DOCSLIB.ORG

Cast (In Order of Appearance) Creative Team

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cast (In Order of Appearance) Creative Team A production from By Robert Louis Stevenson Adapted by Bryony Lavery Cast (in order of appearance) Creative Team Jim Hawkins Patsy Ferran Director Polly Findlay Grandma Gillian Hanna Designer Lizzie Clachan Bill Bones Aidan Kelly Lighting Designer Bruno Poet Dr Livesey Alexandra Maher Music and Songs Dan Jones Squire Trelawney & Voice of Parrot Songs John Tams Nick Fletcher Fight Director Bret Yount Red Ruth Heather Dutton Movement Director Jack Murphy Job Anderson Raj Bajaj Illusionist Chris Fisher Silent Sue Lena Kaur Comedy Consultant Clive Mendus Black Dog Daniel Coonan Creative Associate Caroline Valdés Blind Pew David Sterne Captain Smollett Paul Dodds Broadcast Team Long John Silver Arthur Darvill Lucky Mickey Jonathan Livingstone Director for Screen Tim van Someren Joan the Goat Claire-Louise Cordwell Technical Producer Israel Hands Angela De Castro Christopher C. Bretnall Dick the Dandy David Langham Lighting Director Bernie Davis Killigrew the Kind Alastair Parker Sound Supervisor Conrad Fletcher George Badger Oliver Birch Assistant Director Laura Vallis Grey Tim Samuels Ben Gunn Joshua James Thank you to all the amazing artists who have allowed us to share Treasure Island in this way, Shanty Singer Roger Wilson during a time when many theatre fans aren’t able Parrot Ben Thompson to visit their local theatre. Running time: 1 hour and 50 minutes, including a short interval BBFC rating: 12A for cinema Help Jim Hawkins find the buried gold! Can you trace your way from the ship to X marks the spot and the treasure? Image: Freepik.com Image: Did you know? Excerpts from Treasure Island show programme articles by Andrew Lambert, David Cordingly and Tristan Gooley. • Long John Silver and the crew in Treasure • The ‘Jolly Roger’ is the traditional Island were based on the pirates who English name for the flag flown by a roamed the Caribbean in the early 18th pirate ship when it was about to attack. century – the so-called Golden Age of Most commonly, it has a white skull- pirates. The majority of these pirates and-crossbones symbol on a black were former sailors. Some had served on background. warships but most were former merchant seamen who had either been captured by • The toilet facilities at sea were very pirates or had decided that pirate life was primitive! Sailors used ‘seats of ease’ easier and more profitable than life on a – a series of holes in exposed wooden merchant ship. platforms at the front of the ship. Constant waves hitting the front of the • Stars can be used to do all sorts of things, ship helped keep the ‘seats’ clean, and like help predict changes in the weather they also discouraged timid mariners, and and tell the time, but most importantly for especially landlubbers from using them. sailors, they can be used to navigate. National Theatre National Theatre Live At the National Theatre, we make National Theatre Live shares the best world-class theatre that is entertaining, of British theatre direct from the stage challenging and inspiring. And we make to cinema screens around the world. it for everyone. Working with the best theatres and We stage over 20 productions at our producers, we simultaneously broadcast South Bank home in London each year. live theatre to cinemas across the UK, Our programme is broad and inclusive, Europe and sometimes North America, appealing to the widest possible audiences as well as capturing the live performance with new plays, musicals, reimagined for encore screenings in other countries. classics and work for young audiences. Our work is also seen in London’s Our plays have been seen by over West End, on tour across the UK 10 million people in 2,500 cinemas across and internationally. 65 countries since we launched in 2009. nationaltheatre.org.uk ntlive.com @nationaltheatre facebook/ntlive facebook.com/nationaltheatre @ntlive Donate We know it’s a tough time for everyone at the moment but as you enjoy National Theatre at Home, it would mean a lot if you would consider a donation to support us. Donate at nationaltheatre.org.uk Introducing National Theatre at Home We’re all about experiencing theatre Each week a different production will be together. At a time when many theatre fans made available to watch for free via the around the world aren’t able to visit National National Theatre’s YouTube channel on Theatre Live venues or local theatres, we’re Thursdays at 7pm UK-time and will then excited to bring you Treasure Island via be available on demand for seven days. National Theatre at Home. Coming soon Find more information at nationaltheatre.org.uk Where music is the food of love, and nobody is quite what they seem, anything proves possible in Shakespeare’s classic comedy. Cast includes Tamsin Greig as Malvolia. HHHH by William Shakespeare ‘Tamsin Greig is brilliant’ a National Theatre production Evening Standard Streaming from 7pm on Thursday 23 April. Available until 30 April. Connect with us Explore Never miss out Go behind the scenes of Treasure Island Get the latest news from and learn more about how our broadcasts National Theatre Live straight happen on our website. to your inbox. ntlive.com ntlive.com/signup Join in Watch Use #TreasureIsland and be If you loved the show, explore our YouTube a part of the conversation online. channel and watch interviews, behind the scenes videos and our favourite clips. /nationaltheatrelive youtube.com/ntdiscovertheatre @ntlive.
Load more

Recommended publications
  • Treasure Island by Robert Louis Stevenson Adapted by Bryony Lavery
    TREASURE ISLAND BY ROBERT LOUIS STEVENSON ADAPTED BY BRYONY LAVERY DRAMATISTS PLAY SERVICE INC. TREASURE ISLAND Copyright © 2016, Bryony Lavery All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of TREASURE ISLAND 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 TREASURE ISLAND are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. Inquiries concerning all other rights should be addressed to United Agents, 12-26 Lexington Street, London, England, W1F 0LE.
    [Show full text]
  • Treasure Island
    School Radio Treasure Island 3. Long John Silver and the Hispaniola Narrator: Three weeks after Jim Hawkins escapes the pirate gang with Billy Bones’ treasure map, he arrives in Bristol on a hot Sunday morning. What a city. The gateway to the Oceans of the World. Tea, sugar, cotton, coffee, slaves - aye, slaves - fill the streets and the docks. The great masts of a dozen fleets tower over the quays. Sailors, travellers, the rich and the poor throng the busy streets all of them hungry for money or food - or adventure. Jim has a note - he must find a Mr Silver who will show him to the Squire’s ship. Jim finds him all right down on the quayside - and there’s a shock, for as he comes up behind the man, he sees he has only one leg. Could this be the pirate, so feared by Billy Bones? Jim: Mister... Silver... sir? Long John Silver: Silver? Long John Silver you be intending to say, I’m sure, and who may you be? Narrator: Jim stares up. Tall and strong, with a face as big as a ham, intelligent and smiling, Long John Silver winks down at him. Jim relaxes - this man’s no pirate. Jim: Jim Hawkins, sir. Cabin boy to the new ship. Long John Silver: Is that so? Jim: Squire Trelawney’s ship. Sir. Long John Silver: Well, pleased I am to see you my boy. I’m ship’s cook - and now you’re come, we must go aboard. Hop in now. Narrator: With a graceful turn and a jump, Silver’s down into a little boat, untying the rope and preparing to row.
    [Show full text]
  • Treasure Island by Robert Louis Stevenson
    Treasure Island by Robert Louis Stevenson adapted for the stage by Stewart Skelton Stewart E. Skelton 6720 Franklin Place, #404 Copyright 1996 Hollywood, CA 90028 213.461.8189 [email protected] SETTING: AN ATTIC A PARLOR AN INN A WATERFRONT THE DECK OF A SHIP AN ISLAND A STOCKADE ON THE ISLAND CAST: VOICE OF BILLY BONES VOICE OF BLACK DOG VOICE OF MRS. HAWKINS VOICE OF CAP'N FLINT VOICE OF JIM HAWKINS VOICE OF PEW JIM HAWKINS PIRATES JOHNNY ARCHIE PEW BLACK DOG DR. LIVESEY SQUIRE TRELAWNEY LONG JOHN SILVER MORGAN SAILORS MATE CAPTAIN SMOLLETT DICK ISRAEL HANDS LOOKOUT BEN GUNN TIME: LATE EIGHTEENTH CENTURY TREASURE ISLAND/Skelton 1 SCENE ONE (A treasure chest sits alone on plank flooring. We hear the creak of rigging on a ship set adrift. As the lights begin to dim, we hear menacing, thrilling music building in the background. When a single spot is left illuminating the chest, the music comes to a crashing climax and quickly subsides to continue playing in the background. With the musical climax, the lid of the chest opens with a horrifying groan. Light starts to emanate from the chest, and the spotlight dims. Voices and the sounds of action begin to issue forth from the chest. The music continues underneath.) VOICE OF BILLY BONES (singing) "Fifteen men on the dead man's chest - Yo-ho-ho, and a bottle of rum! Drink and the devil had done for the rest - Yo-ho-ho, and a bottle of rum!" VOICE OF BLACK DOG Bill! Come, Bill, you know me; you know an old shipmate, Bill, surely.
    [Show full text]
  • Treasure Island
    School Radio Treasure Island 6. The stockade and the pirates attack Narrator: On Treasure Island you might be forgiven for thinking a war was taking place. Anchored in the bay, the Hispaniola is firing her cannon deep into the woods. And through the trees, the pirates advance, muskets blazing. Oblivious to the danger, young Jim Hawkins races through the undergrowth heading for the Union Jack that flies bravely atop the trees. When he gets there, it’s a relief to find there’s shelter. A tall wooden stockade stands in a clearing - and inside it, his old friends Squire Trelawney, Doctor Livesey, Captain Smollett and a handful of faithful sailors, are fending off a full-blown attack from the pirates. Jim: Doctor! Squire! Captain! Let down the drawbridge! It’s me! Dr Livesey: Quickly, men, let the boy in! Squire: Jim - we thought we’d lost you! Hunter: Happen as still might unless we keep them muskets firing. Squire: Ah, yes, good thinking my man. Repel the blackguards! A sovereign for every man we put down! Narrator: But the pirates give up the fight - for now. Jim and the others exchange news. It turns out that the stockade they’re in was built many years ago by Captain Flint as a stronghold if ever he should be attacked. Squire Trelawney and the others just beat Silver and the pirates to it - though they lost a couple of good men in so doing. They managed to salvage enough guns, ammunition and food from the ship to keep them going for a couple of weeks but not much more.
    [Show full text]
  • Long John Silver's
    Representative Photo Offering Memorandum Long John Silver’s 3550 Isleta Boulevard SW | Albuquerque, NM 87105 Confidential Disclaimer This Confidential Memorandum has been prepared by Stan Johnson Company (“SJC”) and is being furnished to you solely for the purpose of your review of the commercial property located at 3550 Isleta Boulevard, SW, Albuquerque, NM 87105 (the “Property”). The material contained in this Offering Memorandum shall be used for the purposes of evaluating the Property for acquisition and shall not be used for any purpose or made available to any other person without the express written consent of Stan Johnson Company (“Broker”). Offered Exclusively by By accepting the Confidential Memorandum, you acknowledge and agree that: (1) all of the information contained herein and any other information you will be receiving in connection with this transaction, whether oral, written or in any other form (collectively, the “Materials”), is confidential; (2) you will not reproduce the Confidential Amar Goli Memorandum in whole or in part; (3) if you do not wish to pursue this matter, you will return this Confidential Associate Director Memorandum to SJC as soon as practicable together with all other materials relating to the Property which you [email protected] may have received from SJC; and (4) any proposed actions by you which are inconsistent in any manner with the P: +1 213.417.9378 foregoing agreements will require the prior written consent of SJC. This Confidential Memorandum has been prepared by SJC, based upon certain information pertaining to the Sam Alison Property and any information obtained from SJC to assist interested parties in making their own evaluation of Regional Director - West the Property is offered on a no representation or warranty provision other than customary warranties of title [email protected] and is sold on an “as-is, where-is” basis and with all faults.
    [Show full text]
  • Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
    YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular.
    [Show full text]
  • Leaving the Mm:J.In to Ply About Lundy, for Securing Trade
    Rep. Lundy Field Soc. 4 7 IN THE SHADOW OF THE BLACK ENSIGN: LUNDY'S PART IN PIRACY By C.G. HARFIELD Flat 4, 23 Upperton Gardens, Eastboume, BN21 2AA Pirates! The word simultaneously conjures images of fear, violence and brutality with evocations of adventure on the high seas, swashbuckling heroes and quests for buried treasure. Furthermore, the combination of pirates and islands excites romantic fascination (Cordingly 1995, 162-6), perhaps founded upon the popular and sanitised anti-heroes of literature such as Long John Silver and Captain Hook (Mitchell discusses how literature has romanticised piracy, 1976, 7-10). This paper aims to discover, as far as possible, the part Lundy had to play in piracy in British waters, and to place that in perspective. The nature of the sources for piracy around Lundy will be discussed elsewhere (Harfield, forthcoming); here the story those sources tell is presented. It is not a story of deep-water pirates who traversed the oceans in search of bullion ships, but rather an illustration of the nature of coastal piracy with the bulk of the evidence coming from the Tudor and Stuart periods. LUNDY AS A LANDMARK IN THE EVIDENCE The majority of references to Lundy and pirates mention the island only as a landmark (Harfield, forthcoming). Royal Navy ships are regularly recorded plying the waters between the Scilly Isles, Lundy and the southern coasts of Wales and Ireland (see fig. I) with the intention of clearing these waters of pirates, both British and foreign. For instance, Captain John Donner encountered English pirates ':fifteen miles distant from Lundy Isle" in April 155 7 (7.3.1568, CSP(D)).
    [Show full text]
  • Treasure Island Exploring the Play at Home
    Treasure Island Exploring the Play at Home If you’re watching Treasure Island at home and would like to find out more out the production, there are a number of different resources that you can explore and activities you might like to try. About the Production Treasure Island was first performed at the National Theatre in 2014. The production was directed by Polly Findlay. Based on the 1883 novel by Robert Louis Stevenson, this stage production was adapted by Bryony Lavery. You can find full details of the cast and production team below: Cast Jim Hawkins: Patsy Ferran Grandma: Gillian Hanna Bill Bones: Aidan Kelly Dr Livesey: Alexandra Maher Squire Trelawny/Voice of the Parrot: Nick Fletcher Mrs Crossley: Alexandra Maher Red Ruth: Heather Dutton Job Anderson: Raj Bajaj Silent Sue: Lena Kaur Black Dog: Daniel Coonan Blind Pew: David Sterne Captain Smollett: Paul Dodds Long John Silver: Arthur Darvill Lucky Mickey: Jonathan Livingstone Joan the Goat: Claire-Louise Cordwell Israel Hands: Angela de Castro Dick the Dandy: David Langham Killigrew the Kind: Alastair Parker George Badger: Oliver Birch Grey: Tim Samuels Ben Gunn: Joshua James Shanty Singer: Roger Wilson Parrot (Captain Flint): Ben Thompson Production team Director: Polly Findlay Adaptation: Bryony Lavery Designer: Lizzie Clachan Lighting Designer: Bruno Poet Composer: John Tams Fight Director: Bret Yount Movement Director: Jack Murphy Music and Sound Designer: Dan Jones Illusions: Chris Fisher Comedy Consultant: Clive Mendus Creative Associate: Carolina Valdés You might like to use the internet to research some of these artists to find out more about their careers. If you would like to find out about careers in the theatre, there’s lots of useful information on the Discover Creative Careers website.
    [Show full text]
  • Teacher Guide Page Ii
    Page i Table of Contents How to Use Lightning Literature & Composition for Grade 8. Page 1 Student Guide Welcome to Lightning Literature . Page 1 Introductions/While You Read . Page 1 Vocabulary Lists. Page 1 Comprehension Questions. Page 2 Literary Lessons. Page 2 Mini-Lessons . Page 3 Writing Exercises . Page 3 Workbook . Page 4 Discussion Questions . Page 5 Why Use Lightning Literature & Composition for Grade 8 . Page 5 The Importance of Reading . Page 5 Reading Poetry . Page 6 The Importance of Writing . .. Page 7 Weekly Planning Schedule . Page 8 Chapter One: “A Crazy Tale” by G. K. Chesterton (Stories & Poems for Extremely Intelligent Children) . Page 15 Answers to Comprehension Questions . Page 17 Literary Lesson: Author’s Purpose. Page 17 Mini-Lesson: Taking Notes . Page 18 Writing Exercises . Page 18 Discussion Questions. Page 19 Workbook Answers. Page 19 Table of Contents—Lightning Lit & Comp 8th Grade—Teacher Guide Page ii Chapter Two: Robert L. Stevenson (Treasure Island) . Page 25 Answers to Comprehension Questions . Page 27 Literary Lesson: Setting. Page 33 Mini-Lesson: Rewriting in Your Own Words. Page 33 Writing Exercises . Page 34 Discussion Questions. Page 34 Workbook Answers. Page 35 Chapter Three: Vivid Imagery in Poetry (Stories & Poems for Extremely Intelligent Children). Page 41 Answers to Comprehension Questions . Page 43 Literary Lesson: Vivid Imagery in Poetry . Page 44 Mini-Lesson: Free Verse and Ballad . Page 45 Writing Exercises . Page 46 Discussion Questions. Page 46 Workbook Answers. Page 47 Chapter Four: Isaac B. Singer (A Day of Pleasure) . Page 53 Answers to Comprehension Questions . Page 55 Literary Lesson: Sharing Your Culture . Page 59 Mini-Lesson: Rewriting Your Own Words .
    [Show full text]
  • The Newgate Calendar Supplement 3 Edited by Donal Ó Danachair
    The Newgate Calendar Supplement 3 Edited By Donal Ó Danachair Published by the Ex-classics Project, year http://www.exclassics.com Public Domain The Newgate Calendar CONTENTS SIR HENRY MORGAN. Pirate who became Governor of Jamaica (1688) ................ 4 MAJOR STEDE BONNET. Wealthy Landowner turned Pirate, Hanged 10th December 1718 ............................................................................................................ 13 ANN HOLLAND Wife of a highwayman with whom she robbed many people. Executed 1705 .............................................................................................................. 15 DICK MORRIS. Cunning and audacious swindler, executed 1706 ........................... 16 WILLIAM NEVISON Highwayman who robbed his fellows. Executed at York, 4th May 1684 ..................................................................................................................... 19 CAPTAIN AVERY Pirate who died penniless, having been robbed of his booty by merchants ..................................................................................................................... 24 CAPTAIN MARTEL Pirate ........................................................................................ 31 CAPTAIN TEACH alias BLACK BEARD, the Most Famous Pirate of all. ............... 33 CAPTAIN EDWARD ENGLAND Pirate .................................................................. 39 CAPTAIN CHARLES VANE. Pirate ......................................................................... 49 CAPTAIN JOHN RACKAM.
    [Show full text]
  • The Strange and Wondrous Tale of Bill Constable & the Cinemascope Pirates of Pagewood
    1 “AAARRRHH THERE MATEY!” - The Strange and Wondrous Tale of Bill Constable & the Cinemascope Pirates of Pagewood... by Bob Hill, Oct 2018 In early 1954... and a world away from the dense urban spread of today’s Sydney... the southern suburb of Pagewood was little more than wind blasted sand hills and scrub encroached upon by rows of hastily thrown up brick bungalows, a couple of isolated factories and a desolate bus depot. In the middle of this literal and figurative wasteland, a strange enterprise was taking place in Australia’s only purpose-built film studio complex - the making of “Long John Silver”, a Hollywood style blockbuster replete with imported stars, executives and key technicians in all the Heads of Department roles... that is, all except for their Production Designer, a middle aged Australian about to make his first foray into film! 2 1. Hollywood in the Sand Hills Pagewood studios, 1954 - then named “Television City”, 2 years before TV arrived in Australia! (NSW State Library) “Television City seems to have borrowed its architectural inspiration from Long Bay Gaol...” ‘Pagewood’ is the great lost studio of Australian film-making: As Wikipedia explains... The studio was built in 1935 for National Productions by National Studios Ltd, it was originally known as National Studios. It was constructed for the presumed increase in production that most observers thought would result in Australia following introduction of the NSW Film Quota Act... They were the first new film studios built in Australia since 1912. Gaumont British helped provide finance and personnel in its construction.1 The Quota Act was never enforced and instead of becoming the hub of film production in Sydney, makeshift facilities at Cinesound in Bondi Junction (an old roller skating rink) and Figtree Studios in Lane Cove (a converted picnic ground pavilion) soon eclipsed the better equipped Pagewood studios.
    [Show full text]
  • Seas Safe for Centuries. These Wasn't Until the Early 18Th Century
    Lighthouses have played a vital role wasn’t until the early 18th century in shining a light to keep sailors, that modern lighthouse construction fishermen and all who travel our began in the UK. An increased in seas safe for centuries. These transatlantic trade encouraged the buildings are iconic in their own building of lighthouses, their right, and are often found in some of purpose being to warn trading ships the most remote parts of the UK. against hazards, such as reefs and rocks. There are more than 60 Dating back to the Roman times, lighthouses dotted around the UK. Britain’s early lighthouses were often The charity Trinty House looks after found in religious buildings sat on many of these lighthouses to help hilltops along the coast. However, it maintain the safety of seafarers. Lizard Point Lighthouse in Cornwall is the site. It was granted, but with one the most southerly lighthouse on condition… At the time, the Cornish mainland Britain. It is a dual towered coast was rife with piracy and lighthouse off the Cornish coast and has smuggling, and so it was required that stood there since 1619. the light was extinguished when the enemy approached, for fear that it A local man, Sir John Killigrew, applied would guide the unwanted criminals for the first patent for a lighthouse on home. The first lighthouse was Egypt's Pharos of Alexandria, built in the third century BC. The lighthouse of Alexandria was made from a fire on a platform to signal the port entrance. Meanwhile, the world's oldest existing lighthouse is considered to be Tower of Hercules, a UNESCO World Heritage Site that marks the entrance of Spain's La Coruña harbor.
    [Show full text]