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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
PETER PAN Or the Boy Who Would Not Grow Up
PRESS RELEASE NORTH HIGH SCHOOL to present PETER PAN or The Boy Who Would Not Grow Up The Appleton North High School Theatre Department will present the play PETER PAN or The Boy Who Would Not Grow Up on May 16th through the 19th in the North High School Auditorium, 5000 North Ballard Road. This new version adapted from the original J.M. Barrie play and novel by Trevor Nunn and John Caird for the Royal Shakespeare Company and the National Theatre of London enjoyed phenomenal success when first produced. The famous team known for their productions of THE LIFE AND ADVENTURES OF NICHOLAS NICKLEBY and the musical LES MISERABLES have painstakingly researched and restored Barrie’s original play. “. .a national masterpiece.”—London Times. This is the beloved story of Peter, Wendy, Michael, John, Capt. Hook, Smee, the lost boys, pirates, and the Indians, and of course, Tinker Bell, in their adventures in Never Land. However, for the first time, the play is here restored to Barrie’s original intentions. In the words of adaptor, John Caird: “ We were fascinated to discover that there was no one single document called PETER PAN. What we found was a tantalizing number of different versions, all of them containing some very agreeable surprises….We have made some significant alterations, the greatest of which is the introduction of a new character, the Storyteller, who is in fact the author himself.” North’s theatre director, Ron Parker, states, “This is a very different PETER PAN than the one most people are familiar with. It is neither the popular musical version nor the Disney animated recreation, but goes back to Barrie’s original play and novel. -
Biographies (396.2
ANTONELLO MANACORDA conducteur italien • Formation o études de violon entres autres avec Herman Krebbers à Amsterdam o puis, à partir de 2002, deux ans de direction d’orchestre chez Jorma Panula. • Orchestres o 1997 : il crée, avec Claudio Abbado, le Mahler Chamber Orchestra o 2006 : nommé chef permanent de l’ensemble I Pomeriggi Musicali à Milaan o 2010 : nommé chef permanent du Kammerakademie Potsdam o 2011 : chef permanent du Gelders Orkest o Frankfurt Radio Symphony, BBC Philharmonic, Mozarteumorchester Salzburg, Sydney Symphony, Orchestra della Svizzera Italia, Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker, Staatskapelle Weimar, Helsinki Philharmonic, Orchestre National du Capitole de Toulouse & Gothenburg Symphony • Fil rouge de sa carrière o collaboration artistique de longue durée avec La Fenice à Venise • Pour la Monnaie o dirigeerde in april 2016 het Symfonieorkest van de Munt in werk van Mozart en Schubert • Projets récents et futurs o Il Barbiere di Siviglia, Don Giovanni & L’Africaine à Frankfort, Lucio Silla & Foxie! La Petite Renarde rusée à la Monnaie, Le Nozze di Figaro à Munich, Midsummer Night’s Dream à Vienne et Die Zauberflöte à Amsterdam • Discographie sélective o symphonies de Schubert avec le Kammerakademie Potsdam (Sony Classical - courroné par Die Welt) o symphonies de Mendelssohn également avec le Kammerakademie Potsdam (Sony Classical) • Pour en savoir plus o http://www.inartmanagement.com o http://www.antonello-manacorda.com CHRISTOPHE COPPENS Artiste et metteur -
The Bedian, Winter 2019-2020
WINTER 2019 - 2020 WELCOME You might not know it quite yet, but 2020 is a While we look back at the past then, and celebrate the 125th significant year in Bede’s history. Anniversary of the foundation of our school, it is important to remember that we are also starting a whole new decade. In part this is because this year marks a significant anniversary, in that St Bede’s Preparatory School first opened its doors 125 years It is one in which my colleagues and I look forward to reconnecting ago. and deepening links with every Old Bedian, and I was very thankful to meet so many of our founding Senior School pupils and staff last year Who in 1895 could have imagined that our school community would at the 40th Anniversary Dinner. thrive as it has done, and that Bede’s would become a place where every individual is encouraged to explore, seek new horizons, and I hope to meet many more of you at the events we have planned at the achieve their potential – whatever that might mean for them? school in this special anniversary year, and in the meantime during this unprecedented time I encourage every Bedian to reflect back and 2020 also began with some very sad news however, in that Peter also to look ahead, in just the way Peter Pyemont always did and to Pyemont passed away on Friday 7 February. keep safe and well during this difficult period. He was a remarkable man, and was regarded as one of the greatest Peter Goodyer headmasters of his generation. -
Jonson's Use of the Morality of Vice in Volpone and the Alchemist
JONSON'S USE OF THE MORTALITY VICE IN VOLPONE AND THE ALCHEMIST JONSON'S USE OF THE MORALITY VICE IN VOLPONE AND THE ALCHEMIST By JANE CHRISTINE GARRETT A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jane Christine Garrett, September, 1990 MASTER OF ARTS (1990) McMaster University (English) Hamilton, Ontario TITLE: Jonson's Use of the Morality of Vice in Volpone and The Alchemist AUTHOR: Jane Christine Garrett, Hons. B.A. (McMaster University) SUPERVISOR: Dr. Anthony Brennan NUMBER OF PAGES: vi, 98 11 ABSTRACT This thesis is an attempt to demonstrate the ways in which Ben Jonson incorporates some of the qualities of the Morality Vice into the lead characters of Volpone and The Alchemist. While critics have often ignored Jonson's Morality heritage, the similarity between his lead cozeners and the Vice is often striking. Face and Mosca's overwhelming love of the theatre manifests itself in their superior ability to create a drama in which their scheming partners and ambitious clients expose the faults to which all humanity is prone. Certainly, as it strives to rule the dramatic world, the Vice forms a precarious bond with the audience. Its Morality traits underscore its evil nature and therefore alienate us from the Vice to some degree. However, this figure could imitate humanity and thus invites the audience into an uncomfortable camaraderie which exposes the spectators' own attraction to greed. The first chapter of my thesis examines many of the Vice's central characteristics, such as his love of masks and his ability to create and sustain anarchy. -
Television Academy Awards
2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. -
Nine Night at the Trafalgar Studios
7 September 2018 FULL CASTING ANNOUNCED FOR THE NATIONAL THEATRE’S PRODUCTION OF NINE NIGHT AT THE TRAFALGAR STUDIOS NINE NIGHT by Natasha Gordon Trafalgar Studios 1 December 2018 – 9 February 2019, Press night 6 December The National Theatre have today announced the full cast for Nine Night, Natasha Gordon’s critically acclaimed play which will transfer from the National Theatre to the Trafalgar Studios on 1 December 2018 (press night 6 December) in a co-production with Trafalgar Theatre Productions. Natasha Gordon will take the role of Lorraine in her debut play, for which she has recently been nominated for the Best Writer Award in The Stage newspaper’s ‘Debut Awards’. She is joined by Oliver Alvin-Wilson (Robert), Michelle Greenidge (Trudy), also nominated in the Stage Awards for Best West End Debut, Hattie Ladbury (Sophie), Rebekah Murrell (Anita) and Cecilia Noble (Aunt Maggie) who return to their celebrated NT roles, and Karl Collins (Uncle Vince) who completes the West End cast. Directed by Roy Alexander Weise (The Mountaintop), Nine Night is a touching and exuberantly funny exploration of the rituals of family. Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine rum-fuelled nights of music, food, storytelling and laughter – and an endless parade of mourners. The production is designed by Rajha Shakiry, with lighting design by Paule Constable, sound design by George Dennis, movement direction by Shelley Maxwell, company voice work and dialect coaching by Hazel Holder, and the Resident Director is Jade Lewis. -
Rory Kinnear
RORY KINNEAR Film: Peterloo Henry Hunt Mike Leigh Peterloo Ltd Watership Down Cowslip Noam Murro 42 iBoy Ellman Adam Randall Wigwam Films Spectre Bill Tanner Sam Mendes EON Productions Trespass Against Us Loveage Adam Smith Potboiler Productions Man Up Sean Ben Palmer Big Talk Productions The Imitation Game Det Robert Nock Morten Tydlem Black Bear Pictures Cuban Fury Gary James Griffiths Big Talk Productions Limited Skyfall Bill Tanner Sam Mendes Eon Productions Broken* Bob Oswald Rufus Norris Cuba Pictures Wild Target Gerry Jonathan Lynne Magic Light Quantum Of Solace Bill Tanner Marc Forster Eon Productions Television: Guerrilla Ch Insp Nic Pence John Ridley & Sam Miller Showtime Quacks Robert Andy De Emmony Lucky Giant The Casual Vacancy Barry Fairbrother Jonny Campbell B B C Penny Dreadful (Three Series) Frankenstein's Creature Juan Antonio Bayona Neal Street Productions Lucan Lord Lucan Adrian Shergold I T V Studios Ltd Count Arthur Strong 1 + 2 Mike Graham Linehan Retort Southcliffe David Sean Durkin Southcliffe Ltd The Hollow Crown Richard Ii Various Neal Street Productions Loving Miss Hatto Young Barrington Coupe Aisling Walsh L M H Film Production Ltd Richard Ii Bolingbroke Rupert Goold Neal Street Productions Black Mirror; National Anthem Michael Callow Otto Bathurst Zeppotron Edwin Drood Reverend Crisparkle Diarmuid Lawrence B B C T V Drama Lennon Naked Brian Epstein Ed Coulthard Blast Films First Men Bedford Damon Thomas Can Do Productions Vexed Dan Matt Lipsey Touchpaper T V Cranford (two Series) Septimus Hanbury Simon Curtis B B C Beautiful People Ross David Kerr B B C The Thick Of It Ed Armando Iannucci B B C Waking The Dead James Fisher Dan Reed B B C Ashes To Ashes Jeremy Hulse Ben Bolt Kudos For The Bbc Minder Willoughby Carl Nielson Freemantle Steptoe & Sons Alan Simpson Michael Samuels B B C Plus One (pilot) Rob Black Simon Delaney Kudos Messiah V Stewart Dean Harry Bradbeer Great Meadow Rory Kinnear 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. -
Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership -
BBC Four Winter/Spring 2007
bbc_four_Autmun_2006.qxd:Layout 1 16/1/07 10:42 Page 1 Winter/Spring Highlights 2007 bbc.co.uk/bbcfour bbc_four_Autmun_2006.qxd:Layout 1 16/1/07 10:42 Page 3 The Edwardians – People Like Us? In just a few years at the start of the 20th century, Britain changed in unimaginable ways. From the first foray into aviation, to the invention of labour-saving devices for the home, to the rise of “the brand”, and the birth of not only “the High Street”, but also of the “commuter class”, mass consumerism and tabloid journalism, the Edwardians lived lives not too distant from our own. This new BBC Four season investigates, interrogates and celebrates the richness and excitement of this pioneering and world-changing time. 01 bbc_four_Autmun_2006.qxd:Layout 1 16/1/07 10:42 Page 5 The season includes some of the era’s best-known names, from literary giants such as George and Weedon Grossmith and Saki, to the doyenne of the music hall, Marie Lloyd. Along the way, it also uncovers lesser-known figures. It hears about trailblazers in the fields of social reform, journalism, photography, entrepreneurship and technical invention, uncovering what it really felt like to be Edwardian. Dramas The season launches with Andrew Davies’s brilliant, two-part adaptation of the classic comedy novel The Diary Of A In a compelling drama about the life of one of the biggest stars Nobody, starring Hugh Bonneville as the wonderfully of the time, Marie Lloyd – starring Jessie Wallace as Marie – pompous diarist Mr Charles Pooter – the Victor Meldrew of the season exposes the seedy underbelly of this peculiarly his day – Edwardian entertainment. -
Trafalgar Entertainment Launch Release 22-06-2017
22nd June 2017 HOWARD PANTER AND ROSEMARY SQUIRE LAUNCH THEIR NEW VENTURE TRAFALGAR ENTERTAINMENT GROUP WITH THE ACQUISITION OF TRAFALGAR RELEASING (FORMERLY OPERATING AS PICTUREHOUSE ENTERTAINMENT) AND THE PURCHASE OF TRAFALGAR STUDIOS Sir Howard Panter and Rosemary Squire OBE announced today the acquisition of Trafalgar Releasing (formerly operating as Picturehouse Entertainment), an award winning, market- leader in global event distribution, to be known as Trafalgar Releasing. This multi million purchase coincides with the completed acquisition by the theatrical impresarios of London’s Trafalgar Studios, with its two London Theatres. Trafalgar Entertainment’s next theatre production at Trafalgar Studios will star Tony and Emmy Award winning Stockard Channing in Apologia “Sharp, funny, wise & humane” (Daily Telegraph) written by Alexi Kaye Campbell, and directed by Jamie Lloyd. It will preview at Trafalgar Studios from 29 July 2017. Among other productions Howard Panter will also continue to produce The Rocky Horror show globally, including new productions in New York, Germany and Australia. Trafalgar Releasing works with some of the world’s most renowned arts institutions, distributing high-profile live content to cinemas in the UK and around the world from the Royal Shakespeare Company, the Bolshoi Ballet, Glyndebourne, the National Theatre, the Metropolitan Opera and the Royal Opera House. Recent Trafalgar Releasing announcements have included David Gilmour Live at Pompeii screening in approximately 2000 cinemas around the world, Donmar presents Julius Caesar, the first part of Phyllida Lloyd’s Shakespeare Trilogy and Alone in Berlin Live from IWM London, a preview featuring Emma Thompson followed by a lively and inspiring discussion exploring the themes of the film. -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King .