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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’. -
{TEXTBOOK} the Clothes They Stood up in and the Lady and the Van
THE CLOTHES THEY STOOD UP IN AND THE LADY AND THE VAN PDF, EPUB, EBOOK Alan Bennett | 240 pages | 14 Jul 2009 | Random House USA Inc | 9780812969658 | English | New York, United States The Clothes They Stood Up in and the Lady and the Van PDF Book You are commenting using your Twitter account. Quotes from The Clothes They I enjoyed the little nod to Barbara Pym. Refresh and try again. Interest will be charged to your account from the purchase date if the balance is not paid in full within 6 months. Read on the strength of the cover and loved the premise. Saw that the second story in this double feature has been adapted into a film starring Maggie Smith. Other editions. The Ransome's come back from the opera to find they have been burgled, everything has been taken, the carpets, toilet paper, underwear, everything was gone Going Down. He is concerned about her and she eventua Bennett is a British writer and a master of subtle irony, insight, and wit. This amount is subject to change until you make payment. The Ransomes come home from the opera to find that absolutely everything, down the the carpets, toilet paper and holder, to the oven containing the roast has been taken from the carpet. He's incredibly clever. A charming, humorous story with some surprising depth, this is a quick, one sitting read. A Shooting Star. I was captivated mostly all through, an unusual denouement was extremely funny and revealing, the only thing that jarred a little was the wife's naivety. -
This Jesus Must Die ]Esus Christ Superstar Moderato Annas Good Cai- A- Phas The Coun- Cil Waits for You
This Jesus Must Die ]esus Christ Superstar Moderato Annas Good Cai- a- phas the coun- cil waits for you. Tbe Pha- ri- Moderato f 4 sees and Priests are here for you. Caiaphas Ah gent tle 2 6 men you why we arehere.We'venot much time and quite a pro-blem here. Mob (outside )Boys Ho Mob (Outside) Girls 10 Ho sannaSu per star ho san nasup per star san-naSu-per-star,Ho- san.na Su-per-star,Ho- san-na Su-per-star,Ho- san- na Su-per- star cresc poco a poco 3 14 Annas listen tothat howl-ingmobofblock-headsinthe street! A [guide part poco ad lib ] Fm7 Bb7 Fm7 Bb7 16 Annas and Preist2 trickortwowith le-persandthewholetown'son it'sfeet. Heis dan ger Preist1 Caiaphas & Priest 3 He is dan ger Fm7 Bb7 Fm7 Bb7 Bb E Bb 4 19 Preist 3 ous He is dan ger ous that ous He is dan ger ous Mob (outside) Je-susChrist Su-per-star TeIl that you're who they Je-susChrist Su-per-star TeIl that you're who they B -
Savoring the Classical Tradition in Drama
SAVORING THE CLASSICAL TRADITION IN DRAMA MEMORABLE PRESENTATIONS BY THE SHAKESPEARE GUILD I N P R O U D COLLABORATION WIT H THE NATIONAL ARTS CLUB THE PLAYERS, NEW YORK CITY THE ENGLISH-SPEAKING UNION JIM DALE ♦ Friday, January 24 In the 1950s and ’60s JIM DALE was known primarily as a singer and songwriter, with such hits as Oscar nominee “Georgy Girl” to his credit. Meanwhile he was earning plaudits as a film and television comic, with eleven Carry On features that made him a NATIONAL ARTS CLUB household name in Britain. Next came stage roles like 15 Gramercy Park South Autolycus and Bottom with Laurence Olivier’s National Manhattan Theatre Company, and Fagin in Cameron Mackintosh’s PROGRAM AT 6:00 P.M. Oliver. In 1980 he collected a Tony Award for his title Admission Free, But role in Barnum. Since then he has been nominated for Reservations Requested Tony, Drama Desk, and other honors for his work in such plays as Candide, Comedians, Joe Egg, Me and My Girl, and Scapino. As if those accolades were not enough, he also holds two Grammy Awards and ten Audie Awards as the “voice” of Harry Potter. We look forward to a memorable evening with one of the most versatile performers in entertainment history. RON ROSENBAUM ♦ Monday, March 23 Most widely known for Explaining Hitler, a 1998 best-seller that has been translated into ten languages, RON ROSENBAUM is also the author of The Secret Parts of Fortune, Those Who Forget the Past, and How the End Begins: The Road to a Nuclear World War III. -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
March 2016 Conversation
SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WIT H THE NATIONAL ARTS CLUB THE WNDC IN WASHINGTON THE ENGLISH-SPEAKING UNION DIANA OWEN ♦ Tuesday, February 23 As we commemorate SHAKESPEARE 400, a global celebration of the poet’s life and legacy, the GUILD is delighted to co-host a WOMAN’S NATIONAL DEMOCRATIC CLUB gathering with DIANA OWEN, who heads the SHAKESPEARE BIRTHPLACE TRUST in Stratford-upon-Avon. The TRUST presides over such treasures as Mary Arden’s House, WITTEMORE HOUSE Anne Hathaway’s Cottage, and the home in which the play- 1526 New Hampshire Avenue wright was born. It also preserves the site of New Place, the Washington mansion Shakespeare purchased in 1597, and in all prob- LUNCH 12:30. PROGRAM 1:00 ability the setting in which he died in 1616. A later owner Luncheon & Program, $30 demolished it, but the TRUST is now unearthing the struc- Program Only , $10 ture’s foundations and adding a new museum to the beautiful garden that has long delighted visitors. As she describes this exciting project, Ms. Owen will also talk about dozens of anniversary festivities, among them an April 23 BBC gala that will feature such stars as Dame Judi Dench and Sir Ian McKellen. PEGGY O’BRIEN ♦ Wednesday, February 24 Shifting to the FOLGER SHAKESPEARE LIBRARY, an American institution that is marking SHAKESPEARE 400 with a national tour of First Folios, we’re pleased to welcome PEGGY O’BRIEN, who established the Library’s globally acclaimed outreach initiatives to teachers and NATIONAL ARTS CLUB students in the 1980s and published a widely circulated 15 Gramercy Park South Shakespeare Set Free series with Simon and Schuster. -
Playwright DAVID HARE Receives the Guild's 2017 GIELGUD AWARD
But the culminating moments of a richly varied program Playwright DAVID HARE Receives were devoted to the GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS and to the afternoon’s final presentation, for The Guild’s 2017 GIELGUD AWARD OUTSTANDING CONTRIBUTION TO BRITISH THEATRE.. That trophy went to LYN GARDNER, “a renowned theatre journalist, critic, n Sunday, October 15, at a memorable UK THEATRE author, and champion of the industry, whose invaluable O AWARDS luncheon in London’s historic GUILDHALL, one insights can most often be found in The Guardian and The of today’s most versatile dramatic artists received the 2017 Stage, of which she is an associate editor.” GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS. Not only has DAVID HARE enriched our theatrical repertory resenting this year’s GIELGUD AWARD was FREDDIE FOX, with some of the most resonant and challenging stageplays of P an actor of impeccable pedigree who is admired for our era. He has also produced screenplays that have garnered films such as The Three Musketeers, Victor Frankenstein, The Riot Club, Pride, and Worried About the Boy, as well as for such stage roles as Bosie in The Judas Kiss, a David Hare drama about the tragic fall of Oscar Wilde. Mr. Fox talked about how much he’d enjoyed working not only with Sir David but with artistic director Jonathan Kent while co-starring in this Hampstead Theatre production. As he bestowed the 2017 GIELGUD trophy, he shared two messages from admirers of Sir David who were unable to attend the Guildhall luncheon. -
Habeas Corpus
41st Season • 394th Production SEGERSTROM STAGE / OCTOBER 15 - NOVEMBER 21, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents HABEAS CORPUS BY Alan Bennett SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN/MUSICAL DIRECTOR Christopher Acebo Shigeru Yaji Geoff Korf Paul James Prendergast DIALECT COACH CHOREOGRAPHER PRODUCTION MANAGER STAGE MANAGER Philip D. Thompson Ken Roht Jeff Gifford *Randall K. Lum DIRECTED BY Bill Rauch HONORARY PRODUCERS Haskell & White LLP Presented by special arrangement with Samuel French, Inc. Habeas Corpus • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Arthur Wicksteed .................................................................... Hal Landon Jr.* Mrs. Swabb ...................................................................................... Jane Carr* Muriel Wicksteed ................................................................ Caitlin O’Connell* Dennis Wicksteed ................................................... Christopher Liam Moore* Constance Wicksteed .......................................................... Kate A. Mulligan* Canon Throbbing ................................................................ Daniel T. Parker* Sir Percy Shorter ........................................................................... Patrick Kerr* Lady Rumpers .................................................................... Lynnda Ferguson* Felicity Rumpers ..................................................................... Lynsey -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
Reading the Offstage in Harold Pinter's Early Plays
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Regarding the unseen : reading the offstage in Harold Pinter's early plays Goh, Qi Wei 2017 Goh, Q. W. (2017). Regarding the unseen : reading the offstage in Harold Pinter's early plays. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/69576 https://doi.org/10.32657/10356/69576 Downloaded on 25 Sep 2021 13:19:07 SGT READING THE THE OFFSTAGE PLAYSREADING PINTER’S IN REGARDING THE UNSEEN: READING THE OFFSTAGE IN HAROLD PINTER’S EARLY PLAYS GOH QI QI WEIGOH 2017 GOH QI WEI SCHOOL OF HUMANITIES AND SOCIAL SCIENCES 2017 REGARDING THE UNSEEN: READING THE OFFSTAGE IN HAROLD PINTER’S EARLY PLAYS GOH QI WEI School of Humanities and Social Sciences A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirements for the degree of Masters of Art 2017 Acknowledgements The initial concept for this project came from a unusual idea for an undergraduate essay on Henrik Ibsen’s Hedda Gabler (1891). Dr Daniel Jernigan suggested its possibilites as a larger project and for this and more, I owe him my deepest gratitude. His insightful comments on my drafts have been immeasurably helpful and this paper would not be half as decent today without Dr Jernigan’s keen eye for detail. To Dr Kevin Riordan, I similarly extend my sincerest thanks for his ‘gestures of solidarity’. In addition, I would like to thank Dr Jane Wong and Dr Lee Hyun Jung for their constructive comments during my confirmation exercise. -
Andrew Lloyd Webber's Musicals
MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature ANDREW LLOYD WEBBER’S MUSICALS Diploma Thesis Brno 2009 Radka Adamová Supervisor: Mgr. Lucie Podroužková, PhD. 1 BIBLIOGRAPHICAL ENTRY Adamová, Radka. Andrew Lloyd Webber’s Musicals Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2007. Diploma thesis supervisor Mgr. Lucie Podroužková, Ph. D. ANNOTATION This diploma thesis deals with British musical composer Andrew Lloyd Webber and his works. The first part of the thesis introduces Lloyd Webber’s biography, his close collaborators as well as his production company the Really Useful Group and description of all his works. The main part of the thesis is aimed at his musicals Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar , rather their origin and development, the main plot and their main characters that have many things in common. Both these musicals are based on topics from the Bible. The thesis also deals with the librettos and their translation into Czech. ANOTACE Diplomová práce se zabývá britským hudebním skladatelem Andrew Lloyd Webberem a jeho díly. První část práce seznamuje s Lloyd Webberovým životopisem, jeho blízkými spolupracovníky, stejně jako s jeho produkční společností Really Useful Group a popisem všech jeho děl. Hlavní část práce je zaměřena na muzikály Josef a jeho úžasný pestrobarevný plášť a Jesus Christ Superstar , přesněji řečeno jejich vznik a vývoj, hlavní dějovou linii a jejich hlavní postavy, které mají mnoho společného. Oba tyto muzikály jsou založeny na příbězích z Bible. Práce se také zabýva librety obou muzikálů a jejich překladem do češtiny. 2 I declare that I have worked on this thesis on my own and used only the sources listed in the Bibliography.