DOCSLIB.ORG

IMPERIUM I: CONSPIRATOR and II: DICTATOR Based on the Cicero Trilogy by ROBERT HARRIS Adapted by MIKE POULTON

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMPERIUM I: CONSPIRATOR and II: DICTATOR Based on the Cicero Trilogy by ROBERT HARRIS Adapted by MIKE POULTON PRESS RELEASE – Tuesday 13 March. 11am PRODUCTION PHOTOGRAPHY CAN BE DOWNLOADED HERE Twitter/ Facebook / Website The Royal Shakespeare Company and Playful Productions present IMPERIUM I: CONSPIRATOR and II: DICTATOR Based on the Cicero Trilogy by ROBERT HARRIS Adapted by MIKE POULTON Robert Harris’ best-selling Cicero trilogy, adapted for the stage by Mike Poulton, transfers to London’s West End this summer. This acclaimed, historical, two-part thriller has a limited 12 week engagement at the Gielgud Theatre from 14 June to 8 September 2018. Directed by RSC Artistic Director, Gregory Doran, IMPERIUM transfers to London following its recent sold-out run in Stratford. Cast will be led by Richard McCabe as Cicero (Olivier and Tony Award- winner for The Audience and BBC’s Collateral) and Joseph Kloska as Tiro (RSC’s Written On The Heart and The Crown on Netflix). Tickets go on sale to the general public on Friday 23 March at 10am via imperiumwestend.com with over 10,000 tickets available for £10 and under, throughout the run. The Royal Shakespeare Company (RSC) and Playful Productions are delighted to announce the West End transfer for acclaimed, historical two-part thriller IMPERIUM - I: Conspirator and II: Dictator, running for a limited engagement at London’s Gielgud Theatre from 14 June to 8 September 2018. Robert Harris’ best-selling Cicero trilogy is adapted for the stage by Mike Poulton as six one-act plays, presented in two performances, each with two intervals. Directed by RSC Artistic Director, Gregory Doran, IMPERIUM transfers to London following its recent sold-out run at the Swan Theatre in Stratford-Upon-Avon. The cast will include Nicholas Boulton, Guy Burgess, Daniel Burke, Jade Croot, Peter De Jersey, Joe Dixon, John Dougall, Michael Grady-Hall, Oliver Johnstone, Paul Kemp, Joseph Kloska, Patrick Knowles, Richard McCabe, Hywel Morgan, David Nicolle, Siobhan Redmond, Patrick Romer, Christopher Saul, Eloise Secker and Simon Thorp. Further casting is still to be confirmed. Told through the watchful eyes of Cicero’s loyal secretary, IMPERIUM I: Conspirator chronicles how the great orator’s early success unwittingly paves the way for a brutal and bloody end to the Republic. With Rome in chaos at the beginning of IMPERIUM II: Dictator, Cicero must use all his brilliance to restore the power of the Senate from the civic mob and their would-be Emperor: one Julius Caesar. International best-selling novelist Robert Harris is known for historical fiction. In addition to his Cicero trilogy, his books include Fatherland, Archangel, Enigma, Pompeii and The Ghost, which have received major screen adaptations. His latest thriller Munich based on the 1938 Munich agreement, was published in September 2017. Harris is a former BBC correspondent and columnist for The Sunday Times and Daily Telegraph. RSC Associate Artist Mike Poulton is a playwright, and adapter of classical plays including works by Chekhov, Ibsen, Schiller, Euripides, and Strindberg. For the RSC, Poulton's previous adaptations have included St Erkenwald, Chaucer's Canterbury Tales, Malory's Morte d'Arthur, and Hilary Mantel's best-selling novels Wolf Hall and Bring Up The Bodies. Gregory Doran has been Artistic Director of the Royal Shakespeare Company since 2012. His huge variety of directorial projects has not only included over 27 major Shakespeare productions, he also directed a Jacobean season of plays which won an Olivier Award in 2002, as well as classics from the UK and abroad. In 2013 he instigated the RSC’s “Live From Stratford-upon-Avon”, a new programme to screen productions live from Shakespeare’s home town, including the free streaming of the productions straight to UK schools. Gregory delivered the Richard Dimbleby Lecture for the BBC in 2016 This theatrical event, co-produced by the Royal Shakespeare Company and Playful Productions, follows their last collaboration on Mike Poulton’s stage adaptation of Hilary Mantel’s Wolf Hall and Bring up the Bodies which enjoyed success at the Aldwych Theatre after its Stratford run and transferred to Broadway in 2015. IMPERIUM is designed by Anthony Ward, with lighting by Mark Henderson. Music is composed by Paul Englishby, with sound by Claire Windsor. Ends For further information please contact THE CORNER SHOP PR on 0207 831 7657 Ben Chamberlain | Lewis Jenkins | Hannah Barnett Leveson For further information on the RSC please contact RSC Head of Press, Philippa Harland LISTINGS IMPERIUM I: Conspirator and II: Dictator Gielgud Theatre, Shaftesbury Avenue, London W1D 6AR Twitter/ Facebook / Website Monday to Saturday at 7pm Wednesday and Saturday at 1.30pm I: Conspirator and II: Dictator alternate performances throughout the week. For full schedule (including access performances), see HERE IMPERIUM – Press Day: Saturday 30 June 1.30pm: I: Conspirator 7pm: II: Dictator Review embargo to Monday 2 July Box Office Website: imperiumwestend.com Telephone: 0844 482 5130 Prices from £10 (Prices from £5 for 16-25 year olds only) Save £20* when booking both I: Conspirator and II: Dictator together via the RSC or Delfont Mackintosh Theatres. *Valid only on tickets priced £99.50, £69.50 and £49.50. For full terms and booking links, see HERE NOTES TO EDITORS IMPERIUM is the recipient of an EDGERTON FOUNDATION NEW PLAYS AWARD The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION The work of the RSC Literary Department is generously supported by THE DRUE HEINZ TRUST The Royal Shakespeare Company The Royal Shakespeare Company creates theatre at its best, made in Stratford-upon-Avon and shared around the world. We produce an inspirational artistic programme each year, setting Shakespeare in context, alongside the work of his contemporaries and today’s writers. Everyone at the RSC - from actors to armourers, musicians to technicians - plays a part in creating the world you see on stage. All our productions begin life at our Stratford workshops and theatres and we bring them to the widest possible audience through our touring, residencies, live broadcasts and online activity. So wherever you experience the RSC, you experience work made in Shakespeare’s home town. We have trained generations of the very best theatre makers and we continue to nurture the talent of the future. We encourage everyone to enjoy a lifelong relationship with Shakespeare and live theatre. We reach 530,000 children and young people annually through our education work, transforming their experiences in the classroom, in performance and online. Registered charity no. 212481 www.rsc.org.uk. Playful Productions As Producer and General Manager productions include: Shrek The Musical UK & Ireland Tour, Edward Albee’s The Goat Or, Who is Sylvia? (Theatre Royal Haymarket); Don Juan in Soho (Wyndham’s); No Man’s Land (UK tour and Wyndham’s); Kinky Boots (Adelphi); Hangmen (Wyndham’s); American Buffalo (Wyndham’s); The Audience (Gielgud – which was also a worldwide digital broadcast with NT Live, Gerald Schoenfeld – Broadway, Apollo and Executive Producer on the Netflix TV series of The Crown series 1 & 2 (based on The Audience)); Wolf Hall: Parts 1 & 2 (Broadway); Wolf Hall and Bring Up The Bodies (Aldwych); Shrek the Musical (UK & Ireland tour); The Weir (Wyndham’s); South Downs/The Browning Version (Harold Pinter); Sweeney Todd (Adelphi); Hay Fever (Noël Coward); Flare Path (Theatre Royal Haymarket); Yes, Prime Minister (Gielgud, Apollo, Trafalgar Studios and three UK tours); Krapp’s Last Tape (Duchess); Enron (Noël Coward); Red (Broadway); Hamlet (Broadway); Mary Stuart (Apollo and Broadway); Don Carlos (Gielgud) and Frost/Nixon (Gielgud and Broadway) and the forthcoming Shrek The Musical UK & Ireland Tour (December 2017), Quiz (Noel Coward Theatre, March 2018), The Moderate Soprano (Duke of York’s Theatre, April 2018) and Kinky Boots UK & Ireland Tour (September 2018). As General Manager productions include: Lady Day at Emerson’s Bar & Grill (Wyndham’s); An American in Paris (Dominion); Groundhog Day (Old Vic); Wicked (Apollo Victoria, two UK & Ireland tours and an international Tour); Blithe Spirit (Gielgud); Charlie and the Chocolate Factory (Theatre Royal, Drury Lane); Dirty Dancing (Aldwych, two UK tours and Piccadilly); Shrek the Musical (Theatre Royal, Drury Lane); Million Dollar Quartet (Noël Coward) and Clybourne Park (Wyndham’s). www.playfuluk.com .
Load more

Recommended publications
  • Pompey, the Great Husband
    Michael Jaffee Patterson Independent Project 2/1/13 Pompey, the Great Husband Abstract: Pompey the Great’s traditional narrative of one-dimensionally striving for power ignores the possibility of the affairs of his private life influencing the actions of his political career. This paper gives emphasis to Pompey’s familial relationships as a motivating factor beyond raw ambition to establish a non-teleological history to explain the events of his life. Most notably, Pompey’s opposition to the special command of the Lex Gabinia emphasizes the incompatibility for success in both the public and private life and Pompey’s preference for the later. Pompey’s disposition for devotion and care permeates the boundary between the public and private to reveal that the happenings of his life outside the forum defined his actions within. 1 “Pompey was free from almost every fault, unless it be considered one of the greatest faults for a man to chafe at seeing anyone his equal in dignity in a free state, the mistress of the world, where he should justly regard all citizens as his equals,” (Velleius Historiae Romanae 2.29.4). The annals of history have not been kind to Pompey. Characterized by the unbridled ambition attributed as his impetus for pursuing the civil war, Pompey is one of history’s most one-dimensional characters. This teleological explanation of Pompey’s history oversimplifies the entirety of his life as solely motivated by a desire to dominate the Roman state. However, a closer examination of the events surrounding the passage of the Lex Gabinia contradicts this traditional portrayal.
    [Show full text]
  • Bring up the Bodies
    BRING UP THE BODIES BY HILARY MANTEL ADAPTED FOR THE STAGE BY MIKE POULTON DRAMATISTS PLAY SERVICE INC. BRING UP THE BODIES Copyright © 2016, Mike Poulton and Tertius Enterprises Ltd Copyright © 2014, Mike Poulton and Tertius Enterprises Ltd Bring Up the Bodies Copyright © 2012, Tertius Enterprises Ltd All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of BRING UP THE BODIES is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for BRING UP THE BODIES are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016.
    [Show full text]
  • The Curious Incident of the Dog in the Night-Time Illinois Theatre
    THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME ILLINOIS THEATRE A play by Simon Stephens Based on the novel by Mark Haddon Latrelle Bright, director Thursday-Saturday, February 28-March 2, 2019, at 7:30pm Thursday-Saturday, March 7-9, 2019, at 7:30pm Saturday, March 9, 2019, at 1pm (Sensory-friendly Performance) Sunday, March 10, 2019, at 3pm Colwell Playhouse three overlapping audiences, and that our departmental mission of inclusion is enacted on and behind our stages. We have to serve our own students, the people who’ve come to receive the education to make a career as professional theatre makers. We have an obligation to train them to become working designers, actors, technicians, playwrights, stage managers, directors, scholars, and teachers. We also serve the other 44,000+ students on the campus, many of whom take our classes and enjoy our productions. POWER + PLEASURE We have to serve the University of Illinois I think a lot about the enormous privilege at Urbana-Champaign. As part of a I have as Head of Illinois Theatre. I have Research I university, we are obligated the very great pleasure of working with to create new knowledge and to pass it incredibly talented and committed faculty, on. Our productions must take part in students, and staff in the Department broad conversations and reflect the goals of Theatre, the College of Fine and and strategic plan of the university as a Applied Arts, and Krannert Center for the whole. We must make connections across Performing Arts. I have the power to shape disciplines and across campus.
    [Show full text]
  • What I Learn from Theatregoing: Review Haiku
    What I Learn from Theatregoing: Review Haiku Monica Prendergast1 University of Victoria [email protected] Abstract A haiku suite of theatre reviews and reflection on application to practice as drama educator and scholar. Keywords: poetic inquiry, theatre reviews, reflective practice, haiku 1 Biographical statement: Monica Prendergast is Associate Professor of drama/theatre education at the University of Victoria. She has published her poetic inquiry widely including two edited collections and two special issues. Monica also researches aspects of drama/theatre curriculum and pedagogy. Her latest project involves the development and implementation of a new performance studies curriculum for secondary students. What I Learn From Theatregoing: Review Haiku 292 Theatre is the most social of art forms, yet sharing the experience of theatre is often quite private. We might discuss the play we have seen for a few minutes with whomever has come with us and then life moves on. If we see a show alone (as I often do when travelling) our response is a soliloquy; a silent dialogue with ourselves. We may read, see or hear a review and allow the critic his or her privileged public monologue that is rarely responded to or challenged. Here, I invite you to share your responses to any or all of these review haiku created in response to theatre productions I have seen in Toronto, London, Stratford-Upon- Avon and New York in the past two to three years. I have been a freelance theatre reviewer for the Canadian Broadcasting Corporation since 2006. For over nine years now I have shared my responses to local theatre and opera productions with listeners of CBC Radio’s On the Island morning program.
    [Show full text]
  • The Bona Dea Scandal, P. Clodius and Clodia
    DANGEROUS LIAISONS : THE WOMEN BEHIND THE BONA DEA SCANDAL OF 62 BC. IMPORTANT NOTE TO THE FOLLOWING PAPER: Sall. Cat. 15 even as youth Cataline had many shameful intrigues, with a vestal virgin, and other affairs equally unlawful and impious. Sources in MRR 2.114. Fabia the Vestal Virgin, sister of Terentia, was accused of incest with Cataline by Clodius in 73 BC, defended by Lutatius Catulus. Imagine 24-7 news networks during the Late Roman Republic exploiting the following events: BREAKING NEWS Pompey the Great has divorced his wife Mucia when he returned from the East in 62 BC; rumor had it she was having an affair with Julius Caesar. BREAKING NEWS Caesar has divorced Pompeia (no relation to Pompey1) following the scandal of the Bona Dea sacrilege. Pompeia was rumored to have had an affair with P. Clodius, who disguised himself as a woman to visit her during the most sacred rites of the Great Goddess.2 These transpired at Caesar’s house, where Caesar’s own mother and sister apprehended Clodius in their midst. According to our source (Suet. Iul. 74.2), “When summoned as a witness 1 against Clodius, Caesar declared that he had no evidence, although both his mother Aurelia and his sister Julia had given the same jurors a faithful account of the whole affair. On being asked why it was then that he had divorced his wife, he replied, ‘Because I maintain that the members of my family should be free from suspicion as well as from accusation.’” BREAKING NEWS As Clodius’ trial for sacrilege approached, rumor has it that Clodius’ sister, Clodia, has made sexual advances toward M.
    [Show full text]
  • History Made Manifest Acclaimed Adaptation of Hilary Mantel’S Booker Prize-Winning Novels, Published Bynick Hern Books and 4Th Estate Alongside RSC Premiere
    History made manifest Acclaimed adaptation of Hilary Mantel’s Booker Prize-winning novels, published byNick Hern Books and 4th Estate alongside RSC premiere 2014 / 1 / WOLF HALL & BRING UP THE BODIES by Hilary Mantel, adapted by Mike Poulton Thomas Cromwell. Son of a blacksmith, political genius, briber, charmer, bully. A man with a deadly expertise in manipulating people and events. 15 Mike Poulton’s acclaimed two-part adaptation of Hilary Mantel’s Booker Prize- winning novels Wolf Hall and Bring Up the Bodies is a thrilling and utterly convincing portrait of a brilliant man embroiled in the lethal, high-stakes politics of the court of Henry VIII. A co-publication between Nick Hern Books and 4th Estate, this single volume contains both acclaimed plays, an introduction by Mike Poulton, and forty-five pages of new, exclusive notes by original author Hilary Mantel on each of the principal characters, offering a unique insight into the plays and an invaluable resource to any theatre company wishing to stage them. ‘a bold, unforgettable lesson in history and politics’ The Times ‘brings the intrigues and political machinations to the stage with clarity, wit and plenty of very welcome humour… a real gem of a script for audiences and actors alike’ WhatsOnStage ‘superb… the mother of all costume dramas’ Daily Mail World Premiere: Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, 8 January-29 March 2014, directed by Jeremy Herrin Print ISBN: 978 0 00754 989 4 • Ebook ISBN: 978 0 00754 990 0 £10.99 • Script available now Hilary Mantel is an English novelist and short-story writer, best known for her Booker Prize-winning historical novels Wolf Hall and Bring Up the Bodies.
    [Show full text]
  • Downloaded from Brill.Com10/02/2021 03:34:06PM Via Free Access  F.J
    REDUCING SENATORIAL CONTROL OVER PROVINCIAL COMMANDERS: A FORGOTTEN GABINIAN LAW OF 67BCE F.J. Vervaet I. Introduction At two critical junctures in Roman history, M. Tullius Cicero (cos. ) bit- terly complained that Caesar’s legally-guaranteed second quinquennium in the Gauls and Illyricum (from March to March ) had put him in a formidable position of power vis-à-vis a frustrated Senate.*1 On the th of December , less then a month before the outbreak of civil war between Caesar and his opponents in the Senate, Cicero indicates in Ad Atticum .. (Trebula) that this second five-year term, protected by law, was one of the main factors that had made Caesar nigh-irresistible. He complains, Curimperiumilliautcurillomodoprorogatumest?Curtantooperepugna- tum ut de eius absentis ratione habenda decem tribune pl. ferrent? His ille rebus ita conualuit ut nunc in uno ciui spes ad resistendum sit; qui mallem tantas ei uiris non dedisset quam nunc tam ualenti resisteret. Why was his command extended, and in such a fashion [i.e., in under the terms of the lex Pompeia Licinia]? Why was there such pressure to get the ten tribunes to bring in the law about his candidature in absentia [i.e., for a second consulship in , passed with the support of Cn. Pompeius as consul sine conlega]? By these steps, he has become so strong that hope of resistance now depends on one man; and I would rather that he [i.e., Pompeius] had not given Caesar such formidable strength in the first place than that he should resist him now that he is so powerful.
    [Show full text]
  • Indirect Translation on the London Stage: Terminology and (In)Visibility
    Indirect translation on the London stage: terminology and (in)visibility Geraldine Brodie* Centre for Translation Studies, University College London, UK *[email protected] Abstract Productions of translated plays on the London stage use a variety of terms to describe the interlingual interpretive process that has taken place between the source text and the performance. Most frequently, a translated play is described as a “version” or “adaptation”, with the term “translation” reserved for specialized productions. The translation method most commonly adopted is to commission a source-language expert to prepare a “literal” translation which is then used by an English-speaking theatre practitioner to produce a playscript for performance. This article examines the incidence of such indirect translation practices, the inconsistencies of the applied terminology, and the relevance for indirect translation in its wider sense, revealing the shadows of translational behaviour even within language pairs, and demonstrating the multiplicity of agents impacting on the ultimate appearance of a text in translation. Keywords: adaptation, literal translation, London theatre, theatre translation, version, indirect translation Introduction Translation is a collaborative exercise, incorporating a range of participants and stages in the trajectory between originating and ultimate texts. The romantic concept of the solitary, omniscient translator – Jerome, the patron saint of translators, alone in the desert with his bible and skull – is no longer apposite, if it ever were. The writer of the “letter of Aristeas” in around 130 BCE depicted seventy-two translators creating the early-third-century Septuagint translation of the Hebrew scripture, “making all details harmonize by mutual comparison” – although this was disputed by later authors, who preferred to ascribe the translation of sacred texts to divine inspiration (Robinson 2014, 4–5).
    [Show full text]
  • National Theatre
    WITH EMMA BEATTIE OLIVER BOOT CRYSTAL CONDIE EMMA-JANE GOODWIN JULIE HALE JOSHUA JENKINS BRUCE MCGREGOR DAVID MICHAELS DEBRA MICHAELS SAM NEWTON AMANDA POSENER JOE RISING KIERAN GARLAND MATT WILMAN DANIELLE YOUNG 11 JAN – 25 FEB 2018 ARTS CENTRE MELBOURNE, PLAYHOUSE Presented by Melbourne Theatre Company and Arts Centre Melbourne This production runs for approximately 2 hours and 30 minutes, including a 20 minute interval. The Curious Incident of the Dog in the Night-Time is presented with kind permission of Warner Bros. Entertainment. World premiere: The National Theatre’s Cottesloe Theatre, 2 August 2012; at the Apollo Theatre from 1 March 2013; at the Gielgud Theatre from 24 June 2014; UK tour from 21 January 2017; international tour from 20 September 2017 Melbourne Theatre Company and Arts Centre Melbourne acknowledge the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which this performance takes place, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future. DIRECTOR MARIANNE ELLIOTT DESIGNER LIGHTING DESIGNER VIDEO DESIGNER BUNNY CHRISTIE PAULE CONSTABLE FINN ROSS MOVEMENT DIRECTORS MUSIC SOUND DESIGNER SCOTT GRAHAM AND ADRIAN SUTTON IAN DICKINSON STEVEN HOGGETT FOR AUTOGRAPH FOR FRANTIC ASSEMBLY ASSOCIATE DIRECTOR RESIDENT DIRECTOR ELLE WHILE KIM PEARCE COMPANY VOICE WORK DIALECT COACH CASTING CHARMIAN HOARE JEANNETTE NELSON JILL GREEN CDG The Cast Christopher Boone JOSHUA JENKINS SAM NEWTON* Siobhan JULIE HALE Ed DAVID MICHAELS Judy
    [Show full text]
  • Hamlet West End Announcement
    FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer.
    [Show full text]
  • Announces 2013 Winter/Spring Season—Featuring 12 Theater, Dance, Music, and Opera Engagements—From Jan 17 to Jun 9
    Brooklyn Academy of Music (BAM) announces 2013 Winter/Spring Season—featuring 12 theater, dance, music, and opera engagements—from Jan 17 to Jun 9 BAM 2013 Winter/Spring Season is sponsored by Bloomberg Theater productions: The Suit in its US premiere. Direction, adaptation, and music by Peter Brook, Marie-Hélène Estienne, and Franck Krawczyk—based on The Suit, by Can Themba, Mothobi Mutloatse, and Barney Simon. Jan 17—Feb 2……………………………………………………..page 3 The Laramie Cycle, a repertory engagement from Tectonic Theater Project including The Laramie Project and The Laramie Project: Ten Years Later, directed by Moisés Kaufman and Leigh Fondakowski. Feb 12—24…………………page 6 The Royal Shakespeare Company production of Shakespeare’s Julius Caesar, directed by Gregory Doran in its US premiere. Apr 10—28………………………………………………………….page 10 The Master Builder by Henrik Ibsen, directed by Andrei Belgrader and featuring John Turturro. World premiere, produced by BAM. May 12—Jun 9…………………………………..………………….page 15 Dance engagements: Trisha Brown Dance Company in a repertory program featuring two NY premieres: Les Yeux et l’âme and I’m going to toss my arms–if you catch them they’re yours. Jan 30—Feb 2…………………………………………….……….page 5 1 The Royal Ballet of Cambodia with The Legend of Apsara Mera. Choreography by Her Royal Highness Princess Norodom Buppha Devi in collaboration with Proeung Chhieng and Soth Somaly. Presented as part of citywide Season of Cambodia festival. May 2—4…………………….…..…………….page 14 DanceAfrica 2013 returns for its 36th year under the artistic direction of Chuck Davis. Performers include Umkhathi Theatre Works (Zimbabwe), BAM/Restoration DanceAfrica Ensemble, and others.
    [Show full text]
  • 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
    [Show full text]