When the Rain Stops Falling

As well as many performances on stage for the Sydney Theatre Company where his performances include Mr Kolpert, She Stoops to Conquer, The Herbal Bed, and The Merchant of Venice, Simon’s UK theatre credits include the West End productions of The Sound of Music,Out of the Blue and Phantom of the Opera, and A Christmas Carol for the RSC. His UK television credits include Hustle and The One That Got Away.

Jonathan's recent theatre credits include The Stone, Under The Blue Sky, Talking to Terrorists and Our Late Night for the Royal Court, State of Emergency for the Gate Theatre, Equus at the Gielgud Theatre, Market Boy and Albert Speer for the National Theatre, Master and Margerita and The Seagull for Chichester Festival Theatre, and Our Country’s Good for Out of Joint. On television his credits include The Innocents and The Unknown Soldier, whilst on film he has appeared in Neverland, Fred Clause and Robin Hood.

Lisa has previously been seen at the Almeida in Period of Adjustment and Hedda Gabler. Her other theatre credits include Under the Blue Sky in the West End, Present Laughter for the National Theatre, and Othello for the RSC. She recently won the Ian Charleson Award and the Critics’ Circle Most Promising Newcomer Awardfor her performance as Hilda Wangel in The Master Builder at the Albery Theatre. Her film credits include Bright Young Things, whilst on television she has most recently been seen in the BBC’s award-winning Cranford. Also for the BBC she has been seen in Hawking and Cambridge Spies.

Richard's extensive theatre work includes The Hour We Know Nothing of Each Other, A Prayer for Owen Meany, War and Peace, Pravda and Hamlet all for the National Theatre, Anna Karenina for Shared Experience, Cymbeline for Shakespeare’s Globe and The Street of Crocodiles and The Visit for Theatre de Complicité. His many television credits include Silent Witness, New Tricks and Heartbeat. On film his work includes Chromophobia, Sergeant Pepper, Antonia and Jane and Bellman and True.

Tom's theatre credits include Hedda for the Gate Theatre, The Living Unknown Soldier and Les Enfants Du Paradis for the Arcola Theatre, Hamlet for the Old Vic and Achidi J’s Final Hours for Soho Theatre. His television credits include Mr Bingley in Lost in Austen, Belle de Jour, The Amazing Mrs Pritchard and Heroes and Villians.

Phoebe was recently at the Almeida in Samuel West's critically acclaimed production of Waste.Her other theatre credits include The Vortex at the Apollo Theatre, Three Women and a Piano Tuner for Hampstead Theatre, Hysteria for the Royal Court and An Inspector Calls and Pravda for the National Theatre. Her television credits include Persuasion, The Trial of Tony Blair, Hawking and Shackleton. Her film credits include Maurice and The Elephant Man.

Leah is one of Australia’s leading actors having won many awards for her work in theatre, on film and on television. Her Australian stage credits include Stuff Happens, The Marriage of Figaro and The Story of the Miracles at Cookie's Table. She has worked extensively on Australian television and her film credits include Andrew Bovell’s Lantana and The Proposition.

Sargon's theatre credits include Salt Meets Wound for Theatre 503 and Stovepipe, a National Theatre/Bush Theatre collaboration. On television he has been seen in Saddam's Tribe,Midnight Man and Compulsion.

Andrew Bovell is an award-winning writer for theatre, film and television. His film, Lantana, adapted from a stage play, won numerous awards including the London Critics’ Circle Best Screenplay Award. His play Speaking in Tongues premiered in Sydney in 1996 and has subsequently been performed across Australia, in London, at the Roundabout Theatre in New York and in over 20 countries world-wide. His other theatre writing includes Shades of Blue, Scenes from a Separation and Distant Lights from Dark Places. Bovell co-wrote the original screenplay of Strictly Ballroom with Baz Luhrmann and Craig Pearce.

As Artistic Director of the Almeida Theatre Company Michael Attenborough has directed The Mercy Seat, Five Gold Rings, Brighton Rock,The Late Henry Moss, Enemies, There Came A Gypsy Riding, Big White Fog,Awake and Sing!, Harold Pinter’s The Homecoming, and Neil LaBute's In a Dark Dark House. He was Artistic Director at the Hampstead Theatre for five years (1984-89) and then joined the Royal Shakespeare Company for twelve years. On leaving the RSC, where he was Principal Associate Director, Attenborough was invited to become an Honorary Associate Artist.

Miriam has designed for a wide range of theatre and dance productions; her most recent credits include In the Red and Brown Water, The Good Soul Of Szechuan and Generations for the Young Vic; Six Characters In Search Of An Author at Minerva Theatre Chichester and in the West End; Cinderella for Göteborg Opera Ballet Company; Dalston Songs at the Royal Opera House; Hartstocht for Introdans, Netherlands; Sacrifice for Welsh National Opera; The Bacchae and Realism for National Theatre of Scotland and Lyric Hammersmith; Relocated, My Child, The Wonderful World of Dissocia, and Way to Heaven for the Royal Court; The Bee for Soho Theatre and in Japan; Trade for RSC and Soho Theatre; Tenderhooks for Canadian National Ballet; and Guantanamo Honor Bound to Defend Freedom for Tricycle Theatre and its West End and US transfers.

Colin's recent work includes 365, The Bacchae and Black Watch for National Theatre of Scotland; Mine for Hampstead Theatre; Riflemind for Trafalgar Studios; Single Spies for Theatre Royal Bath; Alex at Arts Theatre, London; Theatre of Blood, Spirit, The Hanging Man, Lifegame, Coma, Animo and 70 Hill Lane for Improbable; Kes and Separate Tables for Royal Exchange Manchester; Touched for Salisbury Playhouse; Enjoy at Watford Palace Theatre; Unprotected at Liverpool Everyman; and Casanova and Playing the Victim for Told by an Idiot. Opera includes extensive work for Opera Holland Park, Fidelio for Opera Touring Company, Dublin, and La Boheme for English Touring Opera.

Stephen has written extensively for theatre, including for Cloud Nine and Dying for It at the Almeida Theatre, and most recently Mrs Affleck for the National Theatre, and Swimming with Sharks and In Celebration in the West End. He has written for many productions at the Royal Court including The Seagull (also on Broadway), The Night Heron, Boy Gets Girl, Mouth to Mouth (also West End), Dublin Carol and The Glory of Living. Other work includes Proof at the Donmar Warehouse; Hothouse, An Inspector Calls, Machinal, Roots, Magic Olympical Games and At Our Table all for the National Theatre; and Alice in Wonderland, The Tempest, Romeo and Juliet, The White Devil, The Taming of the Shrew, The Cherry Orchard and Cymbeline all for the RSC. He has also composed extensively for film and television, including the scores for Shakespeare in Love, Mrs Brown, Billy Elliot and Prime Suspect.

Paul has previously worked at the Almeida on There Came A Gypsy Riding, Enemies, Blood Wedding and Festen (also West End & Broadway - Evening Standard Award 2005, Olivier Award nomination). His other recent designs include Mary Stuart(Broadway, Donmar, West End); The Cherry Orchard and The Winter’s Tale (Brooklyn & Old Vic); Billy Elliot The Musical (Broadway, London, Australia - 2006 Olivier Award for Best Sound Design & nomination for Helpmann Award 2007); Les Liaisons Dangereuses (Roundabout, New York); Nakamitsu (Gate Theatre); The Diver (Soho Theatre); Vernon God Little, The Respectable Wedding, The Member of the Wedding (Young Vic); Herge’s Adventures of Tintin (Barbican & West End); The Year of Magical Thinking (Broadway & National Theatre); The Pillowman (National Theatre & Broadway - Drama Desk Award 2005, Olivier Award nomination); and The Revenger’s Tragedy, Never So Good, Happy Now? and Saint Joan (National Theatre - 2008 Olivier Award).