By William Shakespeare, Directed by Gemma Fairlie 23-25 June 2022 Bristol Old Vic - Bristol Old Vic Theatre School
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By William Shakespeare,
Directed by Gemma Fairlie
23-25 June 2022
Bristol Old Vic
Photo credit: Rachel Holman
DIRECTOR’S NOTE
What would you do for power?
Shakespeare’s Henry VI
trilogy is the epitome of
epic. Spanning decades,
and multiple protagonists,
This is a world
it encapsulates England at
of ego and
a time of huge turbulence.
privilege.
The complete trilogy
Everyone but
would take about 10
Henry wants
hours to perform, and
to rule, and Working
whilst I have no doubt
believes that they with the MFA
that this cast are up to the
not only have the Professional
challenge, we simply don’t
right, but the personality Acting ensemble on
have enough time.
to do it. There are Shakespeare provides us
Rather than focusing on narcissists and fantasists, the perfect opportunity
one play, I opted to create Machiavellians and the to match personalities
an overview of how the morally corrupt. Many with challenging roles.
political landscape shifts of these characters are We have a mix of genders
during the beginning of not likeable but they are and nationalities which
the War of the Roses. understandable, and very combine to give the piece
human. As the company an incredible international
It enables us to follow becomes corrupt, the and contemporary feel.
characters’ journeys right society which it controls They are a wonderful,
to the bloody end, and also collapses, until we are enquiring and talented
gives the actors a chance faced with war. Inspired group who have relished
to really get to grips with by the documentary, the opportunity to
a story arc. Our Henry VI is The Social Dilemma, and research and explore this
set within the English Rose dramas such as the House piece and make it their
Corporation - a hugely of Cards and Succession; own.
powerful, multinational this is a modern tale of
company which has its greed, politics and big Gemma Fairlie
fingers in many pies. business. Director
THE CAST
Carola Colombo Gatsby (Space Theatre- Adelaide Festival
Somerset/Cade Centre), Ophelia in Hamlet, Billie Dawn in
Born Yesterday, Queen Elizabeth in Don Carlos
BOVTS: Lady Macbeth in (Independent Theatre Company) and Honey
Macbeth, Nina in The Seagull, in Who’s Afraid of Virginia Woolf? (Holden
W in Lungs. Pre-BOVTS: Street Theatre). Training: First Class Honours
Fury in Pejured City, Maniac Degree Bachelor of Psychology (University of
in Accidental Death of an Adelaide), Shakespeare with Patsy Rodenburg
Anarchist, Harper in Far Away. (16th Street Actors Studio), Acting Technique
Training: BA in European Theatre Arts at Rose (Urban Myth Theatre Company)
Bruford, Accademia D’Arte Drammatica Silvia
D’Amico. Jennifer Kim Edward (of
York)/Rebel 1
Jay Faisca Buckingham
BOVTS: W in Lungs, Nina
BOVTS: Macbeth in Macbeth, in The Seagull, Isabella in
M in Lungs, Sorin in The Measure for Measure. Pre-
Seagull. Pre-BOVTS: Estragon BOVTS: Michelle in Coleman
in Waiting for Godot (Ophelia’s ’72 (South Coast Repertory),
Jump), Kerry Max Cook in Kyong-Mi in Allegiance
The Exonerated (Long Beach (RuthJack Productions), Leonor in What We Owe
Shakepeare Company), Our Lies (Antaeus Theatre Company), Arden
Stanley Kowalski in A Streetcar Named Desire in Fair (OC Centric). Training: BA in Theatre at
(The Lincoln Theatre), Usnavi in In The Heights University of California San Diego.
(Sexson Theatre), Jud Fry in Oklahoma!
Downey Civic Light Operqa). Training: Joanne Leung Vernon/
Bachelors of Music and Theatre (The Catholic Police Officer/York
University of America), Improv (Upright Soldier
Citizens Brigade)
BOVTS: W in Lungs, Helena
Analiese Guettinger in All’s Well the Ends Well,
Warwick Masha in The Seagull. Pre-
BOVTS: Lady Macbeth in
BOVTS: W in Lungs, Polina Macbeth (LAMDA), Feste
in The Seagull, Viola in in Twelfth Night (The Chinese Universities
Twelfth Night. Pre-BOVTS: Shakespeare Festival), Cecily in The Importance
Witch/Duncan in Macbeth of Being Earnest (Hong Kong Fringe Theatre),
(Seattle Repertory Theatre), Postmaster in The Government Inspector (The
Mabel in Big Happy Days, Hong Kong Fringe Theatre), Eve in Love in
Samantha/Maeve in The American Girl Doll Isolation (Creative Theory Group). Training: BA
Play (Williamstown Theatre Festival), Sasha in Honours in English and Drama (The Chinese
Brooklyn Bridge (Seattle Children’s Theatre), University of Hong Kong), Shakespeare
Jaqueline Bouvier in Grey Gardens (The Intensive (LAMDA), Scene Study Intensive (The
5th Avenue Theatre/ACT). Training: BA in Barrow Group, NYC).
American Studies, Indigenous Studies, and
Theatre Studies (Wesleyan University), Acting Justine Marler Henry VI
Apprentice (Williamstown Theatre Festival,
Shakespeare Intensive (Oregon Shakespeare BOVTS: Isabella in Measure
Festival). for Measure, W in Lungs,
Arkadina in The Seagull. Pre-
Madeleine Herd BOVTS: Princess of France in
Clifford/Basset Love’s Labour’s Lost (Prague
Shakespeare Co.), Penelope
BOVTS: Lady Macbeth in in The Odyssey (North Carolina
Macbeth, Arkadina in The School of the Arts), Lysander in A Midsummer
Seagull, W in Lungs. Pre- Night’s Dream (North Carolina School of the
BOVTS: Daisy in The Great Arts), Maria in Twelfth Night (Shakespeare by
the Water), and Cornwall in King Lear (Prague (Leuze Festival in France, Yelena in Uncle
Shakespeare Co.). Training: BFA Acting (North Vanya (Le Tarmac, Paris), Queen Margaret
Carolina School of the Arts), Shakespeare in Henry VI (Theatre de la Cité International),
Intensive (Kristin Linklater Voice Centre), Zlata in Necessary Target (UNCG Theatre),
Physical Theatre (Dell’ Arte International Lucile in When I Reside (Film by Charlotte
School of Physical Theatre). Neri, La Femis). Training: Professional acting
certificate from Ecole de Jeu, Paris. BA in
N’Dea Miles Theatre from University of Rennes II. LAMDA
Queen Margaret intensive short course.
BOVTS: W in Lungs, Masha
in The Seagull. Pre BOVTS:
Patrick Shearer
Ensemble in The Women
Richard, Rebel 2,
of Lockerbie (LVA Theatre),
Murderer
Ensemble in Big River BOVTS: M in Lungs,
(LVA Theatre). Training: Konstantin in The Seagull,
Conservatoire Training (Las Vegas Academy Cassius in Julius Ceaser.
of the Arts), Meisner Technique (Elizabeth Pre-BOVTS: George in of
Mestnik Acting Studio), Method Technique Mice and Men (Ad Astra),
(Tony Greco Studio). DJ Dewer Phillips in Elvis (Bazmark Films),
Puck in A Midsummer Night’s Dream (Brisbane
Karack Osborn Shakespeare Festival), Oswald in Ghosts (The
Gloucester Curators), Max Zoric in Harrow (ABC Studios
BOVTS: Angelo in Measure for International). Training: Advanced Diploma
Measure. Pre-BOVTS: Tony in Acting for Screen and Stage (Australian
Lumpkin in She Stoops to Performing Arts Conservatory).
Conquer (Stratford Festival of
Canada), Scarrus in Anthony
Jake Solari
and Cleopatra (Stratford
Exeter/Prince Edward
Festival of Canada/Film), Autolycus in The BOVTS: Claudio in Measure
Winters Tale (Stratford Festival of Canada, for Measure, Triogorin in
Sam Phillips in Million Dollar Quartet (Weston/ The Seagull, M in Lungs.
Arkansas Rep). Training: The Birmingham Pre-BOVTS: Len in Ring
Conservatory for Classical Theatre. Tone (Town Players of New
Canaan), Mike in Quirky Tales
Rui Maria Pêgo (The Actors Project NYC). Training: One Month
Duke of Suffolk IntensivAe (Giles Foreman Centre for Acting).
BOVTS: M in Lungs, Dr.
Yevgeny Dorn in The Seagull,
Nathan Stark
Macbeth in Macbeth. Pre-
York
BOVTS: Pequeno Saúl in BOVTS: M in Lungs,
AVENUE Q (Portual, Teatro Medvedenko in The Seagull,
Trindade, Teatro Maria Brutus in Julius Ceaser.
Matos), Tybalt in Romeo and Juliet (Portugal, O Pre-BOVTS: Fleance in
Filho de Meio). Training: BA in History (Nova Macbeth (Lincoln Centre
University Lisbon), Musical Theatre intensive Theatre), Dakin in The History
summer (New York Film Academy), Voice/ Boys (Palm Beach Dramaworks), Fourteen
Acting workshops with Patsy Rodenburg (PT), productions across seven seasons at the
Jo Kelly (RESET), Diana Castle (Imagined Life Illinois Shakespeare Festival, some notable
LA), Tiago Félix (Lucid Body NYC), Jorge Parente roles have included: Caesar in Julius Caesar,
(La Voix, Lisbon). Claudio in Measure for Measure, La Beau in
As You Like It. Training: BFA in Acting from
Aude Ponthieux Ball State University, Studio member at The
Cardinal of Winchester Freeman Studio in New York City.
BOVTS: W in Lungs, Irina
Arkadina in The Seagull, The
Countess of Roussillon in
All’s Well that Ends Well. Pre
BOVTS: Phaedra in Phaedra
CREATIVES, PRODUCTION AND
TECHNICAL TEAM
Director Gemma Fairlie*
Assistant Director and DOP (Film Shoot) Aaron Finnegan
Assistant Director and DOP (Film Shoot) Tobias Millard
Production Designer Robbie McDonnell
Lighting Designer Chris Collier*
Sound Designer Jessica Edkins*
Voice and Dialect Coaches Joe Leat†, Penelope Wildgoose
Additional Combat Jonathan Howell†
Production Manager Steve O’Brien†
Assistant Production Manager Joe Culpin†
Production Supervisor Bryony Rutter†
Stage Manager Eleanor Condon
DSM and 1st AD (Film Shoot) Hannah Lipton
Assistant Stage Manager Jack Bain, Katrina-Summer Richards
Technical Supervisor Joe Price*
LX Operator Ebony Hayes
Sound Operator Alice Truman Boal
Construction Manager Andy Scrivens†
Carpenter Rhys Gillard*
Construction Assistant Jocelyn Chen, Iona Hicks,
Muir McFadden
Construction Assistant Sally Strong†
Prop Maker Ziva Bucer
Costume Supervisor Evie Akerman
Costume Assistants Bethany Boldero, Shanice Dacres,
Elle Duncan, Gracie Green, Jo Kenney,
Charly Riddett, Kim White,
Arthur Wyatt
Costume Dressers Arthur Wyatt, Shanice Dacres,
Rhianne Good
Costume Support Charlie Elmont*, Sam Pine*
Hair and Make Up Chrissie Bricknell*
Special thanks to Kerrie Hunt and Thrings Solicitors
* Visiting industry professional; † BOVTS staff; all other roles are fulfilled by students
on the Theatre School’s production and technical courses. To find out more about
training at BOVTS, please visit oldvic.ac.uk/course-finder.
The video and/or audio recording of this performance by any means whatsoever is prohibited.
Gemma Fairlie Tobias Millard
Director Assistant
Director and
Gemma has directed
Director of
throughout the UK
Photography
and abroad, working
on Shakespeare, (Film Shoot)
new writing, Tobias is an early
physical theatre, career director,
circus and musical producer and stage
theatre. During her manager. Prior to
career, as both director and associate director, the MA Drama Directing course at BOVTS, he
she has worked for companies including: Royal trained in stage management at Royal Central
Shakespeare Company, Royal Court Theatre, School of Speech and Drama. His creative
Theatre 503, New Vic Theatre, Pitlochry projects are often site-responsive, multi-
Festival Theatre, Stephen Joseph Theatre disciplinary, and visually led.
and The Orange Tree Theatre. In addition to
her directing, she is also a choreographer, His directing and assistant directing credits
movement director and dramaturg. She is include How My Light is Spent (Wardrobe
the Artistic Director of Light the Fuse and a Theatre and Riverside Studios), The Last Days
regular Educational Practitioner for the Royal of Judas Iscariot (The Station) and CSB Studio
Shakespeare Company, The Shakespeare Festival (Theatre 503).
Birthplace Trust, LIPA as well as BOVTS.
Robbie
Aaron Finnegan McDonnell
Assistant Production
Director and Designer
Director of Robbie is a set,
Photography costume and video
(Film Shoot) designer based in
Aaron Finnegan is a Bristol. His BOVTS
director and writer design credits include
from Drogheda, Henry VI: Days of
Ireland. His previous Rebellion (Bristol Old Vic), Jumpers for Goalposts
credits include Dublin Carol (Samuel Beckett (Wardrobe Theatre) and The Last Days of Judas
Theatre, 2020), and It’s More Like Train Tracks Iscariot (The Station). Previous design credits
Than A Sandbox (Smock Alley, 2020). He include set design for This Changes Everything
previously studied at Trinity College Dublin. (BSU Theatre), video design for Animal Farm
(Mission Theatre) and production design for
He aims to create work that is visually striking, the short film, Two Containers.
relevant and emotionally engaging, and deals
with themes of family, masculinity, violence,
and redemption set against urban backdrops.
He is hugely interested in new writing, but also
in re-examining classic texts in a fresh light.
Chris Collier Jonathan Howell
Lighting Additional
Designer Combat
Chris is a lighting Jonathan is the Head
designer, stage of Movement and
manager, director, Combat at BOVTS and
devisor and has working for the
improviser. After School since 1988.
graduating from His favourite work to
Dartington College date includes acting in
of Arts in 2007, Chris has gone on to work Cyrano de Bergerac; being the sword wielding
with many Bristol-based companies as well as left-hand of pirate goat Clueless Morgan
being the Technical & Operations Director at in the film The Muppets Treasure Island and
The Wardrobe Theatre. choreographing a multitude of school children
for the epic battle between Mice and Soldiers
Recent lighting design credits include No
for the Norwegian National Ballet’s production
Expectations (Closer Each Day), Big Boys Don’t
of The Nutcracker.
Cry (Opposable Thumb Theatre), Little Women
in Black (The Wardrobe Theatre), The Great
Gatsby (The Wardrobe Theatre/Ensamble),
Drac and Jill (The Wardrobe Theatre).
Joe Culpin
Production
Manager
Penelope
Joe is specialising
Wildgoose
in production
Voice and management in his
Dialect Coach final year at BOVTS.
He has grown up
Penelope has worked
in the performance
on many productions,
industry and he was
both for stage and
curious about how productions are created.
screen, as actress,
He has a strong understanding and skill set of
writer and facilitator.
all disciplines which have helped him progress
Trained at Dartington
towards his goal of working in a production
College of Arts and more recently at the Bristol
management team.
Old Vic Theatre School, she combines a love of
voice and a passion for dramatic imagination Credits include Assistant Production Manager
and performance in whatever context she is on Macbeth (Bristol Old Vic), Romeo and
working, and her commitment to her subject Juliet (Redgrave Theatre), Sammy and the Sea
is catching. Morgans (Theatre in Education Tour), Pride and
Prejudice (The Mount Without) and The Last
Penelope loves to engage others in
Days of Judas Iscariot (The Station).
the dramatic process and to facilitate
empowerment and creativity through
voicework and text. She has directed and
facilitated performance with a diverse
community of young people, and in contexts
as varied, and finds her inspiration and
excitement in the inspiration of others.
Bryony Rutter Evie Akerman
Assistant Production Manager Costume
Supervisor
Bryony trained at Theatr Clwyd and has had a
diverse career in Stage Management that has During her training
taken her to theatres and performance spaces at BOVTS, Evie has
around the UK and the world. She has toured enjoyed exploring
with companies such as Propeller Theatre every element of
and Northern Broadsides, as well as working costume for stage
‘in house’ for the RSC (A Tender Thing, The and screen, including
Hypocrite), the National Theatre (Jane Eyre) construction,
and extensively for Bristol Old Vic and Tobacco breakdown and design. She has recently
Factory Theatres. Bryony joined the staff of gained professional experience as a buyer,
Bristol Old Vic Theatre School in February. stylist and standby on Netflix production Half
Bad and BBC productions The Girl Before and
Flatshare.
Eleanor Condon Her BOVTS credits include Costume Supervisor
Stage Manager and Maker on Absolute Scenes (The Marble
Factory), Costume Assistant and Dresser
Eleanor is specialising
on The Snow Queen (Redgrave Theatre),
in Prop Making and
Earthquakes in London and The Laramie
Stage Management
Project (both at Bristol Old Vic). She was also
in her final year and
Costume Standby for the BOVTS’ short film,
is interested in a
The Disappointed.
career as an ASM
or within the props
department. She
Andy Scrivens
has enjoyed her time learning new skills at
Theatre School and is excited to get out into Construction
the industry. Supervisor
Previous credits include Deputy Stage Andy has over 28
Manager on Pride and Prejudice (The Mount years of experience
Without), Props Supervisor on Romeo and in the UK, Europe
Juliet (Redgrave Theatre) and While Shepherds and North America
Watched (TIE) and Assistant Stage Manager on working as an
Absolute Scenes (Marble Factory). electrician, flyperson,
carpenter and set
builder in the theatre, film and television
industries. He is very passionate about passing
on the knowledge he has learned from his
own experiences to the next generation of
theatre technicians.
BEHIND THE SCENES
Robbie McDonnell (Production Designer) is
graduating in 2022 from the Theatre School’s MA in
Performance Design. Here he provides an insight
into the inspirations behind the design of Henry VI:
Days of Rebellion. You can catch more of Robbie’s work
at GENERATE, a free exhibition showcasing the BOVTS
creatives at Bristol’s Paintworks between 5 – 7 July.This adaptation Have there been What have What learning
of Henry VI is set any challenges? you personally have you valued
in the corporate achieved from this most at BOVTS?
We knew we had
world, where production?
a strong concept Sharing a studio
did you look for
with our corporate This was a great alongside six
inspiration?
world, but it was opportunity for other incredible
I took a lot of finding a way me to balance set, designers has been
inspiration from for this to break costume and video such an amazing
modern office down visually into design all at once experience, we
design, focussing something else that on a scale that all learn so much
in on LA and was the biggest I’ve not worked at from each other.
California, looking challenge. It was before. It was super Every day is exciting
through magazines, only by a combined exciting but also because there are
television shows design effort of set, daunting! It’s been so many creative
and websites. It was costume and video a tricky balance ideas flying around
also by looking at that I feel we were but I’ve definitely the room! It’s been
abandoned spaces, able to transport enjoyed the creative a joyful learning
modern artwork the audience to control and feel environment and I’ll
and sculpture a familiar but very happy with the miss it greatly.
that we were fractured world outcome.
able to capture during the second
the mood of play act.
within the office -
cold, soulless and
unforgiving.WRITERS’ BLOC SAT 2 JULY, 2:15 WESTON STUDIO, BRISTOL OLD VIC Join the graduating students of the Drama Writing MA for a vibrant afternoon, showcasing exciting 20-minute extracts from seven full-length plays. Tickets £5 | Book now at bristololdvic.org.uk GENERATE TUE 5 JUL – THU 7 JUL A free exhibition showcasing the work of graduating creatives from Bristol Old Vic Theatre School’s design, costume and production departments. Paintworks, Bristol, BS4 3EH | 10 am – 5.30 pm Tue & Wed, 10 am – 3 pm Thu
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