Ryan Fletcher

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Ryan Fletcher www.cam.co.uk Email [email protected] Address Ryan 55-59 Shaftesbury Avenue London Fletcher W1D 6LD Telephone +44 (0) 20 7292 0600 Film Title Role Director Production BEATS PC Billy Moncrief Brian Welsh Sixteen Films MEAL DEAL Rob Russell Davidson SAS MUIRHOUSE Ronnie Garry Frazer Channel 4 / Freakworks MARY'S RIDE C Thomas Imbach OkoFilms Television Title Role Director Production PENNYWORTH Series 1 & 2 Dave Boy (Series Regular) Danny Cannon Warner Bros / EPIX ONLY AN EXCUSE - 2017 Various - The Comedy Unit OUTLANDER Corporal Various Starz ONLY AN EXCUSE Various - The Comedy Unit GARY TANK COMMANDER Jan Gus Gilbert Comedy Unit/BBC Scotland LIMMY'S SHOW Various Brian Limond BBC/Comedy Unit SCOTTISH KILLERS Jamie Eleanor Yule STV FILTHY RICH Dougie Henry Cole Henry Cole Productions TAGGART Paul Davidson Morag Fullarton SMG RIVERCITY Vadar (Series Regular) Various BBC Scotland STOP, LOOK, LISTEN Young Carnegie Clement Wark Channel 4 Theatre Title Role Director Production THE 306: DUSK Keith Wils Wilson National Theatre of Scotland THE EMPTY CHARCOAL BOX Billy Stuart Hepburn Oran Mor FATHERLAND Luke Scott Graham Royal Exchange Theatre CUTTIN' A RUG Phil McCann Caroline Paterson Citizens Theatre, Glasgow MILK Danny Orla O’Loughlin Traverse Theatre THE CHOIR Donny Dominic Hill Citizens Theatre, Glasgow THE DRIVER'S SEAT Bill Laurie Sansom National Theatre of Scotland OTHELLO UK TOUR Cassio Scott Graham Frantic Assembly ONCE Svec John Tiffany Phoenix Theatre London BLACKWATCH Cammy John Tiffany National Theatre of Scotland ROMAN BRIDGE Robert-John Amanda Gaughan National Theatre of Scotland INFAMOUS BROTHERS OF DAVENPORT Ira Davenport Jamie Harrison/Candice Edmuns Vox Motus/Edinburgh Lyceum THE WHEEL Thomas /Jacques Vicky Featherstone National Theatre of Scotland MIDSUMMER NIGHTS DREAM Bottom Andy Gray Oran Mor NTS/Frantic Assembly/New BEAUTIFUL BURNOUT Cameron Burns Steven Hoggett/Scott Graham York Run Frantic Assembly/National BEAUTIFUL BURNOUT Cameron Burns Steven Hoggett/Scott Graham Theatre of Scotland TURBO FOLK Cameron Sacha Kyle Oran Mor PPP BEFORE I GO Nolan David Anderson Oran Mor PPP CORSTORPHINE ROAD NATIVITY Herod Joanna Read Edinburgh Festival Company CONFESSIONS OF A JUSTIFIED SINNER Robert Mark Thomson Royal Lyceum Theatre THE LAST WITCH Nick Dominic Hill Traverse Theatre Company/ CTRANO DE BERGERAC Christian Selma Dimitrijevic Oran Mor WATERPROOF Alex Selma Dimitrijevic Oran Mor National Theatre of NOBODY WILL EVER FORGIVE US Johnny John Tiffany Scotland/Traverse National Theatre of COCKROACH Davey Vicky Featherstone Scotland/Traverse 365 P Vicky Featherstone Theatre of Scotland AN ADVERT FOR THE ARMY Barrett Daniel Jackson Oran Mor BLACKWATCH Mick Mackenzie John Tiffany/Steven Hoggett UK & US Tour AE'FOND KISS Zed Ken Alexander Oran Mor BLACKWATCH Mick Mackenzie John Tiffany/Steven Hoggett UK & US Tour BLACKWATCH Mick Mckenzie John Tiffany/Steven Hoggett UK & US Tour Vicky Featherstone/Julian WOLVES IN THE WALLS Brother National Theatre of Scotland Crouch Short Film Title Role Director Production THE NIGHT SWEEPER Wee Man - Scottish Screen Skills Accents & Dialects American-Standard, belfast, Cockney, Dublin, Edinburgh, Glasgow*, Irish-Northern, irish-Southern, Liverpool, Manchester, RP, Scottish-Standard, Yorkshire Music & Dance Drums*, Guitar*, Keyboards, Piano, Rock Singing*, Trumpet Vehicle Licences Car Characteristics Height Hair Eyes Training 5'8" Light / Mid Brown Blue RSAMD Glasgow CAM Limited Registered Oce:CAM, 55-59 ShaftesburyAvenue, London, E. [email protected] W1D6LD T. +44 (0) 20 7292 Registered in England N0. 7268144 Members of the PMA. VATNo. 993 055 733 0600.
Recommended publications
  • Advance Program Notes the TEAM National Theatre of Scotland Anything That Gives Off Light Friday, March 1, and Saturday, March 2, 2019, 7:30 PM
    Advance Program Notes The TEAM National Theatre of Scotland Anything That Gives Off Light Friday, March 1, and Saturday, March 2, 2019, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. The TEAM National Theatre of Scotland Anything That Gives Off Light North American Premiere A co-production by the TEAM, the National Theatre of Scotland, and Edinburgh International Festival Written by Jessica Almasy, Davey Anderson, Fraser Ayres, Rachel Chavkin, Brian Ferguson, and Sandy Grierson Created in collaboration with Matt Hubbs, Nick Vaughan, Brian Hastert, and Libby King Music and lyrics by the Bengsons Directed by Rachel Chavkin with Associate Director Davey Anderson Cast Red: Jessica Almasy* Brian: Reuben Joseph* Iain: Martin Donaghy* Musicians Jessie Linden* Maya Sharpe* Katrina Yaukey* Director: Rachel Chavkin Associate Director: Davey Anderson Composers: Shaun Bengson and Abigail Nessen-Bengson Designer: Nick Vaughan Lighting Designer: Ted Boyce-Smith Sound Designer and Technical Director: Matt Hubbs Music Director: Ellen Winter Costume Associate: Heather McDevitt Barton Casting Director: Laura Donnelly, CDG Production Stage Manager: Ben Freedman* TEAM Producing Director: Alexandra Lalonde Production Assistant: Ema Zivkovic Music Assistant: Jessica Mqllquham This production of Anything That Gives Off Light is dedicated to our original lighting designer, Chahine Yavroyan, who passed away in November, 2018. Chahine, we carry the flame of your elegance, your good grace, and your beautiful eye in our hearts on this stage every evening. Thank you for your light.
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  • June 17 – Jan 18 How to Book the Plays
    June 17 – Jan 18 How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm Saint George and Network Pinocchio for the following week’s performances. the Dragon 4 Nov – 24 Mar 1 Dec – 7 Apr Day Tickets 4 Oct – 2 Dec £18 / £15 tickets available in person on the day of the performance. No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Access symbols used in this brochure CAP Captioned AD Audio-Described TT Touch Tour Relaxed Performance Beginning Follies Jane Eyre 5 Oct – 14 Nov 22 Aug – 3 Jan 26 Sep – 21 Oct TRAVELEX £15 TICKETS The National Theatre Partner for Innovation Partner for Learning Sponsored by in partnership with Partner for Connectivity Outdoor Media Partner Official Airline Official Hotel Partner Oslo Common The Majority 5 – 23 Sep 30 May – 5 Aug 11 – 28 Aug Workshops Partner The National Theatre’s Supporter for new writing Pouring Partner International Hotel Partner Image Partner for Lighting and Energy Sponsor of NT Live in the UK TBC Angels in America Mosquitoes Amadeus Playing until 19 Aug 18 July – 28 Sep Playing from 11 Jan 2 3 OCTOBER Wed 4 7.30 Thu 5 7.30 Fri 6 7.30 A folk tale for an Sat 7 7.30 Saint George and Mon 9 7.30 uneasy nation.
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  • (UK) School of Theatre
    TRE EA G.UK H OR E. E TR TR T HEA HEA T lt A Y R A tot OR EMP 2008–09 | ONT R E G C in P WINT lo E 04 | V UE - DE E ISS TR 20 | HEA T L A tot VOLUME TOTAL MAGAZINE DAY OF THE DEAD – MEET THE YOUNG THEATRE COMPANIES TACKLING BEREAVEMENT SPECTRES A GO-GO AS WE HAVE WORDS WITH THE SPECTACULAR TIM ETCHELLS OF FORCED ENTERTAINMENT VENTURE INTO THE FOREST IN EdINBURGH AND GO ON A FABULOUS WALK IN DEVON TAKE A TRIP TO NEW LIFE BERLIN – WOOLOO! FIND OUT ABOUT THE TOTAL THEATRE AWARDS 2008 WITH REPORTS AND REVIEWS A-PLENTY READ ALL ABOUT IT – NEWS OF THE LONDON INTERNATIONAL MIME FESTIVAL, COMPANY UPDATES, AND MORE THEATRE MAGAZINE – TAKING YOU THROUGH THE DARK DAYS AND TOWARDS THE BRIGHT LIGHTS OF NEW PERFORMANCE TOTAL £5 totAltHEATRE.ORG.UK 3 TOTAL THEATRE MAGAZINE VOLUME 20 | ISSUE 04 | WINTER 2008–09 TOTAL THEATRE VOLUME 21 ISSUE 01 WILL BE PUBLISHED FEBRUARY 2009 EDITORIAL CONTENTS My first ‘job’ in ‘the arts’ was at the Institute of REGULARS TOTAL THEATRE MAGAZINE Contemporary Arts (ICA) in London. Those words are in quote marks because this was in the days Editor (mid 70s) when the talk was of art, not the arts, News & Previews P05 DOROTHY MAX PRIOR and making and presenting art was seen as a Performer & Company Updates P08 [email protected] vocation rather than a career. Divisions between Out & About P10 departments at the ICA were pretty loose then. Editorial Forum Pippa Bailey ROBERT AYERS In our view it was all art.
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  • National Theatre
    WITH EMMA BEATTIE OLIVER BOOT CRYSTAL CONDIE EMMA-JANE GOODWIN JULIE HALE JOSHUA JENKINS BRUCE MCGREGOR DAVID MICHAELS DEBRA MICHAELS SAM NEWTON AMANDA POSENER JOE RISING KIERAN GARLAND MATT WILMAN DANIELLE YOUNG 11 JAN – 25 FEB 2018 ARTS CENTRE MELBOURNE, PLAYHOUSE Presented by Melbourne Theatre Company and Arts Centre Melbourne This production runs for approximately 2 hours and 30 minutes, including a 20 minute interval. The Curious Incident of the Dog in the Night-Time is presented with kind permission of Warner Bros. Entertainment. World premiere: The National Theatre’s Cottesloe Theatre, 2 August 2012; at the Apollo Theatre from 1 March 2013; at the Gielgud Theatre from 24 June 2014; UK tour from 21 January 2017; international tour from 20 September 2017 Melbourne Theatre Company and Arts Centre Melbourne acknowledge the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which this performance takes place, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future. DIRECTOR MARIANNE ELLIOTT DESIGNER LIGHTING DESIGNER VIDEO DESIGNER BUNNY CHRISTIE PAULE CONSTABLE FINN ROSS MOVEMENT DIRECTORS MUSIC SOUND DESIGNER SCOTT GRAHAM AND ADRIAN SUTTON IAN DICKINSON STEVEN HOGGETT FOR AUTOGRAPH FOR FRANTIC ASSEMBLY ASSOCIATE DIRECTOR RESIDENT DIRECTOR ELLE WHILE KIM PEARCE COMPANY VOICE WORK DIALECT COACH CASTING CHARMIAN HOARE JEANNETTE NELSON JILL GREEN CDG The Cast Christopher Boone JOSHUA JENKINS SAM NEWTON* Siobhan JULIE HALE Ed DAVID MICHAELS Judy
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  • Terrible Rage)
    JCDE 2018; 6(1): 15–39 Dan Rebellato* Nation and Negation (Terrible Rage) https://doi.org/10.1515/jcde-2018-0009 Abstract: The aftermath of the Brexit referendum has revealed a deeply divided Britain, with anger on both sides and seemingly little desire to seek compromise or mutual understanding. Remainers denounce Leavers as ignorant bigots. Lea- vers denounce Remainers as metropolitan elitists. Theresa May went even further, characterizing supporters of open borders and free movement as ‘citizens of nowhere’ whose lack of attachment to nation suggests they simply don’t under- stand what citizenship means. Given the UK’s regional correlation between high levels of theatregoing and high support for Remain, this is a challenge for theatre- makers and scholars. One strong feature of contemporary British playwriting is a detachment from place; in numerous recent plays, place is estranged, unspeci- fied, annulled, orphaned, globalized, generalized, combined, relativized and scenographically anonymized. Does this represent an absence of nation? No, because this would be to accept the rigid oppositions of the Leave campaign between nations and open borders, between the local and the global. Instead, there is a restless deconstructive movement within the very identification of nation that moves to transcend it and this is captured and embodied in the heterotopic ambiguities of the spatially specific performance of the placeless play. Keywords: theatre, playwriting, dramaturgy, Brexit, European Union, space, place, nation, state, globalization, heterotopia, David Goodhart, Dani Rodrik, Jean-Luc Nancy, Jeremy Bentham, Michel Foucault, Joanne Tompkins Caryl Churchill can tell the future. Top Girls was a magnificent commentary on the 1980 s, written at the beginning, not the end, of the decade.
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  • The Corner Shop PR Current Projects 2017
    The Corner Shop PR Current Projects 2017 Contents The Book of Mormon ................................................................................................................. 3 Disney’s The Lion King .............................................................................................................. 3 Matilda The Musical .................................................................................................................. 4 Aladdin ....................................................................................................................................... 5 Dreamgirls ................................................................................................................................. 7 An American in Paris ................................................................................................................. 8 The Ferryman .......................................................................................................................... 10 Hull UK City of Culture 2017 ................................................................................................... 10 The Birthday Party ................................................................................................................... 13 Long Day’s Journey Into Night ................................................................................................ 14 Venus in Fur ............................................................................................................................
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  • On Bear Ridge
    PRESS RELEASE – 18 July 2019 IMAGES CAN BE DOWNLOADED HERE National Theatre Wales: Twitter/ Facebook / Instagram / Website Royal Court Theatre: Twitter/ Facebook / Instagram / Website NATIONAL THEATRE WALES AND ROYAL COURT THEATRE ON BEAR RIDGE ● FIRST PUBLICITY IMAGES OF THE PLAY ON BEAR RIDGE RELEASED TODAY. AVAILABLE FOR DOWNLOAD HERE ● DIRECTED BY VICKY FEATHERSTONE AND ED THOMAS. THE CAST IS RAKIE AYOLA, JASON HUGHES, RHYS IFANS AND SION DANIEL YOUNG ● A SITE-SPECIFIC INSTALLATION AND VR EXPERIENCE WILL COMPLEMENT PERFORMANCES OF THE PLAY ● ON BEAR RIDGE RUNS AT THE SHERMAN THEATRE, CARDIFF FROM 2o SEPTEMBER – 5 OCTOBER 2019. FOLLOWED BY THE ROYAL COURT THEATRE, LONDON FROM 24 OCTOBER - 23 NOVEMBER 2019 The first images from National Theatre Wales and Royal Court Theatre’s production of On Bear Ridge have been released today. They are available to download here. National Theatre Wales and Royal Court Theatre have today also announced that a site- specific installation will be created in the upper Swansea Valley bringing to life the world of the new play. Audiences at the Sherman Theatre Cardiff and the Royal Court London will also be able to experience this through a VR film that will be available to watch at both theatres making the landscape of On Bear Ridge accessible in the centre of these busy cities. Written by Ed Thomas (Hinterland/Y Gwyll BBC/S4C/Netflix) On Bear Ridge is a semi- autobiographical story about the places we leave behind, the indelible marks they make on us, and the unreliable memories we hold onto. It will be co-directed by Royal Court Artistic Director Vicky Featherstone and Ed Thomas.
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  • OUR LADIES of PERPETUAL SUCCOUR Dorfman Theatre Previews from 8 August, Press Night 10 August, Final Performance 1 October
    24 May 2016 The National Theatre of Scotland and Live Theatre’s co-production OUR LADIES OF PERPETUAL SUCCOUR Dorfman Theatre Previews from 8 August, Press Night 10 August, final performance 1 October Our Ladies of Perpetual Succour, the critically-acclaimed stage adaptation of Alan Warner’s cult Scottish novel The Sopranos, by Lee Hall and directed by Vicky Featherstone receives its London premiere at the Dorfman Theatre on 8 August (press night 10 August). The production premiered at the Edinburgh Festival Fringe in August 2015, and enjoyed a successful sell-out run at the Traverse Theatre, earning critical and audience acclaim, and picking up four awards before embarking on a sell-out Scottish tour and run at Newcastle’s Live Theatre. The full cast includes Melissa Allan, Caroline Deyga, Karen Fishwick, Kirsty MacLaren, Frances Mayli McCann and Dawn Sievewright with musicians Amy Shackcloth, Laura Bangay, Becky Brass and Emily Linden. Music Arrangement and Supervision is by Martin Lowe, Design by Chloe Lamford, Lighting Design by Lizzie Powell and Choreography by Imogen Knight. Alan Warner’s novel and Lee Hall’s musical stage play tell the story of six girls on the cusp of change. Love, lust, pregnancy and death all spiral out of control in a single day. Funny, sad, rude and beautifully sung, Our Ladies.... is a tribute to being young, lost and out of control, featuring a soundtrack of classical music and 70s pop rock, with music by Handel, Bach and ELO including the songs Mr Blue Sky, Don’t Bring Me Down, Long Black Road and more.
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  • News Release Issued: Monday, 21 August 2017
    in association with Playwrights’ Studio, Scotland and the Traverse Theatre News Release Issued: Monday, 21 August 2017 UNDER STRICT EMBARGO UNTIL 18.00 BST MONDAY, 21 AUGUST Tragicomic take on sectarian divide wins top drama prize A play that explores the extremes of sectarianism has scooped one of the UK’s most distinguished literary awards, the James Tait Black Prize for Drama. David Ireland’s confrontational tragicomedy Cyprus Avenue, which is set in Northern Ireland, is the fifth play to win the £10,000 prize – part of the UK’s oldest book awards. The news was announced at an award ceremony in Edinburgh’s Traverse Theatre this afternoon (Monday, 21 August). The accolade celebrates innovation in playwriting and is awarded annually by the University of Edinburgh in association with Playwrights’ Studio, Scotland and the Traverse Theatre. Cyprus Avenue centres on Eric Miller, a Belfast Loyalist who is convinced his new born grandchild is Sinn Féin President Gerry Adams. At one point he puts glasses on the baby and draws a beard on her face with marker pen. The play reveals Eric agonising over his own sense of identity and masculinity. The winning play was premiered at the Abbey Theatre in Dublin before its run at the Royal Court in April and May 2016, receiving critical acclaim. It was directed by the Royal Court’s Artistic Director, Vicky Featherstone. David Ireland’s drama topped a shortlist that included two other plays: Oil by Ella Hickson and Scenes from 68* Years by Hannah Khalil. Ella Hickson’s Oil spans 150 years, and centres on a woman called May and her daughter.
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  • On Movement Direction in Musicals. an Interview with Lucy Hind
    arts Editorial “It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind George Rodosthenous School of Performance and Cultural Industries, University of Leeds, Leeds LS2 9JT, UK; [email protected] Received: 22 April 2020; Accepted: 28 April 2020; Published: 30 April 2020 Abstract: Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”. Keywords: choreography; dance; direction; creative team; collaboration; musicals; rehearsals; movement; movement direction 1. Choreography or Movement Direction? George Rodosthenous (GR): Thank you for joining us today for a discussion about your work on the award-winning Girl from the North Country.
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  • Changing Concepts of a National Theatre in Europe
    Zoltán Imre Staging the Nation: Changing Concepts of a National Theatre in Europe In this article, Zoltán Imre investigates the major changes in the concept of a national theatre, from the early debates in Hamburg in 1767 to the 2006 opening of the National Theatre of Scotland. While in the eighteenth and nineteenth centuries the notion of a national theatre was regarded in most of Western Europe as a means of promoting national – or even imperial – integration, in Eastern Europe, the debates about and later the realization of national theatres often took place within the context of and against oppressive imperiums. But in both parts of Europe the realization of a national theatre was utilized to represent a unified nation in a virtual way, its role being to maintain a single and fixed national identity and a homogeneous and dominant national culture. In present-day Scotland, however, the notion of a national theatre has changed again, to service a diverse and multicultural nation. Zoltán Imre received his PhD from Queen Mary College, University of London, and is now a lecturer in the Department of Comparative Literature and Culture at Eötvös Loránd University, Budapest, co-editor of the Hungarian theatre magazine Theatron, and dramaturg at Mozgó Ház Társulás (Moving House Theatre Company) and Természetes Vészek Kollektíva (Collective of Natural Disasters). His publications include Transfer and Translation: Intercultural Dialogues (co-editor, 2002),Theatre and Theatricality (2003), Transillumination: Hungarian Theatre in a European Context (editor, 2004), and On the Border of Theatre and Sociology (co-editor, 2005). As we approach the opening night of the National national theatre from the early debates on Theatre of Scotland, a long-awaited moment for the subject in the eighteenth century through the theatre community and audiences of Scotland the establishment of the Hungarian National is about to arrive.
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  • Moving Women Centre Stage: Structures of Feminist-Tragic Feeling Elaine Aston in September 2015, Vicky Featherstone, Artistic Di
    Moving Women Centre Stage: Structures of Feminist-Tragic Feeling Elaine Aston In September 2015, Vicky Featherstone, Artistic Director of London’s Royal Court Theatre, was widely reported in the British press as commenting on the lack of female roles equivalent in stature to the tragic figures of Shakespeare’s Lear and Hamlet, or Miller’s Willy Loman. Her observation that audiences are more “comfortable” with a “male narrative” sparked considerable debate. My article engages with and develops this debate by turning a feminist gaze on two plays in Featherstone’s Royal Court repertoire: Penelope Skinner’s Linda and Zinnie Harris’s How to Hold Your Breath, both of which premiered in 2015. Mapping feminist thinking on to Raymond Williams’ reflections on “modern tragedy”, I conceive of a feminist-tragic feeling as crossing the divide between the political and the tragic. Formally, I argue this encourages a move away from the generically-bound categorisation of tragedy with its attendant definitions and theories, and makes it possible to think in more expansive, fluid, genre-crossing ways of what Rita Felski terms a “tragic sensibility”. Ultimately, through close readings of Linda and How to Hold Your Breath, I argue how each structures a feminist-tragic feeling for a world in which Western privilege has repeatedly failed to democratise. KEY WORDS: Feminism, tragedy, Zinnie Harris, Penelope Skinner “We haven’t seen a female King Lear, we haven’t seen a female Willy Loman, we haven’t seen a female Hamlet”, complained Vicky Featherstone, the first woman to be appointed Artistic Director of London’s Royal Court Theatre (Featherstone, qtd.
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