DOCSLIB.ORG

Bliss in Edinburgh Robert Mitchell Provides an Insider’S Account of Opera Australia’S Recent Triumph at the Edinburgh Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bliss in Edinburgh Robert Mitchell Provides an Insider’S Account of Opera Australia’S Recent Triumph at the Edinburgh Festival ON STAGE The Summer 2011 newsletter of Vol.12 No.1 Bliss in Edinburgh Robert Mitchell provides an insider’s account of Opera Australia’s recent triumph at the Edinburgh Festival. buzz went around Opera Although OA’s productions now appear in 1994, and My Fair Lady visited New Australia when it was announced overseas regularly, this was only the fourth Zealand in 2009.) Athat the company had been time in more than 30 years that the Although rumours had been circulating invited to the 2010 Edinburgh International company’s artists would also travel with a for months that the tour was happening, it Arts Festival. The opera: Bliss, the hot-off-the- production. (Rigoletto and Jenufa toured New was not until the party after the 12 March press piece adapted from Peter Carey’s 1981 Zealand in 1976, Britten’s A Midsummer world première in Sydney that Jonathan novel by Brett Dean and Amanda Holden. Night’s Dream went to the Edinburgh Festival Mills, artistic director of the festival, * confirmed that, subject to signing off on the By mid-April the funding was in place Adelaide, and the QPAC Theatre, Brisbane. the star, seven of his colleagues and the lion. retained, the refurbishment by the Millburn over by the Mecca Bingo organisation. The funding, the rumours would turn into reality. (including a generous contribution from the Then the surprise: walking onto the set, Fortunately there was a fire curtain and the brothers reduced the theatre from four to seating was removed from the stalls and it The logistics (and ergo costs) of touring Victorian government, thanks to Edinburgh with the house curtain out, there in all its audience and auditorium were spared. three levels and the seating capacity from was used as a bingo hall until 1989. opera are enormous. Neil Armfield’s being a sister city to Melbourne), so once the splendour is an original 1920s theatre Coincidentally, only a week earlier, 3000 to 1900. The elaborate late Victorian When Rank Strand bought out Mecca production, although minimal in appearance, Melbourne season closes on 1 May, the huge interior. This theatre obviously has a history. Lafayette (born Sigmund Neuberger in 1872) plasterwork was replaced using the more Bingo in 1990, the theatre was put on the is far from simple. Brian Thomson’s glossy task of fitting everything into containers and But what a chequered history! The site has had been granted special permission to bury restrained neo-classical style popular in the market and acquired by the Edinburgh City black single set for the three-act Bliss consists sending it safely on its way began. In the been occupied by a theatre since 1830 when the body of his beloved dog Beauty in the 1920s, including a good deal of wood panelling, Council. The new stage, described above, of three walls enclosing an open space. But middle of the winter season at the Opera it opened its doors as the Royal Amphitheatre. local Piershill Cemetery, but on condition similar to early US cinema style as studied by was constructed and the orchestra pit made the set’s floor, which sits on top of the stage House, with the prospect of being back in It was renamed the Dunedin Hall in 1854 and that he would be buried in the same plot on the Millburns, and incorporating decorative flexible to seat between 40 and 120 players. floor, includes its own revolve (no theatre Sydney for Rigoletto rehearsals on 9 September, then became first the Alhambra Music Hall, his death. Days after the illusionist’s ashes elements that were to become associated with The stage floor having been rebuilt on has a built-in revolve that can suit all the cast set off on 27 August to the other side then Queens Hall, until it was destroyed by were laid to rest in the plot, another body early Art Deco. With its new contemporary the horizontal, the stalls floor was raked for productions), while the walls are furnished of the world for three rehearsals and two fire in 1875. Newsome’s Circus occupied the was found in the burnt-out theatre. But this look, the Empire Palace Theatre reopened to improved sightlines. Thanks to the excellent with invisible, apparently self-activating performances of Bliss. site until Edward Moss acquired it in 1892 body was wearing a ring identified as that the strains of the ‘new musical play’ Show Boat. acoustics achieved with the help of the doors, and the entire surface is studded with The Edinburgh Festival Theatre, on and commissioned prolific theatre architect given to Lafayette by the great illusionist The next 35 years saw a succession of Millburn brothers’ wood panelling, the 2916 light bulbs. Nicolson Street, is the principal venue for the Frank Matcham to build the Empire Palace Houdini. It seems Lafayette’s body double musicals, variety shows, ice shows (which auditorium was restored in its 1928 style, Despite their appearance, the light bulbs are far from ordinary: each contains three LEDs, which, like the old TV tubes, allows them to emit any colour, and each has an individual computer ‘address’ to control it. Using the lights, ‘set changes’ are made instantaneously with pixilated graphics created by Digital Media Manager Chris Twyman. Another pre- programmed computer controls the direction and speed of the revolve’s many turns. The 12 tables, more than 50 chairs and 16 hospital beds were all carefully chosen off-the-rack or purpose-built in the OA workshops, and most of the pieces were reinforced Peter Coleman-Wright as Harry Joy and The theatre’s magnificent 1900-seat auditorium. and had casters added. festival’s major opera and dance events. Lorina Gore as Honey B in Bliss. The Lafayette memorial plaque at the OP stage entrance Then there is the coup de théâtre set piece: When approaching the theatre, past the 1789 a 3.6m by 10m peat-moss-filled wedge on Robert Adam-designed University of Edinburgh Theatre, which opened in 1894, with elaborate continue in 2011) and, with the chair design copied from the wheels that glides into position while the building, the first impression is that it is an plaster work and bench seating allowing a from 1947 (the year of originals still in place in the circles. centre section of the back wall flies out (let’s inappropriate 1990s glass-fronted gap, like a capacity of up to 3000. Matcham’s credits the first Edinburgh Shops to the front of the theatre were hope the doors in it have been locked off!) missing tooth, between rows of traditional grey also include London’s Palladium and Coliseum Festival) operas and demolished so that the inadequately narrow in full view for the last scene. Sourcing the stone Scottish Georgian façades on the right theatres, among many others (the dreaded ballets. The list of artists original foyer could be transformed into the ideal peat-moss was difficult and expensive and Victorian shop/residences on the left. Wikipedia entry is very informative [see end- who performed at the ‘Johnny Walker’ foyer, housing a café and enough in the first place. Now a new headache Is it perhaps that the modern theatre has notes]). The year 1896 saw the first moving in the show had been mistakenly buried Empire during that period is impressive. bars and (proudly proclaimed) ‘the only arose: quarantine restrictions prohibited the been set back from the older line of buildings pictures shown in Scotland at the theatre, but with Beauty. Eventually the master’s ashes Archival material on display in the foyers sees staircase on a central axis of the auditorium two cubic litres from being imported into out of deference to the historic streetscape? without great success. and his dog were reunited in the one casket. George Grossmith Jnr (son of the great G&S in Britain; everyone uses the same stairs Britain. A new load had to be sourced — and On entering the stage door, the impression of On 9 May 1911 a fire destroyed the stage The legacy of the fire is that fire curtains comedian) billed to appear in Lady Mary; regardless of price of seat.’ (Och, Scottish paid for — there. a late-twentieth-century theatre is confirmed: with a tragic loss of life. Outside the OP became standard regulation in all theatres. Dame Margot Fonteyn in The Sleeping Beauty egalitarianism!) Also to be shipped to Edinburgh were the concrete block construction (painted pale grey) entrance to downstage is a granite plaque The theatre quickly reopened and, to hold (1947); Laurel and Hardy in Birds of a Feather Now managed by the Festival City Theatres costumes by Alice Babidge for the cast of 15 and wide steel staircases accessing four levels dedicated to the memory of the illusionist, back the rising tide of cinema, mounted and Roy ‘King-of-the-Cowboys’ Rogers, with Trust, in 1994, in the presence of HM Queen principals, 36 chorus and six dancers. Each of dressing rooms and administration offices. the Great Lafayette, and members of his increasingly spectacular shows. his famous horse Trigger (1954). Elizabeth, HRH the Duke of Edinburgh, on-stage character has three or more complete The Bliss set is already on stage, looking company, who died in the fire. Access to the Edinburgh’s great son, later dubbed by Several ballet notables who subsequently HRH the Duke of York and the King and outfits, including shoes and accessories. And eerily reminiscent of the last time we saw it stage had been locked for reasons now lost to Sir Winston Churchill ‘Scotland’s greatest ever spent time in Australia are prominent, Queen of Norway, the Festival Theatre opened 1980s period wigs, all in individual boxes! in the Arts Centre in Melbourne, but without history: either at Lafayette’s insistence so that ambassador’, Sir Harry Lauder, was a regular, including Vassilie Trunoff (Borovansky its doors with a performance of the English And props — glassware (plastic), cutlery and the advantage of quite as much wing space none of the crew could see how he achieved reportedly earning more per night than any Ballet) and Anne Woolliams (Australian National Ballet’s production of Sleeping napery; even gardening implements.
Load more

Recommended publications
  • Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia
    Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1950 January Marquee Puss in Boots Bruce Carroll Bruce Carroll Eric Maxon 0 Theatre Edgar Rogers Noreen Rogers ____________________________________________________________________________________________________________________ April 10 His Majesty's "Annie Get Leo Packer Carl Randall J.C.Williamson Victor Carell 1 Theatre Your Gun" Theatres Ltd Wendy Selover Irving Berlin Wilfred Stevens ____________________________________________________________________________________________________________________ May 25 His Majesty's The Mikado Leo Packer Anna Bethell J.C.Williamson Jon Dean 1 Theatre Gilbert & Theatres Ltd Richard Walker Sullivan Leslie Rands Ivan Menzies Bernard Manning Muriel Howard Marjorie Eyre Nancy Rasmussen Evelyn Gardiner Richard Bengar ____________________________________________________________________________________________________________________ June 3 His Majesty's Pirates of Leo Packer Anna Bethell J.C.Williamson John Dean 2 Theatre Penzance & Theatres Ltd Helen Roberts Trial by Jury Evelyn Gardiner PR8492/1950-1959 Page 1 of 40 Copyright SLWA ©2011 Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D Gilbert & Sullivan Leslie Rands Richard
    [Show full text]
  • Tasker H. Bliss and the Creation of the Modern American Army, 1853-1930
    TASKER H. BLISS AND THE CREATION OF THE MODERN AMERICAN ARMY, 1853-1930 _________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY __________________________________________________________ by Thomas R. English December 2014 Examining Committee Members: Richard Immerman, Advisory Chair, Temple University, Department of History Gregory J. W. Urwin, Temple University, Department of History Jay Lockenour, Temple University, Department of History Daniel W. Crofts, External Member,The College of New Jersey, Department of History, Emeritus ii © Copyright 2014 By Thomas R. English All Rights Reserved iii ABSTRACT A commonplace observation among historians describes one or another historical period as a time of “transition” or a particular person as a “transitional figure.” In the history of the United States Army, scholars apply those terms especially to the late- nineteenth century “Old Army.” This categorization has helped create a shelf of biographies of some of the transitional figures of the era. Leonard Wood, John J. Pershing, Robert Lee Bullard, William Harding Carter, Henry Tureman Allen, Nelson Appleton Miles and John McCallister Schofield have all been the subject of excellent scholarly works. Tasker Howard Bliss has remained among the missing in that group, in spite of the important activities that marked his career and the wealth of source materials he left behind. Bliss belongs on that list because, like the others, his career demonstrates the changing nature of the U.S. Army between 1871 and 1917. Bliss served for the most part in administrative positions in the United States and in the American overseas empire.
    [Show full text]
  • Strategic Plan Business Plan Action Plan Three Years 2012
    Oliver! 2013. Strategic Plan Business Plan Action Plan Three Years 2012 - 2014 2nd Annual review, 31 December 2013 The Company From The President In last year’s note on this page I opined that ‘Put on The Gondoliers and they will come,’ doesn’t work any more. In other words the theatre environment today is now so fluid that the future isn’t what it used to be. Les Misérables, 2008. Last year the Board presented a strategic plan as its short-term guide to a less sure future, setting out a disciplined way of progressing over the ensuing three years. That Society History. Membership is open to any interested person and is (2013) document also showed where we were at the end of year one. The Society has seen 76 years of continuous available in ordinary, junior, life, honorary, honorary operation presenting the works of famed librettist life and patron categories. Membership stands at I am now able to present the plan as a progress report at the end of year two as part WS Gilbert and composer Arthur Sullivan whose 110 at 31 December 2013. mid-late 19th century collaboration resulted of the Board’s continuing effort to make sure the G & SS of SA continues “to do today in works that changed the nature of musical Society Management. what we must do to make sure we are here tomorrow.” - Having a sense of where we theatre. That these works stay strong, youthful The Society is managed, subject to its constitution, are going and how we may likely get there.
    [Show full text]
  • A New Perspective on the Presley Legend
    JULY, 1986 Vol 10 No 6 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust A New Perspective on the Presley Legend ARE YOU LONESOME TONIGHT? by Alan Bleasdale Directed by Robin Lefevre Designed by Voytek Lighting designed by John Swaine Musical direction by Frank Esler-Smith Cast: Martin Shaw, David Franklin, Peta Toppano, Marcia Hines, John Derum, Lynda Stoner, Mervyn Drake, Ron Hackett and Jennifer West Her Majesty's Theatre heap of foil-wrapped Cadillac bon­ A nets (or is it crushed Cadillacs) form a stage upon a stage to set the mood for ARE YOU LONESOME TONIGHT?, Alan Bleasdale's play with songs about the life and death of Elvis Presley. On the lower stage, Gracelands, the garish pink Presley mansion with its outrageous chandeliers, is portrayed. Here, on the last day of his life, is "The King", now ageing, bloated, pill-popping and wear­ ing a purple jumpsuit and sunglasses. He watches his old movies and fumes because one of his trusted "aides" is ex­ posing his secrets to a newspaperman. In a series of flashbacks, Elvis relives his earlier experiences, the death of the twin brother whom he believes was his alter ego and stronger half, the death of his mother while he was a GI in Ger­ many, and the adulation poured on him as the lean, sexy king of rock. HiS manager, Colonel Tom Parker, is por­ trayed as his manipulator, holding a Presley dummy and gloating over the Martin Shaw as the ageing Presley in ARE profits. LONESOME TONIGHT? and (inset) as himself Author Bleasdale wrote the play to achieve a personal vindication of Presley, London critics were not always kind of $9.00 per ticket).
    [Show full text]
  • Dannii Reveals Pain of Cruel Kylie Comparison Aussie Country
    ntnews.com.aulllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll ENTERTAINMENT Cave gets Faustian Rove doing it for the kids Things that go bump in Milan LONDON: Australian singer Nick Cave has penned the SYDNEY: Rove McManus will make his first MILAN: Miranda Kerr made her first big splash as a score for actor Gisli Orn Garoarsson’s appearance on Aussie TV since his mum-to-be in Milan when she proudly ambitious new stage adaptation of farewell show in November 2009 showed off her baby bump at a Faust. Cave’s latest musical creation when he presents at The Australian Fashion Week party. opened at London’s Young Vic on the Nickelodeon Kids’ Choice Awards The Victoria’s Secret model confirmed weekend. ‘‘It was really inspiring (KCA). Rove will fly to Sydney from in August that she and husband working with Nick Cave and his the US for his sixth KCA event next Orlando Bloom were expecting. violinist, Warren Ellis,’’ Garoarsson, the Friday. He will hit the stage with And she chose a Milan Fashion Week director of the piece, said. other local celebrity presenters. party to show off her new pregnancy. Aussie country From Hollywood chart topper SYDNEY: Australian singer- songwriter Kasey Chambers has made a triumphant return to the charts, with her fifth album Little Bird debuting at No. 1 on the country chart and in third place on the top 10 albums. Kasey Chambers to Collingwood Chambers is no stranger to the ARIA charts, with all five of her studio releases making the top 10 in past years. By ROSS PURDIE Undoubtedly her new material will get a run at in Sydney the Tamworth Country Music Festival in January 2011, which she is headlining alongside the John THEY go missing for days on end, play gigs Butler Trio, John Williamson and The Songbirds.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Letter from Melbourne Is a Monthly Public Affairs Bulletin, a Simple Précis, Distilling and Interpreting Mother Nature
    SavingLETTER you time. A monthly newsletter distilling FROM public policy and government decisionsMELBOURNE which affect business opportunities in Australia and beyond. Saving you time. A monthly newsletter distilling public policy and government decisions which affect business opportunities in Australia and beyond. p11-14: Special Melbourne Opera insert Issue 161 Our New Year Edition 16 December 2010 to 13 January 2011 INSIDE Auditing the state’s affairs Auditor (VAGO) also busy Child care and mental health focus Human rights changes Labor leader no socialist. Myki musings. Decision imminent. Comrie leads Victorian floods Federal health challenge/changes And other big (regional) rail inquiry HealthSmart also in the news challenge Baillieu team appointments New water minister busy Windsor still in the news 16 DECEMBER 2010 to 13 JANUARY 2011 14 Collins Street EDITORIAL Melbourne, 3000 Victoria, Australia Our government warming up. P 03 9654 1300 Even some supporters of the Baillieu government have commented that it is getting off to a slow F 03 9654 1165 start. The fact is that all ministers need a chief of staff and specialist and other advisers in order to [email protected] properly interface with the civil service, as they apply their new policies and different administration www.letterfromcanberra.com.au emphases. These folk have to come from somewhere and the better they are, the longer it can take for them to leave their current employment wherever that might be and settle down into a government office in Melbourne. Editor Alistair Urquhart Some stakeholders in various industries are becoming frustrated, finding it difficult to get the Associate Editor Gabriel Phipps Subscription Manager Camilla Orr-Thomson interaction they need with a relevant minister.
    [Show full text]
  • Melbourne Suburb of Northcote
    ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers.
    [Show full text]
  • Home and Away Partnership with E-Retailer Ozsale
    SEVEN STUDIOS LAUNCH OFFICIAL HOME AND AWAY PARTNERSHIP WITH E-RETAILER OZSALE Seven Studios today announced a partnership with leading Australian e-retailer OZSALE to launch a range of official Home and Away merchandise, inspired by the iconic Australian drama series. OZSALE, part of The Mysale Group will be the official merchandise and e-commerce partner for Home and Away offering an exclusive range of consumer products launching first in Australia, followed by the UK & Ireland in November the new range of Home and Away branded merchandise will include apparel and accessories inspired by the iconography of the brand, slogans, lyrics, key themes and characters of the iconic Aussie show. Product will be available at the official site www.homeandawaystore.com.au, via Mysale sites and on location at selected outlets at Sydney’s Palm Beach. In addition, Seven Studios and OZSALE will also launch a new aspirational beach lifestyle brand - SUMMER BAY – targeting fun, fashion-forward twenty-somethings capturing the essence of the iconic Aussie Summer. SUMMER BAY is inspired by the sun, sand and surf of the Aussie beach lifestyle. OZSALE has plans to launch the range globally in November at www.summerbay.com and via Mysale sites. “We are delighted to be the retail and manufacturing partner for Home and Away," says OZSALE CEO, Carl Jackson. “This partnership is an exciting opportunity for both parties. We are not just offering platform management, but distribution and product development as well. There’s something quite nice about us all being from the beaches too. I think Seven Studios really liked the idea of having a Northern Beaches-born company working on the merchandise for their Northern Beaches-based show.
    [Show full text]
  • An Analysis of the Lost Art of Letter Writing By
    u. 0 >> ~.X 1-tu ., 0 (j) z :I 0 a:o ~ m L'\J >- G :!! (/) c: ... z o a :l 0 a:: UNIVERSITY OF SYDNEY Con Music Rare Book Q 784.272 0281 1 Thesis An analysis of "The Lost art of letter writing" by Brett Dean THE UNIVERSITY OF SYDNEY COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51(2) of the Copyright Act permits an authorised officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorised officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services sydney.edu.au/copyright AN ANALYSIS OF 'THE LOST ART OF LETTER WRITING' BY BRETT DEAN Clare Miller A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Music Performance) Sydney Conservatorium of Music University of Sydney 2010 II I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree.
    [Show full text]
  • Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00
    Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (Two Day Autograph Auction Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 tennis players of the 1970s TENNIS: An excellent collection including each Wimbledon Men's of 31 signed postcard Singles Champion of the decade. photographs by various tennis VG to EX All of the signatures players of the 1970s including were obtained in person by the Billie Jean King (Wimbledon vendor's brother who regularly Champion 1966, 1967, 1968, attended the Wimbledon 1972, 1973 & 1975), Ann Jones Championships during the 1970s. (Wimbledon Champion 1969), Estimate: £200.00 - £300.00 Evonne Goolagong (Wimbledon Champion 1971 & 1980), Chris Evert (Wimbledon Champion Lot: 2 1974, 1976 & 1981), Virginia TILDEN WILLIAM: (1893-1953) Wade (Wimbledon Champion American Tennis Player, 1977), John Newcombe Wimbledon Champion 1920, (Wimbledon Champion 1967, 1921 & 1930. A.L.S., Bill, one 1970 & 1971), Stan Smith page, slim 4to, Memphis, (Wimbledon Champion 1972), Tennessee, n.d. (11th June Jan Kodes (Wimbledon 1948?), to his protégé Arthur Champion 1973), Jimmy Connors Anderson ('Dearest Stinky'), on (Wimbledon Champion 1974 & the attractive printed stationery of 1982), Arthur Ashe (Wimbledon the Hotel Peabody. Tilden sends Champion 1975), Bjorn Borg his friend a cheque (no longer (Wimbledon Champion 1976, present) 'to cover your 1977, 1978, 1979 & 1980), reservation & ticket to Boston Francoise Durr (Wimbledon from Chicago' and provides Finalist 1965, 1968, 1970, 1972, details of the hotel and where to 1973 & 1975), Olga Morozova meet in Boston, concluding (Wimbledon Finalist 1974), 'Crazy to see you'.
    [Show full text]
  • Hamlet West End Announcement
    FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer.
    [Show full text]