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Gregory Clarke Sound Designer
Gregory Clarke Sound Designer Agents Giles Smart Assistant Ellie Byrne [email protected] +44 (020 3214 0812 Credits In Development Production Company Notes THE HOUSE OF SHADES Almeida By Beth Steel 2020 Dir. Blanche McIntyre ALL OF US National Theatre By Francesca Martinez 2020 Dir. Ian Rickson THE REALISTIC JONESES Theatre Royal Bath By Will Eno 2020 Dir. Simon Evans Theatre Production Company Notes THE BOY FRIEND Menier Chocolate Factory Book, Music and Lyrics by Sandy Wilson 2020 Dir. Matthew White THE WIZARD OF OZ Chichester Festival Adapted by John Kane from the motion 2019 Theatre picture screenplay A DOLL'S HOUSE Lyric Hammersmith By Henrik Ibsen in a new adaptation by 2019 Tanika Gupta Dir. Rachel O’Riordan. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE SECRET DIARY OF Ambassadors Theatre Based on the novel by Sue Townsend ADRIAN MOLE AGED 13 3/4 Dir. Luke Sheppard Book & Lyrics by 2019 Jake Brunger, Music & Lyrics by Pippa Cleary Transfer of Menier Chocolate Factory production THE BRIDGES OF MADISON Menier Chocolate Factory Book by Marsha Norman COUNTY Music & Lyrics by Jason Robert Brown 2019 Based on the novel by Robert James Waller Direction Trevor Nunn THE BEACON Druid By Nancy Harris 2019 Dir. Garry Hynes RICHARD III Druid / Lincoln Center NYC By William Shakespeare 2019 Dir. Garry Hynes ORPHEUS DESCENDING Theatr Clwyd / Menier By Tennessee Williams 2019 Chocolate Factory Dir. Tamara Harvey THE BAY AT NICE Menier Chocolate Factory By David Hare 2019 Dir. -
Home Chat 29/07/2010 12:13 Page 1
Aug2010_Home Chat 29/07/2010 12:13 Page 1 THE NEWSLETTER OF THE NOËL COWARD SOCIETY President: HRH The Duke of Kent Vice Presidents: Barry Day OBE • Stephen Fry • Tammy Grimes • Penelope Keith CBE AUGUST 2010 t was with surprise and sadness that the NCS committee Barbara Longford greeted Barbara Longford’s announcement that she wished Ito stand down as its chairman. For all of us Barbara’s name has become synonymous with Brief Encounter the Society and with the enormous programme of activity and events that has marked her hugely successful period as Design For Living Chairman. She has decided to move on to pursue her desire to support the work of the Soldiers, Sailors, Airmen and Coward Celebrations Families Association (SSAFA). We wish her well with her new role and commitments and celebrate her contribution to the work of the Society in our centre pages recalling the highlights of her time with us. Warmest thanks from all of us for all the fun, the style and the passion of her contribution to our hero - to: ‘The Mistress’ from all of the lovers of ‘The Master.’ BRIEF ENCOUNTER RETURNS TO BROADWAY A NOËL COWARD SOCIETY EVENING he Roundabout Theatre Company in association with David Pugh & Dafydd Rogers and Cineworld presents T Kneehigh Theatre’s production of Noël Coward’s Brief Encounter adapted by Emma Rice. The production opens at Studio 54 in New York for previews on September 10, 2010. Stephen Greenman and Barbara Longford at Sardi’s in December Following opening on September 28th there will be a limited 2005. -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer. -
Brief Encounter
NOËL COWARD’S BRIEF ENCOUNTER STUDY PACK “I’m not very keen on Hollywood…I’d rather have a nice cup of cocoa really” - Noël Coward Highlights Of A Life And Career 1899 16 December, Noël Peirce Coward born in Teddington, Middlesex, eldest surviving son of Arthur Coward, piano salesman and Violet. His early circumstances were of refined suburban poverty. 1907 First public appearances in school and community concerts. 1908 Family moved to Battersea and took in lodgers. 1911 First professional appearance as Prince Mussel in The Goldfish, produced by Lila Field at the Little Theatre and revived in same year at Crystal Palace and Royal Court Theatre. Cannard, the page-boy, in The Great Name at the Prince of Wales Theatre and William in Where the Rainbow Ends with Charles Hawtrey’s Company at the Savoy Theatre. 1912 Directed The Daisy Chain and stage-managed The Prince’s Bride at Savoy in series of matinees featuring the work of the children of the Rainbow cast. Mushroom in An Autumn Idyll ballet, Savoy. 1913 An angel (Gertrude Lawrence was another) in Basil Dean’s production of Hannele. Slightly in Peter Pan, Duke of York’s. 1914 Toured in Peter Pan. Collaborated with fellow performer Esmé Wynne on songs, sketches, and short stories. Coward as a teenager 1915 Admitted to sanatorium for tuberculosis. 1916 Five-month tour as Charley in Charley’s Aunt. Walk-on in The Best of Luck, Drury Lane. Wrote first full-length song, ‘Forbidden Fruit’. Basil Pycroft in The Light Blues, produced by Robert Courtneidge, with daughter Cicely also in cast, Shaftesbury. -
Noël Coward on TV: Tears in Champagne
Noël Coward on TV: Tears in Champagne With onstage appearances from Dame Penelope Keith, Alistair McGowan, Barry Day, Keith Barron, Maria Aitken, John Gorrie and Kit Hesketh-Harvey Monday 30 March 2015, London. Throughout May 2015 BFI Southbank will celebrate the television work of the ground-breaking playwright, musician and cabaret performer Noël Coward. Coward was a playwright way ahead of his time. Hiding behind glamour and sophistication, his plays were radical and often morally ambiguous, from the shocking representation of drug addiction in The Vortex (Granada TV, 1964) to the hedonistic ménage-a-trois in Design for Living (BBC, 1979). Highlights of the season will include a illustrated talk from Coward expert Barry Day, a panel discussion featuring Dame Penelope Keith and Alistair McGowan, and very rare screenings of Jazz Age: Post Mortem (BBC, 1968), unseen since 1968, and a US production of Blithe Spirit (CBS, 1956) starring Coward himself opposite Lauren Bacall and Claudette Colbert. It has been said that Noël Coward fell out of fashion with the arrival of the new breed of ‘angry’ radical playwrights that emerged in the late 50s. While these new plays came to dominate theatre, TV broadcasters continued to see the value in Coward’s work, resulting in a string of fine TV productions which will screen in the season, including Private Lives (BBC, 1976), Fallen Angels (Anglia TV, 1974) and The Kindness of Mrs Radcliffe (BBC, 1981). Coward’s unique blend of high- octane wit and sophistication translated easily to the small screen, and provided glamorous roles for big-name TV stars including Penelope Keith, Susannah York and Joan Collins. -
The World of Noël Coward MORE from the ARCHIVES NOËL
HOME CHAT The World Of Noël Coward NOËL COWARD AT CARNFORTH AND THE UK BIRTHDAY EVENTS ALAN FARLEY DOMINIC VLASTO introduces the broadcasts of the renowned West Coast Radio Arts Host. PRIVATE LIVES and RELATIVE VALUES Reviews of the recent Coward revivals that still ‘raise the bar’ for audiences everywhere. MORE FROM THE ARCHIVES The best of the sepia-tinted media world of Noël Coward in the 1930s PHOTO: Ann Harding and Noël Coward making their way through the crowd at the Annual Theatrical Garden Party 1936 A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD •AUGUST 2013 Editorial CONTENTS Welcome and a huge thank you to everyone that has sent us material for our archive pages. We have not been Editorial 2 able to include even a fraction of all the material we have received so please forgive us if you chosen item Forthcoming Events 3 has not made the cut this time, as golfers I think say! There is always next time and the next... Smalhythe 4 At the moment I am working through all that is required for the exhibition at Carnforth Station that starts in October with a Private Lives 5 planned day of talks and films about Noël Coward, Brief Encounter and its theatre forbear Still Life. Relative Values 6 This year’s UK Coward events include our AGM at The Noël Coward Theatre and the Annual Luncheon at the Grand Saloon at the Theatre Michael Law - Easy to Love 7 Royal, Drury Lane. The cabaret for the lunch will be perfvormed by Helen McDermot and Adrian Wright accompanied by Annette Jude. -
Resource Pack.Indd
Noël Coward’s Private Lives Lesson Resource Pack Director Lucy Bailey Designer Katrina Lindsay Lighting Designer Oliver Fenwick Music Errollyn Wallen Image: Noël Coward photographed by Horst P Horst in 1933. Horst Estate/Courtesy Staley-Wise Gallery, New York Contents Introduction & Cast List ……………………… 3 Information for Teachers................................ 4 Noël Coward by Sheriden Morley…………… 5 In Conversation with Lucy Bailey................... 7 Private Lives by John Knowles....…..……. 9 Synopsis …………..…………………………… 11 Social Class................................................... 12 Noël Coward: In his own words….…….…….. 13 Noël Coward visits Hampstead Theatre......... 14 Texts for Comparison with Private Lives…… 15 Performance Evaluation…..………..….....….. 16 Set Design by Katrina Lindsay....................... 17 Language of Private Lives.............................. 18 Lesson Activities - Worksheet one………………………………… 20 Worksheet two………………………………… 21 Worksheet three………………………………. 22 Worksheet four………………………………… 23 Worksheet fi ve…………………………………. 24 Script Extract……….………………………….. 25 Further reading………………………………… 29 Introduction Amanda and Elyot can’t live together and they can’t live apart. When they discover they are honey- mooning in the same hotel with their new spouses, they not only fall in love all over again, they learn to hate each other all over again. A comedy with a dark underside, fi reworks fl y as each character yearns desperately for love. Full of wit and razor sharp dialogue, Private Lives remains one of the most successful and popular comedies ever written. Written in 1929, Private Lives was brilliantly revived at Hampstead in 1962, bringing about a ‘renaissance’ in Coward’s career and establishing Hampstead as a prominent new theatre for London. Private Lives was a runaway hit when it debuted in 1930, and the play has remained popular in revivals ever since. -
Home Chat Feb 2004 A3
In the UK... Fallen Angels July 2006 1 Sep to 31 Dec - Bill Kenwright Ltd, UK Tour FREE TO Hay Fever - 6 Apr to 5 Aug - Starring Judi Dench November and December 2006 MEMBERS OF Theatre Royal, Haymarket. Private Lives THE SOCIETY The Noël Coward Theatre - Avenue Q 26 May to 4 Nov - Theatre by the Lake, Keswick Price £3 ($5) Blithe Spirit Blithe Spirit 20 Jul to 13 Aug - Incisor Productions, St Anns 16 to 25 Nov - Stonegate Amateur dranatic Society, Village CHAT Well Gardens, Brighton Hall, Stonegate, East Sussex home Private Lives Fallen Angels 26 May to 4 Nov - Theatre by the Lake, Keswick 1 Sep to 31 Dec - Bill Kenwright Ltd, UK Tour Tonight At 8.30 2007 Chichester Festival Theatre's summer season. In The Vortex - Will Young - The Royal Exchange Theatre from the Minerva Theatre, playing in two triple bills the 17th January to March 10th 2007. Tickets are available on n a balmy day in the church of St. Paul’s, from 13th July - 2nd Sep. 0161 615 6815 or 0161 833 9833 Covent Garden, The Actors’ Church, on Friday Part 1 The Astonished Heart (Family Album, Red Private Lives 30th June 2006, a congregation drawn from the Peppers, The Astonished Heart) 19 to 27 Feb 2007 - The Bancroft Players, The Queen Mother Oworld of theatre, its audiences and those who loved, Part 2 Shadow Play (Hands Across the Sea, Theatre, Hitchin, Hertfordshire knew and admired him gathered to celebrate Graham Shadow Play, Fumed Oak) BO:01243 781312 or Blithe Spirit Payn’s life. -
A 16 Bar Cut: the History of American Musical Theatrean Original Script and Monograph Document
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 A 16 Bar Cut: The History Of American Musical Theatrean Original Script And Monograph Document Patrick Moran University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Moran, Patrick, "A 16 Bar Cut: The History Of American Musical Theatrean Original Script And Monograph Document" (2006). Electronic Theses and Dissertations, 2004-2019. 916. https://stars.library.ucf.edu/etd/916 A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATRE An Original Script and Monograph Document by PATRICK JOHN MORAN B.A. Greensboro College, 2003 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Patrick John Moran ii ABSTRACT A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. -
Encountering Previn > Opera News > the Met Opera Guild
Encountering Previn > Opera News > The Met Opera Guild http://www.operanews.com/Opera_News_Magazine/2009/4/Fea... Features April 2009 — Vol. 73, No. 10 (http://www.operanews.org/Opera_News_Magazine/2009/4 /DRAMATIC_SOPRANO_CHRISTINE_BREWER.html) Encountering Previn In his eightieth-birthday year, André Previn looks back on an eclectic career that has taken him from Hollywood to the world's elite orchestras - and forward to his new opera, Brief Encounter, which opens at Houston Grand Opera next month. By BARRY SINGER Librettist Caird and composer Previn 1 of 6 1/9/12 12:11 PM Encountering Previn > Opera News > The Met Opera Guild http://www.operanews.com/Opera_News_Magazine/2009/4/Fea... © PWL Studio 2009 André Previn remembers the first opera he ever saw. "I was six or seven. We were still living in Berlin, where I was born, and my father, who adored music and was extremely German, thought, 'Well, now the kid has seen symphonic concerts, he's seen recitals, the time has come for him to see an opera.' Still, he worried, maybe operas are too long for one so young. My father looked in the newspaper and found a performance of Strauss's Salome, which he saw was short, a one-act. So the first opera I ever saw was Salome, but on a double bill with the ballet Coppélia, if you can believe it! Apparently the presenter figured a one-act was not worth real money, so they paired Salome with Coppélia. I adored Salome, but it was quite a while before I realized that Herod did not work in a toyshop." It is no secret that Previn, who turns eighty this year, wound up taking his time before revisiting the opera house as a composer - more than sixty years, in fact. -
NOËL COWARD Recitation (Unaccompanied) Volume 3: “Mad About the Boy” Original Recordings 1932-1943 (HMV B 9336, Mx OEA 10019-2) Recorded 2Nd July, 1943 2:35 20
120623bk Coward 3 REV 21/11/02 3:43 pm Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. David Lennick As a producer of CD reissues, David Lennick’s work in this field grew directly from his own needs as a broadcaster specializing in vintage material and the need to make it listenable while being transmitted through equalizers, compressors and the inherent limitations of A.M. radio. Equally at home in classical, pop, jazz and nostalgia, Lennick describes himself as exercising as much control as possible on the final product, in conjunction with CEDAR noise reduction applied by Graham Newton in Toronto. As both broadcaster and re-issue producer, he relies on his own extensive collection as well as those made available to him by private collectors, the University of Toronto, Syracuse University and others. Also available in the Naxos Nostalgia series 8.120559 8.120560 8.120600* * Not Available in the U.S. 120623bk Coward 3 REV 21/11/02 3:43 pm Page 2 19. THE WELCOMING LAND (Clemence Dane) NOËL COWARD Recitation (unaccompanied) Volume 3: “Mad About The Boy” Original Recordings 1932-1943 (HMV B 9336, mx OEA 10019-2) Recorded 2nd July, 1943 2:35 20. I'M OLD FASHIONED (Jerome Kern–Johnny Mercer) A rare breed of thespian polymath, the multi-faceted Noël Coward was a kind of 20th With Robb Stewart, piano century ‘Renascence Man’ of the theatre – variously playwright, singing-actor of stage (HMV B 9337, mx OEA 10024-1) Recorded 6th July, 1943 2:34 and revue, film-actor, composer, writer, critic and general theatrical entrepreneur. -
May Home Chat 2001 the Newsletter of the Noel Coward Society
MAY HOME CHAT 2001 THE NEWSLETTER OF THE NOEL COWARD SOCIETY AFTER THE BALL In Conversation with Joan Hirst by Gareth Pike Barry Day writes ... The historic Custom House on Until this year when Birmingham University took over Battery Park was the setting for the responsibility for the London based part of the Coward archive New York Premiere of the concert its guardian had been Joan Hirst, the Society's new Vice- version of After The Ball . The President. In Coward's lifetime she ran his London office and Standing Room Only audience of mindful of the precept of her predecessor Lorn Loraine that some 400 - with almost as many they were there to support Noel and never to take the limelight turned away - cheered the cast to from him, she was reluctant to be interviewed. Finally I the echo at the end of the persuaded her. performance. “When and why did you come to work for Noël?” Prior to professional commitments “It was after the war. I was alone with a son to bring up, and of the cast - most of whom were I needed the work. At the time I was working for Michael singers from the Metropolitan Redgrave, and as Michael and Noël knew each other, it wasn’t Opera and giving their services free - meant that the piece surprising that Lorn got to hear of me. It was agreed that she was played without an intermission. Seeing it done this way needed an assistant, especially one who could type, because for the first time in its new life of three performances to date she didn’t type, and I was there.” convinced me that we what we have here is not so much a “I didn’t know that you had ever worked for the Redgraves’.” musical as a ‘chamber opera.’ The lack of sets and décor - “Oh yes.