The Mirror Crack'd
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Introduction
Notes Introduction 1. Although throughout this book, the identification of a Jewish "race" is associ ated with an anti-Semitic impulse, Jewish usage of "racial" terminology indi cates a certain ambivalence. See Harriet D. Lyons and Andrew P. Lyons, "A Race or Not a Race: The Question of Jewish Identity in the Year of the First Universal Races Congress;' in Ethnicity, Identity, and History, ed. Joseph B. Maier and Chaim I. Waxman, 499-518 (New Brunswick: Transaction Books, 1983). Even today, many Jews use the term "the Jewish race" with pride. 2. The Haskalah, or Jewish Enlightenment, which began in late eighteenth century, Germany, was a response to the European Enlightenment. Middle-class Jews, anxious to distance themselves from the ghetto and religious prejudice, sought to modernize Jewish communities by exposing them to secular thought. The Maskilim (the proponents of the Haskalah) believed that Jews were persecuted because they differed from dominant communities in terms of culture, language, education, dress and manners. By modernizing their schools, learning the spo ken language of the country in which they lived, and adapting their manners to those of their neighbors, it was hoped that individual Jews would be treated like any other citizens. 3. Steve Allen, Funny People (New York: Stein and Day, 1981), 11. 4. Most of the women listed here are not discussed further in this book, although I would like to suggest that they could be. Also, this study does not confine itself (at least in its earlier chapters) to comic performance. I present this list self consciously and order it alphabetically as an attempt at organization. -
The Mirror Crack'd
PRESS RELEASE – Friday 23rd November IMAGES CAN BE DOWNLOADED HERE @theCentre / Facebook / Instagram / www.wmc.org.uk @wiltscreative / Facebook / Instagram / www.wiltshirecreative.co.uk A Wales Millennium Centre and Wiltshire Creative Production THE MIRROR CRACK’D by Agatha Christie adapted for the stage by Rachel Wagstaff Direction by Melly Still Set Design by Richard Kent Costume Design by Dinah Collin Lighting Design by Malcolm Rippeth Music & Sound Design by Jon Nicholls Movement by Joseph Alford • CASTING HAS BEEN ANNOUNCED FOR THE FIRST EVER UK STAGE ADAPTATION OF AGATHA CHRISTIE’S THE MIRROR CRACK’D • THE WALES MILLENNIUM CENTRE AND WILTSHIRE CREATIVE EUROPEAN PREMIERE PRODUCTION WILL TOUR FROM FEBRUARY 2019, WITH AN OPENING NIGHT AT SALISBURY PLAYHOUSE ON 25 FEBRUARY 2019 • TICKETS ARE NOW ON SALE Wales Millennium Centre and Wiltshire Creative have today announced casting for the first ever UK stage adaptation of Agatha Christie’s much-loved Miss Marple thriller The Mirror Crack’d from Side to Side. Colin R Campbell, Suzanna Hamilton, Julia Hills, Katherine Manners, Katie Matsell, Davina Moon, Huw Parmenter and Gillian Saker will join the previously announced Susie Blake and Simon Shepherd. The Mirror Crack’d will be a European Premiere, opening at Salisbury Playhouse on 15 February before touring to Dublin, Cambridge and Cardiff. The Mirror Crack’d will have an Opening Night on 25 February. The iconic Marple mystery from the world’s best-selling author of all time has been adapted for the stage by Rachel Wagstaff (Flowers for Mrs Harris, Birdsong) and directed by Melly Still (Coram Boy, My Brilliant Friend, The Lovely Bones). -
Salisbury Playhouse Salisbury Arts Centre Spring/Summer 2019 Season
SALISBURY PLAYHOUSE SALISBURY ARTS CENTRE SPRING/SUMMER 2019 SEASON THEATRE | DANCE | MUSIC | COMEDY | FILM | EXHIBITIONS | WORKSHOPS | CAFÉS www.wiltshirecreative.co.uk Ticket Sales 01722 320333 1 CONTENTS WELCOME 3 SEE MORE, PAY LESS 4 – 5 FEST WEST 2019 6 SALISBURY INTERNATIONAL ARTS FESTIVAL 7 ONE NIGHT EVENTS AT SALISBURY PLAYHOUSE 8 – 10 SALISBURY PLAYHOUSE | MAIN HOUSE 11 – 22 SALISBURY PLAYHOUSE | THE SALBERG 23 – 33 SALISBURY ARTS CENTRE 34 LIVE MUSIC 35 – 39 THEATRE & DANCE 40 – 43 COMEDY 44 – 45 SILVER SCREEN WEDNESDAY MATINEES 46 FILM NIGHTS 47 LIVE SCREENINGS 48 – 49 VISUAL ARTS EXHIBITIONS 50 – 51 TAKE PART 52 – 53 WORKSHOPS 54 – 58 BECOME A MEMBER & PARTNER WITH US 59 PRICING 60 – 61 EVENT DIARY 62 – 65 2 WELCOME Welcome to the Spring 2019 Season at Salisbury Playhouse and Salisbury Arts Centre. At Salisbury Playhouse we are thrilled to be working with Wales Millennium Centre to produce the first stage production of Agatha Christie’s The Mirror Crack’d (premiering here prior to a national tour) and with York Theatre Royal on a new production of the razor-sharp comedy about The Queen and Mrs Thatcher, Handbagged. We are also delighted to be presenting Barney Norris’s new adaptation of The Remains of the Day, the welcome return of Around the World in 80 Days (prior to a U.S. tour) and Northern Broadsides’ production of Much Ado About Nothing. At Salisbury Arts Centre there’s a packed programme of music, theatre, film, visual art and more, including music from Nick Harper, Cara Dillon and Girls Only Jazz Orchestra, dance from Rosie Kay and Yorke Dance and comedy from Alfie Moore and Stuart Goldsmith. -
Coventry & Warwickshire Cover
Worcestershire Cover April 2018.qxp_Worcestershire Cover 23/03/2018 14:06 Page 1 Your FREE essential entertainment guide for the Midlands WICKED RETURNS TO THE MIDLANDS WORCESTERSHIRE WHAT’S ON APRIL 2018 ON APRIL WHAT’S WORCESTERSHIRE Worcestershire ISSUE 388 APRIL 2018 ’ WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On worcestershirewhatson.co.uk PART OF WHAT’S ON MEDIA GROUP GROUP MEDIA ON WHAT’S OF PART inside: Yourthe 16-pagelist week by week listings guide THE LITTLE UNSAID rock, folk, electronica, jazz and alt-pop at The Marr’s Bar TWITTER: @WHATSONWORCS @WHATSONWORCS TWITTER: HARRY STYLES One Direction star goes it alone at the Genting Arena FACEBOOK: @WHATSONWORCESTERSHIRE FAST AND FURIOUS stunts, special effects and 3D WORCESTERSHIREWHATSON.CO.UK projections at the Arena... (IFC) Worcestershire.qxp_Layout 1 23/03/2018 15:10 Page 1 Contents April Warwicks_Worcs.qxp_Layout 1 22/03/2018 14:33 Page 2 April 2018 Contents Bollywood farce - Nigel Planer’s The Game Of Love & Chai opens at the Belgrade - feature page 8 Martine McCutcheon Wicked Romeo And Juliet the list the Love Actually star Lost hit musical returns to cast its brand new RSC staging of the your 16-page And Found at The Core spell over Midlands audiences world’s most famous love story week-by-week listings guide page 17 feature page 22 page 24 page 51 inside: 4. First Word 11. Food 17. Music 20. Comedy 24. Theatre 35. Film 40. Visual Arts 43. Events fb.com/whatsonwarwickshire fb.com/whatsonworcestershire @whatsonwarwicks @whatsonworcs Warwickshire -
Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00
Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (Two Day Autograph Auction Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 tennis players of the 1970s TENNIS: An excellent collection including each Wimbledon Men's of 31 signed postcard Singles Champion of the decade. photographs by various tennis VG to EX All of the signatures players of the 1970s including were obtained in person by the Billie Jean King (Wimbledon vendor's brother who regularly Champion 1966, 1967, 1968, attended the Wimbledon 1972, 1973 & 1975), Ann Jones Championships during the 1970s. (Wimbledon Champion 1969), Estimate: £200.00 - £300.00 Evonne Goolagong (Wimbledon Champion 1971 & 1980), Chris Evert (Wimbledon Champion Lot: 2 1974, 1976 & 1981), Virginia TILDEN WILLIAM: (1893-1953) Wade (Wimbledon Champion American Tennis Player, 1977), John Newcombe Wimbledon Champion 1920, (Wimbledon Champion 1967, 1921 & 1930. A.L.S., Bill, one 1970 & 1971), Stan Smith page, slim 4to, Memphis, (Wimbledon Champion 1972), Tennessee, n.d. (11th June Jan Kodes (Wimbledon 1948?), to his protégé Arthur Champion 1973), Jimmy Connors Anderson ('Dearest Stinky'), on (Wimbledon Champion 1974 & the attractive printed stationery of 1982), Arthur Ashe (Wimbledon the Hotel Peabody. Tilden sends Champion 1975), Bjorn Borg his friend a cheque (no longer (Wimbledon Champion 1976, present) 'to cover your 1977, 1978, 1979 & 1980), reservation & ticket to Boston Francoise Durr (Wimbledon from Chicago' and provides Finalist 1965, 1968, 1970, 1972, details of the hotel and where to 1973 & 1975), Olga Morozova meet in Boston, concluding (Wimbledon Finalist 1974), 'Crazy to see you'. -
Abbey Theatre 3, 5 Academy of Dramatic Art, the (See Also RADA
Cambridge University Press 978-0-521-86986-7 - The Cambridge Introduction to Modern British Theatre Simon Shepherd Index More information Index Abbey Theatre 3, 5 Arden, John 84 Academy of Dramatic Art, The (see Live Like Pigs 134, 139 also RADA) 79 Serjeant Musgrave’s Dance 28, 156, Achurch, Janet 18 169 Ackland, Rodney Strange Orchestra Arnold, Matthew 2 142 Art on the Run (Natural Theatre) 53 Ackroyd, Judith 213 Artaud, Antonin 83–4, 165, 169 actor-managers 66 Arts Council Actresses’ Franchise League 90–1, and collaboration 79 193–4 and ‘democracy’ 29–31 Adams, Robert 206 and national theatre 7, 16 adult education 10, 29, 86 and theatre in education 214 Adult Education Committee 87 funding for new work 44, 201 agit-prop 94–5, 99, 159, 190–1, 198, views on role of 10–12 223 Arts Lab (Drury Lane) 43, 58, 198 AgitProp Information Service 42 Arts theatre (Cambridge) 30 Agitprop Street Players 197 Ashwell, Lena 7, 35, 90–1 Albany Empire theatre 215 Asian theatre 205 Albery, Bronson 81 Association of Community Theatres, Aldwych Farces 122 The 215 Aldwych theatre 24, 46, 59, 112, 126 Auden, W. H. 89, 132–3, 167 Alexander, George 17, 33 The Ascent of F6 133–4 Alfreds, Mike 85 The Dog Beneath the Skin 133, 166–7 Allen, Jim Perdition 221–2, 224 audience Allen, John 88–8, 160 noise 34 Almost Free theatre 195, 200, 203 as participant 39–41, 58 ‘alternative’ theatre 223 as witness 37–9, 201 amateur players 8, 11, 196 Aukin, David 72 amateur drama movement 8, 86–90 ‘authenticating’ convention 162–3 in Scotland 5–5 Ayckbourn, Alan state funding and -
1 Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy
Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy. Stephen Farrier Royal Central School of Speech and Drama, University of London. Joe Orton, commonly thought of as a playwright of risqué farces in the 1960s, was a very present figure for a while in the gay community in the UK in the late 1980s and early 1990s (perhaps because his biography was published late in the 1970s, his diaries in 1986 and a film based on the diaries released 1987). His presence in 1980s and 1990s gay culture was in part because he met a death worthy of column inches and, importantly, he stood as emblematic of a past homosexual who refused to curb his sexuality whilst living in a conservative social context. In England and Wales, homosexuality was not criminalised in the 1980s and 1990s as it had been in the 1950s and 1960s, but there were present homophobic social values and legislation (Section 28, unequal age of consent) that resonated with the context within which Orton was writing and his work was first being produced.1 Orton’s figure as a queer and a playwright stood as both inspiration and a lesson from the past, one that reminded queers and gays in the 1980s and 1990s that the fight for equality does not end with a change in the legal status of homosexuality, or indeed in the 2010s, with equal marriage. Yet in recent years Orton’s work has fallen out of favour and does not appear as often as it once did on the queer cultural landscape. There are many reasons for this, not least of all that the kind of work that Orton makes might not register as queer or even gay now. -
Drama/Theatre/Performance
DRAMA/THEATRE/PERFORMANCE What is implied when we refer to the study of performing arts as ‘drama’, ‘theatre’ or ‘performance’? Each term identifies a different tradition of thought and offers different possibilities to the student or practitioner. This book examines the history and use of the terms and investigates the different philosophies, politics, languages and institutions with which they are associated. Simon Shepherd and Mick Wallis: • analyse attitudes to drama, theatre and performance at different historical junctures • trace a range of political interventions into the field(s) • explore and contextualise the institutionalisation of drama and theatre as university subjects, then the emergence of ‘performance’ as practice, theory and academic discipline • guide readers through major approaches to drama, theatre and performance, from theatre history and sociology, through theories of ritual and play, to the idea of performance as paradigm for a post- modern age • discuss crucial terms such as action, alienation, catharsis, character, empathy, interculturalism, mimesis, presence and representation in a substantial ‘keywords’ section. Continually linking their analysis to wider cultural concerns, the authors here offer the most wide-ranging and authoritative guide available to a vibrant, fast-moving field and vigorous debates about its nature, purpose and place in the academy. Simon Shepherd is Director of Programmes at Central School of Speech and Drama in London. Mick Wallis is Professor of Performance and Culture at the University of Leeds. THE NEW CRITICAL IDIOM Series Editor: John Drakakis, University of Stirling The New Critical Idiom is an invaluable series of introductory guides to today’s critical terminology. Each book: . provides a handy, explanatory guide to the use (and abuse) of the term . -
Performing the Neo-Victorian Beth Palmer And
Introduction: Performing the Neo-Victorian Beth Palmer and Benjamin Poore (University of Surrey and University of York, England, UK) ***** Scholars in neo-Victorian studies have often configured themselves around the idea of haunting and hauntedness (see Arias and Pulham 2009; Mitchell 2010). Contemporary culture is still haunted by the nineteenth century’s vision of the future, an idea explored by works as diverse as Jacques Derrida’s Spectres of Marx (1993) and the Steampunk movement. This special issue of Neo-Victorian Studies seeks to embed neo-Victorian scholarship more firmly into another space of hauntedness – the theatre and, more broadly, performance culture. As Marvin Carlson has famously suggested, theatre itself is a haunted practice, summoning up ghosts of past productions, styles and performances, often inherited from the Victorian age. Simon Shepherd and Mick Wallis draw attention to a similar set of arguments when they trace the shift in academic fashion from the study of ‘theatre’ to ‘performance’. Drawing on the theorists Herbert Blau, Elin Diamond and Philip Auslander, Shepherd and Wallis suggest that ‘performance’ is haunted by its repressed associations with theatre, even as these critics frequently deny its influence (Shepherd and Wallis 2004: 151- 2). Given the many ways that the Victorian era has colonised the popular imagination in terms of our expectations of what theatre is – the red curtain, the limelight, the solid three-dimensional set, the darkened hushed atmosphere, the ornate gilded auditorium – this influence is particularly hard, even futile, to repress in neo-Victorian performance. So neo-Victorian live events often mix elements of the ‘old theatre’ – nineteenth-century venues, costume and spectacle – with ‘new performance’, such as projections, recorded sound, and different configurations of performance space, actor-audience relations, performance styles and scripting or devising practices. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Learning to Inhabit the Chair Knowledge transfer in contemporary Australian director training Christopher David Hay A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Performance Studies Faculty of Arts and Social Sciences The University of Sydney May 2014 Labour is blossoming or dancing where The body is not bruised to pleasure soul, Nor beauty born out of its own despair, Nor blear-eyed wisdom out of midnight oil. -
Death in Paradise Series III
Death In Paradise Series III TX: January 2014 BBC One 8 x 60min **Strictly Embargoed Until Sunday 29 December 2013** For further information: Katy Ardagh: 020 7292 7373 / 07860 409 083 / [email protected] Tim West: 020 7292 7377 / [email protected] James Carpenter: 020 7292 8346 / [email protected] 1 Contents Press Release 3 Cast List 4 Cast Interviews Ben Miller plays DI Richard Poole 7 Kris Marshall plays DI Humphrey Goodman 9 Gary Carr plays Sergeant Fidel Best 11 Danny John-Jules plays Office Dwayne Myers 13 Episode Synopses 15 2 Death In Paradise The Third Series Of Hit Drama Returns To BBC One Bringing some much-needed sunshine to UK screens in January, BBC One returns to the idyllic Caribbean island of Saint Marie, for the third series of hit murder mystery, Death In Paradise. In a shocking twist of events, series three of the ratings-smash series sees the tragic murder of DI Richard Poole, played by Ben Miller (Primeval, Armstrong & Miller) and the arrival of new detective, DI Humphrey Goodman, played by Kris Marshall (My Family, Love Actually). Battling their grief and determined to catch the killer of their friend, Camille (Sara Martins), Fidel (Gary Carr) and Dwayne (Danny John-Jules) are joined by DI Humphrey Goodman (Kris Marshall) to help them get to the bottom of the tragic and mysterious case. Unfortunately, Humphrey’s naturally bumbling and accident-prone ways mean he doesn’t make a great first impression… Acclaimed actors lined up to guest star in the new series include Michelle Ryan (Jekyll, Merlin), Helen Baxendale (Cold Feet, Cuckoo), Peter Davison (Doctor Who, At Home With The Braithwaites), Clarke Peters (The Wire) and Raza Jaffrey (Smash). -
Two Day Autograph Auction Day 1 Saturday 23 February 2013 11:00
Two Day Autograph Auction Day 1 Saturday 23 February 2013 11:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (Two Day Autograph Auction Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 International, 1909. Also an ENGLAND FOOTBALL: An Olympic Gold Medallist 1908 & extremely rare blue suede bound 1912), Rupert Sandilands (5 8vo programme for the Football Caps 1892-96), C. J. Burnup (1 Association's 75th Anniversary Cap 1896), Fred R. Pelly (3 Caps Banquet at The King's Hall, 1893-94, England's heaviest Holborn Restaurant, London, outfield player), F.N.S. Creek (1 26th October 1938, with gilt Cap 1923, England Captain in his stamped emblem to cover, the only International), Frank Hartley inside featuring the menu, toast (1 Cap 1923), Maxwell list and guest artistes (including Woodsman (1 Cap 1922, Gracie Fields and Webster England Captain in his only Booth), list of guests etc., signed International, also Captained to two blank pages by over 30 England's Davis Cup Team, and England Internationals including won the Wimbledon's Mens Joseph Smith (5 Caps 1913-20, Doubles in 1921), Ralph T. Captain of the Bolton Wanderers Squire (3 Caps 1886), Arthur team that won the first FA Cup at Walters (9 Caps 1885-90, Wembley in 1923 and manager England Captain in one match, of the Blackpool FA Cup winning his brother Percy also an team of 1953), William J. England Captain; the only pair of Wedlock (26 Caps 1907-14, the brothers to have Captained first England International to play England) etc.