DOCSLIB.ORG

RABBIT HOLE by David Lindsay-Abaire Directed by Edward Hall Designed by Ashley Martin-Davis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RABBIT HOLE by David Lindsay-Abaire Directed by Edward Hall Designed by Ashley Martin-Davis January 2016 Hampstead Theatre presents RABBIT HOLE By David Lindsay-Abaire Directed by Edward Hall Designed by Ashley Martin-Davis 29 January 2016 – 5 March 2016 Press Night Thursday 4 February at 7pm Hampstead Theatre presents the UK premiere of David Lindsay-Abaire’s Pulitzer Prize winning drama Rabbit Hole, which previews from Friday 29 January 2016. Directed by Artistic Director Edward Hall, the full cast features Claire Skinner, Tom Goodman-Hill, Penny Downie, Georgina Rich and Sean Delaney. ‘If space is infinite, then there are tons of you’s out there, and tons of me’s’ Becca and Howie Corbett are a happy suburban family with everything they could want until a shocking and sudden event turns their world upside down and leaves them drifting perilously apart. Riding the turbulence of domestic life, Becca and Howie must find a way back to each other whilst their unpredictable family tries to bridge the ‘infinite space between’, which life changing events create. David Lindsay-Abaire’s stunning Pulitzer Prize winning drama, filled with distinctive wit and grace, charts the journey of grief and its antidotes - love and hope. Claire Skinner plays Becca. Making her Hampstead debut, Claire most recently starred in The Father at The Wyndhams Theatre, having transferred from The Tricycle. Other notable theatre credits include Blurred Lines, Mrs Affleck, A Winter’s Tale, Othello (National Theatre), Deathtrap (Noel Coward Theatre), Moonlight (Almeida and Comedy Theatre), Measure for Measure (RSC), The Importance of Being Earnest (The Aldwych) and The Glass Menagerie (Donmar / Comedy Theatre), for which she was nominated for an Olivier Award for Best Supporting Actress and won both a London Critic’s Circle Award and Time Out Award for Best Actress. Television and film credits include Critical, Outnumbered, Inside No. 9, Silk, Doctor Who, Lark Rise to Candleford, Sense & Sensibility (BBC), Homefront, Poirot (ITV), Sleepy Hollow, Life is Sweet and Naked. Tom Goodman-Hill plays Howie. Tom returns to Hampstead having previously performed in Darker Shores, with other recent theatre credits including The Effect, Earthquakes in London (National Theatre), Death and the Maiden (Harold Pinter), Enron (The Coward Theatre, Chichester and Royal Court), Spamalot (Palace Theatre – Olivier Award nominee for Best Supporting Performer in a Musical) and The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (Donmar Warehouse). Television and film credits include The Secret Agent (BBC One), Humans (Channel 4), Mr Selfridge (ITV), Call the Midwife (BBC), Black Mirror, The Truth Commissioner, Everest and The Imitation Game. Penny Downie plays Nat. Penny’s theatre credits include Storm in a Flower Vase (Arts Theatre), The Fairy Queen (Glyndebourne), Judgement Day (The Print Room), Butley (Duchess Theatre) and Helen (The Globe). Her many credits for the RSC include Hamlet, Romeo and Juliet and Richard III. Penny Jo Allan PR Ltd most recently appeared as Lady Sinderby in Downton Abbey. Other TV work includes Siblings, Doctors, Ripper Street and Silent Witness. Film credits include London has Fallen, W.E and Invictus. Georgina Rich plays Izzy. Georgina trained at RADA and her theatre credits include Between Us (Arcola Theatre), As You Like It (Rose Theatre), The Merchant of Venice (RSC), Dirty Dancing (Aldwych Theatre), Honour (PW Productions), Much Ado About Nothing, Lear (Crucible Theatre) and Twelfth Night (ETT). Television credits include Cuffs, River, Ripper Street, In and Out of the Kitchen, The Game, Sherlock, New Tricks, Public Enemies, Walking the Dead and Law and Order. Sean Delaney plays Jason. Sean makes his professional stage debut at Hampstead Theatre, having graduated from RADA in 2015 where his credits include Measure for Measure, Mrs Warren’s Profession, New Labour, Stasiland, Chicken Soup with Barley, Mephisto and Twelfth Night. Television credits include Midsomer Murders. David Lindsay-Abaire returns to Hampstead following the success of his sell out comedy Good People starring Imelda Staunton, which transferred to the West End. He won the Pulitzer Prize for Drama for Rabbit Hole, which also received five Tony nominations, a Spirit of American Award, and was later adapted to film, starring Nicole Kidman. Further theatre credits include multiple award winning Shrek the Musical, which was nominated for eight Tony Awards, four Olivier Awards and a Grammy; Fuddy Meers; Kimberly Akimbo; Wonder of the World; and A Devil Inside. Edward Hall’s Hampstead Theatre productions include Firebird, Wonderland, Sunny Afternoon, Raving, Chariots of Fire, No Naughty Bits, Loyalty, and Enlightenment. As Artistic Director of Propeller, his work has toured worldwide, played in both the West End and Broadway, and has won numerous awards both in the UK and overseas. Other theatre work includes A Funny Thing Happened on the Way to the Forum (National Theatre), Edmond with Kenneth Branagh (National Theatre), Macbeth with Sean Bean (Albery), The Constant Wife (Apollo), Julius Caesar (RSC), Henry V (RSC), and The Deep Blue Sea (Vaudeville). Television work includes Partners in Crime, Restless, Downton Abbey, Strike Back, Spooks and Kingdom. This production has been made possible by the generous support of Lin and Ken Craig. PRESS CONTACTS For production press enquiries: Kitty Greenleaf | E [email protected] | M 07545 131 539 | T 020 7520 9392 Hannah Stockton | E [email protected] | M 07889 542 245 | T 020 7520 9392 Charlotte Winter | E [email protected] | M 07718 318 705 | T 020 7520 9392 BOX OFFICE INFORMATION Box Office 020 7722 9301 | hampsteadtheatre.com Facebook | Instagram | Twitter | YouTube @Hamps_Theatre #RabbitHole Hampstead Theatre, Eton Avenue, London, NW3 3EU NOTES TO EDITORS Jo Allan PR Ltd Tom Stoppard’s Hapgood has extended by an extra week to meet ticket demand. Hapgood now finishes on 23 January. ‘Hampstead Downstairs at the Trafalgar Studios’ continues with Phil Davies’ debut play Firebird, following Four Minutes Twelve Seconds and The Wasp. Responding to nationwide cases of child sexual exploitation throughout Britain, including those in Davies’ hometown of Rochdale, Firebird shows how easy it can be for vulnerable young people to fall victim to sexual abuse. Firebird is a story of hope, unfortunately based on truth, and is produced in association with The Children’s Society. Opens 17 February – 19 March. Trafalgar press contact: [email protected] Also previewing Downstairs at Hampstead Theatre in 2016: o The Meeting written by Andrew Payne and directed by Denis Lawson, 28 January - 27 February 2016. o The Argument written by William Boyd and directed by Anna Ledwich, 3 Match – 2 April 2016. The Festival at Hampstead Theatre, in association with The Evening Standard, is back next year 18 – 20 March. Following on from the success of Hampstead Theatre's first festival in March this year, 2016 promises more lively panel discussions, debates, exhibitions and workshops from some of the greatest minds in theatre, film, television and more. The full programme will be announced in January. Customers can register their interest at thefestivalathampsteadtheatre.co.uk LISTINGS MAIN HOUSE RABBIT HOLE David Lindsay-Abaire Edward Hall 29 January – 5 March 2016 Mon–Sat 7.30pm; Wed Mats 2.30pm; Sat Mats 3pm Tues-Sat eves: £25-35 Mondays/Matinees/Previews: £18-28 Senior Citizens: From £15 Under 30s: From £10 for any performance Other Concessions: From £14.50 DOWNSTAIRS THE MEETING Andrew Payne Denis Lawson 28 January – 27 February 2016 Mon–Sat 7.30pm; Wed Mats 2.45pm; Sat Mats 3.15pm Jo Allan PR Ltd THE ARGUMENT William Boyd Anna Ledwich 3 March – 2 April 2016 Mon-Sat 7.45pm; Wed Mats 2.45pm; Sat Mats 3.15pm First Five Performances: £5 Full price: £12 U30/students/Seniors: £10 (mats only) Access: £6 Jo Allan PR Ltd .
Load more

Recommended publications
  • March 19, 2013 (XXVI:9) Mike Leigh, NAKED (1994, 131 Min.)
    March 19, 2013 (XXVI:9) Mike Leigh, NAKED (1994, 131 min.) Best Director (Leigh), Best Actor (Thewliss), Cannes 1993 Directed and written by Mike Leigh Written by Mike Leigh Produced by Simon Channing Williams Original Music by Andrew Dickson Cinematography by Dick Pope Edited by Jon Gregory Production Design by Alison Chitty Art Direction by Eve Stewart Costume Design by Lindy Hemming Steadicam operator: Andy Shuttleworth Music coordinator: Step Parikian David Thewlis…Johnny Lesley Sharp…Louise Clancy Jump, 2010 Another Year, 2008 Happy-Go-Lucky, 2004 Vera Katrin Cartlidge…Sophie Drake, 2002 All or Nothing, 1999 Topsy-Turvy, 1997 Career Girls, Greg Cruttwell…Jeremy G. Smart 1996 Secrets & Lies, 1993 Naked, 1992 “A Sense of History”, Claire Skinner…Sandra 1990 Life Is Sweet, 1988 “The Short & Curlies”, 1988 High Hopes, Peter Wight…Brian 1985 “Four Days in July”, 1984 “Meantime”, 1982 “Five-Minute Ewen Bremner…Archie Films”, 1973-1982 “Play for Today” (6 episodes), 1980 BBC2 Susan Vidler…Maggie “Playhouse”, 1975-1976 “Second City Firsts”, 1973 “Scene”, and Deborah MacLaren…Woman in Window 1971 Bleak Moments/ Gina McKee…Cafe Girl Carolina Giammetta…Masseuse ANDREW DICKSON 1945, Isleworth, London, England) has 8 film Elizabeth Berrington…Giselle composition credits: 2004 Vera Drake, 2002 All or Nothing, 1996 Darren Tunstall…Poster Man Secrets & Lies, 1995 Someone Else's America, 1994 Oublie-moi, Robert Putt...Chauffeur 1993 Naked, 1988 High Hopes, and 1984 “Meantime.” Lynda Rooke…Victim Angela Curran...Car Owner DICK POPE (1947, Bromley,
    [Show full text]
  • The Curious Incident of the Dog in the Night-Time Embarks on a Third Uk and Ireland Tour This Autumn
    3 March 2020 THE NATIONAL THEATRE’S INTERNATIONALLY-ACCLAIMED PRODUCTION OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME EMBARKS ON A THIRD UK AND IRELAND TOUR THIS AUTUMN • TOUR INCLUDES A LIMITED SEVEN WEEK RUN AT THE TROUBADOUR WEMBLEY PARK THEATRE FROM WEDNESDAY 18 NOVEMBER 2020 Back by popular demand, the Olivier and Tony Award®-winning production of The Curious Incident of the Dog in the Night-Time will tour the UK and Ireland this Autumn. Launching at The Lowry, Salford, Curious Incident will then go on to visit to Sunderland, Bristol, Birmingham, Plymouth, Southampton, Liverpool, Edinburgh, Dublin, Belfast, Nottingham and Oxford, with further venues to be announced. Curious Incident will also play for a limited run in London at Troubadour Wembley Park Theatre in Brent - London Borough of Culture 2020 - following the acclaimed run of War Horse in 2019. Curious Incident has been seen by more than five million people worldwide, including two UK tours, two West End runs, a Broadway transfer, tours to the Netherlands, Canada, Hong Kong, Singapore, China, Australia and 30 cities across the USA. Curious Incident is the winner of seven Olivier Awards including Best New Play, Best Director, Best Design, Best Lighting Design and Best Sound Design. Following its New York premiere in September 2014, it became the longest-running play on Broadway in over a decade, winning five Tony Awards® including Best Play, six Drama Desk Awards including Outstanding Play, five Outer Critics Circle Awards including Outstanding New Broadway Play and the Drama League Award for Outstanding Production of a Broadway or Off Broadway Play.
    [Show full text]
  • When Did You Last See Your Father?
    WHEN DID YOU LAST SEE YOUR FATHER? Directed by Anand Tucker Starring Colin Firth Jim Broadbent Juliet Stevenson Official Selection 2007 Toronto International Film Festival East Coast Publicity West Coast Publicity Distributor IHOP Block Korenbrot Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax Visit the website at: www.whendidyoulastseeyourfathermovie.com Short Synopsis When Did You Last See Your Father? is an unflinching exploration of a father/son relationship, as Blake Morrison deals with his father Arthur’s terminal illness and imminent death. Blake’s memories of everything funny, embarrassing and upsetting about his childhood and teens are interspersed with tender and heart- rending scenes in the present, as he struggles to come to terms with his father, and their history of conflict, and learns to accept that one’s parents are not always accountable to their children. Directed by Anand Tucker (Hilary and Jackie), from a screenplay by David Nicholls, adapted from Blake Morrison’s novel of the same name, the film stars Colin Firth, Jim Broadbent, Juliet Stevenson, Gina McKee, Claire Skinner, and Matthew Beard. Long Synopsis Arthur Morrison (Jim Broadbent), and his wife Kim (Juliet Stevenson), are doctors in the same medical practice in the heart of the Yorkshire Dales, England. They have two children, Gillian (Claire Skinner), and her older brother Blake (Colin Firth)Blake is a forty - year-old established author, married with two children and confronted with the fact that his father is terminally ill.
    [Show full text]
  • Nominations Announced
    NOMINATIONS ANNOUNCED June Brown receives her first BAFTA nomination 3 nominations for Hancock and Joan 2 nominations for Ross Kemp, Stephen Fry and David Mitchell 6th nomination for Branagh across both TV and Film Jonathan Ross, Ant & Dec, Stephen Fry and Harry Hill battle it out for Entertainment Performance First-time nominations for The Friday/Sunday Night Project, The Wire and Celebrity MasterChef, The nominations were announced today for the British Academy Television Awards. Hosted by Graham Norton and broadcast on BBC One, the Awards will be held for the first time at the Royal Festival Hall on Sunday April 26, 2009. June Brown who plays Dot Cotton in EastEnders receives her first-ever BAFTA nomination in the Actress category for her ground-breaking solo episode of the BBC soap, nearly half a century after making her TV debut in 1960 and twenty years since a ‘soap’ actress, Jean Alexander, last appeared in this category (for her portrayal of Hilda Ogden) 1. She faces previous BAFTA winner Anna Maxwell Martin for Poppy Shakespeare , and first time nominees Andrea Riseborough for Margaret Thatcher: The Long Walk to Finchley and Maxine Peake for Hancock and Joan. For his portrayal of the eponymous Hancock, Ken Stott, last nominated almost a decade ago, 2 is recognised in the Actor category against first time nominees Jason Isaacs for The Curse of Steptoe , Ben Whishaw for Criminal Justice and Stephen Dillane for The Shooting of Thomas Hurndall . Jonathan Ross , who was not nominated last year, returns with his fifth personal nomination in Entertainment Performance for Friday Night With Jonathan Ros s, and is joined by last year’s double winner Harry Hill for Harry Hill’s TV Burp , Anthony McPartlin and Declan Donnelly for I’m A Celebrity…Get Me Out Of Here! and Stephen Fry who receives his fifth BAFTA nomination for QI and his seventh overall.
    [Show full text]
  • Season Two Press Kit Contents
    SEASON TWO PRESS KIT CONTENTS Synopsis 03 Episodes 04 Characters 07 Cast Biographies 20 Production Biographies 33 2 SYNOPSIS Humanoid synthetics have become an inextricable part of society, obediently serving and protecting the human population. But what happens when these synths are given the right to consciousness and their own free will? Season two of “Humans” explores the possibilities and limitations of relationships between synth-kind and humankind, and whether the growing number of sentient synths deserve the same rights as humans. The Hawkins family struggles to put past events behind them. Their efforts are complicated further when they are unexpectedly drawn into battles being waged by their old conscious synth friends. As their emotional capabilities expand, the synths are pushed to the limit as they confront huge moral questions about their place in the world. While a mysterious organisation threatens to exploit the precious secret behind conscious synthetics, the possibilities and limitations of relationships between synth-kind and humankind are put to the ultimate test. 3 EPISODES 4 EPISODE ONE EPISODE THREE As the Hawkins family struggle to put past events behind Athena travels to the UK and her tragic secret is revealed. them, a visitor arrives unannounced on their doorstep. Niska’s consciousness assessments begin. With more Living as a fugitive in Berlin, Niska faces a critical decision, time at home, Joe notices Sophie’s increasingly eccentric while in the UK Mia, Leo and Max hide out on the coast. In behaviour. As Karen returns to work with Pete, cracks start San Francisco, Athena Morrow, a fercely driven AI scientist, appearing in their relationship.
    [Show full text]
  • Theater in England Syllabus 2010
    English 252: Theatre in England 2010-2011 * [Optional events — seen by some] Monday December 27 *2:00 p.m. Sleeping Beauty. Dir. Fenton Gay. Sponsored by Robinsons. Cast: Brian Blessed (Star billing), Sophie Isaacs (Beauty), Jon Robyn (Prince), Tim Vine (Joker). Richmond Theatre *7:30 p.m. Mike Kenny. The Railway Children (2010). Dir. Damian Cruden. Music by Christopher Madin. Sound: Craig Veer. Lighting: Richard G. Jones. Design: Joanna Scotcher. Based on E. Nesbit’s popular novel of 1906, adapted by Mike Kenny. A York Theatre Royal Production, first performed in the York th National Railway Museum. [Staged to coincide with the 40 anniversary of the 1970 film of the same name, dir. Lionel Jefferies, starring Dinah Sheridan, Bernard Cribbins, and Jenny Agutter.] Cast: Caroline Harker (Mother), Marshall Lancaster (Mr Perks, railway porter), David Baron (Old Gentleman/ Policeman), Nicholas Bishop (Peter), Louisa Clein (Phyllis), Elizabeth Keates Mrs. Perks/Between Maid), Steven Kynman (Jim, the District Superintendent), Roger May (Father/Doctor/Rail man), Blair Plant(Mr. Szchepansky/Butler/ Policeman), Amanda Prior Mrs. Viney/Cook), Sarah Quintrell (Roberta), Grace Rowe (Walking Cover), Matt Rattle (Walking Cover). [The production transforms the platforms and disused railway track to tell the story of Bobby, Peter, and Phyllis, three children whose lives change dramatically when their father is mysteriously taken away. They move from London to a cottage in rural Yorkshire where they befriend the local railway porter and embark on a magical journey of discovery, friendship, and adventure. The show is given a touch of pizzazz with the use of a period stream train borrowed from the National Railway Museum and the Gentlemen’s saloon carriage from the famous film adaptation.] Waterloo Station Theatre (Eurostar Terminal) Tuesday December 28 *1:45 p.m.
    [Show full text]
  • Claire Skinner
    CLAIRE SKINNER Film: Elsewhere Jane Roger Hyams 65 Wilding Films Shoot Me! Claire Kate Hardie Rankin Film Productions When Did You Last See Your Father? Gillian Anand Tucker Film 4 Eliminate: Archie Cookson Camilla Robin Holder Agent Pictures Strings Jhinna Anders Rønnow Klarlund BOB Film, Sweden Bridget Jones's Diary Magda Sharon Maguire Miramax Sleepy Hollow Beth Paramount Pictures Paramount Pictures The Escort Patricia Michel Blanc Canal + You're Dead Jo Andy Hurst Atlantic Streamline I.D. Marie Phil Davis BBC Return Of The Native Thomasin Jack Gold BBC Clockwork Mice Fairy Vadim Jean Metrodome Films I.D Marie Phil Davis BBC Films Naked Sandra Mike Leigh Thin Man Films Life Is Sweet* Natalie Mike Leigh Thin Man Films The Rachel Papers Gloria Damien Harris Initial Film & Television Television: Vanity Fair Mrs Sedley James Strong Mammoth Screen Next of Kin DCI Vivien Barnes Justin Chadwick / Jamie Childs Mammoth Screen Midsomer Murders Kitty Oswood Alex Pillai Bentley Productions Scream Street Sue Watson, Luella & others Geoff Walker Coolabi Productions Power Monkeys Sara Various Hat Trick Inside No. 9 Angela David Kerr BBC Critical Lorraine Jon East Hat Trick Playhouse Presents: Mr Understood Linda Kate Hardie Eleven Films Silk Sarah Stephens Michael Keillor BBC Homefront Claire Terry McDonough ITV London Doctor Who Madge Farren Blackburn BBC Moving On Mary Ann Jimmy McGovern BBC Outnumbered** Sue Andy Hamilton / Guy Jenkin Hat Trick Trinity Donne Colin Teague Roughcut TV The Commander Fiona George Gilles MacKinnon La Plante Prod. Poirot
    [Show full text]
  • TIL Master2007 + COLOURS
    www.til.com @thisislondonmag THIS IS LONDON CULTURAL CALENDAR 2021 has a comprehensive selection of exhibitions, theatre, music, sport and events taking place over the next few months as restrictions are eased and we are able to enjoy the Capital again. The list will be updated as reopenings, rescheduled events and performance dates are announced. ROYAL OPERA HOUSE TO REOPEN ITS DOORS The Royal Opera House is to reopen its doors to audiences on 17 May, with a full schedule of in-person performances from both The Royal Ballet and The Royal Opera, brand new work available to stream online, and the world’s first opera in hyper-reality. This suite of activity will take place on the Royal Opera House's historic Main Stage, in the state-of-the-art Linbury Theatre, or streamed online as part of their #OurHouseToYourHouse programme. VAN GOGH ALIVE BLOOMS IN LONDON The new Van Gogh Alive multi-sensory experience completely immerses you in the life and work of Vincent van Gogh as you travel through periods of his life that defined him as an artist. State-of-the-art immersive gallery technology immaculately displays Van Gogh’s work in a kaleidoscope of colour. Set to an evocative classical score that is delivered via a high-fidelity 3D sound system, this combination of sound, visuals and aromas of Provence will give visitors the sensation of walking right into his paintings as if they are living and breathing. ROYAL ACADEMY OF ARTS REVISED EXHIBITION PROGRAMME The Royal Academy intends to reopen on Tuesday 18 May 2021.
    [Show full text]
  • London Academy of Music & Dramatic
    LONDON ACADEMY OF MUSIC & DRAMATIC ART Welcome 3 Why Choose LAMDA? 5 Acting at LAMDA 7 BA (Hons) Professional Acting 9 Foundation Degree Professional Acting 12 MA Classical Acting for the Professional Theatre 13 Production & Technical Arts at LAMDA 15 Production & Technical Arts: Stage & Screen 17 Recent Technical Graduate Destinations 19 Other Full-Time Courses 21 MA Directing 23 LAMDA Foundation Diploma 26 LAMDA Semester Diploma Classical Acting 27 LAMDA Shakespeare Summer School 28 LAMDA Short Courses 29 Shakespeare Short Course 31 Audition Technique 32 Introduction to Drama School 32 Introduction to Screen Acting 32 English Communication Skills Through Drama (EFL) 32 How to Apply 35 Equality & Diversity 36 Fees & Funding 37 Living in London 39 Our New Home 41 Our Graduates 43 Faculty & Visiting Artists 45 The Conservatoire for Dance and Drama 47 Our Supporters 49 Our Examinations 51 Contact Us 53 This publication is also available to view at www.lamda.org.uk. If you require this prospectus in large print, please contact LAMDA on +44 (0)20 8834 0500 or [email protected]. Every effort has been made to locate the source of photographs, illustrations and text appearing in this publication. All information correct at time of going to press. Brian Cox CBE © LAMDA Limited 2016. All Rights Reserved. Class of 1965 BAFTA, Emmy and Olivier Award winner Designed by Hudson Fuggle www.hudsonfuggle.com Credits include: War and Peace (BBC), Penny Dreadful (Sky), Rise of the Planet of the Apes Front Cover: Macbeth by William Shakespeare. LAMDA at Large at the Pleasance, Islington. Photograph by John Haynes.
    [Show full text]
  • Shakespeare's Isabella and Cressida on the Modern Stage
    ''Shrewd Tempters with their Tongues..,: Shakespeare's Isabella and Cressida on the Modern Stage Anna Kamaralli A thesis submitted to the Faculty of Arts, School of Theatre, Film and Dance of the University ofNSW In partial fulfillment of the degree ofMA(Hons) 2002 ii Abstract Shakespeare's Isabella (Measure for Measure) and Cressida (Troilus and Cressida) share an unusual critical and theatrical history. Unappreciated o:ri stage, contentious on the page, they have traditionally provoked discomfort among critics, wl).o l).ave ~~€::J:'! quicker to see them as morally reprehensible than to note their positive qualities. Seemingly at polar opposites of the personal and moral spectrum, the two share an independence of spirit, a refusal to conform to the desires and requirements of men, and a power to polarize opinion. This thesis considers the ways in which attitudes to Isabella and Cressida on the English­ speaking stage have shifted, over the latter half of the twentieth century, in the light of an escalating public awareness of issues of feminism and gender politics. Against a close reading of Shakespeare's text, both literary and performance criticism are examined, together with archival material relating to theatre productions of the plays, primarily by the Royal Shakespeare Company. The thesis concludes that in the case of both characters a change is indeed discemable. For Isabella, it is informed by the idea that the ethical code to which she adheres deserves respect, and that her marriage to the Duke is neither inevitable, nor inevitably welcomed by her. Cressida has undergone a more dramatic change: she is no longer assumed to be constitutionally immoral, and her behaviour is examined without preconception.
    [Show full text]
  • Shakespeare in Production Othello
    Cambridge University Press 0521834589 - Othello Edited by Julie Hankey Frontmatter More information SHAKESPEARE IN PRODUCTION OTHELLO This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and inter- preted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the pro- cess, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focused attention, both as the forbidden object of desire within a racial framework and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film and in the adaptations which set out to interrogate Shakespeare’s text. julie hankey is a freelance writer and one of the General Editors of the ‘Shakespeare in Production’ series. She contributed the theatre-historical editions of Richard III and Othello, before the series was adopted by Cam- bridge University Press, and has also contributed articles to Shakespeare Quarterly and New Theatre Quarterly. © Cambridge University Press www.cambridge.org Cambridge University Press 0521834589 - Othello Edited by Julie Hankey Frontmatter More information SHAKESPEARE IN PRODUCTION series editors: j. s. bratton and julie hankey This series offers students and researchers the fullest possible stage his- tories of individual Shakespearean texts.
    [Show full text]
  • Shakespeare and the Thirties: Representations of the Past in Contemporary Performance
    SHAKESPEARE AND THE THIRTIES: REPRESENTATIONS OF THE PAST IN CONTEMPORARY PERFORMANCE by JAMI ROGERS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute School of English, Drama and American and Canadian Studies The University of Birmingham May 2011 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. ABSTRACT This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical production and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen. For my grandfather, who told me about West Virginia in the thirties when I was very small Herbert C. Rogers 1916-2003 "Take Me Home, Country Roads" ACKNOWLEDGMENTS This thesis is the product of more years of experience than I probably care to admit.
    [Show full text]