DOCSLIB.ORG

2011 Spring Season APR 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2011 Spring Season APR 2011 Alexandre Arrechea, The Wind on My Face, 2010 Published by: BAM 2011 Spring Season sponsor: BAM 2011 Spring Season Brooklyn Academy of Music Donmar Warehouse Alan H. Fishman, Chairman of the Board Rt Hon Lord Smith of Finsbury, William I. Campbell, Vice Chairman of the Board Chairman of the Board Adam E. Max, Vice Chairman of the Board Michael Grandage, Artistic Director Karen Brooks Hopkins, President Nick Giles, Executive Producer Joseph V. Melillo, Executive Producer present The Donmar Warehouse production of King Lear By William Shakespeare Approximate BAM Harvey Theater running time: Apr 28—30; May 3—7, 11—14, 17—21, 24—28, 31; three hours, Jun 1—4 at 7:30pm including one Apr 30 at 2pm; May 1, 8, 15, 22, 29; Jun 5 at 3pm intermission Director Michael Grandage Set and costume designer Christopher Oram Lighting designer Neil Austin Composer and sound designer Adam Cork Casting Anne McNulty CDG BAM 2011 Theater sponsor: BAM 2011 Spring Season sponsor: Leadership support for King Lear provided by Frederick Iseman and Donald R. Mullen Jr. Additional support provided by Alan Jones & Ashley Garrett and The Laura Pels Foundation. Major support for theater at BAM provided by Rose M. Badgeley Residuary Charitable Trust, Corinthian Foundation, The Gladys Krieble Delmas Foundation, The Francena T. Harrison Foundation Trust, Frederick Loewe Foundation, The Fan Fox & Leslie R. Samuels Foundation, Inc., The SHS Foundation, The Shubert Foundation, Inc, and Harold & Mimi Steinberg Charitable Trust. King Lear CAST (in order of speaking) Earl of Kent Michael Hadley Earl of Gloucester Paul Jesson Edmund Alec Newman King Lear Derek Jacobi Goneril Gina McKee Regan Justine Mitchell Cordelia Pippa Bennett-Warner Duke of Albany Tom Beard Duke of Cornwall Gideon Turner Duke of Burgundy Stefano Braschi King of France Ashley Zhangazha Edgar Gwilym Lee Oswald Amit Shah The Fool Ron Cook Gentleman Harry Attwell Old Servant Derek Hutchinson PRODUCTION Associate Director Titas Halder Associate Designer Richard Kent Associate Lighting Designer Richard Howell Associate Sound Designer Sebastian Frost Production Manager Patrick Molony American Stage Manager Arthur Gaffin Deputy Stage Manager Mary O’Hanlon Assistant Stage Manager Rhiannon Harper Costume Supervisor Stephanie Arditti Fight Director Terry King Rehearsal Photography Marc Brenner Production Photography Johan Persson Text Consultant Russell Jackson Wardrobe Mistress Morag Pirrie Set Constructed by Bowerwood Productions Set Painted by Richard Nutbourne Make Up Provided by M•A•C Costumes Made by Lynn Clark, Sue Coates, Judith Darracott, Sasha Keir, Hilary Marshner, Liz Poole Millinery by Jane Smith Design Assistant David Woodhead The actors are appearing with the permission of Actors’ Equity Association. The American stage manager is a member of Actors’ Equity Association. King Lear Photo: Derek Jacobi, by Johan Persson THE PLAY King Lear decides to divide his kingdom among his three daughters. When, unlike her sisters, Cordelia refuses to make a public declaration of love for her father, she is disinherited and, without a dowry, is married by the King of France. The Earl of Kent defends her and is banished by Lear. The two elder daughters, Goneril and Regan, and their husbands inherit the kingdom. Gloucester, deceived by his bastard son, Edmund, disinherits his legitimate son, Edgar, who is forced to go into hiding to save his life. Lear, now stripped of his power, quarrels with both Goneril and Regan about the conditions on which he is to stay in their households. In a rage he goes out into the stormy night, accompanied by his Fool and by Kent, now disguised as a servant. They encounter Edgar, disguised as a mad beggar. Gloucester goes to help Lear but is betrayed by Edmund and captured by Regan and Cornwall who, as a punishment, put out his eyes. Lear is taken secretly to Dover, where Cordelia has landed with a French army. The blind Gloucester meets, but does not recognize, Edgar, who leads him to Dover. Lear and Cordelia are reconciled but in the ensuing battle are captured by the sisters’ forces. Goneril and Regan are in love with Edmund, who encourages them both. Discovering this, Goneril’s husband Albany forces Edmund to defend himself against the charge of treachery. A mysterious figure appears to challenge Edmund and, after fatally wounding him, reveals himself to be Edgar. News comes that Goneril has poisoned Regan and then committed suicide. Before dying, Edmund reveals that he has ordered the deaths of Lear and Cordelia. He attempts to repeal the order but it is too late. Shakespeare (1564—1616) wrote King Lear in 1606, the year of its first stage production, and during the period when he wrote Othello, Macbeth, and Measure for Measure. Who’s Who HARRY ATTWELL STEFANO BRASCHI (Gentleman) (Duke of Burgundy) For the Donmar: Hamlet Training: LAMDA and Yale (also New York), Twelfth University. Theater: includes Night. Theater: includes Danton’s Death (NT), This Hamlet (Orange Tree). Much Is True (Theatre503), Film: includes Playboy. Warm (Nordland Theatre, Radio: includes Pride and Prejudice. Norway), and The Meta- physics of Breakfast (New York Fringe Festival). TOM BEARD Television: includes Sherlock, Secret Diary of a (Duke of Albany) Call Girl, Come Fly with Me, and The Training: Webber Douglas Persuasionists. Academy of Dramatic Art. Theater: includes Apologia RON COOK (Bush); Tusk Tusk (Royal (The Fool) Court); For Services For the Donmar: Hamlet Rendered (Watermill); (also Elsinore/New York), Private Lives (New Wolsey); Nelson (Nuffield); Twelfth Night, Helpless, The Holy Terror (Duke of York’s); Three Sisters Juno and the Paycock, and (Playhouse); The Tempest, Pericles, Henry VI Glengarry Glen Ross. Parts I, II, & III, Richard III (RSC); Macbeth Theater: includes A (Sheffield Crucible); Hamlet (Gielgud/UK tour); Northern Odyssey (Live Theatre); The Seafarer, She Stoops to Conquer (Queen’s/UK tour); Howard Katz, Machine Wreckers, Black Snow Becket (Haymarket/UK tour); and A Madhouse (NT); Singer (Tricycle); Insignificance (Chichester in Goa (UK tour). Film: includes Salmon Fishing Festival); Vassa (Almeida); Art (Wyndham’s); in the Yemen, Hereafter, Vanity Fair, and Bridget Prayers of Sherkin (Old Vic); Our Country’s Jones’ Diary. Television: includes Pete Versus Good, The Recruiting Officer, Cloud Nine, The Life, Hustle, Kingdom, Wallander, Ten Days to Arbor (Royal Court); Slavs, Ecstasy, How I Got War, Midsomer Murders, George Gently, The That Story (Hampstead); Faith Healer (Dublin Fixer, Whistleblowers, Clapham Junction, Silent Abbey/Royal Court/Long Wharf); A Jovial Crew, Witness, Party Animals, Spooks, Robin Hood, The Odyssey, The Dillen, The Crucible, A The Government Inspector, Rosemary and Winter’s Tale (RSC); and Three Sisters Thyme, Holby City, and Poirot. (Greenwich/Albery). Film: includes Hot Fuzz; Confetti; On a Clear Day; The Merchant of PIPPA Venice; Thunderbirds; 24 Hour Party People; BENNETT-WARNER Charlotte Gray; Lucky Break; Chocolat; Quills; (Cordelia) Topsy-Turvy; Secrets and Lies; and The Cook, the Training: RADA. Theater: Thief, His Wife and Her Lover. Television: includes Crocodile includes Garrow’s Law, Red Riding, Little Dorrit, (Riverside); Ruined The Diary of Anne Frank, Doctor Who, Silent (Almeida); Victory (Bath Witness, Funland, Burn Up, Brunel: The Great Theatre Royal); Caroline, or Ship, The Lost Prince, Richard III, and The Change (NT); and The Lion King (Lyceum). Singing Detective. Television: includes Lenny Henry in Pieces, Holby City, Lewis, Come Fly with Me, and Case Histories. Radio: includes The White Devil. Who’s Who MICHAEL HADLEY US tour); Elizabeth Rex (Birmingham Rep); The (Earl of Kent) Prince of Homburg (RSC/Lyric); The Critic Training: Bristol Old Vic. (Manchester Royal Exchange); Family Reunion For the Donmar: Hamlet (RSC); Much Ado About Nothing (Cheek by (also New York), Piaf (also Jowl); Villette, Way Upstream, Leonce and Lena Vaudeville), Othello, The (Sheffield Crucible); Rebecca, Jekyll and Hyde Vortex, and Little Foxes. (Lyceum, Edinburgh); Under Milk Wood, Theater: includes The Arcadia, Napoli Milionaria, Richard III, King Tempest (Oxford Shakespeare Company); Lear (NT); The Churchill Play, Electra, Titus Heroes (Watermill); Coriolanus, Canterbury Andronicus, The Taming of the Shrew, Measure Tales, Richard III, As You Like It (RSC); The for Measure, Julius Caesar (RSC); and Seagull (Mercury); As You Like It, Don Carlos Coriolanus (Kick Theatre). Film: includes PU- (Sheffield & West End); House and Garden 239, V for Vendetta, Stage Beauty, Being Julia, (Royal & Derngate); Search & Destroy (New Iris, and The Cormorant. Television: includes End); Love’s Work, Intimate Death, Une Marple, Spooks, Doctors, Forgiven, Midsomer Tempête (Gate); The Jew of Malta (Almeida); Murders, London’s Burning, Waiting, Chef, and Waiting for Godot, Endgame, Measure for The Bill. Measure, Mrs. Warren’s Profession, A Midsummer Night’s Dream (Birmingham Rep); DEREK JACOBI The Elephant Man, A Small Family Business (King Lear) (Leicester Haymarket); The Beaux’ Stratagem, For the Donmar: Twelfth The Way of the World (Cambridge Theatre Night, A Voyage Round Company); The Woman in Black (Fortune/UK My Father (also tour); Measure for Measure, and Henry IV Parts I Wyndham’s). Theater: & II (English Touring Theatre). Film: includes The includes The Fairy Queen Boat That Rocked, Unrelated, Three Blind Mice, (Washington, DC); Don The Best Pair of Legs in the Business, All Carlos, The Tempest Coppers Are, and They Ran Before the
Recommended publications
  • Lost Prince Pack Latest

    Lost Prince Pack Latest

    Miranda Richardson Miranda Richardson Miranda Richardson portrays Queen Mary, the Stranger,The Crying Game, Enchanted April, Damage, emotionally repressed mother of Prince John.A Empire Of The Sun,The Apostle and Spider (Official fundamentally inhibited character, she is a loving Selection, Cannes 2002), as well as the mother but has great difficulty communicating with unforgettable Queenie in the BBC’s Blackadder. She her son. says:“Mary had an absolute belief in the idea of duty. She thought that her husband’s word was the The actress, one of Britain’s most gifted screen law and believed in the divine right of kings. performers, immersed herself in research for the Although that view seems old-fashioned to us now, role and emerged with a clearer, more sympathetic she thought it could not be questioned. Ultimately, I idea about this often-maligned monarch. think this film understands Mary. It portrays her most sympathetically.” ‘’When people hear I’m playing Mary, they say, ‘Wasn’t she a dragon?’ But I’ve learnt from my For all that, Mary’s rigid adherence to the research that she wasn’t just a crabby old bag. She Edwardian code of ethics created a barrier may never have laughed in public, but that was between her and her independent-minded son, because she was shy. She felt she wasn’t able to Johnnie.“She loved him as fully as she could,” express her emotions in public.” Richardson reflects.“She knew that he was a free spirit who was able to be himself. Mary could never Miranda has gained a towering reputation for a be herself because she was always so serious, number of films, including Tom And Viv, Dance With A dedicated, dutiful and aware of her destiny.
  • Theatre in England Journal 2

    Theatre in England Journal 2

    Kate Scally ENG 252 12/29/06 Theatre in England Journal 2 Wicked By Stephen Schwartz 12/29/06 As soon as you step onto the street where the musical Wicked is playing, you start to experience the stunning visual effects of the show. The sparkling lights are the first things that catch your eye. The large, neon green sign on the building casts a garish glow on everyone’s face, literally turning each person green. Before audience members even enter the theater, they are exposed to the idea of green people; this makes it easier to sympathize with a non-traditional, green heroine. This effect is just the first in a long line of effects which help to create the visually stunning experience that is Wicked. This “razzle dazzle” aspect begins with the lights outside and continues as you enter the lobby. On one side, a wall of green and pink t-shirts and souvenirs looms, while on the other side the bar sells neon green and pink drinks. I found it amazing that the show’s visual effects begin before the actual show. This seemingly exaggerated use of glitz and glamour fits in with a major theme of the musical—the use of and conceptions surrounding appearances. This theme, a major one for fairy tales, is skillfully employed. Elphaba, also known as the “Wicked Witch of the West” is a green woman whose color foreshadows her eventual rebellion and expulsion from society, while Glinda, known as “Glinda the Good Witch,” appears beautiful, nice, and popular, but in reality is shallow and cowardly.
  • Bohemian Rhapsody a Peter Jsme Se Bohužel Nikdy Nesetkali,“ Pro- Ců, Který Dodnes Žije V Srdcích Tolika Lidí

    Bohemian Rhapsody a Peter Jsme Se Bohužel Nikdy Nesetkali,“ Pro- Ců, Který Dodnes Žije V Srdcích Tolika Lidí

    Rudý Speciál 1 Je důležité míti film! Ano, je. A jsem šťastný, že mohu říct: Máme lidmi, kteří se o muziku zajímají, ale i mezi geniální hudba Queen stále funguje a líbí se. krát čistě zásluhou filmu Bohemian Rhapso- film a je skvělý! Dlouho jsme film neměli, generací, která do kina prakticky necho- Buďme za to vděční. Vděčni Queen a filmu. dy. Naší snahou bylo přinést kompletní a ob- nedá se říct, že nám chyběl, ale tak nějak dí. Nadšená reakce mojí mámy, která byla jektivní informace o přípravách, natáčení byla škoda, že není. Máme film, ke kterému v kině naposledy snad na Troškově Slunce Když jsem při psaní tohoto časopisu a vyhle- a ohlasech na film. Zvláštní dilema bylo, jak můžeme mít výhrady, ale rozhodně se nám seno, že „Freddie je boží“, mluví za vše. Zájem dávání informací postupoval víc do hloubky se postavit k osobě režiséra Bryana Singera, líbí! Máme film, na který jsme dlouho čeka- o skupinu je neuvěřitelný. Queen se prodrali a odkrýval pozadí natáčení a jeho příprav, který film nedokončil a následně byl produ- li, a naše očekávání byla různá. Máme film, do současných hitparád. Teenageři je hltají. žasl jsem. S jakými detaily si filmaři dokázali centy, ale i Brianem a Rogerem, od svého který je neskutečně úspěšný a rozpoutal fan- Ovládli i Spotify! Mainstreamová média se vyhrát, jak velmi zodpovědně řešili každou díla zcela odstřižen. Lze jen spekulovat, co tastickou queenmánii. Máme film, který, jak snaží na zájmu přiživit a tak trochu z vody scénu, aby odpovídala skutečnosti. To mě bylo skutečnou příčinou, zda-li nenadálé to tak vypadá, se stane sám o sobě součástí vaří reportáže, jen aby zaznělo magické na filmu fascinuje.
  • Monday Night Dramas

    Monday Night Dramas

    APRIL 2020 MONDAY NIGHT DRAMAS LIW21 has long been your home for great British programs, from epic costume dramas to riveting mysteries that keep you at the edge of your seat. Our popular Monday night line-up is about to become even more scintillating W thanks to some exciting April premieres. So get ready to tune in, stream, binge watch — and enjoy! World on Fire (Mondays at 9pm beginning April 6) a seven-part Masterpiece miniseries, follows the intertwining fates of several families in Britain, Poland, France, Germany, and the United States during the first year of World War II as daily life in Europe is about to be demolished by the Nazi invasion of Poland, the near debacle at Dunkirk, the fall of Paris, and more. Helen Hunt (Mad About You, Shakespeare Uncovered) stars as Nancy Campbell, an American radio reporter in Warsaw and Berlin trying to uncover the truth about the Nazi regime. Sean Bean (Game of Thrones) plays Douglas Bennett, a World War I veteran-turned- pacifist trying to cope with chronic shellshock while looking after his working-class family. His daughter Lois, a feisty armed services entertainer, is involved in a romance with upper-class translator Harry Chase — much to the dismay of his mother Robina, a British fascist sympathizer. COURTESY OF WALL TO MEDIA LIMITED The Windermere Children (Saturday, April 11 at 9:30pm), tells the story of a group of teenaged Holocaust survivors sent to England’s remote, picturesque Lake District for a period of rehabilitation before re-entering society. The moving drama is inspired by a remarkable true story.
  • King Lear − Learning Pack

    King Lear − Learning Pack

    King Lear − Learning Pack Contents About This Pack ................................................................1 Background Information ..................................................2 Teaching Information ........................................................3 Adaptation Details & Plot Synopsis..................................5 Find Out More...................................................................12 1 King Lear − Learning Pack About This learning pack supports the Donmar Warehouse production of King Lear, directed by Michael Grandage, which opened on 7th December 2010 in London. Our packs are designed to support viewing the recording on the National Theatre Collection. This pack provides links to the UK school curriculum and other productions in the Collection. It also has a plot synopsis with timecodes to allow you to jump to specific sections of the play. 1 King Lear − Learning Pack Background Information Recording Date – 3rd February, 2011 Location – Donmar Warehouse, London Age Recommendation – 12+ Cast Earl of Kent .................................................. Michael Hadley Early of Gloucester ...........................................Paul Jesson Edmund ...........................................................Alec Newman King Lear ......................................................... Derek Jacobi Goneril................................................................Gina McKee Regan ............................................................Justine Mitchell Cordelia .............................................Pippa
  • Frank Grace – Interview Transcript

    Frank Grace – Interview Transcript

    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frank Grace – interview transcript Interviewer: Clare Brewer 8 December 2008 Theatre goer. Anna Lucasta; Windsor Rep; The Gioconda Smile; September Tide; The Second Mrs Tanqueray; Oklahoma; Annie Get your Gun; Shakespeare; The Old Vic; Peter Brook; Olivier; Amateur Theatre; Woolford; Look back In Anger; Encore; Theatre Cruelty; Roots; Tis Pity She’s a Whore; A View From the Bridge; Censorship; Theatre Clubs; The Bald Prima Donna; Oh What a Lovely War; Arthur Miller. This transcript has been edited by the interviewee and thus differs in places from the recording. CB: How did you first become interested in theatre? FG: I suppose through [act]ing at school, but in terms of any serious theatre going I suppose it goes back to the late 1940’s... interestingly enough, when I re-looked at the [programmes] that I have got, the first play that I saw [in] the West End was most unusual for the late 1940’s, it was a play called Anna Lucasta,an American play; what was unusual for the 1940s was that it was an all black cast. CB: Really… FG: And it was about a prostitute and my parents took me [laughs] and I think they must have been slightly worried because I was fourteen at the time and it was one of my first experiences. But that was not typical of the first sort of phase of my theatre-going between that moment in 1949 and about 1951 I suppose and [after where] something dramatic begins to happen, I think.
  • English 252: Theatre in England 2006-2007 * [Optional Events

    English 252: Theatre in England 2006-2007 * [Optional Events

    English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E.
  • October 2014 a Monthly Guide to Living in Basel

    October 2014 a Monthly Guide to Living in Basel

    Spielzeug Welten Museum’s Food, Fun and Fast Rides Lace Up as the Temperature Baloise Session ‘Got Sole’ with their at the Famous Basel Drops! Ice Skating Starts Brings the Best of Focus on Footwear Herbstmesse! in October the Best to Basel Volume 3 Issue 2 CHF 5/€4 A Monthly Guide to Living in Basel October 2014 Good Gourd! With Fall Festivals, Autumn-Themed Markets, and Halloween Events, it’s Easy to “Fall for Fall” in Basel LETTER FROM THE EDITOR Dear Readers, Glorious fall days are upon us, bringing with them an incredible bounty of fairs—from the amazing two-week Herbstmesse (fall fair) filled with rides, October 2014 Volume 3 Issue 2 foods, stands, over 500 years of tradition, and fun for the whole family to the fabulous Basel wine fair, the delectable gourmet fair, and the Warenmesse TABLE OF CONTENTS (goods fair). Want more ideas for autumn fun? Read our fall special and learn about Events in Basel: October 2014 4-6 autumn festivals; pumpkin and squash festivals; Halloween events, activities, and parties; roasting chestnuts; and some truly horrifying excitement for the adventurous minded. You can also partake in the lovely Basel tradition of the Feature Event: Baloise Session 7conker collection day at Lange Erlen, enjoy the season’s bounty in the Black Forest, or take the family fossil hunting in the Jurassic region of Switzerland. There are also flea markets galore, including the annual “must”—the Rudolf Fun Outings: Beyond Basel 8Steiner Schule flea market. The month of October also brings with it numerous great new museum exhibits focusing on everything from a realist painter and a Finnish architect Markets and Fairs 9-11 to the history of shoes, Switzerland and the Great War, and the secret world of parasites.
  • Shakespeare on Film, Video & Stage

    Shakespeare on Film, Video & Stage

    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
  • TIJANA BJELAJAC Set Designer/Artist 625

    TIJANA BJELAJAC Set Designer/Artist 625

    TIJANA BJELAJAC set designer/artist 625. Main Street e-mail: [email protected] New York, NY 10044 www.teeyana.com Phone: 212-518-8267 BROADWAY CREDITS: • Head Over Heels - Assistant, Set design Julian Crouch, NYC 2018 • Disney’s “Frozen” - Assistant, Set Design Christopher Oram, NYC 2017 • Turn Off The Dark, Spiderman - Assistant, Set Design George Tsypin, NYC 2011 • Disney’s “Little Mermaid” - Assistant, Set Design George Tsypin, Lunt-Fontanne Theater, NYC 2007 • Little Dog Laughed - Assistant, Set Design Allen Moyer, The Cort Theater, NYC 2006 OPERA: • The Egyptian Helen - Assistant, Set Design Julian Crouch, Opera La Scala, Milan, Italy 2018 • The Gospel According to the Other Mary- Assistant, Set Design George Tsypin, London (ENO) 2014 • Manon Lescaut- Assistant, Set Design George Tsypin, St.Petersburg, Mallinsky Theater 2014 • William Tell - Assistant, Set Design George Tsypin, Amsterdam Opera 2013 • The Magic Flute - Associate Designer, Director Julie Taymor, Sydney Opera, Australia 2012 • La Boheme - Set Designer, Director Sharon Daniels, Boston University Theater, Boston 2007 SELECTED SCENE DESIGN WORK: • Little Shop of Horrors, Associete, Designer Julian Crouch, Dir. Michael Mayer 2019 • Course of the Starving Class, Associete, Designer Julian Crouch, Dir. Terry Kinney 2019 • Disney’s Beauty and the Beast - Director Lynne Kurdziel Formato, Misi Productions, Colombia 2019 • Musical “Ella es Colombia” - Director Luis Salgado, Misi Productions, Bogota, Colombia 2018 • The Producers - Director DJ Salisbury, Musical Theater
  • SHIRCORE Jenny

    SHIRCORE Jenny

    McKinney Macartney Management Ltd JENNY SHIRCORE - Make-Up and Hair Designer 2003 Women in Film Award for Best Technical Achievement Member of The Academy of Motion Picture Arts & Sciences THE DIG Director: Simon Stone. Producers: Murray Ferguson, Gabrielle Tana and Ellie Wood. Starring: Lily James, Ralph Fiennes and Carey Mulligan. BBC Films. BAFTA Nomination 2021 - Best Make-Up & Hair KINGSMAN: THE GREAT GAME Director: Matthew Vaughn. Producer: Matthew Vaughn. Starring: Ralph Fiennes and Tom Holland. Marv Films / Twentieth Century Fox. THE AERONAUTS Director: Tom Harper. Producers: Tom Harper, David Hoberman and Todd Lieberman. Starring: Felicity Jones and Eddie Redmayne. Amazon Studios. MARY QUEEN OF SCOTS Director: Josie Rourke. Producers: Tim Bevan, Eric Fellner and Debra Hayward. Starring: Margot Robbie, Saoirse Ronan and Joe Alwyn. Focus Features / Working Title Films. Academy Award Nomination 2019 - Best Make-Up & Hairstyling BAFTA Nomination 2019 - Best Make-Up & Hair THE NUTCRACKER & THE FOUR REALMS Director: Lasse Hallström. Producers: Mark Gordon, Larry J. Franco and Lindy Goldstein. Starring: Keira Knightley, Morgan Freeman, Helen Mirren and Misty Copeland. The Walt Disney Studios / The Mark Gordon Company. WILL Director: Shekhar Kapur. Exec. Producers: Alison Owen and Debra Hayward. Starring: Laurie Davidson, Colm Meaney and Mattias Inwood. TNT / Ninth Floor UK Productions. Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 JENNY SHIRCORE Contd … 2 BEAUTY & THE BEAST Director: Bill Condon. Producers: Don Hahn, David Hoberman and Todd Lieberman. Starring: Emma Watson, Dan Stevens, Emma Thompson and Ian McKellen. Disney / Mandeville Films.
  • FY19 Annual Report View Report

    FY19 Annual Report View Report

    Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut.