Martine. Jean-Jacques Bernard

productions include Dido, Queen of Carthage and The Alchemist (both at the Rose Theatre, Bankside). She is Artistic Director of House on the Hill Productions, and Literary Associate and Assistant to the General Manager at Jermyn Street Theatre, and was Artistic Director of Bristol Shakespeare Festival (2009-2011), and a Guest Judge for Off By Heart Shakespeare (BBC).

      Production Acknowledgements Production Image and Publicity Shots | Robert Workman Poster and Flyer Design | Rebecca Maltby Video Trailer | Jack Lee Rose Publicist for Hannah Murray | Romilly Bowlby PR for Primavera 2014 Season | David Burns Assistant Set Builder | Jordan Magnée

      Thanks to Peter and Nicki Hall, Peter Halpin, Matt Jones, Laurie Truluck, Lyn Haill, Georgia Butler and Sarah Clarke at the National Theatre, the National Theatre Archive, Martine Pattin, all at English Touring Theatre, all at the Jerwood Space, all at the Finborough Theatre, Lucy Briggs-Owen, Caroline Blakiston, Amy Morgan, Jack Hawkins, Sam Donnelly.

       Primavera is a registered charity supported by generous donations from a number of trusts, organisations, and private individuals. We would like to extend our grateful thanks to the following:

      Primavera Patrons Bernard Ainsworth, two Anonymous Trusts, Aspin International, Martin Bishop, Richard Buxton, Sir Trevor Chinn CVO, Rickie Dammann, Richard and Daisy Littler, Tom Littler, Mace Group, Steve Norris Ltd, Lucy Robinson and Paul Sommers, Anthony Salz, Douglas Shaw. Primavera Angels Sir Henry Brooke, Margaret Crowther, Isobel Dalrymple, Golsoncott Foundation, Sarasin and Partners.

      Supported by

      Subsidised rehearsal facilities provided by the Jerwood Space

      JERWOOD SPACE

      Primavera Productions is a registered charity no. 1124618.

       FINBOROUGH | THEATRE

      VIBRANT NEW WRITING | UNIQUE REDISCOVERIES

       ‘Audacious and successful... West London’s Finborough Theatre is one of the best in the entire world. Its programme of new writing and obscure rediscoveries remains “jaw-droppingly good”’. Time Out ‘A disproportionately valuable component of the London theatre ecology. Its programme combines new writing and revivals, in selections intelligent and audacious.’ Financial Times ‘The tiny but mighty Finborough...one of the best batting averages of any London company’ Ben Brantley, The New York Times‘The Finborough Theatre, under the artistic direction of Neil McPherson, has been earning a place on the must-visit list with its eclectic, smartly curated slate of new works and neglected masterpieces’ Vogue

      Founded in 1980, the multi-award-winning Finborough Theatre presents plays and music theatre, concentrated exclusively on vibrant new writing and unique rediscoveries from the 19th and 20th centuries. Behind the scenes, we continue to discover and develop a new generation of theatre makers – through our Literary team, and our programmes for both interns and Resident Assistant Directors.

      Despite remaining completely unsubsidised, the Finborough Theatre has an unparalleled track record of attracting the finest creative talent who go on to become leading voices in British theatre. Under Artistic Director Neil McPherson, it has discovered some of the UK’s most exciting new playwrights including Laura Wade, James Graham, Mike Bartlett, Sarah Grochala, Jack Thorne, Simon Vinnicombe, Alexandra Wood, Al Smith, Nicholas de Jongh and Anders Lustgarten; and directors including Blanche McIntyre.

      Artists working at the theatre in the 1980s included Clive Barker, Rory Bremner, Nica Burns, Kathy Burke, Ken Campbell, Jane Horrocks and Claire Dowie. In the 1990s, the Finborough Theatre first became known for new writing including Naomi Wallace’s first play The War Boys; Rachel Weisz in David Farr’s Neville Southall’s Washbag; four plays by Anthony Neilson including Penetrator and The Censor, both of which transferred to the Royal Court Theatre; and new plays by Richard Bean, Lucinda Coxon, David Eldridge, Tony Marchant and Mark Ravenhill. New writing development included the premieres of modern classics such as Mark Ravenhill’s Shopping and F***ing, Conor McPherson’s This Lime Tree Bower, Naomi Wallace’s Slaughter City and Martin McDonagh’s The Pillowman.

      Since 2000, new British plays have included Laura Wade’s London debut Young Emma, commissioned for the Finborough Theatre; two one-woman shows by Miranda Hart; James Graham’s Albert’s Boy with Victor Spinetti; Sarah Grochala’s S27; Peter Nichols’ Lingua Franca, which transferred Off-Broadway; and West End transfers for Joy Wilkinson’s Fair; Nicholas de Jongh’s Plague Over England; and Jack Thorne’s Fanny and Faggot. The late Miriam Karlin made her last stage appearance in Many Roads to Paradise in 2008. UK premieres of foreign plays have included Brad Fraser’s Wolfboy; Lanford Wilson’s Sympathetic Magic; Larry Kramer’s The Destiny of Me; Tennessee Williams’ Something Cloudy, Something Clear; the English premiere of Robert McLellan’s Scots language classic, Jamie the Saxt; and three West End transfers – Frank McGuinness’ Gates of Gold with William Gaunt and John Bennett; Joe DiPietro’s F***ing Men; and Craig Higginson’s Dream of the Dog with Dame Janet Suzman.

      Rediscoveries of neglected work – most commissioned by the Finborough Theatre – have included the first London revivals of Rolf Hochhuth’s Soldiers and The Representative; both parts of Keith Dewhurst’s Lark Rise to Candleford; The Women’s War, an evening of original suffragette plays; Etta Jenks with Clarke Peters and Daniela Nardini; Noël Coward’s first play, The Rat Trap; Charles Wood’s Jingo with Susannah Harker; Emlyn Williams’ Accolade; Lennox Robinson’s Drama at Inish with Celia Imrie and Paul O’Grady; John Van Druten’s London Wall which transferred to St James’ Theatre; and J. B. Priestley’s Cornelius which transferred to a sell out Off Broadway run in New York City.

      Music Theatre has included the new (premieres from Grant Olding, Charles Miller, Michael John LaChuisa, Adam Guettel, Andrew Lippa, Paul Scott Goodman, and Adam Gwon’s Ordinary Days which transferred to the West End) and the old (the UK premiere of Rodgers and Hammerstein’s State Fair which also transferred to the West End), and the acclaimed ‘Celebrating British Music Theatre’ series, reviving forgotten British musicals.

      The Finborough Theatre won The Stage Fringe Theatre of the Year Award in 2011, London Theatre Reviews’ Empty Space Peter Brook Award in 2010 and 2012, the Empty Space Peter Brook Award’s Dan Crawford Pub Theatre Award in 2005 and 2008, the Empty Space Peter Brook Mark Marvin Award in 2004, and swept the board with eight awards at the 2012 OffWestEnd Awards including Best Artistic Director and Best Director for the second year running. Accolade was named Best Fringe Show of 2011 by Time Out. It is the only unsubsidised theatre ever to be awarded the Pearson Playwriting Award (now the Channel 4 Playwrights Scheme) nine times. Three bursary holders (Laura Wade, James Graham and Anders Lustgarten) have also won the Catherine Johnson Award for Pearson Best Play.

       www.finboroughtheatre.co.uk

       FINBOROUGH | THEATRE

      VIBRANT NEW WRITING | UNIQUE REDISCOVERIES

      118 Finborough Road, London SW10 9ED

      [email protected] www.finboroughtheatre.co.uk

      Artistic Director | Neil McPherson

      Resident Designer | Deputy Chief Executive | Alex Marker

      General Managers | Winona Navin-Holder and Marie