Edition 0049
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
2018/19 2017/18 Embracing Age Provides ‘Care Number £ Number £ Home Friends’ Who Visit Older People Fuel Grants 1,510 729,740 1,512 730,350 Living in Care Homes
INDIVIDUAL GRANTS Our charity helps families and individuals on low income with the cost of Annual Review their electricity and gas. We can also help with essential white goods. In 1st July 2018 to 30th June 2019 addition, we can help families with the cost of the school journey and we are piloting a project to support families with the cost of the school uniform where children are moving from primary into secondary school. Tackling need, Individuals may qualify for help with their energy bills if any of these are building stronger applicable: communities • They are on a low wage They must also live in our area • They receive state benefits of benefit: • They receive help with rent or • Hampton - Hampton Hill - council tax Hampton Wick • They live on a pension • Teddington - Twickenham - Whitton If you know anyone who might be eligible for a fuel grant, tell them to contact us! Grants awarded Grants awarded 2018/19 2017/18 Embracing Age provides ‘Care Number £ Number £ Home Friends’ who visit older people Fuel Grants 1,510 729,740 1,512 730,350 living in care homes. They received Less: Fuel grant refunds (4,362) (5,627) £8,500 towards salary costs to Essential items (e.g. fridge/freezers, co-ordinate the project. cookers, beds and furniture). 23,472 28,642 Careline units 44 3,822 55 7,080 Welcome to Hampton Fund, launched by the Mayor Cllr Nancy Baldwin. This OK Music Trust provides music School journey grants 26 4,364 22 3,453 is our working name for Hampton Fuel Allotment Charity, to avoid confusion around the words ‘fuel’ and ‘allotment’. -
Paines Plough's Roundabout Plays Will Transfer to Orange Tree Theatre
PRESS RELEASE UPDATE DEC 2017 www.painesplough.com / @painesplough / #PP2017 / Theatre. Everywhere. PAINES PLOUGH’S ROUNDABOUT PLAYS WILL TRANSFER TO ORANGE TREE THEATRE IN JANUARY 2018 BLACK MOUNTAIN BY BRAD BIRCH, OUT OF LOVE BY ELINOR COOK AND HOW TO BE A KID BY SARAH MCDONALD-HUGHES WILL PLAY AT ORANGE TREE THEATRE FROM 25 JANUARY – 3 MARCH 2018 PRESS PERFORMANCES ON SATURDAY 3, MONDAY 5 AND TUESDAY 6 FEBRUARY 2018 IMAGES CAN BE DOWNLOADED HERE PROGRAMME 2017 TRAILER CAN BE VIEWED HERE Co-Artistic Directors of Paines Plough James Grieve and George Perrin today announced that, in co-production with Orange Tree Theatre and Theatr Clwyd, Black Mountain by Brad Birch, Out Of Love by Elinor Cook and How To Be A Kid Sarah McDonald-Hughes will transfer to Orange Tree Theatre in January 2018. Tickets are on general sale from 26 June at: www.orangetreetheatre.co.uk James Grieve and George Perrin said today: “It’s been a joy to work with Orange Tree Theatre as one of our co-producers for Roundabout this year, and we’re thrilled that Black Mountain, Out Of Love and How To Be A Kid will be playing in Richmond at the start of 2018. We hugely admire the work that Paul, Sarah and their team have been doing over the past couple of years, and are excited to be working with one of the most dynamic theatres in London for innovative new writing.” Black Mountain, Out Of Love and How To Be A Kid previewed at Theatr Clwyd (24 June – 22 July) before opening in ROUNDABOUT @ SUMMERHALL as part of the Edinburgh Festival Fringe (4 – 27 August). -
Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath. -
Richmond Upon Thames
www.visitrichmond.co.uk 2009 - 04 historic houses 2009 - 08 river thames RICHMOND - 2009 10 open spaces 2009 - 12 museums and galleries UPON 2009 - 14 eating and drinking 2009 - 16 shopping 2009 - 18 worship and remembrance THAMES 2009 - 20 attractions 2009 - 26 map VisitRichmond Guide 2009 2009 - 31 richmond hill 2009 - 32 restaurants and bars 2009 - 36 accommodation and venues 2009 - 48 language schools 2009 - 50 travel information Full page advert --- 2 - visitrichmond.co.uk Hampton Court Garden Welcome to Cllr Serge Lourie London’s Arcadia Richmond upon Thames lies 15 miles in Barnes is an oasis of peace and a southwest of central London yet a fast haven for wildlife close to the heart of train form Waterloo Station will take you the capital while Twickenham Stadium, here in 15 minutes. When you arrive you the home of England Rugby has a will emerge into a different world. fantastic visitors centre which is open all year round. Defi ned by the Thames with over 21 miles of riverside we are without doubt the most I am extremely honoured to be Leader beautiful of the capitals 32 boroughs. It is of this beautiful borough. Our aim at the with good reason that we are known as Town Hall is to preserve and improve it for London’s Arcadia. everyone. Top of our agenda is protecting the environment and fi ghting climate We really have something for everyone. change. Through our various policies Our towns are vibrant and stylish with we are setting an example of what local great places to eat, shop, drink and government can do nationally to ensure a generally have a good time. -
Dec 2016 Box Office: 0117 902 0344 Tobaccofactorytheatres.Com
AUG - DEC 2016 AUG- DEC BOX OFFICE: 0117 902 0344 TOBACCOFACTORYTHEATRES.COM WELCOME Welcome to autumn at Tobacco Factory Theatres. We hope you will join us for smaller but no less This is the first season we’re embarking on brilliant shows by a younger generation of rising together and you can find out more about us talent, playing as part of the BEYOND season on P06. We’re delighted to be taking over at a in venues across Bristol. Poetic mastery and tremendously exciting time in the theatre’s life, astonishing true stories combine in Inua Ellams’ and with an incredible season ahead! funny and heartbreaking show An Evening With An Immigrant. Champ sees a Bristol-based writer Following its sell out run in April 2016 the mighty and director, Sam Bailey and Jesse Jones, Trainspotting is back, launching our second creating a new play that charts the life of a Tobacco Factory Theatres BEYOND season. If you disaffected young man. didn’t see it the first time then make sure you book your tickets before it’s too late. Finally, to round off the year, we have the effervescent Cinderella: A Fairytale. Our Olivier- First up in the Factory Theatre this September is nominated co-production with Travelling the delightful Blue Heart by Caryl Churchill, one of Light finally returns to Bristol to warm your the country’s greatest living playwrights. We are heart at Christmas. excited to be co-producing this rarely performed play with the Orange Tree Theatre, directed by the We can’t wait to enjoy it all and we hope to see brilliant David Mercatali. -
Introduction 1 Sensation Fiction and the Emergence of the Victorian
Notes Introduction 1. Many of Reade’s works have recently been made available by Dodo Press, a subsidiary of the innovative new publisher The Book Depository in the UK. 2. The critic for the Dublin University Review stated that “the taste of the age has settled the point, that its [fiction’s] proper office is to elevate and purify” (qtd. in Page 50). The Athenaeum used the same phrase in its negative review of Collins’s Basil in which the critic writes, “the proper office of Art is to elevate and purify” (qtd. in Page 48). In his essay on Milton, Thomas Babington Macaulay praises the work of the poet for its ability “not only to delight but to elevate and purify” (28). 3. For an excellent discussion of Man and Wife, see Lisa Surridge, “Unspeakable Histories: Hester Dethridge and the Narration of Domestic Violence in Man and Wife” (Victorian Review 22.2, Winter 1996: 161–85). 4. I have not consulted first-hand the critical biography by Leone Rives, Charles Reade: sa vie, ses romans (Paris: Imprimerie Toulousaine, 1940). 1 Sensation Fiction and the Emergence of the Victorian Literary Field 1. Bachman and Cox do not provide evidence to support their statement on Reade’s possible influence on Collins although Peters also makes a similar but qualified statement, “He has sometimes been implicated in the supposed decline of Wilkie Collins’s fiction; but it is too simple to suggest that Reade took over from Dickens as Wilkie’s mentor” (282). Nicholas Rance writes of Collins that “Charles Reade, gout, and . -
A Touch of Greasepaint, Apr
CANADIAN BROADCASTING CORP. RADIO DRAMA A Touch of Greasepaint, Apr. 24, 1954 Inventory Series 1 1. Some “firsts” & beginnings of the theatre: The Contrast, New York, 1787 2. Morals, Restoration & Victorian: The Provoked Wife and Lady Windermere’s Fan 3. Melodrama: Ticket of Leave Man, East Lynne and Caste 4. The Admirable Bashville (G.B.S) 5. Sarah Siddons: Venice Preserved and Zara 6. The Bucktails, or Americans in England and Fashion 7. The Land of Promise (Somerset Maugham) 8. Tom Robertson and Garrick 9. David Garrick: The Old Batchelor 10. David Garrick: “Actors’ Fund Prologue” and The Wonder 11. Irish Theatre: In the Shadow of the Glen 12. Edmund Kean: A New Way to Pay Old Debts 13. Edmund Kean: Othello, Act 3, Scene 3. 14. Chekhov, The Seagull 15. Henry Irving: Two Roses 16. Henry Irving: The Bells 17. Sheridan: The School for Scandal 18. Dion Boucicault: The Colleen Bawn and London Assurance 19. Comedy: Sir Thomas More, Gammer Gurton’s Needle and The Relapse 20. Henrik Ibsen, Little Eyolf Canadian Broadcasting Corporation Radio Drama A Touch of Greasepaint Inventory Page 2 of 11 21. Ben Jonson: Volpone 22. Pirandello: Naked 23. Macready: The Distrest Mother 24. Macready: Virginus 25. Oscar Wilde: An Ideal Husband 26. Moliere: The School for Wives 27. August Stringberg: The Dance of Death 28. Marriage: Proposal scenes from The Shoemaker’s Holiday, The Way of the World, Money and The White Headed Boy Series 2 1. Repeat 2. D.H. Lawrence: The Widowing of Mrs. Holroyd 3. Shelley: The Cenci 4. Sheridan: The Rivals 5. -
Public Spirit and Public Order. Edmund Burke and the Role of the Critic in Mid- Eighteenth-Century Britain
Public Spirit and Public Order. Edmund Burke and the Role of the Critic in Mid- Eighteenth-Century Britain Ian Crowe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2008 Approved by: Advisor: Professor Jay M. Smith Reader: Professor Christopher Browning Reader: Professor Lloyd Kramer Reader: Professor Donald Reid Reader: Professor Thomas Reinert © 2008 Ian Crowe ALL RIGHTS RESERVED ii ABSTRACT Ian Crowe: Public Spirit and Public Order. Edmund Burke and the Role of the Critic in Mid- Eighteenth-Century Britain (Under the direction of Dr. Jay M. Smith) This study centers upon Edmund Burke’s early literary career, and his move from Dublin to London in 1750, to explore the interplay of academic, professional, and commercial networks that comprised the mid-eighteenth-century Republic of Letters in Britain and Ireland. Burke’s experiences before his entry into politics, particularly his relationship with the bookseller Robert Dodsley, may be used both to illustrate the political and intellectual debates that infused those networks, and to deepen our understanding of the publisher-author relationship at that time. It is argued here that it was Burke’s involvement with Irish Patriot debates in his Dublin days, rather than any assumed Catholic or colonial resentment, that shaped his early publications, not least since Dodsley himself was engaged in a revision of Patriot literary discourse at his “Tully’s Head” business in the light of the legacy of his own patron Alexander Pope. -
London Musicals 1920-1924.Pub
1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original. -
THE UNIVERSITY of HULL 'The Audience Enjoyed
THE UNIVERSITY OF HULL ‘The audience enjoyed the audience’, a Practice-as- Research Based Investigation into Space, Proxemics, Embodiment and Illocution in Relation to Young People’s Reception of Shakespeare. being a Thesis submitted for the Degree of PhD in Drama (Theory and Performance) in the University of Hull by Henry Bell, MA & BA. September 25th, 2015. 1 TABLE OF CONTENTS Abstract p.6 Acknowledgements and Credits p.7 Introduction p.9 Chapter One: A phenomenological description of the interpretative process undertaken by young people in relation to the embodied Shakespearean world. p.26 Chapter Two: A social product: the embodied audience experience of in-the-round theatre space with young audiences and Shakespeare’s work. p.92 Chapter Three: The Performed Performative: The linguistic behaviour of a practical approach to Shakespeare on stage and in the classroom p.134 Conclusions. p.173 Appendix 1: Secondary School Feedback from the Audience Members of Romeo and Juliet. p.185 Appendix 2: Letter Feedback from Julius Caesar audience members from School 4 and School 5. p.220 Appendix 3: Group Feedback from audience member of Julius Caesar from School 6. p.231 Appendix 4: Teacher Feedback from Schools Attending Julius Caesar. p.241 2 TABLE OF CONTENTS (continued) Appendix 5: Teacher Feedback from Schools Attending Romeo and Juliet. p.245 Appendix 6: Interview with Sir Alan Ayckbourn. p.249 Appendix 7: Interview with Chris Monks. p.259 Appendix 8: Interview with Sam Walters, MBE. p.276 Bibliography. p.289 A Video Appendix DVD is attached with this dissertation. These fourteen videos are an essential part of the illustration and analysis of the research conducted. -
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.