DOCSLIB.ORG

Programme (2020)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Programme (2020) MACBETHOur fears do make us traitors. 26 February – 25 March 2020 MACBETH: REAL LIFE ISSUES. LIVE AND UNPLUGGED. One of the most impactful and longest running cultural education projects in Heartfelt thanks to Deutsche Bank for supporting the UK, Playing Shakespeare with Deutsche Playing Shakespeare for a fourteenth year. Bank, is now proudly in its fourteenth year. ur mission with this project has always been to give students the his year Deutsche Bank celebrates its 150th Oopportunity to see a Shakespeare play as he intended: live and unplugged. Tanniversary. As the bank reflects on achievements and Studying Shakespeare may be compulsory in school but seeing a Shakespeare looks to what the future holds, one thing is as true as it play in performance, sadly and strangely, is not. was in 1870: Deutsche Bank is driven to create a positive impact, for our clients, our employees, the economy and I can’t imagine reading a film script without seeing the film or a buying a music society. For 150 years, Deutsche Bank has been connecting score without hearing it played. Last year, after the Playing Shakespeare with worlds to help people and businesses get to where they Deutsche Bank’s production of Romeo and Juliet, a student said ‘it was better want to be. than Shakespeare’s play’. He had just seen Shakespeare’s play, of course, but he was right. Those words, that seemed so lifeless on the page, had heart Playing Shakespeare with Deutsche Bank is a fantastic and soul when animated by a theatre company in a production. example of how we connect worlds. Through our global youth engagement programme Born to Be, we endeavour to It is why Playing Shakespeare with Deutsche Bank is such an important help young people to prepare for the future and unlock their project and so popular. 18,000 free tickets were snapped up by London potential. Born to Be aims to raise aspirations, develop life and Birmingham state secondary schools. A further 8,000 free or skills, and empower young people to follow career paths of subsidised tickets have been taken up by families, schools and their own choosing. community groups. This year, for the first time, we will be streaming the production so that even more students will Despite being written more than 400 years ago, the themes be able to see Macbeth in performance. of loyalty, courage and guilt that are raised in Macbeth are still as relevant today. The play’s director, Cressida Brown, has Playing Shakespeare with Deutsche Bank workshops, with teachers adapted this production to help young people understand and students, have excited discussion and responses to the play these important topics and to encourage them to discuss through performance. Interactive online resources, created mental health as a means of improving wellbeing, self- especially for the production, will be used by schools across the esteem and communication skills. globe this year and in years to come. I’d like to thank Patrick, Cressida, the Globe’s education and My thanks to Cressida Brown, director of Macbeth, and her creative teams, and all the actors who continue to make production team; to the brilliant cast and crew; to colleagues Playing Shakespeare with Deutsche Bank such a success. in Education and Theatre departments, indeed in every In addition, thank you to over 10,500 Deutsche Bank department across Shakespeare’s Globe, for helping to employees, friends and family who have purchased tickets make this project happen. for exclusive performances during the partnership, enabling Thanks to Lareena Hilton, Nicole Lovett and Amy Harris from us to continue to offer even more free tickets to state Deutsche Bank for their advice and encouragement and to all secondary school students. Deutsche Bank employees who have bought tickets in If this is your first experience of seeing Shakespeare in support of the free ticket scheme for schools. performance, I have no doubt that you will want to come And thank you for coming. back for more. Best wishes I hope you enjoy the show. Patrick Spottiswoode Tiina Lee Director, Globe Education Chief Executive Officer, UK and Ireland Deutsche Bank THE COMPANY. MARA ALLEN JESSICA MURRAIN Witch 3 / Fleance Witch 1 / Lady Macduff At primary school I was shy – you wouldn’t I loved acting growing up because catch me on a stage. Then I played a police I invented magical worlds in my head! officer in a pantomime which brought Now I get to play alongside others for a Mara Allen Witch 3 / Fleance me out of my shell. I found a sense of living! As a kid, you’d find me dancing in my Aidan Cheng Malcolm belonging. I have never forgotten that Nan’s garden, secretly climbing her garage Elly Condron Lady Macbeth Molly Logan Witch 2 / Porter feeling and loved acting ever since! Moral roof, pretending to be a cowboy and riding Jessica Murrain Witch 1 / Lady Macduff of the story: step out of your comfort zone my horse into the wind. Now I’m playing a Samuel Oatley Banquo – go for it! Witch and Lady Macduff in this beautiful Ekow Quartey Macbeth Dickon Tyrrell Duncan and epic theatre. Jack Wilkinson Macduff AIDAN CHENG Amanda Wright Ross Malcolm SAMUEL OATLEY Hilary Belsey Musical Director / Trombone Banquo Beth Higham- Edwards Percussion The last time I was in Macbeth I was JACK WILKINSON Barnaby Philpott Bass Trombone strutting onstage, topless in a ballet skirt I wanted a career in sports. Had a couple Macduff Lucy Hayes Assistant Director and heels. With acting, you never know of injuries in my teens – end of. I wasn’t Josh York Assistant Stage Manager what world you’ll end up in. Growing up, academic. Felt lost. Then I lost a bet and My first acting experience was a comedy Becky Barry British Sign Language Interpreter you might feel under pressure to fit in. had to sing in a school show. I was pretty donkey in a nativity. I was a naughty kid at Shelley Maxwell Choreographer Jon McLeod Composer Don’t. You’ll be surprised where your good. 20 years later – I’ve been the first school and because I never stop talking Laura Rushton Costume Supervisor weirdness can take you. female doctor’s alien nemesis, a gangster, they pushed me towards acting – I loved Daniel Gammon Company Stage Manager a boxer, a soldier, a duke and a load more. it. I was told I’d never make a career as an Harry Booth, Deputy Heads of Stage ELLY CONDRON Tony Forrester actor. If you love it, go for it. Emma Seychell Deputy Head of Wardrobe Lady Macbeth EKOW QUARTEY Lottie Bull, Deputy Heads of Wigs, Hair Macbeth AMANDA WRIGHT Hayley Thompson and Make-Up At nine I sang ‘Who will buy my sweet red Rosalind Doré Deputy Stage Manager Ross roses?’ on stage with my brother trying I’ve played a dog, a mermaid, a wrestler, Georgia Lowe Designer Cressida Brown Director to make me laugh from his seat. It didn’t a school kid, a tiger, a headteacher, a I was a very shy child but I loved telling Rachel Bown-Williams Fight Directors put me off – I threw a rose at him. I’ve been politician, an office worker, a postman, stories and making up dance routines. & Ruth Cooper-Brown performing ever since and my brother a soldier and now a king. So when your When I was five my mum enrolled me of RC-Annie Ltd Glynn MacDonald Globe Associate – Movement comes to every show. It’s important parents and teachers tell you ‘you can be in drama lessons. Something clicked Giles Block Globe Associate – Text to keep your loved ones close – they’ll anything’ they’re pretty much telling you when I was performing: I felt free. When Tess Dignan Head of Voice support you as you follow your dream. to become an actor! I was playing a role, I didn’t feel nervous. Megan Cassidy Head of Wardrobe Pam Humpage Head of Wigs, Hair and Make-Up Exploring my creativity helped me to Dec Costello Production Manager MOLLY LOGAN DICKON TYRRELL find my voice. Amy Bygraves Prop makers Witch 2 / Porter Claire Esnault Duncan Penny Spedding My first acting experience was aged three Rosheen McNamee Props Deputy My first acting experience was playing a Katy Brooks Props Manager as Toto the dog in The Wizard of Oz. I was Roman soldier in Year 6. I had to say ‘Hail, Emma Hughes Props Supervisor incredibly shy as a child so it took a few Caesar.’ I was so nervous I said ‘Caesar, Tasha Shepherd Scenic Artist rehearsals to coax me to project my ‘woof Jack Cray Venue Technicians hail.’ I delivered a weather forecast. I have Charlotte Hurford woof’. Needless to say I caught the acting been in 23 Shakespeare productions and Thomas Sylvester Wardrobe Apprentice bug and went on to train at RADA some have performed all over the world. This is Heather Bull Wardrobe Assistants years later. Jessica Hughes the first time I have played a king – hope Sophie Jones Wigs, Hair & Makeup Assistant I get a crown. Premm Design Design Cesare de Giglio Programme and Production With thanks to Jean St Clair, Sign Language Photography Consultant and Regent’s Park Open Air Theatre Ellie Kurtz Production Photography BECKY BARRY CRESSIDA BROWN GEORGIA LOWE BARNABY PHILPOTT British Sign Language Interpreter Director Designer Bass Trombone I grew up in Cornwall, with a supportive None of my family are into theatre except As a designer, things are never dull. I work I first watched a play at the Globe when family who drove me to Devon weekly for me.
Load more

Recommended publications
  • Press Release
    PRESS RELEASE Shakespeare’s Globe Announces Full Casting for Nick Bagnall’s Love’s Labour’s Lost 17 JULY 2018 Shakespeare’s Globe is delighted to announce full casting for Nick Bagnall’s Love’s Labour’s Lost, opening in the Sam Wanamaker Playhouse on Thursday 23 August. Dharmesh Patel will play Berowne. Dharmesh returns to the Globe after starring in Barrie Rutter's The Captive Queen in the Sam Wanamaker Playhouse earlier this year. Other recent theatre credits include Titus Andronicus, Antony and Cleopatra and Julius Caesar (RSC), The Two Gentlemen of Verona and The Tempest (Shakespeare's Globe). Kirsty Woodward is Princess of France. Kirsty appeared at The Globe in last year’s touring production of Tristan & Yseult, and has also appeared in Globe productions of Pericles and The Winter’s Tale. Her recent television work includes Bad Move (ITV) and Quacks (BBC). Paul Stocker will play King of Navarre, returning to the Globe after appearing as Palamon in Barrie Rutter's The Two Noble Kinsmen earlier this summer. Paul’s other theatre credits include The Curious Incident of the Dog in the Night-Time (West End), Coral, A Thousand Stars Explode in the Sky (National Theatre Studio) and A Midsummer Night’s Dream (Regent’s Park). Television work includes Doctors, EastEnders and The Rack Pack (BBC). Jade Williams is Rosaline. Jade has appeared in several Globe productions including Matthew Dunster's Doctor Faustus, Raz Shaw's God of Soho and Jessica Swale's Bedlam. Jade's other recent theatre work includes The Cherry Orchard, The Lower Depths (Arcola) and The Seagull (Chichester, National Theatre).
    [Show full text]
  • Love's Labour's Lost
    CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo.
    [Show full text]
  • Curriculum Vitae
    CURRICULUM VITAE Todd Andrew Rosenthal [email protected] Website: Toddar.com 7649 N Eastlake Ter 1609 Sherman Ave. #1F Suite 306 Chicago, IL 60626 Evanston, IL 60201 (312) 515-7758 (847) 869-6960 EDUCATION YALE UNIVERSITY, New Haven, CT. Master of Fine Arts, Set/Lighting Design, Donald Oenslager Scholarship Recipient, 1993. ART STUDENTS LEAGUE OF NEW YORK, Figure Drawing, Water Color, 1990. MOORE COLLEGE OF ART, Figure Drawing, 1989. COLGATE UNIVERSITY, Bachelor of Arts, English and Theater, Cum Laude, 1989. TEACHING EXPERIENCE NORTHWESTERN UNIVERSITY, Evanston, IL, Professor of Theater and Chair of MFA Design Department, Teaching-Fall 2003-present. Courses Taught Design Process: Scene Design (241-1)- Undergraduate Set Design, Spring 2004, Winter 2005, Winter 2006, Winter 2007. Scene Design II (343-0)- First MFA set design class.Winter 2008, Winter 2009, Fall 2010, Winter 2011, Winter 2012, Winter 2013, Winter 2014, Winter 2015, Winter 2017. Scene Design II (343-1)- Winter 2005. Scene Design II (343-2)- Graduate Set Design. Spring 2004. (343-1) Winter 2005. Scenographic Drafting (356-1, 365-4)- Fall 2003, Spring 2006, Spring 2007, Spring 2009, Spring 2011, Spring 2012, Spring 2013, Spring 2014, Spring 2015, Spring 2016 Scenographic Model Building (356-3, 356-1)- Fall 2004, Fall 2005, Fall 2007, Fall 2009, Fall 2010, Fall 2011, Fall 2012, Fall 2013, Fall 2014, Fall 2015, Fall 2016. 20th Century Stage Design (362-0)- Winter 2008, Winter 2010. Collaboration Techniques for Designers and Directors (420-0)- Fall 2004, Fall 2010. Theatre (373-0-20)-Computer Graphics- Winter, 2017, Winter 2018. Internship (380-0)- Winter 2012, Spring 2012, Spring 2013, Winter 2014.
    [Show full text]
  • Shakespeare, Music and Performance. Ed. by Bill Barclay and David Lindley
    Shakespeare, Music and Performance. Ed. By Bill Barclay and David Lindley. Pp.xv + 286. (Cambridge University Press, Cambridge and New York, 2017. £64.99. ISBN 978-1-107- 13933-6.) Like it or loathe it, the Early Music movement of especially the 1970s and beyond challenged contemporaneous performative norms of Western art music for better and for worse, for both listeners and performers. The inevitability and universality of nineteenth-century Romantic interpretative attitudes could no longer be taken for granted. Such experiential crises had of course existed in earlier times. The apparent rediscovery of the theatre and music of the Elizabethan age towards the end of the nineteenth century threw up one such challenge. The quintessential musical instrument of Elizabethan domesticity, the lute, for example, no longer possessed mere gestural symbolism, it also necessitated acoustic signification, though it was well into the twentieth century before that became a reality. Arthur Sullivan’s piano (quasi ‘harp’) accompaniment to his setting of Queen Katherine’s piteous song ‘Orpheus with his lute’ (H8 3.1), for instance, effectively undermines the ‘performance integrity’ of the music according to aesthetic performance theory involving ‘honesty, genuineness, even sincerity’. Sam Wanamaker’s vision of recreating the playing conditions of Shakespeare’s theatre, realised at the very end of the twentieth century, has resulted, according to Claire van Kampen, in the phenomenon that ‘the performance of Shakespeare all over the world has, by 2015, been most decidedly affected by the playing style of performances at Shakespeare’s Globe’ (p.53). This involved the incorporation of Elizabethan costume/clothing, period musical instruments and appropriate early-modern (‘historical’) music combining to produce what was termed ‘Original Practices’ in order to explore original ‘authentic’ working practices.
    [Show full text]
  • Performing Shakespeare in the Original Pronunciation Final Submission2.Docx
    Performing Shakespeare in the Original Pronunciation David Barrett A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Doctor of Philosophy December 2013 1 Contents: Abstract 4 Acknowledgements 6 Chapter 1 Introduction 7 Chapter 2 Original Pronunciation in Context 2.1 Historically Informed Performance 15 2.2 The Shakespearean Voice 90 2.3 Accented Shakespeare 104 Chapter 3 3.1 Shakespearean Original Pronunciation in Performance in the Twentieth and Twenty-First Centuries 123 3.2 Macbeth at the Mermaid Theatre 181 Chapter 4 The Linguistic Context, Phonological Research and Reference 193 Chapter 5 5.1 Transcription Policy 225 5.2 A Comparison of Transcription Styles 276 Chapter 6 Testing the Transcription Policy/ Developing a Method through Workshopping 290 Chapter 7 Conclusion 388 Works Cited 416 2 Textual Note: Unless stated otherwise, all Shakespearean quotes are from: Clark, W.G. and Wright, W.A. (1865) The Works of William Shakespeare (Globe Edition), Cambridge and London: Macmillan. Available at: http://www.opensourceshakespeare.org/views/plays/plays.php (accessed 12.09.210) Macbeth: The complete works of William Shakespeare [electronic resource] Created by Jeremy Hylton; Operated by The Tech., Cambridge, Massachusetts (From Grady Ward’s Moby Shakespeare). Available at: http://shakespeare.mit.edu/macbeth/index.html (accessed 10.08.2011) The Romeo and Juliet Transcription: based on the First Folio (1623) from the Electronic Text Center, University of Virginia Library. Available at: http://web.archive.org/web/20080504221015/http://etext.lib.virginia.e du/toc/modeng/public/ShaRJF.html (accessed 24.06.2010) I share the view of Stephen Orgel, who views the acting text, prepared for performance, as the “authentic text” (2002, 237).
    [Show full text]
  • Press Release
    PRESS RELEASE Shakespeare’s Globe Announces Full Casting for Matt Hartley’s new play Eyam 7 AUGUST 2018 Shakespeare’s Globe is delighted to announce full casting for Matt Hartley’s new play Eyam, directed by Adele Thomas, opening in The Globe on Saturday 15 September. When the plague arrives surprisingly in the Derbyshire village of Eyam in 1665, the community face a moral dilemma. They must decide whether to flee and risk spreading the vicious disease, or stay, protect others from the risk, and face the potential of their own slow and painful death. The Eyam company are also currently appearing in the Globe’s production of Blanche McIntyre’s The Winter’s Tale, with the exception of Sam Crane and John Paul Connolly. Sam Crane will play William Mompesson. Sam recently appeared as Farinelli in the Globe’s production of Claire van Kampen’s Farinelli and the King which transferred to London’s West End and Broadway following a sell-out run at the Sam Wanamaker Playhouse. Other theatre work includes Sunset at the Villia Thalia and Dissonant (National Theatre). Priyanga Burford is Katherine Mompesson. Priyanga’s previous theatre work includes Consent (National Theatre), The Effect (Sheffield Crucible) and Behud (Soho Theatre). Television credits include Press, W1A, King Charles III (BBC), Fearless, Marcella (ITV) and Babylon (Channel 4). Films include Criminal and The Long Way Down. Annette Badland will play Reverend Stanley. Annette’s previous theatre credits include Stranger At The Table (Pascal Theatre Company), Far Away (Bristol Old Vic), Kin and Hung Over (Royal Court). Television work includes EastEnders (BBC), Outlander (Starz) and Father Brown (BBC).
    [Show full text]
  • Music in the Performance of Shakespeare at the Globe, 19
    0 “ENTER OFELIA PLAYING ON A LUTE, AND HER HAIRE DOWNE SINGING” – MUSIC IN THE PERFORMANCE OF SHAKESPEARE AT THE GLOBE, 1997-2005 by CECILIA KENDALL WHITE A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY The Shakespeare Institute Department of English College of Arts and Law University of Birmingham December 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 1 Abstract This thesis is an examination of the subject of music in original practices productions of Shakespeare at the Globe from the viewpoint of practical musicianship in addition to textual analysis of the plays and examination of the wider place of music in Shakespeare’s society. The thesis elucidates the concepts of soundscape and aural narrative (the diegetic sounds and their signifying function). The use of the aural narrative developed during the Rylance years, rendering music not simply decorative, but a tool used increasingly to shape meaning and interpretation of character in performance. This thesis evaluates how the Globe team has used music within original practice productions, and if this is compatible with the principles of original practices laid down at the Globe’s conception.
    [Show full text]
  • Annual Review 2009-10
    The Shakespeare Globe Trust Annual Review 2009-10 1 2009 2010 November December January February March April 1 First of over 2,500 6 Staged reading of William 6 Shakespeare Theatre 13 First Heaven to Hell 5 Playing Shakespeare with 17 Annual Sonnet Walk schools workshops presented Smeaton’s The Return from Association of America 3-day backstage tour for Friends Deutsche Bank performance 23 Shakespeare’s Birthday by Globe Education Parnassus conference opens at the Globe and Patrons of Macbeth Celebrations; 2010 theatre throughout the year 9 ‘Some Little Account of 9 First of eleven 21 Staged reading of George 10 Qualifications and season, ‘Kings and Rogues’, 12 ‘Shakespeare’s Sonnets the Man’: a lecture by Charles undergraduate courses at the Granville’s The Jew of Venice Curriculum Development opens with Macbeth & Sex’: a lecture by Professor Nicholl Globe begins 22 Half-term events begin agency launch the new ‘Active 26 Annual Comedy Store Stanley Wells 10 Southwark Schools’ in Shakespeare’s Globe Shakespeare’ learning Players show at the Globe 18 ‘Sounding the Sonnets Concert for Winter Exhibition materials at the Globe 27 First ‘Setting the Scene’ that Shakespeare Spoke’: 22 Footsbarn’s A Christmas 18 Our Theatre production lecture a lecture by Professor David Cracker opens of A Midsummer Night’s Dream 29 The touring production Crystal 21 Sam Wanamaker Festival of A Midsummer Night’s Dream 28 Shakespeare Symposium: for drama schools opens in Greenwich ‘From Rowe to Shapiro’ 26 Rutgers University concludes its annual semester programme
    [Show full text]
  • FOR IMMEDIATE RELEASE: February 24, 2020 A.R.T. Contact: Rebecca
    FOR IMMEDIATE RELEASE: February 24, 2020 A.R.T. Contact: Rebecca Curtiss, 617.496.2000 x8841 | [email protected] Guthrie Theater Contact: Marita Meinerts Albinson, 612.225.6142 | [email protected] AMERICAN REPERTORY THEATER AND GUTHRIE THEATER CO-COMMISSION NEW WORK BY AWARD-WINNING ACTOR, DIRECTOR AND PLAYWRIGHT MARK RYLANCE Steel, a six-part American history cycle, will bring to life the Age of Steel between the Civil War and World War I with a focus on the dramatic life and characters of the Carnegie Steel Company in Pittsburgh, Pennsylvania Image for Download (CambridGe, MA) — American Repertory Theater (A.R.T.) at Harvard University (Diane Paulus, Terrie and Bradley Bloom artistic director; Diane BorGer, executive producer) announced today its partnership with the Guthrie Theater (Joseph Haj, artistic director) to co-commission and co-develop a new play cycle by Mark Rylance and Peter Reder. After opening Shakespeare’s Globe in London and directinG there for 10 years, Mark Rylance’s work as an actor, director, and playwright expanded into new works for theater, television and film. AmonG other credits, he has won Tony, Olivier, BAFTA, and Academy Awards for his work. Rylance’s professional engagement with the Guthrie and A.R.T. spans the last two decades. Peter Reder trained as a classical pianist and then as an actor with Jacques Lecoq in Paris. He has created original works internationally, and his work as a theatermaker took him to PittsburGh where he, like Rylance, was struck by the drama and characters of PittsburGh’s development as the steel capital of the world.
    [Show full text]
  • Guthrie Theater & A.R.T. Announce Co-Commission with Mark Rylance
    GUTHRIE THEATER Previews begin Playing through FOR IMMEDIATE RELEASE For more information, contact: Marita Meinerts Albinson, February 24, 2020 612.225.6142 Press release #1798 [email protected] Rebecca Curtiss, 617.496.2000 x8841 [email protected] GUTHRIE THEATER AND AMERICAN REPERTORY THEATER CO-COMMISSION NEW WORK BY AWARD-WINNING ACTOR, DIRECTOR AND PLAYWRIGHT MARK RYLANCE Steel, a six-part American history cycle, will bring to life the Age of Steel between the Civil War and World War I with a focus on the dramatic life and characters of the Carnegie Steel Company in Pittsburgh, Pennsylvania (Minneapolis/St. Paul) — The Guthrie Theater (Joseph Haj, artistic director) announced today its partnership with American Repertory Theater at Harvard University (Diane Paulus, Terrie and Bradley Bloom artistic director; Diane Borger, executive producer) to co-commission and co-develop a new play cycle by Mark Rylance and Peter Reder. After opening Shakespeare’s Globe in London and directing there for 10 years, Rylance’s work as an actor, director and playwright expanded into new works for theater, television and film. Among other credits, he has won Tony, Olivier, BAFTA and Academy awards for his work. Rylance’s professional engagement with the Guthrie and A.R.T. spans the last two decades. Reder trained as a classical pianist and then as an actor with Jacques Lecoq in Paris. He has created original works internationally, and his work as a theatermaker took him to Pittsburgh where he, like Rylance, was struck by the drama and characters of Pittsburgh’s development as the steel capital of the world.
    [Show full text]
  • Shakespeare's Globe
    Cambridge University Press 978-0-521-87778-7 - Shakespeare’s Globe: A Theatrical Experiment Edited by Christie Carson and Farah Karim-Cooper Frontmatter More information Shakespeare’s Globe From1997Shakespeare’sGlobeflourishedoncemoreonLondon’sSouthBankafteranabsence of four hundred years. The playhouse is now a major attraction for theatregoers, scholars, tourists, teachers and students of all ages, who come to experience Shakespeare’s plays and those of his contemporaries performed in their original conditions. The team of artists and education specialists who made this happen come together here to reflectontheirten-yearexperiment.Principalactors,designers,musiciansandGlobeEducation staff engage with international scholars in a lively debate about the impact of this extraordinary building. Featuring an in-depth interview with former Artistic Director Mark Rylance and a contribution from Patrick Spottiswoode, Founder and Director of Globe Education, the book highlights the complex relationship between designer, composer, actor and audience that gives energy to this thriving Shakespearean centre. christie carson is Senior Lecturer in the Department of English at Royal Holloway, University of London. farah karim-cooper is Lecturer in Globe Education, oversees all research activities at Shakespeare’s Globe and chairs the Globe Architecture Research Group. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87778-7 - Shakespeare’s Globe: A Theatrical Experiment Edited by Christie Carson and Farah Karim-Cooper
    [Show full text]
  • Annual Review 2015
    2015 shakespeare’s globe Annual review 1 contents Our Vision 4 Welcome 5 Theatre: The Globe 6 Theatre: The Sam Wanamaker Playhouse 13 Beyond the Globe 18 Dominic Dromgoole 24 Emma Rice 27 Globe Education 28 Exhibition & Tour 35 Supporting Ourselves 35 Widening Engagement 37 How we made it and how we spent it 39 Looking Forward 40 Our Supporters 45 Who’s Who 48 2 3 WELCOME 2015 was a record-breaking year, a year of firsts and lasts for Shakespeare’s Globe. During the period of this Review, our international presence was a physical reality in almost half of the world’s countries with our two-year Globe to Globe Hamlet world tour, an unprecedented theatrical journey that received the 2015 International Award from The Stage as well as UNESCO endorsement. Hamlet will visit the world’s remaining countries and return home to Bankside in April 2016. Digitally, our Globe Player, also a theatre first, is taking our work and over 60 films direct to a wide variety of audiences, many aged under 35, in 180 countries. And a significant last – after ten vibrantly creative and pioneering years we saw the final season in the Globe Theatre of our Artistic Director, Dominic Dromgoole. His last production is The Tempest, in the Sam Wanamaker Playhouse in April 2016. Dominic’s 2015 Globe season included our first main performance of King John which marked another first; every play in the Shakespeare canon has now been produced by Shakespeare’s Globe. Our new works continue to be much in demand. The world premiere in the Playhouse of Farinelli and the Our Vision King, written by Claire van Kampen, the Globe’s Associate for Early Modern Theatre Music, with Mark Rylance, the Globe’s first Artistic Director, playing the King, transferred to a sell-out run in the West End, where it garnered six Olivier Award nominations.
    [Show full text]