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A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
Beckett at Theyoungvic
Samuel Beckett Today / Aujourd’hui 29 (2017) 243–255 brill.com/sbt Beckett at the Young Vic From the Marginal to the Major-Marginal Matthew McFrederick Teaching Fellow in Theatre, University of Reading, uk [email protected] Abstract This article will examine the formative years of the Young Vic in London when pro- ductions of Waiting for Godot, Endgame and Happy Days were staged and embraced by a new generation of theatregoers and practitioners in a metropolitan theatre that began at the edge of the city’s mainstream theatre culture. Through a range of archival resources and an interview with the Young Vic’s founding director, this essay will dis- cuss the reception of these performances and their ability to engage with young audi- ences. It will conclude by tracing the YoungVic’s more recent association with Beckett’s drama, as the theatre has grown into an independent force competing with larger, tra- ditional theatre institutions. Résumé Cet article évoque la formation du Young Vic à Londres, plus précisément les années où y ont été réalisées les mises en scène d’En attendant Godot, de Fin de partie et de Oh les beaux jours pour une nouvelle génération de spectateurs ou de gens du théâtre, immédiatement convaincus, dans un théâtre métropolitain mais qui avait débuté en marge de la culture théâtrale traditionnelle. À partir d’un grand nombre d’archives, d’un interview du directeur et fondateur du Young Vic, cet essai traitera de l’accueil qu’ont rencontré ces spectacles et de leur capacité à intéresser les jeunes publics. -
Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
DAVID WOOD a Chronology
DAVID WOOD A Chronology CHILDREN’S PLAYS AND MUSICALS (acting editions published by Samuel French) 1967 THE TINDERBOX (book, music and lyrics). (Based on the story by Hans Andersen) Swan Theatre, Worcester. Unpublished. 1968 THE OWL AND THE PUSSYCAT WENT TO SEE... (co-written with Sheila Ruskin, based on the verses and stories of Edward Lear). Swan Theatre, Worcester. Subsequently WSG Productions Ltd. production at Jeannetta Cochrane Theatre, London (1969) and many more London Christmas seasons. * 1969 LARRY THE LAMB IN TOYTOWN (co-written with Sheila Ruskin, adapted from the stories of S.G. Hulme-Beaman). Swan Theatre, Worcester. Subsequently WSG Productions Ltd production at Shaw Theatre, London, 1973. * 1970 THE PLOTTERS OF CABBAGE PATCH CORNER (book, music and lyrics). Swan Theatre, Worcester. Subsequently Knightsbridge Theatical Productions Ltd/WSG Productions Limited production, Shaw Theatre 1971 and 1972 and Whirligig Theatre tour including Sadler’s Wells Theatre, London, 1979. 1971 FLIBBERTY AND THE PENGUIN (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre pilot tour, 1978. * 1972 TICKLE (one act) (book, music and lyrics). The Dance Drama Theatre tour. Subsequently Wakefield Tricycle Company production at Arts Theatre, London, 1977. THE PAPERTOWN PAPERCHASE (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre tour, including Sadler’s Wells Theatre, London, 1984.* 1973 HIJACK OVER HYGENIA (book, music and lyrics). Swan Theatre, Worcester. 1975 OLD MOTHER HUBBARD (book, music and lyrics). Queen’s Theatre, Hornchurch. 1976 THE GINGERBREAD MAN (book, music and lyrics). Towngate Theatre, Basildon. Subsequently, Cameron Mackintosh/David Wood production, The Old Vic (1977 and 1978) and many other London seasons. -
Mike Robertson
ROAR House, 46 Charlo2e Street, London W1T 2GS 0207 4275681 [email protected] www.colekitchenn.com twi8er.com/ColeKitchenn facebook.com/ColeKitchenn MIKE ROBERTSON LIGHTING DESIGNER 2007 Olivier Award Winner, 2010 Whatsonstage Award nominee DEAR WORLD Charing Cross Theatre Dir: Gillian Lynne VOLCANO (World Premiere) Vaudeville Theatre West End/Tour Dir: Roy Marsden DRY ROT UK Tour Dir: Ron Aldridge FRAGILE/THE FATHER Belgrade Theatre, Coventry Dir: Joe Harmston MURDER ON THE NILE Theatre Royal Windsor/Tour Dir: Joe Harmston FUNNY PECULIAR UK Tour Dir: Bob Tomson THIRD FLOOR Trafalgar Studios for Sally Humphreys Dir: Russell Labey ABOUT BILL Landor Theatre Dir: Charlotte Westenra COMPANY Southwark Playhouse Dir: Joe Fredericks BY JEEVES Landor Theatre Dir: Nick Bagnall OEDIPUS Nottingham/Edinburgh Festival 2011 Dir: Giles Croft VERDICT UK Tour/Bill Kenwright Ltd Diir: Joe Harmston LARK RISE TO CANDLEFORD No.1 National Tour for Bill Kenwright Dir: Joe Harmston CAROLINE O'CONNOR: THE SHOWGIRL WITHIN, LYNDA CARTER: AT LAST all at Garrick Theatre, West-End FRANCES RUFFELLE: BENEATH THE DRESS, JASON ROBERT BROWN CONCERT for Speckulation Entertainment BIBLICAL TALES New End Theatre Dir: Steven Berkoff BILLY LIAR West Yorkshire Playhouse Dir: Nick Bagnall WOLFBOY Trafalgar Studios Dir: Russell Labey EDUCATING RITA Watermill Theatre, Newbury Dir: Jamie Glover ON THE WATERFRONT Theatre Royal, Haymarket/World Tour Dir: Steven Berkoff Nottingham Playhouse/Edinburgh *2010 Whatsonstage Award nomination: Best Lighting Design WOLFBOY George Square -
Introduction
Notes Introduction 1. Current feminist theatre scholarship tends to use the term ‘heteronormative’. The predominant use of the term ‘heterosexist’ in this study draws directly from black lesbian feminist Audre Lorde’s notion of ‘Heterosexism [as] the belief in the inherent superiority of one pattern of loving and thereby its right to dominance’ (Lorde, 1984, p. 45). 2. See Diana Fuss, Essentially Speaking: Feminism, Nature and Difference (London: Routledge, 1989) for summaries and discussions of the essen- tialism/constructionism debates. 3. See, for example, Elaine Aston, An Introduction to Feminism and Theatre (London: Routledge, 1995); Elaine Aston, Feminist Views on the English Stage: Women Playwrights, 1990–2000 (Cambridge: CUP, 2003); Mary F. Brewer, Race, Sex and Gender in Contemporary Women’s Theatre: The Construction of ‘Woman’ (Brighton: Sussex Academic Press, 1999); Lizbeth Goodman, Contemporary Feminist Theatres: To Each Her Own (London: Routledge, 1993); and Gabriele Griffin Contemporary Black and Asian Women Playwrights in Britain (Cambridge: CUP, 2003). 4. See, for example, Susan Croft, ‘Black Women Playwrights in Britain’ in Trevor R. Griffiths and Margaret Llewellyn Jones, eds, British and Irish Women Dram- atists Since 1968 (Buckingham: OUP, 1993); Mary Karen Dahl, ‘Postcolonial British Theatre: Black Voices at the Center’ in J. Ellen Gainor, ed., Imperi- alism and Theatre: Essays on World Theatre, Drama and Performance (London: Routledge, 1995); Sandra Freeman, Putting Your Daughters on the Stage: Lesbian Theatre from -
~Lag(8Ill COMPANIES INC
May 2001 BAMcinematek 2001 Spring Season 651 ARTS Brooklyn Philharmonic Orchestra BAM Spring Season sponsor: PH il iP M ORRIS ~lAG(8Ill COMPANIES INC. 2001 Spring Broo Iyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Royal National Theatre Hamlet by William Shakespeare Approximate BAM Howard Gilman Opera House running time: May 30 & 31; June 1 & 2,2001, at 7:30pm 3 hours and June 2 at 2pm 15 minutes with one intermission Director John Caird Designer Tim Hatley Lighting designer Paul Pyant Music John Cameron Fight director Terry King Sound designer Christopher Shutt Company voice work Patsy Rodenburg U.S . tour general management SFX Theatrical Group/Sondra R. Katz BAM Theater sponsors: AOL Time Warner In c. and Fleet Leadership support: The Peter Jay Sharp Foundation; The Shubert Foundation, Inc.; and The Norman & Rosita Winston Foundation, Inc. Official airline for the BAM presentation of the Royal National Theatre in Hamlet British Airways The actors in Hamlet appear Additional support: The Laura Pels Foundation with the special permission of Actors' Equity Association. The American stage managers are The U.S. tour is sponsored by The American Associates of members of Actors' Equity the Royal National Theatre and The British Council. Association. Design and costumes are generously supported by Alan and Jean Horan. 25 The Players Horatio Simon Day Hamlet, Prince of Denmark Simon Russell Beale Hamlet, his father -
Paint Frames and Floors
ABTT HISTORICAL RESEARCH COMMITTEE Paint Frames and Floors A constantly developing listing of painting facilities for backcloths and scenery in the UK Aberdeen: HM Theatre ? Billingham :Forum ? Birmingham: Rep Two, one large, one small Birmingham:Old Rep No Was in adjacent building Blackpool: Opera House ? Bromley, Churchill Theatre Slot in stage floor by rear wall is sole sign of paint frame Brighton Theatre Royal Frame exists in SL painting Unusual half frame for flattage room but is out of use also exists Bristol Univ. Wyckham Studio ? Bristol: Old Vic Under threat Buxton Opera House Yes, upstage. Out of use Cardiff New ? Cardiff Theatrical Services Floor painting Carshalton, Charles Cryer Centre Yes Under threat Cheltenham Everyman Yes Coventry, Warwick Arts Centre Removed 2018 Was 40’ x 30’ Coventry: Belgrade Yes At workshops Derby: Theatre (ex Playhouse) Yes, out of use 14m x 6.7m Dundee Rep. Theatre Yes Edinburgh: King’s Yes, upstage One fully functional. Remnants of guides for second frame. Edinburgh: Royal Lyceum, Roseburn Yes Bridge type, out of use' due to workshops, ex Howard and mechanical problems. Wyndham stores Glasgow: Citizens Yes Two with original winches. Listed Glasgow: King’s Theatre Yes upstage. Out of use Glasgow: R.S.Conservatoire Yes Two Harlow: Playhouse Yes, out of use 40’ wide bridge type Harrogate: Theatre ? Hornchurch, Queens Yes Hull: Gulbenkian Yes Uses stage crossover as bridge Isle of Man, Gaiety Yes upstage Leeds Grand Yes Two – one awaiting works Leeds University New Leicester Curve Removed 2019 Bridge type Leicester, Adrian Snell Production Bridge 14m x 7m Services Liverpool Playhouse Yes Llandudno Grand ? London, Alexandra Palace Theatre Remnants on rear stage wall London Brunskills, Lambeth, SE11 Interior demolished June Were four. -
25 Years of the London Jazz Festival
MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster. -
Glias Newsletter No
GREATER LONDON INDUSTRIAL ARCHAEOLOGY SOCIETY NEWSLETTER 301 · ISSN 0264 -2395 · A PRIL 2019 GLIAS was founded in 1969 Membership of GLIAS is open to Company no. 5664689 Secretary to record relics of London’s all. The membership year runs Registered in England Tim Sidaway industrial history, to deposit from January and subscriptions Charity no. 1113162 [email protected] records with museums and are due before the AGM in May Registered address Newsletter Editor archives, and to advise on the Subscription rates Kirkaldy Testing Museum Robert Mason restoration and preservation Individual £12 99 Southwark Street [email protected] of historic industrial buildings Family £15 London SE1 0JF Membership enquiries and machinery Associated Group £18 Website www.glias.org.uk [email protected] DIARY DATES GLIAS LECTURES Our regular lectures are held at 6.30pm in The Gallery, Alan Baxter Ltd, 75 Cowcross Street, EC1M 6EL. The Gallery is through the archway and in the basement at the rear of the building. There is a lift from the main entrance. 17 April Wed RIPPLES IN TIME: THE BUILDING OF GREENWICH POWER STATION & THE UNINTENDED CONSEQUENCES FOR THE ROYAL OBSERVATORY. By Graham Dolan 15 May Wed AGM (6.15pm) + TRINITY BUOY WHARF AND THE PROPOSED HISTORIC SHIPS COLLECTION FOR LONDON. By Richard Albanese GLIAS WALKS The provisional walks programme for summer Saturday afternoons is: 1 June CLERKENWELL, led by Kate and Mike Quinton 6 July DARTFORD, led by Martin Watts and Linda Graham 3 August RICKMANSWORTH, led by Andrew Turner 7 September CAMDEN HOUSING, led by John Goodier 5 October CITY GEOLOGY, led by Allan Wheeler OTHER EVENTS APRIL 3 Wed DRINKING THE THAMES: THE GRAND JUNCTION WATER COMPANY. -
Ireland Rediscovered in Kennington Baby Blues in Islington Noel And
Your free guide to the best in independent London theatre FIRST www.firstactmagazine.com Issue 015 March A 2008 CT Noel And Marlene In Hampstead The House Of Agnes At The House Of Oval Baby Blues In Islington Ireland Rediscovered In Kennington 2 incredibly complex lyrics is quite a feat, and speaking as one who has done a number of Coward plays, I think it takes a particular kind of discipline to perform them. Unlocking “A lot of the scenes are made up of one-liners which go bang, bang, bang, bang, bang, and you’ve got to be so on the ball to play them, with one ear on whether the audience are laughing in the The Mystery right places and one ear on the other actors. There’s a particular type of discipline required to do that. “Marlene, being German, had her own particular type of discipline too, and strength of character, That Is because she had to put up with a hell of a lot of ghastliness when she was touring during the war with the American forces.” Among the lesser-known facts about Kate O’Mara is that she once had a number one hit. In Finland. It’s not a fact she seems particularly keen to dwell on, but how has she coped with the musical element of the role? “I consider myself an requiredactress who can sing when requires – when – rather than a singing actress,” she says, “and like a lot of actresses who can sing, I’ve got a soprano and a basso profundo and not much in between.