International Theatre Programs Collection O-018
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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’. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
Jehane Markham Born 1949 Central School of Art, Fine Art 1969-1971 University of North London, Dip HE Irish Studies & Film S
Jehane Markham Born 1949 Central School of Art, Fine Art 1969-1971 University of North London, Dip HE Irish Studies & Film Studies 2002 Poetry performances 2020 Guest Poet on Maritime Radio Arts programme from January to April 5 poems on Write Where We Are Now online site at The Writing School Manchester University Above and Below the Water Line audio poem as part of the Electric Medway online festival. 2 Poems in The Camden New Journal 2019 Highgate Library – Jehane Markham, Linda Black and Martina Evans 2018 The Star Pub, Dartmouth Park Karamel Café for Collage Arts Master Class: Is Paradise Lost? The Writing Room, Collage Arts 2017 Readings at Karamel Café for Collage Arts Pentameters Theatre, Hampstead, Jehane Markham, Martina Evans and Donald Gardner Torriano Meeting House, Jehane Markham and Cheryl Moskowitz 2016 Poet in Residence at The Camden New Journal from 2016-2020 Osborne and After – Words and Plays Festival Clun, Shropshire Talk at the BF! Nina + Alan Clarke’s Women April 2016, Jehane Markham, Eleanor Bron, Lesley Manville and Lesley Sharp discuss Alan Clarke’s handling of feminine and feminist subjects chaired by Lizzie Francke Launch of Sixteen Sunsets Map Café, London The Pump House, Suffolk Burgh House, Hampstead York Rise Street Festival 2015 The Star, London Denville Hall, London The Room, Tottenham, London Torriano Meeting House, London 2014 Highgate Branch Library, London 2013 COAST – Passionate about Peace Highgate Branch Library, London No Glory, St James Church, Piccadilly, London Karamel Club, London Torriano -
Theater Souvenir Programs Guide [1881-1979]
Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy. -
Future Watch – Setting the Stage for Regeneration
http://www.architectsdatafile.co.uk/news/future-watch-setting-the-stage-for- regeneration/ Thursday, 30th November 2017 Future Watch – Setting the stage for regeneration Tim Foster With cities’ night time economy being seen as increasingly important in the future, Tim Foster, partner at Foster Wilson Architects, reflects on how theatre design projects that put placemaking at their core can catalyse regeneration. Following the debate around placemaking in recent years it is apparent that the term means many different things to different people. Local community activists believe it is about community participation and the making of places in which people have ownership, while property people believe it is about creating a congenial environment which will attract people to their developments, making them easier to sell or rent for a good return: the reality probably lies somewhere in between. As quoted in a recent article in The Guardian, the US academic Richard Florida – considered to be the guru of placemaking – told the mayors of major American cities in 2002 that attracting ‘hipsters’ to their towns was crucial. “Don’t waste money on stadiums and concert halls, or luring big companies with tax breaks. Instead, make your town a place where hipsters want to be, with a vibrant arts and music scene and a lively cafe culture. Embrace the ‘three T’s’ of technology, talent and tolerance, and the ‘creative class’ will come flocking.” This is really the same cycle that Jane Jacobs described in her seminal work ‘The Death and Life of Great American Cities’, published in 1961, whereby districts fall into decay, the artists move in attracted by the cheap rents, the hipsters and coffee shops follow, the area regenerates, forcing the rents back up and the artists and original residents to move on. -
A PSILLAS Biog Audiocraft
Sound Designer: Mr Avgoustos Psillas Avgoustos established AudioCarft Scandinavia in 2020 after 12 years at Autograph Sound in London, where he worked as a sound designer. Autograph Sound is a leading British sound design and equipment hire company, responsible for numerous theatre productions in the UK and abroad, including: Hamilton, Les Misérables, Wicked!, Mamma Mia!, Book of Mormon, Marry Poppins, Matilda, Harry Potter and the cursed child and many others. Avgoustos’ designer credits for musical theatre and theatre: The Sound of Music Stockholm Stadsteater Circus Days and Night Malmö Opera & Circus Cirkör Matilda The Musical Royal Danish Theatre Funny Girl Malmö Opera Sweeney Todd Royal Danish Opera BIG The Musical Dominion Theatre, London Blues in the Night The Kiln Theatre Matilda The Musical Malmö Opera The Ferryman St James Theatre, on Broadway, NY Kiss Me Kate Opera North, London Coliseum Pippin Malmö Opera Elf The Musical The Lowry, Manchester BIG The Musical Theatre Royal Plymouth & Bord Gais, Dublin Oliver! The Curve, Leicester AGES The Old Vic, London Pygmalion Garrick Theatre, London Strangers on a Train Gielgud Theatre, London Spamalot The Harold Pinter Theatre, London Spamalot (Remount) London Playhouse EPIDEMIC The Musical The Old Vic, London Henry V Open Air Theatre Regent’s Park Hobson’s Choice Open Air Theatre Regent’s Park Winter’s Tale Open Air Theatre Regent’s Park AudioCraft Scandinavia AB | Svanvägen 59, 611 62, Nyköping, Sweden e: [email protected] | t: +44 79 50292095 | Organisation no: 559281-2035 | VAT -
The Diary of a Hounslow Girl National Tour 2016 Marketing Resource Pack
THE DIARY OF A HOUNSLOW GIRL NATIONAL TOUR 2016 MARKETING RESOURCE PACK 1 Contents 1. About the Show 2. The Creative Team 3. Ambreen Razia, Actress and Writer 4. Press Quotes and Reviews 5. Target Audience & Selling Points 6. Show Copy 7. Social Media 8. Box Office Briefing 9. Press Release 10. Interview with Meliz Gozenler (Arc Theatre participant) 11. The Hounslow Girl Glossary 12. About Black Theatre Live 13. Tour Schedule Ambreen Razia Production Team Project Manager: Maeve O’Neill [email protected] Writer and Performer: Ambreen Razia [email protected] Tour Manager: Milan Govedarica [email protected] Publicity photographer - Talula Sheppard 2 The Diary of a Hounslow Girl The Diary of a Hounslow Girl is told through the eyes of a 16-year-old British Muslim Girl growing up in West London. From traditional Pakistani weddings to fights on the night bus this is a funny, bold, provocative play highlighting the challenges of being brought up as a young woman in a traditional Muslim family alongside the temptations and influences growing up in and around London. The Diary of a Hounslow Girl geared up to take on the world. A comic story of dreams, aspirations and coming of age. Background You've heard of an Essex Girl and even a Chelsea Girl but what is a Hounslow Girl? A Hounslow Girl has become a byword for young Muslim women who wear hooped earrings along with their headscarves, tussling with their traditional families while hustling their way in urban West London. Feisty young women grappling with traditional values, city life and fashion. -
Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (After) Oil on Canvas BORGM 00609
Russell-Cotes Paintings – Irving Room Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (after) Oil on canvas BORGM 00609 Landscape with a Cow by Water Joseph Jefferson (1829-1905) Oil on canvas BORGM 01151 Sir Henry Irving William Nicholson Print Irving is shown with a coat over his right arm and holding a hat in one hand. The print has been endorsed 'To My Old Friend Merton Russell Cotes from Henry Irving'. Sir Henry Irving, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhard (1846-1900) Oil in canvas BORGM 01330 Russell-Cotes Paintings – Irving Room Sir Henry Irving in Various Roles, 1891 Frederick Barnard (1846-1896) Ink on paper RC1142.1 Sara Bernhardt (1824-1923), 1897 William Nicholson (1872-1949) Woodblock print on paper The image shows her wearing a long black coat/dress with a walking stick (or possibly an umbrella) in her right hand. Underneath the image in blue ink is written 'To Sir Merton Russell Cotes with the kind wishes of Sara Bernhardt'. :T8.8.2005.26 Miss Ellen Terry, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhart (1846-1900) Oil on canvas BORGM 01329 Theatre Poster, 1895 A theatre poster from the Borough Theatre Stratford, dated September 6th, 1895. Sir Henry Irving played Mathias in The Bells and Corporal Brewster in A Story of Waterloo. :T23.11.2000.26 Russell-Cotes Paintings – Irving Room Henry Irving, All the World’s a Stage A print showing a profile portrait of Henry Irving entitled ‘Henry Irving with a central emblem of a globe on the frame with the wording ‘All The World’s A Stage’ :T8.8.2005.27 Casket This silver casket contains an illuminated scroll which was presented to Sir Henry Irving by his friends and admirers from Wolverhampton, in 1905. -
Theatre6 Present
THEATRE6 PRESENT ADAPTED BY STEPHANIE DALE DIRECTED BY KATE Mc GREGOR MUSIC BY MARIA HAÏK ESCUDERO ADAPTED BY STEPHANIE DALE WELCOME FROM THEATRE6’S Persuasion debuted at the Playground ARTISTIC DIRECTOR, KATE MCGREGOR Theatre on Tuesday 17 April 2018. Welcome to Theatre6’s production of Jane Austen’s final novel Persuasion. This LATE SUMMER 1814 brand new adaptation by Stephanie Dale celebrates 200 years since the novel’s TO SPRING 1815. publication. Opening at the Playground Theatre in London, this production will tour Anne and Wentworth were young across the country, including two performances at one of the novel’s most famous and in love. Persuaded by her locations – Lyme Regis. prosperous and prominent family to refuse Wentworth’s proposal, Jane Austen loved the sea, music, nature and her family. She wrote during the Anne lost the great love of her life. Napoleonic Wars and saw two of her brothers become Captains in the Navy. Bath Our play, as in Austen’s original was a place she spent a great deal of time. Her own life was not free of tragedy story, takes place eight years after and heartbreak. What is remarkable about Jane’s writing is not only her detailed these events. understanding of her characters, plots, locations and the impact of society and history on people but also her ability to write about the human spirit. In a time where The performance lasts for approximately women had very little agency and power in society, she created female protagonists 2 hours including an interval. with aspirations, who longed for adventure, who were able to decipher their feelings and analyse their place in a changing world. -
Submission Draft Hampstead Neighbourhood Plan 2018-2033
SUBMISSION DRAFT HAMPSTEAD NEIGHBOURHOOD PLAN 2018-2033 Published in October 2017 by: Hampstead Neighbourhood Forum under the Neighbourhood Planning (General) Regulations 2012 0 1 Foreword This document represents the culmination of more than three years of work by many volunteers and is based on the input of hundreds of local people. Our aim with this Neighbourhood Plan is to promote Hampstead’s future as a lively and contemporary neighbourhood with exceptional heritage and unique open spaces. Over the course of 2014, the Forum consulted extensively with residents, businesses and other stakeholders in Hampstead. We appeared at festivals, met with groups and individuals, got out the word through our website and the local media and managed to increase our membership from about 150 to more than 1000. Several hundred people attended our three consultation events. We listened to your feedback and worked hard to incorporate your views into a “Vision” document. The excellent response helped us establish a clear set of aims and objectives for how the local community would like to shape future development. During 2015 and 2016, we sought to put some policy flesh on these visionary bones, or rather, some teeth. We also spent many months gathering the evidence to back up these policies. We presented our draft Neighourhood Plan for consultation in the spring of 2017 and received overwhelming support for the policies it contained. We are grateful for the support we have received from Locality and would like to thank everyone who has helped produce this document, to the Forum Committee, to all of our local Councillors, to our consultants at Fortismere Associates, to Deborah McCann for conducting our Health Check and to Andrew Triggs and Brian O’Donnell at Camden Council for their guidance and support. -
Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION a Project Of
Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A project of edited by Rochelle G. Saidel and Karen Shulman Remember the Women Institute, a 501(c)(3) not-for-profit corporation founded in 1997 and based in New York City, conducts and encourages research and cultural activities that contribute to including women in history. Dr. Rochelle G. Saidel is the founder and executive director. Special emphasis is on women in the context of the Holocaust and its aftermath. Through research and related activities, including this project, the stories of women—from the point of view of women—are made available to be integrated into history and collective memory. This handbook is intended to provide readers with resources for using theatre to memorialize the experiences of women during the Holocaust. Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A Project of Remember the Women Institute By Rochelle G. Saidel and Karen Shulman This resource handbook is dedicated to the women whose Holocaust-related stories are known and unknown, told and untold—to those who perished and those who survived. This edition is dedicated to the memory of Nava Semel. ©2019 Remember the Women Institute First digital edition: April 2015 Second digital edition: May 2016 Third digital edition: April 2017 Fourth digital edition: May 2019 Remember the Women Institute 11 Riverside Drive Suite 3RE New York,NY 10023 rememberwomen.org Cover design: Bonnie Greenfield Table of Contents Introduction to the Fourth Edition ............................................................................... 4 By Dr. Rochelle G. Saidel, Founder and Director, Remember the Women Institute 1. Annotated Bibliographies ....................................................................................... 15 1.1.