Fall 2018 at Seattle Theatre Group
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The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
Masculinity and Effeminacy in Early Modern Drama
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2020 “THE SKIPPING KING”: MASCULINITY AND EFFEMINACY IN EARLY MODERN DRAMA Danielle Johanna Sanfilippo University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Sanfilippo, Danielle Johanna, “THE" SKIPPING KING”: MASCULINITY AND EFFEMINACY IN EARLY MODERN DRAMA" (2020). Open Access Dissertations. Paper 1166. https://digitalcommons.uri.edu/oa_diss/1166 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. “THE SKIPPING KING”: MASCULINITY AND EFFEMINACY IN EARLY MODERN DRAMA BY DANIELLE JOHANNA SANFILIPPO A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2020 DOCTOR OF PHILOSOPHY DISSERTATION OF DANIELLE JOHANNA SANFILIPPO APPROVED: Dissertation Committee: Major Professor Travis Williams Jean Walton Rachel Walshe Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2020 Abstract This dissertation analyzes depictions of effeminacy and anxiety surrounding masculinity in early modern drama. Effeminacy is a frequently used term in the literature of the period, occurring seven times in Shakespeare alone. For my research, I combine literary analysis and performance criticism. I consulted the National Theatre Archives in London and the Shakespeare Birthplace Trust in Stratford to analyze performances of early modern plays. Effeminacy is a wide-reaching mode of being that makes several layers of meaning. For royals and men of rank, the presumption of effeminacy is a danger to the realm. -
Sundowning by Nessah Muthy
Sundowning by Nessah Muthy Betty . .Hazel Maycock Intrepid plays by fearless women since 1991 Teresa . Nadia Nadif Alyssa . Aasiya Shah Kali Theatre develops and tours ground breaking, Director . .Helena Bell thought provoking, contemporary theatre by women Writer . Nessah Muthy writers of South Asian descent. Designer . .Rajha Shakiry Lighting Designer . Pablo Fernandez Baz We seek out and nurture talented writers, bringing their experience and stories to audiences from all backgrounds to transform the theatre Sound Designer . .Dinah Mullen landscape and better reflect modern Britain. Video Designer . .Daniel Denton Sundowning Choreographer . Yarit Dor We have been championing women writers from a South Asian background for over twenty five years. We actively encourage our Production Manager . .Kate Jones by Nessah Muthy writers to reinvent the theatrical agenda and have gained a reputation Company Stage Manager . Charlotte R L Cooper for staging inspiring and provocative new theatre. Wardrobe Support . Alex Horner Our new Discovery and Festival Writer Development Programmes Kali Theatre encourage and support the creation of new work through writing Artistic Director . Helena Bell workshops, dramaturgical support and public readings. Executive Director . .Christopher Corner Administrator. Samia Djilli Publicist . Nancy Poole Find our more and join our mailing list at kalitheatre.co.uk Marketing . Reshmi Mayer Email us [email protected] Thanks to the staff of Plymouth Theatre Royal for all their support in creating this Like us facebook.com/kalitheatureUK production of Sundowning. Follow us @KaliTheatreUK Thanks to Pursued by a Bear who first commissioned Sundowning when under previous AD Helena Bell and in particular Julia Tymukas, Thomas Kell, Katharine Ives and Cathy Westbrooke who helped support early sharings. -
Gillian Bevan Is an Actor Who Has Played a Wide Variety of Roles in West End and Regional Theatre
Gillian Bevan is an actor who has played a wide variety of roles in West End and regional theatre. Among these roles, she was Dorothy in the Royal Shakespeare Company revival of The Wizard of Oz, Mrs Wilkinson, the dance teacher, in the West End production of Billy Elliot, and Mrs Lovett in the West Yorkshire Playhouse production of Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street. Gillian has regularly played roles in other Sondheim productions, including Follies, Merrily We Roll Along and Road Show, and she sang at the 80th birthday tribute concert of Company for Stephen Sondheim (Donmar Warehouse). Gillian spent three years with Alan Ayckbourn’s theatre-in-the-round in Scarborough, and her Shakespearian roles include Polonius (Polonia) in the Manchester Royal Exchange Theatre production of Hamlet (Autumn, 2014) with Maxine Peake in the title role. Gillian’s many television credits have included Teachers (Channel 4) in which she played Clare Hunter, the Headmistress, and Holby City (BBC1) in which she gave an acclaimed performance as Gina Hope, a sufferer from Motor Neurone Disease, who ends her own life in an assisted suicide clinic. During the early part of 2014, Gillian completed filming London Road, directed by Rufus Norris, the new Artistic Director of the National Theatre. In the summer of 2014 Gillian played the role of Hera, the Queen of the Gods, in The Last Days of Troy by the poet and playwright Simon Armitage. The play, a re-working of The Iliad, had its world premiere at the Manchester Royal Exchange Theatre and then transferred to Shakespeare’s Globe Theatre, London. -
Dominique Moore
14 City Lofts 112-116 Tabernacle Street London EC2A 4LE offi[email protected] +44 (0) 20 7734 6441 DOMINIQUE MOORE Finding Alice (ITV) A Confession (ITV) Four Weddings & A Funeral (Hulu) Television Role Title Production Company Director Producer, Tracey Soph EMILY ATACK SHOW Monkey Kingdom Tommy Forbes Yasmina (Series Regular) FINDING ALICE Bright Pictures / ITV Roger Goldby Steph Walker ANTHONY LA Productions / BBC Terry McDonough Yvette ENTERPRICE Fudge Park / BBC3 Ella Jones Rosie FOUR WEDDINGS & A FUNERAL MGM / Hulu Tristram Shapeero Miss X A CONFESSION ITV Paul Andrew Williams Mrs Connor CREEPED OUT (SEASON 2) Netflix Gareth Tunley Shirley TORVIL & DEAN ITV Gillies Mackinnon Journalist URBAN MYTH: THE TRIAL OF King Bert for Sky Arts Elliot Hegarty JOAN COLLINS Various TRACEY BREAKS THE NEWS BBC Dominic Brigstocke (SERIES 2) Serena MURDER IN SUCCESSVILLE Tiger Aspect James De Fond Rosie QUACKS Lucky Giant Andy De Emmony Various TRACEY BREAKS THE NEWS BBC Dominic Brigstocke (SERIES 1) Chelsea HENRY IX Retort Vadim Jean Various TRACEY ULLMAN’S SHOW BBC Nick Collett Ankita RED DWARF Baby Cow Productions Doug Naylor Yvette OBSESSION DARK DESIRES October Films Jonathan Davenport Cleopatra / Victorian Woman GORY GAMES Lion Television Dominic Brigstocke Various HORRIBLE HISTORIES SPECIALS Lion Television Steve Connelly Annie DRIFTERS (SEASON 2) Bwark Tom Marshall Zara HOLBY CITY BBC Griff Rowland Lottie THE JOB LOT (SEASON 2) Big Talk Productions Luke Snellin Marion THE MIMIC (SEASON 2) Running Bare Productions / Kieron Hawkes Channel 4 Julie POND -
THE TRACKERS of OXYRHYNCHUS by Tony Harrison
Press Information ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES Winter Season 2016-17 | October 2016 – January 2017 at the Finborough Theatre The first London production in nearly 30 years THE TRACKERS OF OXYRHYNCHUS by Tony Harrison. Directed by Jimmy Walters. Designed by Philip Lindley. Lighting by Rob Mills. Music by Piers Sherwood Roberts. Choreography by Amy Lawrence. Presented by Proud Haddock in association with Neil McPherson for the Finborough Theatre. Cast: Peta Cornish. Nik Drake. Richard Glaves. Sacha Mandel. Dylan Mason. Tom Purbeck. Dannie Pye. James Rigby. Adam Small. “I'm a God, Apollo, but I was tipped On a rubbish tip inside this manuscript. I’ve spent two thousand years asleep On an Oxyrhynchus rubbish heap." In a new production commissioned by the Finborough Theatre, the rediscovery of Tony Harrison’s The Trackers of Oxyrhynchus in its first London production for nearly 30 years opens at the Finborough Theatre for a four week limited season on Tuesday, 3 January 2017 (Press Nights: Thursday, 5 January and Friday, 6 January 2017 at 7.30pm). Egypt, 1907. Two archaeologists, Bernard Grenfell and Arthur Hunt, are searching for ancient fragments of poetry and plays, next to an old rubbish heap. Until the Greek God, Apollo, descends from the skies... Apollo is furious that they have failed to unearth the fragmentary text of a lost Satyr play by Sophocles. As he forces the two papyrologists to find the lost play, Grenfell and Hunt become part of the story they have discovered. Multi-award-winning poet and playwright Tony Harrison remakes the ancient Greek original into a play for our times – and rediscovers the satyr play. -
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) -
Evaluating Multi-Genre Broadcast Media Recognition
The MGB Challenge Evaluating Multi-Genre Broadcast Media Recognition Peter Bell, Jonathan Kilgour, Steve Renals, Mirjam Wester University of Edinburgh Mark Gales, Pierre Lanchantin, Xunying Liu, Phil Woodland University of Cambridge Thomas Hain, Oscar Saz University of Sheffield Andrew McParland BBC R&D mgb-challenge.org Overview Overview Establish an open challenge in core ASR research with common data and evaluation benchmarks on broadcast data Overview Establish an open challenge in core ASR research with common data and evaluation benchmarks on broadcast data Controlled evaluation of speech recognition, speaker diarization, and alignment Using a broad, multi-genre dataset of BBC TV output Subtitles & light supervision • Training data transcribed by subtitles (closed captions) – can differ from verbatim transcripts • edits to enhance clarity • paraphrasing • deletions where the speech is too fast • There may be • words in the subtitles that were not spoken • words missing in the subtitles that were spoken • Additional metadata includes speaker change information, timestamps, genre tags, … MGB Resources Fixed acoustic and language model training data – precise comparison of models and algorithms – data made available by BBC R&D Labs MGB Resources Fixed acoustic and language model training data – precise comparison of models and algorithms – data made available by BBC R&D Labs • Acoustic model training 1600h broadcast audio across 4 BBC channels (1 April – 20 May 2008), with as-broadcast subtitles – ~33% WER (26% deletions) • Language model -
Resuscitation Resuscitation on Television
Resuscitation 80 (2009) 1275–1279 Contents lists available at ScienceDirect Resuscitation journal homepage: www.elsevier.com/locate/resuscitation Simulation and education Resuscitation on television: Realistic or ridiculous? A quantitative observational analysis of the portrayal of cardiopulmonary resuscitation in television medical dramaଝ Dylan Harris a,∗, Hannah Willoughby b a Department of Palliative Medicine, Princess of Wales Hospital, Bridgend CF31 1RQ, United Kingdom b University Hospital of Wales, Cardiff, United Kingdom article info abstract Article history: Introduction: Patients’ preferences for cardiopulmonary resuscitation (CPR) relate to their perception Received 21 May 2009 about the likelihood of success of the procedure. There is evidence that the lay public largely base their Received in revised form 4 July 2009 perceptions about CPR on their experience of the portrayal of CPR in the media. The medical profession Accepted 9 July 2009 has generally been critical of the portrayal of CPR on medical drama programmes although there is no recent evidence to support such views. Objective: To compare the patient characteristics, cause and success rates of cardiopulmonary resuscita- Keywords: tion (CPR) on medical television drama with published resuscitation statistics. Cardiopulmonary resuscitation Television Design: Observational study. Media Method: 88 episodes of television medical drama were reviewed (26 episodes of Casualty, Casualty, 25 episodes of Holby City, 23 episodes of Grey’s Anatomy and 14 episodes of ER) screened between July 2008 and April 2009. The patient’s age and sex, medical history, presumed cause of arrest, use of CPR and immediate and long term survival rate were recorded. Main outcome measures: Immediate survival and survival to discharge following CPR. -
Council Leader Jack Hopkins Has Written To
From: The Leader of Lambeth Council Our Ref: Leader 2020 03 20 Your Ref: Rt Hon Rishi Sunak Chancellor of the Exchequer House of Commons London SW1A 0AA Sent by email: [email protected] CC: [email protected] Tuesday, 24 March 2020 RESILIENCE OF LAMBETH’S CULTURAL SECTOR AND ITS SELF-EMPLOYED WORKERS Dear Chancellor We write with concern about the impact Covid-19 will have on our borough’s cultural sector and its self-employed workers. Lambeth is rich with culture and the borough’s creative and digital industries provide 22,000 jobs, generating £1.8bn GVA to the economy. The borough is home to 20 Arts Council England National Portfolio Organisations, including the National Theatre, BFI, Rambert and the Southbank Centre. Organisations that play a key part in ensuring the diversity and accessibility of London’s cultural sector are located throughout our borough, including the Black Cultural Archives, The Old Vic, Young Vic, Extant, Corali, Ovalhouse Theatre and Streatham Space Project. VCS organisations such as Iconic Steps, Creative Sparkworks and Spiral Skills join the afore mentioned organisations, and many more, in partnership led initiatives spearheaded by the council and backed by the GLA. Designed to strengthen the sector and achieve inclusive growth, these initiatives and the very viability of organisations are now under threat. In order to protect the resilience of the sector, Lambeth Council is calling for further mitigating measures from government. While measures such as the job retention scheme are welcomed, urgent clarification is needed over the groups of workers covered (e.g. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Harold Sanditen
Harold Sanditen Harold was born in Oklahoma – you know, where the wind comes sweeping down the plain, Oklahoma – and has lived in London since 1987. In 2007, after 20 years as a UK based theatre producer, Harold decided to move on from producing and do something he’d always wanted to do – give singing/cabaret performance a try and see if he was any good at it! In September, 2008 he performed his first solo cabaret show, The Secret of Life, at The Duplex in New York. He figured if he was going to fail, it shouldn’t be on his home turf. The show was successful enough for Harold to bring it home to London, where he performed it in November, 2008 at Pizza on the Park. Harold’s second show, Love Exposed, was performed in London at Pizza on the Park as well as in New York at Don’t Tell Mama in 2009 and 2010. His third show, Thoughts ‘Round Midnight, was premiered in London at The Pheasantry in September 2010 and then in New York at Don’t Tell Mama in October. He reprised it at The Pheasantry in January 2011 prior to Chicago, New York and Hornchurch, Essex. Thoughts ‘Round Midnight returned to North America in June, 2011, where Harold made his Toronto, Los Angeles, San Diego and Palm Springs debuts. Thoughts ‘Round Midnight returned to The Pheasantry in October, 2011 and January, 2012. Shades of Blue, Harold’s fourth show, premiered in London at The Pheasantry in March 2012 and returned several times, as well as playing in New York at Don’t Tell Mama and The Metropolitan Room, in London at the Crazy Coqs, and at the Oklahoma Jazz Hall of Fame in Tulsa.