Twelfth Night
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
RICHARD FEREN 146B Rhodes Avenue – Toronto, on – M4L 3A1 416-787-0657 [email protected]
RICHARD FEREN 146B Rhodes Avenue – Toronto, ON – M4L 3A1 416-787-0657 [email protected] http://www.haemorrhage-music.com/richard-feren/ Represented by: Ian Arnold Catalyst Talent Creative Management Suite 310 - 100 Broadview Ave Toronto, Ontario Canada M4M 3H3 [email protected] http://www.catalysttcm.com SOUND DESIGN AND MUSIC COMPOSITION – THEATRE AND DANCE - selected credits PRODUCTION DIRECTOR THEATRE YEAR The Flick Mitchell Cushman Outside The March/Crow’s Theatre 2019 Much Ado About Nothing Liza Balkan Canadian Stage (Shakespeare In High Park) 2019 Measure For Measure Severn Thompson Canadian Stage (Shakespeare In High Park) 2019 Betrayal Andrea Donaldson Soulpepper Theatre Company 2019 Copenhagen Katrina Darychuk Soulpepper Theatre Company 2019 Beautiful Man Andrea Donaldson Factory Theatre 2019 Every Brilliant Thing Brendan Healy Canadian Stage 2018 The Wars Dennis Garnhum The Grand Theatre (London Ontario) 2018 The Nether Peter Pasyk Coal Mine/Studio 180 Theatre 2018 Dr. Silver Mitchell Cushman Outside The March/Musical Stage Co. 2018 An Ideal Husband Lezlie Wade Stratford Festival 2018 Animal Farm Ravi Jain Soulpepper Theatre Company 2018 Jerusalem Mitchel Cushman Outside The March/Company Theatre/Crow’s 2018 Silence Peter Hinton The Grand Theatre 2018 Daughter Ann-Marie Kerr Pandemic/QuipTake/Theatre Centre 2017 Confederation & Riel/Scandal & Rebellion Michael Hollingsworth VideoCabaret 2017 Little Pretty and The Exceptional Brendan Healy Factory Theatre 2017 CAGE none Soulpepper Theatre Company 2017 Unholy Kelly Thornton -
J Ohn F. a Ndrews
J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors. -
As You Like It
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S AS YOU LIKE IT By JEANNE M. McGLINN, Ph.D., AND JAMES E. McGLINN, Ed.D. SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s As You Like It 2 INTRODUCTION Shakespeare seems to be everywhere these days. Romeo and Juliet and Midsummer Night's Dream, starring contemporary movie stars, have been box office hits. The film Shakespeare in Love, depicting how the playwright's experiences inspired him to write Romeo and Juliet, won multiple Oscars at the 1999 Academy Awards. These popular films have made the plays more accessible to students by exposing them to Elizabethan language and the action that brings the words to life. So teachers can expect a certain amount of positive interest among students when they begin to read a Shakespearean play. As You Like It, although not well known by students, will certainly delight and build on students' positive expectations. As You Like It, like Twelfth Night and A Midsummer Night's Dream, is one of Shakespeare's "marriage" comedies in which love's complications end in recognition of the true identity of the lovers and celebration in marriage. This is a pattern still followed in today's romantic comedies. This play can lead to discussions of the nature of true love versus romantic love. Other themes, which spin off from the duality between the real and unreal, include appearance versus reality, nature ver- sus fortune, and court life of sophisticated manners contrasted with the natural life. -
Uvisno "Acting Is Handed on from Actor to Actor
Inaide the Stratford Festival uviSNO "Acting is handed on from actor to actor. It's the only way to do it... from observing the people who came before you. That is really the way theatre goes" In OFFSTAGE ONSTAGE: Inside the Stratford Festival, Stratford cameras go backstage during an entire season to capture the creative spirit at the heart of a treasured Canadian theatre company. For five decades, the Festival's stage has been home to the world's great plays and performers. Award-winning director John N. Smith (The Boys of St. Vincent), given unprecedented access backstage, offers a fascinating look at the personalities and the production process behind live theatre performance. Peek into William Hutt's dressing room as he does his vocal warm-ups before Twelfth Night. Watch Martha Henry command the stage in Who's Afraid of Virginia Woolf? Observe an up-and-coming generation of young performers who learn from the masters. Meet dozens of artists, craftspeople and technicians who reveal their secrets, from shoemaking, sword fighting and sound effects to makeup and mechanical monkeys. Join us behind the scenes of Canada's premier classical theatre institution ... and discover the love for the stage that drives this artistic company. Resource guide on reverse side, DIRECTOR: John N. Smith PRODUCER: Gerry Flahive 83 minutes Order number: C9102 042 Closed captioned. A decoder is required. TO ORDER NFB VIDEOS, CALL TODAY! -800-267-7710 (Canada) 1-800-542-2164 (USA) © 2002 National Film Board of Canada. A licence is required for any reproduction, television broadcast, sale, rental or public screening. -
The Upstart Crow, Volume XXIX
Clemson University TigerPrints Upstart Crow (Table of Contents) Clemson University Press Fall 2010 The Upstart Crow, Volume XXIX Elizabeth Rivlin, Editor Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/upstart_crow Recommended Citation Rivlin, Editor, Elizabeth, "The Upstart Crow, Volume XXIX" (2010). Upstart Crow (Table of Contents). 30. https://tigerprints.clemson.edu/upstart_crow/30 This Article is brought to you for free and open access by the Clemson University Press at TigerPrints. It has been accepted for inclusion in Upstart Crow (Table of Contents) by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Vol_XXIX Clemson University Digital Press Digital Facsimile Vol_XXIX Shakesp ear ean Hearing guest edited by Leslie Dunn and Wes Folkerth Contents Essays Leslie Dunn and Wes Folkerth Editors’ Introduction to “Shakespearean Hearing” ....5 Erin Minear “A Verse to this Note”: Shakespeare’s Haunted Songs .................... 11 Kurt Schreyer “Here’s a knocking indeed!” Macbeth and the Harrowing of Hell ... 26 Paula Berggren Shakespeare and the Numbering Clock ..........................................44 Allison Kay Deutermann “Dining on Two Dishes”: Shakespeare, Adaptation, and Auditory Reception of Purcell’s Th e Fairy-Queen ..................................... 57 Michael Witmore Shakespeare’s Inner Music ................................................. 72 Performance Reviews Michael W. Shurgot and Peter J. Smith Th e 2010 Season at London’s Globe Th eatre .........................................................................................................83 Sara Th ompson Th e Royal Shakespeare Company 2009:As You Like It ............. 99 Owen E. Brady Th e 2009 Stratford Festival:Macbeth and Bartholomew Fair ..103 Michael W. Shurgot Th e 2009 Oregon Shakespeare Festival ..............................111 Bryan Adams Hampton Th e 2010 Alabama Shakespeare Festival:Hamlet ..... -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Classics (345Kb)
Ethan McSweeny /Selected Press – Classics 01.18 “Ethan McSweeny seems to have a Midas touch. It’s not that the plays he directs turn into gold but they do sail across the footlights with a vibrant, magnetic sheen… The wunderkind director who made his Broadway debut before some directors finish graduate school, is earning plaudits for a flurry of new productions…Throughout his career, McSweeny has moved from classics to contemporary dramas to premieres with ease…His scrupulous attention to the melding of design, pacing, and performance and facility with which he presents them, feels crisp, vibrant, and cinematic.” Jaime Kleiman, American Theatre “McSweeny is revealing himself to be the kind of directorial prodigy we read about in biographies of such auteurs as Robert Wilson and Peter Sellers. Except that he does not impose a vision or conceit on a play; he amplifies themes in the work.” Rohan Preston, Minneapolis Star Tribune “McSweeny is not only one of our most successful theatre directors, but equally one of our most important, and for a man who zoomed a few years ago past 40, he continues to sport the aura of a modern Boy Wonder — an Orson Welles with much more in his future than commercials for Paul Masson … It’s not just that he is — as Peter Marks characterized him in his Washington Post review of The Tempest — a “classical imagist,” although he does possess that rare mixture of deep affinity for text and a fanciful eye. He has proven to be fluid in his choices, negotiating between the classical and the edgy-new. -
A Midsummer Night's Dream
SUPPORT FOR THE 2021 SEASON OF THE TOM PATTERSON THEATRE IS GENEROUSLY PROVIDED BY PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY THE HARKINS & MANNING FAMILIES IN MEMORY OF SUSAN & JIM HARKINS LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. -
Saluting the Classical Tradition in Drama
SALUTING THE CLASSICAL TRADITION IN DRAMA ILLUMINATING PRESENTATIONS BY The Shakespeare Guild IN COLLABORATION WITH The National Arts Club The Corcoran Gallery of Art The English-Speaking Union Woman’s National Democratic Club KATHRYN MEISLE Monday, February 6 KATHRYN MEISLE has just completed an extended run as Deborah in ROUNDABOUT THEATRE’s production of A Touch of the Poet, with Gabriel Byrne in the title part. Last year she delighted that company’s audiences as Marie-Louise in a rendering of The Constant Wife that starred Lynn Redgrave. For her performance in Tartuffe, with Brian Bedford and Henry Goodman, Ms. Meisle won the CALLOWAY AWARD and was nominated for a TONY as Outstanding Featured Actress. Her other Broadway credits include memorable roles in London Assur- NATIONAL ARTS CLUB ance, The Rehearsal, and Racing Demon. Filmgoers will recall Ms. Meisle from You’ve Got Mail, The Shaft, and Rosewood. Home viewers 15 Gramercy Park South Manhattan will recognize her for key parts in Law & Order and Oz. And those who love the classics will cherish her portrayals of such heroines as Program, 7:30 p.m. Celia, Desdemona, Masha, Olivia at ARENA STAGE, the GUTHRIE THEATER, MEMBERS, $25 OTHERS, $30 LINCOLN CENTER, the NEW YORK SHAKESPEARE FESTIVAL, and other settings. E. R. BRAITHWAITE Thursday, February 23 We’re pleased to welcome a magnetic figure who, as a young man from the Third World who’d just completed a doctorate in physics from Cambridge, discovered to his consternation that the color of his skin prevented him from landing a job in his chosen field. -
Albert Schultz Receives the 2014 National Arts Centre Award
News Release ALBERT SCHULTZ RECEIVES THE 2014 NATIONAL ARTS CENTRE AWARD Award to be given at May 10 Governor General’s Performing Arts Awards Gala March 26, 2014 – MONTREAL (Canada) – Canada’s National Arts Centre (NAC) is delighted to announce it is awarding the prestigious 2014 National Arts Centre Award to Albert Schultz. An award-winning actor and director, Mr. Schultz is the Founding Artistic Director of the highly acclaimed Soulpepper Theatre Company and the General Director of the Young Centre for the Performing Arts, a performing arts, education and community outreach facility in Toronto’s historic Distillery District. Mr. Schultz will be honoured during the Governor General’s Performing Arts Awards Gala at the National Arts Centre on May 10, 2014. The National Arts Centre Award, presented annually as part of the Governor General’s Performing Arts Awards, recognizes work of an extraordinary nature and significance in the performing arts by an individual artist and/or company in the past performance year. Mr. Schultz year has enjoyed a tremendously successful year. Last summer, Soulpepper’s ambitious production of Tony Kushner’s Angels in America, directed by Mr. Schultz, received such high audience and critical acclaim that it is being remounted this year. Another Soulpepper production, the smash hit Kim’s Convenience by Toronto playwright Ins Choi, is now on a nine-city national tour across Canada (the production played to audience and critical acclaim at the National Arts Centre in February). Soulpepper and Thunderbird Films recently announced a multi-year development and production joint venture for television, feature films and digital media: a feature film and television series based on Mr.