Jacqueline Defferary

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VAT No. 993 055 789 JACQUELINE DEFFERARY Trained at RADA FILM includes: Red Mercury Amanda Roy Battersby Inspired Movies Pandaemonium Mrs Holland Julian Temple Marina Film I'll Sleep With Him When I'm Dead Annie Mike Hodges Will and Company Prods TELEVISION includes: The Alienest Cassie Anonymous Content Jakob Verbuggen Father Brown Shirley BBC Niall Fraser The Tunnel II Gemma Kudos Tim Mielants Silk Dr Bell BBC Michael Keillor Eastenders Mrs Taylor Jennie Darnell BBC A Life In Recipes Bulgie James Kent Wall to Wall Media Our Hidden Lives June Michael Samuels Diverse Prod Ltd The Golden Hour Sionbhan Julian Holmes Fremantlemedia The Brief Laura Ian Knox Granada Making Waves Juliet Matthew Evans Carlton TV The Bill (Regular) Cindy Hunter Penny Shales Thames TV The End Lucy Otto Bathurst Urban Gothic Cor Blimey Sally Terry Johnson Dalziel and Pascoe Pamela DMaurice Philips BBC The Bill Kate McBride Nick Laughland Thames A Perfect State Julie Fitzgerald Dewi Humphries BBC/Cinema Verity Harry Enfield And Friends Ms Virtue John Birkin Tiger Aspect Thin Blue Line New Age Protestor John Birkin BBC Mr Bean Girl John Birkin BBC Space Precinct Lynn Tom GutTeridge Mentorn Films Cadfael Emma Herbert Wise Central Films The Bill June Callaghan Matthew Evans Thames Kissing The Gunner's Daughter Daisy Mary McMurray TVS THEATRE includes: Collaborators Yelena Nicholas Hytner Royal National Theatre Welcome To Thebes Tatthybia Richard Eyre Royal National Theatre Rhinoceros Housewife Dominic Cook Royal Court The Arsonist Babette Ramin Gray Royal Court Much Ado About Nothing Beatrice Jo Howarth The Globe Jacqueline Defferary 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. 7268133 Members of the PMA Under The Black Flag Mary/ Isabelle Roxanne Silbert The Globe Fen & Far Away Val/ Ghost Simon Cox Sheffield Theatre Homebody / Kaboul Priscilla Declan Donnellan Young Vic Push Up Patricia Ramin Gray Royal Court Theatre Lucifer And The Lord Catherine Crispin Bonham-Carter Young Vic The Rivals Julia Lindsey Posner Royal Shakespeare Co Comedy Of Errors Luciana Lyn Parker Royal Shakespeare Co Our Late Night Samantha Carol Churchill Royal Court Cleo, Camping, Emanuelle & Dick Sally Terry Johnson National Theatre Blue Heart Suzy/ Enid Max Stafford-Clark National Tour/Royal Court The Arbor Workshop James Kerr National Theatre Stuido A Midsummer Night's Dream Helena Matthew Lloyd Leicester Haymarket The Importance Of Being Ernest Cecily Terry Hands Birmingham/Old Vic Bed Before Yesterday Ella Peter Wood Almeida Theatre The Skrykrer Lily Les Waters National Theatre The Treatment Anna Lindsay Posner Royal Court What The Butler Saw Geraldine Penny Chenovitz Salisbury Jacqueline Defferary 2 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. 7268133 Members of the PMA.

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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’.
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C. Doran Complete CV
Cailin Doran 303.956.6542 [email protected] cailindoran.com Productions Directed: Twelfth Night Watertown Children’s Theatre 2020 Who is Eartha Mae? Bridge Repertory Theater 2019 Oklahoma! Voices Boston 2018 Shakespeare in Love (AD) Speakeasy Stage 2018 Pirates of Penzance Voices Boston 2017 Yeomen of the Guard MIT Gilbert and Sullivan Players 2017 Hamlet (AD) Boston Theatre Company 2017 Midsummer Night’s Dream (AD) Boston Theatre Company 2017 Major Roles Performed: Complete Performance Resume available upon request. Music Theatre: Laurey Williams, Oklahoma! | Cinderella, Into the Woods | Kate, The Wild Party (LaChiusa) | The Old Woman, Candide Shakespeare: Beatrice, Much Ado About Nothing | Desdemona Othello Teaching Experience: Voices Boston - Guest Artist - resident Theatre Teacher and Director - Developed workshops and lectures for Laban based movement classes and Acting Fundamentals rooted in Stanislavski and Meisner traditions - Collaborated with Artistic Director, Executive Director, Music Director, Technical Director and Board to produce yearly main stage productions - Generated pre-production dramaturgical lecture series to elucidate the historical context and influences on and of "Oklahoma!" - Participated in best practices convocations for the growth of students and the organizations outreach The Boston Conservatory - Teacher’s Assistant - As Doug Lockwood’s TA, attended and observed undergraduate Acting 1, leading Declan Donnellan based exercises and scene study of contemporary texts
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Richard Cant
Richard Cant Photo: Wolf Marloh Stage 2019, Stage, Quentin Crisp, AFTER EDWARD, Globe Theatre, London, Brendan O'Hea 2019, Stage, Earl of Lancaster, EDWARD THE SECOND, Globe Theatre, London, Nick Bagnall 2018, Stage, Jeremy Crowther, MAYDAYS, Royal Shakespeare Company, Owen Horsley 2017, Stage, DeStogumber/ Poulengey, SAINT JOAN, Donmar, Josie Rourke 2016, Stage, One, STELLA, LIFT/Brighton Festival, Neil Bartlett 2015, Stage, Aegeus, MEDEA, Almeida, Rupert Goold 2015, Stage, Bernie, MY NIGHT WITH REG, Donmar Warehouse/ Apollo Theatre, Rob Hastie 2015, Stage, Tudor/Male Guard/Assistant, THE TRIAL, The Young Vic, Richard Jones 2013, Stage, Friedrich Muller, WAR HORSE, NT at New London Theatre, Alex Sims, Kathryn Ind 2010, Stage, Page of Herodias, SALOME, Headlong, Jamie Lloyd 2008, Stage, Thersites, TROILUS AND CRESSIDA, Cheek by Jowl, Declan Donnellan 2007, Stage, Pisanio, CYMBELINE, Cheek by Jowl, Declan Donnellan 2002, Stage, Lord Henry, ORIGINAL SIN, Sheﬃeld Crucible Theatre, Peter Gill 2000, Stage, Darren, OTHER PEOPLE, Royal Court Theatre, Dominic Cooke 2000, Stage, Brian/Javid, PERA PALAS, Gate, Sacha Wares 2000, Stage, SHE STOOPS TO CONQUER, New Kent Opera, Hettie McDonald 2000, Stage, Sparkish, THE COUNTRY WIFE, Sheﬃeld Crucible Theatre, Michael Grandage 1999, Stage, Prior, ANGELS IN AMERICA, Library, Manchester, Roger Haines 1997, Stage, Arviragus, CYMBELINE, Royal Shakespeare Company, Adrian Noble 1997, Stage, Rosencrantz, HAMLET, RSC, Matthew Warchus 1997, Stage, Balthasar, MUCH ADO ABOUT NOTHING, RSC, Michael Boyd 1996, Stage,
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Organisations Alexandra Theatre, Bognor Regis
Statement from (in alphabetical order) Organisations Alexandra Theatre, Bognor Regis - Hazel Latus Almeida Theatre – Rupert Goold, Denise Wood Ambassador Theatre Group - Mark Cornell and Michael Lynas Andrew Treagus Associates - Andrew Treagus Arcola Theatre – Mehmet Ergen, Leyla Nazli, Ben Todd Arts Theatre - Louis Hartshorn and Lizzie Scott Barbican Theatre - Toni Racklin Battersea Arts Centre – David Jubb Belgrade Theatre – Hamish Glen, Joanna Reid Birmingham Hippodrome - Fiona Allan Birmingham Repertory Theatre – Roxana Silbert and Stuart Rogers Birmingham Stage Company - Neal Foster and Louise Eltringham Bridge Theatre – Nicholas Hytner, Nick Starr Bristol Old Vic – Tom Morris, Emma Stenning Bush Theatre – Madani Younis, Jon Gilchrist Cheek by Jowl - Declan Donnellan, Nick Ormerod and Eleanor Lang Chichester Festival Theatre – Daniel Evans, Rachel Tackley Citizens Theatre - Dominic Hill, Judith Kilvington Curve Theatre - Chris Stafford and Nikolai Foster Darlington Hippodrome - Lynda Winstanley Derby Theatre – Sarah Brigham Disney Theatrical Productions - Richard Oriel and Fiona Thomas Donmar Warehouse – Josie Rourke, Kate Pakenham Donna Munday Arts Management - Donna Munday D'Oyly Carte Opera Trust - Ian Martin Eclipse - Dawn Walton Empire Street Productions - James Bierman English National Ballet - Tamara Rojo & Patrick Harrison English Touring Theatre - Richard Twyman, Sophie Watson Everyman Theatre, Cheltenham - Paul Milton and Penny Harrison Festival City Theatres Trust - Duncan Hendry and Brian Loudon Fit The Bill - Martin Blore
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02 the Hollow Crown Bios
Press Contact: Harry Forbes 212.560.8027, [email protected] Lindsey Bernstein 212.560.6609, [email protected] Great Performances: The Hollow Crown Bios Tom Hiddleston After he was seen in a production of A Streetcar Named Desire by Lorraine Hamilton of the notable actors’ agency Hamilton Hodell, Tom Hiddleston was shortly thereafter given his first television role in Stephen Whittaker’s adaptation of Nicholas Nickleby (2001) for ITV, starring Charles Dance, James D’Arcy and Sophia Myles. Roles followed in two one-off television dramas co-produced by HBO and the BBC. The first was Conspiracy (2001), a film surrounding the story of the Wannsee Conference in 1942 to consolidate the decision to exterminate the Jews of Europe. The film prompted Tom’s first encounter with Kenneth Branagh who took the lead role of Heydrich. The second project came in 2002 in the critically acclaimed and Emmy Award- winning biopic of Winston Churchill The Gathering Storm, starring Albert Finney and Vanessa Redgrave. Tom played the role of Randolph Churchill, Winston’s son, and cites that particular experience – working alongside Finney and Redgrave, as well as Ronnie Barker, Tom Wilkinson, and Jim Broadbent – as extraordinary; one that changed his perspective on the art, craft and life of an actor. Tom graduated from RADA in 2005, and within a few weeks was cast as Oakley in the British independent film Unrelated by first-time director Joanna Hogg. Unrelated tells the story of a woman in her mid-40s who arrives alone at the Italian holiday home of an extended bourgeois family.
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The Knight of the Burning Pestle
The Knight of the Burning To keep up-to-date with Cheek by Jowl, please visit cheekbyjowl.com/subscribe to join our mailing list /cheekbyjowl @wearecheekbyjowl P e s t l e @CbyJ /CheekbyJowl by Francis Beaumont cheekbyjowl.com 1 Cover photo: Nazar Safonov © Johan Persson. 2 Welcome Welcome Welcome to The Knight of the Burning Pestle. Our Russian company Welcome to the Barbican and our co-production of The Knight of the were last here in 2015 with Measure for Measure, and it’s a pleasure to Burning Pestle by our Artistic Associate, Cheek by Jowl. This UK premiere be back. We are particularly grateful to Evgeny Pisarev and Artem Mazur is performed by Cheek by Jowl’s Russian ensemble of long-term of Moscow Pushkin Drama Theatre, without whom this production would collaborators, which includes actors from the Moscow Pushkin Drama not have been possible. Thanks also to Toni Racklin, Leanne Cosby, Theatre. The Pushkin, also a co-producer, was here in February with Cathy Astley, Bernie Whittle, Simon Bourne and the whole Barbican team three outstanding productions of their own. Now Cheek by Jowl’s for their continued enthusiasm and unwavering commitment to our work. Russian group returns after they were last seen at the Barbican with We would also like to thank our other co-producers, Les Gémeaux/ their acclaimed Measure for Measure in 2015. Sceaux/Scène Nationale and Centro Dramático Nacional, Madrid (INAEM), as well as the Arts Council England. Francis Beaumont’s subversive comedy was first performed in London in 1607. Declan Donnellan and Nick Ormerod turn the play into an We hope you enjoy the show.
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Konstantin Stanislavski an Actor's Work: a Student's Diary
An Actor’s Work Stanislavski’s ‘system’ has dominated actor-training in the West since his writings were ﬁrst translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difﬁcult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author’s original intentions, putting the two books previously known as An Actor Prepares and Building a Character back together into one volume, and in a colloquial and readable style for today’s actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century. Konstantin Stanislavski An Actor’s Work A Student’s Diary Translated and edited by Jean Benedetti First published 2008 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, 0X14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 This edition published in the Taylor & Francis e-Library, 2007. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Routledge is an imprint of the Taylor & Francis Group, an informa business Translation, text and Afterword © 2008 Routledge Translator’s Foreword and editorial matter © 2008 Jean Benedetti Introduction © 2008 Declan Donnellan All rights reserved.
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The Lehman Trilogy
Park Avenue Armory, in collaboration with the National Theatre and Neal Street Productions, brings The Lehman Trilogy, by Stefano Massini, adapted by Ben Power, and directed by Sam Mendes to the Wade Thompson Dill Hall, following a sold-out run at the National Theatre Master actors Adam Godley, Ben Miles, and Simon Russell Beale will reprise their critically- acclaimed roles March 22 – April 20, 2019 Simon Russell Beale, Ben Miles and Adam Godley in The Lehman Trilogy at the National Theatre. Photo by Mark Douet. New York, NY – September 12, 2018 – In March 2019, Park Avenue Armory – in collaboration with the National Theatre and Neal Street Productions – will present the North American premiere of The Lehman Trilogy. Told in three parts in a single evening, the production will unfold in the 1 soaring 55,000-square-foot Wade Thompson Drill Hall from March 22 through April 20, 2019 in a strictly limited engagement. Directed by Sam Mendes, The Lehman Trilogy weaves through nearly two centuries of Lehman lineage, following the brothers Henry, Emanuel, and Mayer Lehman from their 1844 arrival in New York City to the 2008 collapse of the financial firm bearing their name. Adam Godley, Ben Miles, and Simon Russell Beale play the Lehman brothers, and a cast of characters including their sons and grandsons. As the inaugural production of the 2019 season, The Lehman Trilogy builds on the Armory’s history of presenting bold and engaging theater productions that explore the unexpected possibilities of the cross-genre cultural institution. The world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015.
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Fantastic Tricks Before High Heaven,” Measure for Measure and Performing Triads
Sacred Heart University DigitalCommons@SHU English Faculty Publications Languages and Literatures 2020 “Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads Emily Bryan Sacred Heart University, [email protected] Follow this and additional works at: https://digitalcommons.sacredheart.edu/eng_fac Part of the English Language and Literature Commons, and the Theatre and Performance Studies Commons Recommended Citation Bryan, E. (2020). “Fantastic tricks before high heaven,” Measure for measure and performing triads. Religions, 11(2), 100. Doi: 10.3390/rel11020100 This Peer-Reviewed Article is brought to you for free and open access by the Languages and Literatures at DigitalCommons@SHU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@SHU. For more information, please contact [email protected], [email protected]. religions Article “Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads Emily Bryan Department of Languages and Literatures, Sacred Heart University, 5151 Park Avenue, Fairﬁeld, CT 06825, USA; [email protected] Received: 19 January 2020; Accepted: 19 February 2020; Published: 22 February 2020 Abstract: Reading Measure for Measure through the logic of substitution has been a long-standing critical tradition; the play seems to invite topical, political, and religious parallels at every turn. What if the logic of substitution in the play goes beyond exchange and seeks out a triadic logic instead? This insistent searching for the triad appears most notably in the performance of Measure for Measure by Cheek by Jowl (2013–2019). Cheek By Jowl’s strategies of touring, simplicity, movement, and liberation create a dynamic and ever-evolving performance.
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AS and a Level Drama and Theatre
Topic Exploration Pack Practitioners: Cheek by Jowl Theatre Company Foreword by Karen Latto – OCR Subject Specialist Drama As part of our resources provision I was keen to ensure that the resources have been created by experts in Drama and in Education. For our practitioner requirement, this included resources which were made by working Theatre Makers about their own company’s practice and working methods. I would like to thank the team at Cheek by Jowl for creating this resource for OCR to support AS and A Level teachers. This resource has been created by Declan Donnellan and Nick Ormerod alongside Cheek by Jowl’s Education Officer Dominic Kennedy and talks from their perspective as working practitioners in the field of Theatre. Cheek by Jowl................................................................................................................................. 2 Repertoire .......................................................................................................................................2 Études ............................................................................................................................................5 Additional teacher preparation ......................................................................................................11 Activity 1: Études exercise ............................................................................................................12 Activity 2: Imaginary and pre-text exercise ...................................................................................
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In Conversation with Declan Donnellan1
Multicultural Shakespeare: Translation, Appropriation and Performance vol. 19 (34), 2019; http://dx.doi.org/10.18778/2083-8530.19.08 ∗ Nicole Fayard “Making Things Look Disconcertingly Different”: In Conversation with Declan Donnellan1 Abstract: In this interview acclaimed director Declan Donnellan, co-founder of the company Cheek by Jowl, discusses his experience of performing Shakespeare in Europe and the attendant themes of cultural difference, language and translation. Donnellan evokes his company’s commitment to connecting with audiences globally. He keeps returning to Shakespeare, as his theatre enables the sharing of our common humanity. It allows a flesh-and-blood carnal interchange between the actors and the audience which directly affects individuals. This interchange has significant consequences in terms of translation and direction. Keywords: Declan Donnellan; Cheek by Jowl; Shakespeare in Europe; Translation; Direction; Archetypes; Brexit. I Declan Donnellan is well-known as “one of the most original directors working in theatre today” (Le Figaro). He co-founded the company Cheek by Jowl in 1981 and is its joint Artistic Director with his life partner and the company designer, Nick Ormerod. Both artists are renowned for staging innovative productions focused on the skills of the actors and have been repeatedly acclaimed as “responsible for some of the most imaginative and revelatory classical performances [seen over the past] decades” (New York Times). They produce work in English, French and Russian and have performed in about 400 cities in fifty countries over six continents (Cheek by Jowl). Donnellan has to date directed over thirty productions, with half from the Shakespearean repertoire, such as the world-acclaimed As You Like It (1991) with Adrian Lester, performed with an all-male cast, The Winter’s Tale (Maly ∗ University of Leicester, UK.
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BAM Presents the Winter's Tale by Cheek by Jowl, Dec 6—11
BAM presents The Winter’s Tale by Cheek by Jowl, Dec 6—11 Influential director Declan Donnellan tackles Shakespeare’s classic tale of jealousy, madness, and magical transformation Bloomberg Philanthropies is the Season Sponsor The Winter's Tale US Premiere By William Shakespeare Cheek by Jowl Declan Donnellan and Nick Ormerod Directed by Declan Donnellan Designed by Nick Ormerod Lighting designer Judith Greenwood Composer and sound designer Paddy Cunneen Associate and movement director Jane Gibson BAM Harvey Theater (651 Fulton St) Dec 6—10 at 7:30pm, Dec 11 at 3pm Tickets start at $25 Iconic Artist Talk: Declan Donnellan With Declan Donnellan in conversation with James Shapiro Dec 7 at 6pm BAMcafé (30 Lafayette Ave) Tickets: $25 ($12.50 for BAM Members) “An original masterpiece”—Le Figaro Oct 26, 2016/Brooklyn, NY—Known for its imaginative staging of the classics, the British theater troupe Cheek by Jowl returns to BAM with Shakespeare’s late romance The Winter’s Tale, in a production originally conceived to celebrate the 400th anniversary of the Bard’s death. With actors in casual modern dress and the intelligent use of simple sets, director Declan Donnellan, who won a Golden Lion for Lifetime Achievement at the Venice Biennale this summer, renders the time- and location-shifting storyline fluidly and clearly. This production puts the Sicilian king Leontes (Orlando James, who played the title role in the staged Shakespeare in Love in London) at the center, portraying him as in constant conflict with himself. His unfounded suspicion and refusal to be reasoned with lead to the tragic fulfillment of the oracle “the king shall live without an heir if that which is lost be not found.” With its usual high energy, the entire company infuses this classic tale with heightened drama, crackling hilarity, and genuine emotion.
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