DOCSLIB.ORG

2003 Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2003 Festival MMIME FESTIVAL MIME CLOWN VISUAL THEATRE MAKING THEATRE MAGICAL BY ANY MEANS NECESSARY WHAT’S ON LONDON 10-26 JANUARY 2003 www. mimefest.co.uk CONTENTS Many Happy Returns... BOOKING INFORMATION Welcome to the 25th London International Mime Festival. Since its PAGES 26 & 27 first edition at London's Cockpit Theatre in 1977, the Festival has been a catalyst, a unique international showcase promoting innovative visual theatre. We have been 13 A2 fortunate to work with so many enormously 19 Andrew Dawson FOR DETAILS OF talented artists over the years, and in this 26-27 Booking Information DISABLED ACCESS special season, alongside a host of new Back cover Calendar PLEASE CONTACT THE VENUES names, we are delighted to bring back some 11 Chipolatas LIMF favourites including Circus Ronaldo 14-15 Circus Ronaldo 9 Compagnie 111 A LARGE TEXT VERSION OF and Compagnie Mossoux Bonté from 12 Compagnie Jérôme Thomas THIS BROCHURE IS AVAILABLE Belgium, Compagnie 111 and Fiat Lux from 22 Company Collisions ON OUR WEBSITE AT France, and from Britain, Theatre de l'Ange 8 Company F/Z Fou, John Paul Zaccarini and Told By An Idiot. 18 33 Fainting Spells WWW.MIMEFEST.CO.UK We are especially grateful to The Arts Council 7 Fiat Lux of England and to London Arts for their long 21 Jade term support, to our colleagues at festival 5 MZDP venues in London and beyond for their enthusiasm and care. 17 Mossoux Bonté The London International Mime 11 Moving People Festival gratefully acknowledges This year we are delighted to be at The Barbican for the first 6 Okidok financial support from: time, as part of BITE:03 with Compagnie Jérôme Thomas, and 20 Ralf Ralf to return to The Place, where the 2003 Festival opens with 10 Spymonkey Association Française d'Action the UK debut of dazzling Swiss trio, Metzger/Zimmermann/ 16 Teatro Corsario Artistique/Ministère des Affaires dePerrot. In a typically Etrangères; Commissariat General 25 Theatre de l’Ange Fou eclectic LIMF season there 24 Told by an Idiot aux Relations Internationale de la are shows for every taste, 4 Total Theatre Talks Communauté Française de including yours. 23 Wishbone Belgique; French Embassy, 4 Workshops Institut français du Royaume Uni; It all starts here! London Arts; Pro Helvetia; SBC FOR THE LONDON INTERNATIONAL (registered charity); Swiss “The performers at Embassy; SWX Swiss Exchange; MIME FESTIVAL LIMF are dedicated not The Fund for U.S. Artists at Directors: just to the silent arts International Festivals and Helen Lannaghan & Joseph Seelig but to making theatre Press Representative: Peter Leone at Anna Arthur PR Exhibitions, a public-private (020 7637 2994) partnership of the National magical by any means Festival Assistant: Silvia Maroino Endowment for the Arts, the U.S. necessary”. Brochure/Website Design: Department of State, The Pew WHAT'S ON Iain Lanyon, Kean Lanyon (020 7354 3362) Charitable Trusts, and The Printed by: Fulcrum Colour Printers Rockefeller Foundation, with LIMF: additional support from the Doris 35 Little Russell Street, Duke Charitable Foundation, and administered by Arts London WC1A 2HH “Three cheers for the London International Mime Tel: 44 (0) 20 7637 5661 International. The Barbican is Fax: 44 (0) 20 7323 1151 owned, funded and managed by Festival. I had almost forgotten what strange e-mail: [email protected] the Corporation of London. tricks the human body can play, and the laughter web-site: www.mimefest.co.uk With special thanks to the and wonder its transformations can generate.” cover photo: Compagnie Jérôme Thomas Citadines Hotel group SUNDAY TIMES 2 SWITZERLAND WORKSHOPS In collaboration with The London International Mime Festival, Total Theatre Network presents: Metzger/Zimmermann/dePerrot Gopf Total Theatre Talks: The Role of Design in Physical and Visual Performance The Place: Robin Howard Dance Theatre Fri 10-Sun 12 Jan Fri/Sat 8pm, Sun 6pm Voice Box, Royal Festival Hall Sat 18 Jan 2.30-4.30pm £5 Apex/£7 Concs/£10 Advance/£12 Standard/£15 Super £5 (£3 concs). Free for Total Theatre Network members. Tickets: 020 7387 0031 This discussion will focus on the role of design in creating a performance, the designer's Opening the 2003 Festival, three dynamic Swiss performers catch the spirit of the function in the creation process, how design influences the finished product, and moment with this unique and stylish mix of circus, dance and club music. In a whether a designer and scenographer are one and the same? stunning decor of Bauhaus simplicity, a series of hinged doors transform into a labyrinth of different rooms and spaces, conjuring a sliding jigsaw show of surreal, These and many more questions will be discussed by an international panel which will segmented images. Inhabiting this Kafkaesque, architectural fantasy, two engaging include Danny Ronaldo (Circus Ronaldo), Steve Wasson (Theatre de L’Ange Fou and Ecole characters try to co-exist. Perched high above them, a deejay with six turntables de Mime Corporel Dramatique), Professor Anthony Dean (King Alfred’s College, spins and mixes, controlling events like a puppet master. Winchester) and Olivia Jacobs (Tall Stories). Chair: Dick McCaw. The performers are Martin Zimmermann from the French National Circus School and Josef Nadj's Cri du Cameleon company, former Bejart Ballet principal, Gregor Limited capacity. Early booking recommended. Metzger, and club deejay/composer, Dimitri de Perrot. Witty, sharp and entertaining, To reserve a place and for further details call: 020 7729 7944, Gopf integrates diverse techniques and aesthetics from the performers three or email: [email protected]. different worlds, to create an imaginative, new performance language. Presented in association with SBC FESTIVAL WORKSHOP Ron East: PASSION PLAY The School of Physical Theatre, Waterhouse Studio, Three Mills Film Studios Sat 11 Jan and Sun 12 January, 11am-4pm Go wild with your imagination!! In a world dominated by passion and accident, physical and visual theatre artists have a unique opportunity to be poets of play. Explore emotional imagery in both dramatic and commedic performance. These two one-day workshops will provoke your passion to create, and provide practical skills to develop your own work. 'An absolute must see!' Ron East is Director of the School of Physical Theatre. He has been involved in theatre, Liberation film and television for more than thirty years, as an actor, director and playwright. Runs approx 60 mins without interval Location: Three Mills Film Studios, Three Mill Lane, Bromley-by-Bow, London E3 3DU. 5 minutes from Bromley-by-Bow tube station on the District Line. Performances sponsored by Parking available on site. SWX Swiss Exchange and supported by Pro-Helvetia and the Swiss Embassy, London Cost: £80 for the two-day workshop or £50 for one day only. For more information and bookings call 020 8215 3350 or email: [email protected] photo: del Curto www.mzdp.ch 4 5 FRANCE BELGIUM Purcell Room Okidok Sat 11-Tue 14 Jan Fiat Lux Ha Ha Ha Sat/Mon/Tue 8pm, Sun 4pm Nouvelles Folies £12 (£9 concs) Tickets: 020 7960 4242 First London appearance by Xavier Bouvier and Benoit Devos, aka Okidok, one of today's outstanding theatre- clown duos. Trained in Brussels and at the Montreal Circus School, their extravagant make-up and costume evokes the great tradition of Russian clowning, but these accomplished young Belgians have developed their own distinctive universe and style. Purcell Room Thur 16-Sun 19 Jan Thur-Sat 8pm, Sun 6pm £12 (£9 concs) Tickets: 020 7960 4242 Ha Ha Ha is their first show, a series of original, wordless On holiday in a remote fishing village, a smart young city couple falls foul of sketches and the fun-loving local trawlermen, with hilarious and surprising consequences. impressive physical A Total Theatre award winner at the 2002 Edinburgh Fringe Festival, top routines developed French ensemble, Fiat Lux, was first seen at the 2001 Mime Festival and and perfected in the now makes a welcome return to the South Bank with this brilliantly course of touring observed, wordless comedy of frisky manners down amongst the lobster with different pots. circus troupes in Europe, America 'This gorgeous one-hour physical theatre piece lifts the heart; the seven- and Canada. strong performing company never put a foot wrong; and the strength of the theme gives the show a terrific discipline and energy, as well as a 'Brilliant. They have that magic tremendous source of comedy.' The Scotsman formula which appeals to all ages'. Le Soir OKIDOK ON TOUR www.ciefiatlux.asso.fr www.okidok2.com Leicester, Phoenix Arts: Runs approx 60 mins without interval. Thur 16 Jan, 8pm. Tickets: 0116 255 4854 Presented in association with SBC Runs approx 75 mins without interval Supported by the French Embassy, Institut français du Royaume-Uni Croydon Clocktower: Presented in association with SBC Fri 17 Jan, 8pm. Tickets: 020 8253 1030 photo: JC Dherville photo: Jean Henry 6 7 UK FRANCE photo: Eric Richmond Company F/Z Compagnie 111 Throat I.J.K. Purcell Room Purcell Room Mon 20-Wed 22 Jan, 8pm Thu 23-Sun 26 Jan £12 (£9 concs) Thu-Sat 8pm, Sun 4pm Tickets: 020 7960 4242 £12 (£9 concs) Tickets: 020 7960 4242 John Paul Zaccarini's teasing, erotic hybrid of circus, cabaret and performance art deals with sex, male identity and the yearning to be loved. Directed A hit from last year's Festival, Compagnie by Flick Ferdinando, it won a Total Theatre award at the recent Edinburgh Fringe Festival. 111 returns with its sensational, sonic Choreographer, dancer and consummate aerialist, John Paul Zaccarini has worked with juggling show. On a cunningly amplified DV8 Physical Theatre (Enter Achilles), appeared in pop videos with Jamiroquai, The Rolling set created from a series of variously Stones and The Spice Girls, and starred as SkyBoy in the Millennium Dome Show.
Load more

Recommended publications
  • Eugenie Pastor-Phd Thesis Moving Intimacies
    MOVING INTIMACIES: A COMPARATIVE STUDY OF “PHYSICAL THEATRES” IN FRANCE AND THE UNITED KINGDOM EUGÉNIE FLEUR PASTOR ROYAL HOLLOWAY, UNIVERSITY OF LONDON DEPARTMENT OF DRAMA AND THEATRE A Thesis submitted as a partial fulfilment of the requirements of the degree of Ph.D. August 2014 1 DECLARATION OF AUTHORSHIP I, Eugénie Fleur Pastor, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 7 August 2014 2 ABSTRACT This thesis is an exploration of movement in contemporary “physical theatres”. I develop a renewed understanding of “physical theatres” as embodied framework to experience both spectatorship and theatre-making. I analyse how, in this type of performance, movement blurs distinctions between the intimate and the collective, the inside and the outside, thus challenging definitions of intimacy and tactility. The thesis consists of a comparative study of examples of “physical theatres”, in the 21st century, in France and in the UK. The comparison highlights that “physical theatres” practitioners are under-represented in France, a reason I attribute in part to a terminological absence in the French language. The four case studies range from itinerant company Escale and their athletic embodiment of a political ideal to Jean Lambert-wild’s theatre of “micro-movement”, from Told by an Idiot’s position in a traditional theatre context in the UK to my own work within Little Bulb Theatre, where physicality is virtuosic in its non- virtuosity. For each case study, I use a methodology that echoes this exploration of movement and reflects my position within each fieldwork.
    [Show full text]
  • “Angels in America”
    Press Contact: For National Theatre: Susie Newbery [email protected] For Broadway: Rick Miramontez / Molly Barnett / Chelsea Nachman / Ryan Ratelle [email protected] / [email protected] / [email protected] / [email protected] 212 695 7400 FOR RELEASE ON THURSDAY, SEPTEMBER 7, 2017 THE GREAT WORK RETURNS NATHAN LANE & ANDREW GARFIELD STAR IN THE NATIONAL THEATRE PRODUCTION OF TONY KUSHNER’S LANDMARK PLAY “ ANGELS IN AMERICA ” ON BROADWAY FEATURING SUSAN BROWN, DENISE GOUGH, AMANDA LAWRENCE, JAMES McARDLE, & NATHAN STEWART-JARRETT DIRECTED BY MARIANNE ELLIOTT PERFORMANCES BEGIN ON FRIDAY, FEBRUARY 23, 2018 AT THE NEIL SIMON THEATRE OPENING NIGHT SET FOR WEDNESDAY, MARCH 21 STRICTLY LIMITED 18-WEEK ENGAGEMENT New York, NY – Producers Tim Levy (Director, NT America) and Jordan Roth (President, Jujamcyn Theaters) announced today that the National Theatre Production of Tony Kushner’s epic and seminal masterwork, Angels in America: A Gay Fantasia on National Themes, will return to Broadway for the first time since its now-legendary original production opened in 1993. This spectacular new staging of Part One of Angels in America, Millennium Approaches, and of Part Two, Perestroika, had its world premiere earlier this year in a sold-out run at the National Theatre, where it became the fastest selling show in the organization’s history. This strictly limited, 18-week engagement will begin performances at The Neil Simon Theatre on Friday, February 23, 2018, with an official opening on Wednesday, March 21. Starring two-time Tony Award® winner Nathan Lane and Academy Award® and Tony Award nominee Andrew Garfield, the cast of Angels in America will feature fellow original National Theatre cast members Susan Brown, Denise Gough, Amanda Lawrence, James McArdle, and Nathan Stewart-Jarrett.
    [Show full text]
  • Royal Shakespeare Company Returns to London's Roundhouse.Pdf
    Royal Shakespeare Company returns to London’s Roundhouse from November 2010 with 10 week season • One company of 44 actors playing 228 roles • Six full-scale Shakespeare productions • Two Young People’s Shakespeares – innovative, distilled productions adapted for young people • Education projects across London and at the Roundhouse • One specially constructed 750-seat thrust stage auditorium – bringing audiences closer to the action – in one iconic venue Following its hugely successful, Olivier award-winning Histories Season in 2008, the RSC returns to London’s Roundhouse in November 2010 to present a ten-week repertoire of eight plays by Shakespeare – six full-scale productions and two specially adapted for children and families. This is the first chance London audiences will have to see the RSC’s current 44-strong ensemble, who have been working together in Stratford-upon-Avon since January 2009. The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and The Kovner Foundation. The season opens with Rupert Goold’s production of Romeo and Juliet and runs in repertoire to 5 February next year, with Michael Boyd’s production of Antony and Cleopatra; The Winter’s Tale directed by David Farr; Julius Caesar directed by Lucy Bailey; As You Like It, directed by Michael Boyd; and David Farr’s King Lear (see end of release for production details at a glance). All six productions have been developed throughout their time in the repertoire and are revised and re-rehearsed with each revival in Stratford, Newcastle, London and finally for next year’s residency in New York. The season also includes the RSC’s two recent Young People’s Shakespeare (YPS) productions created especially for children and families, and inspired by the Stand Up For Shakespeare campaign which calls for more children and young people to See Shakespeare Live, Start Shakespeare Earlier and Do Shakespeare on their Feet – Hamlet, directed by Tarell Alvin McCraney, and The Comedy of Errors (in association with Told by an Idiot), directed by Paul Hunter.
    [Show full text]
  • I Can't Recall As Exciting a Revival Sincezeffirelli Stunned Us with His
    Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon Warwickshire CV37 6BB Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk ★★★★★ Zeffirelli stunned us with his verismo in1960 uswithhisverismo stunned Zeffirelli since arevival asexciting recall I can’t The Guardian on Romeo andJuliet 2009/2010 134th report Chairman’s report 3 of the Board Artistic Director’s report 4 To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company. By order of the Board Acting companies 50 – 51 The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54 Associate Artists/Advisors 55 Constitution 57 Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Shakespearean first Hicks tobeanactorinthe Greg Proves Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company.
    [Show full text]
  • Colin Grenfell Lighting Designer
    Colin Grenfell Lighting Designer Colin has been lighting shows and performances for over 20 years, beginning his career with the Improbable Theatre Company. His first productions were 70 HILL LANE and ANIMO and these marked the start of a long collaboration; designing the lighting for shows touring the UK and around the world, including THEATRE OF BLOOD (National theatre), THE HANGING MAN (West Yorkshire Playhouse) LIFEGAME (National Theatre, UK Tour, La Jolla Playhouse, Off Broadway, Brisbane, US Tours) SPIRIT (Royal Court, UK, US Tours, Sydney Opera House,New York Theatre Workshop. Agents Rose Cobbe Assistant Florence Hyde [email protected] +44 (0) 20 3214 0957 Credits Theatre Production Company Notes RODELINDA Royal College of Music Dir. Jo Davies 2021 STILL Traverse Theatre Dir. Gareth Nicholls 2021 THE KING OF HELL'S Hampstead Theatre Dir. Michael Boyd PALACE 2019 MACBETH Royal Exchange Theatre, Manchester Dir. Christopher Haydon 2019 TAO OF GLASS Royal Exchange Theatre, Manchester Co-Directors: Phelim 2019 McDermott and Kirsty Housley United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes ON THE EXHALE China Plate & Audible in association Dir. Christopher Haydon 2018 with New Theatre Royal Portsmouth THE CHERRY ORCHARD Bristol Old Vic & Manchester Royal Dir. Michael Boyd 2018 Exchange CHRISTMAS EVE Theatre Royal Bath Dir. Laurence Boswell 2018 TROUBLE IN MIND Print Room at the Coronet/Theatre Dir Laurence Boswell 2017 Royal
    [Show full text]
  • Theatre / Musical / Opera
    THEATRE / MUSICAL / OPERA YEAR POSITION PRODUCTION VENUE/COMPANY DIRECTOR 2014 DSM Henry IV Donmar Warehouse Phyllida Lloyd 2014 SM New Views: Is there wifi in Heaven National Theatre – The Shed Adam Penford 2014 ASM Bkcover A Small Family Business National Theatre - Olivier Adam Penford 2014 DSM Other Desert Cities Old Vic Theatre Lindsay Posner 2013 DSM Much Ado About Nothing Old Vic Theatre Mark Rylance 2013 DSM Noises Off UK Tour / Old Vic Lindsay Posner 2013 DSM Equally Divided Watford Palace Theatre Brigid Larmour 2012-13 DSM Cinderella UCH Limerick / Robert C Kelly Karl Harpur 2012 DSM Where the Wild Things Are Aldeburgh Festival, Los Angeles and Barbican Netia Jones 2011-12 DSM Backbeat Duke of York’s WE & Royal Alex, Toronto David Leveaux 2012 DSM Being Shakespeare Trafalgar Studios 1 WE Tom Cairns 2011 Prod. Administrator Various Royal Court Theatre Various 2011 DSM The Wizard of Oz UK Tour / New World Productions Rob Forknall 2010-11 ASM / book cover When We Are Married Garrick Theatre WE / Nimax Christopher Luscombe Pelleas et Melisande and Oliva Fuchs 2010 SM Opera Holland Park Francesca di Rimini Martin Lloyd Evans 2010 DSM Lucky Numbers Royal Court Liverpool Ken Alexander 2009-10 ASM / book cover The Rise and Fall of Little Voice Vaudeville Theatre WE / Nimax Terry Johnson Hänsel und Gretel and Stephen Barlow 2009 SM Opera Holland Park Kat’a Kabanova Olivia Fuchs 2009 SM Bulgakov/Moliere workshop National Theatre Studio Blanche McIntyre 2009 ASM dep A Little Night Music Garrick Theatre WE/Menier Chocoate Factory Trevor Nunn 2008-09 SM Tosca OHP & Richmond Theatre Stephen Barlow 2008 DSM and relights Alex – Live on Stage International & UK tour / Eleanor Lloyd Prods Phelim McDermott 2008 DSM The Devil’s League Derby Playhouse Alan Dossor 2007 DSM Alex – Live on Stage Arts Theatre Phelim McDermott 2007 SM Il Barbiere di Siviglia Opera Holland Park Tim Carroll 2007 SM on book Total Eclipse Menier Chocolate Factory Paul Miller 2006/07 DSM Jack and the Beanstalk Kings Theatre, Southsea / New Panto Prod.
    [Show full text]
  • About the Company About the Production Brochure Copy Credits
    Contact: Rebecca Targett [email protected] 07701021424[Type here] This marketing pack has been designed to support the marketing activities of ´The ingenious Gentleman Don Quixote of La Mancha’ by Little Soldier productions. This pack contains the following sections: About the company Page 2 About the production Page 2 Brochure copy Page 3 Credits Page 4 Audiences Page 6 Selling the show Page 6 Press Page 9 Press quotes Page 10 Template press release Page 11 Online marketing Page 13 Box office information Page 14 Template mail out Page 16 Tour schedule Page 17 Artistic team Page 18 This tour is presented by house 1 Contact: Rebecca Targett [email protected] 07701021424[Type here] About the company Straight-up funniest, most charming theatre company I’ve come across in an age. Andrew Haydon, Views from the Gods Little Soldier was founded in 2010 to promote innovative cross-cultural artistic collaborations. We use physical comedy, devising techniques and live music to produce funny yet touching shows, exploiting our Spanish backgrounds and English setting to create an individual take on new writing and classic texts. The company is led by actresses Patricia Rodríguez and Mercè Ribot, supported by producer Bridget Floyer. Little Soldier has toured extensively in the UK and internationally in Warsaw, Madrid and New York. Their work has been critically acclaimed by public and press, including The Stage, Time Out and Exeunt. Previous show ‘You and Me’ was awarded an Argus Angel at the Brighton Fringe 2014 and ‘The Ingenious Gentleman Don Quixote of La Mancha’ received the Stage Award for Acting Excellence at the Edinburgh Fringe 2014.
    [Show full text]
  • Shakespearean Performance As a Multilingual Event: Alterity, Authenticity, Liminality
    Shakespearean Performance as a Multilingual Event: Alterity, Authenticity, Liminality alexa huang1 … why do you dress me In borrowed robes? Macbeth 1.3.108–92 The age of global Shakespeare 2.0 has arrived. It is an age in which national and transnational performances become self-conscious of the contact zone they inhabit, where dramatic meanings are co- determined by linguistic cohesion and pluralism. If Jacques Derrida’s theory of translation makes all writing inherently multilingual, Shakespeare performances as multilingual events at home and abroad complicate the idea of translation and cultural differ- ence. The business of performing Shakespeare has grown into a multilingual affair since the 1990s, as transnational connections and touring have become not only more desirable but necessary for artistic inspiration and success. In order to address these issues, two frames of reference are useful here: ethnic American performances in New York and international festivals in London. This essay comprises one case study of each of these: John R. Briggs’s Shogun Macbeth (1985) and the London Globe’s multilingual World Shakespeare Festival, which was timed to coincide with the 2012 Olympics. Each of these frames of refer- ence shows how meanings, both intended and unintended, are generated as a result of the shifting cultural and linguistic ten- sions that inhabit translated Shakespeare from Asian-American to 26475_MGQ_Saenger.indd 190 14-07-24 11:29 AM Shakespearean Performance as a Multilingual Event 191 post- imperial British cosmopolitan identities. This hermeneutic is informed not just by the original play, but also by the adaptor’s intent, the improvisation and identities of performers, the econom- ics of touring, and the population shifts apparent in the audience, as well as divergent perceptions of intercultural identities.
    [Show full text]
  • Theatre in London
    THEATRE IN LONDON A Journal Hilary E. Fox Dr. Russell Peck Spring 2002 1 12.28.2001, 3:00pm Star Quality (Noel Coward, 1966) Dir. Christopher Luscombe Apollo Theatre A fairly interesting play, especially with respect to Coward's treatment of the disparity between the world of the actor and the play and the author of the play. Brian, although he's fumbling and uncertain in the world of Ray, Lorraine, and company, is the creator of the world in which Ray and Lorraine must involve themselves - and they are uneasy in his presence, as Lorraine repeatedly tells him. Coward suggests the existence of some sort of barrier that lies between the playwright and those who interpret his writing: there is general approval of Brian's work as being that of a great writer on the verge of public acclaim (although there is the concern that he may have lifted passages from a play he insists he's never seen before), but the company cast to perform it fidgets through a read-through in his presence. The author encounters this barrier in not only the hesitance of the company in his presence, but in the way that the very business of acting is carried out. The director for the play, Ray, employs psychological warfare to get what he wants: instead of trying to bully Lorraine into giving into him, he plays upon her insecurities - the strength of her reputation and the security of that reputation. He recognizes that Lorraine's innate instinct to act puts him automatically at the disadvantage of being the audience, and therefore more susceptible to her presentation of reality.
    [Show full text]
  • The Walworth Farce
    CAL PERFORMANCES PRESENTS CAST Wednesday, November 18, 2009, 8pm The Walworth Farce Thursday, November 19, 2009, 8pm Friday, November 20, 2009, 8pm Saturday, November 21, 2009, 2pm & 8pm Sunday, November 22, 2009, 3pm Zellerbach Playhouse Druid Ireland The Walworth Farce by Enda Walsh Robert Day Robert CAST Dinny Michael Glenn Murphy Sean Tadhg Murphy Blake Raymond Scannell Hayley Mercy Ojelade CREATIVE TEAM Writer Enda Walsh Director Mikel Murfi Set and Costume Designer Sabine Dargent Lighting Designer Paul Keogan Casting Director Maureen Hughes Robert Day Robert CREW Artistic Director Garry Hynes Production Manager Eamonn Fox Technical Manager Barry O’Brien Druid is grant-aided by the Arts Council of Ireland and gratefully acknowledges the support of Company Stage Manager Sarah Lynch Culture Ireland for funding its international touring program. Druid wishes to express its Stage Manager Paula Tierney continuing gratitude to Thomas McDonogh & Company Ltd for their support of the company and to gratefully acknowledge the assistance of Galway City Council and Galway County Council. Master Carpenter Gus Dewar Costume Supervisor Doreen McKenna Wigs and Make-up Val Sherlock The Walworth Farce was commissioned by Druid and received its world Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. premiere at the Town Hall Theatre, Galway, on March 20, 2006. 4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES ABOUT THE ARTISTS THE WALWORTH FARCE STORY COMPANY • Through its new writing program, Druid nurtures and supports new play- ydney,
    [Show full text]
  • The Shape of the Pain
    CHINA PLATE PRESENTS… THE SHAPE OF THE PAIN DEVELOPED BY RACHEL BAGSHAW AND CHRIS THORPE WRITTEN BY CHRIS THORPE DIRECTED BY RACHEL BAGSHAW WITH AN ORIGINAL SCORE BY MELANIE WILSON COMMISSIONED BY BATTERSEA ARTS CENTRE AND THE NEW WOLSEY THEATRE. SUPPORTED BY ARTSDEPOT FUNDED BY THE WELLCOME TRUST AND SUPPORTED USING PUBLIC FUNDS FROM THE NATIONAL LOTTERY THROUGH ARTS COUNCIL ENGLAND. CONTENTS 1. Brochure copy………………………………………….. 3 2. About the show………………………………………… 4 3. About Rachel Bagshaw and Chris Thorpe………... 5 4. Target audiences and key messages/ benefits..... 6 5. Performance dates / Features & Articles………….. 7 6. Press / Awards and nominations…………………….. 8 7. Audience responses / Tweets………………………... 9 8. Production images……………………………………... 10 9. Creative team………………………………………....... 11 10. Box Office notes……………………………………… 13 11. Front of House notes………………………………… 14 12. Contacts………………………………………………. 15 2 BROCHURE COPY China Plate presents The Shape of the Pain Developed by Rachel Bagshaw and Chris Thorpe Written by Chris Thorpe Directed by Rachel Bagshaw With an original score by Melanie Wilson Commissioned by Battersea Arts Centre and New Wolsey Theatre, Ipswich. Supported by artsdepot. ‘I don't have to remember being in pain. I'm not sure that's something we can do. And in my case, it's irrelevant. You can't remember something that's still happening’ One woman attempts to articulate her experience of physical pain. Pain with no apparent cause. Also, she’s met someone, and they want to make this work. Words and an original sound score combine to create an explosive dialogue about love and perception. An experiment in how we talk about pain - and if we ever do that in a way someone else can understand.
    [Show full text]
  • MACBETH Education Pack
    MACBETH Education Pack 1 Contents Introduction ............................................................................................................................................ 3 William Shakespeare 1564 - 1616 ........................................................................................................... 4 Elizabethan and Jacobean Theatre ......................................................................................................... 6 Synopsis of Shakespeare’s Macbeth ....................................................................................................... 9 The Real Macbeths ................................................................................................................................ 14 Synopsis of The Watermill’s Macbeth .................................................................................................. 15 Adapting Macbeth ................................................................................................................................ 17 Interview with the Director................................................................................................................... 19 Meet the Cast ........................................................................................................................................ 21 Interview with the Actors ..................................................................................................................... 22 Exercise 1: Character Mapping ............................................................................................................
    [Show full text]