Amy De Bhrún

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AMY DE BHRÚN NolanMuldoonAgency HEIGHT 5’ 8” HAIR Blonde EYES Blue/Green NATIONALITY Irish TRAINING Laine Theatre Arts Company FILM & TELEVISION Production Part Director Company Penny Dreadful Prostitute J.A. Bayona Showtime Casualty Alana Steve Hughes BBC Treasure The Stag Rachel John Butler Entertainment Vikings Ingigerd Johan Renck History Channel All is By My Side Pheobe John Ridley Matador The Crown and the Dragon Ellen Barethon (L) Anne K Black Arrowstorm The South Bank Show Tess Durberville Matt Cain ITV Bigga Than Ben Girl in Bookshop Suzie Halewood Annex Films Lovelorn Doctor Becky Preston Tread Softly Dance Invasion Sarah Collins (L) Liam Beale Chaos Weekly Films Girl in Motion Girl (L) Phil Bowman Doublecrossed We Few Head Operator Lee Stringer Lucas Films THEATRE Play Part Director Venue/Company Till Death We Part One Woman Show Helena Browne Theatre Upstairs Theatre Row, New Female of the Species One Woman Show Helena Browne York Life A One Woman Show Grainne Helena Browne Solas Productions The Money Man Sophie Helena Browne Rumor Mill, LA NolanMuldoonAgency / +353 1 288 1537 / www.nolanmuldoonagency.com Facing the Space Emma Helena Browne Mayfield Café Life Grainne Helena Browne Roundhouse, London 2am Jono Helena Browne Etcetera Theatre 3 Women for the Moon La Helena Browne Bewley’s Café Theatre A Short Swim in the Air Jessie Helena Browne Pleasance Theatre The Maids Claire Helena Browne Etcetera Theatre The Donahue Sisters Annie Helena Browne Etcetera Theatre The House of Bernarda Alba Magdalena Mhairi Grealis Pentameters Theatre The Mystery Plays Lucifer Mark Bowden Cockpit Theatre Innocence Anna Judith Pollard Criterion Theatre A Midsummer Night’s Dream Oberon Mark Akhill Cockpit Theatre SKILLS Accents Dublin (native), regional Irish, RP, Heightened RP, Cockney, English, Welsh, Liverpool, Yorkshire, Australian, north European, mid-Atlantic, New York, standard American and southern American Other Fully trained Irish Dancer, Horse riding, advanced weapons Stage combat, Tin Whistle Singing Mezzo-soprano NolanMuldoonAgency / +353 1 288 1537 / www.nolanmuldoonagency.com .

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Imy Wyatt Corner [email protected]
Imy Wyatt Corner [email protected] Directing SHOW THEATRE/ VENUE WRITER LENGTH OF RUN YEAR Humane Pleasance Theatre * Polly Creed 3 weeks (postponed) 2021 Gaslight Playground Theatre * Patrick Hamilton 3 weeks 2019 Baby, What Blessings Theatre503 * Siofra Dromgoole 1 week 2019 Baby, What Blessings Edinburgh Fringe Siofra Dromgoole 2 weeks 2019 Baby, What Blessings Bunker Theatre Siofra Dromgoole 1 night 2019 Baby, What Blessings Brewery Arts Centre, Siofra Dromgoole 1 night 2019 Kendal Q&A Southwark Playhouse Jess Moore 1 night 2019 From There to Here Old Red Lion Theatre Amanda Lane 2 nights 2019 We, The People Etcetera Theatre * Eleanor Ross 1 night 2019 Walk Swiftly & With Purpose North Wall Arts Centre Siofra Dromgoole 2 nights 2019 Walk Swiftly & With Purpose Theatre503 * Siofra Dromgoole 1 week 2018 Walk Swiftly & With Purpose Edinburgh Fringe Siofra Dromgoole 2 weeks 2018 NSA The Mono Box Charles Entsie 1 night 2018 Our Lemon Sherbet Sky Arcola Theatre Eleanor Ross 1 night 2018 Flux Leyton Technical/ Plymouth Fringe Naomi Soneye-Thomas 4 nights 2018 Happy Yet? International Theatre, Katie Berglof 4 nights 2018 Frankfurt * Happy Yet? Courtyard Theatre Katie Berglof 1 week 2017 Happy Yet? Edinburgh Fringe Katie Berglof 2 weeks 2016 Assistant Directing SHOW THEATRE/ VENUE DIRECTOR LENGTH OF RUN YEAR NoF*cksgiven Vault Festival Michael Oakley 1 week 2019 R&D Felt Little Angel/ The North Wall * Pip Williams 10 days 2020/21 Humane Pleasance Theatre Polly Creed 1 week 2019 Baby, What Blessings Brewery Arts, Kendal Siofra Dromgoole 1 week 2019 *= professional Other Work & Training Bristol Old Vic Theatre School, MA Drama Directing (2020 – ongoing) Everywoman & Other Confessions,*Producer.
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Who We Are Week Runs, One Offs & Matinees
Valid until 31.12.2018 265 CAMDEN HIGH STREET - NW1 7BU - LONDON 0207 482 4857 - [email protected] 1996 Guinness Ingenuity Award for Pub Theatre WHO WE ARE As a home is not just a house, a Theatre is not just a space. HISTORY & LOCATION Since its foundation in 1986, the Etcetera Theatre has become one of the milestone venues of the London fringe circuit. The theatre is ideally located right on Camden High Street, one of the busiest tourist and shopping areas in London only seventy-five metres away from Camden Town tube station. The Etcetera works to establish a healthy and sustainable relationship with all incoming companies and we are happy to provide support and advice throughout the production process. We have been established here for twenty nine years and are happy to pass on useful contacts and advice to incoming companies. THE TEAM Since 2014, the Etcetera has not only become a family business but an artistic one at that! Run by Maud (actress) & her brother Pierre (musician), their experience of being self represented artists and their passion for the live arts is definitely one of the main assets of this new management as they can fully understand the ins and outs of putting on a show. WEEK RUNS, ONE OFFS & MATINEES These prices include the use of our PA system and lights as well as our furniture and microphones. WEEK RUNS Include 6 performances from TUE – SUN and are available on two different slots. EARLY SLOT: 7PM – 8PM (6.30PM – 8PM for 90min shows) LATER SLOT: 9PM – 10PM LATER SLOT EXTENDED: 9PM – 10.30PM NB: on Sundays all shows start and finish an hour earlier.
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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).
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Foxfinder by Dawn King Directed by Blanche Mcintyre
Press Information New Writing at the Finborough Theatre Season November 2011 to January 2012 Papatango Theatre Company in partnership with the Finborough Theatre present four world premieres The Papatango Playwriting Festival 2011 Foxfinder by Dawn King Directed by Blanche McIntyre. Designed by James Perkins. Lighting by Gary Bowman. Sound by George Dennis. Cast: Kirsty Besterman. Tom Byam Shaw. Becci Gemmell. Gyuri Sarossy. Papatango have teamed up with one of London's leading new writing venues, the Finborough Theatre to present the winning entries in the 2011 Papatango Playwriting Competition 2011, featuring this year's winning play Foxfinder by Dawn King which will play for a four week limited season from 29 November (Press Night: Thursday, 1 December 2011 at 8.30pm). “You, Foxfinder, must be clean in body and mind. Always remember that the smallest fault in your character could become a crack into which the beast may insinuate himself, like water awaiting the freeze that will smash the stone apart.” William Bloor, a Foxfinder, arrives at Sam and Judith Covey’s farm to investigate a suspected contamination. What follows will change the course of all their lives, forever. Foxfinder is a gripping, unsettling and darkly comic exploration of belief, desire and responsibility. Playwright Dawn King was one of ten writers from across the UK chosen for the BBC Writersroom 10 scheme, a prestigious mentoring and support programme. Through this she is developing a new play with West Yorkshire Playhouse. She is also currently writing My One and Only, an afternoon play for BBC radio 4. Her episode of horror series The Man in Black will broadcast on BBC radio 4 Extra later this year.
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Scenes on the Sand – Cast Biographies 1
SCENES ON THE SAND – CAST BIOGRAPHIES MON 4TH AUG SIREN by David Elms SIREN: Emma Sidi Emma Sidi is an actor and comic based in South London. She is a former member of the Cambridge Footlights, performing in the International Tour Show 2013. Recent theatre credits include Sweet Meat (Tristan Bates Theatre), EXP (Etcetera Theatre) and Three Sisters (ADC Theatre). Film includes Gregor, written and directed by Mickey Down and Konrad Kay. She also recently directed the short play The Walls Are Thin (Tristan Bates Theatre). SAILOR: Barney McElholm Barney is a LAMDA graduate and co-Artistic Director of Soggy Arts Productions. Theatre credits include: Tomorrow and Middle Child (West Yorkshire Playhouse), Romeo & Juliet, (Young Shakespeare Company; National Tour), The Long Trick and Bucket Club (Nightingale Theatre), Wind in the Willows (Cambridge Touring Theatre; Gilded Balloon), Uprooted, Full House (National Tour). Television and Film: Oliver Ball, The Lurker (Soggy Arts), Pete, The Rambling Men (Soggy Arts). TREASURE by Alexander Owen JAMES: Ian Targett Theatre credits include: The Breadwinner (Orange Tree), Bows and Arrows (Royal Court), Why Me? (Novello), The Kiss of Life and A View of Kabul (Bush), Romeo and Juliet (Lyric Hammersmith), Eurydice (BAC), Burning Point (Tricycle), The Woman in Black (PW Productions), A Small Family Business (West Yorkshire Playhouse). Tours include An Inspector Calls, The Winslow Boy, Arsenic and Old Lace, Dracula. TV work includes: Marks, A Taste of Honey, Over the Rainbow, Mind Games, Babylon, The Last Detective, Ghostboat, Midsomer Murders, Monroe, Eastenders, Emmerdale, Trust Me, Casualty, Forever Green, Doctors, Films include: The Fool, A Dangerous Man, and The Lover MOIRA: Sasha Waddell Sasha has just returned from touring the Far East with Yes Prime Minister.
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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
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Amy Clare Tasker Theatre CV
AMY CLARE TASKER THEATRE MAKER & CREATIVE PRODUCER London 2013 - present. co-director of Pinecone Performance Lab San Francisco 2008 - 2013. arLsLc director of Inkblot Ensemble +44 (0)7462 550062 @AmyClareTasker [email protected] www.amyclaretasker.com | www.pineconeperformance.com THEATRE MAKING DIRECTING & DEVISING WITH MY OWN COMPANY PINECONE PERFORMANCE LAB ChanGe of Art | creave producer, singer-songwriter a mulE-arts collecEve, fostering community and HOT (Helen of Troy) | writer & performer conversaEon through creaEve intervenEons. a patriarchy-smashing solo show with Greek mythology, www.changeofart.org.uk power ballads, and a 90s pop culture twist 2017: Change of Art FesEval, in partnership with HOPE not The Cockpit (London) February 2020 hate & Amnesty InternaEonal UK. artsdepot residency (London) Sept 2019 2018: Hear Here, an audio installaEon commissioned by Upstart Theatre, at DARE FesEval, Shoreditch Town Hall. Home Is Where… | director, creator, producer verbaEm theatre & oral history project, devised by the The Helen Project - later became HOT (Helen of Troy) company from interviews with Cross Culture Kids. director, co-writer, producer CLF Art Cafe, Bussey Building R&D (London) 2019 by Megan Cohen & Amy Clare Tasker Theatre Delicatessen R&D (London) June 2017 Face to Face FesEval at LOST Theatre (London) 2014 RichMix R&D (London) September 2016 DIVAfest (San Francisco) 2013 Camden People’s Theatre scratch (London) January 2016 Dirty Laundry inspired by Lorca’s Yerma CREATIVE PRODUCING director & dramaturg The Collaboratory
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JUST to GET MARRIED by Cecily Hamilton
Press Information ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES Summer Season – July–September 2017 The first London production in over 100 years JUST TO GET MARRIED by Cecily Hamilton. Directed by Melissa Dunne. Presented by Papercut Theatre in association with Neil McPherson for the Finborough Theatre. “It takes a confirmed spinster to be as sentimental as you are. What’s to happen to me if I don’t marry – what’s to be the end of me?" The first London production in over a hundred years of Just To Get Married, a romantic comedy by renowned suffragette Cecily Hamilton opens at the Finborough Theatre for a four week limited season on Tuesday, 25 July 2017 (Press Nights: Thursday, 27 July and Friday, 28 July 2017 at 7.30pm). Approaching her 30th birthday in early 20th Century England, the clever and poor Georgiana Vicary is waiting for the handsome but shy Adam Lankester to propose to her. Her friends expect her to get married, her adoptive parents expect it and more importantly, she expects it of herself – but will her conscience allow it? From a time when marriage was a socio-economic - rather than just a romantic – decision, Just to Get Married asks how we can have a marriage of equals when the genders are unequal. Written by actress, journalist, playwright and suffragette Cicely Hamilton, and first produced at the Little Theatre in London in 1910, Just to Get Married was last produced in the UK at Birmingham Rep in 1918, and is directed by Melissa Dunne, founder of the acclaimed gender blind play festival XY.
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Create Design Perform Learn 2021 Prospectus
create perform design learn 2021 Prospectus The Royal Central School of Speech and Drama University of London Eton Avenue At Central, we believe that our world-leading training London NW3 3HY should be accessible to everyone who wishes to develop UK their creativity and positively impact the industry. Telephone: +44 (0)20 7722 8183 Email: [email protected] www.cssd.ac.uk We are a unique and special community and treat all members and visitors with dignity and respect. @CSSDLondon By celebrating and respecting our different cultures, abilities and identities we aim to shape a better future for the arts and society. Excellence requires diversity, which brings richness, knowledge, innovation, new understanding and skills. Our differences enrich our learning, insight and wisdom. CBP002372 Printed on 100% recycled paper. World Land Trust is an international conservation charity, which protects the world’s most biologically important and threatened habitats. Madeline Samuel Malone MFA Voice Studies: Teaching Charlemagne and Coaching BA (Hons) Acting Musical Theatre ‘I found I had an early affinity for ‘I applied for Central through Open singing and theatre. However, I took Door, who offer a package of support the path well-travelled, obtaining to young people from low income a Bachelor of Commerce degree, backgrounds, which includes free followed by a Master’s in Adult auditions to drama schools, as well Education. I began a corporate career, as practical tutoring, workshops and but I never managed to shake off travel bursaries. my desire to work in theatre and to educate. At the time, I knew almost nothing about Central but it turned out to be I struggled with my identity for years, the perfect fit for me; a course centred specifically my voice, for which I had in acting that also develops my singing been bullied.
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T H E P Ro G
08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 1 Tuesday Evening, August 11, 2015 at 7:30 Thursday Evening, August 13, 2015 at 7:30 m Saturday Afternoon, August 15, 2015 at 3:00 a r g o Written on Skin (U.S. stage premiere) r P Opera in Three Parts e Music by George Benjamin h Text by Martin Crimp T This performance is approximately one hour and 40 minutes long and will be performed without intermission. Presented in collaboration with the New York Philharmonic as part of the Lincoln Center–New York Philharmonic Opera Initiative (Program continued) Please make certain all your electronic devices are switched off. The Mostly Mozart Festival presentation of Written on Skin is made possible in part by major support from Sarah Billinghurst Solomon and Howard Solomon. These performances are made possible in part by the Josie Robertson Fund for Lincoln Cen ter. David H. Koch Theater 08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center Used by arrangement with European American Music Distributors Company, U.S.
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The Role of Epitexts in Drama Translation 1. Introduction in Recent Decades There Has Been a Growing Curiosity in the Role of P
The role of epitexts in drama translation Jorge Braga Riera, Complutense University of Madrid ABSTRACT In recent years, the notion of paratranslation has grown in Translation Studies, particularly in the literary field. Nevertheless, little attention has been paid to the effect that paratextual components — peritextual and epitextual — (Genette 1997) may have on the rendering of theatrical texts into another language, especially if these texts are intended for performance. This article will seek to deal with the issue of paratranslation in the theatre, and more specifically with the potential influence of epitexts on the reception of a particular stage play in a different culture, as well as with the significance of the figure of the translator in the process. Two recent British performances of the Spanish classic Life is a Dream, based on two different translations, have been used by way of example. The results will show how reviews, webpages, videos, posters, flyers and programmes can add to the manner in which a particular play is perceived in the eyes of its target audiences, and to what extent the final outcome may be felt as part of the recipient theatrical culture. KEYWORDS Paratranslation, paratext, epitext, theatre translation, Spanish drama. 1. Introduction In recent decades there has been a growing curiosity in the role of paratexts in the various disciplines, as well as in their cultural, ideological and, of course, commercial implications. Much of this interest is based on the work of French theorist Gérard Genette, who defines paratext as those elements in a published work that accompany the text, constituting “a ‘vestibule’ that offers the world at large the possibility of either stepping inside or turning back” (1997: 2).
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KRAKEN Written by Skot Wilson, Directed by Rebecca Hill
Unbound Productions KRAKEN Written by Skot Wilson, Directed by Rebecca Hill PRESS RELEASE: FEBRUARY 2020 VAULT FESTIVAL 2020 Pit - The Vaults, Leake Street Tues 3rd March – Sun 8th March 2020, 19:30 (+ Sunday matinee 16:30) PRESS ARE WELCOME TO ALL SHOWS UNBOUND PRODUCTIONS presents KRAKEN An underwater climate crisis capitalist romance. With a giant squid. Welcome to an ocean full of plastic, giant squid, and opportunity. Simon & Trixie work in a submersible mining station at the bottom of the sea. Their relationship is falling to pieces, but they can deal with that later. They just don’t want to be left behind in the climate crisis. Every day, they dig up rare earth minerals which the planet needs for green batteries, electric cars, and new mobile phones. No one said going green would be easy. It’s business as usual until they meet Archie – a giant squid… Kraken is a classic (and the only) underwater climate crisis capitalist-cephalopod romance. It’s a story about monsters, and what (or who) we’re prepared to throw away. It’s about going green but hurting the world around you. It’s about keeping up with catastrophe. It’s about wanting to love your planet, but not knowing how. First and foremost, this is a play about what happens when a giant squid just might be your best friend. Or life partner. KRAKEN Kraken is an underwater climate crisis capitalist romance. It’s about monsters, relationships on the edge, the impact of climate change, and a giant squid. It uses a controversial issue (deep-sea mining) as a foundation to explore our complex relationships with commodities, the planet, and each other.
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