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ACHRISTMAS

Artistic DirectorDavid Nixon

National Tour Partner

Photo: HANSONAutumn 2009

A Christmas Carol

Photo: Brian Slater

Director: Christopher Gable CBE

Choreographer: Massimo MoriconeSet and Costume Designer: Lez BrotherstonComposer: Carl Davis CBE

Original Lighting Designer: Paul PyantRestaging for 2009: Daniel de AndradeThank you to Steven Wheeler forhis assistance in rehearsingA Christmas Carol.

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A Christmas CarolThe StoryPROLOGUEFuneral SongMarley is dead. Seven years before our story begins Scrooge is seen, as a solitary mourner, at the funeral of his business partner Jacob Marley. It is the finality of Marley’s death which gives meaning to all the events that follow.

ACT IIn a street in the old city of London, on Christmas Eve, shoppers hurry to buy last minute Christmas presents. Outside the counting house where Ebenezer Scrooge and the late Jacob Marley have made their money, carol singers arrive collecting for the poor.

God Rest Ye Merry GentlemenScrooge’s clerk, the warm-hearted Bob Cratchit joins them but the appearance of Scrooge signals an abrupt end to the festivities.

Inside the counting house Bob Cratchit shivers and suffers under the tyranny of his stoney-hearted master. Even the arrival of Scrooge’s affable nephew and his wife has no effect on the embittered and miserly old man.

Four Pence a DayAt the end of the working day Scrooge reluctantly gives his clerk permission to leave but as Scrooge returns to his lodgings he has a disconcerting experience.

On his journey home Bob Cratchit meets some workmen at Cornhill and stops to join in a light hearted game before hurrying back to his wife and family.

PatapanWhile Scrooge is finishing his lonely supper of gruel, the ghost of his dead colleague, Jacob Marley, appears with a terrible warning.

Song of MarleyScrooge will be condemned to endless torment as a phantom unless he changes his selfish and meaningless way of life. Scrooge buries his head in his pillows to escape the fearful sight.

ACT I lThe Holly and The IvyThe Ghost of Christmas Past appears and takes Scrooge back to a Christmas of many years ago, to a party in the counting house of his first employer - Fezziwig & Family.

Boar’s Head CarolThe same party where his first love, Belle, was to tell him that she would not be his wife for he had a greater love than her, ‘I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you.’

Scrooge becomes distressed as he discovers he is powerless to undo the mistakes he made as a young man. He can bear no more and covers the light of the Ghost - the scene fades into darkness.

A Great and Mighty WonderHe is comforted by the Ghost of Christmas Present who leads him to the Cratchit household, ‘They were not well dressed; their shoes were far from being water-proof; their clothes were scanty. But, they were happy, grateful, pleased with one another, and contented.’

I Will Be Merry (round)Scrooge is affected by the warmth and love that illuminates the home as Tiny Tim sings a Christmas Song.

How Far Is It To Bethlehem?The happy family move off with the Ghost of Christmas Present and Scrooge is unable to follow.

Come Follow Me (round)He is left with only the phantoms who grow more powerful.

ACT I l lThe Ghost of Christmas Yet to Come leads Scrooge back to the Cratchit home where he finds the family grieving for the loss of their beloved son, Tiny Tim.

Another vision of the future shows three hags ransacking the bedroom of a corpse. Dark scenes crowd on each other as the dead man’s effects are disposed of at a grim auction. Finally Scrooge sees the Angel of Death approaching with a tombstone and realises, with horror, that it is his own.

As he throws himself at the headstone it dissolves and he finds himself in his own bed on Christmas morning. There is still time to change!

“I will live in the Past, the Present and the Future!” Scrooge repeated, as he scrambled out of bed. He was so fluttered and so glowing with his good intentions...the shadows of the things that would have been, may be dispelled. They will be. I know they will!”’

He dresses frantically and sets off into the streets to prepare for an enormous Christmas feast.

Children, passers-by, are all enlisted into helping to bring the best that money can buy and soon a dazzling array of food is assembled for the arrival of the guests of honour - the Cratchit Family.

As Scrooge welcomes them to his party the first flakes of snow begin to fall and the street becomes the scene of a joyful celebration.

Scrooge’s journey is complete. The embittered and maligned old man has found the generosity of spirit to regain his lost humanity and to share in the love of his fellow man.

A Great and Mighty Wonder (reprise)The story ends with an affirmation of peace on earth to all men. ‘God Bless Us, Every One!’

The scenario of the ballet is based on an original outline by Carl Davis and developed jointly by Christopher Gable and Carl Davis.

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PRODUCTIOn CREDITS: A Christmas Carol

Scenic Artist: Dave GillanRefubished by: nBT Stage TeamCAD Draughtsman: Steve WilkinsOriginal scenery constructedand painted by: A.M Flint & Co Ltd.

ALL COSTUMES FOR A CHRISTMAS CAROL HAVE BEEn REMADE SInCE THE nORTHERn BALLET THEATRE FIRE, MARCH 2001.

Costume Supervisor: Kim BrassleyAssisted by: Laura O’Connor, Mikhaila Pye, Beth Stocks,Heather Burtt, Carley MarshCostume Advisor: Mair AinsworthWigs Supervisor: Sharon O’Brian (Spob)Assisted by: Georgina GabbieWigs made by: Wigs SpecialityFacials by: Sarah Philips

Costumes made by: Julie Anderson, Sarah Anderson, Pauline Chambers, Caroline Hughes, Phil Reynolds, Julia WilsonTailoring: Louis Edmonds, Gill Lightfoot, Beth Miller, Jan Smith, Barry Thewlis, Elsa ThreadgoldShirts made by: Samuel Hogarth & SonsMasks and Special Effects: Robert Allsop and AssociatesCostume Dyeing and Painting: Penny and Bernie HadrillBreaking down of costumes: Chris DuffelenFabric Embroidered by: Inter-Action EmbroideryMillinery: Sally Baxendale, Jenny Adey, Amanda Hallnorthern Ballet Theatre would also like to thank the following for their assistance with A Christmas Carol: The Choristers of Wakefield Cathedral and Jonathan Bielby, Organist and Master of the ChoristersDavid Andrews, Music Master – Harrogate Ladies’ CollegeGeoffrey Ditcham, Music Master – Monkton Coombe Junior SchoolPointe Shoe by: Freed of London

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A Dickens of aChristmas!In 1870, Theodore Watts-Dunton recounted one of the first anecdotes ever told about Charles Dickens. He recalled that, as he was walking down Drury Lane near Covent Garden on June 9th of that year, he overheard a young barrow girl reacting to the news of Charles Dickens’ death: “Mr. Dickens dead? Then will Father Christmas die too?” Dickens’ accounts of Christmas in his stories, The Cricket on the Hearth, The Chimes, The Haunted Man, The Battle of Life, The Pickwick Papers and, most famously of all, A Christmas Carol had made him synonymous with Christmas. This is as true today as it was in the 19th century.

At the beginning of the 19th century the celebration of Christmas was in decline. The medieval Christmas traditions, which had combined the celebration of the birth of Christ with pagan traditions, had come under close scrutiny by Oliver Cromwell’s austere and puritanical government. Cromwell believed that Christmas should be a solemn day, so he banned carols and parties. The only celebration was by sermon and prayer service. In 1643, the British Parliament officially abolished the celebration of Christmas. Later, in the 18th and 19th centuries, the Industrial Revolution was taking hold of Britain and the rest of Europe and workers had little time for the celebration of Christmas.

Fortunately a romantic revival of Christmas traditions occurred in Victorian times. One contributor, Queen Victoria, was anxious to make her husband and consort, Prince Albert, feel at home and took great care to encourage German Christmas customs, particularly as their own family grew. In 1847, Prince Albert wrote: “I must now seek in the children an echo of what Ernest (his brother) and I were in the old time, of what we felt and thought; and their delight in the Christmas-trees is not less than ours used to be.” He would decorate the trees himself with sweets, wax dolls, strings of almonds and raisins, and candles, which were lit on Christmas Eve for the distribution of presents, relit on Christmas Day, after which the tree was then moved to another room until Twelfth night. The singing of Christmas carols, which had all but disappeared at the beginning of the century began to thrive again, and the first Christmas cards were sent in the 1840s. But it was the Christmas stories of Dickens, especially his masterpiece, A Christmas Carol, which did most to rekindle the joy of Christmas.

A Christmas Carol was published on 17th December 1843 and, as with his previous novels, genuine social concern inspired him to write it. Dickens had suffered considerable hardship through some of his own childhood; his father had been taken to a debtor’s prison when Charles’ was nine years old (his father was said to have been the inspiration behind Great Expectations’ Mr

Micawber and A Christmas Carol’s Mr Fezziwig). It is possible that the Cratchit’s house was modelled on the small house at 16 Bayham Street in Camden Town where Dickens’ lived at the age of ten. The character of Tiny Tim could well have been based on Charles’ own sickly, youngest brother who was known as ‘Tiny Fred’.

But sheer necessity was also a driving force behind the creation of A Christmas Carol. Dickens’ wife was expecting their fifth child, he was badly in debt, his current serial, Martin Chuzzlewit, was selling badly and his publishers were threatening him with a reduction in salary. Dickens’ badly needed a success and wrote furiously until it was completed. The novel was swiftly published to catch the Christmas market and was rapturously reviewed, becoming an instant success. The first 6000 copies of its initial print-run were sold out by Christmas and a further print-run of 2000 copies was sold out by the 6th January.

Dickens’ Christmas stories repeatedly presented his own idealised memories of festive family gatherings which “bound together all our home enjoyments, affections and hopes” in games such as Snap Dragon and Blind Man’s Buff, both of which Bob Cratchit runs home to play on Christmas Eve. Dickens’ boyhood Christmases were probably inspired by his father, John Dickens, who until his nineteenth year would have celebrated the season with his parents, butler and maid at Crewe Hall. John would have participated, with the servants and tenants, in conjuring, country-dances such as Sir Roger de Coverley (danced by Mr and Mrs Fezziwig among their apprentices and employees in Scrooge’s youth), forfeits and games. The revellers, as in the festivities in the Cratchit household, would have consumed various kinds of punch, such as Purl and Smoking Bishop.

none of Dickens’ other novels have entered the general consciousness as A Christmas Carol has, with its enduring philosophy of Christmas as a family feast. On its publication, its sentiments immediately endeared Dickens to the public and his name has been inextricably linked with the celebration of Christmas ever since.

One of his sons wrote that, for Dickens, Christmas was “a great time, a really jovial time, and my father was always at his best, a splendid host, bright and jolly as a boy and throwing his heart and soul into everything that was going on…And then the dance! There was no stopping him!”

“…and it was always said of him, that he knew how to keep Christmas well, if any man alive possessed that knowledge.May that be truly said of us, and all of us!” A Christmas Carol.

Photo: Brian Slater

A Christmas Carol: Past, present & future…I originally saw A Christmas Carol in its first season in the Autumn of 1992 and I remember being shocked because the dancers sang! Once I had recovered from my initial surprise, I really enjoyed the show. My first Scrooge was the incomparable Jeremy Kerridge, so how could I not enjoy the performance?

The more I have seen A Christmas Carol the more I have realised that it is a wonderful show – suitable for the whole family, from the very young to the very old. The scenario stays true to the essence of Dickens’ story and Christopher Gable and Massimo Moricone created characters you can really care about. It really has got something for everyone with the glorious choreography, fabulous set and costumes and a great story. I never fail to come out of the theatre on a real high.

For all its longevity there have been comparatively few Scrooges. The role was created by Jeremy Kerridge and most people still consider him the definitive interpreter. We have however, also seen memorable performances over the years from Luc Jacobs, Steven Wheeler, Darren Goldsmith and Christopher Hinton-Lewis.

There is so much to watch out for and enjoy in A Christmas Carol. I love the attention to detail and all the little cameos. I have especially fond memories of Steven Wheeler portraying the Beadle and harrying a group of children across the top level of the set. This scene only lasts for a few seconds but is utterly memorable. Another one to look out for is the violin player at the Fezziwig’s party, which gives the dancer an opportunity to show off his virtuosity. There is also the interaction between Scrooge and Bob Cratchitt in the opening scenes, especially when Scrooge is being so horrible and Bob is such an optimist. I always chuckle as Bob warms his hands and feet on the candle and when he is only allowed to put one piece of coal on the fire.

Scrooge’s encounter with the past takes him to the Fezziwig’s Christmas Party which is full of joy. Mr. and Mrs. Fezziwig are two of the great comic characters in classical ballet. I’m always surprised that people seem to feel almost guilty about laughing during a ballet but really when you are watching such fun and games what can be more natural? The glamour couple of nBT in the early 1990s was Viki Westall and Tony Harith and what fun they must have had creating the distinctly homely Fezziwigs! Jeremy Kerridge also had great fun in the role of Mr. Fezziwig and I often wished he could clone himself to dance both Scrooge and Fezziwig in the same performance! Then there is the sublime duet for Young Scrooge and Belle. The music

in this section always reminds me of a neapolitan folk song. I get so wrapped up in Scrooge’s emotions when he is watching the young couple and I am urging Young Scrooge not to be parsimonious and to realise the hurt he is doing. He never listens to me though. Denis Malinkine and Jayne Regan were always special together in this duet.

Another great scene is the Tavern in Act lll, which gives all the dancers an opportunity to act drunk! In the same act, it’s fun to try and identify the girls dancing the hags when they are fighting over Scrooge’s possessions. Over the years I have noticed Fiona Wallis, Jayne Regan and Chiaki nagao fingering his rags with relish. And I’ve got to admit to holding my breath when the workers are playing on the slide and running up it - will they all reach the top as they are supposed to? They have never failed so far (apart from the dancer who is meant to!)

And so, on to one of the happiest moments for me - when Scrooge wakes up a reformed character on Christmas day. His twirling solo as he is getting dressed is a joy to behold! Every Scrooge I have seen has been very deft and fast on their feet and although I wonder if they will get their shoes on in time, they always do.

The most moving part of the ballet for me is when, right at the end, Scrooge notices the Star of Bethlehem and traces its movement across the sky. I’m sure I’m not the only person reduced to tears at this point!

The most memorable performance I have seen was a Christmas Eve in Leeds four or five years ago as Jeremy gave his last performance before retirement. A whole group of us had taken the afternoon off work and there was magic in the air. It was a wonderfully poignant performance and the entire audience were on their feet cheering at the end. This performance started a tradition for a friend and me and now we go to the Christmas Eve matinee every year.

So thanks to all at northern Ballet Theatre for my wonderful memories of this production and long may it continue!

Janet McNulty, Long term Friend of NBT

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Creative Team

CHRISTOPHER GABLE CBE Director

Trained/Educated: Christopher Gable trained at Sadler’s Wells Ballet School and went on to dance with Sadler’s Wells Opera Ballet, Covent Garden Opera Ballet, Sadler’s Wells Theatre Ballet, and The Royal Ballet in which he was Principal Dancer.Previous Work: He created many roles for The Royal Ballet. A list of his most well-known work would include Romeo in Kenneth MacMillan’s Romeo and Juliet and the male leads in The Invitation, The Two Pigeons, Jeu de Cartes and House of Birds.

He danced all the major classical roles and partnered all the ballerinas of The Royal Ballet, but it was his association with Lynn Seymour, that developed into one of the most celebrated partnerships in ballet history.After 10 years at The Royal Opera House, he retired as a dancer in order to pursue an acting career. He has worked extensively on stage and in film and television. He played Lysander in Peter Brook’s celebrated production of A Midsummer Night’s Dream for the Royal Shakespeare Company, and worked at the Royal Exchange Theatre, Manchester, for several seasons. His television work includes Bassanio in The Merchant of Venice, Trofimov in The Cherry Orchard and Eric Fenby in Ken Russell’s film, Delius. He worked with Russell again on the film The Boy Friend in which he co-starred with Twiggy, and Russell’s film of D. H. Lawrence’s The Rainbow.

In 1982 he founded the Central School of Ballet, London where he was Artistic Director. He joined northern Ballet Theatre to play L. S. Lowry in Gillian Lynne’s A Simple Man in Spring 1987 and was appointed Artistic Director in July 1987. He was also an Honorary Member of the Royal northern College of Music, Manchester. In 1989 Christopher was presented with the award for Outstanding Contribution to Theatre, by the Manchester Evening news. The following two years saw the Company receive MEn awards for Best Dance Production of the Year for Giselle and Romeo & Juliet. Remarkably, Christopher’s first full-length choreography was for Cinderella which premièred in 1993 and was hailed ‘a Cinderella for the 90s’. In 1996 he was awarded the CBE for services to British Dance, in Her Majesty The Queen’s Birthday Honours List. 1997-98 marked Christopher’s 10th Anniversary Year as Artistic Director of northern Ballet Theatre - a year also distinguished by the award of an honorary degree of Doctor of Letters, by the University of Bradford.

Christopher Gable died from cancer on October 23rd 1998, in his eleventh year as Artistic Director of northern Ballet Theatre.

MASSIMO MORICOnEChoreographer

Trained/Educated: Massimo commenced his training in Rome at the Centro Sperimentale di Danza Contemporanea, and then later at Mudra,the Bejart School in Brussels, and the Centre Internationale de la Danse in Cannes.Companies/Organisations: Appeared with many companies throughout his native Italy, dancing the ballets of leading choreographers, including Alvin Ailey, Amedeo Amodio, Felix Blaska, George Balanchine, Janine Charrat, Derek Deane, Heinz Spoerli and Vittorio Biagi. Appeared in Franco Zeffirelli’s production of La Traviata; was director of choreography for the film version of Monteverdi’s Orfeo, directed by Claude Goretta and for Moravia’s Gli Indifferenti, directed by Mauro Bolognini.Previous Work: 1983: Founded his own company, Teatro Koros, for whom he created many original works for tours of Italy, France, Belgium, Greece, Cuba, India, Mexico, Spain and Japan. 1984: Won first prize at the International Choreographic Competition at nyon in Switzerland; Serge Lifar conferred upon him the Prix de L’Universite de la Danse de Paris. Other awards include: A grant to complete the International Dance Course for professional choreographers and composers at the University of Surrey, Guildford.

1990 – 1992: Assistant Director to Elisabetta Terabust of the ballet company of the Rome Opera, and the School of the Rome Opera. 1994; produced Progetto Contemporaneo for La Scala. 1997; returned to the Rome Opera to direct Progetto Contemporaneo. 2001; asked by Carolyn Carlson to be one of the choreographers to present a new creation at La Biennale di Venezia. 2002 – 2005; co-director of Laboratory engines multimedia space in Rome. 2004 onwards; created two dance pieces and three videos, as part of a larger project dedicated to Japan and titled from #01 to 11. His last creation skin-fatman/littlebastard was premiered at The Tokyo Dance Triennale 2006.

Choreographed ballets for many Italian companies including: Balletto di Toscana, Balleto dell’Arena di Verona, Balletto di Venezia, Balletto del Teatro di San Carlo, Aterballetto, MaggioDanza, La Scala and the Opera di Roma. Worked as Guest Choreographer with Scottish Ballet, Malmo State Theatre, Deutsche Oper Berlin and for the Ballet naçional de Cuba. Choreographed works for dancers such as Elisabetta Terabust, Josè Manuel Carreno, Vladimir Derevianko, Carlos Acosta, Lynne Charles, Raymondo Rebeck, and Tamako Akiyama.With northern Ballet Theatre: Romeo & Juliet, 1991; A Christmas Carol, 1992; Jekyll & Hyde, 2001.

Massimo is currently working as freelance choreographer and teacher both in Europe and Japan.

CARL DAVIS CBEComposer

Born: new YorkCompanies/Organisations: Artistic Director and Conductor for the RLPO’s Summer Pops Season; The London Philharmonic; The Royal Philharmonic; The Philharmonia; RSnO; The Halle and The City of Birmingham Symphony Orchestra. In 2004 Carl was appointed Principal Guest Conductor of the Symphony Orchestra of navarra in Pamplona, Spain.Compositions: Extensive work for film, radio and television includes: The World At War which has been re-released on DVD and CD; Last Night of the Poms with Barry Humphries; the BBC’s Pride and Prejudice, Goodnight Mr Tom and Cranford. numerous feature films include The French Lieutenant’s Woman, Scandal, Champions and Topsy Turvy. Carl recently recorded the music for all 12 of Chaplin’s ‘Mutuals’ which are now available on DVD.For Theatre: A Simple Man; A Christmas Carol; Dances of Love and Death; The Picture of Dorian Gray; Alice In Wonderland, Cyrano for The Birmingham Royal Ballet and most recently The Lady of the Camellias for the Croatian national Theatre. His musical of Wind in the Willows has had two successful seasons in Regents Park. His Alice In Wonderland musical was revived by the West Yorkshire Playhouse for its 2005/06 Christmas season and was staged at the Birmingham Rep in november 2006. September 2009 saw the revival of the smash hit – Last Night of the Poms – with Barry Humphries.Career Highlights: His score for napoleon resulted in the French Minister of Culture awarding Carl The Order of Chevalier des Arts et des Lettres. Other honours and awards include: Honorary Doctor of Arts by Bard College; The Honorary Doctor of Music from Liverpool University and John Moore’s University in Liverpool; a BAFTA Special Lifetime Achievement Award in 2003; in 2005 Carl was awarded the CBE (Hon.) for his contribution to the world of music. He is also an alumnus of new England Conservatory and Bard College.Personal: Carl lives in London. He is married to actress Jean Boht and they have two daughters Hannah and Jessie.

PAUL PYAnTLighting Designer

Trained/Educated: RADAPrevious Work: UK credits in opera include: Lear, Xerxes, Lady Macbeth of Mtsensk, Street Scene, Khovanshina, Salome and Orpheus & Eurydice (English national Opera), Il Viaggia a Reims, Die Zauberflote, Gawain, Stiffelio and Figaro (The Royal Opera House), Hansel and Gretel (Scottish Opera).Opera credits worldwide include: Pique Dame (Metropolitan Opera new York) Don Pasquale, Stiffelio, The Flying Dutchman (LA Opera) Fedora, Figaro( Vienna Staatsoper), Hamlet (Vienna Volksoper), Stiffelio (La Scala, Milan) Riogoletto (new Israeli Opera) Florencia En L’ Amazonas and Tosca (Houston Grand Opera, I.A. Opera and Seattle Opera).Ballet credits include: Giselle, The Sleeping Beauty, Cinderella and Nutcracker (English national Ballet), and Romeo & Juliet, A Christmas Carol, Swan Lake, Cinderella, The Brontes, Dracula and The Hunchback of Notre Dame (nBT).Theatre work includes: The Wind in the Willows, The Madness of George III, Arcadia, Carousel, Othello (RnT), The Tempest, Richard III, Julius Caesar, The Painter of Dishonour (RSC), Dana Rosila (Almeida Theatre), Assassins, Translations, Cabaret, Company and Nine (Donmar Warehouse).In the West End his work includes: Carousel (new York, Tokyo and US national Tour) The Importance of Being Earnest, Single Spies, Talking Heads, The Sisters Rosenwig and Alarms and Excursions.

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LEZ BROTHERSTOnSet and Costume Designer

Trained: Central School of Art and DesignCompanies/Organisations: Lez is an Associate Artist of Matthew Bourne’s company, new Adventures.Theatre includes: Duet For One, In A Dark Dark House, Dying for It (Almeida); Under The Blue Sky, Dickens Unplugged, In Celebration (West End); Dancing At Lughnasa (Old Vic); Hedda Gabler (The Gate, Dublin); Much Ado About Nothing (Royal Shakespeare Company); Playing With Fire, Rosencrantz and Guildenstern are Dead (national Theatre); The Dark, Little Foxes (Donmar Warehouse); Volpone, Design For Living, A Woman of No Importance, Nude With Violin (Manchester Royal Exchange); The Crucible, David Copperfield (Sheffield Crucible); Bedroom Farce, A Midsummer Night’s Dream, Alarms and Excursions, French and Saunders Live, Victoria Wood At It Again (West End).Dance includes: Dorian Gray, Edward Scissorhands (new Adventures); Seven Deadly Sins (Royal Ballet, choreographer Will Tuckett); Les Liaisons Dangereuses (Japan/Sadler’s Wells), co-directed with Adam Cooper; A Soldier’s Tale (ROH 2); Play Without Words (RnT/new Adventures); The Car Man, Cinderella, Swan Lake, Highland Fling (Adventures in Motion Pictures); a ten year association with nBT including Dracula, Romeo & Juliet, Carmen, Giselle and Swan Lake.Opera includes: L’Elisir d’Amore (Glyndebourne Festival Opera); Maria Padilla (Buxton Festival, director Adrian Lang); Masquerade (Opera north); La Somnambula (Teatro Municipale, Rio de Janeiro); Hansel and Gretel (Opera Zuid/Opera northern Ireland); Cunning Little Vixen, Ariadne auf Naxos, Werther (Opera Zuid); Falstaff (Teatro Bellini Sicily and Royal Danish Opera,Copenhagen).Musicals include: Sister Act, Far Pavilions, Acorn Antiques, Tonight’s the Night, My One and Only, Spend Spend Spend (West End); Into the Woods (ROH2); Brighton Rock (Almeida Theatre).Film includes: Letter to Brezhnev, Swan Lake, The Car Man.Career Highlights: Tony Award for Swan Lake (AMP); Olivier Award for Outstanding Achievement in Dance for Set and Costume for Cinderella and most recently a Critics’ Circle Award for his outstanding achievement in design for dance.