Philip Wilson Director

Total Page:16

File Type:pdf, Size:1020Kb

Philip Wilson Director Philip Wilson Director Philip is a freelance director who spent four very successful years as the Artistic Director of Salisbury Playhouse (2007-2011). He trained on the Regional Theatre Young Director Scheme (Greenwich Theatre, 1995-96), and in 2015 was awarded the inaugural David Fraser/Andrea Wonfor bursary, to train as a multi- camera television director. Recent projects include the British Premiere of Ken Ludwig’s A Fox on the Fairway at Queen’s Theatre Hornchurch and Terence Rattigan’s After The Dance at Theatre By The Lake in Keswick. His adaptations of Philip Pullman’s Grimm Tales (first produced in an immersive staging at Shoreditch Town Hall and then the Oxo Bargehouse, in 2014 and 2015) were performed at Chichester this summer. Philip’s book, Dramatic Adventures in Rhetoric, co-written with Giles Taylor, is published by Oberon Books, and Grimm Tales is available from Nick Hern Books. Agents Giles Smart Assistant Ellie Byrne [email protected] +44 (020 3214 0812 Credits Theatre Production Company Notes THE BOY WITH THE The Hope Theatre By John Straiton BEE JAR 2021 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 COCKPIT LAMDA By Bridget Boland 2021 THE LIGHTS LAMDA By Howard Korder 2019 THIS ISLAND'S MINE Ardent Theatre By Philip Osment 2019 Company / King's Head Theatre PHILIP PULLMAN'S Unicorn Theatre Adapted for the stage by Philip Wilson GRIMM TALES Directed by Kirsty Housley 2018 STRANGE LAMDA By Rodney Ackland ORCHESTRA Performed in The Sainsbury Theatre 2018 PERFECT NONSENSE Theatre By The Lake From the works of P.G. Wodehouse, adapted by The 2018 Goodale Brothers A FOX ON THE Queen's Theatre, Written by Ken Ludwig FAIRWAY Hornchuch 2017 AFTER THE DANCE Theatre by the Lake Written by Terrence Rattigan 2017 **** "Philip Wilson’s production is full of nuance. The performances are superb” The Stage THE STAR Liverpool Playhouse Written by Michael Wynne 2016 **** "Philip Wilson’s direction adds the final sparkle that moves this from simple story to touching metaphor for the hopes and fears of all our lives” The Observer AS YOU LIKE IT Storyhouse Chester Written by William Shakespeare 2016 BEACONS Park Theatre Written by Tabitha Martiboy 2016 THE THREE LIONS St James Theatre Adapted by Philip from William Gaminara's collection. 2015 **** The Times **** The Independent **** The List **** "Keeping the pace of play up with footsure finesse, director Philip Wilson has bagged a Premier League cast” The Telegraph 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 GRIMM TALES Bargehouse Oxo Philip’s own adaptations of Philip Pullman’s versions 2014 Tower **** "This immersive adaptation of Philip Pullman’s retelling of the Grimms’ fairy tales is atmospheric to the point of inspiring awe. All beautifully done, and thrilling to stumble upon” The Telegraph **** "Bizarre and beautiful, Philip Wilson’s production is a magic box of glittering surprises… an irresistible invitation to explore the darker corners of the imagination” The Times **** "Grimm Tales is a great night and a great success, each of the stories relayed with love and invention by the casts dotted about the Bargehouse. A stripped-back evening of high-class, no-frills storytelling” Time Out **** The Stage HOW MANY MILES Lyric Belfast Written by Jennifer Johnson, adapted by Alan TO BABYLON Sandford 2014 GRIMM TALES Shoreditch Town Adapted by Philip from Philip Pullman's collection. 2014 Hall **** "This thrilling staging… is a treat for adults’ rusty imaginations” The Telegraph **** "Vivid and unfussy – true to the stories’ visual clarity and taut plotting, while also evoking their dreamlike qualities” Evening Standard **** “A gorgeous production” Time Out TORO! TORO! National Tour Written by Michael Morpurgo, adapted by Simon 2013 Reade (also design) THE THREE LIONS Pleasance London & Written by William Gaminara 2013 Edinburgh THE DANCING WMC Cardiff Written by Ivor Novello (workshop of a new version, YEARS co-adapted by Philip) 2013 THE NORMAN Liverpool Playhouse Written by Alan Ayckbourn CONQUESTS 2012 TWIST OF GOLD Polka Theatre Written by Michael Morpurgo, adapted by Simon 2012 Reade 66 BOOKS: RUTH & Bush / Westminster Written by Stella Duffy & Wole Soyinka 2 SAMUEL Abbey 2011 EARNEST / Birmingham Rep at Written by Oscar Wilde & Tom Stoppard TRAVESTIES the Old Rep 2011 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 GAME OF LOVE Salisbury Theatre Written by Marivaux, translated by Neil Bartlett AND CHANCE 2011 THE CONSTANT Salisbury Playhouse Written by Somerset Maugham WIFE 2011 THE PICTURE Salisbury Playhouse Written by Philip Massinger (in Philip's own edition) 2010 TORO! TORO! Salisbury Playhouse Written by Michael Morpurgo, adapted by Simon 2010 Reade PRIVATE LIVES Salisbury Playhouse Written by Noel Coward 2010 ARSENIC AND OLD Salisbury Playhouse Written by Joseph Kesselring LACE 2009 BLACKBIRD Salisbury Playhouse Written by David Harrower 2009 FAITH HEALER Salisbury Playhouse Written by Brian Friel (also design) 2009 “Wilson’s design is a masterstroke... This exquisite production proves Wilson has a Midas touch with emotionally sophisticated drama” Variety THE WINSLOW BOY Salisbury Playhouse Written by Terrence Rattigan 2009 A MONTH IN THE Salisbury Playhouse Written by J L Carr, in Philip's own adaption COUNTRY 2008 WHAT THE BUTLER Salisbury Playhouse Written by Joe Orton SAW 2008 PEOPLE AT SEA Salisbury Playhouse Written by J B Priestly 2008 ALPHABETICAL Salisbury Playhouse Written by Michael Frayn ORDER 2007 NOISES OFF Liverpool Playhouse Written by Michael Frayn 2007 CORPSE! Salisbury Playhouse Written by Gerald Moon 2006 IN PRAISE OF LOVE Minerva Theatre, Written by Terence Rattigan 2006 Chichester THE FOUND MAN Traverse Theatre, Written by Riccardo Galgani (also design) 2005 Edinburgh 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 UN UOMO TROVATO Teatro della Written by Riccardo Galgani 2005 Limonaia, Florence DR FAUSTUS Liverpool Playhouse Written by Christopher Marlowe 2005 AIN’T MISBEHAVIN’ Sheffield Crucible Written by Horwitz & Maltby Jr 2004 ASTONISHED Liverpool Playhouse Written by Noël Coward HEART/STILL LIFE 2004 BREAKING THE Royal Theatre, Written by Hugh Whitemore CODE Northampton 2003 THE MAKING OF BAC Written by Lucy Powell (also design) MISS PEGGY LEE 1999 THE HUMOROUS BAC Written by Beaumont & Fletcher (in Philip’s own LIEUTENANT edition) 1999 Other Production Company Notes PHILIP PULLMAN’s GRIMM Nick Hern Books Publication of Philip’s adaptations of Philip TALES Pullman’s versions 2017 DRAMATIC ADVENTURES IN Oberon Books Publication. With Giles Taylor RHETORIC 2015 Television Production Company Notes THAT GAY SHOW BBC Three Producer, Series I & II 2001 - 2002 Film Production Company Notes SHAKESPEARE IN LOVE Miramax Performance Consultant. Dir. John Madden 1998 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Additional information THIS ISLAND'S MINE ★★★★★ 'A triumph' The Spy in The Stalls ★★★★★ 'Flawless direction' Theatre Weekly ★★★★★ '"an elegant assured...smart, skilful revival” London Box Office ★★★★ 'Misty eyed perfection' Queer Guru ★★★★ 'wonderful, powerful and poignant look at gay life' BOYZ ★★★★ 'A dizzyingly compact odyssey' Ham & High ★★★★ 'A thoroughly enjoyable production' QX Magazine ★★★★ 'Epic in scope and intimate in style' Sunday Express United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].
Recommended publications
  • C:\Docume~1\Johnkn~1
    WHAT’S ON? ACROSS THE GLOBE (Professional companies in red amateur in black) America & Canada Blithe Spirit 3 to 5 Mar 2004 Crofton House School, Vancouver, BC JANUARY 20 to 30 Dec 2003 University Players, University of Windsor, Windsor, Ontario 2003 Mar to Apr 2004 Denver Center, Denver, CO Jul to Aug Atlantic Thr. Co., Wolfville, Nova Scotia Jun to Aug Purple Rose Thr., Chelsea, Mich. Sep to Oct Utah (more information to follow...) Hay Fever 20 Nov to 13 Dec Grand Prairie Live Theatre, Grand Prairie, Alberta 24 Jun to 31 Aug Utah Shakespeare Festival in Cedar City, Utah, USA. “Cocktails and Sept.-Oct Pacific Repertory Thr., Carmel, CA IN THIS ISSUE Come Into the Garden Maud Oct 9, Nov 3, & Dec 8. Food for Thought Productions, National Arts Club, NYC Laughter...” Page 1 - Steve Ross at Pizza- Tel: (212) 362-2560 STEVE ROSS You are invited to a Very Special On-The-Park Design For Living 5 to 13 Feb 2004 Amicus Productions Toronto, Ontario Page 2 Ten Chimneys - The Evening on Fallen Angels 18 to 31 Jan 2004 Bramalea Live Theatre, Brampton, Ontario Sequel st Present Laughter 2 Mar to 1 Nov Oregon Shakespeare Festival in Ashland OR. www.orshakes.org Saturday 31 Page 3 A Magical Day At Ten Private Lives 4 to 21 Febr Tribal Productions Inc. Thornhill, Ontario Chimneys 21 to 30 Aug Weston Playhouse in Weston, Vermont January, 2004. Page 5 Home Movies 20 to 30 Dec University of Windsor, School of Drama and Arts, Windsor, ON Page 6 Mary Ellis - The Sep to Nov Globe Thr., Regina, Saskatchewan., Canada, ; Missing Bits of the Obits.
    [Show full text]
  • 3. Terence Rattigan- First Success and After
    DIPLOMARBEIT Titel der Diplomarbeit „In and out of the limelight- Terence Rattigan revisited“ Verfasserin Covi Corinna angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 30. Jänner 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: 343 Diplomstudium Anglistik und Amerikanistik UniStG Betreuer: Ao. Univ.-Prof. Dr. Rudolf Weiss Table of contents 1. Introduction……………………………………………………....p.4 2. The History of the Well-Made Play…………………………......p.5 A) French Precursors.....................................................................p.6 B) The British Well-Made Play...................................................p.10 a) Tom Robertson and the 1870s...........................................................p.10 b) The “Renaissance of British Drama”...............................................p.11 i. Arthur Wing Pinero (1855-1934) and Henry Arthur Jones (1851- 1929)- The precursors of the “New Drama”..............................p.12 ii. Oscar Wilde (1854-1900)..............................................................p.15 c) 1900- 1930 “The Triumph of the New Drama”...............................p.17 i. Harley Granville-Barker (1877-1946)………………................p.18 ii. William Somerset Maugham (1874-1965)..................................p.18 iii. Noel Coward (1899-1973)............................................................p.20 3. Terence Rattigan- first success and after...................................p.21 A) French Without Tears (1936)...................................................p.22
    [Show full text]
  • Michael Warren Powellis
    WELCOME to the Fifteenth Annual Last Frontier Theatre Conference. We at Prince William Sound Community College are very proud of this event, and hopefully by the end of the week you will see why. I started coming to Valdez (for the Conference) in 1995, its third year, and it became an annual pilgrimage for me. I quit jobs to make it here. I ran up credit cards. I did whatever it took for me to get to spend the week here. I crashed on the floor at the college, survived off the food at receptions, and worked on whatever anyone asked me to. No one was more important to me in those early years than Michael Warren Powell, the first coordinator of the Play Lab. I remember being in awe of how insightful the responding panel was critiquing plays that were all (in my opinion) pretty problematic. Michael and the other panelists became my idols. Which made it all the more important to me when one day I was hanging out with friends at the picnic tables in the middle of the park strip and we saw Michael walking our direction. He came up and engaged us in conversation, and we became friends. He let us know that he considered us his peers. In the late 90s, I decided that, of all the people I had met, there was no one whose life I wanted to emulate more than Michael’s. I made producing new work and nurturing playwrights my focus, and the answer to most of my questions can be found in the answer to the question “What would Michael do?” I am very excited to have him back with us this year.
    [Show full text]
  • Sir Terence Rattigan, CBE 1911 – 1977
    A Centenary Service of Celebration for the Life and Work of Sir Terence Rattigan, CBE 1911 – 1977 “God from afar looks graciously upon a gentle master.” St Paul’s Covent Garden Tuesday 22nd May 2012 11.00am Order of Service PRELUDE ‘O Soave Fanciulla’ from La Bohème by G. Puccini Organist: Simon Gutteridge THE WELCOME The Reverend Simon Grigg The Lord’s Prayer Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive them that trespass against us. And lead us not into temptation, but deliver us from evil. For thine is the kingdom, the power and the glory, for ever and ever. Amen. TRIBUTE DAVID SUCHET, CBE written by Geoffrey Wansell 1 ARIA ‘O Mio Babbino Caro’ from Gianni Schicchi by G. Puccini CHARLOTTE PAGE HYMN And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark satanic mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight, Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green and pleasant land. ADDRESS ‘The Final Test’ SIR RONALD HARWOOD, CBE 2 HYMN I vow to thee, my country, all earthly things above, Entire and whole and perfect, the service of my love: The love that asks no question, the love that stands the test, That lays upon the altar the dearest and the best; The love that never falters, the love that pays the price, The love that makes undaunted the final sacrifice.
    [Show full text]
  • Published by Venues North
    Published by Venues North Page 1 Contents Introduction 2 General Information?………………………………………………………………………………..2 What is Venues North?…………………………………...…………………………………………..2 What do we mean by ‘new work’?.............................................................................................2 How do Venues North members support artists?......................................................................6 Which programmers should you talk to?...................................................................................6 How do you get to know programmers?....................................................................................2 What should you ask programmers for? ...................................................................................2 Inviting programmers to see your work………………………………………………………….......2 When do programmers programme?.........................................................................................2 What do programmers want to know?........................................................................................2 How are programming decisions made?...................................................................................2 How does the money work?.......................................................................................................20 Identifying audiences…………………………………..………………………………………………2 Reaching audiences……….……………………………………………………………………….….2 Venue Information ARC Stockton..…………………..…………………………………………………………………….16 Arts Centre Washington…….………………………………………………………………………...21
    [Show full text]
  • PROGRAM the TEMPEST Actors from the London Stage
    PROGRAM THE TEMPEST Actors From The London Stage Thursday, February 27, 2020; 7 pm Friday, February 28, 2020; 7 pm Saturday, February 29, 2020; 7 pm Media Sponsor The Actors From The London Stage residency at the University of Notre Dame is generously supported by the McMeel Family Endowment for Excellence for Actors From The London Stage, the Paul Eulau Endowment for Excellence for Actors From The London Stage, the Deborah J. Loughrey Endowment for Excellence in Shakespeare Studies, the D & J Smith Endowment for Shakespeare and Performance, and the College of Arts and Letters. THE AFTLS APPROACH For most of his working life, William Shakespeare was a sharer in the King’s Men, London’s leading theatre company. He knew the actors he was writing for and collaborated with them on seeing the plays into performance. All theatre is a collaboration, of course, and while actors can no longer collaborate directly with Shakespeare, the Actors From The London Stage (AFTLS) company always aims to work with him, respectfully and creatively, throughout the rehearsal process. Our company’s aim is to make his words exert their magic and their power in performance, but we do this in a vital, and perhaps unconventional, way. We have no massive sets to tower over the performers and no directorial concept to tower over the text of Shakespeare’s play. In fact, AFTLS does not have a director at all; instead, the play has been rehearsed by the actors, working together to create theatre, cooperating with each other in their imaginative engagement with the play’s words.
    [Show full text]
  • WHAT the WOMEN DID Theatre Includes Lizzie Siddal (Arcola Theatre), Virgin (Watford Palace), Jack Off the Beanstalk (Above the Stag)
    Southwark Playhouse Cafe/Bar FORGOTTEN VOICES FROM THE GREAT WAR: NOW OPEN ALL DAY WHAT THE Mon - Fri 9am - Midnight WOMEN DID Sat 12.30pm - Midnight A TRIPLE BILL OF PLAYS ABOUT THE FIRST WORLD WAR A fantastic menu of simple hot food A wide selection of Hot & Cold drinks Free Wi-Fi A friendly and welcoming atmosphere Experienced baristas Fairtrade, seasonal, locally sourced Great for meetings! For bookings call our Front of House Manager, Nathan, on 020 7407 0234 Enjoy a hot drink on us! Bring this voucher to the cafe between 9am-5pm Mon-Fri for a free hot drink of your choice.* * One voucher per person. Photocopies not accepted. Valid until Friday 14th March 2014 LINDA HAPGOOD | StageAs a protestManager against the US/ inShiverman 2005, which (Theatre503), showed Murder the incomradeship The Cathedral (Oxfordand Playhouse). Her next production is Trained at Royal CentralUK Schoolinvasion of Speech of Iraq and in Drama.2003, For Two’s Company: London Wall humour,Martine (Finborough fading to Theatre). disillusion, Emily of was a theplatoon winner of the Best Costume Designer award at the (Finborough and St James Theatres, and winner of the Stage Management Association Award 2011 OffWestEnd Awards. 2013). Other Theatre Two’sincludes Company Handbagged quickly (Tricycle Theatre), Khadija is 18 (Finborough Theatre), facing misery and death in the trenches. DUNCAN COOMBE | Lighting Designer Tosca (New Diorama),mounted Less Than a Kind production (Jermyn Streetof Miles and national tour), Play it Again Sam TheLighting last Designs rediscovery for Two’s was Company: Velona London Pilcher’s Wall (Finborough and St James Theatres), Ex (Soho (Upstairs at the Gatehouse), Bewitched, Bothered and Bewildered, The Art of Concealment, Mother Malleson’s Black ‘Ell at Soho Theatre), My Real War 1914-? (Trafalgar Studios and national tour).
    [Show full text]
  • Rina Mahoney
    www.hamiltonhodell.co.uk Rina Mahoney Talent Representation Telephone Elizabeth Fieldhouse +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer HAMLET Gertrude Damian Cruden Shakespeares Rose Theatre, York TWELFTH NIGHT Maria Joyce Branagh Shakespeares Rose Theatre, York DEATH OF A SALESMAN The Woman Sarah Frankcom Royal Exchange Theatre Shakespeare's Rose MACBETH Lady Macduff/Young Siward Damian Cruden Theatre/Lunchbox Productions Shakespeare's Rose A MIDSUMMER NIGHT'S DREAM Peter Quince Juliet Forster Theatre/Lunchbox Productions THE PETAL AND THE ORCHID Kathryn Cat Robey Underexposed Theatre THE SECRET GARDEN Ayah/Dr Bres Liz Stevenson Theatre by the Lake ROMEO AND JULIET Nurse Justin Audibert RSC (BBC Live) MACBETH Witch 2 Justin Audibert RSC (BBC Live) ZILLA Rumani Joyce Branagh The Gap Project Duke of Venice/Portia's THE MERCHANT OF VENICE Polly Findlay RSC Servant OTHELLO Ensemble/Emillia Understudy Iqbal Khan RSC Birmingham Repertory FADES, BRAIDS AND KEEPING IT REAL Eva Antionette Lecester Theatre/Sharon Foster Productions CALCUTTA KOSHER Maki Janet Steel Arcola/Kali ARE WE NEARLY THERE YET? Various Matthew Lloyd Wilton's Music Hall FLINT STREET NATIVITY The Angel Matthew Lloyd Hull Truck Theatre MATCH Jasmin Jenny Stephens Hearth UNWRAPPED FESTIVAL Various Gwenda Hughes Birmingham Repertory Theatre HAPPY NOW Bea Matthew Lloyd Hull Truck Theatre Company MIRIAM ON 34TH STREET Kathy Jenny Stephens Something & Nothing
    [Show full text]
  • © in This Web Service Cambridge University Press
    Cambridge University Press 978-0-521-65132-5 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Index More information Index Note: Italicised page numbers refer to illustrations. Abbey Theatre, 24, 69, 198, 201 ACW(Arts Council of Wales), 486–9 Abbey Theatre Company, 53 adaptations, 435 ABCA (Army Bureau of Current Affairs), 294, Adding Machine, The, 132 352–3 Adelphi Players, 354 Abraham Lincoln, 158 Admirable Crichton, The, 43, 72 ABSA (Association for Business Sponsorship Adult Education Committee (1926), 133–4 of the Arts), 348, 381 Adwaith, 268 Abse, Dannie, 244 afterpieces, 98, 99 Absence of War, The, 319, 419 After the Orgy, Absent Friends, 310 Agate, James, 45, 116, 131, 148, 157 absurd, theatre of, 337–40, 372 Age of Empire, 58–9 Absurd Person Singular, 345 Age Exchange, 369 Accidental Death of an Anarchist, 310 agitational propaganda (agit prop), 26, Achurch, Janet, 170 176–9 Ac Eto Nid Myfi, 258 Alabama Minstrels, 100 Acis and Galatea, 17 Albert, Prince, 4 Ackland, Rodney, 166 Albery, Bronson, 149 Act of Union, 197 Albery, Donald, 302 Actor and the Uber-Marionette,¨ the, 190 Albery, Ian, 310 actor-manager system, 5–6 Aldwych Theatre, 149, 335 decline of, 11 Alexander, George, 7 historical views of, 6 as actor-manager, 38, 39 and rise in social position of performers, 7 knighthood of, 37 actors, 382–3 repertoire, 65 contracts, 387 as society actor, 8 control of Shakespearean productions, 31–2 success in provincial theatres, 63, 66 earnings, 387 Alexander Marsh Company, 66 employment, 386–7
    [Show full text]
  • The Deep Blue Sea by Terence Rattigan
    Director Sarah Esdaile Designer Ruari Murchison Lighting Designer Chris Davey Sound Designer Mic Pool Composer Simon Slater Casting Director Siobhan Bracke Voice Charmian Hoare Cast Ross Armstrong, Sam Cox, John Hollingworth, Maxine Peake, Ann Penfold John Ramm, Lex Shrapnel, Eleanor Wyld 18 February to 12 March By Terence Rattigan Teacher Resource Pack Introduction Welcome to the Resource Pack for West Yorkshire Playhouse’s production of The Deep Blue Sea by Terence Rattigan. In the pack you will find a host of information sheets to enhance your visit to the show and to aid your students’ exploration of this classic text. Contents: Page 2 Synopsis Pages 3 Terence Rattigan Timeline Page 5 The Rehearsal Process Page 10 Interview with Sarah Esdaile, Director and Maxine Peake, Hester Page 12 Interview with Suzi Cubbage, Production Manager Page 14 The Design The Deep Blue Sea By Terence Rattigan, Directed by Sarah Esdaile, Designed Ruari Murchison Hester left her husband for another man. Left the security of the well respected judge, for wild, unpredictable, sexy Freddie – an ex-fighter pilot. Now she’s reached the end of the line. Freddie’s raffish charm has worn thin and Hester is forced to face the reality of life with a man who doesn’t want to be with her. The simple act of a forgotten birthday pushes her to desperation point and to facing a future that offers no easy resolutions. Rattigan’s reputation was founded on his mastery of the ‘well made play’. Now, one hundred years after his birth, it is his skilful creation of troubled, emotional characters that has brought audiences and critics alike to re-visit his plays with renewed appreciation.
    [Show full text]
  • Introduction
    INTRODUCTION This statistics framework uses the Department of Culture Media & Sport’s (DCMS’s) definition of culture, as described in the DCMS’s Evidence Toolkit – DET (2004). This is becoming the generally accepted standard to observe. The DET adopts an “industrial” definition of the sector, by reference to the cultural output and activities it delivers, rather than an "occupational” definition. Seven domains are identified within “culture” by the DET. These are: performance, visual arts, heritage, books and press, audio-visual, sport and tourism. The DCMS classification includes economic activity across the “entire supply chain” and so retail and manufacturing are counted together with purely cultural functions. The DET relates the domains to the industrial and standard occupational classifications in National Statistics. It should be understood, that while the majority of people with cultural “occupations” are economically active in these domains, some with cultural “occupations” are economically active in other industrial sectors. The framework gathers together available statistics for each of the seven cultural domains in Cumbria. The data on sport are in the process of being finalised and will be added to the framework shortly. The figures held in the framework cover provision (organisations, activities and resourcing) and outputs (public engagement, attendance and cultural achievements) within each domain. Summary sections deal with festivals, which can overlap the domains, and the “creative industries”. The framework also includes six cross-cutting sections, which deal with areas of general policy interest. These cover creation, education, outreach and training, voluntary organisations, the public (participation and market characteristics) resourcing the sector and buildings and investment.
    [Show full text]
  • Ellie Collyer-Bristow Cdg
    ELLIE COLLYER-BRISTOW CDG 07986 607 075 [email protected] AS CASTING DIRECTOR: THEATRE 2020 Witness for the Prosecution Lucy Bailey London County Hall - cast 6 The Croft Philip Franks UK Tour 2019 The Secret Diary of Adrian Luke Sheppard The Ambassadors Theatre Mole - The Musical Witness for the Prosecution Lucy Bailey London County Hall - cast 4 & 5 Ages of the Moon Alexander Lass Vaults Theatre The Permanent Way Alexander Lass Vaults Theatre The Girl Who Fell Hannah Price Trafalgar Studio 2 The Night Watch Alastair Whatley UK Tour Absolutely Everything Aileen Gonsalves Allington Castle 2018 Caroline’s Kitchen Alastair Whatley UK Tour/59E59 New York Witness for the Prosecution Lucy Bailey London County Hall - cast 2 & 3 Hansel and Gretel Rosie Jones Rose Theatre Kingston Beauty and the Beast Ryan McBryde Salisbury Playhouse The Wider Earth David Morton National History Museum/Trish Wadley Misty Omar Elerian Trafalgar Studio 1 * UNDERSTUDY ONLY Doctor Dolittle* Christopher Renshaw UK Tour * CHILDREN’S CASTING ​ A Guide for the Homesick Jonathan O’Boyle Trafalgar Studios Dusty Maria Friedman UK Tour Killer Joe Simon Evans Trafalgar Studio 1 3 Women Michael Yale Trafalgar Studio 2 The King and I* Bartlett Sher London Palladium * CHILDREN’S CASTING ​ Monogamy Alastair Whatley UK Tour/Park Theatre The Secret Garden Liz Stevenson York Theatre Royal Ladies Day Jason Capewell/Alasdair Harvey Wolverhampton Grand 2017 Witness for the Prosecution Lucy Bailey London County Hall - cast 1 Jack and the Beanstalk Ryan McBryde Salisbury
    [Show full text]