Mike Robertson
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The 101 Most-Cited Papers from the British Medical Journal Highlight The
EUGENE GARFIELD INSTITUTEFORSCIENTIFICINFORMATION- 3501MARKETST,PHILADELPHIA,PA19104 The 101 Most-Cited Papers from the British Medical Jownd Highlight the Important Role of Epidemiology in Medicine Number 7 February 16, 1987 The British Medical Journal began pub- Medical Journal, but of these only 20 per- lishing in 1840 as the organ of the Provin- cent are eventually published.s (p. 243) The cial Medical Association (PMA), a group current editor, Stephen Leek, who authored of physiciartspracticing in the provinces out- a 1985 book on peer review in medicine,4 side England’s major cities. They had follows extensive refereeing practices (a re- banded together in 1832 to share their indi- cent review of which appears in a 1986 ar- vidual medical experiences with one another ticle in Schokwly Publishing.s) He alw sub- in much the same fashion as the metropoli- scribes to the rule promulgated by Franz tan physicians who had earlier formed their Ingelfinger, former edkor of the New En- own society and journal. The PMA”s first gland Journal of Medicine. The essence of periodical was called 7he Provincial Medi- the Ingelfinger rule is that articles submit- cal arrd Surgical Journal; in 1853 it merged ted to a journal cannot have been previous- with the Lmdon Journal of Medicine to be- ly published in, or be simultaneously sub- come the Association Medical Journal. Four mitted to, other joumals.b The British Med- years later the PMA acknowledged its grow- ical Journal is also a founding member of ing memkaship throughout Great Britain by the frstemational Committee of Medical renaming the society the British Medical Journal Editors-the Vancouver Group— Association. -
Hw Biography 2021
HUGH WOOLDRIDGE Director and Lighting Designer; Visiting Professor Hugh Wooldridge has produced, directed and devised theatre and television productions all over the world. He has taught and given master-classes in the UK, Europe, the US, South Africa and Australia. He trained at the London Academy of Music and Dramatic Art (LAMDA) and made his West End debut as an actor in The Dame of Sark with Dame Celia Johnson. Subsequently he performed with the London Festival Ballet / English National Ballet in the world premiere production of Romeo and Juliet choreographed by Rudolph Nureyev. At the age of 22, he directed The World of Giselle for Dame Ninette de Valois and the Royal Ballet. Since this time, he has designed lighting for new choreography with dance companies around the world including The Royal Ballet, Dance Theatre London, Rambert Dance Company, the National Youth Ballet and the English National Ballet Company. He directed the world premieres of the Graham Collier / Malcolm Lowry Jazz Suite Under A Volcano and The Undisput’d Monarch of the English Stage with Gary Bond portraying David Garrick; the Charles Strouse opera, Nightingale with Sarah Brightman at the Buxton Opera Festival; Francis Wyndham’s Abel and Cain (Haymarket, Leicester) with Peter Eyre and Sean Baker. He directed and lit the original award-winning Jeeves Takes Charge at the Lyric Hammersmith; the first productions of the Andrew Lloyd Webber and T. S. Eliot Cats (Sydmonton Festival), and the Andrew Lloyd Webber / Don Black song-cycle Tell Me 0n a Sunday with Marti Webb at the Royalty (now Peacock) Theatre; also Lloyd Webber’s Variations at the Royal Festival Hall (later combined together to become Song and Dance) and Liz Robertson’s one-woman show Just Liz compiled by Alan Jay Lerner at the Duke of York’s Theatre, London. -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
Sean Jackson Photo: Sally Mais
1st Floor 37 Great Queen Street London WC2B 5AA t +44 (0)20 7831 4450 e [email protected] Sean Jackson Photo: Sally Mais Appearance: White Greater London, England, United Location: Kingdom Other: Equity Cardiff, Wales, United Kingdom Eye Colour: Blue Height: 5'9" (175cm) Hair Colour: Dark Brown Weight: 10st. 8lb. (67kg) Voice Quality: Clear Playing Age: 51 - 60 years Voice Character: Direct Television Television, The Businessman, The Innocents, TI Productions, Jamie Donoughue Television, Gualberto, Da Vinci's Demons (Season 2), DVDS2 Ltd, Charles Sturridge/Peter Hoar Television, Cameron Roper, Silent Witness, BBC, Richard Clark Television, Matt, The Fear, World Productions & Channel 4, Michael Samuels Television, Gualberto, Da Vinci's Demons (Season 1), Tonto Films, Jamie Payne Television, Duty Constable, Waking the Dead, BBC, Richard Standeven Television, Special Branch Officer, No Bananas, BBC Television, Robert Tronson Television, Police Sergeant James, Soldier Soldier VI, Central Television, Graham Moore Television, Reg, Eastenders, BBC Television, Jo Johnson Stage 2019, Stage, Fabien Muller/Theo Marber, Mephisto (A Rhapsody), Gate Theatre London, Kirsty Housley 2019, Stage, Bob Brodie, Eden, Hampstead Theatre, Matthew Xia 2018, Stage, Peter Walsh/Evans/Miss Pam/Sir William Bradshaw, Mrs Dalloway, Arcola & Forward Arena, Thomas Bailey Stage, Lennox, Macbeth, Theatre Severn, Loveday Ingram Stage, Piggy, The Hook, Royal & Derngate Northampton/Liverpool Everyman, James Dacre Stage, Gerard of Ridefort/Napoleon, Holy Warriors, Shakespeare's -
Beckett at Theyoungvic
Samuel Beckett Today / Aujourd’hui 29 (2017) 243–255 brill.com/sbt Beckett at the Young Vic From the Marginal to the Major-Marginal Matthew McFrederick Teaching Fellow in Theatre, University of Reading, uk [email protected] Abstract This article will examine the formative years of the Young Vic in London when pro- ductions of Waiting for Godot, Endgame and Happy Days were staged and embraced by a new generation of theatregoers and practitioners in a metropolitan theatre that began at the edge of the city’s mainstream theatre culture. Through a range of archival resources and an interview with the Young Vic’s founding director, this essay will dis- cuss the reception of these performances and their ability to engage with young audi- ences. It will conclude by tracing the YoungVic’s more recent association with Beckett’s drama, as the theatre has grown into an independent force competing with larger, tra- ditional theatre institutions. Résumé Cet article évoque la formation du Young Vic à Londres, plus précisément les années où y ont été réalisées les mises en scène d’En attendant Godot, de Fin de partie et de Oh les beaux jours pour une nouvelle génération de spectateurs ou de gens du théâtre, immédiatement convaincus, dans un théâtre métropolitain mais qui avait débuté en marge de la culture théâtrale traditionnelle. À partir d’un grand nombre d’archives, d’un interview du directeur et fondateur du Young Vic, cet essai traitera de l’accueil qu’ont rencontré ces spectacles et de leur capacité à intéresser les jeunes publics. -
Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
DAVID WOOD a Chronology
DAVID WOOD A Chronology CHILDREN’S PLAYS AND MUSICALS (acting editions published by Samuel French) 1967 THE TINDERBOX (book, music and lyrics). (Based on the story by Hans Andersen) Swan Theatre, Worcester. Unpublished. 1968 THE OWL AND THE PUSSYCAT WENT TO SEE... (co-written with Sheila Ruskin, based on the verses and stories of Edward Lear). Swan Theatre, Worcester. Subsequently WSG Productions Ltd. production at Jeannetta Cochrane Theatre, London (1969) and many more London Christmas seasons. * 1969 LARRY THE LAMB IN TOYTOWN (co-written with Sheila Ruskin, adapted from the stories of S.G. Hulme-Beaman). Swan Theatre, Worcester. Subsequently WSG Productions Ltd production at Shaw Theatre, London, 1973. * 1970 THE PLOTTERS OF CABBAGE PATCH CORNER (book, music and lyrics). Swan Theatre, Worcester. Subsequently Knightsbridge Theatical Productions Ltd/WSG Productions Limited production, Shaw Theatre 1971 and 1972 and Whirligig Theatre tour including Sadler’s Wells Theatre, London, 1979. 1971 FLIBBERTY AND THE PENGUIN (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre pilot tour, 1978. * 1972 TICKLE (one act) (book, music and lyrics). The Dance Drama Theatre tour. Subsequently Wakefield Tricycle Company production at Arts Theatre, London, 1977. THE PAPERTOWN PAPERCHASE (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre tour, including Sadler’s Wells Theatre, London, 1984.* 1973 HIJACK OVER HYGENIA (book, music and lyrics). Swan Theatre, Worcester. 1975 OLD MOTHER HUBBARD (book, music and lyrics). Queen’s Theatre, Hornchurch. 1976 THE GINGERBREAD MAN (book, music and lyrics). Towngate Theatre, Basildon. Subsequently, Cameron Mackintosh/David Wood production, The Old Vic (1977 and 1978) and many other London seasons. -
Cultural Convergence the Dublin Gate Theatre, 1928–1960
Cultural Convergence The Dublin Gate Theatre, 1928–1960 Edited by Ondřej Pilný · Ruud van den Beuken · Ian R. Walsh Cultural Convergence “This well-organised volume makes a notable contribution to our understanding of Irish theatre studies and Irish modernist studies more broadly. The essays are written by a diverse range of leading scholars who outline the outstanding cultural importance of the Dublin Gate Theatre, both in terms of its national significance and in terms of its function as a hub of international engagement.” —Professor James Moran, University of Nottingham, UK “The consistently outstanding contributions to this illuminating and cohesive collection demonstrate that, for Gate Theatre founders Hilton Edwards and Micheál mac Liammóir and their collaborators, the limits of the imagination lay well beyond Ireland’s borders. Individually and collectively, the contribu- tors to this volume unravel the intricate connections, both personal and artistic, linking the theatre’s directors, designers, and practitioners to Britain, Europe, and beyond; they examine the development and staging of domestic plays written in either English or Irish; and they trace across national boundaries the complex textual and production history of foreign dramas performed in translation. In addition to examining a broad spectrum of intercultural and transnational influ- ences and perspectives, these frequently groundbreaking essays also reveal the extent to which the early Gate Theatre was a cosmopolitan, progressive, and inclusive space that recognized and valued women’s voices and queer forms of expression.” —Professor José Lanters, University of Wisconsin—Milwaukee, USA “Cultural Convergence is a book for which we have been waiting, not just in Irish theatre history, but in Irish cultural studies more widely. -
Download András Jacobs' CV
András Jacobs Costume and Wardrobe Email: [email protected] Based in London, SE EDUCATION Currently: Technical Theatre Arts: Costume Supervision – Sept 2017 – July 2020 (3rd year) BA(HONS) Guildhall School of Music & Drama PRODUCTION PROFILE (Highlights productions are ones produced by the Guildhall School) ROLE PRODUCTION DESIGNER VENUE/COMPANY Costume Supervisor Grease: The Musical Stewart - Charlesworth Set and Costume The Kettling Brighton Fringe, Edinburgh Designer - Fringe, Camden Fringe. Hungry Wolf VYT Costume Assistant Dance Journeys 2020 Louie Whitemore English National Ballet Costume Supervisor Antigone Kai Fischer Silk Street Theatre, Guildhall School of Music & Drama Costume Supervisor The Royale Louie Whitemore Milton Court Studio, Guildhall School of Music & Drama Costume Supervisor GUT Louie Whitemore Milton Court Studio, Guildhall School of Music & Drama Costume Designer and Autumn Opera Scenes Milton Court Studio, Guildhall - Supervisor School of Music & Drama Costume Assistant [BLANK] Rosie Elnile Donmar Warehouse Costume Designer and RENT Stockwell Playhouse, RicNic - Dresser Theatre Set and Costume Sane and Sound Arcola Theatre - Designer Costume Designer All the Little Lights Tristan Bates Theatre, Camden - Fringe (Offie Winning) Costume Stylist and Iolanta Madeleine Boyd Villa Ephrussi de Rothschild, Les Buyer Azuriales Opera 1st Costume Assistant Merrily We Roll Along Adam Wiltshire Silk Street Theatre, Guildhall and Head Dresser School of Music & Drama Costume Assistant and Opera Double Bill – Aminta E Madeleine -
Introduction
Notes Introduction 1. Current feminist theatre scholarship tends to use the term ‘heteronormative’. The predominant use of the term ‘heterosexist’ in this study draws directly from black lesbian feminist Audre Lorde’s notion of ‘Heterosexism [as] the belief in the inherent superiority of one pattern of loving and thereby its right to dominance’ (Lorde, 1984, p. 45). 2. See Diana Fuss, Essentially Speaking: Feminism, Nature and Difference (London: Routledge, 1989) for summaries and discussions of the essen- tialism/constructionism debates. 3. See, for example, Elaine Aston, An Introduction to Feminism and Theatre (London: Routledge, 1995); Elaine Aston, Feminist Views on the English Stage: Women Playwrights, 1990–2000 (Cambridge: CUP, 2003); Mary F. Brewer, Race, Sex and Gender in Contemporary Women’s Theatre: The Construction of ‘Woman’ (Brighton: Sussex Academic Press, 1999); Lizbeth Goodman, Contemporary Feminist Theatres: To Each Her Own (London: Routledge, 1993); and Gabriele Griffin Contemporary Black and Asian Women Playwrights in Britain (Cambridge: CUP, 2003). 4. See, for example, Susan Croft, ‘Black Women Playwrights in Britain’ in Trevor R. Griffiths and Margaret Llewellyn Jones, eds, British and Irish Women Dram- atists Since 1968 (Buckingham: OUP, 1993); Mary Karen Dahl, ‘Postcolonial British Theatre: Black Voices at the Center’ in J. Ellen Gainor, ed., Imperi- alism and Theatre: Essays on World Theatre, Drama and Performance (London: Routledge, 1995); Sandra Freeman, Putting Your Daughters on the Stage: Lesbian Theatre from -
July 2018 Nickolas Grace Wayne Sleep OBE
President: Vice President: No. 503 - July 2018 Nickolas Grace Wayne Sleep OBE Shakespeare’s Birthday Party Reviewed by Liz Schafer The guest of honour at the 2018 Vic-Wells Association’s Shakespeare’s birthday party was Claire Bloom and it was particularly appropriate that the party was held in the rehearsal room where Claire rehearsed during her time at the Old Vic. She hadn’t enjoyed studying at the Central School of Speech and Drama, but here at the Vic she had revelled in working on the rôles of Juliet, (with Alan Badel as Romeo and Peter Finch as Mercutio), Ophelia (to Richard Burton’s Hamlet). She also played Viola in a Twelfth Night that included John Neville as Orsino, Paul Daneman as Feste, Richard Burton almost unrecognisable as a bewhiskered Sir Toby Belch and Michael Hordern as Malvolio. Meanwhile Viola’s twin Sebastian was played by Robert Hardy (How could Claire Bloom ever be mistaken for Robert Hardy?). Our President, Nickolas Grace, introduced Claire and pointed out how early her career took off – she was only 21 when she was picked out by Charlie Chaplin to star in Limelight: a daunting prospect, but Chaplin was totally supportive. Nickolas then reminisced about time spent working with Claire on Brideshead Claire Bloom as Thereza in Limelight Revisited when Nickolas played the outrageous Anthony Blanche and Claire played Lady Marchmain. Claire commented that although the cast was stellar, it was producer Derek Granger who was crucial in convincing her to do the series. Claire’s speech was the first try out of the Vic-Wells microphone, purchased so that speakers at parties can be heard more easily.