The Royal Court Theatre and the Modern Stage Philip Roberts Index More Information

Total Page:16

File Type:pdf, Size:1020Kb

The Royal Court Theatre and the Modern Stage Philip Roberts Index More Information Cambridge University Press 0521474388 - The Royal Court Theatre and the Modern Stage Philip Roberts Index More information Index Abbensetts, Michael, 144 The Happy Haven,76±7 Abbey Theatre, Dublin, 165, 217 Live Like Pigs, 62, 65±6, 68 Abercrombie, Nigel, 122 Serjeant Musgrave's Dance,72±3, Actors' Studio, 93 111, 114 Actors' Training Scheme, 94 The Waters of Babylon,62 Albee, Edward, 88 The Workhouse Donkey,89 Albery Theatre, 193 Arts Council, 4, 8, 11±15, 27, 38, 56, Aldwych Theatre, 85, 91, 106 73±4, 90±1, 113, 115±16, 118±19, Allen, Jim, 192±4, 195±201 121±3, 132±5, 141, 145, 153±7, Perdition,178,192±4,195±201 159±63, 165, 170±1, 172, 174±6, Allsop, Kenneth, 69 178, 182±5, 188, 190±2, 203±7, Alrawi, Karim, 194 209±11, 217, 221, 227, 234 n.34 A Colder Climate, 194 Arts Council Drama Panel, 184±5 Ambassadors Theatre, 225 Arts Theatre Club, 64, 85 American Hurrah!,120±1 Ashcroft, Peggy, 2, 23, 39, 41, 52±3, 60, Anderson, Lindsay, xix, 59, 62, 68, 68, 73, 92, 97, 112, 117, 124, 135, 69±70, 71, 72, 73, 75, 77±8, 79, 88, 146, 149±50, 163 89, 92, 97±8, 100±1, 105, 108, Aspern Papers, The,52 111±12, 128, 129±30, 131±2, Assistant Artistic Directors, 56, 71, 86 132±5, 136±8, 139±40, 142, Associate Directors, 71 143±50, 155, 156, 158±60, 162, Attorney-General, 177±8 187, 213, 215, 221, 243 n.17, 246 Auden, W. H., 39 n.46, 247 n.2 Audrey Skirball-Kenis Foundation, Andrews, Dennis, 171 220±1 Anouilh, Jean, 59 The Rehearsal,59 Babe, Thomas, 166, 180 Anstey, Paul, 32 Prayer for my Daughter, 166 Antrobus, John, 126 Badel, Alan, 18±19 Apollo Theatre, 131 Bagnold, Edith, 51 Arden, John, 57, 62, 63, 65, 72±3, Baker, Frank, 8 76±7, 89, 139 Barber, John, 48, 51 277 © Cambridge University Press www.cambridge.org Cambridge University Press 0521474388 - The Royal Court Theatre and the Modern Stage Philip Roberts Index More information index Barbican Theatre, 227 Blin,Roger,58 Barclays New Stages, 208±9 Blond, Elaine, 137, 156, 192 Barclays New Stages Festival, 212, Blond, Neville, xix, 21±4, 26±7, 28, 225 30±1, 32, 36, 38±9, 40, 41, 47, 51, Barker, Howard, 137, 152±3, 165, 174, 53±4, 55±6, 58, 60, 61, 62±3, 180, 192, 203, 210 64±5, 66, 67±8, 69, 70, 73±4, 77, Fair Slaughter,165 82, 83, 84±5, 86, 88, 89, 90±1, The Last Supper, 203 95±6, 97, 99, 101, 106, 113, 114, No End of Blame,174 115, 117, 118±19, 120, 121, 123±5, Seven Lears, 210 129, 133±8, 144, 229, 241 n.26 Victory, 180, 218 Bloom, Claire, 18±19 Women Beware Women,192 Bond, Edward, 63, 72, 91, 108±11, 117, Barry, Sebastian, 226 118, 121, 122, 128, 131, 139, 144, The Steward of Christendom, 226 148, 151, 152±3, 160, 162, 173±5, Beaumont, Hugh `Binkie', 45, 48, 65, 179, 186±7, 222, 229 125 Early Morning, 118±21, 123±5, 126, Beckett, Samuel, 37, 49, 56, 58±9, 64, 128, 130 67, 91, 137, 144, 152, 154, 167, The Fool,153 176, 239 n.68 Lear,131 Act Without Words,58 Narrow Road to the Deep North,128 Endgame, 58, 64, 66, 99, 154 The Pope's Wedding, 91, 175, 186 Happy Days, 81, 100, 167 Restoration,173±5,186,229 Krapp's Last Tape,66 Saved, 91, 108±11, 112±13, 117, Ohio Impromptu, 176 122, 123, 128, 186, 222 Beddoe, Jo, 185, 188, 197, 205 Summer, 175 Behn, Aphra, 183 Boyle, Danny, 186 The Lucky Chance,183,185 Bradwell, Mike, 185 Belgrade Theatre, Coventry, 65, 72, 80 Brecht, Bertolt, 19±20, 29, 33±5, 37±9, Bell, Tom, 167 41, 52±3, 57, 64, 88, 102 Benham, Colin, 145±6 The Good Woman of Setzuan, 33, Bennett, Alan, 192±3, 195 37, 39, 52±5 Kafka's Dick,192,194±5 Happy End,102 Bentley, Eric, 52 Man is Man,88 Berkoff, Steven, 159 Puntila and his Man Matti,88 Berliner Ensemble, 52±3 TheResistibleRiseofArturoUi,92 Bessborough, Eric, 17, 19±20, 47, 77 St Joan of the Stockyards,90,98 Betti, Ugo, 37 The Threepenny Opera, 19±21, 29, Billington, Michael, 146 38 Birmingham Repertory Theatre, 165 `Brecht on Brecht', 91 Blacksell, J.E., 17±18, 20±1, 26, 47, 62, Brenton, Howard, 115, 131, 137, 144, 65, 99, 101, 125, 142, 145 159±60, 162, 182, 184, 195, 203±5, Blair, Betsy, 84 211±12, 217 Blatchley, John, 77 Berlin Bertie,217 278 © Cambridge University Press www.cambridge.org Cambridge University Press 0521474388 - The Royal Court Theatre and the Modern Stage Philip Roberts Index More information Index The Genius, 181 Byrne, John, 179, 217 Greenland,204 Colquhoun and Macbryde, 217 Iranian Nights (with Tariq Ali), 205 The Slab Boys Trilogy,179 Magni®cence,144 A Short Sharp Shock (with Tony Cadogan, Lord, 94 Howard), 173 Calvert, Phyllis, 58 Brickman, Miriam, 108 Cambridge Arts Scheme, 80, 88 BrideofDenmarkHill,The,7 Caplan, Isador, 19, 21, 146, 178 Brighton, Pam, 139±40, 142, 171 Carleton Greene, Hugh, 167 Bristol Old Vic, 34, 145 Carr, Marina, 226 British Council, The, 9, 91 Portia Coughlan, 226 Britten, Benjamin, 17, 19, 29, 41, 47 Carrington, Lord, 191 Let's Make An Opera,17 Cartwright, Jim 192±4 Broadway, 79 Road, 192±4, 218 Brome, Richard, 217 Casey, James, 119 AJovialCrew, 217 Casson, Lewis, 7, 41 Brook, Peter, 90, 101 Catty, Jon, 154±5, 162 Brown, Alan, 165±6, 182 Central School of Speech and Drama, Panic, 182 211 Wheelchair Willie,166 Cesarani, David, 196±7 Brown, Ian, 210 Chagrin, Claude, 93 Brown, Pamela, 84 Changeling, The,81,86 Browne, E. Martin, 17 Channon, Paul, 133 Bruce, Brenda, 91 Chapman, Gerald, 171, 202 Brunner, Elaine, 6 Chapman, Henry, 88 Bryceland, Yvonne, 175 That's Us,88 Bryden, Bill, 149, 224 Chaste Maid in Cheapside, A, 111 Buckle, Dicky, 47±9 Chelsea Classic, 144 BuÈ chner, Georg, 47 Chenalls, A.T. & Co., 21 Danton's Death,47 Churchill, Caryl, 78, 144, 162, 171, Bullwinkle, Jean, 202 176, 180, 182, 194±5, 198±9, Burge, Stuart, xix, 79, 148, 155, 157±62, 201±2, 205, 207±9, 211, 228 164, 165, 166±8, 177, 178±9, 185, Cloud Nine,166 198±9, 211, 212, 214±16 Fen,182 `Burning Boat, The', 28 Icecream,205 Burrell, John, 1 Light Shining in Buckinghamshire, Burton, Anthony, 176, 178, 192, 198, 154 200, 216 Mad Forest, 211 Bush Theatre, 210 A Mouthful of Birds (with David Butler, Richard, 110 Lan), 195 Butterworth, Jez, 225±6 Serious Money,194±5,199,201±2, Mojo,225 207, 218 Byam Shaw, Glen, 1±4, 5, 12, 42, 95 Top Girls, 180±2, 212, 218 279 © Cambridge University Press www.cambridge.org Cambridge University Press 0521474388 - The Royal Court Theatre and the Modern Stage Philip Roberts Index More information index Cilento, Diane, 84, 94 A Jamaican Airman Foresees his Citizens Theatre, Glasgow, 65, 157 Death,212 Clark, Kenneth, 12 Daldry, Stephen, xiii, xix, 71, 213±17, Cleopatra, 79, 87 218, 219±20, 221±5, 226, 227, 228 `Club' performance, 103, 110±11, 121 Daniels, Sarah, 182, 194, 210 Codron, Michael, 82, 137 Bedside Herself, 210 Cole, Toby, 122 Byrthrite,194 Collins, Norman, 112, 134, 150 The Devil's Gateway, 182 Come Together, 138 Masterpieces, 182±3 Comedy of Errors, The,8 Darlington, W. A., 69, 90 `Coming on Strong', 221 Davies, Elidir, 94 Cookson, Harry, 75 Davies, Howard, 212 The Lily White Boys,74±5 de Angelis, April, 217 Cooper, Gladys, 38 Hush,217 Copeau, Jacques, 24, 42±3, 76 Declaration,62 Corey, Giles, 46 de Jongh, Nicholas, 184, 215 Country Wife, The, 50, 52±3, 55±6, 62 Delaney, Sheila, 78, 80 Coveney, Michael, 172, 180, 213, 216 The Lion in Love,78 Coventry Cathedral Festival, 89 A Taste of Honey,78 Cowley, Graham, 205, 207±9, 221±2 Dennis, Nigel, 33±4, 37, 41, 45, 51, 56, Cox, Peter, 186 61, 79, 87±8, 237 n.43 Up to the Sun and Down to the August for the People,79,87±8 Centre, 186 Cards of Identity, 36±7, 41, 51±2 Craig, Edward Gordon, 5, 42, 67, 235 The Making of Moo, 61, 81 n.56 Devine, George, xiii±xiv, xix, 1±16, Cregan, David, 63, 102, 116, 117, 120, 17±18, 21, 23±43, 45±7, 49±78, 126 79±104, 105, 106, 107, 109±10, Miniatures,102 111±12, 114, 115, 118±19, 120, Three Men for Colverton, 116 121±2, 144, 151, 158, 159, 171, Crimp, Martin, 211, 218 173, 181, 189, 195, 209, 219±20, No One Sees the Video, 211 221, 223±4, 227, 229, 243 n.17 The Treatment, 218 George Devine Award, 112±13, Criterion Theatre, 119 213±14 Crucible Theatre, Shef®eld, 176, 210 Devlin, Anne, 194 Cruddas, Audrey, 81 Ourselves Alone,194 Cruickshank, Harriet, 139, 215±16 Dexter, John, xix, 59, 72, 79, 88, 91±3, Cudlipp, Hugh, 151, 187 168±9, 188 Curtis, Simon, 185, 193±4, 199, 201, Diamond, Gillian, 139±40, 142, 162 213 Dixon, Doreen, 97, 108 Cuthbertson, Iain, 101, 107, 109, 110, Dodgson, Elyse, 193, 204 115, 116 Doncaster, Stephen, 42 Dorfman, Ariel, 212 D'Aguiar, Fred, 212 Death and the Maiden, 212±13, 218 280 © Cambridge University Press www.cambridge.org Cambridge University Press 0521474388 - The Royal Court Theatre and the Modern Stage Philip Roberts Index More information Index Drogheda, Earl of, 69 Epstein, Jacob, 17 Druid Theatre, Galway, 226 Esdaile, Alfred, xx, 7, 8, 11, 13, 18±20, Dublin Festival, 194 22±3, 25±7, 28±30, 31±3, 36, Duchess Theatre, 28 38±40, 47, 54±5, 96, 110, 117, Dudley, William, 225 123±5, 137, 143, 153 Duke of York's Theatre, 202, 220, 223, Establishment Club, GreekStreet, 92 225±6 Etherege, George, 220 Duke of York's Theatre (Holdings) The Man of Mode, 220 Ltd, 220, 224±6 Evans, Edith, 59, 112 Dunbar, Andrea, 172, 176, 180, 192 Evans, Matthew, xx, 181, 185±94, The Arbor,172,173 197±204, 212 Rita, Sue and Bob Too, 176, 218 Everitt, Anthony, 211 Shirley,192 Eyre, Richard, viii, 155, 157, 172, 218, Duncan, Ronald, xix±xx, 16±25, 27±9, 226 31, 33, 35±8, 40, 42, 46±7, 49±50, 56, 59, 62, 64±6, 73±6, 81, 88, 101, Falkland Sound, 182, 210, 218 114, 187, 233 n.16 Farquhar, George, 203, 207 The Catalyst,56,64 The Recruiting Of®cer, 203±4, 207, The Death of Satan, 17±19,49±50 218 Don Juan, 17±18, 49±50 Faulkner, William, 62 Dunlop, Frank, 101, 145 Requiem for a Nun, 62, 237 n.44 Dury,Ian,205 Fearon, George, 21, 35±6, 48, 54 Apples,205,207±8 Field, Anthony, 154±5 Finch, Peter, 97 Edgar, David, 166 Findlater, Richard, 161, 164 Mary Barnes, 166 Finney, Albert, 68, 79, 86, 92, 103, 112, Edinburgh Festival, 61, 79, 95 142, 146±7 Eisenberg, Debbie, 194 `First Results', 93 Pastoral,194 Forman, Denis, 185 Eleven Men Dead at Hola Camp, Forsyte, Kerman & Phillips, 21 70 Fox, Robin, xx, 66, 73±4, 77, 85±6, Eliot, T.
Recommended publications
  • Equality, Diversity and the Creative Case
    Equality, Diversity and the Creative Case A Data Report 2018-19 Getting started Read a Foreword from our Chair, Sir Nicholas Serota; find out more about where the data in this report is from; and get the key findings from the Executive Summary. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 2 Foreword Foreword by Sir Nicholas Serota, Chair, Arts Council England In 2017, we announced a new This is the first report to focus on this new analysis, review of reports, conversations To fully embrace these opportunities, the National Portfolio and it’s also the first time and two national consultations. A core cultural sector needs to apply its creativity National Portfolio of organisations we’ve been able to look deeper into the detail. principle of the investment that will be made to all aspects of its business and activities. that would receive regular funding This reveals more information across different under the 2020-30 Strategy is the need to Organisations need to continue to change parts of the country and different types of diversify the cultural sector – the leadership, and develop, to innovate, to explore and to for the period 2018-22. Libraries organisations. We’ve also been able to release workforce and governance of organisations; progress. Diversity of thought, experience and Museums were integrated more granular data looking across disciplines, the audiences and visitors influencing and and perspective are vital, and inclusivity and including individual Creative Case ratings. experiencing the creative and cultural offer; relevance are therefore driving principles in into the portfolio for the first and the artists, creatives and producers.
    [Show full text]
  • Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
    Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s
    [Show full text]
  • Black and Asian Theatre in Britain a History
    Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation.
    [Show full text]
  • Candidate Briefing Document 1
    USTINOV STUDIO, THEATRE ROYAL BATH ARTISTIC DIRECTOR CANDIDATE BRIEFING DOCUMENT 1. BACKGROUND Built in 1805, the Theatre Royal Bath is one of the oldest and most beautiful theatres in the country. Home to an exquisite main auditorium (800 seats); the state-of-the-art Ustinov Studio (125 seats); and the much-acclaimed egg theatre (125 seats) for children and their families, the Theatre Royal Bath presents a year-round programme. The Main House presents many productions prior to, or post West End, including drama, comedy, opera and dance, frequent Sunday concerts and a traditional Christmas pantomime. Since 2011, the Ustinov Studio has presented highly acclaimed programmes of world and UK premieres, alongside the best in small-scale touring theatre, comedy, music and dance. Since opening in 2005, the egg theatre has provided a unique venue for young audiences and become a nationally recognised hub for exceptional outreach work with young people, community groups, schools, universities and colleges across the country. Theatre Royal Bath Productions is the Theatre Royal’s production arm, and one of the most prolific British theatre producers in the West End, on UK tour and internationally. We have produced over 200 plays and productions since our inception, including more than 40 West End transfers. Theatre Royal Bath Productions produces on average 4 productions a year plus 6 as part of Jonathan Church’s Summer Season. Recent West End transfers include Mrs Henderson Presents (Noël Coward Theatre); The Libertine by Stephen Jeffreys (Theatre Royal Haymarket); Hobson’s Choice by Harold Brighouse (Vaudeville Theatre); Stepping Out by Richard Harris (Vaudeville Theatre); Switzerland by Joanna Murray-Smith (Ambassadors Theatre); and The Price by Arthur Miller (Wyndham’s Theatre).
    [Show full text]
  • See a Full List of the National Youth
    Past Productions National Youth Theatre ​ ​ '50s 1956: Henry V - William Shakespeare, Dir: Michael Croft @ Toynbee Hall 1957: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Toynbee Hall 1957: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Worthington Hall, Manchester 1958: Troilus & Cressida - William Shakespeare, Dir: Michael Croft @ Moray House Theatre, Edinburgh 1958: Troilus & Cressida - William Shakespeare, Dir: Michael Croft @ Lyric Theatre, Hammersmith '60s 1960: Hamlet - William Shakespeare, Dir: Michael Croft @ Tour of Holland. Theatre des Nations. Paris 1961: Richard II - William Shakespeare, Dir: Michael Croft @ Apollo Theatre, Shaftesbury Avenue 1961: Richard II - William Shakespeare, Dir: Michael Croft @ Ellen Terry Theatre. Tenterden. Devon 1961: Richard II - William Shakespeare, Dir: Michael Croft @Apollo Theatre, Shaftesbury Avenue 1961: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Apollo Theatre, Shaftesbury Avenue 1961: Julius Caesar - William Shakespeare, Dir: Michael Croft @ British entry at Berlin festival 1962: Richard II - William Shakespeare, Dir: Michael Croft @ Italian Tour: Rome, Florence, Genoa, Turin, Perugia 1962: Richard II - William Shakespeare, Dir: Michael Croft @ Tour of Holland and Belgium 1962: Henry V - William Shakespeare, Dir: Michael Croft @ Sadlers Wells 1962: Julius Caesar - William Shakespeare, Dir: Michael Croft @ Sadlers Wells1962: 1962: Hamlet - William Shakespeare, Dir: Michael Croft @ Tour for Centre 42. Nottingham, Leicester, Birmingham, Bristol, Hayes
    [Show full text]
  • Introduction
    Notes Introduction 1. Current feminist theatre scholarship tends to use the term ‘heteronormative’. The predominant use of the term ‘heterosexist’ in this study draws directly from black lesbian feminist Audre Lorde’s notion of ‘Heterosexism [as] the belief in the inherent superiority of one pattern of loving and thereby its right to dominance’ (Lorde, 1984, p. 45). 2. See Diana Fuss, Essentially Speaking: Feminism, Nature and Difference (London: Routledge, 1989) for summaries and discussions of the essen- tialism/constructionism debates. 3. See, for example, Elaine Aston, An Introduction to Feminism and Theatre (London: Routledge, 1995); Elaine Aston, Feminist Views on the English Stage: Women Playwrights, 1990–2000 (Cambridge: CUP, 2003); Mary F. Brewer, Race, Sex and Gender in Contemporary Women’s Theatre: The Construction of ‘Woman’ (Brighton: Sussex Academic Press, 1999); Lizbeth Goodman, Contemporary Feminist Theatres: To Each Her Own (London: Routledge, 1993); and Gabriele Griffin Contemporary Black and Asian Women Playwrights in Britain (Cambridge: CUP, 2003). 4. See, for example, Susan Croft, ‘Black Women Playwrights in Britain’ in Trevor R. Griffiths and Margaret Llewellyn Jones, eds, British and Irish Women Dram- atists Since 1968 (Buckingham: OUP, 1993); Mary Karen Dahl, ‘Postcolonial British Theatre: Black Voices at the Center’ in J. Ellen Gainor, ed., Imperi- alism and Theatre: Essays on World Theatre, Drama and Performance (London: Routledge, 1995); Sandra Freeman, Putting Your Daughters on the Stage: Lesbian Theatre from
    [Show full text]
  • Annual Report
    Festival Antigonish Summer Theatre| A Brimful of Asha CentreStage Theatre | Don’t Dress for Dinner Shakespeare by the Sea | The Wizard of Oz Ship’s Company Theatre | Bed and Breakfast Neptune Theatre | Controlled Damage Theatre Baddeck| He’d Be Your Mother’s Father’s Cousin Annual Report Two Planks and a Passion | Frankenstein by Fire The Villains Theatre | Zomblet Theatre Arts Guild| The Ladies Foursome July 1st, 2019 to June 30th, 2020 1 2019-20 Board of Directors Elizabeth Murphy, Chair Andrew Chandler, Vice Chair Alex Mills, Treasurer Logan Robins, Secretary David Zinck, Secretary Andrea Boyd Audrey Eastwood Nancy Henry Erin Niedermeyer Chris O’Neill Resignations accepted during the year from: Adrian Choong Todd Hiscock Samantha Wilson 2 Table of Contents Agenda 4 Minutes of Previous Year’s AGM 5 Chairperson’s Report 8 PERFORM! Coordinator’s Report 9 Merritt Awards Producer’s Report 18 High School Drama Festival Coordinator’s Report 20 Executive Director’s Report 21 Financial Statements 44 Proposed Slate of Directors 58 3 Theatre Nova Scotia Annual General Meeting Nov 16, 2020 6 PM Agenda 1. Call to order 2. Approval of agenda 3. Approval of previous minutes – Dec. 2, 2019 4. Chairperson’s Report 5. Staff reports 5.1 PERFORM! Coordinator’s report 5.2 Merritt Producer’s report 5.3 High School DramaFest Coordinator’s report 5.4 Executive Director’s report 6. Treasurer’s Report 6.1 Approval of 2019-20 audited statements 6.2 Appointment of auditor for 2020-21 7. Election of slate of directors 8. Other business 9. Adjournment 4 THEATRE NOVA SCOTIA ANNUAL GENERAL MEETING December 2, 2019 MINUTES 1.
    [Show full text]
  • The Judas Kiss
    2016 BAM Winter/Spring #TheJudasKiss Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer The Judas Kiss BAM Harvey Theater May 11—14, 17—21, 24—28 & 31, Jun 1—4, 7—11 at 7:30pm; May 14, 21, 28, Jun 4 & 11 at 2pm; May 15, 22, 29, Jun 5 & 12 at 3pm Running time: approx. two hours & 20 mins. including intermission Written by David Hare Directed by Neil Armfield Chichester Festival Theatre in association with Robert Fox, Theatre Royal Bath Productions, and Hampstead Theatre Productions Season Sponsor: Set design by Dale Ferguson Costume design by Sue Blane Major support for theater at BAM provided by: The Gladys Krieble Delmas Foundation Lighting design by Rick Fisher The Francena T. Harrison Foundation Trust Sound design by Paul Groothuis Donald R. Mullen Jr. Original Casting Director Cara Beckinsale CDG The Fan Fox & Leslie R. Samuels Foundation, Inc. The Morris and Alma Schapiro Fund Composed by Alan John The SHS Foundation The Shubert Foundation, Inc. Additional support provided by Broadway Stages. The Judas Kiss FOR THE JUDAS KISS General manager Kathy Bourne Associate director Jonathan O’Boyle Costume supervisor Allan Watkins Co-Costume supervisor/Wardrobe mistress Josie Thomas Wigs supervisor Helen Keelan Associate lighting Andrew Murrell Associate sound David Gregory Production manager Simon Marlow Production carpenter Micky Murray Company stage manager Ba Penney Deputy stage manager Sophia Dalton Canadian assistant stage manager Kathleen Harrison Rehearsal assistant stage manager Paul Puttock American stage manager R.
    [Show full text]
  • Curriculum Vitae
    Ginny Schiller CDG 9 Clapton Terrace London E5 9BW Casting Director Tel: 020 8806 5383 Mob: 07970 517667 [email protected] curriculum vitae I am an experienced casting director with nearly 20 years in the industry. My casting career began at the Royal Shakespeare Company in 1997 and I went freelance in 2001. I have collaborated on hundreds of productions with dozens of directors, producers and venues, and although my main focus has always been theatre, I have also cast for television, film, radio and commercials. I have been an in-house casting director for Chichester Festival Theatre, Rose Theatre Kingston, English Touring Theatre and Soho Theatre and returned to the RSC in 2005/6 to lead the casting for the Complete Works Season. I currently work closely with Danny Moar on many of the shows for Theatre Royal Bath Productions and with Laurence Boswell at the Ustinov Studio Theatre. I have cast for independent commercial producers as well as the subsidised sector, for the touring circuit, regional, fringe and West End venues, including the Almeida, Arcola, ATG, Birmingham Rep, Bolton Octagon, Bristol Old Vic, City of London Sinfonia, Clwyd Theatr Cyrmu, Frantic Assembly, Greenwich Theatre, Hampstead Theatre, Headlong, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Marlowe Studio Canterbury, Menier Chocolate Factory, New Wolsey Ipswich, Norfolk & Norwich Festival, Northampton Royal & Derngate, Oxford Playhouse, Plymouth Theatre Royal and Drum, Regent's Park Open Air Theatre, Shared Experience, Sheffield Crucible, Sonia Friedman Productions, Theatre Royal Haymarket, Touring Consortium, Young Vic, West Yorkshire Playhouse, Yvonne Arnaud and Wilton’s Music Hall. I am currently on the committee of the Casting Directors’ Guild, and actively involved in discussions with Equity regarding the casting process and diversity issues across the media.
    [Show full text]
  • Download A4 Printable Version
    Welcome to Piaf In 1980, Nottingham Playhouse was one of the first theatres to produce Pam Gems’ sensational play and an emerging new talent starred in the titular role – a young Imelda Staunton. Now, 40 years on, we are thrilled to bring Piaf back to our stage, in partnership with Leeds Playhouse. This emotionally-charged play explores the challenging and fascinating life and relationships of the enigmatic Edith Piaf with one of the West End’s leading performers, Jenna Russell, bringing this iconic character to life. Supported by a first-rate company, including some familiar Playhouse faces, our cast and creative team will truly transport you to the streets of Paris this summer. Whether you are joining us at the theatre, or watching our livestream from home, we are so pleased to finally welcome you back for this long-awaited production. It has been a difficult year, but the support of our audiences and friends has been overwhelming. We hope you enjoy the show as much as we have creating it. Stephanie Sirr Adam Penford Chief Executive Artistic Director Fri 29 Oct – Sat 20 Nov 2021 Mark Gatiss (The Madness of George III) stars in his own retelling of Dickens’ classic winter ghost story. It’s Christmas Eve. As the cold, bleak night draws in, the avaricious Ebenezer Scrooge is confronted by the spirit of his former business partner Jacob Marley. Bound in chains as punishment for a lifetime of greed, the unearthly figure explains it isn’t too late for Scrooge to change his miserly ways in order to escape the same fate, but first he’ll have to face three more eerie encounters… Staying true to the heart and spirit of the original novel, this production is filled with Dickensian, spine-tingling special effects; are you brave enough to join us? AN interview with jenna RUSSELL What was your introduction to theatre and when did you know you wanted to be an actor? My earliest memory of going to the theatre was when Mum took me to see Robert Lindsey in Hamlet.
    [Show full text]
  • OUR IMPACT Our Impact | 1 | 2 | 3 | 4 | 5 | 6 | 7 | Appendices Contents 2
    OUR IMPACT Our impact | 1 | 2 | 3 | 4 | 5 | 6 | 7 | Appendices Contents 2 CONTENTS Our impact . .p3 Seven key messages. .p5 1. We fuel social change . .p6 2. We welcome everyone in. .p14 3. We care about people’s futures. .p22 4. We treat everyone who works here with respect. .p32 5. We are a collaborative partner. .p39 6. We are an environmentally conscious business. .p43 7. We help others. .p52 Appendices. .p57 THE.OLD.VIC.BICENTENARY ..PHOTO:.MANUEL.HARLAN Our impact | 1 | 2 | 3 | 4 | 5 | 6 | 7 | Appendices Contents 3 OUR IMPACT Our Story The.Old.Vic.is.a.world-class.creative.producing.theatre ..Groundbreaking.seasons. We.are.mindful.of.the.conduct.of.the.individuals.that.make.up.this.theatre.and.that. of.work.are.produced.without.any.regular.subsidy;.an.annual.showcase.of.new. of.the.suppliers.with.whom.we.work;.the.impact.we.have.on.the.environment.as.a. commissions,.family.work,.dance.and.musicals,.alongside.classic.texts.from.the.canon,. thriving.producing.theatre;.the.choices.we.make.when.recruiting,.off-stage.and.on;.the. playing.to.audiences.of.up.to.300,000.a.year ..Our.work.tours.the.UK,.transfers.to.the. partnership.support.we.give.to.others.working.in.the.charitable.community.on.causes. West.End.and.Broadway,.and.we.broadcast.a.number.of.our.productions.into.cinemas. we.care.about;.and.our.wide-reaching.efforts.to.positively.impact.social.mobility.and. across.the.globe.via.National.Theatre.Live.and.others . employability.ratios.in.the.UK .. But.this.does.not.tell.the.full.story.of.The.Old.Vic .
    [Show full text]
  • Shakespeare / Brecht Directed by Mike Pearson
    #NTW21 NATIONALTHEATREWALES.ORG A NATIONAL THEATRE WALES PRODUCTION IN ASSOCIATION WITH THE ROYAL SHAKESPEARE COMPANY DIRECTED BY MIKE PEARSON / MIKE BROOKES SHAKESPEARE / BRECHT THE NATION OF WALES IS OUR STAGE: FROM FORESTS TO #NTW21 NATIONALTHEATREWALES.ORG BEACHES, FROM AIRCRAFT HANGARS TO POST-INDUSTRIAL TOWNS, FROM VILLAGE HALLS TO NIGHTCLUBS. WE BRING TOGETHER STORYTELLING POETS, VISUAL VISIONARIES AND INVENTORS OF IDEAS. WE COLLABORATE WITH ARTISTS, AUDIENCES, COMMUNITIES AND COMPANIES TO CREATE THEATRE IN THE ENGLISH LANGUAGE, ROOTED IN WALES, WITH AN INTERNATIONAL REACH. YOU’LL FIND US ROUND THE CORNER, ACROSS THE MOUNTAIN AND IN YOUR DIGITAL BACKYARD. STAFF TEAM MATT BALL JOHN MCGRATH CREATIVE ASSOCIATE @MATTBALL_NTW ARTISTIC DIRECTOR @JOHN_NTW MICHELLE CARWARDINE-PALMER JENNY MCCARTHY DIRECTOR OF ADMINISTRATION AND DEVELOPMENT FINANCE ASSISTANT @JENNY_NTW @MICHELLE_NTW YUSUF MOHAMED JULIA COLES COMMUNITY ENGAGEMENT ASSOCIATE (DE GABAY) HANGAR 858 COMPANY CO-ORDINATOR @JULIA_NTW @YUSUF_NTW LUCY DAVIES ANNA POOLE EXECUTIVE PRODUCER @LUCY_NTW TEAM ASSISTANT @ANNA_NTW RAF ST ATHAN DEVINDA DE SILVA GAVIN PORTER TEAM CO-ORDINATOR @DEVINDA_NTW CREATIVE ASSOCIATE (DE GABAY) @GAVINP0RTER DAVID EVANS CATRIN ROGERS VALE OF GLAMORGAN HEAD OF PRODUCTION @DAVID_NTW MEDIA OFFICER @CATRIN_NTW STEPHEN GRANT MICHAEL SALMON 8-18 AUGUS T FINANCE MANAGER @STEPHEN_NTW COMPANY ASSISTANT @MICHAEL_NTW KATHERINE JEWKES ABDUL SHAYEK DIGITAL ASSOCIATE @KATHERINE_ANN CREATIVE ASSOCIATE @ABDUL_NTW MATTHEW LAWTON JEN THORNTON COMMUNICATIONS DIRECTOR @MATT_NTW
    [Show full text]