The internationally renowned choreographer Cathy Marston holds both British and Swiss citizenship. Since August 2023, she has been Director of Zurich Ballet. She received her dance training in Cambridge and at the Royal Ballet School in London. Between 1994 and 1999, she danced with Zurich Ballet, the Ballet of Lucerne Theatre, and Konzert Theater Bern. From 2002 to 2006, she was an Associate Artist at the Royal Opera House in London, and from 2007 to 2013 she served as Ballet Director at Konzert Theater Bern.

For many years highly successful as a freelance choreographer, Cathy Marston has been invited by numerous renowned international companies and institutions. She has created works for The Royal Ballet, Hamburg Ballet, the Royal Danish Ballet, English National Ballet, Northern Ballet, the Finnish National Ballet, Ballet Black, the National Ballet of Cuba, as well as for Opera Australia and the Hong Kong Academy for Performing Arts. In recent years, she has worked increasingly in the United States, including with San Francisco Ballet, American Ballet Theatre, Houston Ballet, and The Joffrey Ballet in Chicago.

In her choreographic works, she brings major literary sources to life through dance and approaches significant historical figures in unusual and original ways. She has celebrated major successes with her ballet adaptations of "Mrs. Robinson" (Charles Webb), "Snowblind" (based on Ethan Frome), "Jane Eyre" (Charlotte Brontë), and "Of Mice and Men" (John Steinbeck). Distinctive perspectives also characterize her biographically inspired works "The Cellist", "Victoria", and "Hexenhatz". Cathy Marston has received numerous awards for her choreographic achievements, including a South Bank Sky Arts Award and the British National Dance Award. In 2020, the International Institute for Dance and Theatre honored her with an award for excellence in international dance.

A highlight of her first season as Director of Zurich Ballet was the 2024 world premiere of "Atonement", based on the novel of the same name by Ian McEwan (a co-production with The Joffrey Ballet). In addition, her works "The Cellist" and "Snowblind" were presented in Zurich. In the previous season, her Clara Schumann ballet "Clara" premiered. In 2026, she will choreograph "Romeo and Juliet" for Zurich Ballet.

Chloe Lamford ist Bühnenbildnerin und arbeitet in den Bereichen Theater, Oper, Musik und Installation. Sie absolvierte eine Ausbildung in Theatre Design an der Wimbledon School of Art und erhielt 2013 das Arts Foundation Fellowship for Design for Performance. Sie ist Associate Designerin am Royal Court Theatre in London, wo sie Räume für Is God Is, Shoe Lady, The Cane, Pity, Gun Dog, Victory Condition, B, Road, Unreachable, The Twits, God Bless The Child, How to Hold Your Breath, Circle Mirror Transformation, Teh Internet is Serious Business, 2071 und Open Court entwarf. 2017 kreierte sie mit The Site einen temporären Theaterraum und eine Installation. Für das Londoner National Theatre entstanden u.a. The Antipodes, Phaedra, Othello, John, Amadeus und The World of Extreme Happiness. Weitere Produktionen führten sie u.a. an den New Yorker Broadway (Hilary and Clinton), das Theater Basel (Hexenjagd), die Schaubühne in Berlin (u.a. Atmen und Ophelias Zimmer) sowie an das Old Vic (The American Clock). Für ihre Arbeit bei Small Miracle am Tricycle Theatre in Kilburn erhielt sie den britischen Theaterpreis für das «Beste Bühnendesign». In der Oper arbeitete sie u.a. bereits am Royal Opera House, Covent Garden (Theodora, Rusalka), der Royal Danish Opera (The Handmaid’s Tale), der English National Opera (La bohème), der Opéra Comique in Paris (Miranda) sowie beim Festival d’Aix-en-Provence (Ariadne auf Naxos, Alcina, Pelléas et Mélisande). Zu ihren jüngsten Arbeiten gehören Julie am Internationaal Theater Amsterdam, Cyrano de Bergerac an der Comédie-Française sowie Next to Normal im Londoner West End und am Donmar Warehouse.

The Irish costume and set designer Annemarie Woods won the Ring Award in Graz in 2011 together with the British director Sam Brown. In joint productions with Sam Brown she designed, among others, "I Capuleti e i Montecchi" at the Teatro Sociale di Como, "Der Zigeunerbaron" at Stadttheater Klagenfurt, "Sigurd der Drachentöter" at the Bavarian State Opera in Munich, "Il trionfo del Tempo e del Disinganno" at the Badisches Staatstheater Karlsruhe, the world premiere of Gerald Barry’s opera "The Importance of Being Earnest" at the Opéra National de Lorraine in Nancy, and "La Cenerentola" at Lucerne Theatre. She also has a long-standing collaboration with director Oliver Mears, for whose productions of "Macbeth", "Salome", "L’elisir d’amore" and "Don Giovanni" she likewise designed the costumes and sets. Further works include "Candide" in Nancy, "Agrippina" in Limerick, "My Fair Lady" in Karlsruhe and "L’Heure espagnole/Gianni Schicchi" (directed by Bruno Ravella) at the Opéra National de Lorraine. With Ted Huffman she collaborated, among other projects, in Frankfurt on "Rinaldo", in Cologne on "Salome", in Montpellier on "Le Songe d’une nuit d’été", at Deutsche Oper Berlin on "A Midsummer Night’s Dream" and in Zurich on "Madama Butterfly". She also designed the costumes for "Pagliacci/Cavalleria rusticana" in Amsterdam (directed by Robert Carsen), for "La traviata" at the Komische Oper Berlin (directed by Nicola Raab) and for "Osud" at the Janáček Brno Festival (directed by Robert Carsen). At Zurich Opera House she designed the costumes for Adele Thomas’s production of "Il trovatore", Ted Huffman’s productions of "Madama Butterfly", "Girl with a Pearl Earring" and "Roméo et Juliette", as well as for Evgeny Titov’s production of "L’Orfeo".

Edward Kemp, born in Oxford, has collaborated with Cathy Marston on more than twenty ballets, including seven for Bern Ballett. Recent collaborations include "Summer & Smoke" (Houston/American Ballet Theatre), "Of Mice and Men" (Joffrey), "Mrs. Robinson" (San Francisco), "The Cellist" (Royal Ballet), "The Suit" (Ballet Black), "Lady Chatterley’s Lover" (Les Grands Ballets Canadiens de Montréal), "Liaisons Dangereuses" (Royal Danish Ballet), and a screenplay for Disney+. He has written texts for composers such as Sally Beamish, Victoria Borisova Ollas, Jason Carr, Tansy Davies, Terry Davies, Péter Eötvös, Stuart MacRae, Julian Philips, and Gary Yershon. In theatre, his works include "King James Bible" (National Theatre), "The Mysteries" (Royal Shakespeare Company), as well as stage adaptations of Bulgakov’s "The Master and Margarita" (Chichester/Complicite/Avignon), Lessing’s "Nathan the Wise" (Chichester/Off-Broadway/Shaw Festival), and Faulkner’s "As I Lay Dying" (Baton Rouge). He also adapted works by Brecht, Goldoni, Kleist, Lorca, Prokofiev, Molière, Racine, and Sibelius for the stage and translated novels by Paul Auster, Eça de Queirós, Charles Dickens, Knut Hamsun, Ted Hughes, Salman Rushdie, and W. G. Sebald. He has written dramas and comedies for BBC Radio and directed plays and musicals in the United Kingdom and the United States, from authors such as Gertrude Stein and William Shakespeare to Alan Bennett and Stephen Sondheim. From 2008 to 2021 he was Director and Chief Executive of the Royal Academy of Dramatic Art (RADA). Today he is Chief Executive of the Royal Literary Fund, the oldest literary charity in the United Kingdom.