This production of Oliver! at Jerudong International School features over 250 students. The set design was influenced by original illustrations of Dickens' novel as well as the 1948 film adaptation. Over 20 students helped paint the set, which features scaffolding representing Victorian London rooftops. Color palettes include muted tones for the city and pastels for drop scenes. The costume team handmade over 250 outfits to tailor to each actor.

1. Book, Music & Lyrics by Lionel Bart
December 2014

3. 4 5
W
hat an exciting and incred-
ible journey our talented
and hardworking students
have travelled to present to you this
marvellous performance. The famil-
iar songs we have grown to love have
been carefully prepared and presented
to capture the real essence of this clas-
sic Dickens tale.
Lionel Bart, the writer of the Mu-
sic and the Lyrics certainly found a
winning formula for the school pro-
duction in Oliver! The original show,
and its revival over recent years, has
certainly maintained its popularity
in schools throughout the world as a
standard production.
The real treat for me in this produc-
tion was being able to work with a
huge talented cast of students, the
largest so far for a Musical Theatre
production at JIS, representative of
most year levels in the school. The
students have coped admirably over
three months with intensive rehears-
als, learning songs, remembering the
stage movements and how to charac-
terise their roles. They have excelled in
learning not only how to sing to their
potential in a chorus or a soloist role,
but also learnt the essential qualities of
self discipline, teamwork and organi-
sation having a lot of fun along the
way. The students have discovered the
‘magic’ of Musical Theatre and the re-
wards are obvious in their faces today
and will remain in their memories for
many years to come.
The level of today’s performance could
not have been achieved without the
professional support from the talented
students and my colleagues in the or-
chestra pit who bring the songs alive.
I know you will be well entertained
and will thoroughly enjoy the perfor-
mance of Oliver! as all the students on
and off stage. Musical Theatre is alive
and thriving at JIS!
Garry Thin
Musical Director
M
y first ever experience of
Oliver! was being cast in
the lead role at the tender
age of ten. I can vividly remember
standing on the stage with The Artful
Dodger, surrounded by a large cast
singing Consider Yourself at the top
of my lungs and thinking, “it can’t get
better than this… can it?”
To a nervous youngster, new to acting
and the bright lights of theatre, this
was a show touched by magic; a show
so utterly remarkable that I could not
imagine finding anything to match it
ever again. My impressionable psyche
notwithstanding, its impact on my life
was profound: I loved the production
so much that it ignited my love of the-
atre, and in turn inspired me to pur-
sue teaching Drama as a career.
There are not many schools in the
world where a production of this scale
could take place. JIS is an exception-
al place, with outstanding facilities.
But it is the outstanding students that
make this school special. I am con-
stantly amazed by the maturity, ded-
ication and sheer enthusiasm demon-
strated by every pupil I meet.
The production team and I wanted
to include as many students as pos-
sible, both on stage and off, in this
exciting performance. Oliver! is the
biggest production ever staged at JIS,
with 152 students on stage and over
250 students involved overall. Each
and every pupil has worked tirelessly
throughout the entire project, be it
learning lines, making props, paint-
ing the set, playing instruments, sing-
ing songs, learning dances, operating
lights or making costumes. The sheer
talent and creative zeal of all involved
is simply breath-taking.
It is not only the students who have de-
livered above and beyond. I have nev-
er worked at a school where so many
staff are ready to give up so much of
their time to help our amazing stu-
dents produce something exception-
al. The set is truly incredible. Garry
Whitehead has worked alongside a
large team of both staff and students
to produce a magnificent setting for
this performance. The costume team
under Angela Piddington’s creative
lead have hand-made over 250 spec-
tacular outfits, tailoring to each specif-
ic actor. Christine Brumpton and her
brilliant props team have produced
strawberries that look good enough
to eat and wallets of such fine quality
that Fagin himself would not be able
to resist one. It has been an honour
to work with Garry Thin as Musical
Director; he has inspired students,
carefully guiding them to achieve daz-
zling results. Sam Findel-Hawkins has
been an invaluable creative constant,
bringing his specialist knowledge to
the role of Technical Director. He has
produced spectacular lighting and
stage effects that not only bring Oli-
ver’s story to life, but allow our stars
to shine. Choreographer Carolyn
Moran’s incredible originality and
patience has produced impressive re-
sults, including dances involving the
cast in its (enormous) entirety. Last
but not least, as Assistant Producer,
Simon Carter has been a constant sup-
port – the “man who sorts things out”
throughout the entire production. He
is my right hand man and I could not
do what I do without him.
What you are about to watch is a re-
flection of 14 weeks sheer graft by
some of the most humble, talented
and tenacious group of students I have
ever had the pleasure of working with.
We hope you enjoy the show!
Will Kemp
Director / Producer
Jerudong International School proudly presents its production of
Oliver!
Book, Music and Lyrics by
Lionel Bart
by kind permission of Cameron Mackintosh and the Southbrook Group.
Special Thanks to
Our Sponsors
Programme Cover Artwork by
Natasya Mirali (Year 13, IB Visual Art)
The videotaping or other video or audio recording of this production is strictly prohibited.
We thank you for your kind cooperation.
A A
W
e are very proud of the won-
derful JIS students who have
come together to unveil a
spectacular evening of entertainment
for your benefit. Putting together a
large-scale musical such as this is a
hugely complex job.
The students have learned to commu-
nicate effectively, manage their time
meticulously and find a solution to
each problem as it has come up. They
have committed hundreds of hours of
their time, evenings and weekends to
unite as a group, grow as individuals
and generate an outcome about which
we are all genuinely excited.
Every step of the way, they have
been enabled, facilitated, supported
and guided by a team of exception-
ally committed teachers who have
brought forth this vision from our
students’ imaginations into the re-
ality that you will see on the stage.
Furthermore, a larger team of techni-
cal support, musical expertise, stage
management, set design, makeup art-
istry and prop finders have done the
crucial work behind the scenes that
goes un-noticed, but not unacknowl-
edged.
Finally: the audience; attentive, sup-
portive, appreciative. You are essential
to creating the dramatic atmosphere
in the auditorium in which our stu-
dents can thrive. To come and watch
the drama unfurl in front of you in the
first person is to participate in it for
yourselves. You are part of this event
and I sincerely hope that you relish
every minute of it. Oliver! promises to
be Sensational!
Barnaby Sandow
Acting Principal
December 2014
Fo
r
e w o r
d
s
A A

4. 6 7
O
liver Twist was published in
1838 during a period of great
change and hardship for many
people in England. It is set a mere
four years after the introduction of
the Poor Law Ammendment Act, or
the New Poor Law, which replaced the
outdated Elizabethan system of chari-
table help for the poor. It was designed
to tackle the rising cost of the poor in
England and Wales.
Essentially the New Poor Law in-
troduced a system of ‘Workhouses’,
prison like buildings that would look
after the truly poor. However, as the
aim was to actually reduce the cost
of dealing with the poor, conditions
in these workhouses were specifically
designed to be so harsh and unpleas-
ant that they would act as a deterrent
and became a last resort for those that
had no other alternative.
Work was hard, physical and unpleas-
ant and included tasks like rock and
bone crushing. Uniforms were issued
to all inmates, families were separated
and discipline was harsh, brutal and
strict. To keep costs down food was
very poor and barely enough to live on
and starving inmates often resorted to
eating the rotting marrow from the
bones they had to crush into fertiliser.
It is little wonder that many poor peo-
ple of the time resorted to crime, rath-
er than entering the dreaded work-
houses, as a means of survival despite
the fear of extreme punishments for
the most minor crimes, including
hanging for picking pockets or steal-
ing.
Oliver Twist is an attack on the New
Poor Law of 1834 which was supposed
to provide aid and assistance to im-
poverished people. However, the sys-
tem had serious flaws. Charles Dick-
ens used his novel to point out truths
about Victorian England that polite
society tried to ignore.
Matt Langridge
Head of History
C
harles Dickens’ second nov-
el, Oliver Twist, was initially
published in serialised form as
‘The Adventures of Oliver Twist’, be-
tween 1837 and 1839. Written partly
as entertainment, with a rich array
of memorable characters, it is also a
dark, polemical novel that takes aim at
the Poor Law introduced in England
in 1834. This law arrived as industrial-
isation moved into full-swing and the
idea that it would help the poor was
quickly exposed as false. Stories of
abused and tortured Victorian youth,
forced into slave labour, were rife at
the time.
When Dickens and his family fell on
hard times and the imprisonment of
his father, John, meant that the young
Charles could no longer afford to at-
tend school, the author was forced to
work in a blacking (shoe polish) fac-
tory. A period in his life he describes
as seminal but utterly miserable. How-
ever, there is no doubt that this expe-
rience was the inspiration for many
of his characters: the brutal Bill Sikes,
the ‘loathsome reptile’ Fagin and the
lovable rogue Jack Dawkins, to name
but a few.
T
he eponymous hero (Evan
Chiam) is a young orphan
in Victorian England who
has been sent to a grim workhouse
run by the cruel Mr Bumble (Robert
Wood). When Oliver audaciously asks
for more gruel, he is sent away to live
with an undertaker, who treats him
poorly. So poorly, in fact, that life on
the streets of London seems more ap-
pealing. This is where Oliver meets
the Artful Dodger (Eden Chiam), a
precocious pickpocket, and his gang
of young thieves controlled by Fagin
(Henry Holmes) - a sinister and crim-
inal mastermind. While Oliver stays
with Fagin, and the sympathetic and
ultimately courageous Nancy (Yas-
min Riches), he falls into a dangerous
life made all the more threatening by
Fagin’s menacing overlord, Bill Sikes
(Azman Rahman).
In our production we offer the sani-
tised musical version of Oliver Twist
with a cast of characters that bang out
thumping good tunes and appeal to
your sentimental side. It’s a perfor-
mance full of romance and humour,
but it’s not lacking in bite and contains
just a hint of malice.
Gavin Donnelly
Head of English
t
h
e p l o
t
t
h
e
n o v
e
l
h
i s t o r y
L
ionel Bart’s musical education
began with an attempt to learn
the violin, which failed to pro-
duce anything musical enough to sug-
gest his latent genius. His rude lyrics
for popular songs, however, at least
earned him some prestige amongst his
fellow students at school.
In fact, his name was not Lionel Bart,
at all. He was born Lionel Begleit-
er – not a name which “trips off the
tongue” in quite the same way as the
one we know him by today. When he
began his working life, his daily bus
route took him past St Bartholomew’s
Hospital in London, and when he later
decided to adopt a nom de plume, St
Bart’s provided the inspiration.
During his national service with the
Royal Air Force in 1948, he saw David
Lean’s film of Charles Dickens’ novel
Oliver Twist. He is said to have whis-
pered to a friend that day, he would
write a musical version better than
any American musical of the time.
Before he did so, however, he dis-
covered a young singer by the name
of Harry Webb, who also adopted a
performing name (Cliff Richard), and
propelled him to Number 1 in the
charts by writing “Living Doll” in 10
minutes.
And finally, in 1959, he began work
on his musical, Oliver! Characters as
profoundly memorable in the world of
Musical Theatre as were Dickens’ por-
trayals in the literary world, became
synonymous with songs like “I’m
Reviewing The Situation” (Fagin),
“As Long As He Needs Me” (Nan-
cy), “Where is Love” (Oliver) and of
course, “Consider Yourself” (The Art-
ful Dodger).
But at first, no-one would perform it:
its subject matter was viewed as too
depressing. Finally, it was staged on
a budget not much greater than the
gruel-budget at the Workhouse! Bart
sat in the audience petrified that it
would fail – and left half-way through.
He paced the streets for an hour, and
returned to find the theatre in uproar.
The producer persuaded him that it
was not a riot of malcontents, but that,
in fact, his musical had just received
23 standing ovations. It seemed he
had succeeded in his earlier predic-
tion.
It is popularly held that Oliver! is the
only musical for which members of
the audience actually hum the tunes
on the way in. It was Lionel Bart’s
defining achievement: later musicals
such as Twang! (a musical loosely
based on the legends of Robin Hood)
never quite achieved the same degree
of success, in spite of re-using the ex-
clamation mark in the title!
I was lucky enough to see Roy Hudd
playing the role of Fagin in 1978 at the
Albery Theatre in London. His eyes
darted around the stage and theatre
like those of a predatory bird, while
the tips of his fingers constantly ap-
peared to be unpicking the stitching
from the very air itself. Later that year,
my fellow students played those roles
themselves, while I juggled painting
the set with completing my A levels.
This production is astonishing in its
venue and size of cast. But more than
anything, I remain constantly aston-
ished by the talent that shines from
our student performers in the cast and
orchestra, and the solid support given
by around a hundred backstage paint-
ers, food servers, technicians, props
builders, stylists, tailors, not to men-
tion the 50 or more staff. I hope, this
time, I am lucky enough to get a seat
in the audience and share what you
are about to receive.
Simon Carter
Assistant Producer
A A
m
u s i c a
l

5. 8 9
T
he set design for Oliver! has
been influenced by two ma-
jor elements. The first being
George Cruickshank’s original ink
drawings for the publication of Dick-
ens’ classic tale. The second being the
designs used for David Lean’s 1948
black and white film version of the
story. An interpretation strongly in-
fluenced by German Expressionism
and Film Noir lighting.
Lots of initial drawings and colour
studies were used to develop an idea
that would accommodate the stage ac-
tion. The main set is a scaffolding con-
struction clad and painted to look like
the old, worn, dirty rooftops of Vic-
torian London. The moving flats that
come down present a more expensive
part of town, and are painted to reflect
the opulence of their owners but also
in the illustrative style of Cruickshank.
To provide some changes of texture
and to fit in with the Laundry theme
Fagin’s Den is designed as a tent-like
structure supported by lines of drying
clothes.
Over 20 Senior School students have
been involved in the painting of the
set as part of the School’s CCA pro-
gramme on Mondays and Tuesdays.
The colour palette for “old London” is
muted greens, purples and browns, in
contrast to the pastel primary colours
of the drop scenes.
Garry Whitehead
Set Designer
s e t
T
he costume team researched
Victorian costumes and cre-
ated colour palettes for the
main characters and each of the dis-
tinctive groups in Oliver! Many weeks
were spent cutting out, sewing and
finally distressing costumes to ensure
they were as authentic as possible.
Angela Piddington
Costume Designer
F
ood Glorious Food... it all
looks good enough to eat! Us-
ing card, papier-mache, salt
dough, tissue paper, tights and a giant
flower pot, coloured with a seasoning
of paint, the Junior School Prop Mak-
ing CCA team have worked wonders.
Look out for our Sweet Red Roses and a
hundred pewter bowls (each one lov-
ingly sanded down and spray paint-
ed). More props to spot include Mrs
Brumpton’s Milk Maid yokes, Fagin’s
treasure box and 20 wallets, and her
favourite, the bundle of books Oliver
is carrying when he is kidnapped.
It is amazing what you can do with
some gaffa tape and cardboard!
Christine Brumpton
Props Designer
c
o
s t u m
e
s
p r o p s
s
t y l i n g
T
he reality of life for many
in Dickensian England was
tough, grimy, dangerous and
wretched; smoke hangs in the air, nar-
row alleyways are muddy and filthy,
children crawl in and out of doors,
and the air is thick with the stench
of rotting rubbish and open sewers.
Hair and Makeup for Oliver! emulate
that environment – it means making
a mess! Who thought getting dirty
could be so creative? Pastels, chalk and
charcoals are expertly smudged leav-
ing most characters rough and ragged,
whether they be in the Workhouse or
part of Fagin’s Gang.
Kim Kruger
Hair & Makeup

6. 10 11
Director’s Concept...
This performance is told from the perspective of Oliver’s
memory. In the set, we see the workhouse steps blending
into the walls of Fagin’s Den, the dark skyline of London
on a sunset evening and the detail of Fagin’s Stove, all
juxtaposed against the bright white opulence of his Grandfa-
ther’s home. Characters that he remembers clearly include Nancy in her red dress,
evoking the memory of her death, Fagin in his swishing green coat, and Dodger
in her bright purple hat. Things that are close to Oliver on stage are in focus: the
bowls, Bill Sikes’ club and the piles of wallets. As we move away from Oliver, on
stage props become increasingly simple, more emblematic and, eventually, mimed. If
Oliver did not see it then we as audience also cannot.
Garry Whitehead and I first met in May
2014 to discuss the set for Oliver! We dis-
cussed the large number of locations that
Oliver visits throughout the story and Gar-
ry suggested we adopt a stylistic form that
would allow for numerous locations. The
interesting mix of Cruickshank’s detailed
sketches (seen in the beautifully detailed flats
that are flown in) and the Lean-inspired expressionist rooftops and build-
ings have allowed Oliver’s memories of London to be ‘melted together’. The set is
a place that transforms due to its function. It is the Workhouse, London, Fagin’s
Den and an Undertaker’s Parlour: all mixed into one. As we watch the perfor-
mance, we start to see the details that Oliver has remembered.
The costume team (Angela Piddington, Julie Ayres and Tracey Purkis) and I
all met in June. We discussed the colours that would be used in the costumes and
the overall level of authenticity we were aiming for. The costumes that you see are
faithful reproductions in terms of their cut and style. It is the colours used that
point to the fact that Oliver’s memories are being seen on stage. Main characters
wear clearly defined colours that he can remember: Bumble was the nasty man in
bright blue, Sikes the terrifying man in brown and black, and Nancy resplendent
in red - the colour that he will always remember, for so many reasons.
The props, where used, are as real as we could make them. Christine Brumpton
(and her amazing team of Year 3s and 4s) and the D&T department have taken
my requests for wild and wonderful things easily in their stride - from a turn of the
century gun, to a full roast goose. Again, those props that are clear in Oliver’s
memory are the most real and those half-re-
membered are simpler, representative or mimed.
When remembering my own childhood I re-
member the coldest winter days, the warmest
summer nights and the most spectacular sunsets
and sunrises, each with their own event attached.
In a similar way, the lighting in Oliver! is
designed to accentuate the time of day and mood
of each scene; Sam Findel-Hawkins has gone so far as to have the mist increase
whenever Sikes comes on stage. The weather and time of day change with Oliver’s
memories.
The music is everything in Oliver! Depressing, dark times are highlighted by spe-
cific musical motifs and moods. Conversely, when a particularly happy moment
(Who Will Buy) occurs it is as if the whole world
agrees with Oliver; the orchestral music swells and
every voice joins together to exclaim how wonderful
the day is. Garry Thin and I have tried to ‘join
up our thinking’ with as many moments (large or
small) throughout the performance. Fagin’s fin-
gers dance through the air as the brass section play
out his thoughts, and Oliver’s mother appears
above the audience’s heads, woven from the
sentimental thread created by the orchestra.
We hope you enjoy watching Oliver’s story
as much as we enjoyed telling it.
Will Kemp

7. 12 13
Act Two
14. Oom Pah Pah Nancy and Senior Chorus
15. My Name Bill Sikes
16. As Long as He Needs Me Nancy
17. Who Will Buy?
Rose Seller, Milk Maids, Strawberry Seller,
Knife Grinder, Oliver and Whole Cast
18. Reviewing the Situation Fagin
19. As Long as He Needs Me (Reprise) Nancy
20. Consider Yourself (Bows) Whole Cast
21. Reviewing the Situation (Reprise) Fagin and Dodger
Act One
1. Prologue Orchestra
2. Food Glorious Food Oliver and Whole Cast
3. Oliver Mr Bumble, Widow Corney and Whole Cast
4. I Shall Scream Mr Bumble, Widow Corney
5. Boy For Sale Mr Bumble
6. That’s Your Funeral Mr Sowerberry, Mrs Sowerberry and Whole Cast
7. Where is Love? Oliver
8. Consider Yourself Dodger, Oliver and Whole Cast
9. You’ve Got to Pick a Pocket or Two Fagin, Dodger and Fagin’s Gang
10. Rum Tum Tum Fagin
11. It’s a Fine Life Nancy, Bet and Fagin’s Gang
12. I’d Do Anything Dodger, Nancy, Oliver, Bet, Fagin and Fagin’s Gang
13. Be Back Soon Dodger, Fagin, Charlie, Oliver and Fagin’s Gang
Interval
s o n g sC a s t
Oliver Evan Chiam
Louis Malik
Mr Bumble Robert Wood
Widow Corney Renee Teo
Mr Sowerberry Qawi Kamri
Mrs Sowerberry Michelle Fung
Noah Claypole James Brien
Charlotte Sophie Granville
Artful Dodger Eden Chiam
Charlie / Artful Dodger Sasha Bowden
Nipper / Charlie Ella Pearson
Fagin Henry Holmes
Nancy Yasmin Riches
Bet Emily Carter
Bill Sikes Azman Rahman
Mr Brownlow Andrew Lush
Dr Grimwig Alex Stagg
Old Sally Rinni Mary Mamman
Rose Seller Azemah Rahman
Workhouse Woman / Strawberry Seller Florence Holmes
Milkmaids Esther Su
Jia Huei Goh
Phoebe Ten
Knife Grinder Asyraf Nairul
Master of the Three Cripples Elisha Markus
Girl with the wooden spoon behind her back Rebecca Yahya
Girl with the string in her hand Rafeeqa Teo
Street Woman / The Gunman Dennisha Besecker
Mr Bumble’s Shadow Min Wei Tai
Evan & Qawi Robert & Renee
Sophie & Michelle
Yasmin, Henry & Emily
Sasha & Eden
Evan & James
Junior Chorus Orchestra

8. 14 15
P
h o t o s
c
r e d i t
s
Junior Chorus
Aaron Ang
Amiera Besecker
Athena Chalmers
Atip Adimas
Belinda Harris
Benjamin Sheehan
Chloe Hill
Clara Grafe
Daniel Wang
Elizabeth Legg
Evelyn Hogan
Flora Palosse
Han Hor
Jemima Sparrow
Joe Barton
Jolin Goh
Kate Edgeler
Kelly Lim
Kester Pacudan
Lamees Ali
Lian Gruenes-Yeung
Liyana Glenn
Luke Conway
Maxime Gardien
Nadhrah Melhan
Naomi Carter
Natalie Sia
Oliver Harris
Oscar Morley
Oscar Whitehead
Sophie Conway
Tom Granville
Valentina Lo Cane
Xavier Lim
Yuka Kaneko
Fagin’s Gang
Abigail Downey
Adi Sherchan
Alexi Paderin
Aliza Nafees
Andre Skinner
Andrew Mead
Caitlan Doolan
Charlie Lewis
Clarissa Kuan
Daniel Toluwade
Dionne Lee
Eleanor Downey
Ella Goodman
Ella Pearson
Emmy Carter
Ern Ang
Florence Harris
Gregory Obi
Hannah Bourbon
Hannah Jelkmann
Hau Chien Tang
Hunyi Lee
I B Biambo
Isabella Hill
Jacob Hill
Janelle Rego
Kassy Pacudan
Kata Drammeh
Kate Saap
Keera Adamson
Krish Punjabi
Leilani Riches
Lucy Dale
Martha Legg
Mikhaella Yong
Myat Khine
Natalie Adie
Natasha Seymour
Nayumi Reduan
Nick Bourbon
Nina Donnelly
Ning Hor
Paula Duru
Rafeeqa Teo
Rania Lim
Rebecca Yahya
Renee Konwar
Ryan Sim
Sachi Dieker
Samuel Nelson
Sara Heilmaier
Sarah Abraham
Siang Han Law
Simon Mead
Sophie Granville
Toby Harris
Vaishu Gobinathan
Yi-maan Sum
Senior Chorus
Aisha Bakhtiar
Alex Stagg
Andrew Lush
Asyraf Nairul
Avipsha Gautam
Azemah Rahman
Azimah Bakar
Aziz Harun
Azzam Imaharan
Bazilah Othaman
Debbie Chung
Elisha Markus
Esther Su
Esme Smith
Fakhrul Sufri
Florence Holmes
Haziq Khalid
Howard Liew
Iman Hisham
Izzati Amdan
James Brien
Janelle Chung
Jia Huei Goh
Joy Foo
Julianne Newas
Kaafi Eddie
Madi Harris
Min Wei Tai
Nadiah Osman
Nisah Laidin
Nisha Besecker
Phoebe Ten
Rauqah Laidin
Rinni Mamman
Saad Tahir
Safwah Bakri
Salwa Ibrahim
Sarah Lim
Shafiee Shahminan
Siti Bahar
Syazwana Ahmadyani
Victor Tipple
Yen Yen PEK
Backstage
Adilah Kassim
Adithya Chitturi
Adlina Dzulkiflee
Adri Azlan
Afiq Jamain
Aida Hamizon
Amalina Samin
Amina Yanagi
Aqilah Shaharol Annuar
Aqilah Zainudin
Asrul Reni
Asyiqin Mulyadi
Batrisyia Ahmad
Bazilah Sani
Didi Hasnal
Ehsan Zabar
Enid Wong
Hafizah Azhar
Hafizah Ismail
Hazeemah Murat
Hisyam Zainal Abidin
Iman Hussin
Jehan Wasli
Ke Nie Lim
Maisarah Malik
Mimi Japar
Nadiah Rosdi Amin
Najla Hismawadi
Nikita Hall
Nina Aidiradaman
Nisa Adzlan
Rasyidah Salleh
Ruth Chong
Ruzanna Ridzuan
Sanjana Thota
Siang Jin Law
Siti Saifulbahri
Syazani Salleh
Thomas Conway
Ting Ying Koh

9. 16 17
c
r e d i t
s
Backstage Management
Julia Rickell
Ralph Morel
Jonathan Barton
Yvonne Follows-Smith
Sue Smith
Miriam Legg
Jacqueline-Anne Turner
Anthony Anstey
Jo Newton
Caitlin Howell Evans
Tamsin Harris
Helen Milner
Adlina Dzulkiflee
Afiq Jamain
Aida Hamizon
Amina Yanagi
Asyiqin Mulyadi
Batrisyia Ahmad
Bazilah Sani
Didi Hasnal
Nina Aidiradiman
Rasyidah Salleh
Siti Saifulbahri
Syazani Salleh
Nadia Saifullzan
Lucy Bartlett
UDirector’s Assistant
Thomas Conway
Costumes
Angela Piddington
Julie Ayres
Tracey Purkis
Lani
UCostume Making CCA Team
Tilly Morley
Calypso Morley
Ariel Heswall
Nira Rai
Marjan Ferdaus
Aelia Naqvi
Adilah Kassim
Ehsan Zabar
Bebee Chang
Bazilah Othaman
Kate Pacudan
Properties (Props)
Constructing
Christine Brumpton
UProps Master
Adrian Thacker
UAssistant Props Master
Mahesh Chauhan
UAsrul Rafiqin
Hafizah Ismail
Ke Nie Lim
Mimi Japar
Ruzanna Ridzuan
Ting Ying Koh
UProp Making CCA Team
Elise Eastham
Francesca Dale
Gemma Saap
Jordan Lo
Kritica Agarwal
Merryn Hogan
Amei Lim
Rui Yi Ang
Shanzeh Omar
Synyee Yeo
Yong Tsen Lim
Hair and Makeup
Coordinators
Kim Kruger, Ruth Bourbon
U
c
r e d i t
s
Production Team
Director / Producer
Will Kemp
UMusical Director
Garry Thin
UChoreographer
Carolyn Moran
UDesigner
Garry Whitehead
UAssistant Producer
Simon Carter
Orchestra
Keyboard and Vocal Coach
Marieta Del Mar
UViolin 1
Melissa Robbins
Shian Li Chiam
Michael Koh
Jia Cheng Liew
UViolin 2 / Viola
Jamie Sales
Belinda Kuan
Wesley Lim
Meera Menon
Pragathi Aithal
UCello
Hayley McReynolds, Felisha Chong
UBass
Darryl Luma-as
UDrums and Percussion
Pg. Sallehuddin
Salsa Mazlan
Ryota Reduan
Siang Jin Law
UKeyboards
Faith Klein, Stefanie Chua
UFlute
Nicole Sumich, Shilah Husaimee
UClarinet
Rachel Drew, Timothy Koh
UTrumpet
Paul Edgeler, Aaron Klein
UTrombone
Dr Richard Clarkson
UHorn
Nick Smith
Technical Team
Technical Director
Sam Findel-Hawkins
UAssistant
Des Hann
USound Engineer & Senior Technician
Syarif Baharudin
UMicrophones
Hadi Suphien, Hamizan Yusnee
UFX Effects
Khaliq Habib
Hisyam Abidin
Amirrul Kasmirhan
Aston Yapp
Dyce Lau
Georgia Seymour
Jeslynn Ong
Joost van den Hemel
Luqman Norshafiee
Mabel Foo
Rutaba Saiful
USound Cueing
Phyllis Thin
Set
Construction
Harry Baker, Ronie Coloma, Tony Buckley
UPainting
Izzati Amdan
Marjorie Han
Nisah Laidin
Pey Wen Kwang
Rauqah Laidin
Ruth Chong
Tanya Wong
Tina Shen
Wendy Shen
Yii Wen Wee
Azimah Bakar
Aleena Dar
Feroza Ghaffar
Janelle Chung
Lina Kua
Lisa Kua
Mahnoor Abbasi
Mirza Rahman
Natasya Marali
Shan Rong Liew
Shimran Tamang
Syahida Tahir
Thinn Mon Aung
UScaffolding
D’Sunlit Advertising Sdn Bhd.
Stage Management
Stage Manager
Emily Hann
UJunior Chorus Director
Anna Hogan
UAssistant Stage Managers
Deanna Carter, Ben Bartlett
UDialect Coach
Tomas Duckling
U
Hair and Makeup Team
Lynne Hutchinson-Whitehead
Miriam Legg
Sian Thacker
Kate Burditt
Marinka Gnaden
Gisela Drewes
Emily Zhang
Helena Jacobson
Karli Downey
Janis Seymour
Iman Hussin
Aqilah Shaharol
Nisa Adzlan
Syasya Yaakub
Marianne Chua
Fatima Kamit
Nadiah Rosdi Amin
Adilah Kassim
Enid Wong
Hazeemah Murat
Jehan Wasli
Ruzanna Ridzuan
Ehsan Zabar
Najla Hismawadi
Anabelle McPherson
Ruth Chong
Seibah Sethubathi
Althea Lai
Aisyah Zulkifri
Rebecca Fung
Mahnoor Abbasi
Alley Foley
Pey Wen Kwang
Marketing, Sales and Art Design
Anne Dickinson
Doris Gruenes
UPhotographs
Michael Ruiz
ULiza Sheriff and the School Shop
Front of House
Arts Centre Manager
Freda Chen
URefreshments
Eleanor Green
Claire Gillam
Richard Gillam
Mark Eastham
Announcements
Sasha Bowden
Louis Malik
Foyer
Victorian Street Statues
Haeram Jalees
Joanne Rego
Merryn Hogan
Jamie Carter
UVictorian England Display
Matt Langridge and Year 8 History students
MakanIX and MinuMannIX (Catering)
Aqilah Zainudin
Hafizah Azhar
Maisarah Malik
Amalina Samin
Angela Mann
Carole Gilding
Andrew French
David Griffiths
Richard Bourbon
UTransport
James Gajitos
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