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Shakespeare Survey: 64: Shakespeare As Cultural Catalyst Edited by Peter Holland Frontmatter More Information
Cambridge University Press 978-1-316-50536-6 - Shakespeare Survey: 64: Shakespeare as Cultural Catalyst Edited by Peter Holland Frontmatter More information SHAKESPEARE SURVEY © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-316-50536-6 - Shakespeare Survey: 64: Shakespeare as Cultural Catalyst Edited by Peter Holland Frontmatter More information ADVISORY BOARD Jonathan Bate Akiko Kusunoki Margreta de Grazia Kathleen McLuskie Janette Dillon Lena Cowen Orlin Michael Dobson Simon Palfrey Andrew Gurr Richard Proudfoot Ton H oe n se la ar s Emma Smith Andreas Hofele¨ Ann Thompson Russell Jackson Stanley Wells John Jowett Assistants to the Editor Catherine Clifford and Ethan Guagliardo (1) Shakespeare and his Stage (35) Shakespeare in the Nineteenth Century (2) Shakespearian Production (36) Shakespeare in the Twentieth Century (3) The Man and the Writer (37) Shakespeare’s Earlier Comedies (4) Interpretation (38) Shakespeare and History (5) Textual Criticism (39) Shakespeare on Film and Television (6) The Histories (40) Current Approaches to Shakespeare through (7) Style and Language Language, Text and Theatre (8) The Comedies (41) Shakespearian Stages and Staging (with an index (9) Hamlet to Surveys 31–40) (10) The Roman Plays (42) Shakespeare and the Elizabethans (11) The Last Plays (with an index to Surveys 1–10) (43) The Tempest and After (12) The Elizabethan Theatre (44) Shakespeare and Politics (13) King Lear (45) Hamlet and its Afterlife (14) Shakespeare and his Contemporaries (46) Shakespeare -
RADYR CHAIN Free to Every Home in Radyr and Morganstown Number 198 February 2012
Radyr ‘SPAR” Open Day following their refurbishment The new refurbished shop front New wider aisles for customers’ ease of movement Steve, Jeff, Janet and Karen with Heather, a grateful customer Janet and Karen with free wines samples and nibbles for the day STATION ROAD, RADYR OPEN: Mon to Sat 8a.m. - 10.00p.m. Sunday 9a.m. - 10.00p.m. All services come with quality and value General Groceries - Chilled Foods & Ready Meals - Fresh Bread Daily Confectionery - Fruit & Vegetables - Crisps & Snacks - Ice Cream Quality Wines - Beers, Lagers & Ciders Cigarettes & Tobacco - Photocopying - Greetings Cards - Phone top-up Cards Children investigating their ‘Goody Bags’ NOW AVAILABLE MAKE SURE YOU COME AND VISIT OUR COMPLETELY REFURBISHED PREMISES - NOW WITH AUTOMATIC ENTRANCE DOORS FOR EASY ACCESS FOR ALL CUSTOMERS. WIDER AISLES FOR EASIER MOVEMENT, UPGRADED COOL AND County Councillor Rod McKerlich samples FREEZER CABINETS some wine Printed by J & P Davison, 3 James Place, Treforest, Pontypridd CF37 1SQ Tel. 01443 400585 RADYR CHAIN Free to every home in Radyr and Morganstown Number 198 February 2012 Christmas scene in Station Road See article on page 7 Radyr resident travels to Ecuador… Jodie Davis, who resides in Penrhos, Radyr is a normal teenage girl. She is currently studying for her A levels in Welsh, Drama and Religious Education as Ysgol Gyfun Gymraeg Plasmawr in Fairwater. She enjoys going out with her friends, watching films, listening to and playing music as do all teenage girls her age. She has a particular love of drama and acting and is starring in a forthcoming feature film called ‘Hunky Dory’ and had several parts in Welsh language programmes such as Pobol y Cwm and Gwaith Catref. -
Robert Icke, Theatre Director: 'Oresteia? It's Quite Like the Sopranos'
Robert Icke, theatre director: ‘Oresteia? It’s quite like The Sopranos’ The director of the Almeida’s acclaimed Oresteia on being inspired by Kenneth Branagh, Michael Grandage and Tony Soprano Susannah Clapp 23/8/2015 Robert Icke, 29, is one of the theatre’s most explosive talents. He was associate director of Headlong from 2010 to 2013, and is now the associate director of the Almeida. His productions include Mr Burns and 1984, which he co-adapted with Duncan Macmillan. His tremendous Oresteia has just transferred to the West End. Do you have a theatrical background? No, my mum’s a teacher and my dad’s a tax inspector. What turned you on to directing? It was seeing Kenneth Branagh as Richard III, directed by Michael Grandage at Sheffield. I was 14 and my dad dragged me away from my PlayStation. It was a proper Damascene conversion - really electric. There was no language barrier. I wrote to Michael Grandage and asked him how he did that stuff. He said: if you come and see me I’ll try to tell you. This was before I’d ever been near a proper rehearsal room. He gave me all this advice, which I scribbled down and have been living by ever since. Didn’t you direct at a theatre in Stockton-Tees while you were still at school? That’s where I learnt to do it. It was a very depressed area. You weren’t allowed to be boring: the audience there would just have left. I remember the first performance of A Midsummer Night’s Dream when Bottom came on in a donkey’s head with these amazing false teeth made by a local dentist. -
JIMMY Mcgovern
JIMMY McGOVERN Writer Agent: Norman North Film & Television: Jimmy was awarded the Lifetime Achievement Award from the Royal Television Society in March 2018 ANTHONY LA Productions CARE LA Productions for BBC1 1 x 90’ MOVING ON Series II - XI LA Productions for BBC1 Creator and Series Script Editor BROKEN LA Productions for BBC1 Creator and Writer 6 x 60’ REG LA Productions for BBC1 1 x 90’ BANISHED RSJ Films / See Saw for BBC2 Creator and Lead Writer 7 x 60’ REDFERN NOW Series I, II & III Blackfella Films - Australia Story Consultant 6 x 60’ COMMON LA Productions for BBC1 Nominated: TV Movie / Mini-Series, International Emmys 2015 THE ACCUSED II RSJ Films for BBC1 Creator and Writer/Co-Writer Nominated: BAFTA Best Mini Series 2013 THE ACCUSED RSJ Films for BBC1 Creator and Lead Writer Winner: Best Drama Series, International Emmys 2011 THE STREET Series III Granada for BBC1 Creator, Writer and Creative Consultant Winner: Best Drama Series, International Emmys 2010 Winner: Best Drama Series, RTS Awards 2010 Nominated: Best Drama Series, BAFTA Awards 2010 MARY QUEEN OF SCOTS BBC Films / Raging Star Films Feature film commission MOVING ON LA Productions for BBC1 Executive Producer Series THE STREET Series II Granada for BBC1 Creator, Writer and Creative Consultant Winner: Best Drama Series, International Emmys 2007 Winner: RTS Award 2008 Winner: BAFTA for Best Drama Series 2008 CRACKER Granada for ITV1 2 x 120’ special Director: Antonia Bird With Robbie Coltrane Nominated: Edgar Allan Poe Award for Best Teleplay 2007 THE STREET Granada -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King . -
Daniel Evans
www.hamiltonhodell.co.uk Daniel Evans Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer COMPANY Robert Jonathan Munby Sheffield Crucible Theatre THE PRIDE Oliver Richard Wilson Sheffield Crucible Theatre THE ART OF NEWS Dominic Muldowney London Sinfonietta SUNDAY IN THE PARK WITH GEORGE Tony Award Nomination for Best Performance by a Lead Actor in a Musical 2008 George Sam Buntrock Studio 54 Outer Critics' Circle Nomination for Best Actor in a Musical 2008 Drama League Awards Nomination for Distinguished Performance 2008 GOOD THING GOING Part of a Revue Julia McKenzie Cadogan Hall Ltd SWEENEY TODD Tobias Ragg David Freeman Southbank Centre TOTAL ECLIPSE Paul Verlaine Paul Miller Menier Chocolate Factory SUNDAY IN THE PARK WITH GEORGE Wyndham's Theatre/Menier George Sam Buntrock Olivier Award for Best Actor in a Musical 2007 Chocolate Factory GRAND HOTEL Otto Michael Grandage Donmar Warehouse CLOUD NINE Betty/Edward Anna Mackmin Crucible Theatre CYMBELINE Posthumous Dominic Cooke RSC MEASURE FOR MEASURE Angelo Sean Holmes RSC THE TEMPEST Ariel Michael Grandage Sheffield Crucible/Old Vic Nominated for the 2002 Ian Charleson Award (Joint with his part in Ghosts) GHOSTS Osvald Steve Unwin English Touring Theatre Nominated for the 2002 Ian Charleson Award (Joint with his part in The Tempest) WHERE DO WE LIVE Stephen Richard -
Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath. -
Organisations Alexandra Theatre, Bognor Regis
Statement from (in alphabetical order) Organisations Alexandra Theatre, Bognor Regis - Hazel Latus Almeida Theatre – Rupert Goold, Denise Wood Ambassador Theatre Group - Mark Cornell and Michael Lynas Andrew Treagus Associates - Andrew Treagus Arcola Theatre – Mehmet Ergen, Leyla Nazli, Ben Todd Arts Theatre - Louis Hartshorn and Lizzie Scott Barbican Theatre - Toni Racklin Battersea Arts Centre – David Jubb Belgrade Theatre – Hamish Glen, Joanna Reid Birmingham Hippodrome - Fiona Allan Birmingham Repertory Theatre – Roxana Silbert and Stuart Rogers Birmingham Stage Company - Neal Foster and Louise Eltringham Bridge Theatre – Nicholas Hytner, Nick Starr Bristol Old Vic – Tom Morris, Emma Stenning Bush Theatre – Madani Younis, Jon Gilchrist Cheek by Jowl - Declan Donnellan, Nick Ormerod and Eleanor Lang Chichester Festival Theatre – Daniel Evans, Rachel Tackley Citizens Theatre - Dominic Hill, Judith Kilvington Curve Theatre - Chris Stafford and Nikolai Foster Darlington Hippodrome - Lynda Winstanley Derby Theatre – Sarah Brigham Disney Theatrical Productions - Richard Oriel and Fiona Thomas Donmar Warehouse – Josie Rourke, Kate Pakenham Donna Munday Arts Management - Donna Munday D'Oyly Carte Opera Trust - Ian Martin Eclipse - Dawn Walton Empire Street Productions - James Bierman English National Ballet - Tamara Rojo & Patrick Harrison English Touring Theatre - Richard Twyman, Sophie Watson Everyman Theatre, Cheltenham - Paul Milton and Penny Harrison Festival City Theatres Trust - Duncan Hendry and Brian Loudon Fit The Bill - Martin Blore -
Two Sides of a Sovereign
riticsritics ritics Source: The Observer {The New Review} Edition: Country: UK Date: Sunday 18, December 2016 Page: 25 Area: 877 sq. cm Circulation: ABC 190661 Weekly Ad data: page rate £13,933.00, scc rate £58.00 Phone: 020 7278 2332 riticsKeyword: Lyttelton Theatre Two sides of a sovereign Lia Williams and Juliet Stevenson switch roles at random from night to night in Robert Icke’s electrifying Mary Stuart, while Ruth Wilson brings a new toxic dimension to Hedda Gabler Susannah Clapp @susannahclapp Mary Stuart I had expected startling diff erences in Almeida, London N1; until 21 Jan interpretation from these very diff erent actresses, whom I saw play both parts Hedda Gabler in back-to-back performances. What Lytt elton, London SE1; until 21 March is rivet ing is how close they are. Both show uneasy command as Elizabeth Oresteia Last year Robert Icke made and sumptuous composure as Mary. the most compelling drama in London. Both deliver Schiller’s corrugated Mary Stuart Now he stages , written arguments with the passionate fl uency in 1800 , to explosive eff ect. Schiller ’s of ideal politicians. They are so alike play has been stripped back, rewired. in their velvet trouser suits and white Icke’s adaptation is sculptural, rich and blouses that when they lie down, hands incisive. Hildegard Bechtler ’s bare, reaching towards each other, they round design creates an arena in which could be an opened-out version of characters try to break out of circular one person. The diff erences are tiny arguments. Juliet Stevenson and Lia but illuminating. -
Cahiers Élisabéthains a Biannual Journal of English Renaissance Studies
Cahiers Élisabéthains A Biannual Journal of English Renaissance Studies General Editors: Yves Peyré & Charles Whitworth Revue fondée en/Founded in 1972 (ISSN 0184-7678) & publiée par/ published by L’INSTITUT DE RECHERCHES SUR LA RENAISSANCE, L’ÂGE CLASSIQUE ET LES LUMIÈRES (IRCL) UMR 5186 du CNRS, Université Paul Valéry, Route de Mende, 34199 Montpellier, France A PLAY, FILM AND OPERA REVIEW INDEX TO Cahiers Élisabéthains 1-70: CORIOLANUS (compiled by Janice Valls-Russell, Managing Editor, IRCL) Issue no. Pages Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, The Aldwych Theatre, London, 9 June 1978 (Jean VACHÉ) 14 111-12 Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, Théâtre National de l’Odéon, Paris, 3-8 April 1979 (Frédéric FERNEY) 16 97-99 Coriolanus, directed by Brian Bedford for the Stratford Shakespeare Festival, Stratford, Ontario, 16 June 1981 (Charles HAINES) 20 119-20 Coriolan, directed by Bernard Sobel, Théâtre de Gennevilliers, 3 March 1983 (Leonore LIEBLEIN) 24 96-97 Coriolanus, produced by Shaun Sutton and directed by Elijah Moshinsky, BBC Shakespeare, BBC 2, 21 April 1984 (G. M. PEARCE) 26 96-98 The Roman Tragedies. 60 mn video cassette, based on Julius Caesar, Antony and Cleopatra, and Coriolanus. Written and presented by David Whitworth, produced and directed by Noël Hardy (G. M. PEARCE) 28 87-88 Coriolanus, directed by Peter Hall, National Theatre, London, 8 May 1985 (G. M. PEARCE) 28 93-95 Coriolanus, directed by Jane Howell, The Young Vic, London, 27 May 1989 (Peter J. SMITH) 36 97-98 Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, Barbican Main Theatre, London, 2 May 1990 (Jill PEARCE) 38 95-96 Coriolanus, directed by Michael Bogdanov for the English Shakespeare Company, Theatre Royal, Nottingham, 12 December 1990 (Peter J. -
Falling Short: Suboptimal Outcomes in Canadian Defence Procurement
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2018-09-26 Falling short: suboptimal outcomes in Canadian defence procurement MacMillan, Ian MacMillan, I. (2018). Falling short: suboptimal outcomes in Canadian defence procurement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/33132 http://hdl.handle.net/1880/108780 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Falling short: suboptimal outcomes in Canadian defence procurement by Ian MacMillan A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MILITARY AND STRATEGIC STUDIES CALGARY, ALBERTA SEPTEMBER, 2018 © Ian MacMillan 2018 Abstract Why do Canada’s military procurement projects often fall short of their primary goals? Otherwise known as a suboptimal result, defence acquisitions regularly fall short of established delivery schedules, accruing cost-overruns, sometimes resulting in cancellation of key materiel. One-hundred percent of the twenty-five Major Crown Projects at the Department of National Defence have experienced delays in achieving key milestones. Aside from cost, suboptimal results are injurious to Canada’s tri-force military. Fortunately, the matter has not gone unchecked. A fairly recent surge in procurement research has generated a critical mass of Canadian-focused literature. -
Yvette Nolan: Playwright in Context
University of Alberta Yvette Nolan: Playwright in Context bY Valerie Shantz A thesis submitted to the Facultv of Graduate Studies and Research in partial fulfillment of the recpirements for the degree of Master of Arts Department of Drama Edmonton, Alberta Spring, 1998 National tibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 335 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis is concerned with providing a critical context for my work with Yvette Kolan, a Winnipeg based playwright. I chose to pursue this topic because as a drarnahirg and academic 1 have found few models on which to base our relationdup. My underlying assumptions were that in approachmg a dramatic text, a writer and her drarnaturg represent an ongoing histon of sirnilar relatiowhips.