Penelope Mcghie Photo: Ric Bacon

Total Page:16

File Type:pdf, Size:1020Kb

Penelope Mcghie Photo: Ric Bacon 59 St. Martin's Lane London WC2N 4JS Phone: 0207 836 7849 Email: [email protected] Website: www.nikiwinterson.com Penelope McGhie Photo: Ric Bacon Height: 5'10" (177cm) Eye Colour: Grey-Green Weight: 10st. 4lb. (65kg) Hair Colour: Dark Brown Playing Age: 50 - 60 years Hair Length: Mid Length Appearance: White Voice Character: Assured Other: Equity Voice Quality: Clear Film Film, Beth, The Selfish Act of Community, Andrew Bonacina & Victoria Brooks, Jesse Jones Feature Film, DeathEater, Harry Potter and the Deathly Hallows Part 2, Warner Bros, David Yates Feature Film, Death Eater, Harry Potter and the Deathly Hallows Part 1, Warner Bros, David Yates Feature Film, Margaret, Elizabeth -The Golden Age, Working Title / Universal, Shekhar Kapur Film, Woman in Street, The Shell Seekers, Gate Television Productions, Piers Haggard Stage Stage, Ensemble, u/s Pernelle, Tartuffe, National Theatre, Blanche McIntyre Stage, Party Guest u/s Gertrude/Player Queen, Hamlet, Almeida West End, Robert Icke Stage, Ensemble, The Curious Incident of the Dog in the Nighttime, National Theatre at The Gielgud, Marianne Elliot Stage, Ensemble, The Curious Incident of the Dog in the Nighttime, National Theatre at the Gielgud, Marianne Elliott Stage, Ensemble, The Curious Incident of the Dog in the Nighttime, National Theatre at The Gielgud, Marianne Elliott Stage, Mother of the Bride, I Do, Hilton Docklands, Almeida Theatre/Dante or Die, Daphna Attias Stage, Mother of the Bride, I Do, Hilton Islington, Almeida Festival / Dante or Die, Daphna Attias Stage, Woman, City Stories, St James Theatre, James Phillips Stage, Elka, Mare Rider, Arcola Theatre /Europe Now Festival, Amsterdam, Mehmet Ergen Stage, Lorna, Still I Pray (Barbican/OSBTTA Finals), Building Site, St Bartholomew the Great's Church, Anouke Brook Stage, Beth, The Selfish Act of Community, Whitstable Biennale 2012, Jesse Jones Stage, Flora, Autobiographer, Toynbee Studios, London. Bristol Old Vic Studio, Melanie Wilson / Fuel Theatre Stage, Flora, Autobiographer, Dublin's Absolut Fringe Festival/UK Tour, Melanie Wilson / Fuel Theatre Stage, Magistrate's Wife / Asst. Dissector, Faith, Hope and Charity, Southwark Playhouse, Leonie Kubigsteltig Stage, Sign, Slowly (Howard Barker), The Wrestling School/ Riverside Studios, Hanna Berrigan Stage, Glove, Hurts Given and Received (Howard Barker), The Wrestling School/Riverside Studios, Gerrard McArthur Stage, Ensemble u/s Lady Bracknell, The Importance of Being Earnest, Regent's Park, Irina Brown Stage, Chorus, Women of Troy, National Theatre, Katie Mitchell Stage, Virginia Woolf, Vita & Virginia, Sevenoaks Playhouse, Julian Woolford Stage, Mother of Journalist, Education Minister's Wife., The UN Inspector, National Theatre, David Farr Stage, Lady Northumberland, Henry 1V parts 1 & 2, National Theatre, Nick Hytner Stage, Chorus (u/s Clytemnestra), Iphigenia at Aulis, National Theatre, Katie Mitchell Stage, Make Up Girl, His Girl Friday, National Theatre, Jack O'Brien Stage, The Lady/Cabaret Girl, Tales from the Vienna Woods, National Theatre, Richard Jones Stage, Mad Woman /Lady-In-Waiting (u/s Duchess), The Duchess Of Malfi, National Theatre, Phyllida Lloyd Stage, Eurydice, Antigone, National Theatre Platform, Lucy Pitt-Wallace Stage, The Vagina Monologues, Arts Theatre, Irina Brown Stage, U/S Sonia/Ines, Life x 3, National Theatre/Old Vic, Matthew Warchus Stage, Caroline Perritt (u/s and played Joanna), House, National Theatre, Alan Ayckbourn Penelope McGhie 1/3 Stage, Caroline Perritt (u/s and played Joanna), Garden, National Theatre, Alan Aykbourn Stage, Girl In Dress Shop, Comic Potential, Shafesbury Lyric Theatre, Alan Ayckbourn Stage, u/s and played Anna, Closer, Lyric Theatre, Patrick Marber Stage, Mrs Boeuf/Grocers Wife, Rhinoceros, Riverside Studios, Andrea Brooks Stage, Mephisto, Framing Faust, BAC, Katrin Magrowitz Stage, Margaret, The Return Of The Soldier, Old Red Lion/White Bear, Andrea Brooks Stage, Title Role, The Snow Queen, Manchester Library Theatre, Sue Sutton-Mayo Stage, Sandy, Rock Hard, Leicester Haymarket Theatre, Paul Kerryson Stage, Magenta/ Usherette, The Rocky Horror Show, Piccadilly Theatre-No.1 Tour, Robin Lefevre Stage, Charlotte, Paradise, Nottingham Playhouse, Pip Broughton Television Television, Henrietta Woods, The Crown, Sony Pictures Television for Netflix Television, Woman, Wolf Hall, BBC 2, Peter Kosminsky Television, Andrea Wiles, Silk, BBC, David Evans Television, Jury Foreman, Eastenders, BBC Television, Richard Platt Television, Angela, Hex II, Shine, Julian Murphy Television, Tricia Jones (semi-regular), Holby City, BBC Television, James Erskine Television, Imogen, Eastenders, BBC Television, Richard Platt Television, Barbara, After Death, HTV/3 little Black Dresses, Yianna Americano Television, Cat Owner, Beast, Pearson Television, Martin Dennis Television, Miss Campbell, Boswell & Johnson's Tour of the Western Isles, BBC 2, John Byrne Short Film Short Film, Solo Performance (Therapist/Patient), Self-Capital, ICA, Melanie Gilligan Short Film, Penelope, Hedge Fund Manager, Crisis in the Credit System, Artangel, Melanie Gilligan Short Film, Woman, Rage, Prussia Lane, Mark Norfolk Short Film, Maggie, Vegetaria, Prussia Lane, Mark Norfolk Short Film, Horse, The Horse Impressionists, Tate Collection, Lucy Gunning Short Film, Sophie, Second Skin, Independant, Lyn Mirabito Radio Radio, Narrator, Hear And Now At The ICA, BBC Radio 3, Roger Redgate Radio, Singer, Friday Night is Music Night, BBC Radio 2, Rob Mitchell Voice Over Voice Over, ELT: 20 years experience recording for:, Harper Collins/Richmond/CUP/Cengage/Garnet/OUP Voice Over, ELT:, Macmillan/Santillana/Heinmann/Heinle/Longman, Voice Over, Woman, Togetherness, Mew Lab, Kim Noce and Shaun Clark Voice Over, Woman, Hunters Downstream, [email protected], Kim Noce Voice Over, Woman, BitterSweet Frequencies, Sto Werkstatt, Ilona Sagar Voice Over, Serious Woman, The Evening Her Mind Jumped Out Of Her Head, MewLab, Kim Noce, Shaun Clark Voice Over, Woman, I Fell Backwards and You Were There, Hayward Gallery, Ilona Sagar Voice Over, Woman, Human Factors, Hayward Gallery "What's Love Got To Do With It?, Ilona Sagar Voice Over, Woman, Soft Addictions, Tenderpixel, Ilona Sagar Voice Over, Woman, Nest of Stone, MewLab, Kim Noce Voice Over, Narrator/All Roles, The Adventures of Prince Achmed (Lotte Reiniger), BFI, Sonia Mullett Voice Over, 14 Characters, The Walk Series 1, Six To Start, Matt Wieteska Voice Over, Mrs Adams, Be My Baby, Listening Books, Will Parker Voice Over, Woman, Eupnea, Saturated Space, Arcitectural Association, Ilona Sagar Voice Over, Woman, Human Factors, Art on the Underground/Art Licks Weekend, Ilona Sagar Voice Over, Warden, Zombies, Run! Series 2, Six to Start, Matt Wieteska Voice Over, Beatrix, Zombies, Run! Series 1, Six to Start, Matt Wieteska Voice Over, 1950s Woman, Marriage Techniques for Beginners, C4, Piers Sanderson Voice Over, Narrator, Mondo Macabre. 12 part series, C4/Boum, Andrew Starke/Pete Tombs Voice Over, Narrator, Eurotika! 8 part series, C4/Boum, Andrew Starke/Pete Tombs Site Specific Site Specific, Mother of the Bride, I Do - Malmaison Hotel, Sitelines Festival/Dante or Die, Daphna Attias Site Specific, Mother of the Bride, I Do - Hilton Hotel, Islington, Almeida Festival/Dante or Die, Daphna Attias Site Specific, Lorna, Still I Pray (Barbican/OSBTTA Finals), Building Site (St Bartholomew the Great's Church), Anouke Brook Site Specific, Solo Performer, Self-Capital, TalkShow Season ICA, Melanie Gilligan Site Specific, Performer, Gerard Stabler's "Druber", Apartment House, Anton Lukoszevieze Site Specific, Performer, Ring of Fire, Meltdown Festival, Southbank Centre, Just Merit Site Specific, Housekeeper, The Institution of Rot, IOR/London Arts Board, Richard Crow Penelope McGhie 2/3 Accents & Dialects: (* = native) American-New England, American-New York, American-Southern States, American-Standard, Birmingham, East Anglian, East European, Edinburgh, Essex, Glasgow, Irish-Southern, London, Midlands-West, Norwegian, RP, Scottish-Standard, Suffolk, West Country, Worcester*, Yorkshire Languages: (* = Native/Fluent) English* Music & Dance: (* = highly skilled) Ballad*, Blues*, Folk Singing*, Mezzo-Soprano*, Period Dancing, Rock Singing* Performance: Audio Books, Audio Drama, Autocue trained/experienced, Live Roleplay, Role Play, Voice Over Sports: (* = highly skilled) Horse-riding* Vehicle Licences: Car Driving Licence Other Skills: Animal Handling, Improvisation, Narration Powered by Spotlight and Tagmin The information in this CV has been provided by or on behalf of the client concerned via Spotlight.com. Every effort has been made to make sure that the information contained in this page is correct and Spotlight and Tagmin can accept no responsibility for its accuracy. Penelope McGhie 3/3.
Recommended publications
  • Cole, E. K. (2015). the Method Behind the Madness: Katie Mitchell, Stanislavski, and the Classics. Classical Receptions Journal, 7(3), 400-421
    Cole, E. K. (2015). The Method Behind the Madness: Katie Mitchell, Stanislavski, and the Classics. Classical Receptions Journal, 7(3), 400-421. https://doi.org/10.1093/crj/clu022 Peer reviewed version Link to published version (if available): 10.1093/crj/clu022 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Oxford Journals at 10.1093/crj/clu022. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ The Method Behind the Madness: Katie Mitchell, Stanislavski, and the Classics Abstract Scholars frequently debate the applicability of contemporary theatre theories and acting techniques to Greek tragedy. Evidence both for and against such usage, however, is usually drawn from textual analyses which attempt to find support for these readings within the plays. Such arguments neglect the performative dimension of these theories. This article demonstrates an alternative approach by considering a case study of a Stanislavskian-inspired production of a Greek tragedy. Taking Katie Mitchell’s 2007 Royal National Theatre production Women of Troy as a paradigmatic example, the article explores the application of a Stanislavskian approach to Euripides’ Troades. I argue that Mitchell’s production indicates that modern theatre techniques can not only transform Greek tragedy into lucid productions of contemporary relevance, but can also supplement the scholarly analysis of the plays.
    [Show full text]
  • Theatre Research International Women in Greek
    Theatre Research International http://journals.cambridge.org/TRI Additional services for Theatre Research International: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Women in Greek Tragedy Today: A Reappraisal STEVE WILMER Theatre Research International / Volume 32 / Issue 02 / July 2007, pp 106 ­ 118 DOI: 10.1017/S0307883307002775, Published online: 15 June 2007 Link to this article: http://journals.cambridge.org/abstract_S0307883307002775 How to cite this article: STEVE WILMER (2007). Women in Greek Tragedy Today: A Reappraisal. Theatre Research International, 32, pp 106­118 doi:10.1017/S0307883307002775 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TRI, IP address: 141.222.125.25 on 13 Feb 2013 theatre research international · vol. 32 | no. 2 | pp106–118 C International Federation for Theatre Research 2007 · Printed in the United Kingdom doi:10.1017/S0307883307002775 Women in Greek Tragedy Today: A Reappraisal steve wilmer Reacting to the concerns expressed by Sue-Ellen Case and others that Greek tragedies were written by men and for men in a patriarchal society, and that the plays are misogynistic and should be ignored by feminists, this article considers how female directors and writers have continued to exploit characters such as Antigone, Medea, Clytemnestra and Electra to make a powerful statement about contemporary society. In the 1970sand1980s feminist scholars launched an important critique of the patriarchal values embedded in Western culture. Amongst other targets, they questioned the canonization of ancient Greek tragedy, labelling the plays misogynistic.1 Nevertheless, many female directors and playwrights continue to stage ancient Greek tragedy today.
    [Show full text]
  • Rory Kinnear
    RORY KINNEAR Film: Peterloo Henry Hunt Mike Leigh Peterloo Ltd Watership Down Cowslip Noam Murro 42 iBoy Ellman Adam Randall Wigwam Films Spectre Bill Tanner Sam Mendes EON Productions Trespass Against Us Loveage Adam Smith Potboiler Productions Man Up Sean Ben Palmer Big Talk Productions The Imitation Game Det Robert Nock Morten Tydlem Black Bear Pictures Cuban Fury Gary James Griffiths Big Talk Productions Limited Skyfall Bill Tanner Sam Mendes Eon Productions Broken* Bob Oswald Rufus Norris Cuba Pictures Wild Target Gerry Jonathan Lynne Magic Light Quantum Of Solace Bill Tanner Marc Forster Eon Productions Television: Guerrilla Ch Insp Nic Pence John Ridley & Sam Miller Showtime Quacks Robert Andy De Emmony Lucky Giant The Casual Vacancy Barry Fairbrother Jonny Campbell B B C Penny Dreadful (Three Series) Frankenstein's Creature Juan Antonio Bayona Neal Street Productions Lucan Lord Lucan Adrian Shergold I T V Studios Ltd Count Arthur Strong 1 + 2 Mike Graham Linehan Retort Southcliffe David Sean Durkin Southcliffe Ltd The Hollow Crown Richard Ii Various Neal Street Productions Loving Miss Hatto Young Barrington Coupe Aisling Walsh L M H Film Production Ltd Richard Ii Bolingbroke Rupert Goold Neal Street Productions Black Mirror; National Anthem Michael Callow Otto Bathurst Zeppotron Edwin Drood Reverend Crisparkle Diarmuid Lawrence B B C T V Drama Lennon Naked Brian Epstein Ed Coulthard Blast Films First Men Bedford Damon Thomas Can Do Productions Vexed Dan Matt Lipsey Touchpaper T V Cranford (two Series) Septimus Hanbury Simon Curtis B B C Beautiful People Ross David Kerr B B C The Thick Of It Ed Armando Iannucci B B C Waking The Dead James Fisher Dan Reed B B C Ashes To Ashes Jeremy Hulse Ben Bolt Kudos For The Bbc Minder Willoughby Carl Nielson Freemantle Steptoe & Sons Alan Simpson Michael Samuels B B C Plus One (pilot) Rob Black Simon Delaney Kudos Messiah V Stewart Dean Harry Bradbeer Great Meadow Rory Kinnear 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0.
    [Show full text]
  • The Thrill of Doing It Live’ Ledger, Adam
    University of Birmingham ‘The thrill of doing it live’ Ledger, Adam Document Version Peer reviewed version Citation for published version (Harvard): Ledger, A 2017, ‘The thrill of doing it live’: devising and performing Katie Mitchell’s international multimedia productions. in K Reilly (ed.), Contemporary Approaches to Adaptation in Theatre. Adaptation in Theatre and Performance, Palgrave Macmillan. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 27/04/2017 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • A Midsummer Night's Dream”: a Director's Notebook Natasha Bunnell Old Dominion University
    Old Dominion University ODU Digital Commons Institute for the Humanities Theses Institute for the Humanities Spring 2003 “A Midsummer Night's Dream”: A Director's Notebook Natasha Bunnell Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/humanities_etds Part of the Dramatic Literature, Criticism and Theory Commons, and the Literature in English, British Isles Commons Recommended Citation Bunnell, Natasha. "“A Midsummer Night's Dream”: A Director's Notebook" (2003). Master of Arts (MA), thesis, Humanities, Old Dominion University, DOI: 10.25777/d8jv-a035 https://digitalcommons.odu.edu/humanities_etds/29 This Thesis is brought to you for free and open access by the Institute for the Humanities at ODU Digital Commons. It has been accepted for inclusion in Institute for the Humanities Theses by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. A MIDSUMMER NIGHT’S DREAM: A DIRECTOR’S NOTEBOOK by Natasha Bunnell B. A. August 1997, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS HUMANITIES OLD DOMINION UNIVERSITY May 2003 Approved by: Christopher Hanna (Director) Erfime Hendrix (Mdmber) Jary Copyright © 2003 by Natasha Bunnell. All rights reserved. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1414392 Copyright 2003 by Bunnell, Natasha All rights reserved. ® UMI UMI Microform 1414392 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • Robert Icke, Theatre Director: 'Oresteia? It's Quite Like the Sopranos'
    Robert Icke, theatre director: ‘Oresteia? It’s quite like The Sopranos’ The director of the Almeida’s acclaimed Oresteia on being inspired by Kenneth Branagh, Michael Grandage and Tony Soprano Susannah Clapp 23/8/2015 Robert Icke, 29, is one of the theatre’s most explosive talents. He was associate director of Headlong from 2010 to 2013, and is now the associate director of the Almeida. His productions include Mr Burns and 1984, which he co-adapted with Duncan Macmillan. His tremendous Oresteia has just transferred to the West End. Do you have a theatrical background? No, my mum’s a teacher and my dad’s a tax inspector. What turned you on to directing? It was seeing Kenneth Branagh as Richard III, directed by Michael Grandage at Sheffield. I was 14 and my dad dragged me away from my PlayStation. It was a proper Damascene conversion - really electric. There was no language barrier. I wrote to Michael Grandage and asked him how he did that stuff. He said: if you come and see me I’ll try to tell you. This was before I’d ever been near a proper rehearsal room. He gave me all this advice, which I scribbled down and have been living by ever since. Didn’t you direct at a theatre in Stockton-Tees while you were still at school? That’s where I learnt to do it. It was a very depressed area. You weren’t allowed to be boring: the audience there would just have left. I remember the first performance of A Midsummer Night’s Dream when Bottom came on in a donkey’s head with these amazing false teeth made by a local dentist.
    [Show full text]
  • HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
    HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King .
    [Show full text]
  • Christopher Diffey – TENOR Repertoire List
    Christopher Diffey – TENOR Repertoire List Leonard Bernstein Candide Role: Candide Volkstheater Rostock: Director Johanna Schall, Conductor Manfred Lehner 2016 A Quiet Place Role: François Theater Lübeck: Director Effi Méndez, Conductor Manfred Lehner 2019 Ludwig van Beethoven Fidelio Role: Jaquino Nationaltheater Mannheim 2017: Director Roger Vontoble, Conductor Alexander Soddy Georges Bizet Carmen Role: Don José (English) Garden Opera: Director Saffron van Zwanenberg 2013/2014 OperaUpClose: Director Rodula Gaitanou, April-May 2012 Role: El Remendado Scottish Opera: Conductor David Parry, 2015 (cover) Melbourne City Opera: Director Blair Edgar, Conductor Erich Fackert May 2004 Role: Dancaïro Nationaltheater Mannheim: Director Jonah Kim, Conductor Mark Rohde, 2019/20 Le Docteur Miracle Role: Sylvio/Pasquin/Dr Miracle Pop-Up Opera: March/April 2014 Benjamin Britten Peter Grimes Role: Peter Grimes (cover) Nationaltheater Mannheim: Conductor Alexander Soddy, Director Markus Dietz 2019/20 A Midsummer Night’s Dream Role: Lysander (cover) Garsington Opera: Conductor Steauart Bedford, Director Daniel Slater June-July 2010 Francesco Cavalli La Calisto Role: Pane Royal Academy Opera: Dir. John Ramster, Cond. Anthony Legge, May 2008 Gaetano Donizetti Don Pasquale Role: Ernesto (English) English Touring Opera: Director William Oldroyd, Conductor Dominic Wheeler 2010 Lucia di Lammermoor Role: Normanno Nationaltheater Mannheim 2016 Jonathan Dove Swanhunter Role: Soppy Hat/Death’s Son Opera North: Director Hannah Mulder, Conductor Justin Doyle April
    [Show full text]
  • Two Sides of a Sovereign
    riticsritics ritics Source: The Observer {The New Review} Edition: Country: UK Date: Sunday 18, December 2016 Page: 25 Area: 877 sq. cm Circulation: ABC 190661 Weekly Ad data: page rate £13,933.00, scc rate £58.00 Phone: 020 7278 2332 riticsKeyword: Lyttelton Theatre Two sides of a sovereign Lia Williams and Juliet Stevenson switch roles at random from night to night in Robert Icke’s electrifying Mary Stuart, while Ruth Wilson brings a new toxic dimension to Hedda Gabler Susannah Clapp @susannahclapp Mary Stuart I had expected startling diff erences in Almeida, London N1; until 21 Jan interpretation from these very diff erent actresses, whom I saw play both parts Hedda Gabler in back-to-back performances. What Lytt elton, London SE1; until 21 March is rivet ing is how close they are. Both show uneasy command as Elizabeth Oresteia Last year Robert Icke made and sumptuous composure as Mary. the most compelling drama in London. Both deliver Schiller’s corrugated Mary Stuart Now he stages , written arguments with the passionate fl uency in 1800 , to explosive eff ect. Schiller ’s of ideal politicians. They are so alike play has been stripped back, rewired. in their velvet trouser suits and white Icke’s adaptation is sculptural, rich and blouses that when they lie down, hands incisive. Hildegard Bechtler ’s bare, reaching towards each other, they round design creates an arena in which could be an opened-out version of characters try to break out of circular one person. The diff erences are tiny arguments. Juliet Stevenson and Lia but illuminating.
    [Show full text]
  • The Old Vic Announces Matthew Warchus' Season 5 Plus New
    PRESS RELEASE 30 APRIL 2019 THE OLD VIC ANNOUNCES MATTHEW WARCHUS’ SEASON 5 PLUS NEW TRUSTEES AND THE LAUNCH OF TWO EXCITING SCHEMES FOR AUDIENCES The Old Vic is delighted to announce Matthew Warchus’ Season 5 featuring an exciting and eclectic mix of thought- provoking entertainment. In addition, The Old Vic is also today launching two new initiatives: an online loyalty scheme called OV Extra, designed to give audiences discounts, insights, invites and surprises for just £5 a month, and Matinee Idols, a social initiative specially for those aged over 60. Plus we are delighted to announce the appointment of Tina Alexandrou and Olivier Award-winning actress Sheila Atim to The Old Vic Theatre Trust Board of Trustees. AT A GLANCE Productions: • The world premiere of a new play by Old Vic Associate Artist Lucy Prebble based on Luke Harding’s book A Very Expensive Poison, directed by John Crowley. • Claire Foy and Matt Smith make their Old Vic debuts in Duncan Macmillan’s Lungs, directed by Matthew Warchus. • Old Vic Associate Artist Jack Thorne’s version of A Christmas Carol directed by Matthew Warchus returns by popular demand. • Alan Cumming and Daniel Radcliffe star in a double bill of Samuel Beckett’s Endgame and Rough for Theatre ll, directed by Richard Jones. • A musical adaptation of the hit 1983 film Local Hero directed by John Crowley. Book by Bill Forsyth and Old Vic Associate Artist David Greig with music and lyrics by Mark Knopfler. Commissions and in development: • Commissions for 2019 and beyond include: Ella Hickson with a new version of Sophocles’ Oedipus Rex, Simon Stephens with a new adaptation of Ibsen’s An Enemy of the People and a new play by Paul Unwin chronicling the birth of the NHS directed by Sarah Frankcom.
    [Show full text]
  • Ian Bartholomew
    Ian Bartholomew Theatre Title Role Director Producer Half A Sixpence Chitterlow Rachel Kavanaugh Noel Coward Theatre & Chichester Festival Theatre The Funfair Billy Smoke Walter Meierjohann Home: Manchester Mrs Henderson Presents Vivian Van Damm Terry Johnson HRH Theatres Shakespeare in Love Tilney Declan Donellan Disney Richard III Richard Loveday Ingham Nottingham Playhouse & York Theatre Royal Oh! What a Lovely War Hague and Various Terry Johnson Theatre Royal Stratford East Follow the Star Lofty Wendy Toye Chichester Festival A Night in Old Peking Jack Martin Duncan Lyric Hammersmith School for Scandal Joseph Surface Phyllida Lloyd Royal Exchange Sleeping Beauty Helpful 2 Philip Hedley Theatre Royal, Stratford School for Clowns Weasle Martin Duncan Lillian Baylis Servant of 2 Masters Truffaldino Martin Duncan Cambridge Theatre Diary of a Somebody Kenneth Halliwell Jonathan Myerson Kings Head Theatre Skullduggery Chris Philip Davis Old Red Lion Cinderella Buttoms Philip Hedley Theatre Royal, Stratford Kooney Waka Hoy Nijinsky Old Red Lion Robert Longdon Winter Darkness Boysey Susan Hogg New End Theatre Pravda Doug Phantom David Hare National Theatre The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Futurists Bruichkov Richard Eyre National Theatre The Gov't Inspector Dobchinsky Richard Eyre National Theatre Schweyck in the 2nd WW Soldier & Others Richard Eyre National Theatre Guys and Dolls Society Max Richard Eyre National Theatre The Beggars Opera Ben Budge Richard Eyre National Theatre Mayakovsky:
    [Show full text]