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Monday 7 January 2019 FULL CASTING ANNOUNCED for THE
Monday 7 January 2019 FULL CASTING ANNOUNCED FOR THE WEST END TRANSFER OF HOME, I’M DARLING As rehearsals begin, casting is announced for the West End transfer of the National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling, a new play by Laura Wade, directed by Theatre Clwyd Artistic Director Tamara Harvey, featuring Katherine Parkinson, which begins performances at the Duke of York’s Theatre on 26 January. Katherine Parkinson (The IT Crowd, Humans) reprises her acclaimed role as Judy, in Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife. She is joined by Sara Gregory as Alex and Richard Harrington as Johnny (for the West End run, with tour casting for the role of Johnny to be announced), reprising the roles they played at Theatr Clwyd and the National Theatre in 2018. Charlie Allen, Susan Brown (Sylvia), Ellie Burrow, Siubhan Harrison (Fran), Jane MacFarlane and Hywel Morgan (Marcus) complete the cast. Home, I’m Darling will play at the Duke of York’s Theatre until 13 April 2019, with a press night on Tuesday 5 February. The production will then tour to the Theatre Royal Bath, and The Lowry, Salford, before returning to Theatr Clwyd following a sold out run in July 2018. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. How happily married are the happily married? Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems. -
Magic Goes Wrong to Miraculously Extend Until August 2020
Press Release: Monday 20th January 2020 MAGIC GOES WRONG TO MIRACULOUSLY EXTEND UNTIL AUGUST 2020 Mischief Theatre, the Olivier award-winning company behind The Play That Goes Wrong, is flabbergasted to announce a new booking period for Magic Goes Wrong, with tickets now on sale until 30th August 2020. Created with magic legends Penn & Teller, this is the second production as part of Mischief Theatre’s residency at the Vaudeville Theatre. In the latest ‘Goes Wrong’ comedy to hit the West End, the original Mischief company play a hapless gang of magicians presenting a charity event. As the accidents spiral out of control, so does their fundraising target! The Magic Goes Wrong cast includes: Bryony Corrigan Spitzmaus Roxy Faridany Eugenia Dave Hearn The Blade Henry Lewis Mind Mangler Jonathan Sayer Mickey Henry Shields Sophisticato Nancy Zamit Bär The cast is completed by Natasha Culley, Lauren Ingram, Laurence Pears, Sydney K Smith and Liv Spencer. Magic Goes Wrong is directed by Adam Meggido, designed by Will Bowen with costume designs by Roberto Surace. Lighting design is by David Howe, with Sound Design by Paul Groothuis and Video & Projection Design by Duncan McLean. Ben Hart is the Magic Consultant. The Composer is Steve Brown, alongside Movement Director Ali James and Associate Director Hannah Sharkey. Mischief Theatre Ltd. was founded in 2008 by a group of acting graduates of LAMDA and began as an improvised comedy group. Mischief performs across the UK and internationally with original scripted and improvised work and also has a programme of workshops. Mischief Theatre’s other current 1 London productions are The Play That Goes Wrong and The Comedy About A Bank Robbery, performing at the Duchess Theatre and Criterion Theatre respectively. -
LIT 3693 Play, Performance, and Perspectives: the London Stage Elective Abroad Information Session BABSON ELECTIVES ABROAD
LIT 3693 Play, Performance, and Perspectives: The London Stage Elective Abroad Information Session BABSON ELECTIVES ABROAD Short-term, faculty-led courses ● Advanced Liberal Arts and Advanced Electives (4 credits) 1-3 weeks abroad ● No min. GPA Fall Semester • MOB: Contemporary Strategic Issues in Chile • LIT: Play & Performance in U.K. Winter Session • EPS: Institutions & Entrepreneurship in Japan • HIS: Social Responsibility in Malaysia Spring Semester • HUM: Mapping Cultural Histories in Spain Summer 1st Session • MOB: Start-up Strategy in France *2016-2017 schedule BABSON ELECTIVES ABROAD TEAM Elise Beaudin Renée Alex Meredith Director Graham Nesbeda Dziuba Electives Abroad Electives Abroad Electives Abroad Electives Abroad Program Manager Program Manager Program Assistant Winter Session 4-Credit Advanced Liberal Arts Course January 7 - 21, 2016 Professor Jon Dietrick Professor Kevin Bruyneel London, England • Shared double rooms in a modern, clean, comfortable hotel • Walking-distance to shopping & restaurants • Close to most of the theatres Past Performances: Shakespeare’s Romeo and Juliet at the Roundhouse Feydeau’s A Flea in Her Ear at the Old Vic Beauty and the Beast at the Cottlesloe National Theatre Oscar Wilde’s An Ideal Husband at the Vaudeville Theatre Greig and McIntyre’s Midsummer at the Tricycle Theatre Graham Greene’s The Potting Shed at the Finborough Theatre Stewart’s Men Should Weep at the Lyttleton National Theatre War Horse at the New London Theatre • Educational Tours of London and Key Theatres • Performance Workshops with Professional Companies • Visits to Museums, Exhibits and other Sites of Cultural or Theatrical Interest Mornings in the Classroom • Seminar • Discussion • Presentations Most Afternoons at Workshops or Tours Evenings at the Theatre Weekends you’re largely on your own to explore. -
Christopher York SERENA MANTEGHI Build a Rocket Was Christopher’S Debut Serena Manteghi Is an Established Play
Stephen Joseph Theatre and Tara Finney Productions present Running time: 75 minutes (no interval) | Age guidance: 14+ (Contains some strong language and adult themes) Tell us what you thought: @thesjt | @tara_finney | #BuildARocket Christopher York SERENA MANTEGHI Build a Rocket was Christopher’s debut Serena Manteghi is an established play. After winning HighTide’s First theatre practitioner and performer, Commissions Award, the text was working extensively in new writing, developed in conjunction with HighTide, devising and physical storytelling. She is Women at RADA and the SJT. It debuted the recipient of the following awards; at the SJT in 2018, and subsequently BankSA ‘Best Theatre’ Award for won The Holden Street Award at The Eurydice Edinburgh Festival, the Adelaide Fringe Best Theatre Weekly , The Sunday Mail’s ‘Best Female Award and was named as The Sunday Mail’s Best Female Solo Performance’ for Build A Rocket, ‘Honourable Mention’ Solo Show. by Critics Circle Award for Build A Rocket and she was shortlisted for the Norman Beaton Fellowship Award in Christopher’s adaptation of The Pit and the Pendulum also 2016. premiered in 2018, set in the modern day Middle East, it scrutinised the attire laws that oppress women in those Her theatre credits include; Hamlet (Shakespeare’s Rose areas. It opened in Oxford’s Bodleian Libraries’ historical Theatre), Salty Irina (Ovalhouse), Eurydice (Holden Street Convocation House before transferring to The Omnibus in Theatres, Adelaide), Build A Rocket (Stephen Joseph Theatre/ London. Various), The Terrible Infants (Wiltons Music Hall), The Rise and His new play 212 is an Arts Council England’s supported Fall of Little Voice (Stephen Joseph Theatre), Echoes (Brits Off project. -
Andrew Lloyd Webber's Olivier Award
ANDREW LLOYD WEBBER’S OLIVIER AWARD-WINNING S C H O O L O F R O C K - T H E M U S I C A L WELCOMES NEW ADULT CAST WWW.SCHOOLOFROCKTHEMUSICAL.COM Today, 23 October 2017, rehearsals begin for the new West End cast of Andrew Lloyd Webber’s Olivier award-winning production of School of Rock - The Musical. Stephen Leask, having played the role of alternate Dewey since May this year, will now lead the cast as Dewey Finn from 15 November 2017, as the show enters its second year in the West End. Joining Leask at the New London Theatre will be Alan Pearson as Ned Schneebly, Michelle Francis as Patty Di Marco, currently a member of the ensemble, and Craig Gallivan as the alternate Dewey Finn. Florence Andrews will continue as Rosalie Mullins alongside the three teams of thirteen kids who make up Dewey’s band. The ‘grown up’ cast is completed by ensemble members Nick Butcher, Cassandra McCowan, Jessica Louise Parkinson, Andy Rees, Cameron Sharp, Jake Sharp, James Smoker, Wendy Somerville, Andrew Spillett, Hannah Stratton and Alex Tomkins with swings, Paul Kemble, Laura Medforth, Billy Mitchell, Tasha Sheridan and Joshua St. Clair. To vote for School of Rock - The Musical which has been nominated for the 2017 Evening Standard Radio 2 Audience Award for Best Musical visit bbc.co.uk/radio 2. Voting closes on 29 October 2017 at 11.59pm and the winner will be announced at the Evening Standard Awards on 3 December 2017. On 6 November 2017 School of Rock - The Musical will host this year’s BBC Radio 2’s BBC Children in Need Gala. -
Equality, Diversity and the Creative Case
Equality, Diversity and the Creative Case A Data Report 2018-19 Getting started Read a Foreword from our Chair, Sir Nicholas Serota; find out more about where the data in this report is from; and get the key findings from the Executive Summary. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 2 Foreword Foreword by Sir Nicholas Serota, Chair, Arts Council England In 2017, we announced a new This is the first report to focus on this new analysis, review of reports, conversations To fully embrace these opportunities, the National Portfolio and it’s also the first time and two national consultations. A core cultural sector needs to apply its creativity National Portfolio of organisations we’ve been able to look deeper into the detail. principle of the investment that will be made to all aspects of its business and activities. that would receive regular funding This reveals more information across different under the 2020-30 Strategy is the need to Organisations need to continue to change parts of the country and different types of diversify the cultural sector – the leadership, and develop, to innovate, to explore and to for the period 2018-22. Libraries organisations. We’ve also been able to release workforce and governance of organisations; progress. Diversity of thought, experience and Museums were integrated more granular data looking across disciplines, the audiences and visitors influencing and and perspective are vital, and inclusivity and including individual Creative Case ratings. experiencing the creative and cultural offer; relevance are therefore driving principles in into the portfolio for the first and the artists, creatives and producers. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
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. -
MITCH SEBASTIAN Director/Choreographer
MITCH SEBASTIAN Director/Choreographer EVG LAKE SHOW EVG Ocean Park Concept / Creative Director PETER PAN Bogota, Colombia Book / Director / Choreo POR SIEMPRE NAVIDAD Bogota, Colombia Book / Director / Choreo LEGALLY BLONDE Kilworth House Theatre Director / Choreo EVOLUTION OCT Shenzhen, china Concept / Director / Choreo SINGING IN THE RAIN Kilworth House Theatre Director / Choreo THE SOUND OF MUSIC Bogota, Colombia Director / Choreo POR SIEMPRE NAVIDAD Bogota, Colombia Book / Director / Choreo VICTOR WANDA Group, China Concept / Creative Director SISTER ACT Kilworth House Theatre Director / Choreo THE WEST END MEN Vaudeville Theatre Concept / Director / Choreo SOUTH PACIFIC Kilworth House Theatre Director / Choreo POR SIEMPRE NAVIDAD Bogota, Colombia Book / Director / Choreo THE WEST END MEN UK National Tour Concept / Director/ Choreo ANYTHING GOES Kilworth House Theatre Director / Choreo MY FAIR LADY Kilworth House Theatre Director / Choreo CHRISTMAS RATPACK UK National Tour Director / Choreo / Writer CHRISTMAS RATPACK USA No1 National Tour Director / Choreo / Writer THE SOUND OF MUSIC Kilworth House Theatre Director / Choreo ME AND MY GIRL Kilworth House Theatre Director / Choreo PIPPIN Menier Chocolate Director/ Choreo RATPACK Factory Wyndhams Director / Choreo / Writer CHRISTMAS RATPACK Theatre Director / Choreo / Writer LITTLE SHOP OF HORRORS USA No.1 National Tour Director / Choreo PIRATES OF PENZANCE Kilworth House Theatre Director / Choreo THE OPERA SHOW Kilworth House Theatre Concept / Director/ Choreo GUYS AND DOLLS World -
See a Full List of the National Youth
Past Productions National Youth Theatre '50s 1956: Henry V - William Shakespeare, Dir: Michael Croft @ Toynbee Hall 1957: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Toynbee Hall 1957: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Worthington Hall, Manchester 1958: Troilus & Cressida - William Shakespeare, Dir: Michael Croft @ Moray House Theatre, Edinburgh 1958: Troilus & Cressida - William Shakespeare, Dir: Michael Croft @ Lyric Theatre, Hammersmith '60s 1960: Hamlet - William Shakespeare, Dir: Michael Croft @ Tour of Holland. Theatre des Nations. Paris 1961: Richard II - William Shakespeare, Dir: Michael Croft @ Apollo Theatre, Shaftesbury Avenue 1961: Richard II - William Shakespeare, Dir: Michael Croft @ Ellen Terry Theatre. Tenterden. Devon 1961: Richard II - William Shakespeare, Dir: Michael Croft @Apollo Theatre, Shaftesbury Avenue 1961: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Apollo Theatre, Shaftesbury Avenue 1961: Julius Caesar - William Shakespeare, Dir: Michael Croft @ British entry at Berlin festival 1962: Richard II - William Shakespeare, Dir: Michael Croft @ Italian Tour: Rome, Florence, Genoa, Turin, Perugia 1962: Richard II - William Shakespeare, Dir: Michael Croft @ Tour of Holland and Belgium 1962: Henry V - William Shakespeare, Dir: Michael Croft @ Sadlers Wells 1962: Julius Caesar - William Shakespeare, Dir: Michael Croft @ Sadlers Wells1962: 1962: Hamlet - William Shakespeare, Dir: Michael Croft @ Tour for Centre 42. Nottingham, Leicester, Birmingham, Bristol, Hayes -
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