The company

Keeps the rig, the three lighting states that have to coexist on one bar, and the ghost light, which is the oldest working lamp in the building and has its own spare.

Runs the get-in, the get-out and the turnaround between a Wednesday matinée and a Thursday evening, which is the hardest ninety minutes in this building and the reason repertory is possible at all.

Plays Astrov and Macheath. Has been in every rotation since he joined and has never once been in the same play twice in a week without complaining about it.

Plays Polly Peachum and Yelena. Sings the ballads at the pitch she speaks them, which took a month of not being allowed to sing them properly.

Plays the weir keeper's daughter and Sonya. Both parts end with a woman deciding to stay somewhere. She plays them very differently.

Plays Eamon Cassidy, Vanya, and Peachum, on consecutive nights, which he describes as the reason he took the job and the reason he cannot be relied upon on a Sunday.

The Weir Keeper is her first play for the company and her third anywhere. She grew up eight miles from a reservoir that has a village under it.

Made the new version of Vanya. Reads Russian, distrusts footnotes, and will argue about the last line of Act Four with anyone who has ten minutes.

Designs the Beggar's Opera. Works from the costume out — the set is whatever is left once the clothes have told you where you are.

Designed the dam. Has a standing rule that nothing goes above four metres on the thrust unless it is worth losing rows K to M for, and broke it once, on purpose, this season.