DOCSLIB.ORG

32 Sept Spotlights.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
32 Sept Spotlights.Indd September 2011 No. 32 | Bimonthly www.bromleylittletheatre.org FLEA IN HER EAR! (Review: page 4 - Photos Back Cover) INSIDE: SEASON Review: Flea in Her Ear | Love On The Dole PREVIEW Auditions: California Suite | Twelfth Night | Equus Previews: The Glass Menagerie | The Weir | Brassed Off 2012 Howard Wilson Tribute • Events Diary • Noticeboard What’s Inside BLT Chair 2 Playgoers’ Noticeboard 3 Key Contacts 3 Review of Flea in Her Ear 4 The D.R.A.M.A.s 6 Howard Wilson: a tribute 7 BLT’s 2012 Season 8 Audition Notices 12 Previews 14 Diary Dates 16 Claire McRandal as Raymonde in Flea in her Ear will be looking at strategies to increase as many members are aware, BLT Chair the number of set designers, set we cannot make the necessary “I said at the builders, lighting designers, lighting investment in the theatre until beginning of operators etc. we are clear that we have a my previous column in BLT, the company and charity held, its such investment worthwhile. Our Spotlights that AGM on Monday 18 July. Key points currentsufficiently lease long is up lease for torenewal make I was writing at discussed included: at the beginning of 2012 and the beginning • Artistic values remain a key lease is the key priority for the sunny day of strength at BLT. Moreover, with Boardsecuring for a the sufficiently remainder long of newthis theof the summer. first It special thanks to Pauline Armour, year. turns out I’m our aim is to increase further, • Finally, having reported on the sad afraid that it was one of the few sunny the quality and consistency of loss of Tom Pead in the previous days of the summer and I should productions through an artistic edition of Spotlights, BLT lost have stilled my pen because I clearly assurance scheme. The focus Howard Wilson on 28 June. Many brought the dismal summer weather will be on making sure each are aware that Howard, with the we have largely seen ever since. production has support available wonderful support of his wife Christine, fought a positive and Life at BLT continues as always. We that may arise early on in the are in the middle of the August break, productionto iron out any process difficulties and will neurone disease. It was a mark of preparations for the September see longstanding BLT Directors thelife affirmingman that evenbattle in with this motormatter, production of Whipping It Up proceed supporting each other as well as Howard maintained his joyous at hectic pace. Planning for both new Directors to BLT. and quietly persistent approach the 2012 season and membership • to life. Later on in this edition renewal are underway, the youth as previously reported, we have published the tribute to group is up and running and dozens andOur wefinances continue remain to run healthy a Howard from Jane Buckland at of children are preparing themselves the commemoration of his life for an Autumn of weekends spent was had though on the need for on 12 July. That says more than I rehearsing for the December surplus. Significant discussion ever can in this column. But BLT production of Oliver. At the same time, theatre building, for example the has lost a great stage manager we remain, as always, hand to mouth parloussignificant state expenditure of the roof on and the the and actor and I will miss him as a in the back stage running of BLT and need for a new one. This is before person enormously.” one occupation of the Board and we any long desired development Samantha Barrass Playgoers as we go into the Autumn to improve the facilities. However, Bromley Little Theatre - Registered Charity No. 1132561 www.bromleylittletheatre.org Spotlights is published by Bromley Little Theatre Ltd., North Street, Bromley, Kent BR1 1SB. Any views and/or opinions expressed by individuals in Spotlights are done so independently and are not necessarily the opinions of Bromley Little Theatre Ltd or its directors. 2 Playgoers’ NoticeBoard Key Contacts Key Contact Areas: board@bromleylitt letheatre.org Hello everyone! My name is Dominic Howell playgoers@bromleylitt letheatre.org and I’m the new Chairman of the Playgoers’ Committee. Some of you may have seen me on Chairman: stage over the past few years - I played Jeffrey chairman@bromleylitt letheatre.org Tel: 07900 580841 Fairbrother in May’s production of Hi de Hi - Key: Samantha Barrass and others may will have encountered me at the coffee bar in recent months. If you don’t Finance: know me, I hope to meet you at the theatre at fi nance@bromleylitt letheatre.org Key: Howard Binysh some point in the coming months. I joined the Playgoers’ Committee last year as I felt that having appeared on the BLT stage several times, I should try and make a contribution behind the scenes. I took the Artistic: Claire McRandal as Raymonde in Flea in her Ear artistic@bromleylitt letheatre.org view that it is all very well prancing around on stage and having a jolly time in Tel: 07984 722308 costume, but it takes an awful lot of work to put on shows and keep the theatre Keys: Pauline Armour, Jane Buckland running on a day to day basis. In fact, the performances are the tip of the iceberg. As a poacher turned gamekeeper as it were, I’d like to express my gratitude on Youth Group: behalf of the actors to everyone who works to make the shows possible - be that youthgroup@bromleylitt letheatre.org Key: Playgoers & Board sound and lighting, box office, coffee and bar, theatre maintenance, accounts and means audiences can come and see our shows. Membership: finance, legal issues, anything and everything that stops the roof falling in and membership@bromleylitt letheatre.org Tel: 07871 155216 Key: Christina Jeremiah It is customary at this stage to say thank you to my predecessor. Simon Peel has been a tireless servant of the theatre for many years and I am daunted to be Box Offi ce: following in his footsteps. I can say at the outset that I won’t be able to match boxoffi ce@bromleylitt letheatre.org Tel: 07917 853621 his all-around abilities and skills but I do hope I can help in a small way to Key: Sue Clarke make the experience of playgoers to be an enjoyable one. Maybe appearing in fewer shows is the right way to start! I would like to foster a spirit of common Production: endeavour at the theatre and for everyone to bear in mind how many people production@bromleylitt letheatre.org Tel: 07890 724071 give up considerable time and energy to make it the best place to see theatre in Key: Chris Stewart Bromley! If you would like to get involved in any way we are always looking for volunteers to help make our shows better and better. Spotlights: Spotlights@bromleylitt letheatre.org Key: Playgoers & Board Dominic Howell Website: webmaster@bromleylitt letheatre.org Tel: 07939 034437 Key: Paul Johnson Bar: bar@bromleylitt letheatre.org Tel: 01689 870326 Key: Pauline Pead 3 a I won’t attempt to summarise in the plot as we’d be here all day, A her REVIEW if not several weeks. ‘Flea’ was le a once memorably described AdaptedF and directeda by E r as like watching a tennis Stevie Hughes match with twelve players all playing at once. I can • mazingly, like the rest There have been occasions at of his celebrated French BLT when directors have also the aforementioned Old Vic farces, Feydeau’s ‘A acted in their own productions. A versionconfirm whichthis, having I found attended to be Flea in Her Ear’ has never But directing, acting and bewilderingly frenetic and previously been seen at BLT. writing? As Stevie Hughes complex. So I’m glad to report Mind you, I nearly didn’t see pointed out in his programme that here, Feydeau’s maelstrom this production either. By the notes, he had no alternative. of mistaken identity, marital time I got around to booking it was all sold out. Thankfully, as a production by BLT’s I was able to pick up a spare Playgoers’When ‘Flea’ Pick was competition first mooted muchinfidelity, simpler illicit to liasons follow and and far returned ticket, but it was a last year, Stevie agreed to easierflying dentalto enjoy. appliances was close call. direct, little knowing that he would not only have to take In his pivotal dual role as Has this ever happened to you? over the part of ‘Tournel’, but Victor-Emmanuel Chandebise If so, I suggest you sign up that the rights to the play itself and hotel porter Poche, for BLT’s new email bulletins. would be withheld, thanks Tony Wright-Jones was both Simply go to the website at to an impending production exhausting and exhilarating www.bromleylittletheatre.org at the Old Vic. Showing to watch. Sustaining two enter your email address in the commendable tenacity (and such demanding roles must box on the home page (you’ll taking advantage of the fact that Feydeau’s works are now coped with it not just ably, to BLT’) and you’ll be signed out of copyright) he bravely set buthave admirably. been difficult, As his yet wife he upfind automatically. it just under ‘Coming You’ll then Soon about writing his own version, Raymonde, Claire McRandal hit be emailed a gentle and timely retaining the story, characters just the right note and added reminder to book just before and devices but resetting it in a certain coquettish glamour each show. mid-20th Century Paris and re- to the proceedings, aided and jigging the dialogue to make it abetted by the ever-reliable OK commercial over, back to more relevant to modern ears.
Load more

Recommended publications
  • Project Description
    PROJECT Bromley Little Theatre A3 posters DESCRIPTION Posters to advertise a variety of different plays being performed at the theatre. IN THE AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD BAR AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD Website graphics CONTAINS VERY STRONG LANGUAGE AND SEXUAL REFERENCES THROUGHOUT for each play were also created. AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD BROMLEY LITTLE THEATRE, NORTH STREET, BROMLEY KENT BR1 1SB BROMLEY LITTLE THEATRE, NORTH STREET, BROMLEY KENT BR1 1SB BROMLEY LITTLE THEATRE, IN THE BAR, NORTH STREET, BROMLEY KENT BR1 1SB BOOKING: visit www.bromleylittletheatre.org or call 0333 666 3366 BOOKING: visit www.bromleylittletheatre.org or call 0333 666 3366 BOOKING: visit www.bromleylittletheatre.org or call 0333 666 3366 Members: £8 / Non-members: £12 • Booking opens to non-members on 8th November Members: £8 / Non-members: £12 • Booking opens to non-members on 13th Sept Members: £7 / Members’ guests: £10 • Booking opens on 22 August Tickets also available from the Churchill Theatre box office Phil Graham 07941 508026 [email protected] PROJECT Bromley Little Theatre A3 posters DESCRIPTION Posters to advertise a variety of different plays being performed at the theatre. Website graphics AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD AN AMATEUR PRODUCTION BY ARRANGEMENT WITH NICK HERN BOOKS for each play were also created. KING CHARLES III BY MIKE BARTLETT Directed by PAULINE ARMOUR Fri 12th - Sat 20th Oct 2018 at 7.45pm (not
    [Show full text]
  • Edinburgh International Festival Society Papers
    Inventory Acc.11779 Edinburgh International Festival Society Papers National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland BOX 1 1984 1. Venue letting contracts. 2. Australian Youth Orchestra. 3. BBC Orchestra. 4. Beckett Clurman. 5. Black Theatre 6. Boston Symphony 7. Brussels Opera 8. Childrens Music Theatre 9. Coleridges Ancient Mariner 10. Hoffung Festival BOX 2 1984 11. Komische Opera 12. Cleo Laine 13. LSO 14. Malone Dies 15. Negro Ensemble 16. Philharmonia 17. Scottish National 18. Scottish Opera 19. Royal Philharmonic 20. Royal Thai Ballet 21. Teatro Di San Carlo 22. Theatre de L’oeuvre 23. Twice Around the World 24. Washington Opera 25. Welsh National Opera 26. Broadcasting 27. Radio Forth/Capital 28. STV BOX 2 1985 AFAA 29. Applications 30. Amsterdam Baroque Orchestra/Netherlands Chamber Orchestra 31. Balloon Festival. 32. BBC TV/Radio. 33. Le Misanthrope – Belgian National Theatre 34. John Carroll 35. Michael Clark. BOX 3 36. Cleveland Quartet 37. Jean Phillippe Collard 38. Compass 39. Connecticut Grand Opera 40. Curley 41. El Tricicle 42. EuroBaroque Orchestra 43. Fitzwilliam 44. Rikki Fulton 45. Goehr Commission 46. The Great Tuna 47. Haken Hagegard and Geoffery Parons 48. Japanese Macbeth 49. .Miss Julie 50. Karamazous 51. Kodo 52. Ernst Kovacic 53. Professor Krigbaum 54. Les Arts Florissants. 55. Louis de France BOX 4 56. London Philharmonic 57. Lo Jai 58. Love Amongst the Butterflies 59. Lyon Opera 60. L’Opera de Nice 61. Montreal Symphony Orchestra 62.
    [Show full text]
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • Reviews: the Heresy of Love | Jumpy | Double
    May 2017 | No. 62 | Bimonthly www.bromleylittletheatre.org THE OFFICIAL ORGAN OF PRESIDENT: MICHAEL YORK OBE Reviews: The Heresy Of Love | Jumpy | Double Top Previews: People | The Breath Of Life | Of Mice And Men + Auditions + Events Diary + Noticeboard 1 BLT chair Key contacts Another farewell needs to be made to Emma Kerby-Evans and Maxine Edwards Stevie Hughes, who is stepping down from in BLT's February 2017 production of The Heresy Of Love the role of website, poster, and Spotlights Call: 020 3189 1690 designer. A record of a few of his wonderful for box office, membership and key contacts designs can be seen among the posters enquiries (but not for booking tickets). plastered to the walls of the stage door stairs. We shall certainly miss his intelli- Key contact areas: gent, creative designs. [email protected] The board have been discussing for [email protected] some time how we can better organise the management of the theatre. We have Chair: decided that while Playgoers will remain [email protected] as an entity for the receipt of funds from Key: Jane Buckland the bar, membership and the coffee bar, Artistic: the day-to-day running of these and other [email protected] ooking back over the last couple of aspects of the theatre is to be by existing Keys: Pauline Armour / Jane Buckland Lyears, most BLT members will see that it personnel, overseen by the assigned board has been a period of change and development members. The former members of the for the theatre, and one which is set to Youth group: Playgoers committee will now be able to continue.
    [Show full text]
  • Core Strategy Vision and Objectives
    1. Introduction Your chance to help shape the future of Bromley We would like you to help us develop the long-term planning strategy for the London Borough of Bromley. This strategy needs to show roughly where any new development should go and, how much development there should be, over the next 20 years. We are starting with what is known as the “Core Strategy” - the top-level document where we set the general direction for the future of the borough - but once this is prepared we will produce other documents with policies to guide the detail of any development. So, is this the “Core Strategy”? No, this is just the first step towards a Core Strategy. This document presents a wide range of information about the Borough and its places and suggests some of the key issues for the future. We are asking everyone with an interest in Bromley to tell us what they think about the issues we have identified – are they the right issues? Are there any more issues that our planning strategy needs to consider? Once we have agreed on the main issues, it’s time to look at the ways of tackling them – again, we’ll be asking for everyone to get involved by telling us what they think and whether anything has been missed. After this we’ll be able to produce a draft Core Strategy which will contain policies that can be used to guide development – this is the document that will be submitted to the Government for checking. Overall, this process will take about two years.
    [Show full text]
  • After the Interval National Audience Research
    After the Interval National Audience Research Audience views on returning to live cultural events, booking tickets now and in the future, and missing out on events during lockdown. Wave 2 | 7-27 May 2020 Katy Raines Co-founder and Partner www.indigo-ltd.com After the Interval Wave 2 Report June 2020 © Indigo-Ltd 1 Contents Context ........................................................................................... 4 Section 1: Methodology and Sample ............................................. 5 Sample breakdown .................................................................................................................... 6 Section 2: Overall findings ............................................................. 7 2.1 Missing events during lockdown ....................................................................................... 7 2.2 Booking NOW for Events in the future .............................................................................. 8 2.3 When will audiences return? .............................................................................................. 9 2.4 Safety and Comfort ............................................................................................................ 10 2.5 Reassurances around refunds and exchanges ............................................................... 11 2.6 Supporting Cultural Charities ........................................................................................... 12 Appendix 1: About Indigo-Ltd ..................................................
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • 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).
    [Show full text]
  • The Inside Guide to Directing
    THE INSIDE GUIDE TO DIRECTING Introduction by 02 Katy Rudd What is Directing? 06 Artist profile: 08 Ashen Gupta Pre-Rehearsals 12 Artist Profile: 16 GUIDE Ebenezer Bamgboye Guide compiled by Euan Borland Rehearsal Room 20 Directing Exercises by Roberta Zuric Photography Credits Artist Profile: 24 Joanna Higson Manuel Harlan Sean Linnen EDUCATION & COMMUNITY How to be a Leader 28 Director of Education & Community Hannah Fosker Education Manager Top Tips for Directing 30 Euan Borland Young Person’s Programme Manager Naomi McKenna Lawson Further Reading, 32 Education & Community Coordinator Kate Lawrence-Lunniss Watching & Listening Education & Community Intern Annys Whyatt Abena Obeng Glossary of Terms 34 With generous thanks to Old Vic staff and associates Next Steps 36 If you would like to learn more about our education programmes please contact [email protected] CONTENTS 1 When I left university, I knew that I wanted to During this time I had the good fortune to be a director but I had no idea how, or where, meet Marianne Elliott who kindly had a cup to start. At university I wrote and directed of tea with me – she gave me some advice plays as part of my course and I was given and told me to go to the regions and learn a good introduction to making theatre. your craft. Then she wished me good luck. In our spare time we put on our own shows rehearsing after hours in whatever space we So I did. I went to Salisbury Playhouse where could commandeer; empty lecture rooms, I spent three glorious months assisting on communal spaces or failing that our bedrooms.
    [Show full text]
  • 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
    [Show full text]
  • 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).
    [Show full text]
  • One Man, Two Guvnors by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni, with Songs by Grant Olding Background Pack
    One Man, Two Guvnors by Richard Bean based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding Background pack The National's production 2 Carlo Goldoni 3 Commedia dell'arte 4 One Man, Two Guvnors – a background 5 Lazzi – comic set pieces 7 Characters 9 Rehearsal overview 10 In production: from the Lyttelton to the Adelphi 13 In production: Theatre Royal Haymarket 14 Richard Bean interview 15 Grant Olding Interview 17 Further production detailsls: This background pack is Director Learning Workpack writer www.onemantwoguvnors.com published by and copyright Nicholas Hytner National Theatre Adam Penford The Royal National Theatre South Bank Board London SE1 9PX Editor Reg. No. 1247285 T 020 7452 3388 Ben Clare Registered Charity No. F 020 7452 3380 224223 E discover@ Views expressed in this nationaltheatre.org.uk Rehearsal and production workpack are not necessarily photographs those of the National Theatre Johan Persson National Theatre Learning Background Pack 1 The National’s production The production of One Man, Two Guvnors opened in the National’s Lyttelton Theatre on 24 May 2011, transferring to the Adelphi from 8 November 2011; and to the Theatre Royal Haymarket with a new cast from 2 March 2012. The production toured the UK in autumn 2011 and will tour again in autumn 2012. The original cast opened a Broadway production in May 2012. Original Cast (National Theatre and Adelphi) Current Cast (Theatre Royal Haymarket) Dolly SuzIE TOASE Dolly JODIE PRENGER Lloyd Boateng TREvOR LAIRD Lloyd Boateng DEREk ELROy Charlie
    [Show full text]