Home Chat of the Lindsay Duncan Option 1 the Full Day , Birmingham University; Lunch; Planned Arrangements

Total Page:16

File Type:pdf, Size:1020Kb

Home Chat of the Lindsay Duncan Option 1 the Full Day , Birmingham University; Lunch; Planned Arrangements A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD • NOVEMBER 2011 NOËL’S BIRTHDAY In the UK, 16th December. AGM at the Noël Coward Theatre, Richard Briers will guest at the flower-laying ceremony, luncheon at the Grand Saloon, Theatre Royal, Drury Lane - AND Rebecca Caine and Stefan Bednarczyck in cabaret. In the US On the 17th, a screening at the Paley Center, New York, of a film not previously shown, with the flower-laying ceremony and luncheon on the 18th - not to be missed! THE GRAND TOUR A day in Birmingham - 30 June 2012 to see Coward’s ballet ‘The Grand Tour’ AND visit the Coward Special Collection at Birmingham University. HAY FEVER A date for your diary - Saturday 17th March 2012 for a matinée performance at The Noël Coward Theatre. Hay Fever stars Lindsay Duncan, Jeremy Northam, Kevin McNally and Olivia Colman. - date confirmation and more to follow. STAR QUALITY The World of Noël Coward An exhibition that has toured the world reaches New York and will prove to be the most comprehensive yet! March through August 2012. Supported by a range of US Noël Coward events. Noël Coward and Kay Thompson with ‘Matelot’at Goldenhurst PRODUCED AND PUBLISHED BY THE INTERNATIONAL NOËL COWARD SOCIETY - 1- www.noëlcoward.net EDITORIAL he most exciting period in the world of Coward lies ahead of us as we move towards the end of the year and embrace 2012. Lindsay Duncan will play Judith Bliss in a new West End production of Hay Fever , the first time a Coward play has been revived in the Noël Coward Theatre since it was refurbished and renamed after him. The production, which is directed by Howard Davies, will play a limited West End season from 23 February (previews from 10 February) to 2 June 2012. We are arranging a matinée visit on Saturday 17th March to see the play - details to follow. The largest exhibition ever on Noël Coward and his work Star Quality - The World of Noël Coward will take place at The New York Public Library for Performing Arts at Lincoln Center from March to August with events taking place across the US as part of a festival of celebration. The Birmingham Hippodrome will be hosting the Birmingham Ballet’s interpretation of Coward’s The Grand Tour and both the UK and US branches of the society will be offering events around Christmas to rejoice on Noël’s birthday once more. Our thanks to those who came to our successful day in London where for some members the highlight was the tour of the Queen’s theatre ‘ actually standing on the stage of Les Mis! ’ For others the successful afternoon workshop on Coward’s plays and music at The Actors Centre. Can I thank everyone who renewed their membership in July and remind you that January renewals will be coming up before we know it. Please help us to keep the Society alive and flourishing by your support. John Knowles CONTENTS ––––––––––––––––––––––––––––––––––––– Playing With the Audience 8 Editorial and September 17th Event 2 From the Archive 11 Coward Birthday and Ballet - forthcoming events 3 Firefly 16 Bitter Sweet in New York 5 How I became interested in Noël Coward 21 A Few Don’ts for Directors 6 Coward on the Coast 22 Look Back in Pleasure 7 Family Album 25 WORDS AND MUSIC - NCS EVENT ON SEPTEMBER 17 ueens Theatre was the starting point for a Saturday adventure in the West End. Archivist Rosy Runciman welcomed us with coffee in the foyer where Noël’s ‘wings’ hang resplendent overlooking the staircase to the circle. Two groups of members were taken around the theatre where they saw ‘Marlene’s Room’ dedicated to Marlene Dietrich and used for entertaining small gatherings of theatre goers. The highlight for many was standing on the set of Les Miserables and looking out across the auditorium. After lunch in nearby eateries we gathered at ‘The Actors Centre’ for an afternoon workshop on acting led by Ian Cullen and Yvonne Quenet , who led us through warm-up exercises, tips on reading and performing a script and gave us a sketch from Noël’s London Calling - 'Growing Pains'. Dominic Vlasto led us through ‘how to perform a Coward comic song’ with an emphasis on timing and pace and, with accompanist Celia Cologne, sang ‘Why Must the Show Go On?’, ‘Try to Learn to Love’, ‘Louisa’, ‘Has Anybody Seen Our Ship?’, ‘Marvellous Party’ and (most memorably) ‘Mrs Worthington’ in one of his best performances ever. Our thanks go to Rosy Runciman of Cameron Mackintosh Dominic Vlasto Ltd. and our teacher/performers Ian Cullen and Yvonne Quenet who provided such an entertaining afternoon. This approach to a day of linked but distinct events in London appeared to be a great success and marks a move towards similar NCS happenings in the future. Ed. - 2- Birthday, Briers, Ballet... and Hay Fever Friday 16th December The AGM of the Society (10.45 for 11.15am) at The Noël Coward Theatre Richard Briers is our guest at the Annual Flower-Laying Ceremony (12.30pm) and afterwards for drinks with NCS members. Luncheon & Cabaret (1.00 for 1.30pm) with Rebecca Caine and Stefan Bednarczyck in The Grand Saloon at the Theatre Royal o come an join us at this year’s ‘Coward Birthday Celebrations’ in the UK when Richard Briers will lay flowers on the statue of Sir Noël Coward and meet members for drinks afterwards. Richard Briers is a distinguished actor, from the theatre, television and film worlds, whose early career led him to form a strong affection for Noël Coward. We are also delighted to welcome Rebecca Caine and Stefan Bednarczyck who will provide the cabaret after luncheon. Rebecca Caine Richard Briers Uniquely, her career has been divided between Opera and Musical Theatre, making her West End debut at 19 in the role We also hope to be joined by a figure who has been a noted of ‘Laurey’ in Oklahoma! She then sang the role of ‘Eliza’ in director of Coward’s work to talk about his life in the theatre. My Fair Lady on the National tour. While making her debut at Glyndebourne as ‘Amor’ in L’incoronazione di Poppea , she Our special guests include Robert and Pirjo Gardiner was asked to join the Royal Shakespeare Company where she (Robert is Chairman of Noël Coward Ltd. and a trustee of the created the role of ‘Cosette’ in Les Miserables . After a Noël Coward Foundation). successful West End run she joined the original cast of Phantom of the Opera to play ‘Christine’ opposite Michael We also welcome broadcaster and passionate scholar of the Crawford. She then returned to Toronto to repeat the role in the music of Noël Coward, Alan Farley who is travelling from San Canadian premiere of Phantom . During her run in Toronto she Francisco to be with us. joined the Canadian Opera Company to make her highly praised North American debut in the title role of ‘Lulu’. Annual Luncheon and Cabaret Stefan Bednarczyck Tickets £75 MENU Stefan is an actor, director, pianist and accomplished cabaret performer. He performed for Graham Payn at his 80th birthday Potted Scottish salmon confit of lemon and cracked celebration and is a notable performer of Coward’s songs. His pepper, served with blinis performance and consequent recording of his show on Flanders and Swann won numerous plaudits. Slow-roasted Gressingham duck leg with parsnip puree sticky shallots, string beans and Oxford sauce A reviewer at the Adelaide Cabaret Festival states: “But it was a singer-pianist Stefan Bednarczyk who impressed Traditional truffle recipe on a dark chocolate and most. In his second Noël Coward solo show one really saw almond sponge, dusted with cocoa powder and topped his full calibre: superb incisiveness and aliveness to every with a white chocolate flower . nuance of intellectual with, irony and tragic self-disclosure in Served with cafetiere coffee or tea songs such as;’Bitter Sweet’, ‘The World is Wide’ and of There is a vegetarian option as well. course, ‘Mad Dogs and Englishmen’. ” and still water These two artists are working together on a special programme Price includes wine/cordials/sparkling for us at our Annual Luncheon at the Grand Saloon, Theatre Royal, Drury Lane. - 3- Saturday 17th March 2.30pm First Ballet , after which there will be a 25 minute HAY FEVER interval where we return to the restaurant for dessert. Second Ballet , after which we again return to the restaurant, 2.30pm for coffee. The Noël Coward Theatre Third Ballet , after which there is an optional extra for We are planning to provide an early members, if they so wish, at no charge: opportunity to see Howard Davies’ new interpretation of Hay Fever 5.15pm About ten minutes after the performance, an starring Lindsay Duncan, Jeremy opportunity for Members to see backstage at the Hippodrome Northam, Kevin McNally and and view some of the unique facilities of the Birmingham Olivia Colman. Details will follow Royal Ballet’s headquarters. nearer the time. Please keep an eye on our website for further details - Example prices and options for the day’s events: although we will inform you either by letter or Home Chat of the Lindsay Duncan Option 1 The Full Day , Birmingham University; lunch; planned arrangements. Matinee Ticket; and a programme, followed by a backstage tour: £65 per person . Saturday 30th June THE GRAND TOUR Option 2 Lunch and Matinee , Meet at Birmingham Hippodrome for 1pm for lunch, Matinee ticket, and a Birmingham University and Birmingham Hippodrome programme, followed by a backstage tour: £55 per person .
Recommended publications
  • 1999 + Credits
    1 CARL TOMS OBE FRSA 1927 - 1999 Lorraine’ Parish Church Hall. Mansfield Nottingham Journal review 16th Dec + CREDITS: All work what & where indicated. 1950 August/ Sept - Exhibited 48 designs for + C&C – Cast & Crew details on web site of stage settings and costumes at Mansfield Art Theatricaila where there are currently 104 Gallery. Nottm Eve Post 12/08/50 and also in Nottm references to be found. Journal 12/08/50 https://theatricalia.com/person/43x/carl- toms/past 1952 + Red related notes. 52 - 59 Engaged as assistant to Oliver Messel + Film credits; http://www.filmreference.com/film/2/Carl- 1953 Toms.html#ixzz4wppJE9U2 Designer for the penthouse suite at the Dorchester Hotel. London + Television credits and other work where indicated. 1957: + Denotes local references, other work and May - Apollo de Bellac - awards. Royal Court Theatre, London, ----------------------------------------------------- 57/58 - Beth - The Apollo,Shaftesbuy Ave London C&C 1927: May 29th Born - Kirkby in Ashfield 22 Kingsway. 1958 Local Schools / Colleges: March 3 rd for one week ‘A Breath of Spring. Diamond Avenue Boys School Kirkby. Theatre Royal Nottingham. Designed by High Oakham. Mansfield. Oliver Messel. Assisted by Carl Toms. Mansfield Collage of Art. (14 years old). Programme. Review - The Stage March 6th Lived in the 1940’s with his Uncle and Aunt 58/59 - No Bed for Bacon Bristol Old Vic. who ran a grocery business on Station St C&C Kirkby. *In 1950 his home was reported as being 66 Nottingham Rd Mansfield 1959 *(Nottm Journal Aug 1950) June - The Complaisant Lover Globe Conscripted into Service joining the Royal Theatre, London.
    [Show full text]
  • Theater Souvenir Programs Guide [1881-1979]
    Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy.
    [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]
  • Bounty Killer
    KickArc and Raindance Entertainment present a Kickstart Production in association with Just Chorizo Productions Bounty Killer Directed by Henry Saine Written by Jason Dodson, Henry Saine & Colin Ebeling Produced by Jason Netter Produced by Colin Ebeling & Henry Saine Executive Produced by Bobby Gerber Tucker Moore Bounty Killer Synopsis It’s been 20 years since the corporations took over the world’s governments. Their thirst for power and profits led to the Corporate Wars, a fierce global battle that laid waste to society as we know it. Born from the ash, the Council of Nine rose as a new law and order for this dark age. To avenge the corporations’ reckless destruction, the Council issues death warrants for all white collar criminals. Their hunters -- the bounty killer. From amateur savage to graceful assassin, the bounty killers now compete for body count, fame and a fat stack of cash. They’re ending the plague of corporate greed and providing the survivors of the apocalypse with retribution. These are the new heroes. This is the age of the BOUNTY KILLER. ____________________________________________________________________ Two of the highest ranked bounty killers in the Thrice Burned Lands, Drifter (Matthew Marsden) and Mary Death (Christian Pitre) team up to exterminate a party full of yellow-tied corporate criminals. Drifter’s explosive killing style is in stark contrast to Mary’s graceful way of delivering death to white collar scum. Despite their difference in style, they exhibit level of comfort with one another that seems to indicate a long and dynamic history between these celebrity assassins. After the fight moves to a skyscraper’s rooftop, Drifter disposes of his intended target and saves Mary from falling to her death -- just another day at the office.
    [Show full text]
  • 7. Palaces of Entertainment
    7. Palaces Of Entertainment Escapism coupled with fantasy In 1919 cinema audiences reached a million a week with many “going to the pictures’ twice a week. Attendances rocketed with 987 million tickets sold in 1938. At one billion attendances, cinema was 25 times more popular than association football. The survey showed that 50% of the population went at least once a week; some went two, three or even four times. Only 12% of twelve year olds had never been to a cinema that by now had a magnetic attraction. An imposing façade, opulent interior, main film, giants of screen with their good looks, sex- appeal and humour, a B movie and newsreel interspersed – guaranteed a great night out, or better still two or even more. By 1939 weekly cinema audiences exceeded 23 million. Whilst the government regulated hours of opening for adults and juveniles, content was left to the British Board of Film Censors, established in 1912. Saturday morning children’s shows took hold. Sunday opening was a thorny issue and a closing time of 4.30 pm was common. The Board’s obligation was to “respect good taste and decency” with self-imposed limitations about extremes or excess, and films which might deprave, offend or corrupt. The Board set out 43 rules, of which all but ten concerned morality, defined as reference to bodily functions, coarse language and sex. Subjects dealing with ‘capitalist’ and labour, including strikes and poverty, were banned as being too political and controversial. Going to the theatre was a social event with evening dress expected in the stalls and dress circle.
    [Show full text]
  • Approaches to the Private Collector and Collection of Theatrical
    Private Passions, Public Archives: Approaches to the private collector and collection of theatrical ephemera in the context of the public theatre archive Eve Margitta Smith Department of Drama and Theatre Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy 2016 Declaration of Authorship I, Eve Margitta Smith, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________27/09/2016 [2] Abstract This thesis considers the passions of the private collector of theatrical ephemera within the context of the public theatre archive. It interrogates the formation, the function, and the significance of the collection, foregrounding the idiosyncratic relationship between the collector and their collection. The eventual, though not inevitable, transition of a theatre collection from a private house to a public archive is interrogated throughout the thesis. The research concentrates on three theatre collections that have made the transition from a private space to the public archive: the Gabrielle Enthoven Collection at the Victoria and Albert Museum; the Mander and Mitchenson Theatre Collection at the University of Bristol, and the Roy Waters Theatre Collection at Royal Holloway, University of London. Theoretical and critical approaches from the fields of theatre history and historiography, archive and museum studies, and the practice and psychology of collecting
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two.
    [Show full text]
  • Women in Theatre 2006 Survey
    WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
    [Show full text]
  • Home Chat 29/07/2010 12:13 Page 1
    Aug2010_Home Chat 29/07/2010 12:13 Page 1 THE NEWSLETTER OF THE NOËL COWARD SOCIETY President: HRH The Duke of Kent Vice Presidents: Barry Day OBE • Stephen Fry • Tammy Grimes • Penelope Keith CBE AUGUST 2010 t was with surprise and sadness that the NCS committee Barbara Longford greeted Barbara Longford’s announcement that she wished Ito stand down as its chairman. For all of us Barbara’s name has become synonymous with Brief Encounter the Society and with the enormous programme of activity and events that has marked her hugely successful period as Design For Living Chairman. She has decided to move on to pursue her desire to support the work of the Soldiers, Sailors, Airmen and Coward Celebrations Families Association (SSAFA). We wish her well with her new role and commitments and celebrate her contribution to the work of the Society in our centre pages recalling the highlights of her time with us. Warmest thanks from all of us for all the fun, the style and the passion of her contribution to our hero - to: ‘The Mistress’ from all of the lovers of ‘The Master.’ BRIEF ENCOUNTER RETURNS TO BROADWAY A NOËL COWARD SOCIETY EVENING he Roundabout Theatre Company in association with David Pugh & Dafydd Rogers and Cineworld presents T Kneehigh Theatre’s production of Noël Coward’s Brief Encounter adapted by Emma Rice. The production opens at Studio 54 in New York for previews on September 10, 2010. Stephen Greenman and Barbara Longford at Sardi’s in December Following opening on September 28th there will be a limited 2005.
    [Show full text]
  • Playing House with Coward's “Hay Fever”
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-17-2011 Playing House with Coward’s “Hay Fever” Sarah M. Klocke University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Klocke, Sarah M., "Playing House with Coward’s “Hay Fever”" (2011). University of New Orleans Theses and Dissertations. 1383. https://scholarworks.uno.edu/td/1383 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Playing House with Coward’s “Hay Fever” A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Film, Theatre, and Communication Arts Theatre Performance: Directing by Sarah Marie Klocke B.A. Arkansas Tech University December 2011 Acknowledgements Thank you cast and crew of Hay Fever.
    [Show full text]
  • Hamlet West End Announcement
    FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer.
    [Show full text]
  • Bruce Walker Musical Theater Recording Collection
    Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN
    [Show full text]