed, Margot, Diary of an Unhappy Queen (Barbican), The Journey Between Us (Southwark Playhouse), Illusions (Bush Theatre), Letters Live (Hay Festival and West End). Film work includes An Afterthought (2016), Bhopal: A Prayer for Rain (2014), The Tailor of Panama (2001) and Oliver Twist (1997). David Greig is an award-winning playwright whose work encompasses theatre, radio and film. He will take up his post as the next Artistic Director of the Royal Lyceum Theatre Company, Edinburgh in June 2016. Plays include The Events (Traverse and Young Vic), The Strange Undoing of Prudencia Hart (Tron, National Theatre of Scotland), Midsummer (Traverse, Soho Theatre and Tricycle), Dunsinane (RSC at Hampstead Theatre and National Theatre of Scotland), Damascus (Traverse 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 Pains Plough) and The Architect and Europe (Traverse). Adaptations include Creditors (Donmar Warehouse), The Bacchae (Edinburgh International Festival), Tintin in Tibet (Barbican, Playhouse Theatre and UK Tour), When the Bulbul Stopped Singing (Traverse, Amnesty International and Tapwater Award and Herald Angel), Caligula (Donmar Warehouse), Peter Pan (National Theatre of Scotland, Traverse and Barbican) and the book for Charlie and the Chocolate Factory (Drury Lane). David’s work for children and young people includes The Monster in the Hall, Yellow Moon (TMA Award for Best Show for Children and Young People and Brian Way Award for Best Children’s Play), and Dr Korczak’s Example for Tag Theatre Company, Glasgow and Gobbo (National Theatre of Scotland). Christopher Hampton became involved in theatre while studying French and German at Oxford University. A play he wrote in his first year transferred from the Royal Court to the Comedy Theatre, making him the youngest writer ever to have a play performed in the West End. He is a multi-award winning writer for theatre, television and film whose plays and musicals have garnered four Tony Awards, three Olivier Awards, five Evening Standard Awards and the New York Drama Critics’ Circle Award. Works for the stage include The Talking Cure, White Chameleon, Tales From Hollywood, Treats, Savages, The Philanthropist, Total Eclipse and When Did You Last See My Mother?, with Don Black the musicals Sunset Boulevard, Dracula: The Musical and Stephen Ward; libretti for Waiting for the Barbarians, Appomattox and The Trial, all by Philip Glass, adaptations Youth Without God, Embers and Les Liaisons Dangereuses, and many translations of works by Chekhov, Ibsen, Molière, Horváth, Yasmina Reza and Florian Zeller. Screenplays include Ali and Nino (2016), Adore (2013, based on The Grandmothers), A Dangerous Method (2011, based on his play The Talking Cure), Chéri (2009), Atonement (2007), Imagining Argentina (also directed, 2003), The Quiet American (2002), The Secret Agent (also directed, 1996), Mary Reilly (1996), Total Eclipse (1995), Carrington (also directed, 1995), Dangerous Liaisons (1988), The Good Father (1985), The Honorary Consul (1983), Tales from the Vienna Woods (1979) and A Doll’s House (1973). His television scripts include mini-series The Ginger Tree, Hôtel du Lac, The History Man, Able’s Will and, most recently, The Thirteenth Tale. Nigel Hess works extensively as a composer and conductor in television, theatre, film and the concert hall. Nigel has composed music for 20 RSC productions and received the New York Drama desk award for Much Ado About Nothing and Cyrano de Bergerac on Broadway. He has written extensively for Shakespeare’s Globe and scores have included The Merry Wives of Windsor, Romeo and Juliet, Henry VIII, The Knight of the Burning Pestle and Nell Gwynn. Work for television includes A Woman of Substance, Vanity Fair, Campion, Maigret, Dangerfield, Just William, Wycliffe, Ballykissangel and New Tricks. He has twice received the Ivor Novello Award for Best TV

Theme, for Hetty Wainthropp Investigates and Testament. His film soundtrack for Ladies in Lavender played by Joshua Bell and the Royal Philharmonic Orchestra was nominated for a Classical Brits Award. Nigel’s work for the concert hall includes the Concerto for Piano and Orchestra commissioned by HRH The Prince of Wales in memory of his grandmother and premiered by Lang Lang, A Christmas Overture commissioned by John Rutter and premiered by the Royal Philharmonic Orchestra, Jubilate Deo commissioned by the City of Birmingham Symphony Orchestra, and A Celebration Overture commissioned by the Royal Liverpool Philharmonic Orchestra. His music for symphonic wind band includes commissions for the Royal Air Force and the Band of the Coldstream Guards.

Jane Horrocks’ diverse credits span stage, television, film and voice work. Theatre includes If You Kiss Me, Kiss Me (Young Vic), East is East (Trafalgar Studios and UK tour), Annie Get Your Gun (Young Vic), Aunt Dan and Lemon (Royal Court), The Good Soul of Szechuan (Young Vic), Absurd Person Singular (Garrick Theatre), Cabaret (Donmar Warehouse and West End) and The Rise and Fall of Little Voice (National Theatre and Aldwych Theatre). Film includes Ab Fab The Movie (2016), Sunshine on Leith (2013), Corpse Bride (voice, 2005), Chicken Run (voice, 2000), Little Voice (1998), Life is Sweet (1990), Memphis Belle (1990), The Witches (1990), The Wolves of Willoughby Chase (1989) and The Dressmaker (1988). Television includes Inside No 9, Cold Comfort, Little Crackers, Barbra, The Cruise, Trollied, This is Jinsy, Coming Up: A Kind of Magic, The Road to Coronation Street, Gracie!, The Amazing Mrs Pritchard, The Street, Jericho, Mirrorball, Absolutely Fabulous, Linda Green and Never Mind the Horrocks. Rhys Ifans’ work as an actor encompasses stage, television and film. Upcoming projects include the television series Berlin Station and films Snowden (2016) and Alice Through the Looking Glass (2016). Theatre includes Protest Song (National Theatre), Don Juan in Soho, Accidental Death of an Anarchist and Bad Finger (Donmar Warehouse), Volpone and Under Milk Wood (National Theatre), Beautiful Thing (Duke of York Theatre), Thyestes (Royal Court), Smoke and Poison Pen (Manchester Royal Exchange). Film includes Dominion (2016), Len and Company (2015), Under Milk Wood (2015), Serena (2014), Another Me (2013), The Amazing Spider-Man (2012), The Five-Year Engagement (2012), Anonymous (2011), Harry Potter and the Deathly Hallows: Part 1 (2010), Greenberg (2010), The Boat that Rocked (2009), Elizabeth: The Golden Age (2007), Hannibal Rising (2007), Once Upon a Time in the Midlands (2002), Human Nature (2001), The Shipping News (2001), Hotel (2001), The Replacements (2000) and Notting Hill (1999, BAFTA nominated). Television includes Not Only But Always (BAFTA Award for Best Actor), Shakespeare Shorts, Trial and Retribution, The Two Franks, Judas and the Gimp, Nightshift, Spatz, Burning Love, Review and Gifted. Glenda Jackson is a two-time Academy Award-winning actress. Her work spans theatre, film and television and she was awarded a CBE in 1978. In 1992 Glenda became a Member of Parliament, representing constituencies in Hampstead and Kilburn for 23 years. Stepping down in 2015, she has since starred in BBC Radio 4’s Emile Zola: Blood, Sex and Money (2015). Theatre includes Marat/Sade (RSC, Broadway and Paris), Hamlet, US, Hedda Gabler and Antony and Cleopatra (all RSC), Strange Interlude (Broadway), Who’s Afraid of Virginia Woolf? (Los Angeles), Scenes from an Execution (Almeida), Macbeth (Broadway) and The White Devil and Phedra (The Old Vic). Film includes Women in Love (1969, Academy Award for Best Actress), The Music Lovers (1970), Sunday Bloody Sunday (1971, BAFTA Award for Best Actress in a Leading Role, Academy Award nominated), A Touch of Class (1973, Academy Award for Best Actress, Golden Globe Award for Best Actress, Evening Standard Award, BAFTA nominated) and Hedda (1975, Academy Award nominated). Television includes Elizabeth R (two Emmy Awards for Outstanding Lead Actress, BAFTA nominated), Mary, Queen of Scots (Evening Standard Award, Golden Globe nominated) and The Patricia Neal Story (Emmy Award nominated). Christopher Luscombe is a director whose upcoming work includes the new Stiles and Drewe musical Travels with My Aunt (Minerva Theatre, Chichester) and While the Sun Shines (Theatre Royal, Bath). Christopher began his career as an actor, spending seven years with the RSC and appearing at the National Theatre and in the West End.

Directorial credits include Nell Gwynn (Apollo Theatre, Olivier Award for Best New Comedy), Love’s Labour’s Lost and Much Ado About Nothing (RSC, forthcoming transfers to Chichester and Theatre Royal Haymarket), The Shakespeare Revue (RSC and Vaudeville Theatre), Star Quality and The Madness of George III (Apollo Theatre), Home and Beauty (Lyric Theatre), Fascinating Aïda – One Last Flutter (Harold Pinter Theatre, Olivier Award nominated for Best Entertainment), The Comedy of Errors and The Merry Wives of Windsor (Shakespeare’s Globe), A Midsummer Night’s Dream (Regent’s Park), Enjoy (Gielgud Theatre), Alphabetical Order (Hampstead Theatre), When We are Married (Garrick Theatre, Olivier Award nomination for Best Revival), The Rocky Horror Show and Spamalot (Playhouse Theatre). Simon Manyonda is an actor for theatre, television and film. He trained at LAMDA and theatre credits include Light Shining in Buckinghamshire, King Lear, Greenland and Welcome to Thebes (National Theatre), A Midsummer Night’s Dreaming and Julius Caesar (RSC), Giving (Hampstead), Romeo and Juliet (Sheffield Crucible), Wildfire (Hampstead), The Mamba (West Yorkshire Playhouse), Antony and Cleopatra (Liverpool Playhouse), A Midsummer Night’s Dream (Lyric Hammersmith), Red Peppers (Old Red Lion) and All Night I Dream of Being Good (The Yard). Film includes Jawbone (2017 release), World War Z (2013), Julius Caesar (2012) and How It’s Done (2009). Television includes Neil Gaiman’s Likely Stories, Doctor Who, Suspects, Holby City and Whitechapel. Harry Melling has played leading roles in theatre, television and film. Theatre includes Hand to God (Vaudeville Theatre), The Angry Brigade (Paines Plough / Bush Theatre), Peddling (HighTide / Arcola Theatre, BAM New York), King Lear (Chichester Festival Theatre, BAM New York), The Hot House (Trafalgar Studios), Smack Family Robinson (Rose Theatre Kingston), I Am a Camera (Southwark Playhouse), When Did You Last See My Mother (Trafalgar Studios), School For Scandal (Barbican Theatre), Women Beware Women and Mother Courage and Her Children (National Theatre). Film work includes Lost City of Z (2016) and playing Dudley Dursley in the Harry Potter film series, and the short films The Winds of Change (2014), I Think Therefore (2012) and Felicity (2011). Television includes Musketeers, Joe Mistry (Pilot), Garrow’s Law, Merlin, Just William, and Friends and Crocodiles. Joe Murphy is currently Associate Director at Soho Theatre and a freelance director with experience working in London, on the West End, Broadway and internationally. He was Artistic Director of nabokov theatre company from 2010 to 2015, during which time the company presented the work of 88 playwrights and 496 artists cross three continents. He will take up his role as The Old Vic’s Season 2 Baylis Director in September 2016. Theatre credits as a director include What I Learned from Johnny Bevan (Soho Theatre and UK tour), Incognito (Bush Theatre), Blink and Bunny (Soho Theatre, UK tour and off-Broadway), The Boy in the Striped Pyjamas (Chichester Festival Theatre and UK tour), The Taming of the Shrew and Midsummer Night’s Dream (Shakespeare’s Globe and international tour). His Associate Director credits include Wolf Hall (RSC, West End and Broadway), This House (National Theatre), Henry V (Shakespeare’s Globe and UK tour) and Ghost Stories (West End and Moscow). Yasmina Reza’s plays have been adapted in over 35 languages and performed throughout the world. Her plays Art and God of Carnage won both the Olivier and Tony Awards, and the latter was adapted for film by Roman Polanski as Carnage (2011, César for Best Scenario). In 2010 she directed her first film, Chicas. Plays include Conversations après un enterrement (Conversations after a burial), La Traversée de l’hiver (Winter crossing), L’Homme du Hasard (The unexpected man), Trois versions de la vie (Life x 3), Une pièce espagnole (A Spanish play). She has also published a number of books which have been translated in many countries: Bella Figura, Comment vous racontez la partie (How you talk the game), Heureux les heureux (Happy are the happy, Winner of Le Monde’s Prix littéraire), Hammerklavier, Une Désolation (Desolation), Adam Haberberg, Dans la luge d’Arthur Schopenhauer (On Arthus Schopenhauer’s Sledge), Nulle part (Nowhere) and L’aube le soir ou la nuit (Dawn Dusk or Night). Tom Stoppard’s most recent play is The Hard Problem. Other plays include The Real Inspector Hound, After Magritte, Jumpers, Travesties, Every Good Boy Deserves Favour (with André Previn), Dirty Linen, New-Found-Land Dogg’s Hamlet, Cahoot’s Macbeth, Night and Day, The Real Thing, Hapgood, Arcadia, Indian Ink, The Invention of Love, The Coast of Utopia and Rock’n’Roll. Translations and adaptations

include Tango, Undiscovered Country, On the Razzle, Rough Crossing, Dalliance, The Seagull, Henry IV, Ivanov, The Cherry Orchard, The House of Bernarda Alba and Large Desolato. He has written eight Evening Standard Award-winning plays and five of his plays have won Tony Awards. Radio plays include Darkside (with Pink Floyd), If You’re Glad, I’ll Be Frank, Albert’s Bride (Italia Prize), Where Are They Now?, Artist Descending A Staircase, The Dog It Was That Died and In The Native State. Television includes A Separate Peace, Squaring the Circle, Professional Foul (BAFTA and Broadcasting Press Guild Awards) an adaptation of Jerome K Jerome’s Three Men in a Boat and most recently an adaptation of Ford Madox Ford’s Parade’s End (BBC/HBO). Screenplays include Anna Karenina (2012), The Romantic Englishwoman (1975), Despair (1978), The Human Factor (1979), Brazil (1985), Empire Of The Sun (1987), The Russian House (1990), Billy Bathgate (1991), and Shakespeare In Love (with Marc Norman, 1998, Academy Award, Golden Globe, Broadcast Film Critics and American Guild Awards for Best Screenplay). He directed and wrote the screenplay for the film of Rosencrantz and Guildenstern are Dead (Venice Film Festival Prix d’Or, 1990). Jack Thorne is a writer for stage, film and television. Current projects include Harry Potter and the Cursed Child in the West End and National Treasure, a four-part drama for Channel 4. Theatre includes The Solid Life Of Sugar Water (Graeae Theatre Company, Edinburgh Festival, National Theatre and UK tour), Hope (Royal Court), Let The Right One In (Dundee Rep, Royal Court, National Theatre of Scotland), The Borough (Punchdrunk and Aldeburgh Festival), adaptations of Stuart: A Life Backwards (Hightide and Sheffield Theatre, Edinburgh Festival and UK Tour) and The Physicists (Donmar Warehouse), Mydidae (Drywrite, Soho Theatre and Trafalgar Studios), Bunny (Nabokov, UK Tour and New York) Red Car Blue Car, Two Cigarettes and When You Cure Me (Bush Theatre), Greenland (National Theatre), 2nd May 1997 (Bush Theatre and Nabokov), Burying Your Brother in the Pavement (NT Connections), Stacy (Tron, Arcola and Trafalgar Studios) and Fanny and Faggot (Pleasance Edinburgh, Finborough and Trafalgar Studios). Television work includes The Last Panthers, Don’t Take My Baby, Glue, The Fades (BAFTA for Best Drama Series), This Is England 90 (Empire Award for Best Television Series, NME Award for Best Television Show), This Is England 88 (BAFTA for Best Mini-Series), This is England 86, Cast-Offs and episodes of Skins and Shameless. Films include War Book (2014), A Long Way Down (2014) and The Scouting Book for Boys (2009, London Film Festival Best British Newcomer Award). Deborah Warner is a director whose work encompasses theatre, opera, film and installation. She has worked with the actress Fiona Shaw since 1989 creating over fourteen works. At 21, she founded The Kick Theatre Company and directed a season of Shakespeare plays. She was named Commandeaur de l’Ordre des Arts et des Lettres by the French Government in 2013 and was made a CBE in the 2006 Queen’s Birthday Honours list. Theatre includes The Testament of Mary (Broadway, Barbican), A School for Scandal and Julius Caesar (Barbican), Titus Andronicus (Olivier and Evening Standard Awards), King John and Electra (RSC), The Good Person of Sichuan, King Lear, Richard II, The Powerbook, Happy Days and Mother Courage and her Children (National Theatre), Hedda Gabler (Abbey, Playhouse Theatre, Olivier Award), Footfalls (Garrick Theatre), The Tempest and Coriolanus (Salzburg Festival), Une Maison de Poupeé (Odéon, Paris), Medea (Dublin, London and Broadway, Evening Standard Award) and a world tour of The Waste Land (Obies and Drama Desk Awards). Installation pieces include The St Pancras Project and The Tower Project (LIFT), The Angel Project (Lincoln Center, PIAF, Australia) and Peace Camp (London 2012). Opera credits include Between Worlds (ENO at The Barbican), Fidelio (La Scala, Milan), Eugene Onegin (Metropolitan Opera), Messiah (Lyon), Wozzeck and La Voix Humaine (Opera North), Don Giovanni and Fidelio (Glyndebourne), Jeanne d’Arc au Bûcher (BBC Proms), The Turn of the Screw (ROH at The Barbican, Evening Standard and South Bank Awards), The Diary of One Who Vanished (ENO, Lincoln Center and National Theatre), Messiah, Eugene Onegin and St John Passion (ENO), Death in Venice (ENO, La Monnaie and Milan), The Rape of Lucretia (Bavarian State Opera), Dido and Aeneas (Vienna, Opera Cimique and Netherlands Opera) and La Traviata (Vienna). Television and film credits include Hedda Gabler (1993), Waste Land (1995), Richard II (1997) and The Last September (2002).

Max Webster is fast emerging as one of the most exciting young directors working in the UK and internationally. He trained at the Jacque Lecoq theatre school in Paris and as a long-term assistant to Eugenio Barba and Simon McBurney. He was the recipient of the 2011 Regional Theatre Director’s busary at the Manchester Royal Exchange and was The Old Vic’s Season One Baylis Director, where he directed Dr. Seuss’s The Lorax. Recent work includes King Lear (Royal and Derngate, Northampton and UK Tour), Mary Stuart (PARCO Productions, Tokyo), Much Ado About Nothing (Shakespeare’s Globe and international tour), Orlando, To Kill a Mockingbird and My Young and Foolish Heart (Manchester Royal Exchange), Opera Highlights (Scottish Opera and tour), James and the Giant Peach and My Generation (West Yorkshire Playhouse), Twelfth Night (Regent’s Park Open Air Theatre), Skewered Snails (Iron Oxide / Southbank Centre), Anna Karenina (Arcola), The Chalk Circle (Aarohan Theatre, Nepal), Sense (Southwark Playhouse), Carnival Under the Rainbow and Feast Kakulu (Hilton Arts Festival, South Africa), Mustard (Company of Angels) and Finisterre (Theatre503). Gary Yershon is a composer for drama who also works as a writer, translator, musical director and teacher. He was born in London and studied Music and Drama at Hull University. Following a career as an actor-musician, he started focusing primarily on composing in 1991. Theatre includes many scores for the RSC (where he is an Associate Artist), National Theatre, West End (including Art, The Unexpected Man, Life x 3 and God of Carnage), Broadway (including The Norman Conquests, Drama Desk Award nominated) and at The Old Vic, The Master Builder and The Caretaker. He has an established collaboration with filmmaker Mike Leigh, beginning as musical director on Topsy-Turvy (1999) and composing the scores for Happy-Go-Lucky (2008), Another Year (2010, European Film Award for Best Composer nominated), short film A Running Jump (2012) and Mr Turner (2014, nominated for Academy Award for Best Original Score, Ivor Novello Award, ASCAP Composer’s Choice Award, winner Grand Scores 2016). Radio work for the BBC includes scores for The Odyssey, Gawain and the Green Knight, The Theban Plays, The Eve of St Agnes, Three Men in a Boat and Autumn Journal (Sony Award). Television includes Trial and Retribution and children’s animated series James the Cat, Painted Tails and Ebb and Flo. About Royal Bank of Canada Royal Bank of Canada (RBC) is one of the largest banks in the world and is Canada’s largest bank by market capitalisation. It employs approximately 81,000 full- and part-time employees who serve more than 16 million personal, business, public sector and institutional clients in 39 countries. RBC has a long history in Europe and has operated in the region since 1910 to serve corporate, institutional and high-net worth clients. Today, it provides a significant array of financial products and services, which are delivered by over 5,500 employees from offices in the UK, the Channel Islands, Belgium, France, Germany, Italy, Ireland, Luxembourg, Switzerland and Spain. RBC delivers financial products and services in Europe under the global brands RBC Capital Markets, RBC Wealth Management, RBC Investor & Treasury Services, RBC Global Asset Management and BlueBay Asset Management. RBC helps communities prosper, supporting a broad range of community initiatives through donations, sponsorships and employee volunteer activities. In 2015, we contributed more than C$121 million to causes around the world. About PwC At PwC UK, our purpose is to build trust in society and solve important problems. We’re a network of firms in 157 countries with more than 208,000 people who are committed to delivering quality in assurance, advisory and tax services. Find out more and tell us what matters to you by visiting us at www.pwc.com/uk