DOCSLIB.ORG

Bren Mcelroy RESUME 2.22

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bren Mcelroy RESUME 2.22 Bren McElroy E: [email protected] SAG-AFTRA, AEA C: 617-768-7860 Height: 5’7” Weight: 159lbs Eyes: Green Hair: Brunette THEATER: Theory of Seduction, Professor Telly Kate Kataja Apollinaire Theatre, Chelsea, MA The Robb’d that Smiled, Woman, Lead Donal Kourtney Old Museum Arts Centre, Belfast The Robb’d that Smiled, Woman, Lead Terence Zeeman Focus Theatre, Dublin Fringe Fest Las Meninas, La Valliere World Premiere Michael D. Edwards San Jose Repertory Theatre The Air-conditioned Bubble, Wrote/Perf’d Robert Milz Celebration Theater, LA 8 Ways to Meet You Neighbor, Jane William McCauley Tamarind Theater, LA Othello, Bianca Richard Seyd American Conservatory Theater The Play’s the Thing, Ilona u/s Benny S. Ambush American Conservatory Theater Rosencrantz & Guildenstern Are Dead, Ophelia Richard Seyd American Conservatory Theater The Collection, Stella John Camera The Workhouse Theater, NYC Miss Julie, Julie David Allen Case Pulse Ensemble Theater, NYC Merry Wives of Windsor, Anne Page Daniel Page New Jersey Shakespeare Festival Diary of a Scoundrel, Matriosha Bonnie Monte New Jersey Shakespeare Festival The Passion of Dracula, Willhemina Ken Stack Acadia Repertory Theater Rumpelstiltskin, Patience Kathy Tyson Acadia Repertory Theater Uncle Vanya, Yelena David Maier A.C.T. Studio The Flight of the Earls, Bridgette Strain Randall Stuart A.C.T. Studio Light Up the Sky, Irene Livingston Amy Freed A.C.T. Studio The Comedy of Errors, Adriana Jane Powell B.A.D.A, Tricycle Theatre, London STAGED READINGS: Sex and Other Disturbances, Ruth Wilson Nadia Tass Gloucester Stage, MA Singleton, Penny Singleton Pete Riesenberg O.W.I./Central Square Theater, MA The Memory of Water, Teresa Jenny Israel Gloucester Stage, MA Two Ships Passing, Doris Ship Pete Riesenberg O.W.I. (Bureau of Theatre), MA Line of Decent, Ann, Lead William McCauley New Theater, Dublin, Ireland TELEVISION/ FILM: Fair City, Cassandra Hudson, Series Regular Niall Mathews/ Various RTE 1, Dublin, Ireland Young Adults, Phillis/Mom, Principal Rachel Napoliello RXN Pictures/ Tufts The Way You Smile, Sherry/GF, Supporting Bricen X Rudyard/ BU Short Films Sports Night, Regular Background Thomas Schlamme Touchstone Prods./ABC All My Children, Day Player Christopher Goutman ABC Prods./ ABC TV Dead Man on Campus,Girl Bookworm, Supporting Alan Cohn MTV Prods./Paramount Pic TRAINING: M.F.A., Acting, American Conservatory Theater. San Francisco, California. - Benny Sato Ambush, Jack Fletcher, Larry Hecht, Scott Freeman, Frank Ottiwell, Carey Perloff Professional Theater Training Internship held at the American Conservatory Theater (A.C.T.) B.A., Theater, Kenyon College. Gambier, Ohio. The British American Drama Academy (BADA). London, England. - Dorothy Tutin, Diana Quick, Fiona Shaw, Simon Callow, Norman Aaron, George Hall AWARDS: Joanne Woodward Acting Trophy rec’d Kenyon College for Best Female Performance as Miles in No Use National Champion in Dramatic Interpretation, with On Tidy Endings Nat’l Forensic League (NSDA) Arts Award received in Theater. Selected/awarded by National Foundation for the Arts SPECIAL SKILLS: Dual Citizenship: USA/Ireland; Voiceovers (demo available); Dialects: ALL, British & Irish esp.; guitar; biking horseback riding; ice-skating; skiing; swimming; US driver’s license; screenwriter w/current “Shopping Deal.
Load more

Recommended publications
  • Shakespeare, William Shakespeare
    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
    [Show full text]
  • Theatre Archive Project: Interview with David Simeon
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk David Simeon – interview transcript Interviewer: Kate Harris 10 November 2006 Actor. Alexandra Theatre, Birmingham; censorship; comedy; drama schools; Cyril Fletcher; John Gielgud; The Guildhall School of Drama; Johnson over Jordan; The Method; John Osborne; pantomime; Harold Pinter; repertory; Derek Salberg; Reggie Salberg; Salisbury theatre; television; Dorothy Tutin; variety. KH: This is an interview on 10th November with David Simeon interviewed by Kate Harris. Can I just confirm that I have got your permission for copyright on this interview? DS: You do indeed, absolutely, yes. KH: That’s great, thank you. I would just like to start by asking you about the beginning of your career, how you became interested in working in the theatre. DS: My first knowledge that I was going to be an actor was when I was round about four years old, and I’ll tell you… My grandmother taught me how to read by the time I was two. OK, not Proust, but I could read by the time I got to infant school. I must tell you this story because it actually has a bearing on what happened later. When I got to infant school I was four and I could, as I said, already read and so I was terribly bored watching people put A, B, C and D up on the blackboard, and by the time I was about five, suddenly this horrible man came into the second form of the infants who turned out to be the headmaster of the primary school opposite and he ordered me out, took me across the road, put me on a dais in front of the whole of the primary school, and I was made to read from the Bible at the age of five.
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • FROM LENIN to KHRUSHCHEV STATEMENT REQUIRED by the ACT of AUGUST 24, 1912, AS by William F
    and militantly protested America's ruth­ less oppression of Negroes. The U.S. Monroe, N. C. Government seeks my arrest at the re­ quest of Union County Klansmen be­ The American people have been who witnessed the incident say Wil­ cause my newsletter, The Crusader, was shocked and horrified, time and again, liams accorded the white couple protec­ in opposition to Kennedy's censorship at the blatant injustice of the courts, tion which the Stegalls had sought. plan. the police and the legislatures of the Racist Monroe officials, who collab­ "In conjunction with the KKK, the South. Their rabid racism has not only orate openly with known KKK leaders, U.S. Government is seeking to lynch mocked the most elementary sense of after six years of struggle with the me for political reasons. The U.S. Gov­ human decency in this country, and in­ militant Monroe anti-segregation lead­ ernment's interest is based solely upon ternationally, but has violated both the er, are undoubtedly quite capable of the fact that I refuse to be an Uncle spirit and the letter of the law of this concocting a frame-up against Robert Tom apologist for the State Department land. Williams. It would seem that this was and because I have openly supported Time and again, the majority of the the case. Even after consultation with Revolutionary Cuba. the police, Mrs. Stegall told North American people have voiced their in­ "The U.S. Government knows that I Carolina newspapers that Williams had dignation by demanding federal enforce­ am innocent of any crime.
    [Show full text]
  • Chapter 1: the Seventeenth Century Actresses
    Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31.
    [Show full text]
  • Drama and Cultural Transfer: John Osborne in Vienna”
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit “Drama and Cultural Transfer: John Osborne in Vienna” Verfasserin Maria Kasser Angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, im August 2008 Studienzahl lt. Studienblatt: A 190 344 313 Studienrichtung lt. Studienblatt: Lehramtstudium, UF Englisch, UF Geschichte, Sozialkunde, Polit. Bildung Betreuer: o. Univ. Prof. Dr. Ewald Mengel ii iii Hinweis Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin befähigt ist, wissenschaftliche Themen selbständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der/des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich, mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Es wird gebeten, diesen Hinweis bei der Lektüre zu beachten. Hiermit bestätige ich diese Arbeit nach bestem Wissen und Gewissen selbständig verfasst und die Regeln der wissenschaftlichen Praxis eingehalten zu haben. iv v Danksagung An dieser Stelle möchte ich mich bei all jenen bedanken, die mich während meines Studiums an der Universität Wien unterstützt haben: Ich danke allen meinen Professoren an der Universität Wien. Im Besonderen natürlich Dr. Ewald Mengel , dem ich dieses interessante Thema zu verdanken habe, und der mich in der Diplomarbeitsphase tatkräftig unterstützt hat. Bei meinen Eltern, Josef und Veronika Kasser , dafür, dass sie mir das Studium ermöglicht und immer an mich geglaubt haben. Bei meiner Schwester Johanna , die mit ihrem Ehrgeiz und ihrer Zielstrebigkeit immer ein Vorbild für mich war. Bei meinem Bruder Jürgen , für seine Gelassenheit, die sich auch auf mich übertragen hat.
    [Show full text]
  • Questions Answers 1 in the Novel a Christmas Carol By
    One point for each question except where stated otherwise Score for 30 Qs /63 Score for 40 Qs /84 Questions Answers 1 In the novel A Christmas Carol by Charles Dickens who is the Jacob Marley first ghost to visit Scrooge? 2 What was photographed for the first time in October 1959? The dark side of the moon 3 What type of bear featured in the book The Christmas Bear A Polar Bear by Henrietta Stickland? In what part of the world is this bear Artic found? (2 points) 4 On the TV programme Top Gear what is the nickname of Captain Slow James May? Which car was named Car of the Decade for the Bugatti Veyron 2000s by the Top Gear hosts? Was it (a) the Bugatti Veyron (b) the Rolls-Royce Phantom (c) the Lamborghini Aventador, or (d) the Aston Martin Vanquish. (2 points) 5 Which three of these ten words are misspelt? Caribbean accommodate, Caribean, disappear, embarrass, fluorescent pharaoh liaison, necessary, pharoah, separate, wierd (3 points) weird 6 What is the smallest historic county in England? Was the Rutland name first mentioned in (a) the Domesday book (b) the Edward the Confessor's Will Magna Carta, or (c) Edward the Confessor's will? (2 points) 7 In what TV programme is there an Og-Pog? In the Night Garden What is it and who uses it? (3 points) A trolley Makka-Packa 8 What objects are hidden in these anagrams (a) MUDDLING Plum Pudding PUP (4,7) (b) SMART HERETICS (9,4) (2 points) Christmas Tree 9 A pentagon has five sides, a hexagon six.
    [Show full text]
  • Three Different Cherry Orchards, Three Different Worlds: Chekhov at the BBC, 1962-1981
    Three different Cherry Orchards, three different worlds: Chekhov at the BBC, 1962-1981 Article Accepted Version Smart, B. (2014) Three different Cherry Orchards, three different worlds: Chekhov at the BBC, 1962-1981. Critical Studies in Television, 9 (3). pp. 65-76. ISSN 1749-6020 doi: https://doi.org/10.7227/CST.9.3.7 Available at http://centaur.reading.ac.uk/71897/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://doi.org/10.7227/CST.9.3.7 To link to this article DOI: http://dx.doi.org/10.7227/CST.9.3.7 Publisher: Manchester University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Three different Cherry Orchards, three different worlds: Chekhov at the BBC, 1962-1981. Billy Smart Abstract: Unlike the theatre, there is no established tradition of plays being revived (new productions made from existing scripts) on television. The only instance of this mode of production in Britain has been the regular adaptation of classic theatrical plays. The existence of three separate BBC versions of Chekhov’s The Cherry Orchard (1962, 1971, 1981) creates a rare opportunity to trace developing styles of direction and performance in studio television drama through three different interpretations of the same scene.
    [Show full text]
  • LOCANTRO Theatre
    Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth
    [Show full text]
  • Cultural Transfer NEU
    Diplomarbeit Titel der Diplomarbeit “Drama and Cultural Transfer: John Osborne in Vienna” Verfasserin Maria Kasser Angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, im August 2008 Studienzahl lt. Studienblatt: A 190 344 313 Studienrichtung lt. Studienblatt: Lehramtstudium, UF Englisch, UF Geschichte, Sozialkunde, Polit. Bildung Betreuer: o. Univ. Prof. Dr. Ewald Mengel ii iii Hinweis Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin befähigt ist, wissenschaftliche Themen selbständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der/des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich, mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Es wird gebeten, diesen Hinweis bei der Lektüre zu beachten. Hiermit bestätige ich diese Arbeit nach bestem Wissen und Gewissen selbständig verfasst und die Regeln der wissenschaftlichen Praxis eingehalten zu haben. iv v Danksagung An dieser Stelle möchte ich mich bei all jenen bedanken, die mich während meines Studiums an der Universität Wien unterstützt haben: Ich danke allen meinen Professoren an der Universität Wien. Im Besonderen natürlich Dr. Ewald Mengel , dem ich dieses interessante Thema zu verdanken habe, und der mich in der Diplomarbeitsphase tatkräftig unterstützt hat. Bei meinen Eltern, Josef und Veronika Kasser , dafür, dass sie mir das Studium ermöglicht und immer an mich geglaubt haben. Bei meiner Schwester Johanna , die mit ihrem Ehrgeiz und ihrer Zielstrebigkeit immer ein Vorbild für mich war. Bei meinem Bruder Jürgen , für seine Gelassenheit, die sich auch auf mich übertragen hat. Ein herzliches Dankeschön geht an Anna , die fünf Jahre lang eine tolle Mitbewohnerin war und mir, vor allem in der Diplomarbeitsphase, den nötigen Antrieb gegeben hat.
    [Show full text]
  • The English Theatre Studios of Michael Chekhov And
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/57044 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The English Theatre Studios of Michael Chekhov and Michel Saint-Denis, 1935-1965 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature Thomas Cornford, University of Warwick, Department of English and Comparative Literary Studies May 2012 1 Contents List of illustrations........................................................................................... 4 Declaration..................................................................................................... 8 Abstract........................................................................................................... 9 Preface............................................................................................................ 10 Introduction 1 The Theatre Studio in Context........................................ 12 Introduction 2 Chekhov and Saint-Denis in Parallel............................... 28 Section 1 The Chekhov Theatre Studio at Dartington, 1936- 1938...............................................................................
    [Show full text]
  • Shakespeare Filmography
    Shakespeare Filmography ENGL 205, 305, 306, and 507 — Professor William Hamlin Updated: 12 January 2015 All’s Well That Ends Well. Dir. John Dove. With Ellie Piercy, Sam Crane, and Janie Dee. Globe Theatre On Screen, 2011. Color. 138 minutes. All’s Well That Ends Well. National Theatre, London, 2009. See: www.youtube.com/watch?v=ae60Q0sr281 Antony and Cleopatra. Dir. Trevor Nunn. With Richard Johnson, Janet Suzman, Patrick Stewart, Rosemary McHale, Mavis Taylor Blake, Darien Angadi. 1975. Color. 161 minutes. Cleopatra. Dir. Joseph L. Mankiewicz. With Richard Burton, Elizabeth Taylor, Rex Harrison. Color. 1963. 246 minutes. As You Like It. Dir. Paul Czinner. With Laurence Olivier, Elisabeth Bergner. UK. 1936. Black and white. As You Like It. Dir. Kenneth Branagh. With Alfred Molina, Kevin Kline, Bryce Dallas-Howard, Romola Garai, Adrian Lester, Janet McTeer, David Oyelowo. 2007. Color. 127 minutes. Coriolanus. Dir. Ralph Fiennes. With Ralph Fiennes, Vanessa Redgrave, Gerard Butler, Brian Cox, Jessica Chastain. Color. 2011. 124 minutes. Hamlet. Dir. Laurence Olivier. With Laurence Olivier, Basil Sydney, Eileen Herlie, Jean Simmons, Peter Cushing. UK. 1948. Black and white. 155 minutes. Hamlet. Dir. Richard Burton. With Richard Burton, Hume Cronyn, Alred Drake, Eileen Herlie. 1964. Black and white. 191 minutes. Hamlet. Dir. Grigori Kosintsev. With Innokenti Smoktunovski. 1964. Hamlet at Elsinore. Dir. Philip Saville. With Christopher Plummer, Robert Shaw, June Tobin, Michael Caine, Jo Maxwell Muller, Roy Kinnear, Donald Sutherland. 1964. Black and white. 166 minutes. Hamlet. Dir. Rodney Bennett. With Derek Jacobi, Patrick Stewart, Claire Bloom. BBC and Time- Life Television Productions. 1980. Color. 215 minutes. Hamlet. Dir.
    [Show full text]