BAM Presents the U.S. Premieres of Royal Shakespeare Company's King Lear and the Seagull in a September Repertory Engagement

Total Page:16

File Type:pdf, Size:1020Kb

BAM Presents the U.S. Premieres of Royal Shakespeare Company's King Lear and the Seagull in a September Repertory Engagement Brooklyn Peter Jay Sharp Building Academy 30 Lafayette Avenue of Brooklyn NY 1121 7-1486 Music Telephone: 718.636.4129 Fax: 718.857.2021 press@ BAM .org Communications Department Sandy Sawotka Fatima Kafele John Wyszniewski Christina Norris BAM presents the U.S. premieres of Royal Shakespeare Company's King Lear and The Seagull in a September repertory engagement Acclaimed director Trevor Nunn leads an ensemble cast featuring Ian McKellen, Romola Garai, Frances Barber, and William Gaunt King Lear and The Seagull are part of Classics at BAM presented by Band of America King Lear By William Shakespeare The Seagull By Anton Chekhov Royal Shakespeare Company Directed by Trevor Nunn Set design by Christopher Oram Lighting design by Neil Austin Music by Steve Edis Sound design by Fergus O'Hare Fights by Malcolm Ransom BAM Harvey Theater (651 Fulton St) Sept 6-30 (see dates below) Tickets: $30, 55, 75, 90 718.636.4100 or BAM.org King Lear: Sept 6, 11 *, 13, 18, 19, 25, and 26 at 7:30pm; Sept 8, 15, 22, and 29 at 2pm; Sept 9, 16, 23, and 30 at 3pm The Seagull: Sept 7, 8, 12*, 14, 15, 20-22, 27-29 at 7:30pm *press opening "Ian McKellen is giving what is, surely, the performance of a lifetime. His Lear is psychologically complex, heartrendingly poignant., -The Independent on Sunday "Trevor Nunn has scored a direct hit with a Seagull suffused in romantic melancholia and darkened by middle-aged sexual scheming ... Romola Garai's Nina is a revelation ... The supporting performances reach superlative heights." -Evening Standard Brooklyn, NY/July 16, 2007-As a special fall event, BAM presents the Royal Shakespeare Company in a September repertory engagement of Chekhov' s The Seagull and Shakespeare's King Lear. The productions, which will have U.S. premieres at the BAM Harvey Theater, opened at Stratford-upon-Avon's Courtyard Theatre in March 2007. Additional U.S. engagements will take place in October in Minneapolis and Los Angeles. Performed by a single RSC ensemble company of 23 actors under the direction of former RSC Artistic Director Trevor Nunn, the productions feature renowned actor Ian McKellen in the role of King Lear; McKellen will also play Sorin in select performances of The Seagull. Fifteen performances of King Lear and eleven performances of The Seagull will take place in the BAM Harvey Theater from Sept 6-30 (see dates above). Tickets, priced at $30, 55, 75, and 90, can be purchased by calling BAM Ticket Services at 718.636.4100 or by visiting www.BAM.org. Director Trevor Nunn commented on the RSC productions: ''For many years now I have been hoping to return to my theatrical roots in the RSC, and for even longer, I have been looking forward to the fulfillment of the vow Ian McKellen and I made that one day we would do King Lear together. Add to that the fact that we both believe in ensemble work playing in repertoire, and you have the background of this exciting plan... '' Nunn points out that the company has relished the opportunity to act in contrasting styles-to play Shakespeare and Chekhov side by side. And he points out the two works' shared themes: "Both plays explore the fear that one generation has of another. The older generation fears the young taking over. The younger generation is impatient and in fear of having to continue with t~e older generation around. The characters in both plays are confused and frightened by their mortality. Both plays seem to believe that the idea of endurance is more important than any other human belief. It is necessary to endure." Variety comments that " ... almost every cast member of Nunn's cross-cast productions of King Lear and The Seagull uses telling line-readings to hone details unexamined by less rigorous directors. The result is remarkably lucid." The Royal Shakespeare Company has made seven previous appearances at BAM, beginning with a production of A Midsummer Night's Dream in 1971 and most recently with Hecuba, starring Vanessa Redgrave (2005 Spring Season). Ian McKellen, who has appeared at BAM as Edgar in King Lear (1974) and in Richard III (1992 Spring Season), has had an acclaimed and versatile career that includes classical theater, Broadway (Amadeus, Dance ofDeath), film (Gods and Monsters, Lord ofthe Rings, X-Men), and television (Tales ofthe City, The Simpsons). Trevor Nunn, artistic director of the Royal Shakespeare Company from 1968-86, has been a leading director of theatrical drama, musicals, television, and film since he came to prominence in the 1960s. As the youngest ever artistic director of the RSC, he ran the company for eighteen years, climaxing in his internationally triumphant production of Nicholas Nickleby, which swept the Tony Awards in 1982. Nunn has also directed successful musicals (including Cats, Les Miserables, Starlight Express, and Sunset Boulevard), opera (including Cosi fan tutte, Katya Kabanova, and Porgy and Bess), film (Lady Jane, Hedda, Twelfth Night), and television (Antony and Cleopatra), and both Macbeth and Othello with Ian McKellen. From 1997-2002, Nunn was artistic director of Britain's National Theatre. He was knighted in 2002, and continues a successful career in theater of every kind, most recently directing the smash hit new play by Tom Stoppard, Rock {n 'Roll. For press information contact: Sandy Sawotka at 718.636.4129 x1 or [email protected] Credits King Lear and The Seagull are part of Classics at BAM presented by Bank of America. Programming in the BAM Harvey Theater is endowed by the Doris Duke Charitable Foundation. Leadership support for BAM Theater is provided by The Shubert Foundation, Inc. and The SHS Foundation. Additional support for BAM Theater is provided by The Gladys Krieble Delmas Foundation, The Francena T. Harrison Foundation Trust, Harold and Mimi Steinberg Charitable Trust, Rose M. Badgeley Residuary Charitable Trust, and the Billy Rose Foundation, Inc. BAM thanks its many donors and sponsors, including: New York City Department of Cultural Affairs; The New York City Council; Brooklyn Delegation of the New York City Council; Brooklyn Delegation of the U.S. House of Representatives; Brooklyn Borough President Marty Markowitz; New York State Council on the Arts; New York State Assembly Brooklyn Delegation; The Peter Jay Sharp Foundation; Estate of Richard B. Fisher; The New York State Music Fund; Kovner Foundation; Independence Community Foundation; Booth Ferris Foundation; The Starr Foundation; Visa Signature; First New York Management; Carnegie Corporation ofNew York; Cunard Line; Forest City Ratner Companies; The Howard Gilman Foundation; The Florence Gould Foundation; The Skirball Foundation; Friends of BAM and BAM Cinema Club. New York Marriott at the Brooklyn Bridge is the official hotel for BAM. Yamaha is the official piano for BAM. RIGA is the sponsor for BAM.org General Information BAM Howard Gilman Opera House, BAM Rose Cinemas, BAMcafe, and Shakespeare & Co. BAMshop are located in the Peter Jay Sharp building at 30 Lafayette Avenue (between St Felix Street and Ashland Place) in the Fort Greene neighborhood of Brooklyn. BAM Harvey Theater is located two blocks from the main building at 651 Fulton Street (between Ashland and Rockwell Places). BAM Rose Cinemas is Brooklyn's only movie house dedicated to first-run independent and foreign film and repertory programming. BAMcafe, operated by Great Performances, also features an eclectic mix of spoken word and live music on Friday and Saturday nights. BAMcafe is open Fridays and Saturdays from 5pm-closing. Additionally, BAMcafe is open two hours prior to all Howard Gilman Opera House performances. (Note: BAMcafe is closed in July and August.) Subway: 2, 3, 4, 5, Q, B to Atlantic Avenue; D, M, N, R to Pacific Street; G to Fulton Street; C to Lafayette A venue Train: Long Island Railroad to Flatbush A venue Bus: B25, B26, B41, B45, B52, B63, B67 all stop within three blocks of BAM Car: Commercial parking lots are located adjacent to BAM For ticket and BAMbus information, call BAM Ticket Services at 718.636.4100, or visit BAM.org. ###### .
Recommended publications
  • The Resistible Rise of Arturo Ui by Bertolt Brecht in a Translation by George Tabori Revised by Alistair Beaton
    Press Release: Friday 8 March THE RESISTIBLE RISE OF ARTURO UI BY BERTOLT BRECHT IN A TRANSLATION BY GEORGE TABORI REVISED BY ALISTAIR BEATON DIRECTED BY JONATHAN CHURCH OPENS AT THE DUCHESS THEATRE ON WEDNESDAY 25 SEPTEMBER 2013 WITH PREVIEWS FROM WEDNESDAY 18TH SEPTEMBER Chichester Festival Theatre’s critically acclaimed production of Bertolt Brecht’s The Resistible Rise of Arturo Ui will open at The Duchess Theatre on 25 September with previews from 18 September. The production will once again feature Henry Goodman reprising his award-winning performance in the title role. Chicago in the 1930s, the Great Depression – the perfect time for Arturo Ui and his mob of gangsters to run protection rackets for both workers and businesses. Soon Ui’s menacing shadow looms large across the entire city as he strives to seize absolute power. Written in 1941 just before the exiled Bertolt Brecht arrived in the USA, this epic parable of the rise of Hitler is one of his most accessible plays, shot through with razor-sharp humour. Prior to its West End run, The Resistible Rise of Arturo Ui will return to the Minerva Theatre Chichester for a limited engagement from 15 August to 14 September. Brecht’s work includes The Threepenny Opera (with Kurt Weill), The Life of Galileo, Mother Courage and Her Children, The Good Person of Szechuan and The Caucasian Chalk Circle. Jonathan Church is Chichester Festival Theatre’s Artistic Director. His credits for Chichester include Singin’ in the Rain, which transferred to the West End in 2012 and continues to play at the Palace Theatre, having received Olivier and Evening Standard Award nominations and a Whatsonstage.com Award for Best Choreographer.
    [Show full text]
  • Press Release LES LIAISONS DANGEREUSES
    Press release LES LIAISONS DANGEREUSES by Christopher Hampton 11 December 2015 – 13 February 2016 Les Liaisons Dangereuses will be broadcast live in cinemas in partnership with National Theatre Live on 28 January 2016. PRESS NIGHT: Thursday 17 December Director: Josie Rourke Designer: Tom Scutt Lighting Designer: Mark Henderson Sound Designer: Carolyn Downing Composer: Michael Bruce Fight Director: Richard Ryan Cast includes: Adjoa Andoh, Alison Arnopp, Theo Barklem-Biggs, Elaine Cassidy, Morfydd Clark, Edward Holcroft, Janet McTeer, Thom Petty, Jennifer Saayeng, Una Stubbs, and Dominic West This production is supported by an anonymous donor Artistic Director Josie Rourke’s production of Les Liaisons Dangereuses, Christopher Hampton’s stage adaptation of Choderlos de Laclos’ 1782 novel start previews at the Donmar Warehouse from 11 December. The production will star Adjoa Andoh, Alison Arnopp, Theo Barklem-Biggs, Elaine Cassidy, Morfydd Clark, Edward Holcroft, Janet McTeer, Thom Petty, Jennifer Saayeng, Una Stubbs, and Dominic West. Les Liaisons Dangereuses, will be broadcast live in cinemas in partnership with National Theatre Live on 28 January 2016. For more information visit www.ntlive.com. In 1782, Choderlos de Laclos’ novel of sex, intrigue and betrayal in pre-revolutionary France scandalised the world. Two hundred years later, Christopher Hampton's irresistible adaptation swept the board, winning the Olivier and Evening Standard Awards for Best Play. Josie Rourke’s production will now mark the plays’ thirty-year revival. Former lovers, the Marquise de Merteuil and Vicomte de Valmont now compete in games of seduction and revenge. Merteuil incites Valmont to corrupt the innocent Cécile Volanges before her wedding night but Valmont has targeted the peerlessly virtuous and beautiful Madame de Tourvel.
    [Show full text]
  • Study Guide for DE Madameby Yukio Mishima SADE Translated from the Japanese by Donald Keene
    Study Guide for DE MADAMEBy Yukio Mishima SADE Translated from the Japanese by Donald Keene Written by Sophie Watkiss Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Johan Persson Supported by The Bay Foundation, Noel Coward Foundation, 1 John Lyon’s Charity and Universal Consolidated Group Contents Section 1: Cast and Creative Team Section 2: An introduction to Yukio Mishima and Japanese theatre The work and life of Yukio Mishima Mishima and Shingeki theatre A chronology of Yukio Mishima’s key stage plays Section 3: MADAME DE SADE – history inspiring art The influence for Mishima’s play The historical figures of Madame de Sade and Madame de Montreuil. Renée’s marriage to the Marquis de Sade Renee’s life as Madame de Sade Easter day, 1768 The path to the destruction of the aristocracy and the French Revolution La Coste Women, power and sexuality in 18th Century France Section 4: MADAME DE SADE in production De Sade through women’s eyes The historical context of the play in performance Renée’s ‘volte-face’ The presence of the Marquis de Sade The duality of human nature Elements of design An interview with Fiona Button (Anne) Section 5: Primary sources, bibliography and endnotes 2 section 1 Cast and Creative Team Cast Frances Barber: Comtesse de Saint-Fond For the Donmar: Insignificance. Theatre includes: King Lear & The Seagull (RSC), Anthony and Cleopatra (Shakespeare’s Globe), Aladdin (Old Vic), One Flew Over the Cuckoo’s Nest (Edinburgh Festival & Gielgud). Film includes: Goal, Photographing Fairies, Prick Up Your Ears. Television includes: Hotel Babylon, Beautiful People, Hustle, The I.T.
    [Show full text]
  • Timberlake Wertenbaker - Cv
    TIMBERLAKE WERTENBAKER - CV Timberlake Wertenbaker is working on new commissions for the Royal Shakespeare Company, Bolton Octagon and Salisbury Playhouse. OUR COUNTRY'S GOOD will be produced at the National Theatre in 2015, directed by Nadia Fall. THEATRE: JEFFERSON'S GARDEN 2015 Watford Palace Theare, world premiere Dir: Brigid Larmour THE ANT AND THE CICADA (RSC) 2014 Midsummer Madness Dir: Erica Whyman OUR AJAX (Southwark Playhouse / Natural Perspective) 2013 Dir: David Mercatali Original play, inspired by the Sophocles play OUR COUNTRY'S GOOD (Out Of Joint) Dir: Max Stafford-Clark UK Tour & St James Theatre, London - 2013 US Tour - 2014 ANTIGONE (The Southwark Playhouse) 2011 Dir: Tom Littler THE LINE (The Arcola Theatre) 2009 Dir: Matthew Lloyd JENUFA (The Arcola Theatre) 2007 Dir: Irena Brown GALILEO'S DAUGHTER (Theatre Royal, Bath) 2004 Dir: Sir Peter Hall CREDIBLE WITNESS (Royal Court Theatre) 2001 Dir: Sacha Wares ASH GIRL (Birmingham Rep) 2000 Dir: Lucy Bailey (Adaptation of Cinderella) AFTER DARWIN (Hampstead Theatre) 1998 Dir: Lindsay Posner THE BREAK OF THE DAY (Royal Court/Out of Joint tour) 1995 Dir: Max Stafford-Clark OUR COUNTRY'S GOOD (Broadway) 1990 Dir: Mark Lamos Winner: New York Drama Critics Award for best foriegn play THREE BIRDS ALIGHTING ON A FIELD (Royal CourtTheatre) 1991 Dir: Max Stafford-Clarke Winner: Writers Guild Award Winner: Susan Smith Blackburn prize THE LOVE OF THE NIGHTINGALE (RSC) 1988 Dir: Garry Hines OUR COUNTRY'S GOOD (Royal Court Theatre) 1985 Dir: Max Stafford-Clarke Winner: Olivier Award Play
    [Show full text]
  • 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.
    [Show full text]
  • Atonement (2007) Compiled by Jay Seller
    Literature to Film, lecture on Atonement (2007) Compiled by Jay Seller Atonement (2007) Universal Pictures Director: Joe Wright Screenwriter: Christopher Hampton Novel: Ian McEwan 123 minutes Cast Cecilia Tallis Keira Knightley Robbie Turner James McAvoy Briony Tallis,Briony Romola Garai Older Briony Vanessa Redgrave Briony Taliis,Briony Saoirse Ronan Grace Turner Brenda Blethyn Singing Housemaid Allie MacKay Betty Julia Ann West Lola Quincey Juno Temple Jackson Quincey Charlie Von Simpson Leon Tallis Patrick Kennedy Paul Marshall Benedict Cumberbatch Emily Tallis Harriet Walter Fiona MacGuire Michelle Duncan Sister Drummond Gina McKee Police Constable Leander Deeny Luc Cornet Jeremie Renier Police Sergeant Peter McNeil O’Connor Tommy Nettle Daniel Mays Danny Hardman Alfie Allen Pierrot,Pierrot Jack Harcourt Frenchmen Michel Vuillemoz Jackson,Jackson Ben Harcourt Frenchmen Lionel Abelanski Frank Mace Nonso Anozie Naval Officer Tobias Menzies Crying Soldier Paul Stocker Police Inspector Peter Wright Solitary Sunbather Alex Noodle Vicar John Normington Mrs. Jarvis Wendy Nottingham Beach Soldier Roger Evans, Bronson Webb, Ian Bonar, Oliver Gilbert Interviewer Anthony Minghella Soldier in Bray Bar Jamie Beamish, Johnny Harris, Nick Bagnall, Billy Seymour, Neil Maskell Soldier With Ukulele Paul Harper Probationary Nurse Charlie Banks, Madeleine Crowe, Olivia Grant, Scarlett Dalton, Katy Lawrence, Jade Moulla, Georgia Oakley, Alice Orr-Ewing, Catherine Philps, Bryony Reiss, DSarah Shaul, Anna Singleton, Emily Thomson Hospital Admin Assistant Kelly Scott Soldier at Hospital Entrance Mark Holgate Registrar Ryan Kiggell Staff Nurse Vivienne Gibbs Second Soldier at Hospital Entrance Matthew Forest Injured Sergeant Richard Stacey Soldier Who Looks Like Robbie Jay Quinn Mother of Evacuees Tilly Vosburgh Evacuee Child Angel Witney, Bonnie Witney, Webb Bem 1 Primary source director’s commentary by Joe Wright.
    [Show full text]
  • Shakespeare and Gender: the ‘Woman’S Part’
    Shakespeare and gender: the ‘woman’s part’ Article written by:Clare McManus Themes:Shakespeare’s life and world, Gender, sexuality, courtship and marriage Published:15 Mar 2016 In Shakespeare's day, female parts were played by male actors, while more recently, actresses have taken on some of his most famous male roles such as Hamlet and Julius Caesar. Clare McManus explores gender in the history of Shakespeare performance. Shakespearean performance is an arena for exploring desire, sexuality and gender roles and for challenging audience expectations, especially when it comes to the female performer. Actresses have long claimed their right to Olympian roles like Hamlet: Sarah Bernhardt’s 1899 performance sits in a long tradition, most recently added to by Maxine Peake in her performance at Manchester’s Royal Exchange in 2014. Bernhardt’s performance divided audiences: this was certainly at least partly to do with the crossing of gender boundaries, with one early London reviewer revealing how polarised ideas of gender could be when he complained that ‘A woman is positively no more capable of beating out the music of Hamlet than is a man of expressing the plaintive and half-accomplished surrender of Ophelia’.[1] That said, it had become increasingly common by the turn of the 20th century for star actresses to take male parts, often called ‘breeches’ roles, and it is possible that one difficulty for London audiences lay in the fact that Bernhardt’s Hamlet was not Shakespeare’s text but a prose translation. Over a century later, Maxine Peake’s interpretation was widely praised, though reviewers still focussed on the presence of a female actor in the role, contextualising it against the rich history of female Hamlets and interrogating the opportunities open to women in theatre in the early 21st century.[2] Postcard of Sarah Bernhardt as Hamlet in 1899 The French actress, Sarah Bernhardt, crossed gender boundaries when she played the male hero in Hamlet.
    [Show full text]
  • ANNUAL REPORT and ACCOUNTS the Courtyard Theatre Southern Lane Stratford-Upon-Avon Warwickshire CV37 6BH
    www.rsc.org.uk +44 1789 294810 Fax: +44 1789 296655 Tel: 6BH CV37 Warwickshire Stratford-upon-Avon Southern Lane Theatre The Courtyard Company Shakespeare Royal ANNUAL REPORT AND ACCOUNTS 2006 2007 2006 2007 131st REPORT CHAIRMAN’S REPORT 03 OF THE BOARD To be submitted to the Annual ARTISTIC DIRECTOR’S REPORT 04 General Meeting of the Governors convened for Friday 14 December EXECUTIVE DIRECTOR’S REPORT 07 2007. To the Governors of the Royal Shakespeare Company, Stratford-upon-Avon, notice is ACHIEVEMENTS 08 – 09 hereby given that the Annual General Meeting of the Governors will be held in The Courtyard VOICES 10 – 33 Theatre, Stratford-upon-Avon on Friday 14 December 2007 FINANCIAL REVIEW OF THE YEAR 34 – 37 commencing at 2.00pm, to consider the report of the Board and the Statement of Financial SUMMARY ACCOUNTS 38 – 41 Activities and the Balance Sheet of the Corporation at 31 March 2007, to elect the Board for the SUPPORTING OUR WORK 42 – 43 ensuing year, and to transact such business as may be trans- AUDIENCE REACH 44 – 45 acted at the Annual General Meetings of the Royal Shakespeare Company. YEAR IN PERFORMANCE 46 – 51 By order of the Board ACTING COMPANIES 52 – 55 Vikki Heywood Secretary to the Governors THE COMPANY 56 – 57 CORPORATE GOVERNANCE 58 ASSOCIATES/ADVISORS 59 CONSTITUTION 60 Right: Kneehigh Theatre perform Cymbeline photo: xxxxxxxxxxxxx Harriet Walter plays Cleopatra This has been a glorious year, which brought together the epic and the personal in ways we never anticipated when we set out to stage every one of Shakespeare’s plays, sonnets and long poems between April 2006 and April 2007.
    [Show full text]
  • Aladdin2005.Pdf
    a new version by Bille Brown Director Sean Mathias original score by Gareth Valentine Designer John Napier additional song 'I Believe in You' Choreographer Wayne McGregor music by Elton John & lyrics by Lee Hall Musical Supervisor Gareth Valentine Costumes Mark Bouman Producer David Liddiment Lighting David Hersey Executive Producer Colin Ingram Casting Director Jill Green CDG Sound Fergus O'Hare Production Manager Dominic Fraser Orchestrations Chris Walker Assistant Director Paul Warwick Griffin Assistant Choreographer Laila Diallo Musical Director Kevin Amos Additional script Paul Alexander Designs inspired bythe drawings of Flo Perry First performance at The Old Vic Wednesday 7 December 2005 CARST in ORDER F OR LADD IN 0F AP FE ARANC Am Abbanazar Roger Allam Company Manager (OVTQ Jane Semark Aladdin Neil McDermott Stage Manager Simon Ash Hanky Matthew Wolfenden Deputy Slage Manager Nicole Keighley Panky Andrew Spillett Assistant Stage Managers Martha Mamo Dim Sum Frances Barber Sarah Winborn WidowTwankey Ian McKellen Costume Supervisor Tracey Stiles Princess Kate Gillespie Head of Wardrobe (OVTQ Fiona Lehmann Emperor Paul Grunert Deputy Head of Wardrobe (OVTQ Louise Askins Genie Tee Jaye Wigs Supervisor Joanna Taylor Ensemble Marina Abdeen Head of Wigs Rick Strickland Madalena Alberto Deputy I lead of Wigs Emma Sharp Gary Amers Properties Supervisor Tracey Clarke Alistair David Head of Lighting (OVTC) Stuart Crane Steve Fortune Deputy Head of Lighting (OVTQ Andrew Taylor Emma Harris Head of Stage (OVTQ PJ Holloway Victoria Hinde Deputy
    [Show full text]
  • Frances Barber
    22 Astwood Mews, London, SW7 4DE CDA +44 (0)20 7937 2749|[email protected] FRANCES BARBER THEATRE HAMLET 'Polonius' Dir. Sean Mathias [Bill Kenwright & Theatre Royal Windsor] MUSIK ‘Billie Trix’ Dir. Josh Seymour [Assembly Rooms, Edinburgh Festival & Leicester Square Theatre] 2021 OFFIES Winner for Best Lead Performance in a Musical category AN IDEAL HUSBAND ‘Mrs Cheveley’ Dir. Jonathan Church [Classic Spring at Vaudeville / Theatre Royal Bath] MADAME RUBINSTEIN ‘Elizabeth Arden’ Dir. Jez Bond [Park Theatre] THE SCHOOL FOR SCANDAL ‘Lady Sneerwell’ Dir. Marc Vietor [Lucille Lortel Theatre, New York] WHAT THE BUTLER SAW ‘Mrs Prentice’ Dir. John Tillinger [Mark Taper Forum, L.A.] JULIUS CAESAR ‘Julius Caesar’ Dir. Phyllida Lloyd [Donmar Warehouse and St. Ann’s Warehouse, Brooklyn] LES PARENTS TERRIBLES ‘Yvonne’ Dir. Chris Rolls [Donmar @ Trafalgar Studios] THAT FACE ‘Martha’ Dir. Richard Wilson [Sheffield Crucible Theatre] 2010 Nomination for TMA Theatre Award in the Best Performance in a Play category AFTERPLAY ‘Sonya’ Dir. Garry Hynes [Kings Theatre, Edinburgh / The Gate, Dublin] MADAME DE SADE ‘Comtesse de Saint-Fond’ Dir. Michael Grandage [Donmar at Wyndhams] KING LEAR ‘Goneril’ & THE SEAGULL ‘Arkadina’ Dir. Trevor Nunn [RSC and world tour] ANTONY & CLEOPATRA ‘Cleopatra’ Dir. Dominic Dromgoole [Shakespeare’s Globe] ALADDIN ‘Dim Sum’ Dir. Sean Matthias [Old Vic Theatre Co] ONE FLEW OVER THE CUCKOO’S NEST ‘Nurse Ratched’ Dir. Terry Johnson [Assembly Rooms – Edinburgh, Gielgud, London] Nominated ‘Best Actress’ Whatsonstage.com Theatregoers’ Choice Awards 2005 TALES FROM VIENNA WOODS ‘Valerie’ Dir. Richard Jones [Royal National Theatre] CLOSER TO HEAVEN ‘Billie Trix’ Dir. Gemma Bodinetz [Arts Theatre] what’s On Stage Award 2002: Best Actress in a Musical CLOSER ‘Anna’ Dir.
    [Show full text]
  • New Multimedia
    Zimmerman Library Jan-June 2017 New Multimedia significance to the broader American culture, its NON-FICTION VIDEOS cultural and political awakening for black people, and the painful lessons wrought when a movement derails"--OCLC. DVD 322. 4 BLA Memory hackers: the mysterious nature of how we remember. [Brighton, Mass.]: PBS Command and control. [Widescreen format]. Distribution, 2016. "Discover how researchers [Arlington, Va.]: PBS Distribution, 2017. on the cutting edge of mind-control can implant, Presents the true story of what happens when change, and even erase memories. On this . weapons built to protect threaten to become the journey into the mind, NOVA investigates the very source of our own destruction. Based on mysterious nature of how we remember"--OCLC. bestseller by Eric Schlosser, the film tells the DVD 153 MEM story of a 1980 accident at a Titan II missile complex in Damascus, Arkansas, and explores Growing up trans: inside the struggles and the great dilemma or our time: How do you choices facing transgender kids and their manage weapons of mass destruction without families. [Widescreen format]. [Brighton, being destroyed by them? DVD 363. 17 COM Mass.]: PBS Distribution, 2015. Examines the challenges faced by transgender children and Trashed. [Widescreen format]. [Watlington, U. adolescents, focusing on medical options and K.]: Blenheim Films, [2013]. Narrator, Jeremy controversial treatments available to gender Irons. Looks at the risks to the food chain, non-conforming and transgender kids. DVD environment, and health in various parts of the 306. 76 GRO world through pollution of air, land, and water by the production and accumulation of solid The Black Panthers: vanguard of the revolution.
    [Show full text]
  • FRANCES BARBER the Actress and the Pet Shop Boys. (The Sunday Telegraph, 2001)
    FRANCES BARBER The actress and the Pet Shop Boys. (The Sunday Telegraph, 2001) Until recently, Frances Barber was so embarrassed by her voice that even the bathroom tiles seemed too discerning an audience. Apart from an appearance as Nancy in a school production of Oliver!, she had never sung in public in her life: the suggestion that she should star in a new musical seemed ‘the most preposterous thing I had ever heard’. Nevertheless, in four days’ time [31st May] she takes to the stage of the Arts Theatre in London as the lead in Closer to Heaven, born again as a rapper and balladeer. Her transformation began last year when the show’s creators, Jonathan Harvey and the Pet Shop Boys, held a workshop. Harvey had made an episode of Murder Most Horrid with Frances, and asked her as a favour to road-test the part of an ageing rock chanteuse. ‘The first time I sang, I stared at the wall with my eyes shut,’ she remembers, ‘because I couldn’t bear to look at anyone in the room: it was excruciating. But then on one of the performances I got a standing ovation, and the backers loved the character so much that they decided to build her up and make her the centre of things.’ So Frances finds herself as the compere of the night-club in which this tale of a bisexual love triangle is set. The backers must be patting themselves on the back, because talented as the younger members of the cast are, it is her experience and stage presence which hold Closer to Heaven together.
    [Show full text]