The Plays of David Hare Carol Homden Frontmatter More Information
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Remy Bumppo Presents the Chicago Premiere of Tom Stoppard's Award-Winning Comedy Heroes
FOR IMMEDIATE RELEASE Stephanie Kulke / Ph: 773-244-8119 August 31, 2009 [email protected] REMY BUMPPO PRESENTS THE CHICAGO PREMIERE OF TOM STOPPARD’S AWARD-WINNING COMEDY HEROES CHICAGO – Remy Bumppo Theatre Company presents the Chicago premiere of Heroes, winner of the 2006 Olivier Award for Best New Comedy, written by Gerard Sibleyras and translated by Tom Stoppard. Heroes runs Oct. 14 through Nov. 29 in the Downstairs Mainstage of the Greenhouse Theater at 2257 N. Lincoln Avenue. Preview performances begin Thursday, Oct. 14 with opening night Sunday, Oct. 18 at 7:00 p.m. The Heroes cast features guest artist Mike Nussbaum making his Remy Bumppo debut, Artistic Associate David Darlow and guest artist Roderick Peeples. Heroes is directed by Remy Bumppo Artistic Director James Bohnen, with set design by Tim Morrison, costume design by Samantha C. Jones, lighting design by Rich Norwood, sound design by Jason Knox and properties design by Nick Heggestad. "I say we go...up that hill, where the poplars are. There where the wind blows...it's not a bad halfway house between Indochina and a picnic." - Heroes It's 1959 and Philippe, Gustave and Henri, three veterans from WWI keep each other company on the back terrace of a retired soldiers' home. Through a series of witty scenes, the men goad one another into new adventures. The men's cantankerous camaraderie becomes strained as they plot an expedition to Indochina, or at least as far as the poplar trees on the distant hill. Heroes is a funny and bittersweet play about memory and "not going gently into that good night." The 2009-2010 Season is made possible by Prince Charitable Trusts, The Gaylord & Dorothy Donnelley Foundation, The Illinois Arts Council and by a City Arts Program 3 grant from the City of Chicago Department of Cultural Affairs. -
The Chichester Festival Theatre Productions YOUNG CHEKHOV
The Chichester Festival Theatre productions YOUNG CHEKHOV Olivier Theatre Previews from 14 July, press day 3 August, booking until 3 September with further performances to be announced. The YOUNG CHEKHOV trilogy opened to overwhelming acclaim at Chichester Festival Theatre last year. The company now come to the National, offering a unique chance to explore the birth of a revolutionary dramatic voice. The production is directed by Jonathan Kent, with set designs by Tom Pye, costumes by Emma Ryott, lighting by Mark Henderson, music by Jonathan Dove, sound by Paul Groothuis and fight direction by Paul Benzing. Performed by one ensemble of actors, each play can be seen as a single performance over different days or as a thrilling all-day theatrical experience. Cast includes Emma Amos, Pip Carter, Anna Chancellor, Jonathan Coy, Mark Donald, Peter Egan, Col Farrell, Beverley Klein, Adrian Lukis, Des McAleer, James McArdle, Mark Penfold, Nina Sosanya, Geoffrey Streatfeild, Sarah Twomey, David Verrey, Olivia Vinall and Jade Williams. David Hare has written over thirty original plays, including The Power of Yes, Gethsemane, Stuff Happens, The Permanent Way (a co-production with Out of Joint), Amy’s View, Skylight, The Secret Rapture, The Absence of War, Murmuring Judges, Racing Demon, Pravda (written with Howard Brenton) and Plenty for the National Theatre. His other work includes South Downs (Chichester Festival Theatre and West End), The Judas Kiss (Hampstead and West End) and The Moderate Soprano (Hampstead). His adaptations include Behind the Beautiful Forevers and The House of Bernarda Alba at the NT, The Blue Room (Donmar and Broadway) and The Master Builder (The Old Vic). -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE of SOCIAL SCIENCES the CRITIQUE of NEOLIBERALISM in DAVID HARE's PLAYS Phd THESİS Ha
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF SOCIAL SCIENCES THE CRITIQUE OF NEOLIBERALISM IN DAVID HARE’S PLAYS PhD THESİS Hakan GÜLTEKİN Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assoc. Prof. (Ph. D.) Ferma LEKESİZALIN June, 2018 ii T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF SOCIAL SCIENCES THE CRITIQUE OF NEOLIBERALISM IN DAVID HARE’S PLAYS PhD THESİS Hakan GÜLTEKİN (Y1414.620014) Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assoc. Prof. (Ph. D.) Ferma LEKESİZALIN June, 2018 ii iv DECLARATION I hereby declare that all information in this thesis document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results, which are not original to this thesis. ( / /2017). Hakan GÜLTEKİN v vi FOREWORD I would like to express my appreciation to my supervisor Assoc. Prof. Dr. Ferma LEKESĠZALIN for her persistent encouragement, guidance, patience, and Dr. Ahmet Gökhan BĠÇER for his erudite comments and invaluable contribution. I am also indebted to Dr. Öz ÖKTEM and Dr. Gamze SABANCI UZUN for supporting me in Istanbul Aydin University days. I would also like to thank Prof. Dr. Mehmet TAKKAÇ for his suggestions. Special thanks go to Prof. Dr. Ġbrahim YEREBAKAN and Dr. Mesut GÜNENÇ, whose encouragements have been of particular note here. I am also grateful to Assoc. Prof. Dr. Gillian Mary Elizabeth ALBAN, Dr. Hüseyin EFE, Dr. Arsev AyĢen ARSLANOĞLU YILDIRAN, Sercan ÖZTEKĠN and Florentina GÜMÜġ for their help during the creation phase of my thesis. -
David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf
FREE DAVID HARE PLAYS 1: SLAG; TEETH N SMILES; KNUCKLE; LICKING HITLER; PLENTY PDF David Hare | 496 pages | 01 Apr 1996 | FABER & FABER | 9780571177417 | English | London, United Kingdom David Hare Plays 1 | Faber & Faber Plenty is a play by David Harefirst performed inabout British post-war disillusion. The inspiration for Plenty came from the fact that 75 per cent of the women engaged in wartime SOE operations divorced in the immediate post-war years; the title is derived from the idea that the post-war era would be a time of "plenty", which proved untrue for most of England. The play premiered Off-Broadway on 21 Octoberat the Public Theaterwhere it ran for 45 performances. Plenty was revived at Chichester inin the Festival Theatre between June. Susan Traherne, a former secret agent, is a woman conflicted by the contrast between her past, exciting triumphs and her present, more ordinary David Hare Plays 1: Slag; Teeth n Smiles; Knuckle; Licking Hitler; Plenty. However, she regrets the mundane nature of her present life, as the increasingly depressed wife of a diplomat whose career she has destroyed. Susan Traherne's story is told in a non-linear chronologyalternating between her wartime and post-wartime lives, illustrating how youthful dreams rarely are realised and how a person's personal life can affect the outside world. Sources: Playbill; [3] Lortel [2]. From Wikipedia, the free encyclopedia. Official London Theatre Guide. Archived from the original on 18 January Retrieved 4 December BBC News. Archived from the original on 27 February Retrieved 5 May CS1 maint: archived copy as title link sheffieldtheatres. -
RACING DEMON by DAVID HARE
GCE / A LEVEL RACING DEMON By DAVID HARE RACING DEMON DAVID HARE GCE \ A LEVEL \\ © WJEC CBAC Ltd 2016 RACING DEMON By DAVID HARE INTRODUCTION ‘Racing Demon’ was written in 1990 and premiered that same year at the National Theatre. The play takes place in South London in 1992, a time when the Church of England was in turmoil over the ordination of women and in trouble with the Tory government over a perceived lack of support. Part of a trio of plays about British institutions, it focuses on the Church of England, and tackles issues such as gay ordination and the role of evangelism in inner-city communities. It poses big questions. What does faith mean and what should a clergyman’s purpose be? Is a vicar little more than a spiritual social worker, applying ineffectual Elastoplast to society’s wounds? Or should he – and now she – be preaching a fundamentalist message of certainty and hope? It won the 1990 Laurence Olivier Award for Best New Play and was nominated for a Tony. The other two plays in the trilogy were The Absence of War, which focuses on a contemporary Labour leader coming to the painful conclusion that he is unelectable and Murmuring Judges, which takes a look at the criminal justice system in England. A word from the author, David Hare, about Racing Demon. “I wrote the play because I wanted to take the Church of England seriously. Hitherto, it has just been a subject for satire and farce, on television and in the theatre. But, in the inner cities, Anglican vicars were among the few people trying to bandage all the wounds created by the harsh economic doctrines of the 1980s. -
Playwright DAVID HARE Receives the Guild's 2017 GIELGUD AWARD
But the culminating moments of a richly varied program Playwright DAVID HARE Receives were devoted to the GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS and to the afternoon’s final presentation, for The Guild’s 2017 GIELGUD AWARD OUTSTANDING CONTRIBUTION TO BRITISH THEATRE.. That trophy went to LYN GARDNER, “a renowned theatre journalist, critic, n Sunday, October 15, at a memorable UK THEATRE author, and champion of the industry, whose invaluable O AWARDS luncheon in London’s historic GUILDHALL, one insights can most often be found in The Guardian and The of today’s most versatile dramatic artists received the 2017 Stage, of which she is an associate editor.” GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS. Not only has DAVID HARE enriched our theatrical repertory resenting this year’s GIELGUD AWARD was FREDDIE FOX, with some of the most resonant and challenging stageplays of P an actor of impeccable pedigree who is admired for our era. He has also produced screenplays that have garnered films such as The Three Musketeers, Victor Frankenstein, The Riot Club, Pride, and Worried About the Boy, as well as for such stage roles as Bosie in The Judas Kiss, a David Hare drama about the tragic fall of Oscar Wilde. Mr. Fox talked about how much he’d enjoyed working not only with Sir David but with artistic director Jonathan Kent while co-starring in this Hampstead Theatre production. As he bestowed the 2017 GIELGUD trophy, he shared two messages from admirers of Sir David who were unable to attend the Guildhall luncheon. -
23, 2013 Doug Lee & Associates Presents Tickets Now on Sale Ingin’ Sin The
Langham Court Theatre presents Adapted by From the novel by Patrick Barlow John Buchan From the movie by Alfred Hitchcock Directed by Keith Digby and Cynthia Pronick March 6 - 23, 2013 DOUG LEE & ASSOCIATES PRESENTS TICKETS NOW ON SALE INGIN’ SIN THE BASEDAIN ON THE MGM FILM R DIRECTED BY PAT RUNDELL STARRING TARA BRITT NOELLE ANTONSEN GRIFFIN LEA JOSEPH GOBLE Y WR with BARRY BOWMAN O L S BY: MILE BY: APRIL 12-14, 2013 MCPHERSON PLAYHOUSE O T O PH WWW.KALEIDOSCOPE.BC.CA Directors' Notes Part Alfred Hitchcock and part Monty Python, The 39 Steps has been a treat to direct and will be, we hope, a treat for the audience. Allegedly, the deathbed statement of actor Edmund Kean was “Dying is easy; Comedy is hard.” The cast and crew of this production will undoubtedly agree with him! Onstage, backstage and in the booth, The 39 Steps is a technical monster with its innumerable changes of character, set, costumes, props, light and sound, and all involved have laboured mightily in an attempt to achieve the apparently effortless. We, the directors, have asked a lot of this amazingly focused company and we thank them for their boundless energy and wonderfully creative input. Perhaps there’s another quote that’s appropriately parallel; writer Nathaniel Hawthorne famously quipped: “Easy reading is damned hard writing!” Equally, comedy can only be achieved after seriously hard work! Enjoy! Cynthia and Keith Langham Court Theatre presents Head Scenic Carpenter BILL ADAMS The 39 Steps Carpenters JULIUS MASLOVAT, MIKE KUSS, GORDON ALEXANDER, BARRY GRIMSHaw, -
And the Author(S), Under Exclusive Licence to Springer Nature
INDEX A B Abbey Theatre, 205 Bakhtin, Mikhail, 37 Ackroyd, Peter, 2, 4, 11 Baldwin, James Adorno, Theodor W., 80 Blues for Mr. Charlie, 60, 71 Aeschylus Cross of Redemption, The, 45 Persians, The, 232 Devil Finds Work, The, 73 AIDS crisis, 2 Fire Next Time, The, 46, 110 Albany Empire Theatre, 187 Notes of a Native Son, 95 Albee, Edward, 47, 69, 237 Remember This House, 6 Aldwych Theatre, 71, 222 Bamber, David, 160 Ali, Tariq, 172 Barbados, 66 Allam, Roger, 59 Barker, Howard Almeida Theatre, 236 Arguments for a Theatre, 142, 196 Amoko, Apollo, 3, 70, 182 Brutopia, 196, 197 Anderson, Lindsay, 33 Castle, The, 48, 124, 138, 139, 141, Anderson, Sarah Pia, 193 142, 155, 157, 195, 198, 199, Arthur, King, 11, 89, 90, 95, 186 231 Arts Council, 8, 9, 26–28, 34, 36, 37, Crimes in Hot Countries, 138 39, 122, 154 Downchild, 138, 142 Aston, Elaine, 57, 58, 62, 160, 187 Gertrude, 198 Atlantic Theater Company, 48, 68 Poor Man’s Friend, The, 153 Austen, Jane, 44 Power of the Dog, The, 137, 138, 142 © The Editor(s) (if applicable) and The Author(s), under exclusive licence 241 to Springer Nature Switzerland AG 2018 A. P. Pennino, Staging the Past in the Age of Thatcher, Palgrave Studies in Theatre and Performance History, https://doi.org/10.1007/978-3-319-96686-1 242 INDEX Seven Lears, 196–199 Bond, Edward Theatre of Catastrophe, 139, 156, Bingo, 31, 33, 97, 98 196 Fool, The, 97 Victory, 110, 114, 136, 138, 139, Lear, 97, 141 142, 155, 156, 199, 222, 231 Restoration, 35, 47, 96, 101, 122, Women Beware Women, 154–159, 144, 166, 172, 180, 207 167, 196, 197, -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer.