DOCSLIB.ORG

June Bronhill, OBE (1929-2005) 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
June Bronhill, OBE (1929-2005) 2 AUSTRALIAN EPHEMERA COLLECTION FINDING AID PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 June Mary Gough used the stage name of Bronhill from 1952, as an abbreviation of Broken Hill, NSW where she was born. This finding aid lists programs and ephemera which document all aspects of the stage career of June Bronhill in Australia and overseas. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by Bronhill. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. The June Bronhill PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3526839. The Bronhill material in the PROMPT Collection is in the chronological order of her Australian and overseas performance and this list reflects this arrangement. Entries identify the city and the venue. All the information is taken from programs, flyers and ephemera. Entries for each program are arranged as follows: Year, day/s and month; Venue/Theatre (Location) Company Name of production / Creator Bronhill’s role or other involvement. An index to staged productions and appearances by staff performers is provided at the end of the document. This document is also keyword searchable [add content to suit material.]. The National Library’s collection also includes: Books and biographical cuttings Pictures Manuscripts Music Oral history recordings See also: June Bronhill information and resources listed within the TROVE discovery service June Bronhill, OBE (1929-2005) 2 See also Digitised Australian newspaper coverage of June Bronhill (including news of international performance dates, reviews and celebrity gossip). 19?? Rockdale Theatre Group(Sydney, New South Wales) Hansel and Gretel JB as Gretel. Photocopy of poster with various press clippings. 19?? Middleback Theatre, (Whyalla, South Australia) Nunsense / Dan Goggin. Plus flyer. 19?? 19 November; Tivoli Theatre, (Sydney, New South Wales) Robert and Elizabeth / Ron Grainer June Bronhill as Elizabeth. Flyer. 1952 16 Jan to 21 Jan; Conservatorium , (Sydney, NSW.) Hansel and Gretel / E. Humperdinck. The New South Wales Home for Incurables Extension Appeal Opera Committee presents by courtesy of the Mathy Opera Group Hansel and Gretel a fairy tale opera in 3 acts Starring: June Bronhill as Gretel. 1960 16 July. Tivoli Theatre, Melbourne, New South Wales) The Merry Widow / Franz Lehár June Bronhill as Hanna Glawari. 1960 6 October Tivoli Theatre, (Sydney, New South Wales) The Merry Widow / Franz Lehár June Bronhill as Hanna Glawari. 20 October, Princess Theatre Melbourne, Victoria) The Sound of Music June Bronhill as Maria Rainer. 2 copies 28 September (Premiere), Tivoli Theatre Sydney, New South Wales) The Sound of Music June Bronhill, OBE (1929-2005) 3 June Bronhill as Maria Rainer. Program published by Playbilll Magazine 2 copies 28 September (Premiere), Tivoli Theatre Sydney, New South Wales) June Bronhill in a new musical play The Sound of Music. Souvenir Published b Playbill. 1963 3 December(season commencing) ; Her Majesty’s Theatre, (Sydney, New South Wales). The Merry Widow / Franz Lehár June Bronhill as Hanna Glawari. Program includes tickets stubs for matinee performance Wednesday January 8th, 1964 1966? Saturday 19th November. Tivoli Theatre ( Sydney, New South Wales) Robert and Elizabeth/ Ronald Millar. Music by Ron Grainer Musical starring June Bronhill and Frank Thring and Denis Quilley Flyer 1967 May 30. The Canberra Theatre, Canberra, Australian Capital Territory Don Pasquale / Gaetano Donizetti Elizabethan Theratre Trust Opera Company June Bronhill as Norina 1976? 20 September. Dallas Brooks Hall (Melbourne, Victoria) In concert, June Bronhill and Donald Smith Flyer 1977 6 May, Perth Entertainment Centre, (Perth, WA.) The Mikado / Gilbert and Sullivan June Bronhill as Yum-Yum one of the three sisters, Wards of Ko-Ko 1977 November, Seymour Centre and Touring Theatre Company of Sydney, (Sydney, New South Wales.) A Night with Sigmund Romberg 1978 12 December; St Paul’s Cathedral (Melbourne, Victoria) Amahl and the Night Visitors / Gian Carlo Menotti June Bronhill as special guest artist. 1979 19April- 5 May, Herr majesty’s Theatre, Brisbane, Brisbane, Queensland Queensland Light Opera Company The Maid of the Mountains June Bronhill as the Maid, Terry McDermott as Baldasarre, John Ligerwood as June Bronhill, OBE (1929-2005) 4 Beppo, Also with Bev Shean and John Aron.. Flyer ?1980s-1990s School of Arts Café (Queanbeyan, New South Wales) June Bronhill and Friends Flyer (various). 1987 12 December; Concert Hall (Melbourne, Victoria) June Bronhill with the New Symphony Orchestra 2 Flyers 1990 16-28 July. Middleback Theatre. Whyalla, South Australia Nunsense /Dan Goggin National Tour including South Australian Country Tour. Starring June Bronhill. Flyer 1990? 17-31 August. His Majesty’s Theatre (Perth? or Brisbane?) Nunsense /Dan Goggin Produced by Victorian Arts Council by arrangement with Malcolm C Cooke Starring June Bronhill. Flyer 1991 27 February; Sydney Opera House, Playhouse (Sydney, New South Wales.) Arsenic and Old Lace / Joseph Kesselring Flyer. 1991 15 October;. Canberra Theatre (Canberra, Australian Capital Territory) Luncheon invitation to meet June Bronhill and Gwen Plumb. Two fliers. 24 November; Melbourne Town Hall (Melbourne, Victoria. ) The Good Old Days Two fliers 1975 – 199?s June; Elizabethan Trust News No. 15 – ‘Women in the Arts’ Also Various Press Cuttings & News Clippings 3 April; The Parade Theatre, National Institute of Dramatic Art (Sydney, New South Wales.) June Bronhill Memorial Concert June Bronhill, OBE (1929-2005) 5 ?; Saville Theatre (London, England.) Ivor Novello June Bronhill as Maria Zeigler and Lorelei. Cast book. 1954 23 March, Sadler’s Wells (London, England.) Sadler’s Wells Opera Season The Marriage of Figaro / Wolfgang Amadeus Mozart June Bronhill as Barbarina. 1954 3 May-12 June 1954,. Sadler’s Wells (London, England) Sadler’s Wells Opera Season 1953-1954 Season schedule. June Bronhill sings Soprano. 1954 12 June, Sadler’s Wells (London, England) Sadler’s Wells Opera Season The Marriage of Figaro / Wolfgang Amadeus Mozart June Bronhill as Barbarina. 1954 7 September, Sadler’s Wells (London, England) Sadler’s Wells Opera Season Don Pasquale / Gaetano Donizetti June Bronhill as Norina, a young widow. 1954 23 September; Sadler’s Wells (London, England) Sadler’s Wells Opera Season Don Pasquale / Gaetano Donizetti June Bronhill as Norina, a young widow. 1954 18 October; Sadler’s Wells (London, England) Sadler’s Wells Opera Season The Marriage of Figaro / Wolfgang Amadeus Mozart June Bronhill as Barbarina, daughter of Antonio. 1954 20 October; Sadler’s Wells (London, England) Sadler’s Wells Opera Season Die Fledermaus / Johann Strauss June Bronhill as Adele, Rosalinda’s maid. 1954 28 October; Sadler’s Wells (London, England) Sadler’s Wells Opera Season June Bronhill, OBE (1929-2005) 6 Don Pasquale / Gaetano Donizetti June Bronhill as Norina, a young widow. 1954 4 November, Sadler’s Wells (London, England) Sadler’s Wells Opera Season Die Fledermaus / Johann Strauss June Bronhill as Adele, Rosalinda’s maid. 1955 12 January, Sadler’s Wells (London, England) Handsel and Gretel / Engelbert Humperdinck June Bronhill as the Dew Fairy. 1955 4 March, Sadler’s Wells (London, England) The Magic Flute / Wolfgang Amadeus Mozart June Bronhill as the Queen of the Night. 1955 30 September, Sadler’s Wells (London, England) Sadler’s Wells Opera Season Rigoletto / Giuseppe Verdi June Bronhill as Gilda, daughter of Rigoletto. 1955 7 October, Sadler’s Wells (London, England) Sadler’s Wells Opera Season Rigoletto / Giuseppe Verdi June Bronhill as Gilda, daughter of Rigoletto. 1955 4 November, Sadler’s Wells (London, England) Sadler’s Wells Opera Season Don Pasquale / Gaetano Donizetti June Bronhill as Norina, a young widow 1956 6 January, Sadler’s Wells Opera (London, England) Royal Gala Performance to commemorate the 25th Anniversary of the re-opening of Sadler’s Wells Theatre in 1931. Hansel and Gretel June Bronhill as Gretel. 1956 28 February, Sadler’s Wells Opera (London, England) Sadler’s Wells Opera Season 1955-6 School for fathers / Guiseppe Pizzolato June Bronhill as Lucinda . 1956 13 March, Sadler’s Wells (London, England) Sadler’s Wells Opera Season June Bronhill, OBE (1929-2005) 7 School for fathers / Guiseppe Pizzolato June Bronhill as Lucinda. 1957 24 May, Sadler’s Wells Opera (London, England) Sadler’s Wells Opera Season The Moon and Sixpence / William Somerset Maugham June Bronhill as a young girl. 1957 30 November, Sadler’s Wells Opera (London, England) Sadler’s Wells Opera Don Pasquale / Gaetano Donizetti June Bronhill as Norina, a young widow. 1958 January, Sadler’s Wells Opera (London, England) Sadler’s Wells Opera Martha / Flotow June Bronhill as Lady Harriet Durham. 1958 1 March, Sadler’s Wells Theatre (London, England) Sadler’s Wells Opera The Telephone / Gian-Carlo Menotti June Bronhill as Lucy. 1958 18 May,
Load more

Recommended publications
  • HYEWON AHN - Bio Make up Artist/Special Effects/ Body Painter/Wig Designer
    HYEWON AHN - Bio Make Up Artist/Special Effects/ Body Painter/Wig Designer With over 14 years professional experience in the TV, film, fashion, photography and theatre, Hyewon is a leading figure in make-up, body painting, wig design and special effects not just in the UK and South Korea, but now also internationally. The highlights of this amazing career, so far to date, have been Hyewon's works being presented to the president of Korea on live TV by the country's leading make-up artist association. Spending eight years at the Royal Opera House in Covent Garden. Graduating with a BA from the London College of Fashion. Receiving invitations to teach in other countries, and lead Master Classes. Feeling honoured and privileged to have worked on feature films, such as Harry Potter, plus episodes of BBC’s Dr Who. First hand experience of London's West End theatres, and working on wax models at the world renowned Madam Tussauds Hyewon began her make-up career in 2001 with the KBS Broadcast Network and at the Opera House in South Korea. After moving to the UK to study at the London College of Fashion, she graduated with a BA in Costume, Technical Effects & Make-up for the Performing Arts. Awarded a finalist place in the 2007 BBC Vision Design Competition for Make-up, she went on to become the 2012 World Champion at the International Body Painting Festival in Asia. Employed from 2007 to 2015 at the Royal Opera House Covent Garden in London, Hyewon became used to a fast-paced, real-time work environment, with tight deadlines, high expectations and always the possibility of the unexpected.
    [Show full text]
  • Frederica Von Stade
    FREDERICA VON STADE Mezzo-soprano Described by the New York Times as "one of America's finest artists and singers," Frederica von Stade continues to be extolled as one of the music world's most beloved figures. Known to family, friends, and fans by her nickname "Flicka," the mezzo-soprano has enriched the world of classical music for three decades. Miss von Stade's career has taken her to the stages of the world's great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her 25th anniversary, the Metropolitan Opera created for her a new production of Pelléas et Mélisande. In addition, Miss von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago, and Los Angeles Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alla Scala, Royal Opera Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, André Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in concert with the world's leading orchestras, including the Boston Symphony Orchestra, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony Orchestra, Washington's National Symphony, and the Orchestra of La Scala.
    [Show full text]
  • Celebrating the American Spirit CD with Essential Voices USA, Kelli O’Hara and Ron Raines and Judith Clurman, Conductor
    PRESS CONTACT Dan Dutcher Public Relations Dan Dutcher | 917.566.8413 | [email protected] Celebrating the American Spirit CD With Essential Voices USA, Kelli O’Hara and Ron Raines and Judith Clurman, Conductor CD TO BE RELEASED OCTOBER 23, 2012 FOR IMMEDIATE RELEASE, New York, NY Celebrating the American Spirit, performed by Essential Voices USA (EVUSA) and conducted by Judith Clurman along with guest artists, Broadway stars Kelli O’Hara and Ron Raines and composer-arranger Larry Hochman, represents an American songbook for the 21st century. The centerpiece of this CD is Sing Out, Mr. President, a song cycle of sixteen newly commissioned compositions set to quotations by American presidents from Washington to Obama. Originally performed at the Library of Congress and broadcast on National Public Radio, the cycle showcases the American composers Samuel Adler, Milton Babbitt, Robert Beaser, Jason Robert Brown, Thomas Cabaniss, Jake Heggie, Larry Hochman, Michael Gilbertson, Nora Kroll-Rosenbaum, Andrew Lippa, David Ludwig, Paul Moravec, Nico Muhly, Georgia Stitt, Zachary Wadsworth, and Jesse Wiener. The CD also includes individual new and newly arranged works by composers and writers such as Irving Berlin (It Gets Lonely In the White House and God Bless America), Leonard Bernstein (Take Care of This House), Sheldon Harnick (Reason to Be Thankful), Jennifer Higdon (A Quiet Moment), Larry Hochman (Two Paraphrases on American Anthems & American Dream) and Laurie Hochman (The Pledge of Allegiance and American Dream), David Ludwig (The New Colossus), Stephen Paulus (Hymn for America), Marc Shaiman (A Seed of Grain: Theme from The American President), and John Philip Sousa (Stars and Stripe Forever).
    [Show full text]
  • Lasa Journal 8 Pp.36- 43) to Set up a Working Group with Us
    laSa• International Association of Sound and Audiovisual Archives Association Internationale d' Archives Sonoreset Audiovisuelles Internationale Vereinigung der Schall- und Audiovisuellen Archive laSa• journal (formerly Phonographic Bulletin) no. 9 May 1997 IASA JOURNAL Journal of the International Association of Sound and Audiovisual Archives IASA Organie de l'Association Internationale d'Archives Sonores et Audiovisuelle IASA Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark, The British Library National Sound Archive, 29 Exhibition Road, London SW7 2AS, UK. Fax 441714127413, e-mail [email protected] Reviews and Recent Publications Editor: Pekka Gronow, Finnish Broadcasting Company, PO Box 10, SF-00241, Helsinki, Finland. Fax 358014802089 The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and 100GBP for institutional members. Back copies of the IASA Journal from -1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP. Le IASA Journal est publie deux fois I'an et distribue a tous les membres. Veuilliez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations anuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionelles. Les numeros precedeentes (a partir de 1971) du IASA Journal sont disponibles sure demande. Ceux qui ne sont pas membres de I' Assoociation puevent obtenir un abonnement du IASA Journal pour I'annee courante au cout de 35GBP.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • A Career Overview 2019
    ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour)
    [Show full text]
  • Latest News and Opera Glass Top 10 Winter 2015/16
    Latest News and Opera Glass Top 10 Winter 2015/16 London Opera Glass Top 10 Theatres For the last quarter of 2015, we decided to double the number of hampers to 10! Transformation at the Apollo Victoria Opened in 1930 as the New Victoria Cinema, the auditorium was designed to represent a ‘fairy cavern under the sea, or a mermaid’s dream of heaven’. This theme was reflected in the original seating and carpet design which created a wave effect in greens, blues and silvers. The 10 winning theatres, Now, fast-forward to last year and the start of the major project, replacement seating, in alphabetical order, are: carpet and new green opera glasses, will be completed in time for Wicked’s 10th Anniversary in September 2016. Apollo Victoria Theatre The first phase in the Stalls, finished over recent weeks, is creating another ripple in Cambridge Theatre terms of great positive feedback from theatre staff and many patrons regarding the Dominion Theatre comfort of the new seats. Duke of York’s Theatre Her Majesty’s Theatre Lyceum Theatre Manchester, Opera House Nottingham, Theatre Royal Savoy Theatre Shaftesbury Theatre Our winning theatres are based on Front of House teams, who on a regular basis, replaced lost or You Have Been Spotted! missing opera glasses between Following a request from the film makers,we supplied blue binoculars which guests can our frequent service visits. be seen using during an episode of Don’t Tell the Bride filmed late last year in Cornwall. A big thank you must also go to all Musical Week was the 2015 Strictly Quarter Final when the dancing couples can be the other venues offering our opera seen eyeing up their opposition! glass service to their theatregoers who love using our service to enhance their theatre experience.
    [Show full text]
  • The Curious Incident of the Dog in the Night-Time Embarks on a Third Uk and Ireland Tour This Autumn
    3 March 2020 THE NATIONAL THEATRE’S INTERNATIONALLY-ACCLAIMED PRODUCTION OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME EMBARKS ON A THIRD UK AND IRELAND TOUR THIS AUTUMN • TOUR INCLUDES A LIMITED SEVEN WEEK RUN AT THE TROUBADOUR WEMBLEY PARK THEATRE FROM WEDNESDAY 18 NOVEMBER 2020 Back by popular demand, the Olivier and Tony Award®-winning production of The Curious Incident of the Dog in the Night-Time will tour the UK and Ireland this Autumn. Launching at The Lowry, Salford, Curious Incident will then go on to visit to Sunderland, Bristol, Birmingham, Plymouth, Southampton, Liverpool, Edinburgh, Dublin, Belfast, Nottingham and Oxford, with further venues to be announced. Curious Incident will also play for a limited run in London at Troubadour Wembley Park Theatre in Brent - London Borough of Culture 2020 - following the acclaimed run of War Horse in 2019. Curious Incident has been seen by more than five million people worldwide, including two UK tours, two West End runs, a Broadway transfer, tours to the Netherlands, Canada, Hong Kong, Singapore, China, Australia and 30 cities across the USA. Curious Incident is the winner of seven Olivier Awards including Best New Play, Best Director, Best Design, Best Lighting Design and Best Sound Design. Following its New York premiere in September 2014, it became the longest-running play on Broadway in over a decade, winning five Tony Awards® including Best Play, six Drama Desk Awards including Outstanding Play, five Outer Critics Circle Awards including Outstanding New Broadway Play and the Drama League Award for Outstanding Production of a Broadway or Off Broadway Play.
    [Show full text]
  • The Land of Smiles (Das Land Des Dichelns) a Romantic Operetta Music by FRANZ LEHAR Production of E
    1967 Eighty-ninth Season 1968 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor First Program Twenty-second Annual Extra Series Complete Series 3583 Thirty-ninth program in the Sesq1ticentennial Year oj The University oj Michigan The Land of Smiles (Das Land des Dichelns) A Romantic Operetta Music by FRANZ LEHAR Production of E. & V. Grabowsky and the Theater An Der Wien Libretto by VICTOR LEON Adaptation by LUDWIG HERZER and FRITZ LOEHNER with GIUSEPPI DI STEFANO DAGMAR KOLLER VALORIE GOODALL KARL WEBER THEo BAYLE EDUARD LINKERS Linda Sheila Eleanore Margareth Carl Janke Harms Wyborski Vogel Guenther Michael Werner Andreas Peter Anton Harnisch Karmann Pogany Rasch Stangel berger Ballet Soloists CORINNE DupoUIS SABINE SALE VRENI VERINA DUSKO TRNINIc BORIS TONIN NURIO YOSHIDA Ballet Ensemble Pauline Bartek Jeanette Gausmann Frigga Poeschl Angelika Papp Melanie Hoenigl Julia Vitez Musical Direction Staging Choreography HEINz LAMBRECHT PAUL HELMuTH SCHUESSLER BORIS TONIN Scenery Costumes Lighting FELIX SMETANA KURT MAERZKEjEDITH BERGER THOMAS R. SKELTON Assistant Conductor Assistant to the Director BARRY BRISK BERNADETTE GRABOW SKY MONDAY EVENING, SEPTEMBER 25, 1967, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN A R S LON G A V I T A BREVIS CAST (in order of appearance) Count Ferdinand Lichtenfels WERNER KARMANN Lisa, his daughter VALORIE GOODALL Count G1tSto,v von Pottenstein KARL WEBER Prince S014 Chong GIUSEPPE DI STEFANO A General ANTON STANGELBERGER
    [Show full text]
  • The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
    Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]