Denise Silvey

Total Page:16

File Type:pdf, Size:1020Kb

Denise Silvey DENISE SILVEY London Theatre SIDE BY SIDE BY SONDHEIM (Woman 1) Andrew Lynford Union Theatre THE MOUSETRAP (Miss Casewell) David Turner St. Martin's Theatre HIGH SPIRITS (Ruth Condomine) Raymond Wright Bridewell Theatre BY JEEVES (Various) Alan Ayckbourn Duke of York's / Lyric Theatre THE SILVER LAKE (Shopgirl) Gordon Anderson/ Rory Bremner Wilton's Music Hall STARTING HERE, STARTING NOW (Woman 1) Geoff David/ Denise Silvey Jermyn Street Theatre CAMELOT (Alternate Guenevere) Frank Dunlop Covent Garden Festival SHOWBOAT (Various) Ian Judge London Palladium and tour KURT WEILL CABARET (Principal Actress) Liam Halligan Young Vic/King’s Head MARRY ME A LITTLE (Girl) Stuart Maunder Players' Theatre KID FOR TWO FARTHINGS (Mary) Angela Hardcastle Bridewell Theatre NOEL AND GERTIE (Gertie) Stuart Maunder Players' Theatre Tours and Repertory Credits THE MOUSETRAP (Miss Casewell) Denise Silvey Lyceum Theatre, Shanghai DANCING AT LUGHNASA (Maggie) Mike James National Tour ANNIE (Grace Farrell) Mitch Rumin National Tour NOEL AND GERTIE (Gertie) Jacqui Somerville Southwold Summer Festival PHANTOM OF THE OPERA (Confidante - u/s Mme Giry) Hal Prince Stella Theatre, Hamburg MOLL FLANDERS (13 Characters) Philip Dart Channel Theatre Company MONSIGNOR QUIXOTE (Various) George Roman Northcott Theatre, Exeter NOISES OFF (Poppy Norton-Taylor) Martin Harvey Northcott Theatre, Exeter DAISY PULLS IT OFF (Matron) David Gilmore National Tour THE SOUND OF MUSIC (Postulant) Roger Redfarn National Tour PERCHANCE TO DREAM (Susan Pell) David Turner Connaught, Worthing DANGEROUS CORNER (Betty) Ian Watt-Smith Connaught, Worthing OLIVER! (Charlotte Sowerberry) David Turner Connaught, Worthing COMPANY (Amy) Mickey Dolenz Bloomsbury Theatre Opera Credits RUDDIGORE (Ruth) Jeff Clark Buxton Opera House THE BEGGAR'S OPERA (Mrs Peacham) Chris Blackwood Kent Opera THE MARRIAGE OF FIGARO (Cherubino) Camberwell Pocket Opera CARMEN (Mercedes) Tom Hawkes Crystal Clear Opera PIRATES OF PENZANCE (Isobel) Stuart Maunder D'Oyly Carte Opera ORPHEUS IN THE UNDERWORLD (Various) Martin Duncan D'Oyly Carte Opera LOUISE (Suzanne) Martin Merry Morley Opera Television Credits A - Z OF CRIME (self) Various Cactus TV for Channel 4 LENNY HENRY SERIES (Cheryl) Geoff Posner BBC TV GIVE US A BREAK (Cheryl) Terry Williams BBC TV 'ALLO 'ALLO (Inga) David Croft BBC TV RELATIVE STRANGERS (Susan) Various Channel 4 Radio Credits FRIDAY NIGHT IS MUSIC NIGHT (Regular Soloist) Alan Boyd BBC Radio 2 Also featured with Serenata Voices BY JEEVES (Various) Ned Chaillet BBC Radio 2 ON THE KNOCKER (Mrs Turner) Richard Shannon Independent Radio Drama TALKING SHOP (Monica) Tim Crook Independent Radio Drama Recordings THE SONGS OF MALTBY AND SHIRE (Soloist) Dress Circle Records SIMPLY OPERA (Soloist) Crystal Clear Opera ORPHEUS IN THE UNDERWORLD (D'Oyly Carte Opera) Sony Records BY JEEVES (Various) Really Useful Records PATIENCE, YEOMAN OF THE GUARD, SULLIVAN SONGS (D'Oyly Carte Opera) TER Records Was a member of the company of singers for TER Records featured on over 20 recordings Pantos ALADDIN, CINDERELLA, SLEEPING BEAUTY, JACK AND THE BEANSTALK .
Recommended publications
  • Redgrove Papers: Letters
    Redgrove Papers: letters Archive Date Sent To Sent By Item Description Ref. No. Noel Peter Answer to Kantaris' letter (page 365) offering back-up from scientific references for where his information came 1 . 01 27/07/1983 Kantaris Redgrove from - this letter is pasted into Notebook one, Ref No 1, on page 365. Peter Letter offering some book references in connection with dream, mesmerism, and the Unconscious - this letter is 1 . 01 07/09/1983 John Beer Redgrove pasted into Notebook one, Ref No 1, on page 380. Letter thanking him for a review in the Times (entitled 'Rhetoric, Vision, and Toes' - Nye reviews Robert Lowell's Robert Peter 'Life Studies', Peter Redgrove's 'The Man Named East', and Gavin Ewart's 'The Young Pobbles Guide To His Toes', 1 . 01 11/05/1985 Nye Redgrove Times, 25th April 1985, p. 11); discusses weather-sensitivity, and mentions John Layard. This letter is pasted into Notebook one, Ref No 1, on page 373. Extract of a letter to Latham, discussing background work on 'The Black Goddess', making reference to masers, John Peter 1 . 01 16/05/1985 pheromones, and field measurements in a disco - this letter is pasted into Notebook one, Ref No 1, on page 229 Latham Redgrove (see 73 . 01 record). John Peter Same as letter on page 229 but with six and a half extra lines showing - this letter is pasted into Notebook one, Ref 1 . 01 16/05/1985 Latham Redgrove No 1, on page 263 (this is actually the complete letter without Redgrove's signature - see 73 .
    [Show full text]
  • Timberlake Wertenbaker - Cv
    TIMBERLAKE WERTENBAKER - CV Timberlake Wertenbaker is working on new commissions for the Royal Shakespeare Company, Bolton Octagon and Salisbury Playhouse. OUR COUNTRY'S GOOD will be produced at the National Theatre in 2015, directed by Nadia Fall. THEATRE: JEFFERSON'S GARDEN 2015 Watford Palace Theare, world premiere Dir: Brigid Larmour THE ANT AND THE CICADA (RSC) 2014 Midsummer Madness Dir: Erica Whyman OUR AJAX (Southwark Playhouse / Natural Perspective) 2013 Dir: David Mercatali Original play, inspired by the Sophocles play OUR COUNTRY'S GOOD (Out Of Joint) Dir: Max Stafford-Clark UK Tour & St James Theatre, London - 2013 US Tour - 2014 ANTIGONE (The Southwark Playhouse) 2011 Dir: Tom Littler THE LINE (The Arcola Theatre) 2009 Dir: Matthew Lloyd JENUFA (The Arcola Theatre) 2007 Dir: Irena Brown GALILEO'S DAUGHTER (Theatre Royal, Bath) 2004 Dir: Sir Peter Hall CREDIBLE WITNESS (Royal Court Theatre) 2001 Dir: Sacha Wares ASH GIRL (Birmingham Rep) 2000 Dir: Lucy Bailey (Adaptation of Cinderella) AFTER DARWIN (Hampstead Theatre) 1998 Dir: Lindsay Posner THE BREAK OF THE DAY (Royal Court/Out of Joint tour) 1995 Dir: Max Stafford-Clark OUR COUNTRY'S GOOD (Broadway) 1990 Dir: Mark Lamos Winner: New York Drama Critics Award for best foriegn play THREE BIRDS ALIGHTING ON A FIELD (Royal CourtTheatre) 1991 Dir: Max Stafford-Clarke Winner: Writers Guild Award Winner: Susan Smith Blackburn prize THE LOVE OF THE NIGHTINGALE (RSC) 1988 Dir: Garry Hines OUR COUNTRY'S GOOD (Royal Court Theatre) 1985 Dir: Max Stafford-Clarke Winner: Olivier Award Play
    [Show full text]
  • 1 Plays, Books
    PLAYS, BOOKS - WRITTEN, PUBLISHED and PERFORMED; PRIZES. 1950s (Circa) And After Today – play written for amateur drama group ‘The Query Players’ to which A.W belonged. Never performed. Precursor to Chicken Soup with Barley. 1951 The Reed That Bent. A novel. Unpublished but used as the basis for ‘Chips With Everything’. Begun 30 April finished 17 August. The novel itself was drawn from assembled letters written to friends and family during 8 weeks of ‘square bashing’ as an RAF National Service conscript. 1955 Pools. A short story. Begun 16th October, finished following month. 1956 The Kitchen. No date on written MS. Probably begun in this year. Entered for The Observer Play competition in original form of two acts with no Interlude. No prizes. 1957 Life Is Where You Live. Musical written for Primrose Jewish Youth Club of which A.W. was the ‘drama director.’ Fiona Castiglione, the granddaughter of the composer, Rutland Boughton, wrote four or five songs then gave up! June 1957. Chicken Soup With Barley. First notes, circa early October 1957. The play (first entitled ‘When the Wind Blows’) begun 8 October 1957. 1958 Chicken Soup With Barley. First presented at The Belgrade Theatre, Coventry, 7 July for one week, directed by John Dexter. Subsequently at The Royal Court, London on14th July for one week as part of a four week ‘Guest Repertory Season’. Roots. Begun 20th June. 2nd typed draft completed 29 October. I’m Talking About Jerusalem. Begun 9 December. (1st typed draft dated 1st December 1959. 3rd typed draft dated 11th May 1960. Pools. Printed in The Jewish Quarterly, Winter 58/59.
    [Show full text]
  • Tom Stoppard
    Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60).
    [Show full text]
  • Tom Stoppard
    Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English. Arrangement Due to size, this inventory has been divided into two separate units which can be accessed by clicking on the highlighted text below: Tom Stoppard Papers--Series descriptions and Series I. through Series II. [Part I] Tom Stoppard Papers--Series III. through Series V. and Indices [Part II] [This page] Stoppard, Tom Manuscript Collection MS-4062 Series III. Correspondence, 1954-2000, nd 19 boxes Subseries A: General Correspondence, 1954-2000, nd By Date 1968-2000, nd Container 124.1-5 1994, nd Container 66.7 "Miscellaneous," Aug. 1992-Nov. 1993 Container 53.4 Copies of outgoing letters, 1989-91 Container 125.3 Copies of outgoing
    [Show full text]
  • LATE 20Th and EARLY 21St CENTURY CLOWNING's
    CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE by David W Peterson BA, University of Michigan, 2007 Masters, Michigan State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by David W Peterson It was defended on April 16, 2014 and approved by Dr. Attilio “Buck” Favorini, Professor Emeritus, Theatre Arts Dr. Bruce McConachie, Professor, Theatre Arts Dr. Jennifer Waldron, Associate Professor, English Dissertation Advisor: Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts ii Copyright © by David Peterson 2014 iii CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE David Peterson, PhD University of Pittsburgh, 2014 This dissertation argues that contemporary clown performance (as developed in the latter half of the 20th century) can be understood in terms of three key performance practices: the flop, interruption, and audience play. I further argue that these three features of flop, interruption, and audience play are distinctively facilitated by Shakespeare in both text and performance which, in turn, demonstrates the potential of both clown and Shakespeare to not only disrupt theatrical conventions, but to imagine new relationships to social and political power structures. To this end, I ally the flop with Jack Halberstam’s sense of queer failure to investigate the relationship between Macbeth and 500 Clown Macbeth.
    [Show full text]
  • Shylock : a Performance History with Particular Reference to London And
    University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. CHAPTER 1 SHYLOCK & PERFORMANCE Such are the controversies which potentially arise from any new production of The Merchant of Venice, that no director or actor can prepare for a fresh interpretation of the character of Shylock without an overshadowing awareness of the implications of getting it wrong. This study is an attempt to describe some of the many and various ways in which productions of The Merchant of Venice have either confronted or side-stepped the daunting theatrical challenge of presenting the most famous Jew in world literature in a play which, most especially in recent times, inescapably lives in the shadow of history. I intend in this performance history to allude to as wide a variety of Shylocks as seems relevant and this will mean paying attention to every production of the play in the Shakespeare Memorial Theatre and the Royal Shakespeare Theatre, as well as every major production in London since the time of Irving. For reasons of practicality, I have confined my study to the United Kingdom1 and make few allusions to productions which did not originate in either Stratford or London.
    [Show full text]
  • 12 March 2010 Page 1 of 7
    Radio 7 Listings for 6 – 12 March 2010 Page 1 of 7 SATURDAY 06 MARCH 2010 Series 1 [Repeat of broadcast at 09:30 today] Holy Water SAT 20:00 Comedy Controller (b007jsmx) SAT 00:00 Voices From the Grave (b007jwn6) The life of a struggling writer with his dysfunctional friends and [Repeat of broadcast at 10:00 today] The Parson a talking geranium. SAT 23:00 Stephen King - Rita Hayworth and Shawshank Back from missionary work abroad, Reverend Martin Stokes A sitcom for the 1990s, written by and starring comedian Nick Redemption (b00m19db) stumbles into a nightmare of biblical proportions abroad. Revell. Episode 4 David Varela's horror stars Mark Bazeley as Rev. Martin With Alistair McGowan, Caroline Gruber, Kate McKenzie and Andy dreams about his freedom and who awaits him beyond Stokes, Lynne Verrall as Mrs Cameron, Geoffrey Beevers as Brian Bowles. the prison wall. Stephen King's novella, read by Clarke Peters. Bishop Millcock, Wayne Foskett as Randall, Stephen Hogan as Special guest star: Brian Johnston and Vince the geranium. SAT 23:30 Ted Lewis - Jack Carter's Law (b00ny6xx) Sid and Gerard McDermott as Joseph. Producer: Jon Magnusson Episode 4 Voices From The Grave is a series of four chilling and intimate First broadcast on BBC Radio 4 in January 1992. Gangland enforcer Jack Carter must pay a visit to one of his dramas, inspired by existing ghost stories from around Britain. SAT 04:30 Desmond Olivier Dingle's Compleat Life and boss's massage parlours in Islington. Thriller read by Phil The writers make these stories more than simply scary - they Works of William Shakespeare (b007k2xh) Daniels.
    [Show full text]
  • Alumni Memories
    Theatre Circle INSIGHTS Special Edition - Fall 2009 Indiana University Department of Theatre and Drama Alumni Memories DeAnna D. Rieber, BA’81, reports that the “IU and the Drama Department opened up my whole world!” She shared fond memories of many wonderful teachers, includ- ing Chair R. Keith Michael “an amazing teacher,” drama teacher Marilyn Norris - “she was fabulous, and like so many other students, Bill [William] Kinzer. I found out later in life that my father had Mr. Kinzer when he attended IU many years before.” Nancy Kierspe Carlson, BA’58, has wonderful stories to tell about the Brown County Playhouse and “those wild rides down to Nashville in a covered truck in the summer of 1957.” She writes, “Richard K. Knaub, who taught at I.U. and designed the lighting at the playhouse, would drive the cranky truck; and in the back were, honest-to-gosh, ten rickety folding chairs…five aligned on each side, attached to nothing, free to bounce wherever the bumps took them.” She also noted that today that would never happen - and she is right! THANK YOU, alumni, for responding to our request for your memories! This is a great start in our quest to collect stories, Special thanks to Theatre Circle for support of this color edition photos, and memorabilia that will tell our collective story for of STAGES which includes generations to come. When I shared these with students, some Theatre Circle INSIGHTS, a thought that a few of you might be pulling my leg. But, with a quarterly publication focusing little research we were able to come up with evidence that the on current events in the depart- stories are true.
    [Show full text]
  • SEVEN PLAYS by SEAN O'casey Seven Plays by Sean O'casey a Students' Edition
    SEVEN PLAYS BY SEAN O'CASEY Seven Plays by Sean O'Casey A Students' Edition Selected, with an Introduction and Notes by RONALD AYLING Professor of English at the University of Alberta pal grave "'la llan Play texts () Eileen O'Casey lntroduction and editoral matter C> Ronald Ayling 1985 AU rights reserved. No reproduction, copy or transmission of this publication may be made without written pennission. No paragraph of this publication may be reproduced, copied or transmitted save with written pennission or in accordance with * the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence pennitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and dvil daims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. Published by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. V. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. Macmillan~ is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-0-333-36431-4 ISBN 978-1-349-17977-0 (eBook) DOI 10.1007/978-1-349-17977-0 This book is printed on paper suitable for recyding and made from fully managed and sustained forest sources.
    [Show full text]
  • Brilliant Minds Wiki Spring 2016 Contents
    Brilliant Minds Wiki Spring 2016 Contents 1 Rigveda 1 1.1 Text .................................................... 1 1.1.1 Organization ........................................... 2 1.1.2 Recensions ............................................ 2 1.1.3 Rishis ............................................... 3 1.1.4 Manuscripts ............................................ 3 1.1.5 Analytics ............................................. 3 1.2 Contents .................................................. 4 1.2.1 Rigveda Brahmanas ........................................ 5 1.2.2 Rigveda Aranyakas and Upanishads ............................... 5 1.3 Dating and historical context ....................................... 5 1.4 Medieval Hindu scholarship ........................................ 7 1.5 Contemporary Hinduism ......................................... 7 1.5.1 Atheism, Monotheism, Monism, Polytheism debate ....................... 7 1.5.2 Mistranslations, misinterpretations debate ............................ 8 1.5.3 “Indigenous Aryans” debate .................................... 8 1.5.4 Arya Samaj and Aurobindo movements .............................. 8 1.6 Translations ................................................ 8 1.7 See also .................................................. 8 1.8 Notes ................................................... 8 1.9 References ................................................. 9 1.10 Bibliography ................................................ 12 1.11 External links ..............................................
    [Show full text]
  • The Portia Project: the Heiress of Belmont on Stage and Screen
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 The Portia Project: The Heiress of Belmont on Stage and Screen Ann Mccauley Basso University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the Theatre History Commons Scholar Commons Citation Basso, Ann Mccauley, "The Portia Project: The Heiress of Belmont on Stage and Screen" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3000 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Portia Project: The Heiress of Belmont on Stage and Screen by Ann McCauley Basso A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Sara Munson Deats, Ph.D. David Bevington, Ph.D. Denis Calandra, Ph.D. Robert Logan, Ph.D. Date of Approval March 4, 2011 Keywords: Merchant of Venice, Shakespeare, Performance, Theater History, Seana McKenna, Kelsey Brookfield, Marni Penning, Lily Rabe Copyright © 2011, Ann McCauley Basso Dedication To Giulio and Valentina, the two brightest stars in my universe. Acknowledgements I am profoundly grateful to Sara Deats, the most insightful, helpful, and utterly delightful director any dissertation writer could ever hope for. You have been my professor, my mentor, my supporter, and my friend, and you have enriched my life in countless ways.
    [Show full text]