Written By David Harrower

Tour details?

First presented in the King’s Theatre, Edinburgh as part of the Edinburgh International Festival on 15 August 2005 and subsequently at the Albery Theatre, London by Michael Edwards and Carole Winter for MJE Productions on 13 February 2006. Originally produced in the USA by Manhattan Theatre Club, Lynne Meadow Artistic Director, Barry Grove Executive Producer on 10 April 2007.

Blackbird On TourYork Theatre Royal Thu 20 - Sat 12 Nov

01904 623568

Tron Theatre, Glasgow Tue 15 - Sat 19 Nov

0141 552 4267

Mercury Theatre, Colchester Wed 23 - Sat 26 Nov

01206 573948

Northcott Theatre, Exeter Wed 30 Nov - Sat 3 Dec

01392 493493

HOW DO YOU DESCRIBE BLACKBIRD? That’s a question I’ve been asked so many times recently. The problem is there are so many answers that it is impossible to define one. I can however tell you why I think it is so completely compelling. This play pushes moral boundaries and perceptions, constantly challenging it’s audience. We are continuously exposed to uncomfortable situations. We are asked to consider accepting something that should be black and white, but is so much more complicated.

We are witnesses to the aftermath of a relationship which is as messy as the room they are in. Both Una and Ray are trapped in the past. One thinks they have moved on and one can’t forget. The dialogue is fragmented, these characters speak the way we speak. The arc of their thoughts gets interrupted, gets cut and carries forward in long loops. Questions remain unanswered as the need to discover the truth becomes more desperate.

This is what theatre does so well and I honestly feel privileged to have directed such an electrifying piece. Both Charlie and George are exceptional actors and have been bold and brave with their work. One thing I am certain of is you will leave the theatre and ask yourself the very same question - and I’m pretty sure that no two answers will be the same.

by Katie Posner

DIRECTOR’S NOTES

DAVID Harrower is an internationally acclaimed playwright. Previous work includes: Knives in Hens (Traverse Theatre and Bush Theatre), Kill the Old Torture Their Young (Traverse Theatre), The Chrysalids (NT Connections), Presence (Royal Court Theatre), Dark Earth (Traverse Theatre), Blackbird (Edinburgh International Festival, West End, Manhattan Theatre Club and Sydney Theatre Company), 365 (National Theatre of Scotland), Good With People (Paines Plough/ Oran Mor, Traverse Theatre), A Slow Air (Tron Theatre) and Calum’s Road (National Theatre of Scotland).

Adaptations include: Six Characters in Search of an Author (Young Vic Theatre); Woyzeck (Edinburgh Lyceum Theatre), Ivanov (Royal National Theatre), The Girl on the Sofa (Edinburgh International Festival

and the Schaubuhne, Berlin), Tales from the Vienna Woods (Royal National Theatre), Mary Stuart

(National Theatre of Scotland), The Good Soul of Szechuan (Young Vic Theatre), Sweet Nothings, a new version of

Schnitzler’s Liebelei (Young Vic Theatre) and most

recently Government Inspector (Young Vic Theatre).

David Harrower

David is currently working on a screenplay of Blackbird for Jean

Douminian Productions.

What were the main core design ideas for ‘Blackbird’?

The script itself is quite specific about the environment and both Katie and I wanted to preserve these elements as they are integral to the piece. It is a staff room, tables, chairs and a floor strewn with rubbish, these are key elements. We also wanted a feeling of enclosure for the characters and also for the audience.

Has it developed much from the initial designs?

We initially thought to stage the piece enclosed completely in a box stage, a design idea I used on White Crow also in this Studio space. However we then felt we

should explode it out to bring the audience into the drama itself as conscious observers, so we established the one back wall but included panels to make the actors feel fully surrounded. In a sense there is nowhere to hide.

What are you feelings for the design overall?

I want this to be a naturalistic space, even down to where the rubbish falls. It shouldn’t be placed, but dropped from each table or chair. We’ll design the

layout in the space and this will remain until disturbed by the actors as they make the space their own.

You’ve designed on many York Theatre Royal productions, ‘Wind in the Willows’, ‘White Crow’ and ‘Equus’ amongst others, is it more of a challenge producing a naturalistic set than one that is more fantastical?

When you have a fully blank canvas the options are limitless and therefore it can be harder to tether an idea. Whereas when you work on a script such as this with specific guidelines, or a Directors vision, then you rule certain things out and so it does become easier. One of the hardest things about design is coming up with ideas

and then finding out whether it can even be produced! At least when you work within naturalism you know you’ve got real life as your inspiration.

Designer Lydia Denno: Interview

CHARLIE’S theatre credits include Bite Me, (Edinburgh Underbelly) Ned and Sharon (High Tide), Men Without Shadows (Finborough Theatre), and The Spanish Tragedy (Arcola).

Television work has seen her appear in The Inbetweeners, Whitechapel II, Law and Order UK, Midsommer Murders, Angelo’s, Doctors, Messiah IV and Fortysomething.

Film credits include A Fantastic Fear of Everything, Forgetmenot, Frog/Robot and Oscar and Jim.

RECENTLY George was at York Theatre Royal playing Willy Loman in Damian Cruden’s production of Death of A Salesman.

I didn’t imagine there could be better writing than that.

And there may not be, but this script runs the best of everything I’ve done deliciously close.

Waiting For Godot, Who’s Afraid of Virgina Woolf? (both at the Library Theatre Manchester), Steinbeck’s Of Mice and Men, (Birmingham Rep, National Tour and West End) two sung-through shows of the incomparable Randy Newman, (Stratford East and The Tricycle theatre), Willy Russell’s Blood Brothers (Liverpool and West End) and the late, great Alan Clarke’s film of Andrea Dunbar’s Rita Sue and Bob, too.

Joe Penhall’s Blue Orange and Conor McPherson’s The Seafarer at the Abbey in Dublin, and Joe Penhall’s adaptation of Jake Arnott’s The Long Firm for the television.

This, like all of those, is a privilege.

Lucky boy. Enjoy the show.

Charlie CovellGeorge

Costigan

LYDIA trained in Theatre Design at Nottingham Trent University.

On graduating in 2007 she co-established Left Luggage Theatre Company and was involved in designing, devising and performing in site-responsive, puppetry-lead productions throughout the UK.

Her design credits include: I Want that Hair, Pericles, The White Crow, Hansel and Gretel, Equus, Animal Farm, My Own Private Purgatory, Me and me Dad, Terrorism, Catcher, Wind in the Willows and Coram Boy.

Other work has included designing for Nottingham Playhouse’s TiE programme, designing and costume-making for Nottingham Theatre Royal and costume–making at The Royal Exchange, Manchester.

After a year in Switzerland enjoying life, culture and theatre in a different neck of the woods, she is excited to be back in York, working on this stimulating and thought provoking play.

KATIE is Associate Director of Pilot Theatre, for whom she has directed A State of Innocence and Between this Breath and You from The Fever Chart by Naomi Wallace, Jack and the Mystery of the Clones of Chaos by Richard Hurford, What Light (as part of the pan European PLATFORM 11+ project) and co-directed last years national tour of Romeo and Juliet.

She worked with Pilot on their shows Fungus the Bogeyman and Lord of the Flies as Tour and Staff Director and most recently she directed Parlour Song by Jez Butterworth in York Theatre Royals Studio as part of the Ensemble Season (the first time this acclaimed show had been seen outside of London).

Last year she co-directed a new adaptation of Wind in the Willows by Mike Kenny at York Theatre Royal as well as Just by Ali Smith.

Before joining Pilot, Katie directed a variety of shows including The Bang Gang by Lee Mattinson (Northumberland Theatre Company), My Funny Valentine (Live Theatre), The Government Inspector, Ernie’s Incredible Illucinations, Gizmo, Fantastic Mr Fox (all for JAM Theatre) as well as The BFG for Aylesbury Theatre’s Roald Dahl Festival.

She is an experienced actress, practitioner and educator, having Course-Led Drama and Theatre Studies A-Level and National Diploma Acting. She has also collaboratively written two BTEC study guides which are used nationally by schools and colleges.

Katie Posner

Lydia Denno

-Director

-Designer

Creative team

Liam attended The Oldham College, studying entertainment technology. Whilst there he was lighting designer for the high profile Oldham College Awards Evening. During his time at college, Liam completed a work placement at the Royal Shakespeare Company and also worked on pantomimes at Middleton Arena, where he went on to be Head Technician, lighting many shows including Pirates of Penzance, performed by North Manchester Amateur Dramatics.

His freelance work also includes Little Shop of Horrors performed by Players Theatre Group Oldham at the Grange Arts Centre, Footloose and Our House The Musical both performed by Horwich Amateur Dramatics at The Albert Hall, Bolton.

Liam is currently Assistant Electrician at York Theatre Royal.

IN 2011 Craig completed his doctorate in music composition and was also nominated for an Olivier award for best sound design for The Railway Children.

In 2010 he was commissioned by the Laurence Sterne Trust, York Theatre Royal and Arts Council England to compose a digital opera based on A Sentimental Journey (1768).

That same year he was commissioned by Exhibition Road Cultural Group and PRS Foundation to create Flow to celebrate World Music Day and the 25th anniversary of the opening of the Ismaili Centre, London.

Superfield [Mumbai] (2009), commissioned by Bradford Mela and Mumbai Festival incorporated, found sounds and music from the streets of Mumbai weeks after the terrorist attacks of 2008.

During 2003-4 he held the Arts Council England Fellowship with the British Antarctic Survey, which resulted in a large-scale composition created from field recordings which was performed in 2006 at the Unicorn Theatre, London called Play: Antarctica.

In 1997 he co-founded the pop group Cousteau, which made 300,000 sales worldwide and gained a gold disc. Singing Ringing Buoy, an installation at the National Maritime Museum Cornwall (2007-8), was shortlisted for the 2005 PRS New Music Award.

For more information go to: http://www.ev2.co.uk/vear

Craig Vear

Liam Jones

-Sound Designer

Creative team

-Lighting Designer

SENIOR STAFFChief Executive Liz WilsonArtistic Director Damian Cruden

ADMINISTRATIONGeneral Manager Vicky BilesAdministrator Katy NelsonHead of Finance~ Janis SmythPayroll Officer~ Jean HarveyAccounts Assistant Jackie RaperAccounts Assistant~ Claire FlanaganReceptionist Mandie HudsonHonorary Archivist~ Christine RobertsFundraising and Events Co-ordinator~ Julia Smith

COMMUNICATIONSHead of Communications Abbigail WrightMarketing Officer Marc ThompsonMarketing and Press Assistant Fiona MartinPress and Media Manager Thomas Feeney

PRODUCTIONProduction Managers Judith Cloke, Paul VeyseyStage Manager Anna BelderbosDeputy Stage Managers Clare Morse, Steve MuckersieAssistant Stage Managers Samantha Krylonsky, Daisy O’FlynnAssistant Electrician Nick DuncanAssistant Electrician Liam JonesStage Technicians Terry Bounds, Andy Furey, Eliott FosterHead of Wardrobe Juliette BerryCutters Kathryn Tetlow, Lenka KupkovaWardrobe Assistants Emma Holdsworth, Kate GardnerCostume Hire Supervisor~ Pauline RourkeCostume Hire Assistants~ Alex Papachristou-Cox, Rosemary BentleyFreelance Wardrobe Paula Grosvenor, Anna Kestevan, Julia Perry, Catherine Chapman Freelance Prop Maker Beckie MayStage Door Keepers~ Richard Bayton, Hugo Bentley, Rosemary Bentley, Sean Harrison, Brian Morrison

PILOT THEATREMarcus Romer Artistic DirectorMandy Smith ProducerSarah Seddon Company AdministratorKatie Posner Associate DirectorThomas Feeney Press and Media ManagerMarc Thompson Marketing OfficerMark Beasley Production ManagerCharles Moore Finance DirectorJackie Raper Finance AssistantRichard Hurford Associate ArtistTom Bellerby Associate ArtistHelen Cadbury Education Associate

PILOT THEATRE BOARD MEMBERSTracy CochraneStephen MasonDave Moutrey (Chair)Kully ThiaraiJenny WardPete WhelanAnn WishartTina Wright

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