February 2012

Total Page:16

File Type:pdf, Size:1020Kb

February 2012 A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD • FEBRUARY 2012 THE GRAND TOUR A day in Birmingham - 30 June, 2012 to see Joe Layton’s ballet on Noël Coward’s music ‘The Grand Tour’ AND visit the Coward Special Collection at Birmingham University. HAY FEVER A confirmed date is now Thursday 16th February, 2012 for an evening performance at The Noël Coward Theatre. Our special discount offers 35 seats reduced to £32.50 each. Noël Coward in the garden at Goldenhurst PRODUCED AND PUBLISHED BY THE INTERNATIONAL NOËL COWARD SOCIETY - 1- www.noëlcoward.net EDITORIAL hat a day to remember! In the UK celebrating the Master’s birthday on the actual day still allowed some 75 members and guests to join in the celebrations and importantly allowed us to use the wonderful facilities of The Grand Saloon at the Theatre Royal, Drury Lane. Our thanks to our special guests, Robert and Pirjo Gardiner and Alan Farley, to everyone who came, personal thanks to Denys Robinson and Stephen Greenman who ensured the smoothest of sailings through the day. The theatre provided a first rate service for drinks and lunch with the numerous ‘Red Butlers’ and bar staff proving to be both efficient and involved in the occasion, ensuring we enjoyed their company as well as the quality of their service. A special thank you to Richard Briers and his wife Anne who were our honoured guests for the flower-laying. His rendition of the Coward verse, ‘When I have Fears’ will be appearing on the website soon. In New York on Sunday 18th December members witnessed the talented actor and singer Christine Ebersole lay flowers on Noël’s statue at the Gershwin Theater and join cabaret artist Richard Holbrook, both accompanied by Christopher Denny on the piano, at the Manhattan Club in Rosie O’Grady’s, New York. The New Year in London begins with Hay Fever , the first Coward play to be featured at Cameron Mackintoshes’ Noël Coward theatre since its naming in June 2006. Noël appeared in his own play, I'll Leave It To You , at the then New Theatre in 1920, the first West End production of one of his plays. John Knowles CONTENTS ––––––––––––––––––––––––––––––––––––– Editorial 2 Noël’s Steinway Grand Comes to Town 11 The Grand Tour - NCS Events 30 June 3 17, Gerald Road 12 A long voyage home 4 Coward on the Coast 16 Café de Pairs and Hay Fever NCS Events 6 Family Album - Bermuda 21 Coward Birthday NCS Events - London 7 Happy Memories of Noël 24 Coward Birthday NCS Events - New York 8 The E & O Hotel 25 Hancock’s Peace in Our Time 9 Noël Coward Birthday Celebrations - Gallery 26 Making the Master 10 Noël Coward in New York 28 Home Chat is a magazine produced by The Noël Coward Society , funded through the generosity of The Noël Coward Foundation. Noël Coward Ltd. Chairman: Robert Gardiner Directors: Denys Robinson, Stephen Greenman and John Knowles, Company Secretary: Graham Martin. The Noël Coward Society: President: HRH The Duke of Kent Vice Presidents: Maria Aitken, Barry Day OBE, Stephen Fry, Tammy Grimes, Penelope Keith CBE Organising Committee: Chairman and General Manager: John H. Knowles, Finance and Resources: Stephen Greenman, Events Organiser: Denys Robinson, Membership : Stephen Duckham, Media: Michael Wheatley-Ward, North American Director : Ken Starrett, US West Coast Liaison : Kathy Williams, NCS in Australia : Kerry Hailstone, NCS in France : Hélène Catsiapis Home Chat: Editor: John H. Knowles, US NCS news: Ken Starrett, Publication and Distribution: Stephen Greenman Assistant Editors and Proofing: Kathy Williams and Ken Starrett, Music correspondent: Dominic Vlasto. Details of productions and events are as received, with our thanks, from: Samuel French (Play Publishers and Author’s Representatives), Ken Starrett (US), Alan Brodie Representation (Professional Productions), NCS members and theatre companies. NCS website: www.noëlcoward.net Unless otherwise stated all images and text are copyright to NC Aventales AG Key Addresses: Committee Chairman & General Manager: John Knowles, 29 Waldemar Avenue, Hellesdon, Norwich, NR6 6TB, UK [email protected] +44 (0) 1603 486 188 Finance & Resources: Stephen Greenman, 64 Morant Street, London, E14 8EL [email protected] Events Organiser: Denys Robinson, 4 Parkside, Vanbrugh Fields, London, SE30 7QQ + 44 (0) 2082 658 879 email: [email protected] Membership Secretary: Stephen Duckham, 47 Compass Court, Norfolk Street, Coventry,West Midlands, CV1 3LJ [email protected] +44 (0) 2476 229 502 Press and Media Manager: Michael Wheatley-Ward, Chandos House, 14 Vale Square, Ramsgate, Kent CT11 9DF [email protected] North American Director : Ken Starrett, 49 West 68th Street, Apt 1 R New York, New York, 10023, USA [email protected] US West Coast Liaison : Kathy Williams, 141 Stonegate Road, Portola Valley, California 94028-7648 USA kathywilliams@noëlcoward.net NCS in Australia : Kerry Hailstone, 10A Westall Street, Hyde Park, South Australia, 5061 Australia [email protected] NCS in France : Hélène Catsiapis, 115, Boulevard de Port-Royal F-75014 Paris, France [email protected] - 2- Birmingham Hippodrome Saturday June 30 Probably one of the most exciting events for Coward enthusiasts in the UK this year - The Grand Tour at Birmingham Hippodrome. Join us for this extraordinary occasion - details on the enclosed booking form. On the following page is an article from ‘Entrechat’ - the Hippodrome’s house magazine. Assistant Director Marion Tait provides some detailed background on the history of the show. The Grand Tour was created by the American choreographer Joe Layton for the Royal Ballet’s touring company and was premiered by them at the Theatre Royal, Norwich on February 10th, 1971. Based on a number of famous Coward songs the score is by veteran Broadway arranger Hershy Kay, who a year earlier had produced WHO CARES? for George Balachine from the Gershwin songbook. The decor and costumes were the work of John Conklin. The show features ‘Mad Dogs and Englishmen’, ‘I’ll Follow My Secret Heart’, ‘Has Anybody Seen Our Ship’, I’ll See You Again’, ‘The Stately Homes of England’, ‘Mrs. Worthington’, ‘Half-Caste Woman’, and ‘If Love Were All’. A long voyage home Assistant Director Marion Tait waxes lyrical about the welcome return of Joe Layton’s The Grand Tour. Broadway producer Joe Layton had been looking for a Marion Tait as Mary Pickford; PHOTO: Leslie E. Spatt company with the right faces for a new 1920s character ballet. In February 1971, he found the people he needed in the Royal Ballet New Group. 40 years on, it is an experience that Assistant Director Marion Tait remembers very fondly. I think Grand Tour was the first time we had a Broadway producer come and work with the Company, and for me, it was the highlight of my career so far – I’d always wanted to work on Broadway, amidst all the glitz. Joe was very, very strict though, almost ruthless, but they are, Broadway producers. He was also very slick in his rehearsals and went into a lot of detail. He wasn’t only having to make the steps up (I can remember that he used to choreograph as he went along, though I’m sure he did a lot of work at home too), but he was also having to teach his dancers to be the characters. At that time, some of them were still alive – Joe had met them and had worked with Noël Coward a lot. So, the story... There’s an American tourist (originally danced by Vyvyan Lorrayne) and a bunch of celebs – Noël Coward [1899-1973; famed playwright, composer, director, actor and singer] danced by Gary Sherwood with Desmond Kelly his second cast, Gertrude Lawrence [1898-1952; West End actress and musical comedy performer] danced by Deidre O’Conaire, and George Bernard Shaw [1856-1950; Irish playwright and a co-founder of the London School of Economics] danced by David Drew. David Bintley also covered this role – I’m positive I saw him dance it, but he says United Artists] danced by Doreen Wells, and Douglas he never got the chance. There was also Theda Bara [1885- Fairbanks [1883-1939; American actor, screenwriter, director 1955; American silent film actress and one of the first sex and producer] danced by Paul Clarke – a real Douglas symbols] danced by Sheila Humphreys, Mary Pickford [1892- Fairbanks character with big white teeth! Alain Dubreuil was 1979; Canadian- born actress and co-founder of the film studio second cast for him. The celebs. pose for a photo. Left to right: Derek Purnell as the Chief Steward, Michael Corder as Noël Coward, Judith Rowann as Gertrude Lawrence, June Highwood as Alice B. Toklas, Susan Crow as the American Tourist, David Morse as Gertrude Stein, Marion Tait as Mary Pickford, Carl Myers as Douglas Fairbanks, Chenca Williams as Theda Bara and Stephen Wicks as George Bernard Shaw. PHOTO: Leslie E. Spatt - 4- Gertrude Stein [1874-1946; American writer, poet and art player went wrong. It suddenly went really, really fast, making collector] and Alice B. Toklas [1877-1967; Stein’s confidante, that awful squeaky noise (like the comedy voices on TV, lover, cook, secretary, muse, editor, critic, and general babbling at the other end of a telephone). Michael Corder, who organiser] are there as a couple too. Nicholas Johnson was was playing Noël that night, followed it exactly, then it Gertrude (in drag; it had to be a man for all the partnering) and suddenly went r-e- a-l-l-y s-l-o-w, and he followed that too! We Jeanetta Laurence was Alice – a wonderful role in a tweed suit were supposed to be dancing, but I just buried my face in and beret – a bit like Victoria Wood: ‘Ave yer seen mi friend?’.
Recommended publications
  • Imperial Desire and Masculine Crisis in Early Francoist Film Representations of the Loss of the Philippines and Cuba
    IMPERIAL DESIRE AND MASCULINE CRISIS IN EARLY FRANCOIST FILM REPRESENTATIONS OF THE LOSS OF THE PHILIPPINES AND CUBA Jo Labanyi New York University It is well known that one of the prime motives triggering the Nationalist uprising against the Second Republic in 1936 was military resentment at the loss of empire, perceived by the military as the fault of inept politicians to whose orders they were subordinate. As is also well known, the 1941 film scripted by General Franco, Raza , starts in 1898 with the return of its naval-captain patriarch, Churruca, from service in the Philippines, only to be despatched immediately to Cuba, dying in battle against the US fleet. Churruca complains that the Spanish government’s ‘neglect’ of the Philippines is aggravating insurrection. The Spanish naval commander in Cuba, as he sends his captains into battle against the US fleet, tells them they are going to certain defeat but have to obey government orders. In Raza , this discourse on empire is intimately bound up with a discourse on patriarchy; past military defeats are compensated, not just by the Nationalist victory parade of April 1939 which ends the film, but by the docility with which, throughout the movie, women accept their role of “service” to men. The obverse of this is that male heroism depends on women continuing to play this instrumental role: a dependence on women that is the source of male unease. The two films discussed in this article -Los últimos de Filipinas and Bambú , both made in 1945 and set against the independence struggle in the Philippines and Cuba respectively- oscillate between stress on male bonding, which excludes women, and the dramatization of women’s power over men.
    [Show full text]
  • 1 BBC Four Biopics
    BBC Four biopics: Lessons in Trashy Respectability The broadcast of Burton and Taylor in July 2013 marked the end of a decade- long cycle of feature-length biographical dramas transmitted on BBC Four, the niche arts and culture digital channel of the public service broadcaster. The subjects treated in these biopics were various: political figures, famous cooks, authors of popular literature, comedians and singers. The dramas focused largely on the unhappy or complex personal lives of well-loved figures of British popular culture. From the lens of the 21st century, these dramas offered an opportunity for audiences to reflect on the culture and society of the 20th century, changing television’s famous function of ‘witness’ to one of ‘having witnessed’ and/or ‘remembering’ (Ellis, 2000). The programmes function as nostalgia pieces, revisiting personalities familiar to the anticipated older audience of BBC Four, working in concert with much of the archive and factual content on the digital broadcaster’s schedules. However, by revealing apparent ‘truths’ that reconfigure the public images of the figures they narrate, these programmes also undermine nostalgic impulses, presenting conflicting interpretations of the recent past. They might equally be seen as impudent incursions onto the memory of the public figures, unnecessarily exposing the real-life subjects to censure, ridicule or ex post facto critical judgement. Made thriftily on small budgets, the films were modest and spare in visual style but were generally well received critically, usually thanks to writerly screenplays and strong central performances. The dramas became an irregular but important staple of the BBC Four schedule, furnishing the channel with some of their highest ratings in a history chequered by low audience numbers.
    [Show full text]
  • HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 She Went on to Become a Nationally Recognised Figure in the British Cinema of the 1950S and 60S
    Hattie Jacaues Born 127 High St 1922 Chapter Twelve HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 she went on to become a nationally recognised figure in the British cinema of the 1950s and 60s. Her father, Robin Jacques was in the army and stationed at Shorncliffe Camp at the time of her birth. The Register of Electors shows the Jacques family residing at a house called Channel View in Sunnyside Road. (The register shows the name spelled as JAQUES, without the C. Whether Hattie changed the spelling or whether it was an error on the part of those who printed the register I don’t know) Hattie, as she was known, made her entrance into the world in the pleasant seaside village of Sandgate, mid way between Folkestone to the east and Hythe to the west. Initially Hattie trained as a hairdresser but as with many people of her generation the war caused her life to take a different course. Mandatory work saw Hattie first undertaking nursing duties and then working in North London as a welder Even in her twenties she was of a generous size and maybe as defence she honed her sense of humour after finding she had a talent for making people laugh. She first became involved in show business through her brother who had a job as the lift operator at the premises of the Little Theatre located then on the top floor of 43 Kings Street in Covent Garden. At end of the war the Little Theatre found itself in new premises under the railway arches below Charing Cross Station.
    [Show full text]
  • Bounty Killer
    KickArc and Raindance Entertainment present a Kickstart Production in association with Just Chorizo Productions Bounty Killer Directed by Henry Saine Written by Jason Dodson, Henry Saine & Colin Ebeling Produced by Jason Netter Produced by Colin Ebeling & Henry Saine Executive Produced by Bobby Gerber Tucker Moore Bounty Killer Synopsis It’s been 20 years since the corporations took over the world’s governments. Their thirst for power and profits led to the Corporate Wars, a fierce global battle that laid waste to society as we know it. Born from the ash, the Council of Nine rose as a new law and order for this dark age. To avenge the corporations’ reckless destruction, the Council issues death warrants for all white collar criminals. Their hunters -- the bounty killer. From amateur savage to graceful assassin, the bounty killers now compete for body count, fame and a fat stack of cash. They’re ending the plague of corporate greed and providing the survivors of the apocalypse with retribution. These are the new heroes. This is the age of the BOUNTY KILLER. ____________________________________________________________________ Two of the highest ranked bounty killers in the Thrice Burned Lands, Drifter (Matthew Marsden) and Mary Death (Christian Pitre) team up to exterminate a party full of yellow-tied corporate criminals. Drifter’s explosive killing style is in stark contrast to Mary’s graceful way of delivering death to white collar scum. Despite their difference in style, they exhibit level of comfort with one another that seems to indicate a long and dynamic history between these celebrity assassins. After the fight moves to a skyscraper’s rooftop, Drifter disposes of his intended target and saves Mary from falling to her death -- just another day at the office.
    [Show full text]
  • The Nation's Matron: Hattie Jacques and British Post-War Popular Culture
    The Nation’s Matron: Hattie Jacques and British post-war popular culture Estella Tincknell Abstract: Hattie Jacques was a key figure in British post-war popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the hospital-set films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British post-war politics, culture and identity, are explored here in relation to Jacques’s complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques’s star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the matron. Keywords: Hattie Jacques; Matron; Carry On films; ITMA; Hancock’s Half Hour; Sykes; star persona; post-war British cinema; British popular culture; transgression; carnivalesque; comedy; femininity; nursing; class; spinster. 1 Hattie Jacques (1922 – 1980) was a gifted comedienne and actor who is now largely remembered for her roles as an overweight, strict and often lovelorn ‘battle-axe’ in the British Carry On series of low- budget comedy films between 1958 and 1973. A key figure in British post-war popular cinema and culture, Hattie Jacques’s star meanings are condensed around the contradictions she articulated between power, desire, femininity and class.
    [Show full text]
  • Buchan School Magazine 1971 Index
    THE BUCHAN SCHOOL MAGAZINE 1971 No. 18 (Series begun 195S) CANNELl'S CAFE 40 Duke Street - Douglas Our comprehensive Menu offers Good Food and Service at reasonable prices Large selection of Quality confectionery including Fresh Cream Cakes, Superb Sponges, Meringues & Chocolate Eclairs Outside Catering is another Cannell's Service THE BUCHAN SCHOOL MAGAZINE 1971 INDEX Page Visitor, Patrons and Governors 3 Staff 5 School Officers 7 Editorial 7 Old Students News 9 Principal's Report 11 Honours List, 1970-71 19 Term Events 34 Salvete 36 Swimming, 1970-71 37 Hockey, 1971-72 39 Tennis, 1971 39 Sailing Club 40 Water Ski Club 41 Royal Manx Agricultural Show, 1971 42 I.O.M, Beekeepers' Competitions, 1971 42 Manx Music Festival, 1971 42 "Danger Point" 43 My Holiday In Europe 44 The Keellls of Patrick Parish ... 45 Making a Fi!m 50 My Home in South East Arabia 51 Keellls In my Parish 52 General Knowledge Paper, 1970 59 General Knowledge Paper, 1971 64 School List 74 Tfcitor THE LORD BISHOP OF SODOR & MAN, RIGHT REVEREND ERIC GORDON, M.A. MRS. AYLWIN COTTON, C.B.E., M.B., B.S., F.S.A. LADY COWLEY LADY DUNDAS MRS. B. MAGRATH LADY QUALTROUGH LADY SUGDEN Rev. F. M. CUBBON, Hon. C.F., D.C. J. S. KERMODE, ESQ., J.P. AIR MARSHAL SIR PATERSON FRASER. K.B.E., C.B., A.F.C., B.A., F.R.Ae.s. (Chairman) A. H. SIMCOCKS, ESQ., M.H.K. (Vice-Chairman) MRS. T. E. BROWNSDON MRS. A. J. DAVIDSON MRS. G. W. REES-JONES MISS R.
    [Show full text]
  • HANCOCK's HALF HOUR COLLECTIBLES Notes To
    HANCOCK’S HALF HOUR COLLECTIBLES Notes to Accompany Volume 3 All photographs copyright (C) BBC (unless otherwise stated) The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost works of Tony Hancock. Tony Hancock: BBC Publicity Shot for Hancock’s Half Hour, November 1956 The Tony Hancock Appreciation Society (THAS) Since its creation in 1976, the THAS has dedicated itself to preserving and promoting the works of Tony Hancock and, more crucially, to finding his broadcasts that were missing from the archives. Over the decades, these efforts have yielded a wealth of material, most notably lost episodes of his most beloved work on Hancock’s Half Hour for both television and radio. Many of these have now been located and returned to the BBC; some feature in this special series of Collectibles, now into 1 its third volume. However, many still remain lost at this time. In addition, our efforts have found other material – shows recorded before Hancock became a household name – from series such as Calling All Forces, Variety Bandbox and Star Bill. Again, examples of these can be found in this series. In the previous volumes, there was an extensive analysis of missing recordings from Hancock’s radio career, and, as ever, we remain hopeful that some of these recordings will emerge from private collections or, perhaps, the archives of the BBC or other institutions. In these notes, we will focus on a number of missing recordings and shows outside the ‘core’ work Hancock did on his eponymous series and those that preceded it.
    [Show full text]
  • „Nowhere to Go but Up“? Die Gattungsmerkmale Des Musicals
    „Nowhere to Go But Up“? Die Gattungsmerkmale des Musicals Dissertation zur Erlangung des Grades der Doktorin der Philosophie an der Fakultät für Geisteswissenschaften der Universität Hamburg im Promotionsfach Historische Musikwissenschaft vorgelegt von Sarah Baumhof Hamburg, 2021 Tag der Disputation: 21.1.2021 Vorsitzende der Prüfungskommission: Prof. Dr. Ivana Rentsch Erstgutachterin: Prof. Dr. Ivana Rentsch Zweitgutachter: Prof. Dr. Oliver Huck Anmerkungen zu Begrifflichkeiten, Schreibweisen und Quellenangaben ............................................ IV 1 Einleitung .......................................................................................................................... 1 1.1 Ziel und Titel der Dissertation .................................................................................... 1 1.2 Aktueller Forschungsstand ......................................................................................... 2 1.2.1 Sekundärliteratur: Umfang und Publikationsart ..................................................... 2 1.2.2 Subjektivität und qualitative Mängel ...................................................................... 6 1.2.3 Geographische Zentrierung .................................................................................. 11 1.2.4 Fehlende Musikanalyse ........................................................................................ 13 1.2.5 Determiniertheit .................................................................................................... 15 1.3 Fragestellung und
    [Show full text]
  • Home Chat of the Lindsay Duncan Option 1 the Full Day , Birmingham University; Lunch; Planned Arrangements
    A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD • NOVEMBER 2011 NOËL’S BIRTHDAY In the UK, 16th December. AGM at the Noël Coward Theatre, Richard Briers will guest at the flower-laying ceremony, luncheon at the Grand Saloon, Theatre Royal, Drury Lane - AND Rebecca Caine and Stefan Bednarczyck in cabaret. In the US On the 17th, a screening at the Paley Center, New York, of a film not previously shown, with the flower-laying ceremony and luncheon on the 18th - not to be missed! THE GRAND TOUR A day in Birmingham - 30 June 2012 to see Coward’s ballet ‘The Grand Tour’ AND visit the Coward Special Collection at Birmingham University. HAY FEVER A date for your diary - Saturday 17th March 2012 for a matinée performance at The Noël Coward Theatre. Hay Fever stars Lindsay Duncan, Jeremy Northam, Kevin McNally and Olivia Colman. - date confirmation and more to follow. STAR QUALITY The World of Noël Coward An exhibition that has toured the world reaches New York and will prove to be the most comprehensive yet! March through August 2012. Supported by a range of US Noël Coward events. Noël Coward and Kay Thompson with ‘Matelot’at Goldenhurst PRODUCED AND PUBLISHED BY THE INTERNATIONAL NOËL COWARD SOCIETY - 1- www.noëlcoward.net EDITORIAL he most exciting period in the world of Coward lies ahead of us as we move towards the end of the year and embrace 2012. Lindsay Duncan will play Judith Bliss in a new West End production of Hay Fever , the first time a Coward play has been revived in the Noël Coward Theatre since it was refurbished and renamed after him.
    [Show full text]
  • AS-2013-14-Brochure-3.Pdf
    2013 2014 Welcome to ArtSpring’s 2013-14 season of great music, theatre, dance and spoken word programming. What’s new this year? • For the first time in several years we are offering a Theatre series, with the ArtsClub’s production of Driving Miss Daisy as a centrepiece, bracketed by two excellent one-actor plays. • After two successful years, we will take a break from our Gallery Cabaret series in 2013-14. “From the moment she sat down at the piano, Rana sent chills through What hasn’t changed? the room. Throughout the recital, • Ticket pricing for all our events remains unchanged she demonstrated her power, from comparable shows last season. However, with the consistency, subtlety and remarkable reintroduction of GST, the effective price of our tickets has range of musical textures.” decreased by 7%, so you will see lower total amounts when - LA SCENA MUSICALE you buy either subscriptions or single tickets. • We continue to offer $5 admission for all youth because we believe it important for young people to become exposed to fine and varied live performances. • The basic subscription packages you have become accustomed to (Great Performers, On Stage, ArtSwings and Dance) continue as before. This brochure is colour coded to Photo: Julien Faugere make it easier for you to identify which performances are part of these series. • We again offer the opportunity to create your own subscription package (Make Your Own Meal) since this has Beatrice Rana, piano proved very popular. • The Metropolitan Opera broadcasts will continue, though there wasn’t enough room in this brochure to list next season’s operas.
    [Show full text]
  • Brief Encounter
    NOËL COWARD’S BRIEF ENCOUNTER STUDY PACK “I’m not very keen on Hollywood…I’d rather have a nice cup of cocoa really” - Noël Coward Highlights Of A Life And Career 1899 16 December, Noël Peirce Coward born in Teddington, Middlesex, eldest surviving son of Arthur Coward, piano salesman and Violet. His early circumstances were of refined suburban poverty. 1907 First public appearances in school and community concerts. 1908 Family moved to Battersea and took in lodgers. 1911 First professional appearance as Prince Mussel in The Goldfish, produced by Lila Field at the Little Theatre and revived in same year at Crystal Palace and Royal Court Theatre. Cannard, the page-boy, in The Great Name at the Prince of Wales Theatre and William in Where the Rainbow Ends with Charles Hawtrey’s Company at the Savoy Theatre. 1912 Directed The Daisy Chain and stage-managed The Prince’s Bride at Savoy in series of matinees featuring the work of the children of the Rainbow cast. Mushroom in An Autumn Idyll ballet, Savoy. 1913 An angel (Gertrude Lawrence was another) in Basil Dean’s production of Hannele. Slightly in Peter Pan, Duke of York’s. 1914 Toured in Peter Pan. Collaborated with fellow performer Esmé Wynne on songs, sketches, and short stories. Coward as a teenager 1915 Admitted to sanatorium for tuberculosis. 1916 Five-month tour as Charley in Charley’s Aunt. Walk-on in The Best of Luck, Drury Lane. Wrote first full-length song, ‘Forbidden Fruit’. Basil Pycroft in The Light Blues, produced by Robert Courtneidge, with daughter Cicely also in cast, Shaftesbury.
    [Show full text]
  • A Opera Catalogue Sectio#42336
    Opera Operetta Music Theatre Supplement 2009 www.boosey.com/opera Opera Operetta Music Theatre Chamber Opera Musicals Stageworks for Young Audiences Stageworks for Young Performers from Boosey & Hawkes Bote & Bock Anton J. Benjamin Supplement 2009 Edited by David Allenby Cover illustrations: John Adams: Doctor Atomic Penny Woolcock’s production for the Metropolitan Opera and English National Opera (2008) with Gerald Finley as Oppenheimer Photo: © 2008 Ken Howard/Metropolitan Opera Detlev Glanert: Caligula Christian Pade’s world premiere production for Oper Frankfurt (2006) with Ashley Holland (Caligula) Photo: Monika Rittershaus Unsuk Chin: Alice in Wonderland Achim Freyer’s world premiere production for the Bavarian State Opera (2007) with Sally Matthews (Alice) Photo: Wilfried Hösl Jacques Offenbach: Les Fées du Rhin Vocal score in the Offenbach Edition Keck (OEK) published by Boosey & Hawkes / Bote & Bock Harrison Birtwistle: The Minotaur Stephen Langridge’s world premiere production for The Royal Opera in London (2008) with John Tomlinson (The Minotaur) and Johan Reuter (Theseus) Photo: Bill Cooper Michel van der Aa: The Book of Disquiet Still from the composer’s video for his world premiere production for Linz 2009 European Capital of Culture (2009) with Klaus Maria Brandauer Photo: Michel van der Aa Published by Boosey & Hawkes Music Publishers Limited Aldwych House 71–91 Aldwych London WC2B 4HN www.boosey.com an company © Copyright 2009 Boosey & Hawkes Music Publishers Ltd Printed in England by Halstan & Co Ltd, Amersham, Bucks Designed and typeset by David J Plumb ARCA PPSTD ISBN 978-0-85162-599-7 Contents 4 Introduction 5 Abbreviations 6 Catalogue 52 Addenda 55 Title Index 56 Boosey & Hawkes Addresses Introduction This 2009 Supplement contains works added since the publication of the 2004 Boosey & Hawkes Opera Catalogue.
    [Show full text]