Nottinghamshire Notables S-Z May 2013
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Donald Roy – Interview Transcript
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Donald Roy – interview transcript Interviewer: Ewan Jeffrey 22 April 2005 Professor of Drama and theatregoer in the fifties and sixties. Revival of Music Hall after the war; detailed descriptions of Music Hall routines; Christopher Fry; response to premiere of Look Back in Anger; Waiting for Godot; the American Musical. EJ: First of all, can you give me some general background of your experience of theatre and theatregoing DR: Well, I had a provincial background. If you regard Wales as part of the English Provinces - which I don't of course, it's a separate country, it wasn't then but it is now! It took a long time to recover from being conquered by England back in the Middle Ages. Anyway, that's beside the point. I was brought up in Cardiff where there were two regular theatres, in my days there. One was straight theatre, the Prince of Wales, and the other was a touring date for... well, they were both touring theatres, but the second theatre, the new theatre, which until fairly recently was the home of the Welsh National Opera Company was in those days a first class date for touring variety shows, of which there were quite a few in the immediate aftermath of the Second War. I think this had come about largely because of the war itself, when there were so many entertainers in the armed forces, that either because they saw their... or because they were persuaded by their agents. Quite a lot of old musical hall artists came out of retirement and they appeared on radio, performed on radio frequently during the war in variety contexts, magazine programmes, that sort of thing. -
Samuel Beckett and the Reception of Harold Pinter's Early
“Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas Book or Report Section Accepted Version Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas. In: Rakoczy, A., Hori Tanaka, M. and Johnson, N. (eds.) Influencing Beckett / Beckett Influencing. Collection Karoli. L'Harmattan, Budapest & Paris, pp. 61-74. ISBN 9782343219110 Available at http://centaur.reading.ac.uk/95305/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://webshop.harmattan.hu/? id=aa725cb0e8674da4a9ddf148c5874cdc&p=termeklap&tkod=4605 Publisher: L'Harmattan All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online (Published in: Anita Rákóczy, Mariko Hori Tanaka & Nicholas Johnson, eds. Infleuncing Beckett / Beckett Influencing. Budapest & Paris: L’Harmattan, 2020, pp. 61-74). “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas by Jonathan Bignell Abstract This essay analyzes the significance of Samuel Beckett to the British reception of the playwright Harold Pinter’s early work. Pinter’s first professionally produced play was The Birthday Party, performed in London in 1958. Newspaper critics strongly criticized it and its run was immediately cancelled. Beckett played an important role in this story, through the association of Pinter’s name with a Beckett “brand” which was used in reviews of The Birthday Party to sum up what was wrong with Pinter’s play. -
“I Will Never Play the Dane”: Shakespeare and the Performer's Failure
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library DOI: 10.1111/lic3.12470 ARTICLE “I will never play the Dane”: Shakespeare and the performer's failure Richard O'Brien University of Birmingham Abstract Correspondence Richard O'Brien, Department of Film and The cultural prestige accorded to Shakespeare's great roles Creative Writing, University of Birmingham, has made them high watermarks for ‘great acting’ in general. Birmingham, UK. Email: [email protected] They are therefore also uniquely capable of channelling a performer's sense of his own failure. The 1987 film Withnail &Ifamously ends with its title character, an out‐of‐work actor and self‐destructive alcoholic, delivering Hamlet's “What a piece of work is a man” to an audience of unre- sponsive wolves. And in 2014's The Trip to Italy, Steve Coogan plays a fictionalised version of himself: a comedian who fears he will never be remembered as a serious artist. On a visit to Pompeii, Coogan's delivery of Hamlet's speech to Yorick's skull similarly becomes a way of channelling the series's wider reflections on fame, mortality, and the value of the actor's art. Drawing on Marvin Carlson's argument that the role of Hamlet is unusually densely ghosted by its previous occupants, this article will explore how these two contemporary depictions of struggling performers evoke the received idea of the great Shakespearean role as the pinnacle of the actor's art to respond to the dilemma of how to cope with creative failure. -
Shakespeare, William Shakespeare
Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
37Th International Shakespeare Conference
37th International Shakespeare Conference ‘Shakespeare and War’ Conference Report Sponsored by: University of Birmingham In association with: Shakespeare Birthplace Trust And the Royal Shakespeare Company The Shakespeare Institute Stratford-upon-Avon 22nd July – 27th July 2018 Advisory Committee: Péter Dávidházi Paul Edmondson Ewan Fernie Andreas Höfele Peter Holland Tetsuo Kishi Jill L Levenson Lena Cowen Orlin Jesús Tronch Pérez Martin Procházka Ann Thompson Nathalie Vienne-Guerrin Stanley Wells Chair: Michael Dobson Secretary: John Jowett 2 Summaries of Papers Presented at the Conference Monday 23rd July: Zoltan Marcus: “The Lion and the Lamb: Hamlet in London during World War II” In his Shakespeare on the English Stage, J. C. Trewin suggests that theatre disappeared from London during World War II: “London was by now a touring date” and, as such, it became a “provincial city.” Although, based on the sheer number of Shakespeare productions and the withdrawal of the Old Vic theatre from London, this observation might ring true, from a more general perspective it is hardly justifiable. The air-raids and the occasional waves of evacuations notwithstanding, London throughout the war remained one of the largest metropolises in the world and the power center of not only the United Kingdom but an empire of half a billion people. Despite the early paralysis in September 1939, the devastation of the Blitz in 1940/41, and the general hardship of everyday life throughout the war, the city remained very much “alive”, and its cultural production was significant even during the most difficult of times. By discussing the paradoxical history of Shakespeare productions in wartime London (including Donald Wolfit’s ‘Lunchtime Shakespeare’ series), this talk claims that Hamlet productions in 1944 in general and the Haymarket Theatre’s staging (Hamlet: John Gielgud; director: George Rylands) in particular succeeded in re-establishing Shakespeare as a cultural icon of a national(istic) tradition and unity. -
Or, When Did Tamburlaine Become Black? El Viaje Teatral De Tim Ūr, O ¿Cuándo Se Volvió Negro Tamburlaine?
Tim ūr’s theatrical journey: Or, when did Tamburlaine become black? El viaje teatral de Tim ūr, o ¿Cuándo se volvió negro Tamburlaine? Linda McJannet Bentley University, United States ABSTRACT RESUMEN Reviews of modern productions of Marlowe’s Las reseñas de las producciones modernas del Tamburlaine often note a three-hundred-year Tamburlaine de Marlowe a menudo dan cuenta del hiatus between a recorded performance in paréntesis de trescientos años que existió entre una 1641, just before the closing of the theatres, representación de la obra de la que se tiene noticia and Tyrone Guthrie’s revival at the Old Vic in en 1641, justo antes del cierre de los teatros, y su 1951. While the statement is mostly true with recuperación a manos de Tyrone Guthrie en el Old respect to Marlowe’s play, Tamerlane or Vic en 1951. Aunque esta afirmación es Timūr Lenk and the Ottoman emperor fundamentalmente cierta en lo tocante a la obra de Bayazid I (Marlowe’s Bajazeth) had Marlowe, Tamerlane o Tim ūr Lenk, junto con el important theatrical incarnations in the 1700s emperador otomano Bayazid I (el Bajazeth de before they declined into parody in the 1800s. Marlowe) tuvieron importantes encarnaciones en el When Marlowe’s play was revived in the teatro en el siglo XVIII, antes de degradarse y modern era, the main characters reclaimed convertirse en parodia en el siglo XIX. Cuando la their dignity, but they also acquired markers obra de Marlowe fue recuperada en la época of racial, ethnic, or religious otherness that moderna los personajes principales recobraron su had not been prominent earlier. -
978–0–230–27845–5 Copyrighted Material
Copyrighted material – 978–0–230–27845–5 © William Baker 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–27845–5 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. -
Komisarjevsky, Shakespeare and Russophobia in the British Theatre
‘The Merry Wives of Moscow’ Komisarjevsky, Shakespeare and Russophobia in the British Theatre Philippa Burt Theodore Komisarjevsky was a prominent figure in the inter-war British theatre until his migration to North America in 1936. While recent studies have foregrounded the various artistic factors that influenced his work and his eventual departure, little attention has been placed on the sociopolitical issues. Most notably, there has been no serious consideration of the impact that his nationality had on the opportunities that were available to him. This article examines Komisarjevsky’s work in relation to the growing nationalistic and Russophobic attitudes in Britain during the 1920s and 1930s. It focuses particularly on his series of productions at the Shakespeare Memorial Theatre, and shows the subsequent critical outrage to be rooted in a desire to protect Shakespeare and, by extension, Britain as a whole from the ‘interference’ of a Russian director. Dr Philippa Burt is a lecturer in the Department of Theatre and Performance at Goldsmiths, University of London. She has previously published articles on Harley Granville Barker and Joan Littlewood, and is the recent recipient of a Harry Ransom Research Fellowship in the Humanities at the University of Texas at Austin. Keywords: inter-war theatre, anti-alienism, xenophobia, Shakespeare Memorial Theatre, Antony and Cleopatra, cultural ownership, émigrés In the spring of 1946, Theodore Komisarjevsky attended a performance of Uncle Vanya staged by the Old Vic Theatre Company during its month-long season at the New Century Theatre in New York.1 Having lived and worked in Britain for seventeen years before his migration to North America in 1936, the Russian director saw it as a welcome opportunity to reconnect with old friends and colleagues and to see for himself the positive impact his work had had on the British theatre. -
INTRODUCTION Robin Hood Theatre Averham the First 21 Years
Robin Hood Theatre Averham The first 21 years An account of the formation and early history of the Robin Hood Theatre Written By Valerie Baker - Theatre Director INTRODUCTION The Robin Hood Theatre lies in the grounds of stage. The theatre always played to capacity and was Averham Rectory, close to Sherwood Forest. It was open for one month in the winter and one in summer. designed by the Rev. Joseph Cyril Walker in 1913 and built by the village carpenter, Robert Lee, assisted by Among his company were Jessie Bond, a former local voluntary labour. Gilbert and Sullivan leading lady and a young Newark schoolboy named Donald Wolfit who was enthusiastic The exterior was simple and functional, but the enough to cycle three miles on cold nights from interior surprised and delighted all who entered it. Newark to attend rehearsals. He played small parts The ample 3' high stage with a depth of 24' and a width in several of the rector's pantomimes, once even the of 16' was framed by an ornate proscenium arch legs of the pantomime donkey, "all four of them", he painted in gold leaf, flanked by more beautiful plaster proudly boasted later. One of the finest work. The handsome front drop tabs were of dark Shakespearean actors this country has ever produced, green velvet and the orchestra pit was surrounded by Sir Donald was knighted for his services to the British a heavy brass rail hung with curtains of the same Theatre in 1957 but he never forgot his past and years material. The full name chosen for the theatre was later played a major role in the revival of this the Robin Hood Opera House and these initials were enchanting small theatre. -
Marilyn: My Nights With
MARILYN: MY NIGHTS WITH IL E Y CULTURE k FRANKIE*ALARM*BIG DADDY H on the heels of their TV debut on last week's ORS, the Lofs release their four track EP ' Up The Hill And Down The Slope'. The band will do well to improve on the success of their first 45 ' Why Does The Rain', which was voted second best single of 1984 by Radio One's Janice Long, but Spe- cials producer, John A Rivers has honed the Loft's sound down to four tracks of feisty guitar music which stands out from the current crop of tints and synths. The Loft have been described as " Il ciclone punko" in Italy, but it's here that the band look set to kick up a storm. the dreaded words ' computer generated' hardly make you glow with user friendliness, then Max Headroom might make you think again. Max is a TV host but also a film. His 60 minute feature is screened this Thursday, April 4, on Channel 4. Set in the near future, it's a world where TV is king and man lives by ratings alone. Net- work 23 has the rating race sewn up due to its invention of blipverts, sinister subliminal adverts which imbed themselves in viewers' minds before they have a chance to switch channels. Top TV reporter Edison Carter stumbles on the truth about blipverts ( they cause TV RECORD MIRROR Hunk Of The freaks to spontaneously combust) and it's adventure all the way — Month for April, Frankie's Paul hero vs corporation with the help of brainy computer op ( Theora Rutherford, wiggles his bum ' Live' Jones). -
Endgame Production Dramaturgy Packet
Samuel Beckett’s ENDGAME TABLE of Contents Cast and Characters of Endgame………………….……………..……………..….…………...3 Synopsis………………….……………..……………..……………..……………..…………….3 A Brief Biography of Samuel Beckett……………...…………….…………….……….....…….4 Notes from the Director…………………………………………………………………….……8 Notes on Design Elements……………..……………..……………..……………..…………...10 Contexts……………………..……………………..……………………..……………………..12 Socio-Cultural and Philosophical Contexts…..………...…..……………..……..……12 Political Contexts…..……………..……………..……..……………..…………….......13 Theatrical Styles in Context…..……………..……………..……..……………..……..13 Beckett’s Thoughts on Endgame…..……………..……………..……..……………..………..15 Critical Commentary on Endgame and Samuel Beckett…………………………………….17 Snippets…………………………….…………………………….……….……………..17 Revising Himself- Performance as Text in Samuel Beckett's Theatre……...Appendix I S.E. Gontarski Theatrical Space and the Domain of Endgame…..……………..…...…...…Appendix II Brian Richardson Rest of Stage in Darkness: Beckett, his Directors and Place…..…………..Appendix III David Addyman Working with Beckett…..……………..……………..……..…………….….Appendix IV Alan Schneider Endgame and Performance…..……………..……………..……..……….…Appendix V Julie Campbell Waiting for the Show: Beckettian Performance…..……………..…...…….Appendix VI S.E. Gontarski Hamming it up in Endgame: A Theatrical Reading…..……………..……Appendix VII Kate Dorney Memory and Its Devices in Endgame…..……………..……………..…...Appendix VIII Jane E. Gatewood Re-Evaluating Endgame…..……………..……………..…………………...Appendix IX Colin Duckworth Bare interiors, chicken wire cages