Shakespeare Survey: Writing About Shakespeare, Volume 58 Edited by Peter Holland Frontmatter More Information
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FRANK Mccusker
FRANK McCUSKER NolanMuldoonAgency HEIGHT 6’ 0” HAIR Brown EYES Blue NATIONALITY Northern Irish TRAINING None FILM & TELEVISION Production Part Director Company The Fall Garret Brink Jakob Verbruggen BBC The First Wave Tom (L) David Frayne Tilted Pictures Titanic: Blood & Steel Charles Stokes Ciaran Donnelly DAP, Italy 1916: Seachtar Anaithnid Major McBride (L) Daithi Keane Abu Media The Tudors Risley Various Showtime Hunger The Governor Steve McQueen Film 4 Bitter Sweet Ivan Declan Eames Element Small Engine Repair John Madden Niall Heery Subotica Bad Girls Miller Julian Holmes ITV Murder Prevention Fergus Fallon Julian Simpson World Films The Blackwater Lightship Harry John Erman Hallmark Proof Noel Ciaran Donnelly RTÉ Pulling Moves Blonde Patrick P Elliot/B Kirk BBC Any Time Now Mr. Bennett D Recks/J Woods RTÉ As the Beast Sleeps Jack Harry Bradbeer BBC Rebel Heart Padraic Pearse John Strickland BBC The Affair of the Necklace Abel Duphot Charles Shyer Alcon Day One Mr. Hanton Ian Fitzgibbon Grand Pictures David Copperfield Uriah Heap Peter Medak Hallmark Agnes Browne Tom O’Toole Angelica Hueston Hell’s Kitchen The Ambassador DS Lynch Matthew Evans BBC Out of Hours Doctor Doug McKinnon BBC Getting Hurt Dr. Mike Gibson Ben Bolt BBC 2 Bloodlines: Legacy of a Lord Greville Howard Brian Grant Vine International Circle of Friends Young Priest Pat O’Connor Good Girls Productions NolanMuldoonAgency / +353 1 288 1537 / www.nolanmuldoonagency.com The Railway Station Man Jack Cuffe Michael Whyte BBC THEATRE Play Part Director Venue/Company Richard -
Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’S
Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’s Antony and Cleopatra Depictions of Marc Antony and Caesar Augustus have changed dramatically between the first and twenty-first centuries, partially because of William Shakespeare’s seventeenth-century play Antony and Cleopatra. In 2006 and 2010, England’s Royal Shakespeare Company staged vastly different interpretations of this classically influenced Shakespearean text. How do the modern performances rework ancient views of Antony and Augustus, particularly in light of the ancient Roman value fides (loyalty or good faith)? This paper answers that question by examining the intersections between Greco-Roman literary-historic narratives – as received in Shakespeare’s early modern play – and the two modern performances. The contemporary versions of Shakespeare’s Antony and Cleopatra create contrasting constructions of Antony and Augustus by modernizing the characters and/or their worlds. The 2006 rendition (directed by Gregory Doran) presents an explosive but weak-willed Antony (Sir Patrick Stewart) and a prudish yet petulant Augustus (John Hopkins). On the other hand, the 2010 adaptation (directed by Michael Boyd) shows a hotheaded and frank Antony (Darrell D’Silva) who struggles against a cold and manipulative Augustus (John Mackay). Both performances reveal the complexity of these ancient figures as the men engage with and evaluate claims upon their familial, societal, and personal fides. Representations of Antony and Augustus necessarily involve fides, though classical accounts do not always feature this term. As military and political leaders, both men led lives filled with decisions about loyalty, specifically what deserved it and in what degree. The modern dramatizations further underscore fides in their portrayals of Antony and Augustus. -
By Paul Giovanni Directed by Matt Torney
PITTSBURGH IRISH & CLASSICAL THEATRE by Paul Giovanni directed by Matt Torney December 4-21, 2013 The Charity Randall Theatre 40 1 Give the gift of theatre this holiday season! INTRODUCING Beautiful gift packages start at $96 ...something this way comes 2014 Season Blithe Spirit - May 1-17 Noel Coward Waiting for Godot - June 4-21 oAkLand’s Most uNiQue dInIng dEsTinAtIon Samuel Beckett theporChatscHenley.coM Woman and Scarecrow - July 10-August 2 Marina Carr Observe the Sons of Ulster Marching Towards the Somme - September 4-20 Frank McGuinness Macbeth - October 8-25 William Shakespeare Great Expectations - December 3-20 Charles Dickens, adapted by Hugh Leonard AllA p hotoghotohothootogto raphyraphaphaphyphyphhyy bybyLy L auraauaurau a PetriPPePetrPetetrie r llalla.la.lala. www.mwwwwwwww.mwwmw.m misslpisssslpsslsslpphohotohotogootoogograrapraphyraphaphyphyh .com.c.cococomco ThePorchAtSchenley.com 239 PICT Board of Directors Pittsburgh Irish & Classical Theatre Eugene O’Sullivan, President presents Kevin R. Gieder, Vice-President Erin Shannon-Auel, Secretary V. Sue Molina, Treasurer The Crucifer of Blood Alan Baum Joseph Karas by Paul Giovanni Cynthia Berger Justin Krauss Directed by Matt Torney Michael Burns Richard Miller Barbara Carlin Charles Moellenberg David Whalen* Sherlock Holmes Steve Cuden Fabian O’Connor Justin R. G. Holcomb* Dr. John Watson Dina Fulmer Richard E. Rauh Gayle Pazerski Irene St. Claire Gail Gerono Chuck Reynolds Daryll Heysham* Inspector Lestrade, Durga Dass Ken Bolden* Major Alistair Ross Advisory Board Members Jonathan Visser* Captain Neville St. Claire D.L. “Larry” Brophy, E. Bruce Hill, Paul Homick, Malcolm Madera* Jonathan Small Robert Levin, Kristen Olson, PhD., Alberta Sbragia, Michael Fuller* Wali Dad, Hopkins, Mordecai Smith John Sotirakis, Wanda Wilson Luke Halferty Birdy Johnson, Leper Honorary Board Members Scenic Designer Lighting Designer Costume Designer U.S. -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
The Royal National Theatre Annual Report and Financial Statements 2007 – 2008 Board
The Royal National Theatre Annual Report and Financial Statements 2007 – 2008 board The Royal National Theatre Chairman Sir Hayden Phillips GCB DL Upper Ground, South Bank, London SE1 9PX Susan Chinn + 44 (0)20 7452 3333 Lloyd Dorfman CBE www.nationaltheatre.org.uk Ros Haigh Kwame Kwei-Armah Company registration number 749504 Rachel Lomax Registered charity number 224223 Neil MacGregor Registered in England John Makinson Caragh Merrick Caro Newling André Ptaszynski Philip Pullman Farah Ramzan Goland The Royal National Theatre is a company limited by guarantee and a registered charity. It was established Rt Hon Lord Smith of Finsbury in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and Edward Walker-Arnott understanding of the dramatic art in all its forms as a memorial to William Shakespeare. These objects are Nicholas Wright set out in the governing document, which is its Memorandum and Articles of Association, and have been Company Secretary Kay Hunter Johnston developed into a set of aims and objectives as described on page 4. Executive Artistic Director Nicholas Hytner Executive Director Nick Starr Finance Director Lisa Burger Associate Directors Sebastian Born Howard Davies Marianne Elliott Tom Morris Bankers Coutts & Co 440 Strand, London WC2R 0QS Auditors PricewaterhouseCoopers LLP 1 Embankment Place, London WC2N 6RH This Annual Report and Financial Statements is available to download at www.nationaltheatre.org.uk If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Company Secretary at the National Theatre. -
Theatre Access
ACCESS MATTERS Welcome to our Winter 2017 Access Matters, where you can find out about our access provision and our forthcoming assisted performances. Old stories are so often the ones we return to again and again to make sense of the world around us. As our Rome collection of plays continues into autumn, we see how Shakespeare, his contemporaries and modern writers also seek inspiration in history and myth to fuel stories that still resonate in 2017. Rome Season Director, Angus Jackson, returns to the Royal Shakespeare Theatre with the last of Shakespeare’s Roman plays, Coriolanus. Sope Dirisu – a rising talent who originally emerged through our very own Open Stages programme – is an exciting Coriolanus. Another new voice emerges in the Swan Theatre: Kimberley Sykes, Associate Director on our Dream 16 tour makes her RSC directorial debut with Christopher Marlowe’s tragedy, Dido, Queen of Carthage. Our Swan Theatre season continues with a new adaptation of Robert Harris’ epic Cicero trilogy by Mike Poulton (Wolf Hall/Bring Up the Bodies). This thrilling political saga tells the story of the rise Communications Design by RSC Visual and fall of the great Roman orator, Cicero. Ovid was Shakespeare’s favourite poet and references to these classical stories litter his plays. We have lost our cultural familiarity with many of these and I feel passionate about reigniting our understanding of these wonderful fables. Over three weeks, eight events will explore Ovid’s stories from many angles. New voices resound around The Other Place once again with two Mischief Festivals. The first, in May, sees the return to the RSC of writer Tom Morton-Smith (Oppenheimer, 2015) and the co-writing debut of Matt Hartley and Kirsty Housley with a double bill of provocative short plays. -
Godot-Program-Finalweb.Pdf
NEVER UNDERESTIMATE THE POWER OF A GREAT PERFORMANCE. UPMC is proud to support the PICT Theatre. Affiliated with the University of Pittsburgh School of Medicine, UPMC is ranked among the nation’s best hospitals by U.S. News & World Report. SYS411939_gh_upmc_pict_theatre_ad_color.indd 1 4/16/14 12:41 PM PICT Classic Theatre presents Waiting for Godot by Samuel Beckett Directed by Aoife Spillane-Hinks Ken Bolden* James FitzGerald* Martin Giles* Alan Stanford* Shay Freund Elliot Pullen Scenic/Co-Costume Designer Co-Lighting Designers Production Manager Alan Stanford Cindy Limauro George DeShetler, Jr. Co-Costume Designer Christopher Popowich Stage Manager Lindsay Tejan Props Master Cory F. Goddard* Technical Director Johnmichael Bohach Assistant Stage Manager Jesse Van Swol Master Electrician Connor Bahr Scenic Charge Artist Keith A. Traux Master Carpenter Jennifer Kirkpatrick Assistant Master Electrician Samuel Karas Regina Tvaruzek Dramaturg Tyler Crumrine Waiting for Godot is presented by special arrangement with SAMUEL FRENCH, INC. PICT Classic Theatre has received permission from Edward Beckett to use the version (script) of Waiting for Godot as edited by Samuel Beckett for the Schiller production and used by the Gate Theatre (Dublin) and in the Beckett on Film series. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. CAST Estragon .............................................................. Martin Giles* Vladimir ............................................................. -
Shakespeare in South Africa: an Examination of Two Performances of Titus Andronicus in Apartheid and Post- Apartheid South Africa
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2017 Shakespeare in South Africa: An Examination of Two Performances of Titus Andronicus in Apartheid and Post- Apartheid South Africa Erin Elizabeth Whitaker University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Other English Language and Literature Commons Recommended Citation Whitaker, Erin Elizabeth, "Shakespeare in South Africa: An Examination of Two Performances of Titus Andronicus in Apartheid and Post-Apartheid South Africa. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4911 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Erin Elizabeth Whitaker entitled "Shakespeare in South Africa: An Examination of Two Performances of Titus Andronicus in Apartheid and Post- Apartheid South Africa." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Heather A. Hirschfeld, Major Professor We have read -
SHAKESPEARE in PERFORMANCE Some Screen Productions
SHAKESPEARE IN PERFORMANCE some screen productions PLAY date production DIRECTOR CAST company As You 2006 BBC Films / Kenneth Branagh Rosalind: Bryce Dallas Howard Like It HBO Films Celia: Romola Gerai Orlando: David Oyelewo Jaques: Kevin Kline Hamlet 1948 Two Cities Laurence Olivier Hamlet: Laurence Olivier 1980 BBC TVI Rodney Bennett Hamlet: Derek Jacobi Time-Life 1991 Warner Franco ~effirelli Hamlet: Mel Gibson 1997 Renaissance Kenneth Branagh Hamlet: Kenneth Branagh 2000 Miramax Michael Almereyda Hamlet: Ethan Hawke 1965 Alpine Films, Orson Welles Falstaff: Orson Welles Intemacional Henry IV: John Gielgud Chimes at Films Hal: Keith Baxter Midni~ht Doll Tearsheet: Jeanne Moreau Henry V 1944 Two Cities Laurence Olivier Henry: Laurence Olivier Chorus: Leslie Banks 1989 Renaissance Kenneth Branagh Henry: Kenneth Branagh Films Chorus: Derek Jacobi Julius 1953 MGM Joseph L Caesar: Louis Calhern Caesar Manluewicz Brutus: James Mason Antony: Marlon Brando ~assiis:John Gielgud 1978 BBC TV I Herbert Wise Caesar: Charles Gray Time-Life Brutus: kchard ~asco Antony: Keith Michell Cassius: David Collings King Lear 1971 Filmways I Peter Brook Lear: Paul Scofield AtheneILatenla Love's 2000 Miramax Kenneth Branagh Berowne: Kenneth Branagh Labour's and others Lost Macbeth 1948 Republic Orson Welles Macbeth: Orson Welles Lady Macbeth: Jeanette Nolan 1971 Playboy / Roman Polanslu Macbe th: Jon Finch Columbia Lady Macbeth: Francesca Annis 1998 Granada TV 1 Michael Bogdanov Macbeth: Sean Pertwee Channel 4 TV Lady Macbeth: Greta Scacchi 2000 RSC/ Gregory -
Diablotexto Digital (2018), 3, 43-74 43 Doi: 10.7203/Diablotexto.3.13015
The Tempest de William Shakespeare, dirigida por Gregory Doran (Royal Shakespeare Company, 2016-2017). Dialéctica entre tecnología virtual y corporalidad William Shakespeare´s The Tempest, Directed by Gregory Doran (Royal Shakespeare Company, 2016-2017). Dialectics between Virtual Technology and Corporality VÍCTOR HUERTAS MARTÍN SHAKESPEARE INSTITUTE (UNIVERSIDAD DE BIRMINGHAM) Resumen: Este artículo estudia la dialéctica que se da entre los cuerpos de los actores y la tecnología virtual en la producción de The Tempest de Gregory Doran (2016-2017). Dicha dialéctica será observada desde una óptica marxista – principalmente a partir del trabajo de Silvia Federici– y desde la crítica textual y escénica del texto de Shakespeare. Aspectos como la tecnología y el cuerpo serán de importancia para mi trabajo. Particularmente me centraré en el cuerpo como materia sometida al castigo corporal y a su instrumentalización en la película. También trabajaré a partir de la teorización de Gabriella Giannachi sobre el teatro virtual como herramienta de debate estético, político y ético en un entorno hipertextual. Estudiaré las interacciones entre los cuerpos y la tecnología en el espacio escénico del Royal Shakespeare Theatre y cómo dicha interrelación se traslada a la pantalla durante la emisión del espectáculo a través del live cinema. Palabras clave: Cuerpo, virtualidad, realidad; interacción; hipertexto; hipersuperficie Abstract: This article studies the dialectics between the actors’ bodies and virtual technology in a production of Gregory Doran’s The Tempest (2016-2017). Such dialectics will be observed from a Marxist lens – mainly through Silvia Federici’s work – and stage and textual criticism on Shakespeare’s play. Different aspects of technology and the body will be important for my work. -
Theater in England Syllabus 2010
English 252: Theatre in England 2010-2011 * [Optional events — seen by some] Monday December 27 *2:00 p.m. Sleeping Beauty. Dir. Fenton Gay. Sponsored by Robinsons. Cast: Brian Blessed (Star billing), Sophie Isaacs (Beauty), Jon Robyn (Prince), Tim Vine (Joker). Richmond Theatre *7:30 p.m. Mike Kenny. The Railway Children (2010). Dir. Damian Cruden. Music by Christopher Madin. Sound: Craig Veer. Lighting: Richard G. Jones. Design: Joanna Scotcher. Based on E. Nesbit’s popular novel of 1906, adapted by Mike Kenny. A York Theatre Royal Production, first performed in the York th National Railway Museum. [Staged to coincide with the 40 anniversary of the 1970 film of the same name, dir. Lionel Jefferies, starring Dinah Sheridan, Bernard Cribbins, and Jenny Agutter.] Cast: Caroline Harker (Mother), Marshall Lancaster (Mr Perks, railway porter), David Baron (Old Gentleman/ Policeman), Nicholas Bishop (Peter), Louisa Clein (Phyllis), Elizabeth Keates Mrs. Perks/Between Maid), Steven Kynman (Jim, the District Superintendent), Roger May (Father/Doctor/Rail man), Blair Plant(Mr. Szchepansky/Butler/ Policeman), Amanda Prior Mrs. Viney/Cook), Sarah Quintrell (Roberta), Grace Rowe (Walking Cover), Matt Rattle (Walking Cover). [The production transforms the platforms and disused railway track to tell the story of Bobby, Peter, and Phyllis, three children whose lives change dramatically when their father is mysteriously taken away. They move from London to a cottage in rural Yorkshire where they befriend the local railway porter and embark on a magical journey of discovery, friendship, and adventure. The show is given a touch of pizzazz with the use of a period stream train borrowed from the National Railway Museum and the Gentlemen’s saloon carriage from the famous film adaptation.] Waterloo Station Theatre (Eurostar Terminal) Tuesday December 28 *1:45 p.m.