Nicholas Lumley

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Nicholas Lumley Eamonn Bedford Agency 1st Floor - 28 Mortimer Street London W1W 7RD EBA t +44(0) 20 7734 9632 e [email protected] represented by Charlie Cox www.eamonnbedford.agency NICHOLAS LUMLEY HEIGHT: 5’10” (177cm) HAIR: Greying EYES: Blue-Grey TITLE (Role) DIRECTOR PRODUCTION COMPANY THEATRE Don Quixote (Priest) Angus Jackson RSC This House (Oxshott/Belfast West) Jeremy Herrin Headlong Dr Faustus (Wagner) Maria Aberg Royal Shakespeare Company Don Quixote (Priest) Angus Jackson Royal Shakespeare Company Great Britain (Dr Boris Tudor) Nicholas Hytner National Theatre Pitmen Painters (George Brown) Max Roberts National Theatre Tyne (Ralph) Max Roberts Live Theatre Newcastle NT50 (Various) Nicholas Hytner National Theatre The Magistrate Tim Sheader National Theatre Close the Coalhouse Door Sam West Northern Stage Mother Goose (Duke) Peter Duncan Oxford Playhouse Much Ado About Nothing (George Seacole) Josie Rourke Wyndham’s Theatre The Company Man (James) Adam Barnard Orange Tree Theatre After the Dance (Williams) Thea Sharrock National Theatre Porridge (Mr Mackay) Gavin McAlinden The Lowry / No 1 Tour Looking for Buddy (Fat Jack) Mark Babych Bolton Octagon Afterlife (Everyman) Michael Blakemore National Theatre Never So Good (Sgt Robinson) Howard Davies National Theatre Death of a Salesman (Uncle Ben) Sue Lefton Mercury Theatre Little Voice (Mr Boo / Telephone Man) Tom Daly The Watermill Theatre Richard II (Lord Berkley, The Gardner) The Old Vic Hamlet (Gravedigger) John Adams The Haymarket Theatre Brighton Rock (Fred) Michael Attenborough Almeida Theatre The Beaux’ Stratagem (Archer) Clifford Williams Royal Shakespeare Company The Baker’s Wife (Pierre) Trevor Nunn Homevale Ltd A Chorus of Disapproval (Guy Jones) Alan Ayckbourn Triumph / National Theatre Sergeant Musgrave’s Dance (Walsh) Albert Finney The Old Vic TELEVISION Houdini and Doyle (David Constable) Robert Lieberman ITV / Fox Downton Abbey - Series 6 (Jasper Maxwell) Minkie Spiro Carnival / ITV Derren Brown - The Party (Charlie Fitzgerald) Various Channel 4 Doc Martin (Jim Winton) Ben Gregor Buffalo Pictures / ITV Vera (Derek) Will Sinclair ITV Inspector George Gently (Arnold) Gillies Mackinnon Company Pictures Enid Blyton (Dr Beresford) James Hawes Carnival Film Coronation Street (Glen) Granada The Secret (Frank Wheatley) Alan Grint Wilderness (Alice’s Father) Ben Bolt Enigma Films FILM Eternal Beauty (Giles) Craig Roberts Vox Pictures Peterloo Mike Leigh Thin Man Films Where Hands Touch (Jann) Amma Assante Tantrum Films Paddington 2 (Old Timer) Paul King Weinstein Co. Lady Macbeth (Robertson) William Oldroyd Sixty Six Pictures Across the Universe Julie Taymor Revolution Films Goal! Danny Cannon ICON.
Recommended publications
  • Stage by Stage South Bank: 1988 – 1996
    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
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  • Headlong Announces Jeremy Herrin's
    PRESS RELEASE – 27 NOVEMBER, 2019 IMAGES CAN BE DOWNLOADED HERE HEADLONG ANNOUNCES JEREMY HERRIN’S LAST SEASON AS ARTISTIC DIRECTOR– 2020/21 • WORLD PREMIERE OF AFTER LIFE AT THE NATIONAL THEATRE – CREATED BY JACK THORNE, JEREMY HERRIN AND BUNNY CHRISTIE, BASED ON THE FILM BY HIROKAZU KORE-EDA (SHOPLIFTERS) • A NEW PRODUCTION OF AUGUST WILSON’S JITNEY DIRECTED BY TINUKE CRAIG (VASSA) WHICH WILL PREMIERE AT LEEDS PLAYHOUSE • A SERIES OF SHORT FILMS IN PARTNERSHIP WITH THE GUARDIAN EXPLORING EUROPEAN COUNTRIES’ RELATIONSHIPS WITH THE EU • APRIL DE ANGELIS’ RESPONSE TO THE CLIMATE CRISIS, MRS NOAH, TO BE STAGED AS A MUSIC AND THEATRE VIDEO • FURTHER CASTING ANNOUNCED FOR CHRIS BUSH’S FAUSTUS: THAT DAMNED WOMAN • HEADLONG ORIGINS DIRECTORS APPOINTED FOR 2020 • FUTURE COMMISSIONS FROM JOSH AZOUZ, INUA ELLAMS, JAMES GRAHAM, JASMINE LEE-JONES, NATHANIEL MARTELLO-WHITE, CHLOE MOSS AND NAOMI WALLACE ANNOUNCED Today, Headlong have announced their programme for 2020/21, the final season under current Artistic Director, Jeremy Herrin. Jeremy Herrin, Artistic Director, Headlong said: “Running Headlong has been the privilege of a lifetime and I’m immensely grateful to the colleagues, artists, stakeholders and audiences who have been part of the journey. It seems appropriate to draw my time as Artistic Director to a close with a range of projects and collaborators that are close to my heart. Bunny Christie, Jack Thorne and I have been incubating After Life for a while and I hope it will be a soulful and satisfying show that showcases what Headlong and the National Theatre can do at their best. I’m a big fan of August Wilson’s peerless writing, and Tinuke Craig’s production of one of his greatest plays Jitney will be a meaningful expansion of the canon on the UK’s touring scene.
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  • Rosena Hill Jackson Resume
    ROSENA M. HILL JACKSON 941-350-8566 [email protected] www.RosenaHill.com BROADWAY/New York Carousel Nettie Jack O’Brien/Justin Peck Prince of Broadway swing Harold Prince/ Susan Stroman After Midnight Rosena Warren Carlyle/Daryl Waters/Wynton Marsalis Carousel Ensemble Avery Fisher Hall/PBS “Live at Lincoln Center” Cotton Club Parade Rosena Encores City Center Lost in the Stars Mrs. Mckenzie Encores Z City Center Come Fly Away Featured Vocalist Marriott Marqui Theatre/Twyla Tharp The Tin Pan Alley Rag Monisha/Miss Lee Roundabout Theatre Co./Stafford arima,dir Oscar Hammerstein II: The Song is You Soloist Carnegie Hall/New York Pops Color Purple Church Lady Broadway Theatre Spamalot Lady of the Lake/Standby Mike Nichols dir. Imaginary Friends Mrs. Stillman & others Jack O'Brien dir. Oklahoma Ellen Trevor Nunn mus dir./Susan Stroman chor. Riverdance on Broadway Amanzi Soloist Gershwin Theater Marie Christine Ozelia Graciela Daniele dir. Ragtime Sarah’s Friend u/s Frank Galati, Graciela Daniele/Ford’s Center REGIONAL The Toymaker Sarah NYMF/Lawrence Edelson,dir The World Goes Round Woman #1 Pittsburgh Public Theater/Marcia Milgrom Dodge,dir Ragtime Sarah White Plains Performing Arts Center Man of Lamancha Aldonza White Plains Performning Arts Center Baby Pam/s Papermill Playhouse Dreamgirls Michelle North Carolina Theater Ain’t Misbehavin’ Armelia Playhouse on the Green Imaginary Friends Smart women soloist Globe Theater 1001 Nights Sophie George Street Playhouse Mandela (with Avery Brooks) Winnie Steven Fisher dir./Crossroads Brief History
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  • The Old Vic Season 4: Part 2
    PRESS RELEASE FRIDAY 14 SEPTEMBER THE OLD VIC SEASON 4: PART 2 Matthew Warchus’ fourth season as Artistic Director of The Old Vic completes with an Arthur Miller double-bill, a World Premiere by Lucy Prebble and a special One Voice performance. These productions form Part 2 of the season, and follow the previously announced Part 1 consisting of ZooNation: The Kate Prince Company’s production of SYLVIA; Annie-B Parson’s 17c; Emma Rice’s Wise Children; and A Christmas Carol – for which today we also announce further casting. • Visionary director Rachel Chavkin makes her Old Vic debut directing Arthur Miller’s The American Clock from 4 February • Jeremy Herrin directs Sally Field, Bill Pullman, Jenna Coleman and Colin Morgan in Arthur Miller’s American classic All My Sons in a co-production with Headlong from 15 April • Closing the season is A Very Expensive Poison – a new play by Lucy Prebble based on the book by Luke Harding • A special One Voice performance to mark 100 years since the Armistice, Remembrance curated by Arinzé Kene and directed by Annabel Bolton • Further casting is announced for Jack Thorne’s version of A Christmas Carol directed by Matthew Warchus and starring Stephen Tompkinson as Ebenezer Scrooge. Coming soon: • A musical adaptation of the hit 1983 film, Local Hero, adapted by David Greig and Bill Forsyth, directed by John Crowley and with music and lyrics by Mark Knopfler, will come to The Old Vic in June 2020 following its world premiere at the Royal Lyceum Theatre Edinburgh in 2019. From The Old Vic: • Girl from the North Country opens on 1 October at the Public Theater, New York, and performances have been extended until 9 December.
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  • Barrington Pheloung's Cv
    BARRINGTON PHELOUNG’S CV 2004/05 FILMS SHOPGIRL Production Company: Hyde Park Entertainment Directed by: Anand Tucker Produced by: Jon Jashni, Ashok Amritraj & Steve Martin Written by: Steve Martin LITTLE FUGITIVE Production Company: Little Fugitive Directed by: Joanna Lipper Produced by: Joanna Lipper, Vince Maggio, Nicholas Paleologos & Fredrick Zollo Written by: Joanna Lipper A PREVIOUS ENGAGEMENT Production Company: Bucaneer Films Directed by: Joan Carr-Wiggin Produced by: Joan Carr-Wiggin , David Gordian & Damita Nikapota Written by: Joan Carr-Wiggin TELEVISION IMAGINE: SMOKING DIARIES Directed by: Margy Kinmonth Production Company: BBC THE WORLD OF NAT KING COLE Produced by: Kari Lia Production Company: Double Jab Productions 2002/03 FILMS TOUCHING WILD HORSES Production Company: Animal Tales Productions Inc. Directed by: Eleanore Lindo Produced by: Lewis B. Chesler, David M. Perlmutter, Frank Huebner, Rob Vaughan Written by: Murray McRae TELEVISION THE STRANGE TALE OF BARRY WHO Directed by: Margy Kinmonth Documentary on Barry Joule Produced by: Margy Kinmonth/Sam Organ Production Company: Darlowsmithson Productions For BBC4. MOVE TO LEARN Directed by: Sheila Liljeqvist Documentary for Video Produced by: Sheila Liljeqvist and Barbara Pheloung Australian documentary, children with learning difficulties. SHORTS ARDEEVAN Short Feature film made in the UK. Directed and Produced by: Jonathan Richardson NIGHT’S NOONTIME Short Feature film made in the Canada. Executive Producers: Richard Clifford & Amar Singh Produced by: Hanna Tower Directed
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  • PETER PAN Or the Boy Who Would Not Grow Up
    PRESS RELEASE NORTH HIGH SCHOOL to present PETER PAN or The Boy Who Would Not Grow Up The Appleton North High School Theatre Department will present the play PETER PAN or The Boy Who Would Not Grow Up on May 16th through the 19th in the North High School Auditorium, 5000 North Ballard Road. This new version adapted from the original J.M. Barrie play and novel by Trevor Nunn and John Caird for the Royal Shakespeare Company and the National Theatre of London enjoyed phenomenal success when first produced. The famous team known for their productions of THE LIFE AND ADVENTURES OF NICHOLAS NICKLEBY and the musical LES MISERABLES have painstakingly researched and restored Barrie’s original play. “. .a national masterpiece.”—London Times. This is the beloved story of Peter, Wendy, Michael, John, Capt. Hook, Smee, the lost boys, pirates, and the Indians, and of course, Tinker Bell, in their adventures in Never Land. However, for the first time, the play is here restored to Barrie’s original intentions. In the words of adaptor, John Caird: “ We were fascinated to discover that there was no one single document called PETER PAN. What we found was a tantalizing number of different versions, all of them containing some very agreeable surprises….We have made some significant alterations, the greatest of which is the introduction of a new character, the Storyteller, who is in fact the author himself.” North’s theatre director, Ron Parker, states, “This is a very different PETER PAN than the one most people are familiar with. It is neither the popular musical version nor the Disney animated recreation, but goes back to Barrie’s original play and novel.
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  • THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
    PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay.
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  • MARTIN PAKLEDINAZ, Costume Designer
    THE ELIXIR OF LOVE FOR FAMILIES PRODUCTION TEAM BIOGRAPHY MARTIN PAKLEDINAZ, Costume Designer Martin Pakledinaz is an American Tony Award-winning costume designer for stage and film. His work on Broadway includes The Pajama Game, The Trip to Bountiful, Wonderful Town, Thoroughly Modern Millie, Kiss Me, Kate, The Boys From Syracuse, The Diary Of Anne Frank, A Year With Frog And Toad, The Life, Anna Christie, The Father, and Golden Child. Off-Broadway work includes Two Gentlemen of Verona, Andrew Lippa's The Wild Party, Kimberly Akimbo, Give Me Your Answer, Do, Juvenalia, The Misanthrope, Kevin Kline's Hamlet, Twelve Dreams, Waste, and Troilus and Cressida. He won two Tony Awards for designing the costumes of Thoroughly Modern Millie and the 2000 revival of Kiss Me Kate, which also earned him the Drama Desk Award for Outstanding Costume Design. He has designed plays for the leading regional theatres of the United States, and the Royal Dramatic Theatre of Sweden. Opera credits include works at the New York Metropolitan Opera and the New York City Opera, as well as opera houses in Seattle, Los Angeles, St. Louis, Sante Fe, Houston, and Toronto. European houses include Salzburg, Paris, Amsterdam, Brussels, Helsinki, Gothenburg, and others. His dance credits include a long collaboration with Mark Morris, and dances for such diverse choreographers as George Balanchine, Eliot Feld, Deborah Hay, Daniel Pelzig, Kent Stowell, Helgi Tomasson, and Lila York. His collaborators in theatre include Rob Ashford, Gabriel Barre, Michael Blakemore, Scott Ellis, Colin Graham, Sir Peter Hall, Michael Kahn, James Lapine, Stephen Lawless, Kathleen Marshall, Charles Newell, David Petrarca, Peter Sellars, Bartlett Sher, Stephen Wadsworth, Garland Wright, and Francesca Zambello.
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  • Daniel Evans
    www.hamiltonhodell.co.uk Daniel Evans Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer COMPANY Robert Jonathan Munby Sheffield Crucible Theatre THE PRIDE Oliver Richard Wilson Sheffield Crucible Theatre THE ART OF NEWS Dominic Muldowney London Sinfonietta SUNDAY IN THE PARK WITH GEORGE Tony Award Nomination for Best Performance by a Lead Actor in a Musical 2008 George Sam Buntrock Studio 54 Outer Critics' Circle Nomination for Best Actor in a Musical 2008 Drama League Awards Nomination for Distinguished Performance 2008 GOOD THING GOING Part of a Revue Julia McKenzie Cadogan Hall Ltd SWEENEY TODD Tobias Ragg David Freeman Southbank Centre TOTAL ECLIPSE Paul Verlaine Paul Miller Menier Chocolate Factory SUNDAY IN THE PARK WITH GEORGE Wyndham's Theatre/Menier George Sam Buntrock Olivier Award for Best Actor in a Musical 2007 Chocolate Factory GRAND HOTEL Otto Michael Grandage Donmar Warehouse CLOUD NINE Betty/Edward Anna Mackmin Crucible Theatre CYMBELINE Posthumous Dominic Cooke RSC MEASURE FOR MEASURE Angelo Sean Holmes RSC THE TEMPEST Ariel Michael Grandage Sheffield Crucible/Old Vic Nominated for the 2002 Ian Charleson Award (Joint with his part in Ghosts) GHOSTS Osvald Steve Unwin English Touring Theatre Nominated for the 2002 Ian Charleson Award (Joint with his part in The Tempest) WHERE DO WE LIVE Stephen Richard
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  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
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  • Dialect Coaching for Screen 2014/2015/2016 Dialect and Voice
    Dialect Coaching for Screen 2014/2015/2016 Nov 16 – Feb 2017 Roseline Productions Dialect Coach for Will Ferrell, John C Reilly: Holmes and Watson Nov 2016 Sky Dialect Coach Bliss Nov 2016 BBC Dialect Coach for Zombie Boy: Silent Witness Aug 2016 Sky Dialect Coach for Iwan Rheon and Dimitri Leonidas: Riviera Jan/Feb 2016 Channel 4 Dialect Coach: ADR: Raised By Wolves directed by Ian Fitzgibbon Oct 2015 Jellylegs/Sky 1 Dialect Coach: Rovers directed by Craig Cash Oct 2015 Channel 4 Dialect Coach: Raised By Wolves directed by Ian Fitzgibbon Sept 2015 LittleRock Pictures/Sky Dialect /voice coach: Elizabeth, Michael and Marlon (Joseph Fiennes, Stockard Channing, Brian Cox) January – May 2015 BBC2/ITV, London Dialect Coach (East London): Cradle to Grave – directed by Sandy Johnson January – April 2015 Working Title/Sky Dialect Coach (Gen Am, Italian): You, Me and the Apocalypse – TV directed by Michael Engler/Saul Metzstein September 2014 Free Range Films Ltd, London Dialect/voice coach (Leeds): The Lady in the Van – Feature directed by Nicholas Hytner May 2014 Wilma TV, Inc. for Discovery Channel, New York Dialect Coach (Australian): Amerikan Kanibal - Docudrama February/March 2014 Mad As Birds Dialect Coach (Various Period US accents): Set Fire to the Stars - Feature directed by Andy Goddard February and June 2014 BBC 3 Dialect Coach (Liverpool and Australian): Crims - TV directed by James Farrell Dialect and Voice Coaching for theatre 2016 Oct 2016 Park Theatre, Dialect support (New York: Luv directed by Gary Condes Oct 2016 Kings Cross
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  • March 18, 2011
    RESNICOW SCHROEDER March 18, 2011 RSC: How Stratford got its bite back Vibrant, sexy and ensconced in a swish new home, as it reaches its 50th year the Royal Shakespeare Company is buzzing. But just a while ago, it looked doomed. Charles Spencer meets Michael Boyd, the man who pulled an institution back from the brink Michael Boyd strikes me as one of the great unsung heroes of our cultural life. With dogged determination, the artistic director has pulled the Royal Shakespeare Company back to the commanding heights of British theatre. As the company prepares to celebrate its 50th anniversary season in Stratford, in a building that has been spectacularly transformed, I can’t remember a time when it seemed in more exuberant form, or more sharply focused. The rise in its fortunes seems to be encapsulated by its joyous smash hit Matilda, based on the Roald Dahl story, which opened last December. It’s the best new musical since Billy Elliot and will transfer to the West End this autumn, with Broadway almost certain to follow. Suddenly the RSC seems vibrant and sexy again. Last week the critics were invited to see productions of King Lear and Romeo and Juliet in the newly remodelled Royal Shakespeare Theatre. Very wisely, Boyd is opening the new building with shows that were already in the rep of the temporary Courtyard Theatre, a massive metal box that provided both a home, and the prototype for the new RST, during the three and a half years of the building project – which finished on time and on budget.
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