Hubbub a Musical Adventure Promoters Pack
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
March 2009.Pmd
Number 157 March 2009 The newsletter of London Drama Two Primary Reviews for your diary There are currently for further learning two prestigious reviews at the secondary LONDON DRAMA of the Primary stage’ rather than by Courses & Workshops Curriculum going on at their intrinsic value.” the moment: The Wed 4 Mar; 7-9pm Cambridge Primary The Cambridge Voices in the Park (Primary) Review initiated by the report identifies University of Cambridge areas of at Central School in 2006 and led by convergence with Professor Robin the interim Rose * * * Alexander; and the report (like the need Government’s to regroup the Wed 11 Mar; 6.30-8.30pm Independent Review of primary curriculum Drama with EAL Students the Primary Curriculum into areas of study at Central School led by Sir Jim Rose. rather than Each report is due to traditional subjects) * * * be published this year. but also important differences which reflect the reviews’ Sat 14 Mar; 10-1.15pm Is there a difference between the contrasting remits, scope, Half Day Workshop: two reports, and if so, what is it? evidence and degrees of Hoipolloi & WebPlay According to the authors of the independence. The Cambridge at Unicorn Theatre Cambridge Review, the answer is review is rather less sanguine one of remit and focus: about the problems of the existing * * * primary curriculum, and does not “..there is a sense in which the exempt current policies from Thurs 19 Mar; 6.30-8.30pm very focused remit of Rose, and comment. It asks whether the Drama & SEN students (KS1/2) the number of matters which are Rose review is more about at Bloomsbury Theatre apparently to be taken as given, curriculum rearrangement than may encourage the view that the reform, with educational aims * * * two enquiries are incompatible – added after the event rather than though we hope not. -
Restoration Drama Investment in West End Theatre Buildings January 2008
Economic Development, Culture, Sport and Tourism Committee Restoration Drama Investment in West End theatre buildings January 2008 Economic Development, Culture, Sport and Tourism Committee Restoration Drama Investment in West End theatre buildings January 2008 Copyright Greater London Authority January 2008 Published by Greater London Authority City Hall The Queen’s Walk More London London SE1 2AA www.london.gov.uk enquiries 020 7983 4100 minicom 020 7983 4458 ISBN 978 1 84781 138 7 This publication is printed on recycled paper Cover photograph: © Ian Grundy 2 Contents Rapporteur’s foreword 4 Executive Summary 5 Introduction 7 Part one There has been only limited investment to date in West End theatre buildings and more investment is required 9 Part two There may be a case for some public investment in West End theatre buildings but only on a theatre-by-theatre basis 14 Part three A number of solutions will need to be pursued to secure investment in West End theatre buildings 19 Conclusion and follow-up 26 Summary of recommendations 27 Endnotes 28 Annexes Annex A: List of 40 commercial West End theatre buildings. their owners and developments since Art Now! report (2003) 31 Annex B: Details of Mayor’s Economic Development Strategy 35 Annex C: Details of the review 36 Annex D: Principles of London Assembly scrutiny 38 Annex E: Orders and translations 39 3 Rapporteur’s foreword London’s West End Theatres are an essential part of the lifeblood of London’s tourist trade, generating £1.5 billion for London’s economy each year. The theatres have experienced record audiences this year but, despite this, most theatre owners have not invested in the fabric of the buildings. -
Love's Labour's Lost
CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. -
Women in Theatre 2006 Survey
WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female). -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
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). -
Film Slate 2019 / 2020
Film Slate 2019 / 2020 hutchinsonpictures.com We tell stories of truth and beauty, seeking to compel and move audiences. Based in London, Hutchinson Pictures Co. specialises in creating top quality film and television, rooted in theatrical imagination. David Hutchinson CEO David trained at the Liverpool Institute (West End); Ghosts (UK tour); Sincerely, Mr for Performing Arts. He also trained in Toad (UK tour); A Midsummer Night’s Dream writing at the Everyman Theatre, Liverpool. (UK tour); The History Boys (Greenwich David is Artistic Director of Sell A Door Theatre); Sealand (Arcola Theatre); Rainbow Theatre Company, Producer for Hutchinson (Edinburgh Fringe); Spring Awakening Rowntree Ltd and International Associate of (UK tour); A Taste of Honey (Buxton Opera Brooklyn Youth Company in New York. House); The Comedy of Errors (Greenwich Playhouse); Stitching (Edinburgh Fringe); Producing credits include: Fame (UK Tour), The Philanderer (Greenwich Playhouse); Madagascar A Musical Adventure (UK Tour), Where the Solitary Eagle Flies (Liverpool Kindertransport (UK Tour), Of Mice And Men Unity Theatre); Twelfth Night (Greenwich (UK Tour), The Producers (international tour); Playhouse); Six Ways (Edinburgh Fringe) Jersey Boys (international tour); Peter Pan and By Order of Ignorance (Greenwich (Blackpool Winter Gardens); Monty Python’s Playhouse). Spamalot (UK tour); Flashdance (UK tour); Footloose: The Musical (UK Tour 2017); Directing credits include: Jekyll & Hyde Guess How Much I Love You (UK Tour); The (UK Tour), Alice in Wonderland (Greenwich -
Blanche Mcintyre Director / Writer
Blanche McIntyre Director / Writer * Winner - Best Director: TMA 2013 UK Theatre Awards * Winner of the 2011 Critcs' Circle Most Promising Newcomer Award for ACCOLADE and FOXFINDER (both at the Finborough Theatre) * FOXFINDER: Listed in Independent's top 5 picks for 2011 * ACCOLADE: Best Director and Best Production at Off West End Theatre Awards 2011; Listed in the Spectator's Top Ten Plays for 2011; Time Out's Best Fringe Show 2011 National Theatre Studio Director's Course (2010) Winner - Leverhulme Bursary (2009) Agents Giles Smart Assistant Ellie Byrne [email protected] +44 (020 3214 0812 Credits In Development Production Company Notes THE LITTLE FOXES Gate Theatre, Dublin By Lillian Hellman 2020 Theatre Production Company Notes HYMN Almeida / Sky Arts By Lolita Chakrabarti 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 BOTTICELLI IN THE FIRE Hampstead By Jordan Tannahill 2019 BARTHOLOMEW FAIR Shakespeare's Globe - By Ben Jonson 2019 Sam Wanamaker Playhouse TARTUFFE National Theatre By Molière 2019 Adapted by John Donnelly & Director Blanche McIntyre WOMEN IN POWER Nuffield Based on Aristophanes' 2018 ASSEMBLY WOMEN THE WINTER'S TALE Shakespeare's Globe By William Shakespeare 2018 THE WRITER Almeida By Ella Hickson 2018 TITUS ANDRONICUS RSC By William Shakespeare 2017 THE NORMAN CONQUESTS Chichester Festival By Alan Ayckbourn 2017 Theatre THE TWO NOBLE KINSMEN RSC: The Swan By William Shakespeare 2016 NOISES -
Technical Specifications
Technical Specifications Rev D, Jan 2019 Table of Contents Introduction/ Postal Address/Key Contacts 1 Technical Specifications (both Spaces) Arrival and Load In/ Delivery Address/ Getting to the Bloomsbury 2 Loading and Parking/ Opening Hours /Dressing Rooms 3 Laundry/ Filming/ Security and Stage Door 4 Bloomsbury Theatre Configuration/ Stage dimensions 5 Stage lifts/ Theatre stage/ Stage management 6 Power/ Lighting equipment 7 Sound equipment/ Audio Visual/ Rigging 8 Access Equipment/ Orchestra seating and stands/ Piano 9 Bloomsbury Studio Configuration/ Stage Dimensions/ Studio Theatre Stage/ Stage Management/ Power 10 Lighting Equipment/ Sound Equipment/ Audio Visual/ Access Equipment/ Piano 11 Introduction The Bloomsbury Theatre and Studio are located on Gordon Street, Euston. The Bloomsbury Theatre is a 541 seat Proscenium arch theatre. Designed by Fello Atkinson, the Theatre opened in 1968 as the “Central Collegiate Building Auditorium, it was renamed the Bloomsbury Theatre in 1982. It was reseated in 1987 and 2014 to improve sightlines and extensively refurbished in 2018. The Studio was added in 2015 and is a flexible black box space seating up to 70. The Bloomsbury Theatre and Studio are part of UCL Culture, who manage theatres, museums and collections, public art and engagement at University College London. Postal Address The Bloomsbury Theatre and Studio 15 Gordon Street London WC1H 0AH Key Contacts General enquiries: [email protected] 02076792777 Technical enquiries: [email protected] 02076791361 Front of house enquiries: [email protected] Box Office enquiries: [email protected] 02031081000 Technical Specifications: Both spaces Arrival and Load In Access to the Bloomsbury Theatre is either via a goods lift from the Physics Yard vehicle bay or through the front doors of the building on Gordon Street. -
Jack Knowles Lighting Designer
Jack Knowles Lighting Designer Jack was awarded the ADB Award for Plays at the 2018 Knight of Illumination Awards for his design of Barber Shop Chronicles. A closing slow-motion sequence … looks like a Baroque painting made manifest – lighting designer Jack Knowles mixes chiaroscuro and carnage WhatsOnStage on The Duchess of Malfi (Almeida) a teeming, eclectic visual vocabulary reflected in [...] the pregnant campfire spookiness of Jack Knowles’s lighting New York Times on Shipwreck (Almeida) Agents Dan Usztan Assistant [email protected] Charlotte Edwards 0203 214 0873 [email protected] 0203 214 0924 Credits In Development Production Company Notes CAROLINE, OR CHANGE Studio 54/Roundabout Broadway transfer 2021 Theatre Company Dir. Michael Longhurst Des. Fly Davis THE LION, THE WITCH AND Elliott and Harper Dir. Michael Fentiman, based on the THE WARDROBE Productions/UK Tour original production by Sally Cookson 2021 Des. Tom Paris SPRING AWAKENING Almeida Theatre Dir. Rupert Goold 2021 Des. Miriam Buether 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 FATAL ATTRACTION ATG/UK Tour Dir. Loveday Ingram 2022 Des. Morgan Large Theatre Production Company Notes BEGINNING Queens Theatre Hornchurch/UK Tour Revival of 2018 production 2021 Dir. Polly Findlay with Joe Lichtenstein Des. Fly Davis THE WINDSORS: ENDGAME Prince of Wales Theatre Dir. Michael Fentiman 2021 Des. Madeleine Girling GIN CRAZE! Royal and Derngate/ETT Dir. Michael Oakley 2021 Des. Hayley Grindle PIAF Nottingham Playhouse/Leeds Playhouse Dir. Adam Penford 2021 Des. Frankie Bradshaw THE BEACON Schauspiel Stuttgart Dir. -
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