Kindertransport  
Kindertransport

by Diane Samuels

Directed by Angharad Ormond

Saturday 24th - Sunday 25th June and Tuesday 27th June - Sunday 2nd July, 2017

The Tower Theatre performing Upstairs at the Gatehouse, Highgate

Photography by Robert Piwko
"a superlative production... Incredible staging and production values and great onstage soundscapes"

"a terrific production - so imaginative and moving"

"spellbinding performances"

"powerful, moving and strikingly, shockingly relevant"

"an outstanding show"

"this imaginative, empathetic production achieved deep and heartfelt emotion"

Cast List

Eva : Katrin Larissa Kasper
Helga : Clare Joseph
Evelyn : Ruth Sullivan
Faith : Rachel Causer
Lil : Amanda Waggott
Ratcatcher / Guard / Officer / Postman : Paul Willcocks
Ensemble : Annemarie Fearnley

 

Production Team

Director : Angharad Ormond
Set Design : Kam Bava
Costume Design : Kathleen Morrison
Lighting Design : Rob Irvine
Sound Design : Colin Guthrie
Original music composed by Colin Guthrie

Stage Manager : Laurence Tuerk
Assistant Director : Philippa Rowe
ASM : Lotte Wynder
Lighting Operator : Jacky Devitt
Sound Operator : Penny Tuerk
Movement and Somatic Psychotherapist : Brenda Naso
Voice and Accent Consultant : Julie Arrowsmith
Mask Consultant : Fenella Lee
Masks made by Amanda Waggott and members of the company


Katrin Larissa Kasper is a new member of the Tower Theatre Company. She trained at Portland State in Oregon and moved to London a year ago. Previous stage credits include In Toxic (Esther), Travelling Light (Anna) and the musical Krabat (Juro). She is also working as a freelance journalist. Being part of this production is especially meaningful to her as she is originally from Germany.
 
Clare Joseph grew up in London and she has a degree in English Literature. She trained at The Poor School. Favourite roles include Doris in Flare Path, Valerie in Road for the Tower and Rosencrantz in Hamlet. She is about to play a younger Daphne Selfe alongside the iconic model. Working on Kindertransport has been interesting and moving; she hopes that she and the cast will do justice to the material and to the memories of those who inspired the play.
Ruth Sullivan's work with the Tower includes : as an actor - Frozen, Seasons Greetings, Speaking in Tongues, Brighton Beach Scumbags, The Real Thing and David Copperfield; as a director - Macbeth, The Maids, The Mystery of Edwin Drood!, The Last Five Years and Rosencrantz and Guildenstern Are Dead; and as a choreographer - Putting It Together and The Fabulous Eddie and Otis Soul Revue. She also choreographed Hair and Assassins for SEDOS and Jesus Christ Superstar for Centre Stage. As a Foley Artist, film & TV credits include Rillington Place, Enigma, Sylvia, Death of Stalin, Eyes Wide Shut, Troy, Le Weekend, Mamma Mia!, Downton Abbey and Dickensian. Her live theatre Foley credits include Complicite's The Magic Flute, the Royal Danish Theatre's Cabaret, Hull's WOW Festival for a special performance of To Hull and Back as well as several projects for Katie Mitchell, and she is Foley Consultant for a production of A Midsummer Night's Dream at Chester's brand new theatre The Storyhouse, which opened in June.
 
Rachel Causer is a recent graduate of Mountview Academy of Theatre Art. This is her debut performance with the Tower and she is thrilled to be stepping into the role of Faith. Her roles at Mountview include Barbara in August : Osage County and Miss Blake in Blue Stockings. Since graduating, Rachel has been a part of several theatre companies making new devised work including The Clown by Tout Ensemble and Women by the Plucky Theatre Company. Rachel is loving being a member of the Kindertransport team and is very excited to be on board.
Lil in Kindertransport is Amanda Waggott's first acting role with the Tower. Last year she was the assistant director on Brontë - another great Tower production. Amanda trained at Goldsmiths (MA Theatre), Drama Studio London and the National Youth Theatre. She works as a writer, teacher and performer.
 
Paul Willcocks has been a professional actor in a wide range of productions including No Flies On Mr Hunter directed by Janet Suzman, The Fiery Angel at the Royal Opera House directed by David Freeman and, for the screen, Funny Bones, directed by Peter Chelsom. He played Caliban in The Sea and The Mirror at the Edinburgh Festival and subsequently toured his interpretation in a one-man show. He played a variety of Elizabethan and Jacobean roles for Sam Shammas Productions and, for British Stage Productions, created the Unicycling Marvel that was Breakfast the Clown! More recently he has appeared in The Human Comedy at the Young Vic and, for the Tower Theatre, portrayed Branwell in Brontë Upstairs at the Gatehouse last July. Paul is delighted to be back with the Tower Theatre this year for Kindertransport.
Annemarie Fearnley was last seen as Evelyn Meltzer in The Return of the Marionettes last year. Other roles at the Tower have included Titania in A Midsummer Night's Dream, Polly Peachum in The Threepenny Opera, Irina in Three Sisters, Eugenie in Vincent in Brixton, Susan in Company, Dick in Dick Whittington, Witch in Macbeth, Anne Vaux in 5/11, Dorothy in A Farewell to the Theatre, ensemble in David Copperfield and Nicholas Nickleby, violinist in Lark Rise and a singer in Telstar. She has also performed with All Star Productions in Assassins at Theatro Technis and with Completely Productions in Company (playing Susan, again!) at The Bull.
 
Angharad Ormond has been with the Tower Theatre Company for two years and has been seen on stage as Laura in The Priory, Nell in Little Nell, Daphne in Sailor, Beware! and most recently as Cathy Jackson in last summer's hit musical The Return of the Marionettes. She trained at Drama Studio London and other roles include Puck in A Midsummer Night's Dream and Polly Peachum in The Threepenny Opera. Angharad's directing credits include The Trial and Blue Remembered Hills. Kindertransport marks her directional debut for the Tower Theatre. Angharad is also training as a Clinical Psychologist, which proves valuable when observing the pains of human nature.