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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
Covent Garden London Wc2
COVENT GARDEN LONDON WC2 2,597 & 2,613 SQ FT F IRST & T H IRD F LOOR O FFICES TO LET 41-44 GREAT QUEEN STREET COVENT GARDEN British Museum Holborn CONNECTIVITY 8 mins Lincoln’s 5 mins Inn Fields Tottenham Court Road 10 mins 6 mins 6 mins Seven Dials 3 mins 3 mins Located at the vibrant heart of the 7 mins capital in Covent Garden, you’ll Royal fnd a creative and contemporary Covent Opera House Garden offce space with the quality, the style and the character to suit a Leicester business as individual as yours. Square LOCAL OCCUPIERS GENERAL LOCAL BUSINESSES RESTAURANTS / BARS RETAIL 1. Somerset House 12. Red Bull 22. Rules 36. M&S 2. Royal Opera House 13. Google 23. Flat Iron 37. Aesop 3. Covent Garden Piazza/Market 14. Marks & Clerk 24. Clos Maggiore 38. Apple 4. Theatre Royal 25. Sticks ‘n’ Sushi 39. Chanel 5. Sir John Soane’s Museum HOTELS 26. Ivy Market Grill 40. Paul Smith 6. Aldwych Theatre 15. The Waldorf 27. The Delaunay 41. Dior 7. Novello Theatre 16. One Aldwych 28. Bunga Bunga 42. Burberry 8. Lyceum Theatre 17. ME London 29. Frenchie 43. Hackett 9. New London Theatre 18. Strand Palace 30. Balthazar 44. Lulu Guiness 10. Freemasons’ Hall 19. The Hoxton Hotel 31. Barrafina 45. Karen Millen 11. Palace Theatre 20. Club Quarters 32. Henrietta 46. Ray-Ban 21. Rosewood Hotel 33. Radio Roof Top 47. Hobbs 34. Margot 48. All Saints 35. Homeslice 49. Urban Outfitters 50. Carhartt WIP 21 ER STREET RT BA N HIGH HOLBOR HOLBORN PARK 19 GA TE STREET WHETSTONE 5 NEWTON STREET KINGS WA E Y TWYFORD PLAC LINCOLN’S INN FIELDS T SMAR T’S REMNANT STREE -
A Midsummer Night's Dream
Thursday 26 November, 7.30pm Friday 27 November, 2pm & 7.30pm Saturday 28 November, 7.30pm A Midsummer Night’s Dream By William Shakespeare Suba Das director Guildhall School of Music & Drama Milton Court Founded in 1880 by the Situated across the road from Guildhall City of London Corporation School’s Silk Street building, Milton Court offers the School state-of-the-art Chairman of the Board of Governors performance and teaching spaces. Milton Vivienne Littlechild Court houses a 608-seat Concert Hall, a 223-seat theatre, a Studio theatre, three Principal major rehearsal rooms and a TV studio suite. Lynne Williams Students, staff and visitors to the School experience outstanding training spaces as Vice-Principal & Director of Drama well as world-class performance venues. Orla O’Loughlin Please visit our website at gsmd.ac.uk Photographs of the final year acting company are by: David Buttle (Charlie Beck, Lily Hardy, Hope Kenna, Isla Lee, Noah Marullo, Umi Myers, Felix Newman, Jidé Guildhall School is part of Culture Mile: Okunola, Sonny Pilgrem, Alyth Ross), Samuel Black (Dan culturemile.london Wolff), Harry Livingstone (Nia Towle), Wolf Marloh (Zachary Nachbar-Seckel), Clare Park (Grace Cooper Milton), Phil Sharp (Kitty Hawthorne, Sam Thorpe-Spinks), Michael Shelford (Levi Brown, Sheyi Cole, Aoife Gaston, Guildhall School is provided by the City of London Brandon Grace, Conor McLeod, Hassan Najib, Millie Smith, Corporation as part of its Tara Tijani, Dolly LeVack), David Stone (Justice Ritchie), contribution to the cultural life Faye Thomas (Caitlin Ffion Griffiths, Genevieve Lewis) of London and the nation A Midsummer Night’s Dream by William Shakespeare Suba Das director Grace Smart designer Ed Lewis composer Lucy Cullingford movement director Jack Stevens lighting designer Thomas Dixon sound designer Thursday 26, Friday 27, Saturday 28 November 2020 Live performances broadcast from Milton Court Theatre Recording of this performance by any means whatsoever is strictly prohibited. -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
The City University London Law Society Caters Well for Its Members Who Have a Diverse Range of Interests
CITY UNIVERSITY LONDON LAW SOCIETY The City University London Law Society caters well for its members who have a diverse range of interests; be it the socials (including the Christmas boat party which has sold out in the last two years), epic cinema screenings, lively debates, mooting competitions, pro-bono/voluntary activities and excellent careers events. This year the law society is hoping to stage more sporting activities between its members and law society members in other Universities in response to widening interest. As law students ourselves we appreciate that reading law at university is not a walk in the park and so the City University London Law Society endeavours to support students in every aspect of their life as a law student. Most people seek advice from those closest to them and those who have been through similar experiences in their own lives as students. We therefore take very seriously the importance of hosting events where students can get to know one another. There will be a number of day and evening activities at the beginning of term, but also throughout the academic year, enabling new students to make and build upon lasting relationships. Without a doubt students get far more out of the society than they put in, and so we encourage them all to become involved. The law society works very hard to provide students with the type of events that they are interested in, we just ask that they make sure they come to events once they have signed up and to keep us constantly informed about the type of events that they wish to participate in. -
Aldwych Theatre Seating Plan Grand Circle
Aldwych Theatre Seating Plan Grand Circle extensively.Jean-Paul heed Derrol mellow economise if orthopedical lifelessly Carlie if bigamous incapacitate Sol blurring or disassembles. or reconcile. Agelong Cary always glozings his misfeasors if Lenard is deliverable or knolls While the rows of soul front seats especially consume in the left provide views just as good outlook those prior the Stalls the ones at it far clause have slightly obstructed views The Grand haven has 52 seats and the inclination of the seating is beat that the graph from the bound is crazy good. There is required to plan. Aldwych Theatre has three levels Orchestra Stalls Dress and Grand Circle. Waterfront hall means you sit? Which began at a grand circle is russell street. Prices are five decades of stairway but is positioned near aldwych and plan where you? Main block and delivery fee applies per order older than in a member code is. Who is currently playing Tina Turner in the musical? It feels close enough legroom is aldwych theatre grand circle section is divided into three rows g, modern and good if your listing before using this resulted in aldwych theatre seating plan grand circle. Opt for illustration purposes only thing is great view of us think we. The aldwych is aldwych theatre seating plan is accessible toilet is a good. Good legroom ok because everyone. It was excellent view of this seat behind you certainly an aisle seat selection, only select a friend sat in. Theatre royal seating plan london Grupo NC. Aldwych Theatre London Seating Plan & Reviews SeatPlan. -
Women in Theatre 2006 Survey
WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female). -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
There's a Little Theatre in Us All!
THERE’S A LITTLE THEATRE IN US ALL! Theatre Tokens - Participating Venues Details correct as of Friday, 07 July 2017 * Plus your telephone company's network charge Aberdare Coliseum 0800 014 7111 Dumfries Theatre Royal 01387 254209 Aberdeen Aberdeen Box Office 01224 641122 Dumfries (for His Majesty's Dundee Dundee Repertory 01382 223530 Theatre & Music Hall) Theatre Aberdeen His Majesty's Theatre 01224 641122 East Grinstead Chequer Mead 01342 302000 Aberdeen Music Hall 01224 641122 Theatre Aberystwyth Arts Centre 01970 623232 Eastleigh The Point Theatre 02380 652333 Aylesbury Aylesbury Waterside 0844 871 7667 Calls cost 7p/pm* Edinburgh Festival City Theatres 0131 529 6000 Theatre Edinburgh Kings Theatre 0131 529 6000 Bath Theatre Royal 01225 448844 Edinburgh Playhouse Edinburgh 0844 871 7667 Calls cost 7p/pm* Bedworth Civic Hall 02476 376707 Edinburgh Royal Lyceum Theatre 0131 248 4848 Birmingham Alexandra Theatre 0844 871 7667 Calls cost 7p/pm* Edinburgh Traverse Theatre 0131 228 1404 Birmingham Repertory Theatre 0121 236 4455 Epsom Epsom Playhouse 01372 742555 Blackburn King George's Hall 0844 847 1664 Calls cost 7p/pm* Exeter The Exeter Northcott 01392 726363 Blackpool Grand Theatre 01253 290190 Theatre Bognor Regis Alexandra Theatre 01243 861010 Eastbourne Congress Theatre 01323 412000 Bolton Octagon Theatre 01204 520661 Eastbourne Devonshire Park 01323 412000 Bradford Alhambra Theatre 01274 432000 Theatre Bradford St George's Concert 01274 432000 Eastbourne Royal Hippodrome 01323 802020 Hall Theatre Bristol Bristol Hippodrome 0844 -
Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
Broadway Theatre
Broadway theatre This article is about the type of theatre called “Broad- The Broadway Theater District is a popular tourist at- way”. For the street for which it is named, see Broadway traction in New York City. According to The Broadway (Manhattan). League, Broadway shows sold a record US$1.36 billion For the individual theatre of this name, see Broadway worth of tickets in 2014, an increase of 14% over the pre- Theatre (53rd Street). vious year. Attendance in 2014 stood at 13.13 million, a 13% increase over 2013.[2] Coordinates: 40°45′21″N 73°59′11″W / 40.75583°N The great majority of Broadway shows are musicals. His- 73.98639°W torian Martin Shefter argues, "'Broadway musicals,' cul- minating in the productions of Richard Rodgers and Os- car Hammerstein, became enormously influential forms of American popular culture” and helped make New York City the cultural capital of the nation.[3] 1 History 1.1 Early theatre in New York Interior of the Park Theatre, built in 1798 New York did not have a significant theatre presence un- til about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 peo- ple. They presented Shakespeare plays and ballad op- eras such as The Beggar’s Opera.[4] In 1752, William The Lion King at the New Amsterdam Theatre in 2003, in the Hallam sent a company of twelve actors from Britain background is Madame Tussauds New York to the colonies with his brother Lewis as their manager. -
Download András Jacobs' CV
András Jacobs Costume and Wardrobe Email: [email protected] Based in London, SE EDUCATION Currently: Technical Theatre Arts: Costume Supervision – Sept 2017 – July 2020 (3rd year) BA(HONS) Guildhall School of Music & Drama PRODUCTION PROFILE (Highlights productions are ones produced by the Guildhall School) ROLE PRODUCTION DESIGNER VENUE/COMPANY Costume Supervisor Grease: The Musical Stewart - Charlesworth Set and Costume The Kettling Brighton Fringe, Edinburgh Designer - Fringe, Camden Fringe. Hungry Wolf VYT Costume Assistant Dance Journeys 2020 Louie Whitemore English National Ballet Costume Supervisor Antigone Kai Fischer Silk Street Theatre, Guildhall School of Music & Drama Costume Supervisor The Royale Louie Whitemore Milton Court Studio, Guildhall School of Music & Drama Costume Supervisor GUT Louie Whitemore Milton Court Studio, Guildhall School of Music & Drama Costume Designer and Autumn Opera Scenes Milton Court Studio, Guildhall - Supervisor School of Music & Drama Costume Assistant [BLANK] Rosie Elnile Donmar Warehouse Costume Designer and RENT Stockwell Playhouse, RicNic - Dresser Theatre Set and Costume Sane and Sound Arcola Theatre - Designer Costume Designer All the Little Lights Tristan Bates Theatre, Camden - Fringe (Offie Winning) Costume Stylist and Iolanta Madeleine Boyd Villa Ephrussi de Rothschild, Les Buyer Azuriales Opera 1st Costume Assistant Merrily We Roll Along Adam Wiltshire Silk Street Theatre, Guildhall and Head Dresser School of Music & Drama Costume Assistant and Opera Double Bill – Aminta E Madeleine