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COMPANY BIOGRAPHIES

Maureen Beattie (JULIETTE)

Maureen trained at RSAMD and graduated with the James Bridie Gold Medal. Since then she has gone on to play many roles with companies across the UK including the National Theatre of Scotland, National Theatre of Great Britain, the Globe, and the RSC, as well as touring internationally.

Previous theatre credits include: The List, The Carousel, The Deliverance (Stellar Quines); Yer Granny, 27 and The Enquirer (National Theatre of Scotland); Romeo & Juliet (Rose Theatre Kingston); Dark Road, The Cherry Orchard (Royal Lyceum Edinburgh); Noises Off (The Old Vic Tour); No Quarter (Royal Court Theatre); The Skin of Our Teeth (Young Vic); Ghosts, Acting Up (Citizens Theatre); Medea, Oedipus, Electra (Theatre Babel); The Masterbuilder (Chichester); Othello, The Merry Wives of Windsor (National Theatre) and The Histories Cycle, Richard III, Titus Andronicus, Macbeth, King Lear, The Constant Couple (Royal Shakespeare Company).

Maureen’s television and film credits include: Outlander, Doctor Who, Vera, Casualty, Lewis, Midsomer Murders, Taggart, Bramwell, The Bill, Hard to Get, The Worst Week of My Life, Doctors, Moving On, Ruffian Hearts and The Decoy Bride.

Sean Biggerstaff (BEN)

Sean obtained his first professional acting role at ten, playing the son of MacDuff in a Michael Boyd production of Macbeth at the Tron Theatre, Glasgow. Other theatre work includes: Solid Air (Theatre Royal Plymouth); The Girl with the Red Hair (Lyceum/Bush/Hampstead Theatre); An Appointment with the Wicker Man (National Theatre of Scotland).

Sean’s film work includes: Whisky Galore, CASHBACK, Harry Potter and the Philosopher’s Stone, Harry Potter and the Chamber of Secrets and Harry Potter and the Deathly Hallows (Part 2) playing the part of Oliver Wood. His television work includes: Marple, Charles II, and Consenting Adults for which he won BAFTA Scotland’s Best Actor Award for his performance.

Michael Boyd (DIRECTOR)

Michael Boyd was Artistic Director of the Royal Shakespeare Company from 2002 to 2012, where his productions included the twenty four hour RSC Histories Cycle, winner of four Olivier Awards. He led the £112 million reconstruction of the Royal Shakespeare Theatre, as well as commissioning and producing the Complete Works Festival 2006-7, the World Shakespeare Festival for the London Olympics 2012, and Matilda the Musical. He took a repertoire of seven Shakespeare plays to the Park Avenue Armory as part of the Lincoln Center Festival, New York, in 2011. Prior to joining the RSC, he was founding Artistic Director of the Tron Theatre in Glasgow from 1985 to 1996, where his productions included The Guid Sisters and The Real World? by the Quebécois playwright Michel Tremblay, Ted Hughes’ Crow, The Trick Is To Keep Breathing (also Royal Court and World Stage Festival, Toronto), and Macbeth. In 2014/15 he staged both parts of Marlowe’s Tamburlaine in New York (Obie, Drama Desk, and Drama League Awards), and made his Royal Opera debut with Monteverdi’s Orfeo at the Roundhouse (nominated, Outstanding Achievement in Opera, Olivier Awards).

He has been Visiting Professor at the University of Michigan, and the Cameron Mackintosh Professor of Contemporary Theatre at the University of Oxford, where he is a Fellow of St Catherine’s College. He was knighted for services to drama in 2012.

Chris Campbell (TRANSLATOR)

Chris is currently Literary Manager of the Royal Court after being Deputy Literary Manager of the National Theatre for six years. He has translated plays by Philippe Minyana, David Lescot, Rémi de Vos, Adeline Picault, Magali Mougel, Launcelot Hamelin, Frédéric Blanchette, Catherine-Anne Toupin and Fabrice Roger-Lacan for the National, the Almeida, the Donmar, the Traverse, the Birmingham Rep and the Young Vic among others. In 2014, Chris was appointed Chevalier de l’Ordre des Arts et des Lettres by the French government. An actor for many years, Chris has worked at many theatres including the National, the Birmingham Rep, the Gate and the Traverse. He most recently appeared alongside Meryl Streep in The Iron Lady.

Lindsey Campbell (ALICE)

Lindsey trained at the Royal Central School of Speech and Drama, graduating in 2013.

Previous stage credits include: Nights (White Bear Theatre); The Harvest (Ustinov Studio, Theatre Royal Bath/Soho Theatre); The Big Meal (Theatre Royal Bath/Hightide) and A Christmas Carol (Royal Lyceum Theatre).

Film and television credits include: Casualty, Doctor’s, Dani’s House, Blue Haven, Single Father, The Holly Kane Experiment and Intergalactic Kitchen.

Dyfan Dwyfor (FRANÇOIS)

Dyfan graduated from the Royal Welsh College of Music & Drama in 2007. He won the Richard Burton Award at the National Eisteddfod in 2004.

Most recently he has appeared in Candylion (National Theatre Wales). Other theatre credits include: The Harvest (Ustinov Studio, Theatre Royal Bath/Soho Theatre); Titus Andronicus (The Globe); Praxis Makes Perfect (National Theatre Wales); Too Clever by Half (Royal Exchange); Fortunes Fool (The Old Vic); Ahasverus, Hamlet, Little Eagles, Romeo & Juliet, The Drunks, As You Like It, Comedy of Errors (RSC).

Film and Television work includes: Yr Oedi, Hinterland, Caerdydd, A470, Y Llyfrgell, The Passing, I Know You Know and The Baker and Pride.

Oliver Fenwick (LIGHTING DESIGNER)

Theatre includes: Love’s Labour’s Lost, Much Ado About Nothing, The Jew of Malta, Wendy and Peter Pan, The Winter’s Tale, The Taming Of The Shrew, Julius Caesar, The Drunks, The Grain Store (RSC); The Motherf**ker With The Hat, The Holy Rosenburgs, The Passion, Happy Now? (National Theatre); Lela & Co, Routes, The Witness, Disconnect (Royal Court); The Vote, Berenice, Huis Clos (Donmar Warehouse); My City, Ruined (Almeida); Multitudes, Red Velvet, Paper Dolls, Bracken Moor, Handbagged (Tricycle Theatre); Di and Viv And Rose, Handbagged, The Importance of Being Earnest, Bakersfield Mist, The Madness Of George III, Ghosts, Kean, The Solid Gold Cadillac, Secret Rapture (All West End); To Kill A Mockingbird (Tour & Barbican); The King’s Speech (Tour); After Miss Julie (Young Vic); Saved, A Midsummer Night’s Dream (Lyric, Hammersmith); To Kill A Mockingbird, Hobson’s Choice, The Beggars Opera (Regents Park Theatre); Therese Raquin, The Big Meal, King Lear, Candida (Bath); The Whipping Man (Plymouth); Into The Woods, Sunday In The Park With George (Chatelet Theatre, Paris); The Kitchen Sink, The Contingency Plan, If There is I Haven’t Found It Yet (Bush Theatre); A Number, Travel With My Aunt (Chocolate Factory); Private Lives, The Giant; Glass Eels; Comfort Me With Apples (Hampstead theatre); Restoration (Headlong); Pride And Prejudice, Hamlet, The Caretaker, Comedy of Errors, Bird Calls, Iphigenia (Crucible Theatre, Sheffield).

Opera includes: Werther (Scottish Opera); The Merry Widow (Opera North & Sydney Opera House); Samson et Delilah, Lohengrin, The Trojan Trilogy, The Nose, The Gentle Giant (Royal Opera House).

Madeleine Girling (DESIGNER)

Madeleine Girling trained in Theatre Design at The Royal Welsh College of Music and Drama, graduating with a First Class Honors, and receiving The Lord Williams Memorial Prize for Design 2012. In 2013 she was awarded as a winner in The Linbury Prize For Stage Design for her collaboration with Nottingham Playhouse. Between April 2013 and July 2014 she worked for The Royal Shakespeare Company in a one-year, Design Assistant position. Previous design work includes: A Skull in Connemara (Nottingham Playhouse); The Harvest (Ustinov Studio, Theatre Royal Bath/Soho Theatre); Little Light (The Orange Tree Theatre); The Chronicles of Kalki (Gate Theatre); Time And The Conways; Arcadia (Nottingham Playhouse); Revolt. She Said. Revolt Again.; The Ant & The Cicada (Royal Shakespeare Company); Gardening for the Unfulfilled and Alienated (Undeb Theatre); Tender Napalm; How To Curse (BOVTS Director’s Showcase); A Welshman’s Guide To Breaking Up (Boyo Productions); Hey Diddle Diddle (Bristol Old Vic); The Cagebirds (LAMDA Director’s Showcase); The Life After (BOV Young Company); Blood Wedding (RWCMD Burton Company).

David Paul Jones (COMPOSER/SOUND DESIGNER)

David is an Edinburgh-based composer, pianist, vocalist and songwriter. His work for Theatre includes: Tracks of The Winter Bear, The Tree Of Knowledge and Bloody Trams (Traverse); Those Eyes, That Mouth, The Devil’s Larder, Barflies and What Remains (Grid Iron); Butterfly (Ramesh Meyyappan); World Factory (Metis/Young Vic); Elizabeth Gordon Quinn, Something Wicked This Way Comes, Mary Queen Of Scots Got Her Head Chopped Off, Our Teacher’s A Troll, Dolls, The Missing (National Theatre of Scotland); Great Expectations (Dundee Rep); Pobby & Dingan and Caged (Catherine Wheels).

David has worked internationally on projects in Australia, South America, USA, Middle East, Singapore and, most recently, as composer for the National Theatre of China in Beijing and Hong Kong.

David is the recipient of several awards including the Glenfiddich Spirit of Scotland Award for Music. His recorded work is available on Linn Records and www.davidpauljones.com

Chloe Masterton (ASSISTANT DIRECTOR)

Chloe is currently studying for an MA in Drama Directing at the Bristol Old Vic Theatre School.

As director her credits include: A Doll’s House (Bristol Old Vic Theatre School); Track and Threads (Bierkeller New Writing Festival); The Vagina Monologues (Bierkeller) and The Wing (Bristol Old Vic Basement/Theatre Uncut).

As assistant director her credits include: Wind in the Willows (Bristol Old Vic Theatre School); The Eleventh Hour, The Imaginaries and Nordost (The Egg, Theatre Royal Bath).

Ginny Schiller CDG (CASTING DIRECTOR)

Ginny has been Casting Director for the Royal Shakespeare Company, Chichester Festival Theatre, Rose Theatre Kingston, English Touring Theatre and Soho Theatre. She has worked on many shows for the West End and No. 1 touring circuit as well as for the Almeida, Arcola, Bath Theatre Royal, Birmingham Rep, Bolton Octagon, Bristol Old Vic, Clwyd Theatr Cyrmu, Frantic Assembly, Greenwich Theatre, Hampstead Theatre, Headlong, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Menier Chocolate Factory, Northampton Royal & Derngate, Oxford Playhouse, Plymouth Theatre Royal and Drum, Regent’s Park Open Air Theatre, Shared Experience, Sheffield Crucible, Young Vic, West Yorkshire Playhouse and Wilton’s Music Hall. She has also worked on many television, film and radio productions.

Previous work for the Theatre Royal, Bath includes: The Father (also West End/tour); She Stoops to Conquer, Talking Heads, Hay Fever and Relative Values (both also West End); Kafka’s Dick, Thérèse Raquin, Bad Jews (also West End/tour); The Hypochondriac, Things We Do For Love, Moon Tiger, The Tempest, Hysteria, Home, This Happy Breed and Born in the Gardens. She has cast all bar one of the previous Ustinov Studio productions under Laurence Boswell’s artistic directorship.

Catherine-Anne Toupin (PLAYWRIGHT)

Catherine-Anne Toupin is a French Canadian actress and writer. She graduated from The Conservatory of Dramatic Arts in Montreal in 1999. Over the years, Catherine-Anne has become a well-known actress in Quebec. She has acted in more than 30 plays and her resumé includes numerous television and film credits. She can now be seen each week, on CBC, in two popular Quebecois television dramas: Unité 9 and Mémoires Vives. She has also created a half-hour TV comedy entitled Boomerang, in which she stars with her fiancé, actor Antoine Bertrand. The show is a huge hit and is already preparing its third season.

As a playwright, Catherine-Anne has written three full-length plays: À présent, L’envie and Alexandre, as well as many short plays. In 2005, Right Now (À présent) won the Prix Françoise-Berd awarded to the best new play by a young author. The play has been translated into four languages and has been produced in Canada, Italy and Mexico. Catherine-Anne now lives in Montreal where she spends most of her time acting and working as a script editor for her Sitcom Boomerang. She hopes to write another play soon …

Guy Williams (GILLES)

Guy trained at LAMDA and has gone on to perform in a huge range of theatre, television and film roles. Previous theatre credits include: Spanish Tragedy (Arcola); King Lear, The Seagull, The Merry Wives of Windsor, The Winters Tale, The Changeling (RSC); The Duchess of Malfi (West Yorkshire Playhouse); Present Laughter (Theatre Clwyd); Rebecca (National Tour); Journey’s End (Comedy); The Romans in Britain (Crucible Theatre); Pravda, The Government Inspector, Venice Preserved, Antigone, Coriolanus, (National Theatre), Timon of Athens (Leicester); Rose Rage (Propeller, Watermill, Theatre Royal); A Midsummer Night’s Dream (Propeller, Watermill, Comedy).

Guy’s film credits include: London Has Fallen, The Man from U.N.C.L.E, The Cosmonaut, Sherlock Holmes, Middleton’s Changeling, To Walk With Lions, Thin Ice. Television work includes: Indian Summers, Young Cilla, Peaky Blinders, Downton Abbey, Mr Selfridge, Father Brown, Ripper Street, This is England 88, Land Girls, Law and Order, The Queen, Silent Witness, Spooks, King Lear, A Very Social Secretary, Trial and Retribution, and Happy Valley.

Right Now was first presented in the UK as a script-in-hand reading at the Traverse in November 2014 as part of New Writing from Quebec, a cultural exchange between the Traverse Theatre and Théâtre La Licorne, home of La Manufacture Theatre Company, in Montréal. It was then presented in a week of preview performances at the Traverse in May 2015.

The Traverse would like to thank all those involved in the development of Right Now on its journey to full UK production this year.

Special thanks to:

Québec Government Office in London

British Council Canada

Jean-Denis Leduc and all at Théâtre La Licorne

Emma Callander

Foreword From Translator, Chris Campbell

Most people in the UK who know anything about Québec theatre will be familiar with either Michel Tremblay, the bard of working-class Montreal, or the world-conquering phenomenon that is Robert Lepage.

When I first went there, ten years ago, I was thrilled to discover one of the most vital and particular theatre cultures I’ve come across. Québec is a francophone island in the middle of an English-speaking ocean and the pride with which they defend their culture is an inspiration. As well as the pressure from the surrounding English Canadians, not to mention the USA to the South, there’s a far from straightforward relationship with the French; or the “French French” as they’re sometimes referred to. Until recently, French-Canadian plays were “translated” into French French for productions in France.

This double isolation creates a pretty much perfect situation for an artist: resentment and resilience; defensiveness and defiance. You can see why there’s been such a strong instinctive bond with Scotland …

The things that sometimes frustrate me about French theatre – its elitism, literariness, self-obsession and general indifference to the lives of its audience – don’t seem to apply in Québec. At the same time, the occasional tendency of British theatre towards anti-intellectualism, unthinking naturalism and an aspiration towards the condition of soap-opera – none of that seems to apply either.

The writers whose work I’ve come to know in Montreal and Québec City have a freshness, an audacity and a strangeness that never fails to fascinate me. There are so many names I’d like you to get to know: Evelyne de la Chenelière, Isabelle Hubert, Olivier Choinière, Serge Boucher, Fanny Britt, the amazing and prolific Carole Fréchette, Frédéric Blanchette, François Archambault and many others grouped around the beating heart of Québec contemporary theatre, Le Théâtre de la Licorne, whose founding artistic director Jean-Denis Leduc is the George Devine of French-Canadian theatre and one of the most inspiring people I’ve ever met.

I hope that translation and production of these writers will continue and, if it does, I’ve no doubt that UK audiences will fall under the spell of this unique blend of the familiar and the strange; at once recognisable and uncanny.

And that’s a description that perfectly fits Catherine-Anne Toupin’s play.