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Plays and Pinot: Bedroom Farce
Plays and Pinot: Bedroom Farce Synopsis Trevor and Susannah, whose marriage is on the rocks, inflict their miseries on their nearest and dearest: three couples whose own relationships are tenuous at best. Taking place sequentially in the three beleaguered couples’ bedrooms during one endless Saturday night of co-dependence and dysfunction, beds, tempers, and domestic order are ruffled, leading all the players to a hilariously touching epiphany. About the Playwright Alan Ayckbourn, in full Sir Alan Ayckbourn, (born April 12, 1939, London, England), is a successful and prolific British playwright, whose works—mostly farces and comedies—deal with marital and class conflicts and point out the fears and weaknesses of the English lower-middle class. He wrote more than 80 plays and other entertainments, most of which were first staged at the Stephen Joseph Theatre in Scarborough, Yorkshire, England. At age 15 Ayckbourn acted in school productions of William Shakespeare, and he began his professional acting career with the Stephen Joseph Company in Scarborough. When Ayckbourn wanted better roles to play, Joseph told him to write a part for himself in a play that the company would mount if it had merit. Ayckbourn produced his earliest plays in 1959–61 under the pseudonym Roland Allen. His plays—many of which were performed years before they were published—included Relatively Speaking (1968), Mixed Doubles: An Entertainment on Marriage (1970), How the Other Half Loves (1971), the trilogy The Norman Conquests (1973), Absurd Person Singular (1974), Intimate Exchanges (1985), Mr. A’s Amazing Maze Plays (1989), Body Language (1990), Invisible Friends (1991), Communicating Doors (1995), Comic Potential (1999), The Boy Who Fell into a Book (2000), and the trilogy Damsels in Distress (2002). -
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) -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
List of Play Sets
Oxfordshire County Council List of Play Sets Available from the Oxford Central Library 2015 Oxford Central Library – W e s t g a t e – O x f o r d – O X 1 1 D J Author Title ISBN Copies Cast Genre Russell, Willy Shirley Valentine: A play T000020903 2 1f Comedy (Dramatic) Churchill, Caryl Drunk enough to say I love you? T000096352 3 2m Short Play, Drama Churchill, Caryl Number T000026201 3 2m Drama Fourie, Charles J. Parrot woman T000037314 3 1m, 1f Harris, Richard The business of murder T000348605 3 2m, 1f Mystery/Thriller Pinter, Harold The dumb waiter: a play T000029001 3 2m Short Play Plowman, Gillian Window cleaner: a play T000030648 3 1m, 1f Short Play Russell, Willy Educating Rita T000026217 3 1m, 1f Comedy (Dramatic) Russell, Willy Educating Rita T000026217 3 Simon, Neil They're playing our song T000024099 3 1m, 1f Musical; Comedy Tristram, David Inspector Drake and the Black Widow: a comedy T000035350 3 2m, 1f Comedy Ayckbourn, A., and others Mixed doubles: An entertainment on marriage T000963427 4 2m, 1f Anthology Ayckbourn, Alan Snake in the grass: a play T000026203 4 3f Drama Bennett, Alan Green forms (from Office suite) N000384797 4 1m, 2f Short Play; Comedy Brittney, Lynn Ask the family: a one act play T000035640 4 2m, 1f Short Play; Period (1910s) Author Title ISBN Copies Cast Genre Brittney, Lynn Different way to die: a one act play T000035647 4 2m, 2f Short Play Camoletti, Marc; Happy birthday 0573111723 4 2m, 3f Adaptation; Comedy Cross, Beverley Chappell, Eric Passing Strangers: a comedy T000348606 4 2m, 2f Comedy (Romantic) -
Alan Ayckbourn: Complete Play List
Alan Ayckbourn - Complete Writing Credit: Alan Ayckbourn’s Official Website www.alanayckbourn.net License: This resource is available for free reproduction providing it is credited, is not used for commercial purposes and has not been modified without permission. Full Length Plays 1959 The Square Cat 1959 Love After All 1960 Dad’s Tale 1961 Standing Room Only 1962 Christmas V Mastermind 1963 Mr Whatnot 1965 Meet My Father subsequently Relatively Speaking (revised) 1967 The Sparrow 1969 How The Other Half Loves 1970 The Story So Far… subsequently Me Times Me Time Me (revised) subsequently Me Times Me (revised) subsequently Family Circles (revised) 1971 Time And Time Again 1972 Absurd Person Singular 1973 The Norman Conquests comprising Fancy Meeting You subsequently Table Manners Make Yourself At Home subsequently Living Together Round And Round The Garden 1974 Absent Friends 1974 Confusions 1975 Jeeves (with Andrew Lloyd Webber) subsequently By Jeeves (with Andrew Lloyd Webber) (revised) 1975 Bedroom Farce 1976 Just Between Ourselves 1977 Ten Times Table 1978 Joking Apart 1979 Sisterly Feelings 1979 Taking Steps 1980 Suburban Strains (with Paul Todd) 1980 Season’s Greetings 1981 Way Upstream 1981 Making Tracks (with Paul Todd) 1982 Intimate Exchanges comprising Events On A Hotel Terrace Affairs In A Tent Love In The Mist A Cricket Match A Game Of Golf A Pageant A Garden Fete A One Man Protest 1983 It Could Be Any One Of Us subsequently It Could Be Any One Of Us (revised) 1984 A Chorus Of Disapproval 1985 Woman In Mind 1987 A Small Family Business 1987 Henceforward… 1988 Man Of The Moment 1988 Mr. -
Other Half PR
CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: NORTH COAST REP SERVES UP BANQUET OF FUN IN HOW THE OTHER HALF LOVES By Sir Alan Ayckbourn Performances Beginning Wednesday, April 11, 2018 Running Through Sunday, May 6, 2018 Now extended by popular demand to May 13, 2018 Directed by Geoffrey Sherman Solana Beach, CA Britain’s comic genius, Sir Alan Ayckbourn, has penned a fast-paced and hilariously funny theatrical feast that stands as a classic modern comedy. With the precision of a master chef, Sir Ayckbourn mixes three very different marriages into a pot, simmering with sex, jealousy, and liberally spiced with ingenious stagecraft. Full of clever, razor-sharp dialogue and impeccable split-second timing, HOW THE OTHER HALF LOVES is a treat you won’t want to miss. Find out why The London Daily Mail called this “a delicious, jolly good show.” Geoffrey Sherman directs Jacqueline Ritz,* James Newcomb,* Sharon Rietkerk,* Christopher M. Williams,* Noelle Marion,* and Benjamin Cole. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting Design), Aaron Rumley (Sound), Elisa Benzoni (Costumes), and Holly Gillard (Prop Design). Cindy Rumley* is the Stage Manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. For background information and photos, go to www.northcoastrep.org/press. HOW THE OTHER HALF LOVES previews begin Wednesday, April 11. Opening Night on Saturday, April 14, at 8pm. There will be a special talkback on Friday, April 20, with the cast and artistic director. -
Ayckbourn's Stage Reaction to Families Buried In
AYCKBOURN’S STAGE REACTION TO FAMILIES BURIED IN TECHNOLOGY KAĞAN KAYA Cumhuriyet University, Sivas Abstract: The paper analyses the premature warnings of British playwright, Alan Ayckbourn, who foresees that the modern family has been under the onslaught of technology. His dystopia, Henceforward... (1987) , set in the flat of the high-tech addict protagonist, Jerome, tells one of the traditional family stories of the playwright. However, the paper focuses on Ayckbourn’s neglected dramatic mission - that of securing the British family. Keywords: Alan Ayckbourn, British drama, dystopia, family, technology “Happy families are all alike; every unhappy family is unhappy in its own way.” (Tolstoy (2001), 1875-1877:1) 1. Introduction British playwright, Sir Alan Ayckbourn, is often referred to as a famous farceur. However, he is not pleased with this label, because with a “tireless dedication to the idea of theatre and... fierce moral concern with the state of the nation,” (Billington 1989), he has a distinctive multi-dimensional understanding of drama. In fact, he expresses sociologically harsh criticism of British middle-class man through his black comedy, in the light of his vision of drama. Henceforward... , which is the thirty-fourth play of the playwright, is a very noteworthy fraction of Ayckbourn’s tenet, for several reasons. It received the Evening Standard Award for Best Comedy in 1989. It was the second quickest transfer of all Alan Ayckbourn plays to the US, Houston’s Alley Theatre. Even the title of the play suggests a kind of manifesto of the playwright which declares that he is resolute in the changes of his drama. -
Beckett at Theyoungvic
Samuel Beckett Today / Aujourd’hui 29 (2017) 243–255 brill.com/sbt Beckett at the Young Vic From the Marginal to the Major-Marginal Matthew McFrederick Teaching Fellow in Theatre, University of Reading, uk [email protected] Abstract This article will examine the formative years of the Young Vic in London when pro- ductions of Waiting for Godot, Endgame and Happy Days were staged and embraced by a new generation of theatregoers and practitioners in a metropolitan theatre that began at the edge of the city’s mainstream theatre culture. Through a range of archival resources and an interview with the Young Vic’s founding director, this essay will dis- cuss the reception of these performances and their ability to engage with young audi- ences. It will conclude by tracing the YoungVic’s more recent association with Beckett’s drama, as the theatre has grown into an independent force competing with larger, tra- ditional theatre institutions. Résumé Cet article évoque la formation du Young Vic à Londres, plus précisément les années où y ont été réalisées les mises en scène d’En attendant Godot, de Fin de partie et de Oh les beaux jours pour une nouvelle génération de spectateurs ou de gens du théâtre, immédiatement convaincus, dans un théâtre métropolitain mais qui avait débuté en marge de la culture théâtrale traditionnelle. À partir d’un grand nombre d’archives, d’un interview du directeur et fondateur du Young Vic, cet essai traitera de l’accueil qu’ont rencontré ces spectacles et de leur capacité à intéresser les jeunes publics. -
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. -
Read Book Beautiful Thing Ebook Free Download
BEAUTIFUL THING PDF, EPUB, EBOOK Jonathan Harvey | 96 pages | 07 Jan 2003 | Bloomsbury Publishing PLC | 9780413710307 | English | London, United Kingdom Beautiful Thing PDF Book Australian promotional poster for the film. Edit page. Company Credits. The next morning, Ste panics and leaves before Jamie awakens, avoiding him for days. Jamie is a shy teenager, often bullied at school. Looking for a movie the entire family can enjoy? Parents Guide. Edit page. As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Genres: Documentary. John Altman. The film was originally intended for television broadcast only, but it was so well-received that it was subsequently released in cinemas. Jayson Beth Goddard Favorite Documentary. Get some streaming picks. Added to Watchlist. Jamie Gangel. The Times. A screen adaptation of the play was released in by Channel 4 Films , [1] with a revised screenplay also by Harvey. Rate This. Their relationship develops as they visit a gay pub together. The party ends badly, with Sandra taking vengeance on Leah for gossiping. Country: USA. The plot is set against sub-texts of Sandra's desire to manage her own pub, and thus escape the estate, and of her new relationship with her hippy boyfriend Tony; and of Leah, the Visit our What to Watch page. Struggles, hope, mistakes, redemption, setbacks, courage, kindness Please help improve this article by adding citations to reliable sources. Lowman Pauling, Ralph Bass. Self - Narrator Arshay Cooper Photo Gallery. In the absence of a third bed, Ste has to make do with sleeping 'top-to-toe' with Jamie. -
DAVID WOOD a Chronology
DAVID WOOD A Chronology CHILDREN’S PLAYS AND MUSICALS (acting editions published by Samuel French) 1967 THE TINDERBOX (book, music and lyrics). (Based on the story by Hans Andersen) Swan Theatre, Worcester. Unpublished. 1968 THE OWL AND THE PUSSYCAT WENT TO SEE... (co-written with Sheila Ruskin, based on the verses and stories of Edward Lear). Swan Theatre, Worcester. Subsequently WSG Productions Ltd. production at Jeannetta Cochrane Theatre, London (1969) and many more London Christmas seasons. * 1969 LARRY THE LAMB IN TOYTOWN (co-written with Sheila Ruskin, adapted from the stories of S.G. Hulme-Beaman). Swan Theatre, Worcester. Subsequently WSG Productions Ltd production at Shaw Theatre, London, 1973. * 1970 THE PLOTTERS OF CABBAGE PATCH CORNER (book, music and lyrics). Swan Theatre, Worcester. Subsequently Knightsbridge Theatical Productions Ltd/WSG Productions Limited production, Shaw Theatre 1971 and 1972 and Whirligig Theatre tour including Sadler’s Wells Theatre, London, 1979. 1971 FLIBBERTY AND THE PENGUIN (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre pilot tour, 1978. * 1972 TICKLE (one act) (book, music and lyrics). The Dance Drama Theatre tour. Subsequently Wakefield Tricycle Company production at Arts Theatre, London, 1977. THE PAPERTOWN PAPERCHASE (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre tour, including Sadler’s Wells Theatre, London, 1984.* 1973 HIJACK OVER HYGENIA (book, music and lyrics). Swan Theatre, Worcester. 1975 OLD MOTHER HUBBARD (book, music and lyrics). Queen’s Theatre, Hornchurch. 1976 THE GINGERBREAD MAN (book, music and lyrics). Towngate Theatre, Basildon. Subsequently, Cameron Mackintosh/David Wood production, The Old Vic (1977 and 1978) and many other London seasons. -
Chapter 1 Politics and Theatre
Notes Chapter 1 Politics and Theatre 1 Shellard (1999: 12-13) discusses censorship of works by Unity Theatre, a socia list theatre company based in London, during the 1950s. 2 For further information about the theatre companies of the 1970s, see Dreams and Deconstructions: Alternative Theater in Britain, ed. Sandy Craig (Ambergate: Amber Lane Press, 1980) and Stages in the Revolution: Political Theatre since 1960, Catherine Itzin (London: Eyre Methuen, 1980). 3 Rees (1992) quotes John Ashford, the first editor of Time Out, as saying he introduced the term in the late1960s, borrowing the term that had come to categorize the non-invited performances at the Edinburgh Festival. 4 Eyre and Wright state, 'Arts Council funding for alternative theatres in 1969/ 1970 came to £15,000; ten years later, funding from the Drama Panel alone amounted to £1.5 million' (284). 5 Recent surveys have shown clear trends towards political disengagement and falling confidence in the efficacy of the political system. A well-known and accessible source of survey information is the yearly report British Social Attitudes, published in London by Sage Publications and the National Centre for Social Research. The 18th Report, edited by Alison Park eta/. and published in 2001, included the information that 63% of respondents in 2000 thought the system of government needed improvement, compared to 49% in 1973. At the same time, 26% (compared with 19% in 1974) felt that parties 'are only interested in votes' rather than in the opinions and needs of constituents, and 19% (compared to 11 'Yo in 1991) felt that 'things go on the same' regardless of which party is in power.