The document provides information about the upcoming production of Chitty Chitty Bang Bang at Jerudong International School. It discusses the large cast of 144 students playing over 200 roles, as well as the extensive backstage crew and technical support. It highlights the work that has gone into building the elaborate set, costumes, props, and the incredible custom-built flying car. The director expresses their gratitude to the large team of staff and students that have come together to make this ambitious production possible.

1. November 2016

2. 3
JERUDONG INTERNATIONAL SCHOOL
presents
CHITTY CHITTY BANG BANG
Music and Lyrics by
RICHARD M. SHERMAN and ROBERT B. SHERMAN
Music by Special Arrangement with
Sony/ATV Publishing
Adapted for the Stage by
Jeremy Sams
Based on the MGM Motion Picture
Licensed Script Adapted by Ray Roderick
Chitty Chitty Bang Bang
Is presented through special arrangement with Music Theatre International (MTI).
All authorized performance materials are also supplied by MTI.
www.MTIShows.com
Special Thanks to
Our Sponsors
Programme Cover Artwork by
Garry Whitehead
The videotaping or other video or audio recording of this production is strictly prohibited.
We thank you for your kind cooperation.

3. 4 5
support of a complete backstage
and technical team. This team
consists of both students and staff
who are wholeheartedly commit-
ted to the production. Some staff
have worked with me on numer-
ous productions whilst others are
new to the Performing Arts Team.
This year’s production has a large
cast of 144 students who will play
over 200 roles. I am sure you will
agree that this represents a lot of
hard work on the part of every per-
former on stage. Every performer
has had to learn multiple dances,
highly technical stage movements
and a multitude of songs.
In addition to the stage per-
formers, numerous students have
worked backstage to paint and
build the set, design and make
props, measure and create the cos-
tumes, operate lights, apply make-
up, fix hair and work as crew,
push moveable set and cars on
stage (wait for it…it is awesome!)
and providing students with their
props backstage. The sheer talent
and resourceful ardour that each
and every student has shown has
been a privilege to witness.
It is not only the student team
that has given up their time to pro-
duce this Musical. The level of en-
ergy and support we receive from
the numerous members of staff
who volunteer to help with pro-
ductions has been staggering once
again. In some schools, when you
ask for help with a production a
small number of ‘Non-Performing
Arts’ staff will come forward. At
JIS, over 100 staff continually step
up to support the arts. They make
this production happen and I am
deeply honoured to work with
such dedicated colleagues.
This year, two JIS graduates
- Yasmin Riches who played
Nancy in Oliver! and Fantine in
Les Misérables and Phoebe Ten
who played numerous parts in a
number of JIS productions have
come back to school as the Dra-
ma and Music ‘Gappers’. As part
of their role they have performed
the positions of Assistants to the
Director and Producer, leading
rehearsals when I have needed to
lead another. They have built and
painted set and vehicles, organised
Librettos and have worked directly
with Principal characters on their
characterisation. They are dedicat-
ed and hardworking professionals
and I know they will have success-
ful careers ahead of them.
Kirsty McLean is our wonder-
ful new Production Designer and
has brought with her a wealth of
knowledgeandbeautifulideas.She
has, along with her assistant de-
signers Rosie Curtis (another new
member of staff) and Esme Smith
(Y13 student), created a beautiful-
ly thought out and crafted set. The
charming windmill home of the
Potts’ family soars above the stage
with its delicate Art Nouveau de-
tailing and cleverly crafted ‘front
lawn’ which mirrors the shape of
the car’s front wing. I am in awe
of what is possible when a group
of students and staff are led by
someone like Kirsty. Her passion
for the aesthetic and her eye for
detail have given this production
a bespoke and creative flair that
Caractacus Potts himself would be
proud of!
Once again the costume team,
led by Angela Piddington, has
worked extremely hard to create
numerous costumes that tell the
story and develop the characteri-
sation of each of the characters we
see on stage. Some of the actors
change costume as many as five
times and the costume team has
provided perfectly tailored outfits
whenever they are needed.
Christine Brumpton and her
team have produced incredibly
accurate and ‘useable’ props. The
sandwiches look good enough to
eat and the shackles look as un-
breakable as the Baron designed
them to be.
Once again, it has been a com-
plete pleasure to work with Simon
Carter who, as Production Manag-
er, has ensured that cast members
are fed, the foyer is the spectacle it
is and a myriad of other jobs, that
are too numerous to mention, get
done.
Jon-Mark Nesbitt has joined the
team this year as Technical Direc-
tor of the production and Direc-
tor of the Arts Centre. He is an
exceptional individual who, in an
ultra calm and extremely compe-
tent way, has planned and imple-
mented all the sound, lighting and
technical requests of me as Direc-
tor. As Technical Director, Jon-
Mark has worked closely with me
to produce beautiful landscapes
and colour shifts that complement
the different emotional and con-
textual states on stage. He has also
T
he JIS school musical has
become a highlight of the
cultural calendar across
Brunei. It’s a showcase of what
can be achieved by our astonish-
ing students working with talented
teachers in fabulous facilities. It is
a stand out event that bewitches
the audience and transports them
into other times, locations and
lives. It opens people’s eyes to the
excellence that can be achieved
and quite how much can be done
with the resources we have at our
disposal right here in Brunei.
But that’s the product. An abso-
lutely phenomenal product, but
what you see on the stage tonight is
the end of a journey. That journey,
this process, has been transform-
ative. Shyly shuffling students at
audition will sing their hearts out
for you on opening night. A blank
canvas is now a set stage, brought
to life by pupil brush strokes and
elbow grease. Individuals have
been forged into a team under the
red hot gaze of public expectation.
Memories have been made that
will last a lifetime for every single
participant. For each child you see
on stage there are three more that
have worked to stitch this whole
production together; all of their
chests will nervously swell with
pride as the curtain goes up.
That’s why we do this. We are not
in the entertainment business as
much as the making better people
business. Our aim is to make the
students realise quite how much
they can achieve, to see their po-
tential for self improvement and
to realise that they should never
limit their own ambition. They all
learn so much from being a part of
this process and walk taller as a re-
sult. Really great education can be
magical; and entertaining.
I hope that you enjoy the show. If
you take a moment to watch how
it makes our students feel, I believe
that you will enjoy it even more.
Barnaby Sandow
Principal
November 2016
C
hitty Chitty Bang Bang! is a
fabulously fun and exciting
show that has captivated
audiences for decades. As a child,
I watched the film Chitty Chitty
Bang Bang! and on numerous oc-
casions, I enjoyed watching and
rewatching the sections of the film
where the car floats like a boat and
flies like a plane. The child catch-
er section of the film scared me to
such an extent that I always used
to fast forward the video until the
children were captured. When
choosing this year’s musical, I re-
peatedly listened to a recording of
the stage musical and was excited
by the lush soundtrack, the funny
narrative and exciting potential of
the script.
The story of the play is centred
aroundthePottsFamily.Itexplores
the role of fathers in single parent
families, as well as the imagination
of young people and the role that
parents play in the encouragement
of their children and their chil-
dren’s imaginations. The story re-
volves around Potts, an eccentric
professor who invents wacky ma-
chinery, but cannot seem to make
‘ends meet’. When he invents the
revolutionary car, a foreign gov-
ernment becomes interested in it
and resorts to skulduggery to get
their hands on it. Throughout this
performance, you, the audience,
will question what is real and what
is in the imaginations of the chil-
dren named Jeremy and Jemima.
It is through their eyes that we see
and experience the story...
As Head of Drama, this is the
third large production which I
have directed and produced at JIS;
an outstanding and exceptionally
special place. JIS is a school where
students are offered the opportu-
nity to perform in a professional
venue,withafullorchestraandthe
Foreword
Director &
Producer
Will Kemp & William Brien

4. 6 7
worked alongside ‘The Car Team’
to achieve the impossible and
make Chitty fly!
Carolyn Moran has returned
as Dance Director, supported by
Kathryn Nesbitt our new Chore-
ographer. Together they have sup-
ported all the physical aspects of
the production; lending us their
skill and patience to create com-
plex and beautiful movement on
stage. Their attention to detail and
professional attitude has led to
some truly spectacular moments
throughout the production that
are effortlessly linked to the rest of
the narrative.
The Car Team: Matt Legg, Paul
Hogan, Robin Hinson and Milo
Valentino have worked tirelessly to
create our incredible Chitty as well
as the complex lifting mechanism
that helps her fly. Both of these
have been created in school, de-
signed and built by this team. The
car is a marvel (of which I will talk
about in greater detail in this pro-
gramme), there is simply no oth-
er way to put it. There is no other
school in the world that will have a
car such as this in their production
of C2B2. When you see her for the
first time, I hope you, like me, are
inspired to applaud.
Janette Brass is another new
member of the team and she joins
us as the Musical Director, sup-
ported by Marietta Del Mar as
the Assistant Musical Director. I
worked with Janette for 8 years at
my last school on 9 productions as
well as numerous choral events. I
am incredibly lucky that she chose
to move the 7,500 miles and join
the production team. Her drive
and incredible ‘ear for detail’ has
ensured that the quality and over-
all sound of this production is out-
standing!
Supporting me in my role as Di-
rector and Producer, I have had
the incomparable Anna Hogan
and Sarah Grimshaw as Assistant
Directors. They have directed and
led many of the wonderful mo-
ments that make up this complex
show. I am indebted to their pa-
tience, professionalism and drive.
What you are about to watch is a
reflection of 10 weeks’ sheer graft
by a dedicated team of both staff
and students. At JIS we achieve ex-
cellence and with this production,
working as we do, I believe that is
what you are about to witness. We
hope you enjoy the show! It prom-
ises to be phantasmagorical!
Will Kemp
Director / Producer
I
t is thanks to the musical
genius of Richard and Rob-
ert Sherman that we enjoy
this hugely energetic and at times
stunningly beautiful musical
backdrop to the well-loved chil-
dren’s classic Chitty Chitty Bang
Bang. After writing the music for
the extraordinary Mary Poppins,
the Sherman brothers proceed-
ed to compose the unforgettable
score for the 1968 film version
of Chitty Chitty Bang Bang (their
first non-Disney musical film).
During the 60s and early 70s, the
two brothers, working at Disney
studios, wrote classics such as “Su-
percalifragilisticexpialidocious,”
“Chim Chim Cher-ee,” “A Spoon-
ful Of Sugar,” and “I Wan’na Be
Like You,” for much-loved fami-
ly films like Mary Poppins, Jungle
Book, Bedknobs And Broomsticks,
The Aristocats, and many more.
What a musical legacy they have
left behind!
Filled with amazing stage spec-
tacle and unforgettable songs,
there is certainly no denying that
some of the ‘catchiest’ songs to ap-
pear in the world of musical thea-
tre are contained in Chitty Chitty
Bang Bang. The opening musical
number presents us with a tanta-
lising preview of the main musical
themes used throughout the show.
Many of these themes become leit-
motifs for our characters return-
ing at key moments throughout
the drama, often transformed or
combined, not least the title track
which belongs to Chitty herself!
“Posh”, in fact an acronym for
“Port Out, Starboard Home”, is
sung by Grandpa to the children in
the dining room of their windmill
home in the stage version rath-
er than whilst being kidnapped
as occurs in the film. An extra
verse was added for the musical in
which Grandpa tells the story of
Musical
Director
sailing out from Liverpool during
his posh travelling life. The song
is reprised a few times and is used
as “Grandpa’s” leitmotif, appear-
ing in different guises throughout
the show.
“Act English” became the re-
placement song for “Think Vul-
gar” which was deemed unsuit-
able for the Vulgarian spies. The
Sherman brothers were a little
concerned that audience mem-
bers might be confused by the
numerous references to English
idiosyncrasies in “Act English”.
It certainly does provide a fairly
comprehensive and very amusing
list of stereotypical English pref-
erences and tendencies!
In “Chu Chi Face”, another
great comic song perfectly suit-
ed to the rather precious and
somewhat strained relationship
between the Baron and Baron-
ess, they profess their love for one
another with the Baroness, for the
most part, oblivious to the fact
that her husband secretly despis-
es her to the extent that he would
happily murder her! The music is
deliberately buffoonish, bringing
humour to the couple’s facade of
marital bliss.
Whilst many of the songs con-
tain elements of slapstick and
vaudeville, Chitty also has some
sincere and beautiful personal
ballads. “Hushabye Mountain” is
one such song. This is the stun-
ning lullaby sung by Caractacus
Potts to his young children at bed-
time. He is both father and moth-
er to his children and here the
world slows down and turns in-
wards towards bittersweet mem-
ories of their deceased mother
at bedtime. He bids the children
close their eyes and “wave good-
bye to cares of the day”.
“Teamwork” is sung by the Vul-
garian children who are deter-
mined not to submit to the dun-
geons of Vulgaria without a fight.
According to lyricist Robert B.
Sherman, “This song more than
any other in the canon, exempli-
fies the show’s theme. Moreover,
if we work together, we can make
our dream come true. Caractacus
Potts learns to work with oth-
ers around him. Specifically, he
learns to trust Truly Scrumptious.
When he does this, then he is able
to achieve all the things that had
previously eluded him.”
The high energy song and
dance routine “Me Ol’ Bamboo”
is performed in the film by Dick
Van Dyke alongside another fif-
teen men although in our case,
144 girls! Whilst reminiscing
about the film Chitty Chitty Bang
Bang, actor Dick Van Dyke says
that “Me Ol’ Bamboo” was one
of the most difficult dancing acts
he ever undertook. The dance in-
volves the use of bamboo sticks as
props. It is a light-hearted, very
‘wordy’ song about how different
men make use of cane-like appa-
ratuses. Robert Sherman was in-
spired to write this ‘parlour song’
by his own use of a bamboo walk-
ing stick, which he used after a
World War II knee injury. At the
end of the dance, Potts collects
enough money to enable him to
buy the old car his children are so
terribly fond of.
“Teamwork can make a dream
work . . . . . .” and what a team! As
a new member of staff in the mu-
sic department, I have been huge-
ly supported by the rest of the
department during Chitty prepa-
rations. In particular from Marie-
ta del Mar, whose piano skills and
relentless drive are truly inspi-
rational. In fact, you could even
say of Marie-
ta, “you’re wizard, you’re smash-
ing, you’re keen”! Paul Edgeler
as Head of Music provides that
much needed voice of experience
and artistry whilst exuding calm-
ness and logic. I worked with Will
Kemp at my last school where we
created nine wonderful musicals
together. It is brilliant to work
with him once again and it is in-
credible to have the professional
standard facilities we have here at
JIS. At JIS, everything seems pos-
sible and working together, as we
do; I believe the Performing Arts
havecreatedexcellence.Ifeeltruly
honoured to have worked togeth-
er with such an amazing group of
musicians, a mix of our wonder-
ful students and staff playing with
such skill and professionalism. It
has been quite an initiation into
the Performing Arts team! What
can I say? They’re “far more than
fabulous”, they’re “simply fantab-
ulous”! We very much hope that
you will find our musical extrava-
ganza ‘Truly Scrumptious’!
Janette Brass
Musical Director
Janette Brass

5. Inventors & Inventions
What does it feel like to be an inventor?
E
xciting, scary, lonely, exhausting, invigorating, up
and down, one step forward, two steps back at any given mo-
ment. Finding a novel solution and prosecuting it to get an
actual patent is one accomplishment but bringing that invention to
market and commercializing it is another daunting task. Being an in-
ventor means pushing through challenges and the voices of naysayers,
putting your time and money where your mouth is in a relentless pur-
suit to realize your vision. Being an inventor takes persistence, thick
skin, and willpower to keep finding ways to improve and overcome a
myriad of obstacles. It’s like a long hard slog through mud, a treacher-
ous journey up the mountain where you may stumble and fall but you
keep pressing on towards the summit to convert the world and bring
about a new reality. It’s an extremely meaningful pursuit to make your
creative contribution to the world and propagate the advancement of
the state of the art.
David Shaw, Founder, Industrial Designer, metaformdesign.com
Amphibious Bicycle
Did you
know?
Canned food was invent-
ed and patented in 1820
by Peter Durand. The
tin-opener, however,
was not invented
until 1858.
In 1770, an Englishman by the name
of Edward Nairne wished to erase some
pencil markings. He reached for a small
piece of bread, which had been the tradi-
tional method of erasing, but accidentally
picked up a piece of rubber. It worked so
well he went into production. (It did, how-
ever, not last very long, and smelled fairly
unpleasant).
Thomas Edison
10 -year old Clara Lazen,a fifth-grader in KansasCity, Missouri accidentallyinvented a new mol-ecule (Tetranitratox-ycarbon) when herteacher was giving aclass on molecules usingball-and-stick models.
Childhood
Imagination
“Logic will get you from A to Z; im-
agination will get you everywhere.”
Albert Einstein
“Of course it is happening inside your head, Harry,
but why on earth should that mean that it is not real?”
J.K. Rowling, Harry Potter and the Deathly Hallows
“Imagination is the
source of all human
achievement.”
Ken Robinson
“Stories
of imagination tend to
upset those without one.”
Terry Pratchett
“The moment you doubt
whether you can fly, you cease
for ever to be able to do it.”
J.M. Barrie, Peter Pan
“Imagination is the only weapon in
the war against reality.”
Lewis Carroll, Alice in Wonderland
8 9

6. T
he action in the story takes
place in a number of differ-
ent locations so my chal-
lenge was to find a way to quick-
ly and easily transform a single
structure into four different build-
ings: a windmill, a sweet factory,
a fairground and a castle. I devel-
oped ideas through drawing and
eventually came up with a series
of sketches that seemed feasible.
Rather than try to transform the
set entirely, the intention was to
suggest the different settings by
adding and removing certain fea-
tures, relying on the audience’s
imaginations to make the trans-
formations complete.
I met with Will Kemp on numer-
ous occasions to discuss the over-
all concept for the production. We
decided that the main location
for the production should be the
Windmill home of the Potts’ Fam-
ily. This would mean that the set
could be used to hint at the idea
that the family never actually left
home, that all the locations in the
second act come from the chil-
dren’s imaginations, inspired and
encouraged by their amazing fa-
ther! (The idea that the second act
might not be real, is also hinted at
through some actors being used
to represent two characters and
through the fact that the ‘magic’ of
the car gets them to Vulgaria.)
The pale, muted colours and sub-
tle texture of the main structure
would allow for brighter colours or
images to be projected onto it if re-
quired. The Art Nouveau inspired
vines and floor patterns symbolise
fertile and elaborate imaginations.
They also relate to the era in which
the story was thought to have
been set (early 1900s). The earthy
greens, greys and browns repre-
sent simplicity, innocence and
connection to nature. In certain
scenes, brighter colours are intro-
duced to provide contrast and to
create a mood of excitement and
adventure. The black, purple and
‘sickly’ pinks seen in Vulgaria are
used to emphasise the more sinis-
ter points in the story.
The initial drawings served only
as a starting point from which
the actual set evolved. In part, the
design was determined by our
effort to incorporate and re-use
materials from previous produc-
tions during construction. The fi-
nal outcome is the result of many
people’s hard work, creativity and
skill. The exceptional contribution
from students, teachers, techni-
cians and maintenance staff can-
not be overstated. Special thanks
to Rosie Curtis for all of her input.
Kirsty McLean
Set Designer
Set
Design
S
implicity is the key for
the staging of the JIS per-
formance of Chitty Chitty
Bang Bang with the notable ex-
ception of the car! The audience
will see that the stage scenery and
set are deliberately quite simple,
thus allowing the focus to be on
the characters. So when the show
opens, we see the children playing
on the beat-up old car, and that’s
it! The Windmill sail shows that
we are at the Pott’s family home
and when we move to the Fun-
fair, the big top is picked out with
projection and bunting, but again,
that’s it.
This effect allows us to be swept
up in the magic of Caractacus
Potts, signified by changes in light
intensity and subtle colour shifts.
The technical complexities are not
immediately evident, but as the
cast fill the stage with energy and
life, we are flooded with colour
and a rich sound which reflects the
fun and magic of this warm tale.
Away from our talented per-
formers, the star of the show is
undoubtedly the car! From the
first glimmer of headlights to the
moment she climbs to her cruising
altitude, she is simply phantasma-
gorical!
Jon-Mark Nesbitt
Technical Director
Technical
Notes
1110
Fathers
“The monsters are gone.”
“Really?” Doubtful.
“I killed the monsters. That’s what fathers do.”
Fiona Wallace
TRULY: Anyway, Caractacus, do you re-
member I accused you of being a negligent
father?
POTTS: I don’t think I remember that.
TRULY: Yes you do. Well, I just feel I have to
say that… that I think you are… absolutely…
(Thunder)
POTTS: It’s alright children, it’s only thun-
der. You’ve been asleep.
“I believe that what we become de-
pends on what our fathers teach us at
odd moments, when they aren’t trying
to teach us. We are formed by little
scraps of wisdom.”
Umberto Eco, Foucault’s Pendulum
“Sometimes I think my papa is an ac-
cordion. When he looks at me and smiles
and breathes, I hear the notes.”
Markus Zusak, The Book Thief

7. 12 13
The Car
T
he Car is everything in Chit-
ty Chitty Bang Bang! The car
is one of the main charac-
ters in the play and therefore, just
like every one of our student cast,
must look, sound and be ‘right’.
In the West End production, the
car was the most expensive prop/
vehicle that has ever been made
for a stage play. The flying car for
that show still holds the Guin-
ness World Record as the most
expensive stage prop ever, cost-
ing £750,000, roughly 1.3 million
Brunei dollars. This was slightly
outside our budget, so we had to
think creatively…
Matt Legg and Paul Hogan were
the original members of ‘Team
Car’. When we first met and I said
we needed three cars, they took a
small breath and considered what
this meant before accepting the
challenge. But accept the challenge
they did!
I played them the song Chitty
Takes Flight, which is only 1 min-
ute 48 seconds long. It is the song
that ends Act One and it is by
far the most important scene in
the whole play. I explained how I
would love for it to look and Matt
and Paul listened with very serious
yet very passionate faces.
What followed was an incredi-
ble engineering and technological
journey where the very limits of
what is possible in a school were
tested and exceeded:
Stage 2: Let’s Build a Car!
Matt took initial charge of the
car and Paul took control
over the lifting mechanism. Later
in the project both were massively
involved in both projects, but each
led these separate sections at the
outset.
Matt drew a scale drawing of the
car which was impressive in it-
self. This gave myself and the rest
of the creative team a first look
at what the car would look like.
He then drew technical schemat-
ics for a monocoque chassis and
Paul sketched up a set of techni-
cal drawings for the lifting mech-
anism. Both of these sets of plans
were put out to tender to four local
metal fabrication companies.
Our Head of Purchasing then
picked the best company for the
job and in less than 10 days the
chassis of the car had arrived in
the scene dock!
Stage 3: Let’s Bring the Car to Life!
Bringing the Car to ‘Life’ was a
difficult journey and one that
took place over the last 7 weeks.
This happened in two ways: ‘Flesh-
ing’ the car out and making her fly!
‘Fleshing’ the car out involved
many stages of detailing: panel-
ling the chassis with individually
riveted panels, attaching the pol-
ished bonnet, building the ‘boat’
back and matching the stain and
varnish to the original, fabricat-
ing the wooden wheels to match
the 1900s original style, attaching
the steering wheel and dashboard
instrumentation, getting bespoke
upholstered seats made in ‘Vic-
torian Red’ faux leather, adding
lights that are controllable from
the lighting desk, building and
spraying the
large exhausts to look like the
copper originals, adding the red,
gold and white trim detailing; laz-
er cutting a period ‘AA’ Badge and
finally adding the famous GEN II
Number Plate.
And then we added mechanical
wings….
However, making her fly is the
bit where we need your help. It is
not just the mechanism under the
stage that makes Chitty fly. It is the
singing of the 144 voices on stage,
the support of the full orchestra,
the magic of the Theatre and your
belief and imaginations that will
make her soar!
I am indebted to the whole ‘Car
Team’ for what they have achieved!
Matt, Paul, Robin, Courtney, the
DT technician team and Milo,
supported by Jon-Mark, have cre-
ated an exact ¾ scale model of the
original car from the film.
I am sure you will agree that she
is ‘Uncategorical’, ‘A Fuel Burning
Oracle’ and a truly ‘Phantasmago-
rical Machine!’
Will Kemp
Director / Producer
Stage 1: How do we make a car fly?
To begin with, many options
were explored: Wires from
the ‘Fly Tower’, a Giant Cantilever,
a disguised scissor lift and a cus-
tom built lifting system under the
stage floor. Matt, (the Legg-end)
created models, Paul worked out
the Maths and Engineering num-
bers (in a past life Paul was an En-
gineer) and Milo (the incredible
Arts Centre Technician) worked in
the Scene Dock with large models
made from Scaffolding bars and
wires. After a lot of experimenta-
tion a system was designed that
would fit underneath the stage.
Many people do not know that
there are a number of Trap Doors
in the stage of our Arts Centre
which, up until this production,
had never been used. Under the
stage itself there are three rooms
that, through these trapdoors, are
connected to the stage. The system
that Milo, Paul and Matt designed
was ingenious and incredibly sim-
ple.
We would lift the car from below
using two large ‘rams’ that would
connect to the base of the car. This
system meant that the car could
‘fall off a cliff’ and then ‘Take
Flight’!

8. 1514
Director’s Concept...
T
his performance is told from the
perspective of the children,
Jemima and Jeremy. When asked to
recall their childhood (in the future
that is), I like to think that they
would tell this story. The story of
the magical car their Father built…
the one that really did transform
their lives!
The first act of the play explores their reality: A friendly home,
a wacky inventor for a Father, a ‘magical’ car that takes them on
adventures, their new Stepmother and their Grandfather who ‘nips off
to India’ when he steps into his shed. In the second act, two of
the characters are played by the same actors who play two different
characters in the first act. This is deliberate and is meant to make
you think about whether what we see in the second act is in fact
real. Do they go to Vulgaria? Do they ever leave England?
In May of 2016, Kirsty McLean (pictured left)
and I met to discuss the set for Chitty Chit-
ty Bang Bang (C2B2). We discussed the fact that
there are numerous locations in the play which
need to ‘feel different’, but look similar. The
premise of the whole play is that the Windmill
home of the family is the place where most of
the action takes place. It needed to look beau-
tiful and elegant whilst it simultaneously rep-
resented the industrious nature of Caractacus.
This meant that the Windmill shape needed to be
maintained in the first act and then the structure need-
ed to transform into the castle for the second act. We created this
feeling by adding castellation to the top of the Windmill structure
so that when the ‘Sails’ of the Mill fly out, the building is left
tall and ‘Castle-Like’. This is done to remind the audience that
this could be ‘make believe’ and that all the ‘Vulgarian’ section
could take place in the imaginations of the children and Potts.
The main structure of the set has been inspired by the Art Nouveau
movement, which was in its infancy at the time of the play’s set-
ting. Overall, I love the feeling that Kirsty has created on stage.
The beautiful simplicity of the house is juxtaposed by the garish
purples and silvers of the Vulgarian Court. Things in Vulgaria seem
sickly and somehow wrong, almost sinister.
The Costume Team (Angela Piddington, Julie Ayres and Tracey Purk-
is) and I all met in June of last year. We first talked about the
general mood of the performance and the way costume could add to
this atmosphere. We discussed the fact that almost all the cast
need to change character at least twice. This meant the costumes
need to be adaptable. This has been achieved by adding cravats,
and other ‘attachments’ that transform the emblematic costuming
into more specific outfits to fit specific
T
he ideas for costumes for this production
take inspiration from the Edwardian era.
Long flowing, fitted dresses for the ladies
and suits for men were prominent. The CCA
group researched pictures to see how these ide-
as could be adapted for a school production. This
year Middle and Upper Years students have been
involved with measuring, cutting, sewing, gluing
and fitting many of the costumes on stage. We
have also sourced and adapted many items from
the costume cupboard as well as having specific
items made by Lani, our tailor.
Angela Piddington
Costume Designer
Costumes
Props
T
TheChittyChittyBangBangPropMakingCCA
has been cutting, gluing, sculpting, painting,
sewing, spraying and wrapping a weird and
wonderful collection of items. Look out for dance
sticks (old bamboo dance), goose hats, ankle shack-
les, a picnic basket of Victorian food, toot sweets and
hundreds of wrapped sweets.
The children are from Years 4, 5 and 6, so are some
of the youngest involved in the production. They
have worked as a team to creatively solve many prob-
lems, under the guidance of Mrs Brumpton and Hai-
da Haslen (Y10).
Christine Brumpton
Props Designer
Styling
T
he enthusiastic team wanted to create mag-
ic with makeup - enthralling the audience
with a menagerie of fanciful and delight-
ful characters. The loveable but whacky inventor,
Potts, along with his two children; the gorgeous
Truly Scrumptious, the Bombastic Baron and the
evil Childcatcher (formidable and oh so evil…)
are some of the principals the team researched,
experimenting with “looks” in order to create the
perfect transformation.
The preparation started at the beginning of the
term: avid research, copious notes and experimen-
tal makeup sessions ensued, all to ensure that the
magic truly happened – a flight of fantasy, promise
and endless possibility!
Kim Kruger
Hair & Makeup

9. 1716
contexts. The costumes of the Principals are
realistic, detailed and well finished. In
contrast, the characters that the children
don’t like are dressed in costumes that are
non-naturalistic in style by using darker
colours such as purple and black.
Christine Brumpton and her team have made
incredibly accurate props. The picnic bas-
ket, for instance, was perfectly made to
fit onto the back of the car. Inside it
has very realistic sandwiches, a chocolate cake with
raspberries on top and the perfect salad. The shackles that
the children wear (don’t worry, they get their revenge!)
clank convincingly and the telephones are exact replicas of
the phones used at the time of the play’s setting.
The story is told from the perspective of the children and
therefore, some sections of the story are well lit and in focus whilst
others are murky and dark, distant and almost forgotten. In the scenes
with the car, for instance, we see everything in technicolour. The car
makes the scene seem more magical and the light helps us see the magic
happen in the same way the children see it! In the darker scenes, such
as when the children are captured by the child catcher, we only see
the child catcher, his helpers and the attic of the Toymaker’s house
that they are hiding in.
Light is a sign of magic in the play. When Chitty first comes ‘alive’
her headlights flicker, when Potts finishes the car all we see is his
silhouette surrounded by the bright light of the garage door and when
he starts to lead the dance in ‘Old Bamboo’ his magic makes the lights
go brighter. Jon-Mark Nesbitt is not only a lighting aficionado, but
also a sound specialist. Sound is important in this production. Chit-
ty’s sound is one of the first signs we see that she is magical. She
talks to the children, further personifying the car as a character
within the play. Jon-Mark has, along with Syarif Baharudin, created
a wonderful blend of sound effects, music and speech that help define
the magic of Chitty. When Chitty ‘Takes Flight’
at the end of Act One it is the music from the
orchestra, the sound of the car and the singing
of the entire cast that makes the car fly!
The Car is easily the most complicated prop /
vehicle I have ever had made for a production.
The car team’s brief was to create the most ac-
curate scale model of Chitty Chitty Bang Bang
as possible. They have far exceeded the brief.
This car is not a model. It is Chitty. From
a Director’s point of view, the car should be
one of the biggest ‘characters’ in the play. We have done many things
to personify the vehicle. I imagine that the children’s memories of
the car would be perfect. That every surface gleamed and shone. That
every detail of the car showed them how brilliant their father was!
Chitty is the vehicle, both figuratively and literally, which takes
the children and Potts to another place. It is in the car that they
meet Truly, the new addition to the family
and it is in Chitty that all their
adventures take place. At the start
of the play the magical potential
of the car is hinted at. However,
by the end of the play the car is
the hero and saves everyone!
The music in C2B2 is filled with
songs that some people in the au-
dience might know and songs that
some will never have heard of.
This mixture of iconic and unknown
songs is very useful for a Musical Director as it
allows her to direct the audience’s attention at certain moments in
the production. When we hear a song sung by the ‘Good’ characters
in the play, we know that something good will happen or is happen-
ing. When we known songs slow down, the feeling on stage shifts. The
songs sound familiar, but feel sinister. The song Chu Chi Face is a
fun sounding song, but has a juxtaposed theme. The Baron really does
not like the Baroness and it is through this song that the ‘lie’ of
their relationship is shown. In C2B2 the music is not always clear.
Just like in the children’s memories, some songs describe villains
and other heroes. The songs themselves help with this polarisation.
Janette Brass has been very clever in the way she has used music
in the show. Each moment of transformation or shift
is underscored and supported by the orchestra. We
know big moments are going to happen because the
orchestra ‘hint’ at them through the music. At the
very beginning of the show, the Overture is used to
introduce the audience to the ‘world’ of the play.
The curtain is drawn back and individual musical
motifs are mirrored on stage by episodic dances and
physicalised movement. Music ‘helps’ the audience
through the story and metaphorically guides them
through the adventure that the family embark upon.
Chitty Chitty Bang Bang! is a story that highlights the
importance of loving and supportive parents. It is a story
which asserts that imagination and creativity are some of
the most powerful and important gifts that anyone is given.
It is a story that champions children, the potential of the
individual and the power of Teamwork!
Chitty takes the family on a great adventure! I hope, in
watching this performance, that you are also transported to another
place: the family home, the Funfair and finally to Vulgaria! Using
your imagination, I hope you see the flying car in the same way that
the children see her. I hope you join them on their motor trip, see
the pride in their ownership, the envy of all they survey!
We hope you enjoy the show!
Will Kemp

10. 18 19
Caractacus Potts William Brien
Truly Scrumptious Florence Holmes
Jeremy Potts Luke Conway
Evelyn Hogan (Understudy)
Jemima Potts Grace Shakeshaft
Charley Grimshaw (Understudy)
Grandpa Potts Charles Duru
Lord Scrumptious/Baron Bomburst Mahmud Baharudin
Baroness Bomburst Sachi Dieker
The Toymaker Emily Carter
The Junkman/Childcatcher Haeram Jalees
Boris Athena Chalmers
Goran Holly Canton
Emmy Carter Jemima Sparrow Nikita Azua Surina Martin
Ethan Officer Manikya Maxim Oscar Morley Toby Harris
Gayatri Naidu Naomi Carter Rafeeqa Teo Trinetra Navasiwayam
Hazel Chia Nayumi Reduan Rebecca Yahya
Alya Rudy Gemma Saap Laetitia Bouvet Naifah Melhan
Beatrice Clint Hana Zainidi Lara Turner Natalie Yip
Caelyn Chua Hanna Edzwan Lily Scott Olivia Gillam
Caitlyn Halfpenny Hanna Norshafiee Luke Smith Olivia Smith
Claribel Kuan Iggy Malik Marianne Sequeira Philippa Mae Smith
Claudia Tan Izzah Dar Melodee Goh Sebastian Roberts
Edward Kitchin Jamie Carter Merryn Hogan Sharyka Navasiwayam
Elisa Buckingham Kaye Gruenes-Yeung Mischa Arumugam Sofia Sim
Emily Walker Khushi Punjabi Mithya Mannapperuma Tiffany Rebelo
Fenny Cai Kiara Kruger Miyuki Nakano Zed Smith
Aditi Chattopadhyay Arnaz Mallick Elizabeth Legg Grace Power
Aine Suhaini Basit Al Hassan Ella Goodman Han Hor
Amon Gurung Chloe Hill Ern Ang Hannah Schjolberg
Anusha Bhushan Clarissa Kuan Freya Johnson Hau Chien Tang
Arianna Azua David Lee Georgia Zhang Iman KhairulRidwan
Principals
Multi-Roles
Junior Chorus
Middle Years
Chorus
Luke Conway Grace Shakeshaft Evelyn Hogan Charley Grimshaw
Charles Duru Mahmud Baharudin Sachi Dieker Emily Carter
Haeram Jalees Athena Chalmers Holly Canton
William Brien Florence Holmes

11. 20 21
Isabella Hill Krish Punjabi Natasha Seymour Rokas Maciulis
Ishba Amir Leilani Riches Nazarah Marshall Sahana Rajinikanth
Janelle Rego Lian Gruenes-Yeung Nicholas McCorrister Skye Xu
Jason Rego Lucy Parrott Nick Bourbon Stacy David
Joe Barton Mariam Abdelhamid Ning Hor Tobi Ayodele
Jolin Goh Maxine Brown Oliver Harris Tom Granville
Kaitlyn Buchan Megan Sargent Oscar Whitehead Valeria Sanchez
Kassy Pacudan Mine Oweh Purva Mehta Vica Chulkova
Kate Edgeler Nadhrah Melhan Rania Lim Zhi Min Lim
Katlyn Galway Natalie Krebs Rebecca Sargent Zugs Hirse
Audrey Lim Kate Pacudan Shaffena Affendy Umi Isa
Fatin Hamzah Khairi Yusof Shakirah Shahwall Yasmin Roselan
Hannah Bourbon Maisarah Firdaus Sirren Munawar Zainul Jeffri
Jasmine Lim Olivia Eddy Syuhada Ishak
Middle Years
Chorus cont.
Senior Chorus
Photos

12. 22 23
Origins Songs
Act One
1. Overture - Orchestra
2. Opening (The Paragon Panther Versus the Vulgarian Vulture) -
Cast, Jeremy, Jemima and Potts
3. You Two - Potts, Jeremy and Jemima
4. Them Three - Grandpa Potts
5. Toot Sweets - Cast, Potts, Truly, Jeremy, Jemima and Lord Scrumptious
6. Act English - Boris and Goran
7. Hushabye Mountain - Potts
8. Me Ol’ Bamboo - Potts and Cast
9. P.O.S.H - Grandpa Potts, Jeremy and Jemima
10. Chitty Chitty Bang Bang! - Potts, Jeremy, Jemima and Cast
11. Reprise: Chitty Chitty Bang Bang! - Potts, Jeremy, Jemima, Truly and Cast
12. Truly Scrumptious - Truly, Jemima and Jeremy
13. Chitty Chitty Bang Bang (Nautical Reprise) -
Potts, Jeremy, Jemima, Truly and Cast
14. Chitty Takes Flight! - Potts, Jeremy, Jemima, Truly and Cast
Act Two
1. Vulgarian National Anthem - Senior Cast
2. The Roses of Success - Grandpa Potts, Inventors
3. Lovely, Lonely Man - Truly
4. Chu Chi Face - Baron and Baroness
5. Teamwork - Junior Chorus, Middle Years Chorus,
Toymaker, Potts, Truly, Girl, Boy, Jemima and Jeremy
6. Doll On A Music Box/Truly Scrumptious - Potts and Truly
7. Fight and Finale - All Cast
Firing on all cylinders
In April 1961, Ian Fleming had
a heart attack. He smoked too
much, and played golf, and was
told to cut down on both. Resting
in the south-east of England city of
Canterbury, he turned back to one
of his favourite passions: writing.
He had already written 11 popular
novels about a hero he was now be-
ginning to think of as “cardboard”:
James Bond. He loved ingenui-
ty and inventors, possibly cast-
ing himself already in his novels
as “Q”. As a wartime Royal Naval
commander (Intelligence), he had
visited Bletchley Park, the home of
the code-cracking, computer-in-
venting Alan Turing and his team.
He also loved his son, Caspar, and
made up crazy stories about crazy
inventions, set in the rural coun-
tryside of Kent. These stories he
began to turn into his novel.
Near Canterbury is the beau-
tiful village of Bridge (I know it
well!) and the Higham Park es-
tate, owned by Count Louis Vo-
row Zborowski, who developed a
series of racing cars in the 1920s
(with noisy aircraft Zeppelin en-
gines) which became the inspira-
tion for Chitty Chitty Bang Bang,
the heroine car of Caspar’s father’s
narratives. The characters in the
stories came from Fleming’s time
at Eton, the roll of which includes
the names of two boys, Chitty Ma-
jor and Chitty Minor (sons of one
of the schoolmasters, the Rever-
end George Jameson Chitty).
Chitty takes flight
The original first flight by Chit-
ty saw the car soaring over the
spire of Canterbury Cathedral.
However, in June of 1961, Fleming
took Caspar to the movies, to see
the Disney new release “The Ab-
sent-Minded Professor”. The mov-
ie featured a crackpot inventor,
and a flying car circling a church
spire. Horrified at the similarities,
Fleming substituted the White
Cliffs of Dover for the cathedral,
and the picnic scene took place
on the Goodwin Sands just off the
coast near Dover. (I am an official
member of the Goodwin Sands
Potholing Club, and currently a
small part of a campaign to stop
the sandbanks being dredged).
The book similarly took flight,
and was published in three vol-
umes by 1965. A film version was
also released in 1968, with the
screenplay completed by one of
Fleming’s wartime military intel-
ligence colleagues, a certain Mr
Roald Dahl. Roald Dahl had some
rather darker ideas for the story,
and introduced the concept of the
Childcatcher, not part of the orig-
inal Fleming narrative. (Well, one
wouldn’t really want to traumatize
one’s only son with such a charac-
ter at bedtime story time, would
one?)
A stage version followed, and
the car built for this remains the
most expensive stage prop ever
built, (a fact almost emulated by
our beautiful Gen 11!). This musi-
cal version, nominated for Olivier
and Tony awards, premiered at the
London Palladium in 2002 and on
Broadway in 2005.
Simon Carter
Production Manager
“I can assure you that I will be firing on all cylinders again
before long ... [and] I am writing a children’s book, so you will
see that there is never a moment, even on the edge of the tomb,
when I am not slaving for you.”

13. 24 25
As the children sleep, Caractacus and Truly begin to realise that they have feelings for each other.
Distracted, they don’t realise that the tide has come in and surrounded the car. And if that wasn’t bad
enough, a Vulgarian ship begins to fire on them! Suddenly Chitty begins to transform into a boat-car,
and they are able to escape their pursuers. Learning that Chitty can float on the water makes Baron
Bomburst want the car even more.
b
Back at the windmill, the Vulgarians think that Grandpa is the inventor they are looking for, so they
kidnap him by lifting him up in his hut with a large hook attached to an airship. Potts, Truly and the
children speed after them, not realizing they are heading straight for a cliff. As they plummet to the
ground, Chitty grows wings and takes flight to Vulgaria in pursuit of Grandpa!
Act Two
The Vulgarian air ship deposits Grandpa in the Vulgarian Town Square. Still believing that Grandpa is a
brilliant inventor, Baron Bomburst orders him, on pain of death, to make his car float and fly. Grandpa
meets six inventors who have been prisoners of the Baron for years. Grandpa despairs, but the inventors
tell him that nothing is impossible (“The Roses Of Success”).
b
Potts, Truly, and the children arrive in Vulgaria, secretly searching for Grandpa. The Toymaker brings
them into his shop just in time, for the Childcatcher appears, sniffing the air for the thing the Baroness
has banned from all Vulgaria - children! The Toymaker shows Potts where the people of Vulgaria have
hidden their children - underground, in the sewers. At the toyshop the Childcatcher tricks Truly and
takes Jeremy and Jemima.
b
The scene shifts to the Baron and the Baroness as they prepare for the Baron’s birthday party (“Chu-Chi
Face”). While in the sewers, Potts is determined not only to rescue his children and Grandpa, but to put
an end to the misery of Vulgaria (“Teamwork”). The Baroness describes her grand plans for the festivi-
ties.
b
At the Baron’s party, the Toymaker nervously brings out his latest toys: two life-sized dolls. As they
spring to life and begin to sing, we realize they are Truly and Potts in disguise (“Doll On A Music Box”).
b
The children from the sewers rise up against the authorities; the ban on children in Bulgaria is repealed,
and the Toymaker banishes the Baron and Baroness from Vulgaria. The sewer children are reunited with
their families, and Grandpa is rescued. Potts and Truly declare their love for one another, and along with
Jeremy, Jemima, Grandpa, and Chitty Chitty Bang Bang, they all live together as one happy family.
Programme
Notes
Act One
The story begins in Mr. Coggins’ Junkyard, where Mr. Coggins is describing the last race of a great race
car (“Opening”). The English car was the star of her day, but she met her end during the British Grand
Prix of 1910, when the Vulgarians sabotaged her. Now she is a lonely wreck, with only two children, Jer-
emy and Jemima, to care for her. The children have come to love the old car, and they are shocked when
Coggins tells them he must sell it. He promises them that if they can raise 30 shillings, they can have the
car. Meanwhile, Truly Scrumptious has arrived at the junkyard, searching for a part for her motorcycle.
She is distressed to see the two children out of school. As they leave, two Vulgarian spies enter. They have
been searching for the legendary car for years and are determined to get it before the children.
b
Truly takes the children home and meets their father, Caractacus Potts. The Potts patriarch shows
Truly his many amazing inventions, including a new type of candy. Truly and Potts argue about how
he is raising the children, and she leaves. Potts and the children prepare to eat (“You Two”). Jeremy and
Jemima tell their father about Coggins’ offer to sell the car, and he promises them he will try to come up
with the 30 shillings to purchase the vehicle. Later, Grandpa tries the new candy his son has invented
and realizes that it can make a beautiful whistling sound.
b
The next day, Potts and the children pay a visit to the Scrumptious Sweet Factory, trying to sell his new
candy, which he calls Toot Sweets. They run into Truly, who tries to get her father, Lord Scrumptious,
to buy it (“Toot Sweets”). The candy-maker tries one, blowing on its whistle, which causes dozens of
wild dogs to invade the factory. Potts and his family make a hasty retreat. Meanwhile, the two spies have
raised the money to buy the car, but then realise that Coggins will never sell it to two Vulgarians. They
decide to disguise themselves as Englishmen (“Act English”).
b
Back at the windmill, Potts sings his children a lullaby (“Hushabye Mountain”), then takes one of his
inventions, an automatic haircutting machine, to a local fair. There he meets Violet and her boyfriend,
Sid. The machine cuts all of Sid’s hair off and he is furious! Potts tries to make his escape and gets caught
up in some dancers getting ready to perform (“Me Ol’ Bamboo”). Luckily for Potts, he runs into a Tur-
key Farmer, who wants to use his haircutting machine to pluck and cook turkey. Potts finally gets his
30 shillings and is able to buy the car. Potts sets to work fixing the car while Grandpa and the children
keep the house in order (“Posh!”). Potts finishes repairing the car. Truly arrives and they all admire the
gleaming car, which they name Chitty Chitty Bang Bang after the sound she makes (“Chitty Chitty Bang
Bang”). They decide to go on a picnic at the seaside. Once there, Jeremy and Jemima tell Truly that they
love her, and she confesses that she cares for them as well (“Truly Scrumptious”).
b

14. 26 27
French Horn
Mr Nicholas Smith
b
Trombone
Dr Richard Clarkson
b
Drums
Pg Sallehuddin Pg Mohd Noor
b
Percussion
Mrs Faith Klein
Arif Amir Hamzah
b
Bass
Miss Stefanie Chua
Stage Management & Crew
Stage Manager
Mrs Deanna Carter
b
Mr Chris Lush
Mr Dave Sargent
b
Eauel Alba
Mabel Lim
Mayang Shaaban
Najibah Abidin
Rafi Hussein
Syasya Jafny
Wafi Habib
Set Design & Construction
Designer
Ms Kirsty McLean
b
Assistant Designers
Miss Rosie Curtis
Esme Smith
b
The Car
Mr Matthew Legg
Mr Paul Hogan
Mr Milo Valentino
Mr Robin Hinson
Mrs Courtney Darwent (Wings)
b
Construction
Mr Harry Baker
Mr Akmal Metali
Mr Alex Perry
Mr Isham Suhaimi
Mr Bryan Ariar
Miss Rina Abdullah
Mr Justin Harris
Mr Andrew Abbs
Mrs Susan Smith (Bunting)
Painters
Mr Robin Hinson
b
Aiysha Shariful
Andrea Chan
Anisha Chua
Arina Aidiradiman
Ariqah Marhalim
Balqis Alihishim
Daphne Ng
Ellie Innes
Esme Smith
Ibrahim Kamit
Iman Shamsuddin
Isabelle Incham
Izzah Hamid
Izzatul Mohaimin
Kai Jie Hii
Khadijah Norshafiee
Lina Kua
Lisa Kua
Lucy Harris
Nabilah Ali Hassan
Rahimah Na’aim
Ruth Wong
Shiuh Lin Chan
Syahdina Anuar
Varuna Slik
Yasmeen Syed Amir
Costumes
Coordinator
Mrs Angela Piddington
b
Ms Julie Ayres
Mrs Tracey Purkis
Mrs Lynne Hutchinson-Whitehead
Ms Sue Joshi
Ms Jo Newton
Mrs Miriam Legg
Mrs Courtney Darwent
b
Aisha Hammawa
Anisah Kamal
Ameera Afuwardeen
Calypso Morley
Charlotte Harris
Daniel Olayemi
Eauel Alba
Eleanor Briffa
Isabel Hassall
Isabelle Sim
Natasha Lim
Serene Shaaban
Tania Teo
Yew Yi Yap
Zainab Shofu
Credits
Production Team
Director / Producer
Mr Will Kemp
b
Musical Director
Ms Janette-Lynn Brass
b
Assistant Directors
Mrs Anna Hogan
Mrs Sarah Grimshaw
b
Choreographer & Dance Director
Mrs Carolyn Moran
b
Assistant Choreographer
Ms Kathryn Nesbitt
b
Dance Assistant
Ms Camilla Cullen
b
Chorus Assistants
Ms Kate Bayford
Mr Robin Hinson
Mrs Julia Rickell
Mr Ed Hassall
b
Production Manager
Mr Simon Carter
b
Production Assistants
Ms Yasmin Riches
Ms Phoebe Ten
Technical Team
Technical Director
Mr Jon-Mark Nesbitt
b
Sound Engineer
Mr Syarif Baharuddin
b
Cueing
Mrs Phyllis Thin
b
Arts Centre Staff
Miss Freda Chen
Mr Hadi Suphien
Mr Daus Mohd Salleh
Mr Milo Valentino
Mr Amir Sabtu
Tech Club
Adeel Kauther
Afiah Ali
Ainureen Khalidin
Chan Zhi Goh
Georgia Seymour
Jorge Perry
Seraphine Goh
Siew Qian Tiong
Syuaib Khalifah
Yi Ying Wong
Zaheer Cader
b
Music Technicians
Mr Khaliq Habib
Mr Yamin Abd Rahman
Orchestra
Conductor
Ms Janette-Lynn Brass
b
Piano & Vocal Coach
Mrs Marieta del Mar
b
Flute
Ms Nicole Sumich
b
Oboe
Mr Estevan Ellul
b
Clarinet
Alex Norris
b
Violin 1
Shian Li Chiam
Mr Jamie Sales
bViolin 2
Evan Chiam
Nathan Han
bViola
Michael Koh
Yi En Tan
b
Trumpet 1
Mr Paul Edgeler
b
Trumpet 2
Toby Harris

15. 28 29
Props
Coordinator
Mrs Christine Brumpton
b
Abbie Bannister
Haida Haslan
Isobel Sheehan
Mihikaa Vijay
Raika Chowdhury
Sebastian Buckingham
Shriya Kashyap
Yajna Karri
Yoshiki Kaneko
Hair & Makeup
Coordinators
Mrs Kim Kruger
Mrs Ruth Bourbon
Ms Gisela Drewes
Mrs Marinka Gnaden
b
Aleena Dar
Anis Abdul Majid
Eleanor Briffa
Esther Wong
Evelyne Tang
Fiona Ngu
Hafsa Dar
Hana Ahmad Baihaki
Hazeemah Murat
Huda Omarali
Jamie Irving
Mahnoor Abbasi
Mirza Rahman
Myra Ng
Natalie Hallot
Paula Duru
Rhia Stones
Sarah Kehoe
Tara Zhang
Vanessa Bouvet
Xuen Ong
Boarding House Liaison
Mrs Susan Smith
Mr James Gajitos
Front of House
Coordinator
Mrs Anne Dickinson
b
Marketing and Publications
Miss Naqiyah Yussof
Miss Afiqah Abdullah
b
Ticket Sales
Mrs Liza Sheriff and staff of the JIS Stationery Shop
b
Poster Artwork
Mr Garry Whitehead
b
Graphic Design - Programme, Banners, Tickets
Mrs Doris Gruenes
b
Photography
Mr Michael Ruiz
Videography
Hugo Eaton
Wafi Habib
Catering
Coordinator
Mrs Clare Granville
Serikandi Oilfield Services Sdn. Bhd.
b
The Jerudong Bean
Mrs Angela Mann

18. ADVERT
Brunei Press

19. Tel: +673 2 411 000
Fax: +673 2 411 013
Email: office@jis.edu.bn
http://www.jis.edu.bn
Jerudong International School
P O Box 1408
Bandar Seri Begawan, BS8672
Negara Brunei Darussalam