DOCSLIB.ORG

Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution From Live-to-Digital Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution October 2016 by AEA Consulting for Arts Council England, UK Theatre and Society of London Theatre FROM LIVE-TO-DIGITAL aeaconsulting.com 2 Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution Arts Council England (ACE) champions, develops and Report invests in artistic and cultural experiences that enrich people’s lives. The organisation supports activities Commissioners across the arts, museums and libraries – from theatre and Funders to digital art, reading to dance, music to literature, and crafts to collections. Between 2015 and 2018, ACE plans to invest £1.1 billion of public money from government and an estimated £700 million from the National Lottery to help create art and culture experiences for everyone, everywhere. UK Theatre is the UK’s leading theatre and performing arts membership organisation. The organisation promotes excellence, professional development, and campaign to improve resilience and increase audiences across the sector. UK Theatre supports organisations and individuals in the performing arts at any stage of their career, through a range of training, events and other professional services. Whether it’s through sharing knowledge, bringing you together with the right people or providing practical advice, UK Theatre supports you and your work Society of London Theatre (SOLT) is an organisation that works with and on behalf of its Members to champion theatre and the performing arts. SOLT delivers a range of services both to assist members and to promote theatregoing to the widest possible audience. FROM LIVE-TO-DIGITAL aeaconsulting.com 3 Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution The study team for this report comprised Brent Karpf Reidy, Senior Consultant; About the Becky Schutt, Senior Associate; Deborah Abramson, Associate; and Antoni Durski, Research Analyst of AEA Consulting. Elizabeth Ellis, Managing Principal, Authors and Laura Casale, Director of Knowledge Management of AEA served as editors. David Throsby, Distinguished Professor of Economics at Macquarie University in Sydney, acted as Senior Advisor to the research team. AEA Consulting is one of the world’s leading cultural consulting firms. Since 1991, we have helped hundreds of cultural organizations, governments, foundations, businesses, and individuals around the world realize the contribution that culture can make to communities. AEA has successfully completed more than 800 projects in 33 countries. Our work combines a deep knowledge of trends in culture and adjacent sectors with robust research and analysis. We thrive on new challenges and approach problem solving with curiosity, creativity, and integrity. The project was guided throughout by a Steering Committee whose members included: ■ Jonathon Blackburn, Senior Officer, Policy and Research, Arts Council England ■ Cassie Chadderton, Head of UK Theatre and Membership (and represent- ing Society of London Theatre) ■ Michelle Dickson, Director for Touring, Arts Council England ■ Paul Glinkowski, Senior Manager, Creative Media, Arts Council England ■ Andrew Mowlah, Director, Policy & Research, Arts Council England (and Project Director). ACKNOWLEDGEMENTS The authors are grateful to the Steering Committee and to the wide range of people who participated in this study for their time, candour and insights. The primary research conducted for this project would not have been possible with the generous support and assistance from a coalition of industry partners, listed on the following page. Dozens of theatre professionals and audience members shared their views with us through interviews and focus groups and hundreds took part in comprehensive online surveys. It is the commissioners’ and authors’ hope that the study helps to move the Live-to-Digital conversation forward, giving arts organisations of all sizes better understanding of ways to leverage new technologies – if they are so inclined. FROM LIVE-TO-DIGITAL aeaconsulting.com 4 Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution INDUSTRY PARTNERS Aran Dramatica Northumberland Theatre Company Babbling Vagabonds Nunu Theatre Barn Cinema Orion Cinema Belarus Free Theatre PCM creative Belgrade Theatre Pegasus Theatre Bike Shed Theatre Pentabus Theatre Bishops Castle Platform 4 Brewery Arts Proteus Theatre Calestrad (music band) Puppet Craft CDET Rambert Central Bedfordshire Council Riverside Studios Concert Theatre Royal Shakespeare Company Create London Saffron Screen Defnet Media Scott Cinemas Digital Theatre Sheffield Theatres Eastern Angles Sight for Surrey Eclipse Theatre Stag Community Arts Centre English Touring Theatre Stage Text Event Cinema Association (via their partners) Strode College Falkirk Community Trust Surrey County Council Fiery Angel Talking Birds Firestation Centre for Arts and Culture Tara Arts Forum Cinema The Regal Cinema Full House The Stables Gecko Theatre The Yard Theatre Grassington Festival Theatre Royal, Newcastle Haver Hill Arts Centre Theatre Royal, Winchester Hoipolloi Theatrical Niche Include Arts Time Won’t Wait ITC Arts Tyneside Cinema Jam Jar Cinema Vincent Dance Theatre Live Theatre, Newcastle Vocal Eyes Miracle Theatre Vortex Jazz Miss Nightingale Wales Millennium Centre National Theatre Wem Town Hall Northern Ballet Wotton Cinema Northern Stage Young Vic Theatre FROM LIVE-TO-DIGITAL aeaconsulting.com 5 Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution The liveness of theatre, music and dance is an inalienable element of human Foreword life. For centuries these performing arts have been experienced by people in the same space and at the same time as the creative process happens, and the desire by audiences for this sort of immediate connection with artists in the act of performance continues unchanged. But more than a century ago technology intervened. The invention of revolutionary methods for sound reproduction led to continually evolving means of capturing and redistrib- uting music, to the point where we have become accustomed to listening to music through channels far removed from the original performance. Yet even here, there remains a demand by music-lovers to hear music of all types in the actual presence of the musicians – an experience that can never be replaced, no matter how perfect the reproduced sound might be. For theatre, opera and dance the impact of technology has been much more recent. Although capturing live performance on film or for television has been around for many years, it is barely a decade since the first moves were made by the National Theatre in the UK and Metropolitan Opera in the US and towards digital transmission of live performances to locations a long way from the theatre. Since those early days the amount of Live-to-Digital activity across the performing arts has expanded enormously in volume and range. The ra- pidity of this growth has raised some serious questions: In what ways are arts organisations, distributors, funding agencies and consumers reacting to these developments? How are audiences responding to the availability of new chan- nels for consuming traditional products? How do these trends impact upon the need to protect the artistic and cultural integrity of live performance? Is expanded consumption of digital product being achieved at the expense of live attendance at traditional performing arts venues? What is driving the digital market: is it growth in supply, or is it that the availability of new media for the distribution and reception of product is stimulating a latent demand? A great deal of anecdotal evidence on various aspects of these questions has accumulated in recent times. But, while frequently interesting, the impression it creates may be misleading, and is no substitute for systematic and objective research. So the purpose of this study has been to replace anecdote with hard data. The study is based primarily on theatre in England. Nevertheless, the report contains information and draws conclusions relevant across art-form boundaries, and national jurisdictions. The project applies carefully controlled research methods to derive a wide range of objective and replicable data that provide an extensive overview of the main components of the supply chain for Live-to-Digital product. The conclusions derived from the findings of the research point to both opportunities and challenges in the theatre sector and beyond as the digital environment continues to evolve. FROM LIVE-TO-DIGITAL aeaconsulting.com 6 Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution In a report such as this, the use of words such as ‘industry’, ‘product’, ‘demand’, ‘consumers’ and so on derived from economics, commerce, marketing and management – fields far removed from the arts – is sometimes seen as a sell- out of the pure creative process to the insidious forces of the marketplace. An important strength of this report is that although it uses these terms – and indeed provides an extremely useful glossary to help us find our way through the new terminology – it respects the fundamental and unchanging nature of the performing arts as an expression of human culture. The data gathered and the conclusions drawn in the report will be of great assistance to performing companies as they seek to
Load more

Recommended publications
  • Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
    This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership
    [Show full text]
  • Duquesne University Pittsburgh, Pennsylvania UNDERGRADUATE
    ^^Mj ADDRESS— University, 600 Forbes Avenue, Pittsburgh, Pa 15282 Telephone Call specific Centrex (Direct Dial) number (see following), for other offices, call 434-6000 ADMISSION— Director of Admissions, Administration Building, First Floor Telephone (412) 434-6220/6221/6222 Duquesne University ADVISORS College of Liberal Arts and Sciences, College Hall, Room 215 Pittsburgh, Pennsylvania Telephone (412) 434-6394/6395/6396 School of Business and Administration, Rockwell Hall, Room 403 Telephone (412) 434-6277/6278 School of Education, Canevin Hall, Room 214 Telephone (412) 434-6118/6119 School of Music, Room 315 Telephone (412) 434-6083 UNDERGRADUATE School of Nursing, College Hall Room 637D Telephone (412) 434-6346/6347 School of Pharmacy, Mellon Hall of Science, Room 421 Telephone (412) 434-6385/6365 ROTC—College Hall, Fourth Floor Telephone (412) 434-6614/666416665 6 BOOKSTORE — Duquesne Union, Second Floor Telephone (412) 434-6626 CAMPUS MINISTRY—Administration Building, First Floor (r, , Published annually in July by Duquesne University 600 Forbes Avenue Pittsburgh Pennsylvania 15282 Telephone (412) 434-6020 CAREER PLANNING AND PLACEMENT — Administration, Third Floor NOTICE OF RIGHT TO PRIVACY Telephone (412) 434-6644/6645/6646/6647 Under the Family Educational Rights and Privacy Act access to student records by non University personnel CASHIER—Payment of Tuition and Fees, Administration Building, Ground Floor is restricted unless granted by the student or dependency of the student is demonstrated by a parent or guardian Telephone
    [Show full text]
  • A Comparative Study of Commuter Patterns and Trends in Great Britain, Ireland and the Us
    A COMPARATIVE STUDY OF COMMUTER PATTERNS AND TRENDS IN GREAT BRITAIN, IRELAND AND THE US Ian N Williams Ian Williams Services and Cambridge University 1 INTRODUCTION There are a number of reasons why we need to understand better the forces that shape commuter travel. It continues to be a major user of road and rail capacity in congested peak periods so that forecasting the future pattern of commuter trips is a critical task for most urban passenger models. Commuter travel by car has also been a substantial contributor to the past growth in greenhouse gas emissions so that its future growth trajectory is important to the environment. The quality of the transport facilities that connect homes to workplaces affect the land use policy options available to planners and influence the longer term success of planning policy decisions on residential and business construction location decisions. Patterns of commuting have changed through time but these changes do not always follow simple linear trends. In many countries the long-run trend of increases in commuting trip lengths of the 20th century had eased by the last decade. We need to understand the extent to which this is a result of changes in the underlying patterns of the behaviour of workers within the socio-economic environment they inhabit and the extent to which it is simply a reflection of changes in the transport supply characteristics such as cost and time of travel that are standard inputs to our transport models. The reason for initiating the comparative study presented in this paper was to examine those aspects of commuter patterns that have been shown to be similar across a range of countries and a range of years.
    [Show full text]
  • Enjoy the Show Cinemas in 65 Countries Showed a National
    Did you know? A production from 2,500 cinemas in 65 countries showed a National Theatre Live broadcast or screening in 2017 by William Shakespeare Cast, in order of speaking Musicians Caesar Tunji Kasim Magnus Mehta (Music Director / Agrippa Katy Stephens Percussion), Joley Cragg (Percussion), Enjoy the show Cleopatra Sophie Okonedo Kwêsi Edman (Cello), Sarah Manship Antony Ralph Fiennes (Woodwind), We hope you enjoy your National Theatre Please do let us know what you think Eros Fisayo Akinade Arngeir Hauksson (Guitar / Oud) Live screening. We make every attempt to through our channels listed below or Charmian Gloria Obianyo replicate the theatre experience as closely approach the cinema manager to share Iras Georgia Landers Production Team as possible for your enjoyment. your thoughts. Soothsayer Hiba Elchikhe Enobarbus Tim McMullan Director Simon Godwin Proculeius Ben Wiggins Set Designer Hildegard Bechtler Sicyon Official Shazia Nicholls Costume Designer Evie Gurney Tim Lutkin Connect with us Lepidus Nicholas Le Prevost Lighting Designer Thidias Sam Woolf Music Michael Bruce Pompey Sargon Yelda Movement Directors Jonathan Explore Never miss out Menas Gerald Gyimah Goddard Go behind the scenes of Antony & Cleopatra Get the latest news from Varrius Waleed Hammad Shelley Maxwell and learn more about how our broadcasts National Theatre Live straight Euphronius Nick Sampson Sound Designer Christopher Shutt happen on our website. to your inbox. Octavia Hannah Morrish Video Designer Luke Halls Canidius Alan Turkington Fight Director Kev McCurdy ntlive.com ntlive.com/signup Scarus Alexander Cobb Ventidius Henry Everett Broadcast Team Supernumeraries Samuel Arnold Catherine Deevy Director for Screen Tony Grech-Smith Join in Feedback Technical Producer Christopher C Bretnall Use #AntonyandCleopatra and be Share your thoughts by taking our Script Supervisor Amanda Church a part of the conversation online.
    [Show full text]
  • Fleabag’ from London’S West End Expands Distribution in U.S
    MEDIA ALERT – September 20, 2019 ‘Fleabag’ from London’s West End Expands Distribution in U.S. Cinemas Monday, November 18 for One Night See the critically acclaimed, award-winning one woman show that inspired the network series with BAFTA winner and Emmy nominee Phoebe Waller-Bridge • WHAT: Fathom Events, BY Experience and National Theatre Live release “Fleabag” in cinemas on Monday, November 18, 2019 at 7:00 p.m. local time, captured live from Wyndham’s Theatre London during its sell out West End run. • WHERE: Tickets for these events can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the events in nearly 500 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change). • WHO: Fathom Events, BY Experience and National Theatre Live “Filthy, funny, snarky and touching” Daily Telegraph “Witty, filthy and supreme” The Guardian “Gloriously Disruptive. Phoebe Waller-Bridge is a name to reckon with” The New York Times Fleabag Written by Phoebe Waller-Bridge and directed by Vicky Jones, Fleabag is a rip-roaring look at some sort of woman living her sort of life. Fleabag may appear emotionally unfiltered and oversexed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. Fleabag was adapted into a BBC Three Television series in partnership with Amazon Prime Video in 2016 and earned Phoebe a BAFTA Award for Best Female Comedy Performance.
    [Show full text]
  • Sfcta Summary
    SFCTA Regional Transportation Model Summary San Francisco County Transportation Authority Transportation Modeling System Overview and Summary Introduction One of the first tour-based micro-simulation models that is being used extensively in planning is the model system created by Cambridge Systematics and Parsons Brinckerhoff for the San Francisco County Transportation Authority, completed in 2000. The model system was designed to use the “full day pattern” modeling approach, first introduced by Bowman and Ben-Akiva at MIT (1). The main feature of the “full day pattern” approach is that it simultaneously predicts the main components of all of a person’s travel across the day. The concept of the tour is used to represent travel. A tour is a sequence of trips that begin and end either at home (Home-Based Tour) or work (Work-Based Sub-Tour). A synthesized population of San Francisco residents is input to the component models of vehicle availability, day pattern choice (tour generation), tour time of day choice, destination choice and mode choice. Destination and mode choice are predicted at both the tour and the trip level. The synthesized tours and trips are aggregated to represent flows between traffic analysis zones before traffic assignment. The model system predicts the choices for a full, representative sample of residents of San Francisco County, almost 800,000 simulated individual person-days of travel. In the San Francisco Model, a micro-simulation framework is applied to individuals and households making vehicle ownership, trip pattern, and trip destination and mode choices; many of these models are logit formulations. A Monte Carlo method is used select outcomes according to these logit model probabilities based on random number draws.
    [Show full text]
  • Guide for Travel Model Transfer
    Guide for Travel Model Transfer Date: October 2014 FHWA-HEP-15-006 1. Report No. 2. Government Accession No. 3. Recipient’s Catalog No. FHWA-HEP- 4. Title and Subtitle 5. Report Date Guide for Travel Model Transfer October 2014 6. Performing Organization Code 7. Authors 8. Performing Organization Report Thomas F. Rossi, Cambridge Systematics, Inc. No. Chandra R, Bhat, University of Texas, Austin 9. Performing Organization Name and Address 10. Work Unit No. (TRAIS) Cambridge Systematics, Inc. 100 CambridgePark Drive, Suite 400 Cambridge, MA 02140 11. Contract or Grant No. DTFH61-13-P-00162 12. Sponsoring Agency Name and Address 13. Type of Report and Period United States Department of Transportation Covered Federal Highway Administration 8/29/2013 to 10/31/2014 1200 New Jersey Ave. SE 14. Sponsoring Agency Code Washington, DC 20590 HEPP-30 15. Supplementary Notes The project was managed by Sarah Sun, COR for Federal Highway Administration The report was reviewed by Raw, Jeremy (FHWA); Pihl, Eric (FHWA); Yoder, Supin (FHWA); Murakami, Elaine (FHWA); Gardner, Brian (FHWA) and Cervenka, Kenneth (FTA) 16. Abstract Travel demand models are important tools used in transportation planning to forecast the amount of travel expected to occur under various scenarios and to estimate the effects of changes in transportation supply or policies. The mathematical relationships in these models depend on parameters that reflect the sensitivity of travelers’ choices to the model’s input variables. The process of model transfer from one region to another has become commonplace as a way to obtain model parameter estimated when sufficient local data for model estimation.
    [Show full text]
  • FHWA/TX-10/0-6210-2 Accession No
    Technical Report Documentation Page 1. Report No. 2. Government 3. Recipient’s Catalog No. FHWA/TX-10/0-6210-2 Accession No. 4. Title and Subtitle 5. Report Date Tour-Based Model Development for TxDOT: Evaluation and October 30, 2009 Transition Steps 6. Performing Organization Code 7. Author(s) 8. Performing Organization Report No. Ipek N. Sener, Nazneen Ferdous, Chandra R. Bhat, Phillip 0-6210-2 Reeder 9. Performing Organization Name and Address 10. Work Unit No. (TRAIS) Center for Transportation Research 11. Contract or Grant No. The University of Texas at Austin 0-6210 3208 Red River, Suite 200 Austin, TX 78705-2650 Texas Transportation Institute Texas A&M University System 3135 TAMU College Station, Texas 77843-3135 12. Sponsoring Agency Name and Address 13. Type of Report and Period Covered Texas Department of Transportation Technical Report Research and Technology Implementation Office 9/1/08-8/31/09 P.O. Box 5080 14. Sponsoring Agency Code Austin, TX 78763-5080 15. Supplementary Notes Project performed in cooperation with the Texas Department of Transportation and the Federal Highway Administration. 16. Abstract The Texas Department of Transportation (TxDOT), in conjunction with the metropolitan planning organizations (MPOs) under its purview, oversees the travel demand model development and implementation for most of the urban areas in Texas. In these urban areas, a package of computer programs labeled as the “Texas Travel Demand Package” or the “Texas Package” is used as the decision making tool to forecast travel demand and support regional planning, project evaluation, and policy analysis efforts. The Texas Package currently adopts the widely used four-step trip-based urban travel demand modeling process, which was developed in the 1960s when the focus of transportation planning was to meet long-term mobility needs through the provision of additional transportation infrastructure supply.
    [Show full text]
  • “The Forms of Things Unknown” Sullivan, Erin
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal “The forms of things unknown” Sullivan, Erin DOI: 10.1353/shb.2017.0047 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Sullivan, E 2017, '“The forms of things unknown”: Shakespeare and the rise of the live broadcast', Shakespeare Bulletin, vol. 35, no. 4, pp. 627-662. https://doi.org/10.1353/shb.2017.0047 Link to publication on Research at Birmingham portal Publisher Rights Statement: Copyright © 2017 The Johns Hopkins University Press Journal website: http://muse.jhu.edu/journal/339 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • 3 Model Structure
    User Guide and Model Documentation for SACSIM19 – June 2020 3 Model Structure This chapter will expand upon the model concepts and parameters from Chapter 2 and describes the theory and relationships between submodels of SACSIM. The overall SACSIM model system is illustrated in Figure 3-1 below. Each submodel captures a component of travel behavior. The key submodels are: 3.1 DAYSIM – Person Day Activity-Based Tour Simulation Model 3.2 Commercial vehicle travel 3.3 External travel 3.4 Airport passenger ground access 3.5 Vehicle trip table preparation and assignment 3.6 Transit path building and assignment 3-1 User Guide and Model Documentation for SACSIM19 – June 2020 Figure 3-1 SACSIM Model Structure 3-2 User Guide and Model Documentation for SACSIM19 – June 2020 DAYSIM - Person Day Activity-Based Tour Simulation DAYSIM is a regional activity-based, tour (ABT) simulator for the intra-regional travel of the region’s residents only. Around the country, ABT models are increasingly used as replacements for more conventional, four-step trip models. ABT models seek to represent a person’s travel as it actually occurs: in a series of trips connecting activities which a traveler needs or wants to participate in during the course of a day. This chapter gives high level introductions about DAYSIM. Please refer to Appendix A – DAYSIM Reference Guide for details. 3.1.1 DAYSIM Terminology and Concepts The specific definitions of activities and tours as used in this documentation are as follows: Activities are the things that people do during the course of the day, either to meet basic needs or for pleasure.
    [Show full text]
  • Ntlive OM2G Castlist UK A4 RE 13 09 19.Indd
    Did you know? A production from In 2018 we had 19,940 screenings around the world. By Richard Bean, based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding Cast The Craze Enjoy the show Dolly Suzie Toase Drums Benjamin Brooker Lloyd Boateng Trevor Laird Bass Richard Coughlan We hope you enjoy your National Theatre Please do let us know what you think Charlie “the Duck” Guitar Philip James Live screening. We make every attempt to through our channels listed below or Clench Fred Ridgeway Guitar Grant Olding replicate the theatre experience as closely approach the cinema manager to share Pauline Clench Claire Lams as possible for your enjoyment. your thoughts. Harry Dangle Martyn Ellis Creative Team Alan Dangle Daniel Rigby Francis Henshall James Corden Director Nicholas Hytner Rachel Crabbe Jemima Rooper Associate Director Cal McCrystal Stanley Stubbers Oliver Chris Connect with us Designer Mark Thompson Gareth David Benson Lighting Designer Mark Henderson A l fi e Tom Edden Music Grant Olding Explore Never miss out Ensemble Polly Conway Sound Designer Paul Arditti Go behind the scenes of One Man, Two Get the latest news from Ensemble Jolyon Dixon Fight Director Kate Waters Guvnors and learn more about how our National Theatre Live straight Ensemble Derek Elroy Choreographer Adam Penford broadcasts happen on our website. to your inbox. Ensemble David Hunter Ensemble Paul Lancaster Broadcast Team ntlive.com ntlive.com/signup Ensemble Gareth Mason Ensemble Claire Thomson Director for Screen Robin Lough Technical Join in Feedback Producer Christopher C.Bretnall Lighting Director Bernie Davis Use #OneManTwoGuvnors and be Share your thoughts by taking our Sound Supervisor Conrad Fletcher a part of the conversation online.
    [Show full text]
  • National V^9 Transportation Safety Board
    PB85-916304 NATIONAL V^9 TRANSPORTATION SAFETY BOARD ^ WASHINGTON, D.C. 20594 RAILROAD ACCIDENT REPORT HEAD-ON COLLISION OF BURLINGTON NORTHERN RAILROAD FREIGHT TRAINS EXTRA 6714 WEST AND EXTRA 7820 EAST WIGGINS, COLORADO APRIL 13, 1984 AND READ-END COLLISION OF BURLINGTON NORTHERN RAILROAD FREIGHT TRAINS EXTRA 7843 EAST AND EXTRA ATSF 8112 EAST NEAR NEWCASTLE, WYOMING APRIL 22, 1984 NTSB/RAR- 85/04. UNITED STATES GOVERNMENT TECHNICAL REPORT DOCUMENTATION PAGE 1. Report No. 2.Government Accession No 3.Recipient's Catalog No. NTSB/RAR-85/04 PB85-916304 k. Title and Subt i tie Kanroaa Accident ueport — 5.Report Date Head-On Collision of Burlington Northern Railroad Freight April 1, 1985 Trains Extra 6714 West and Extra 7820 East at Wiggins, 6.Performing Organization Colorado, April 13, 1984 Code Rear-End Collision of Burlington Northern Railroad Freight 8.Performing Organization Trains Extra 7843 East and Extra ATSF 8112 East Near Report No. Newcastle, Wyoming, April 22, 1984. 9. Performing Organization Name and Address 10.Work Unit No. 3913B National Transportation Safety Board 11.Contract or Grant No. Bureau of Accident Investigation Washington, D.C. 20594 13-Type of Report and Period Covered 12.Sponsoring Agency Name and Address Railroad Accident Reports April 13, 1984. April 22, 1984. NATIONAL TRANSPORTATION SAFETY BOARD Washington, D. C. 20594 JUL 8 1985 ^.Sponsoring Agency Code 15-Supplementary Notes 16.Abstract About 3:58 a.m., mountain standard time, on April 13, 1984, Burlington Northern Railroad Company freight trains Extra 6714 West and Extra 7820 East collided head-on on the single main track about 1,027 feet west of the west turnout of the passing track at Wiggins, Colorado.
    [Show full text]