P. Takacs-Directing Resume

Total Page:16

File Type:pdf, Size:1020Kb

P. Takacs-Directing Resume Cell Phone (202) 247-7188 PAUL TAKACS E-mail: [email protected] Website: www.paultakacsdirector.com DIRECTING EXPERIENCE Everybody – Brandon Jacobs-Jenkins✦ Marymount Manhattan College, NYC 2020 Love and Information – Caryl Churchill Marymount Manhattan College at NY Live Arts, NYC 2019 Race – David Mamet Stella Adler Conservatory, NYC 2019 In Arabia We’d All Be Kings – Stephen Adly Guirgis Stella Adler Conservatory, NYC 2018 Knives in Hens● – David Harrower The Shop at 59E59 Theaters, NYC 2017 Vinegar Tom – Caryl Churchill Stella Adler Conservatory, NYC 2017 A Bright Room Called Day– Tony Kushner Stella Adler Conservatory, NYC 2016 Dark Vanilla Jungle● – Philip Ridley The Shop at HERE Arts, NYC 2016 Professor Brenner* – David Pinsky New Worlds Theatre Project at HERE Arts, NYC 2015 The Seagull – Anton Chekhov Stella Adler Conservatory, NYC 2015 Anon(ymous) – Naomi Iizuka New School for Drama (Visiting Artist) 2014 Six Degrees of Separation – John Guare Stella Adler Conservatory, NYC 2014 The Ladder* – Matt Herzfeld New School for Drama (Visiting Artist) 2014 I Am The Wind✢ – Jon Fosse/adapt. Simon Stephens The Shop at 59E59 Theaters, NYC 2014 Carcass* – Peretz Hirshbein New Worlds Theatre Project at HERE Arts, NYC 2013 The Women – Clare Booth Luce Stella Adler Conservatory, NYC 2013 Attempts On Her Life – Martin Crimp Stella Adler Conservatory, NYC 2013 Tender Napalm✢ – Philip Ridley The Shop at 59E59 Theaters, NYC 2012 Top Girls – Caryl Churchill Stella Adler Conservatory, NYC 2012 Early Michigan* – Heather Lynn MacDonald Wide Eyed Productions, NYC 2012 Phaeton* – Michael Milligan Studio Tisch at NYU 2011 Love in Transit* – Judith Goudsmit The Shop, NYC 2011 adulteration* – Josh Beerman New School for Drama 2011 The Country – Martin Crimp New School for Drama 2010 The History of Kites* – Josh Beerman Samuel French Off Off Broadway Play Festival 2010 Phi Alpha Gamma* (Touring) – Dan Bernitt Dan Bernitt Productions 2009 Cul de Sac* – Judith Goudsmit New School for Drama 2009 A State of Innocence – Naomi Wallace New School for Drama at The Cell Theater, NYC 2009 Hello Out There – William Saroyan New School for Drama 2008 Death of the Fourth Estate* (Reading) – Kerry Gildea Theatre of the First Amendment 2008 St. Mark’s Gospel – King James Bible Theatre Alliance 2008 Dark Rapture – Eric Overmyer Spooky Action Theater 2007 365 Days/365 Plays – Susan Lori Parks Studio Theatre/Washington Shakespeare Company 2007 The Patent Stone* (Reading) – Kristin Johnsen-Neshati Theatre of the First Amendment 2006 Hernani* (Reading) – Victor Hugo/adapt. John Strand Shakespeare Theatre Company/ReDiscovery Series 2006 The Tempest – William Shakespeare Shakespeare Theatre Company Lab Project 2006 Film Noir – Adam Szymkowicz Madcap Players Winter Festival of New Works 2006 Now Let Me Fly (Concert Reading) – Marcia Cebilska St. Mary’s College of Maryland 2004 Three Sisters – Anton Chekhov St. Mary’s College of Maryland 2003 *New Work/Translation ✢U.S. Premiere ●New York Premiere ✦Virtual Production ACADEMIC WORKSHOP PRODUCTIONS Everybody – Brandon Jacobs-Jenkins✦ Stella Adler Conservatory,NYC 2020 The Wheel* – Alaina Messineo✦ Marymount Manhattan College 2020 Leave the Party* – Will Alderson Marymount Manhattan College 2020 The Lovely Bones – adapt. Bryony Lavery NYU/Tisch-Stella Adler Conservatory,NYC 2019 Man-I-Fest-O* – Skylar Beirne Marymount Manhattan College 2019 Rolling* – Jackie Manno Marymount Manhattan College 2019 Sunset Play #1* – Kayla Williams Marymount Manhattan College 2019 Skiddy* – Michaela Williams Marymount Manhattan College 2018 The Twilight Zone – adapt. Anne Washburn Stella Adler Conservatory,NYC 2018 Revolt. She Said. Revolt Again. – Alice Birch Stella Adler Conservatory,NYC 2017 Middletown – Will Eno Stella Adler Conservatory,NYC 2016 Glengarry Glen Ross – David Mamet Stella Adler Conservatory,NYC 2015 Anna Karenina – adapt. Helen Edmundson Stella Adler Conservatory,NYC 2015 Requiem for Black Marie – Sara Farrington Stella Adler Conservatory,NYC 2014 Attempts On Her Life – Martin Crimp Stella Adler Conservatory,NYC 2013 ASSISTANT DIRECTING EXPERIENCE The Rimers of Eldritch (dir. Hal Brooks) New School for Drama 2009 The Taming of the Shrew (dir. Rebecca Taichman) Shakespeare Theatre Company 2007 Love’s Labor’s Lost (dir. Stephen Fried) Shakespeare Theatre Company/Carter Barron 2007 Pericles (dir. David Muse) Shakespeare Theatre Company/Carter Barron 2006 The Persians (dir. Ethan McSweeny) Shakespeare Theatre Company 2006 Lady Windermere’s Fan (dir. Keith Baxter) Shakespeare Theatre Company 2005 Homebody/Kabul (dir. John Vreeke) Woolly Mammoth Theatre Company 2004 TEACHING EXPERIENCE Elements of Directing Adjunct Professor, Marymount Manhattan College BA Program 2019-Present Directing III Adjunct Professor, Marymount Manhattan College BA Program Spring 2021 Acting Intermediate Scene Study Adjunct Professor, Marymount Manhattan College BA Program 2017-Present Acting III British Comedy Adjunct Professor, Marymount Manhattan College BA Program Spring 2020 Acting III Language & Style Adjunct Professor, Marymount Manhattan College BA Program Fall 2018 Shakespeare 2 Instructor, The Stella Adler Studio Evening Conservatory Spring 2017 Contemporary Scene Study Instructor, NYU Tisch/Stella Adler Studio 2012-2020 Approaching the Role- Evening Workshop Instructor, Stella Adler Studio 2012-2020 Approaches to Solo Performance Instructor, Stella Adler Studio Fall 2017 Text & Acting / Director, As You Like It Teaching Artist, Shakespeare Theatre Company 2006 Audition Techniques Teaching Assistant, St. Mary’s College of Maryland 2004 Realism for the Actor Adjunct Teacher, St. Mary’s College of Maryland 2001 Actor/Instructor Teaching Artist, Folger Shakespeare Library 1993-‘99 EDUCATION The New School for Drama Master of Fine Arts Degree, Directing Instructors: Doug Hughes, Jo Bonney, Kate Loewald, Lou Jacob, Jane Ann Crum St. Mary’s College of Maryland Bachelor of Arts Degree, Directing Emphasis, Magna Cum Laude RELATED EXPERIENCE Artistic Director/Producer The Shop 2011- Present SDC Observership with Steven Hoggett ONCE at New York Theatre Workshop 2011 Script Reader New York Theatre Workshop & The Play Co. 2011-’18 Assistant to the Managing Director New School for Drama 2008-‘11 Translator/Adapter, Wedekind’s Spring Awakening Kennedy Center - Page to Stage Festival 2007 Directorial Fellowship Shakespeare Theatre Company, Washington DC 2005-‘06 PROFESSIONAL MEMBERSHIPS & AWARDS/RECOGNITION SDC Associate Member Actor’s Equity Association Member 2002 Helen Hayes Award Nomination, Best Supporting Actor Resident Musical - Perseus Bayou 2010 B & M Smith Scholarship Recipient, New School for Drama REFERENCES AVAILABLE UPON REQUEST .
Recommended publications
  • Annual Review 2001 Contents
    accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world.
    [Show full text]
  • What Ever Happened to In-Yer-Face Theatre?
    What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk.
    [Show full text]
  • Download Publication
    ARTS COUNCIL CONTENTS C hairina;,'~ Introduction 4 The Arts Council of Great Britain, as a 5 publicly accountable body, publishes an Sui kA• 1r. -C;eneral's Preface 8 Annual Report to provide Parliament and Departmental Report s 14 the general public with an overview of th e Scotland year's work and to record ail grants an d Wales 15 guarantees offered in support of the arts . Council 16 Membership of Council and Staff 17 A description of the highlights of th e Advisory Panels and Committee s 18 Council's work and discussion of its policie s Staff 23 appear in the newspaper Arts in Action Annual Accounts 25 which is published in conjunction with thi s Funds, Exhibitions, SchewsandAuvrd~ Report and can be obtained, free of charge , from the Arts Council Shop, 8 Long Acre , London WC2 and arts outlets throughou t the country . The objects for which the Arts Council of Great Britain is established are : I To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with governmen t departments, local authorities and othe r bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and performing artists and of helping t o wherever possible both Mth local build up the audiences which must be th e authorities and with private sponsors. real support for the arts . It is the actua l event, the coming together of artist an d The Arts Council is very conscious that th e audience, which matters .
    [Show full text]
  • An Investigation Into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright
    An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 2 223 Practice-As-Research: The 9.21 to Shrub Hill (Devised Production) Playground (Non-Devised Production) and Accompanying Exegesis 224 Chapter Five Exegesis of the Processes of Creating a Devised Script (The 9.21 to Shrub Hill) and Non-Devised Script (Playground) Introduction The preceding chapters have created a framework for the analysis of my own experiences as a writer-deviser. Without this framework, it would be difficult to situate my practice within a theoretical context, since a similar academic discourse, placing the writer-deviser at the heart of the study, does not exist. As highlighted in the Introduction, the central query of this dissertation is how engagement with devising affects a playwright. This is a query with important ramifications for pedagogical practice and the discourses of devising and playwriting in general, but also represents a significant investigation in the development of my own artistic practice. As previously discussed, my methodological approach encompasses both research-led practice, and practice-led research.1 The preceding chapters have informed the development of the two scripts contained within this volume, and the development of the two scripts directed the focus of my research. As with most PaR investigations, the findings resulting from the practice share equal weighting (if not, in the case of some researchers, more) with those discoveries made from traditional, text-based research methodologies. Whilst I explore the ramifications of devising practice on my writing, I am also placing it within the context of the previous chapters’ revelations, finding resonances with the work of other writer-devisers, and testing out the theories presented of both devising and writing in my own work.
    [Show full text]
  • Welcome – Secondary English
    Welcome – Secondary English Welcome to the National Theatre Collection. Here you can find the best of British theatre available for you and your students to watch whenever you’d like. Our unique collection presents high-quality recordings of 30 world-class productions, giving you the best seats in the house from the comfort of your classroom. The collection enables students to see and understand text in performance and understand how a play can be interpreted in different ways. You’ll find an incredible selection of productions, with something suitable for all students from Key Stage 3 through to Key Stage 5. Many of the productions featured as part of the Collection are GCSE and A-Level set texts for English. We hope that you might also use the Collection to introduce your students to plays that you might not have thought of exploring before, expanding their theatrical language and literacy. Key Stage 3 and above • Introduce students to the Windrush generation and their experiences in post-war • Introduce Shakespeare with productions Britain in Small Island, Helen Edmundson’s of Romeo and Juliet and The Winter’s adaptation of Andrea Levy’s novel. Tale, specially adapted for younger audiences. These productions use Shakespeare’s original text, but are only Key Stage 5 an hour long so are very accessible for younger students. • Explore A-Level set text Shakespeare plays in full, looking at the director’s interpretation • Explore a novel brought to life on stage and how this is realised on stage. You with Bryony Lavery’s adaptation of watch and analyse productions of Othello, Treasure Island.
    [Show full text]
  • Tapra 2015 Conference Programme P a G E | 1 TABLE of CONTENTS
    Conference 2015 Conference Programme 8th - 10th September 2015 PUBLISHERS AT TAPRA 2015 The following publishers will be present at the TaPRA 2015 Conference. Their display stands will be located in the Quandrangle Court where all refreshments and lunches will be served daily Manchester University Press Matthew Frost [email protected] Palgrave Macmillan Jenny McCall [email protected] Lucinda Knight [email protected] Bloomsbury Publishing Mark Dudgeon [email protected] Emily Hockley [email protected] Cambridge University Press Kerr Alexander [email protected] Routledge Marie Coffey [email protected] Claire Spence [email protected] Ben Piggott [email protected] Kate Edwards [email protected] Intellect [email protected] WELCOME TO TAPRA 2015 @ WORCESTER Last year we celebrated TaPRA @ 10 at Royal Holloway, this year we look forward to the next decade for TaPRA with our conference hosts at the University of Worcester. A record number of members booked early this year and we have a packed conference programme but, as always, there will be plenty of opportunities to meet old friends and make new connections with colleagues representing the rich and diverse research interests of our field. There are a number of ‘new’ things to note this year: a new Working Group, Performance and Science, has its first full meeting in Worcester, bringing the number of Working Groups to twelve, with a proposal for a thirteenth group, Asian Performance and Diaspora gathering to test the level of interest from the membership. Another initiative making its debut at Worcester is Research Matters, the first in a series of conference panels curated by TaPRA’s executive committee and designed to respond to issues of current importance to the wider research community.
    [Show full text]
  • Madness, Resistance, and Representation in Contemporary British and Irish Theatre
    Madness, Resistance, and Representation in Contemporary British and Irish Theatre Submitted by Jonathan Edward Venn to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, October 2016 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) . 1 Mum. Dad. Lizzie. It runs in the family. 2 ABSTRACT This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performative analysis of the selected plays, interrogating these plays from various theoretical perspectives. It follows and explores different conceptualizations across both political and ethical lay lines, looking at what composes the theatrical practical critique, how theatre can alter and play with space, how theatre capacitate the act of witnessing, and the possibility of re-invigorating the ethical encounter through theatrical means.
    [Show full text]
  • Progress and Renewal
    Arts Council 0 I' GREi\7' BRI'T'AI N Progress and Renewal Thirty-fifth annua l report an[l acc(nint s 19 79/80 Thirty-fifth Annual Report and Accounts 198 0 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W IV OA U Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and Londo n Cover picture : Indian dancer, Tara Rajkumar, taking par t in a lecture-demonstration at the Brentford Girls ' School, Hounslow. Photo : Chris Davies . Contents 4 Chairman's Introductio n 5 Secretary-General's Report 9 Regional Developmen t 13 Drama 23 Music 26 Visual A. 29 Dance 31 Literature 32 Housing the Arts 33 Training 35 Education 35 Personnel and Administration 36 Scotland 40 Wales 44 Membership of Council and Staff 45 Council, Committees and Panels 51 Annual Accounts , Funds and Exhibitions The objects for which the Arts Council of Great Britai n is established are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the publi c throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects . Chairman's Introduction The year under review herein is somethin g of a watershed in the Council's affairs. The reorganisation, described in more detail b y the Secretary-General, represents a n overdue exercise in streamlining and i n gearing the Arts Council to meet th e challenge of the 'SOs.
    [Show full text]
  • Catalogue of New Plays 2016–2017
    PRESORTED STANDARD U.S. POSTAGE PAID GRAND RAPIDS, MI PERMIT #1 Catalogue of New Plays 2016–2017 ISBN: 978-0-8222-3542-2 DISCOUNTS See page 6 for details on DISCOUNTS for Educators, Libraries, and Bookstores 9 7 8 0 8 2 2 2 3 5 4 2 2 Bold new plays. Recipient of the Obie Award for Commitment to the Publication of New Work Timeless classics. Since 1936. 440 Park Avenue South, New York, NY 10016 Tel. 212-683-8960 Fax 212-213-1539 [email protected] OFFICERS Peter Hagan, President Mary Harden, Vice President Patrick Herold, Secretary David Moore, Treasurer Stephen Sultan, President Emeritus BOARD OF DIRECTORS Peter Hagan Mary Harden DPS proudly represents the Patrick Herold ® Joyce Ketay 2016 Tony Award winner and nominees Jonathan Lomma Donald Margulies for BEST PLAY Lynn Nottage Polly Pen John Patrick Shanley Representing the American theatre by publishing and licensing the works of new and established playwrights Formed in 1936 by a number of prominent playwrights and theatre agents, Dramatists Play Service, Inc. was created to foster opportunity and provide support for playwrights by publishing acting editions of their plays and handling the nonprofessional and professional leasing rights to these works. Catalogue of New Plays 2016–2017 © 2016 Dramatists Play Service, Inc. CATALOGUE 16-17.indd 1 10/3/2016 3:49:22 PM Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: A lot happened in 1936. Jesse Owens triumphed at the Berlin Olympics. Edward VIII abdicated to marry Wallis Simpson. The Hindenburg took its maiden voyage. And Dramatists Play Service was founded by the Dramatists Guild of America and an intrepid group of agents.
    [Show full text]
  • I Revision of Euripides' Tragedies by Contemporary Women Playwrights
    Revision of Euripides’ Tragedies by Contemporary Women Playwrights DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mina Choi, M.A. Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Adviser Joy Reilly Beth Kattelman i Copyright by Mina Choi 2013 ii Abstract The issues addressed by the writers of fifth-century B.C. Athens continue to have great relevance for the contemporary world. This research focuses on the gender dynamics of the plays and how contemporary revisions by women offer new ways of considering these classic texts. Greek drama is known for its strong and vibrant female characters. I use Euripides’ three Greek tragedies--Medea, The Trojan Women, and The Bacchae--as the source texts for new versions of the plays by women writers. I draw on Lynda Hart’s triad of dramaturgical sites that define a feminist dramaturgy: women’s bodies, language, and theatrical space. Chapter two focuses on four revisions of Medea: Franca Rame’s Medea (1981), Jackie Crossland’s Collateral Damage (1991), Deborah Porter’s No More Medea (1990), and Marina Carr’s By the Bog of the Cats (1998). Unlike the character of Medea in Euripides’ play, who discusses Greek honor with heroic language, Rame’s Medea uses a dialect of central Italy, and Carr’s Hester, a stand-in for Medea, uses an Irish dialect illustrating that Medea is not an icon of monstrous motherhood but a particular woman suffering in the patriarchal world. These versions of Medea enter the stage to tell their side of the mythic story of maternal infanticide.
    [Show full text]
  • LOCANTRO Theatre
    Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth
    [Show full text]
  • Curriculum Vitae
    Ginny Schiller CDG 9 Clapton Terrace London E5 9BW Casting Director Tel: 020 8806 5383 Mob: 07970 517667 [email protected] curriculum vitae I am an experienced casting director with nearly 20 years in the industry. My casting career began at the Royal Shakespeare Company in 1997 and I went freelance in 2001. I have collaborated on hundreds of productions with dozens of directors, producers and venues, and although my main focus has always been theatre, I have also cast for television, film, radio and commercials. I have been an in-house casting director for Chichester Festival Theatre, Rose Theatre Kingston, English Touring Theatre and Soho Theatre and returned to the RSC in 2005/6 to lead the casting for the Complete Works Season. I currently work closely with Danny Moar on many of the shows for Theatre Royal Bath Productions and with Laurence Boswell at the Ustinov Studio Theatre. I have cast for independent commercial producers as well as the subsidised sector, for the touring circuit, regional, fringe and West End venues, including the Almeida, Arcola, ATG, Birmingham Rep, Bolton Octagon, Bristol Old Vic, City of London Sinfonia, Clwyd Theatr Cyrmu, Frantic Assembly, Greenwich Theatre, Hampstead Theatre, Headlong, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Marlowe Studio Canterbury, Menier Chocolate Factory, New Wolsey Ipswich, Norfolk & Norwich Festival, Northampton Royal & Derngate, Oxford Playhouse, Plymouth Theatre Royal and Drum, Regent's Park Open Air Theatre, Shared Experience, Sheffield Crucible, Sonia Friedman Productions, Theatre Royal Haymarket, Touring Consortium, Young Vic, West Yorkshire Playhouse, Yvonne Arnaud and Wilton’s Music Hall. I am currently on the committee of the Casting Directors’ Guild, and actively involved in discussions with Equity regarding the casting process and diversity issues across the media.
    [Show full text]