Theatre credits include Resurrection Blues (Old Vic), Breath of Life (West End), The Talking Cure (National Theatre), Private Lives (West End and Broadway), Listen to the Music (Ballet Rambert), Carmen (Royal Opera House), Idomeneo and L’Elisir d’Amore (Welsh National Opera), Ein Tag, Des Knaben Wunderhorn, Ragtime and Pelleas and Melisande (Tanzforum Cologne), Deranged Songs (Nederlands Dans Theatre), ‘Tis Pity She’s a Whore, The Lorenzaccio Story and Outskirts (RSC), The Threepenny Opera, The Merchant of Venice, Dear Octopus and Little Eyolf (York Theatre Royal), The Duchess of Malfi (Birmingham Rep), Slave Camps (Half Moon Theatre), Scraps and Can You Help (Orange Tree Theatre).

 

Television credits include The Cranford Chronicles, Byron, Armadillo, Proust, Emma, The Gathering Storm, Back Home, Partition, Mountbatten: The Last Viceroy, A Night on the Town, Treasure Island, Gilbert and Sullivan, A Fine Romance, Holding the Fort, Blood Royal: William the Conqueror.

 

Films include Sherlock Holmes, Defiance, True North, Amazing Grace, Black Dahlia, Casanova, Alexander, Timeline, Gosford Park, Anna and the King (Oscar nomination),  Anna and the King, Tea with Mussolini, Ever After, Metroland, Sense and Sensibility (Oscar nomination), Jane Eyre, Jefferson in Paris, Black Beauty, Remains of the Day (Oscar nomination), Swing Kids, Howards End (Oscar nomination), The Bridge, White Fang, Impromptu, Mountains of the Moon, The Deceivers, A Summer Story, Maurice (Oscar nomination),  A Room With a View (Oscar Award), The Bostonians (Oscar nomination), Jane Austen in Manhattan, Hullaballo Over Bonnie and Georgie’s Pictures.

 

 

Howard Davies is Associate Director of the National Theatre and was previously an Associate of the Royal Shakespeare Company. While at the RSC he established and ran the Warehouse Theatre where he produced and directed 35 new plays.

Work at the National includes Burnt by the Sun, Gethsemane, Her Naked Skin, Never So Good, Present Laughter, Philistines, The Life of Galileo, Paul, The President of an Empty Room, The House of Bernarda Alba, The Shaughraun, The Secret Rapture, Hedda Gabler, Ma Rainey’s Black Bottom, The Crucible, Piano, Pygmalion, The Children’s Hour, Cat on a Hot Tin Roof, Mary Stuart, Chips with Everything, Flight (Evening Standard and Critics’ Circle Awards for Best Director), Battle Royal, All My Sons (Olivier Award for Best Director), The Talking Cure and Mourning Becomes Electra (Critics’ Circle Award, Best Director; Olivier Award, Best Revival).

For the RSC his work included Piaf, Good, Les Liaisons Dangereuses and Troilus and Cressida.

For the Almeida his work has included Period of Adjustment, Who’s Afraid of Virginia Woolf?, The Iceman Cometh (also at The Old Vic and on Broadway; Olivier, Evening Standard and Critics’ Circle Awards for Best Director), The Play About the Baby, and Vassa at the Albery. In the West End his work includes Private Lives and The Breath of Life.

He has directed eight productions on Broadway: Piaf, Good, Les Liaisons Dangereuses, Cat on a Hot Tin Roof, My Fair Lady, Translations, The Iceman Cometh, Private Lives and Moon for the Misbegotten.

Opera includes Idomeneo, Eugene Onegin (WNO), I Due Foscari (Scottish Opera), and The Italian Girl in Algiers.

Television includes Tales from Hollywood, Armadillo, Copenhagen and Blue/Orange.

Films David Hare’s screenplay, The Secret Rapture.

 

Previously at Chichester designed The Last Confession (and West End).

In the West End Carousel, I Claudius, Mutiny!, Kiss Me Kate, Girlfriends, Matador, Heartbreak House, A Streetcar Named Desire, My Night with Reg, Lenny, The Breath of Life, Hitchcock Blonde (Olivier Award), Old Times, The Woman in White (London and New York. Theatregoers Choice Award for Best Set Designer), Betrayal and The Importance of Being Earnest.

For the National Theatre Lavender Blue, Larkrise to Candleford, Lost Worlds, The World Turned Upside Down, Undiscovered Country (Olivier Award), Dispatches, Don Quixote, Schweyk in the Second World War, The Mysteries (Olivier Award), The Real Inspector Hound, The Critic (Olivier Award), Entertaining Strangers, Waiting for Godot, Cat on a Hot Tin Roof (also New York), The Shaughraun, The Changeling, Bartholomew Fair, The Voysey Inheritance, The Crucible, The Coup, Pygmalion (Olivier Award), The Rise and Fall of Little Voice (Olivier Award), On the Ledge, Johnny on a Spot, Under Milk Wood, Wild Oats, The Alchemist, The Homecoming, The London Cuckolds, Cleo Camping Emmanuelle and Dick, The Forest, Blue/Orange, All My Sons (Olivier Award), The Coast of Utopia (Critics Circle Award), Honour, The Permanent Way, Landscape with Weapon.

For the RSC Julius Caesar, Ivanov, Twelfth Night, That Good Between Us, Richard III, The Party, The Merry Wives of Windsor (Olivier Award), Richard II, A Midsummer Night’s Dream, Country Dancing, The General From America.

 

For the Royal Court The Duchess of Malfi, Man is Man, Small Change, The Fool, Edmund, Hamlet (Drama Award), Edmund, Kafka’s Dick, Etta Jenks, Hitchcock Blonde I Licked a Slag’s Deodorant (Royal Court/Ambassadors), The York Realist (and West End/English Touring Theatre) and Rat in the Skull (and Duke of York’s).

 

Other theatre credits include Tanz der Vampire (Oberhausen Germany), Peter Pan (Kensington Gardens), Marya and Amadeus (Old Vic, Los Angeles and New York), The Deep Blue Sea and Tongue of a Bird (Almeida Theatre), Titus Andronicus (Globe Theatre), Some Sunny Day and The Giant (Hampstead Theatre), Look Back in Anger (Bath Theatre Royal), The Ship (for Cultural Capital of Europe Year 1990. Theatre Crafts International Award), The Big Picnic (Harland and Wolff Shipyard 1994), Hamlet (Neues Schauspielhaus Hamburg).

 

Opera credits include Tales of Hoffman, Der Rosenkavalier, Don Giovanni, The Cunning Little Vixen (ROH), The Silver Tassie (ENO), The Barber of Seville (Glyndebourne), The Barber of Seville, Idomeneo and The Flying Dutchman (WNO), Billy Budd (Metropolitan Opera), Lucia di Lammermoor (Lyric Opera of Chicago), The Ring Cycle (Bayreuth), Un Ballo in Maschera (Salzburg Festival), Lucia di Lammermoor (Opera National du Paris).

 

Films include Persuasion (BAFTA and RTS Award), The History of 1587  Rose Theatre and Scenes from Marlowe’s Plays at The Rose Theatre.

 

Exhibitions include The Rose Theatre Archaeological site Bankside London.

Previous work at Chichester include Hay Fever, The Music Man, The Circle, Twelfth Night, The Water Babies (Festival Theatre), The House of Special Purpose, Macbeth and Nocturne for Lovers (Minerva Theatre).

 

Current and recent work includes Back Beat (Glasgow), Romeo and Juliet (RSC), Inherit the Wind (Old Vic), Grasses of a Thousand Colours (Royal Court), King Lear (Young Vic), Complicit (Old Vic), Creditors (Donmar, West End and New York), Mary Poppins (West End, UK tour, Broadway and USA tour), Mamma Mia! (London, Broadway, Las Vegas, Hamburg, Japan, Stockholm, Australia and US tour), Macbeth (West End and Broadway), Tom Stoppard’s Rock ‘n’ Roll (West End and Broadway), Glengarry Glen Ross, Love Song, Guys and Dolls, Donkey’s Years and Heroes (West End), In a Dark House, The Last Days of Judas Iscariot (Almeida), Matthew Bourne’s Nutcracker! and Edward Scissorhands (Sadler’s Wells and on tour in the UK and US).

 

Opera and dance work includes Il Trovatore, Aida, I Masnadieri and Otello (Royal Opera), The Merry Widow (ENO), Swan Lake and Romeo and Juliet (English National Ballet), The Makropulos Case and Nabucco (Metropolitan Opera, New York).

 

Howard was awarded the Laurence Olivier Award for Best Lighting Designer in 2008 for his work on Macbeth as well as a Tony Award nomination whilst the show was on Broadway. He received a Tony Award Nomination in 2007 for his work on Mary Poppins on Broadway.

Theatre credits include Nocturne, A Chain Play II, The Homecoming, Awake and Sing! and Dying for It (Almeida), The Good Soul of Sezchuan, The Soldiers’ Fortune, Sleeping Beauty, The Skin of Our Teeth, Direct Action, Hobson’s Choice, The Daughter in Law, Homebody/Kabul, Jerwood Young Directors Awards 2001 and 2004, Action, A Raisin in the Sun and Six Characters in Search of  an Author (Young Vic), Lost Highway (English National Opera/Young Vic), Kafka’s Dick, We That Are Left and Heartbreak House (Watford), Three Sisters on Hope Street and Anna in the Tropics (Hampstead), The Grouch (West Yorkshire Playhouse), Swimming with Sharks and Kindertransport (Vaudeville), Tintin (tour and West End), Absolute Beginners (Lyric Hammersmith), Out of the Fog (Almeida Projects), Bad Jazz (ATC), pool (no water) (Frantic Assembly), Gaddafi: A Living Myth (English National Opera), Rabbit (Old Red Lion/Trafalgar Studios), Tintin (Young Vic/Barbican), The Prayer Room (Birmingham Rep/EIF), A Brief History of Helen of Troy (ATC/Soho Theatre), As You Like It (Wyndhams), A Raisin in the Sun (Lyric Hammersmith/Young Vic), The Morris, Port Authority, The Kindness of Strangers and Urban Legend (Liverpool Everyman), One Under (Tricycle Theatre), Yellowman (Hampstead Theatre/Liverpool Everyman), Othello (Cheek by Jowl), The Girl on the Sofa (Schaubuhne Theatre/EIF), Original Sin (Sheffield Crucible), Les Liaisons Dangereuses (Liverpool Playhouse), Antarctica (Savoy), My Brilliant Divorce (Druid Theatre Company), Yardgal, The Weir, The Force of Change, Holy Mothers, Last Dance at Dum Dum, Local, Made of Stone, About the Boy, Trade, Playwrights in Schools Festival, Young Writers Festival 1998 and 2000 (Royal Court), The Weir (Duke of York’s).

 

Television includes The Verdict, The Bill, The Badness of George IV.

 

From 1974 to 1976 Dominic Muldowney was Composer-in-Residence at the Southern Arts Association. When Harrison Birtwistle became the Royal National Theatre’s first Music Director in 1975, he appointed Dominic as his assistant. Succeeding Birtwistle as Director of Music in 1981, Dominic held the post of for 16 years. He has amassed a formidable list of accomplishments over the past two decades for films, television and theatre – his score for Michael Radford’s film of George Orwell’s 1984 remains one of the most unique film soundtracks ever to be recorded. His series of classical concertos for violin, saxophone, percussion, oboe and piano have been performed by some of the UK's major orchestras, yet he is equally at home writing and arranging for artists such as David Bowie and Sting.

 

Television and film credits include Betrayal, The Ploughman's Lunch, Loose Connections, 1984, Singleton's Pluck, The Beggar's Opera, Defence Of The Realm, Baal, The Black Candle, Tales From Hollywood, Black Daises For The Bride (Winner Prix Italia), The Peacock Spring, Emma, The Moth, The Fix, Sharpe’s Enemy, Sharpe’s Company, Sharpe’s Honour, Sharpe’s Return, Sharpe’s Revenge, Sharpe’s Waterloo, Sharpe’s Rifles, Sharpe’s Eagle, Sharpe’s Challenge, Sharpe’s Peril, After Eskimo Day, King Lear, Bloody Sunday, War Oratorio, Margaret.

 

Orchestra music and operas include Piano Concerto (Peter Donohoe/BBC Symphony Orchestra. EMI), Saxophone Concerto (John Harle/London Sinfonietta. EMI), Oboe Concerto (Roy Carter/London Symphony Orchestra. NMC), The Fall of Jerusalem (oratorio), The Voluptuous Tango (opera. Winner Prix Italia), Red Razzmatazz (opera).

National Theatre credits include Dido, Queen of Carthage, Burnt by the Sun, Mrs Affleck, Every Good Boy Deserves Favour, Gethsemane, The Hour We Knew Nothing of Each Other, War Horse, Philistines, Happy Days, Therese Raquin, The Seagull, Burn/Chatroom/Citizenship, Measure for Measure, Coram Boy,  Playing with Fire, A Dream Play, A Minute Too Late, Measure for Measure, Mourning Becomes Elektra, The Talking Cure, Play Without Words, The Power Book, Humble Boy, Howard Katz, Life x 3, Hamlet, Albert Speer, Not About Nightingales, The Darker Face of the Earth, Death of a Salesman, Chips With Everything, Haroun and the Sea of Stories, The Homecoming, Machinal.

West End credits include War Horse (transfer to the New London), Piaf (transfer to the Vaudeville), All About My Mother and A Moon for the Misbegotten (Old Vic), The Caretaker (transfer to the Tricycle), Julius Caesar (The Barbican), The Earthly Paradise (Almeida), Life x 3 (The Savoy), Humble Boy (The Gielgud) and Antarctica (The Savoy).

 

Other theatre credits include for Théâtre de Complicité A Disappearing Number (European tour and Barbican), The Elephant Vanishes (Japan, London, New York, Paris), Mnemonic (London, New York and world tour), The Noise of Time (New York, London), The Street of Crocodiles, The Three Lives of Lucie Cabrol, The Caucasion Chalk Circle; Piaf, The Man Who Had All the Luck, Phaedre, Hecuba (Donmar Warehouse), Aunt Dan and Lemon, Free Outgoing and The Arsonists (Royal Court), Romeo and Juliet, Noughts and Crosses, King John and Much Ado About Nothing (RSC), Riders to the Sea (ENO), Little Otik (Vanishing Point), The Bacchae (National Theatre of Scotland). All My Sons, Happy Days, A Moon for the Misbegotten, Coram Boy, Humble Boy, Not About Nightingales, Mnemonic and The Resistible Rise of Arturo Ui (Braodway and Off Broadway).

 

Radio A Shropshire Lad, Tennyson’s Maud, After the Quake, A Disappearing Number, Mnemonic (BBC Radio 4 and 3).

 

Christopher Shutt trained at the Bristol Old Vic Theatre School. He was Head of Sound at the Bristol Old Vic and the Royal Court Theatres and then Sound Supervisor at the Royal National Theatre and now works freelance.

 

He has twice been awarded the New York Drama Desk Award for Outstanding Sound Design, for Not About Nightingales and Mnemonic. He has been nominated for three Olivier Awards, for Coram Boy and War Horse, both at the National, and for Piaf at the Donmar.

Theatre includes Indigo (RSC, Almeida), and a version of Ibsen’s Lady From the Sea (Riverside Studios, National Theatre of Norway), Shamrocks and Crocodiles (Liverpool Playhouse, National Theatre Studio. John Whiting Award for Best New Play of 1987).

 

Television includes Our Lady Blue, Dr Finlay, Frank Stubbs Promotes, Soldier Soldier, Kiss and Tell, Madame Bovary, Ballet Shoes. 

 

Heidi created and wrote the BBC drama series Lilies and wrote the screenplays for I Capture the Castle and Ballet Shoes.

 

Heidi wrote the multi-award winning  Cranford, earning Primetime Emmy and Bafta nominations for Outstanding Writing, and Best Writer Awards from The Royal Television Society, The Broadcasting Press Guild and the Writer’s Guild of Great Britain.