Harold Pinter, Old Times

Total Page:16

File Type:pdf, Size:1020Kb

Harold Pinter, Old Times Harold Pinter, Old Times First produced by Royal Shakespeare Company at the Aldwych Theatre, London, 1 June 1971" ! Deeley - Colin Blakely" Anna - Vivien Merchant" Kate - Dorothy Tutin ! Directed by Peter Hall! ! “The desire for verification on the part of all of us, with regard to our own experience and the experience of others, is understandable but cannot always be satisfied. I suggest there can be no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.”! ! (H. Pinter, “Introduction”, in Plays, 1996, p. xi).! Old Times, 1971! Dorothy Tutin, ! Colin Bateman ! and Vivien Merchant! 2013 - Harold Pinter Theatre, London! Directed by Ian Rickson, starring Rufus Sewell, Kristin Scott Thomas and Lia Williams! 1! 2! Old Times Shakespeare Theatre, Washington DC! May–July 2011! ! Deeley: Steven Culp! Kate: Tracy Lynn Middendorf! Anna: Holly Twyford" ! Directed by Michael Kahn!! ! The set of the Shakespeare Theatre Company’s production of Old Times, directed by Michael Kahn. ! 1! 2! Michael Kahn, artistic director of the Shakespeare Theatre Company, Washington, DC, talks about Pinter’s Old Times.! [http://www.youtube.com/watch?v=RJq2Nud1CL8]! ! ***! ! Old Times – PRESENTATION! [http://www.youtube.com/watch?v=tujShqEy5jY]! ! Harold PINTER, Old Times, New York, Grove, 1971, pp. 31–32.! [http://www.youtube.com/watch?v=nnNbKktTNSU]! ! Harold PINTER, Old Times, New York, Grove, 1971, pp. 34–35.! [http://www.youtube.com/watch?v=ymVtl2_Pa5E]! ! Harold PINTER, Old Times, New York, Grove, 1971, pp. 38–46.! [http://www.youtube.com/watch?v=fyXW3e-WI5Y]! ! Harold PINTER, Old Times, New York, Grove, 1971, pp. 64–67.! [http://www.youtube.com/watch?v=WUqBSUg6JLY]!.
Recommended publications
  • 1999 + Credits
    1 CARL TOMS OBE FRSA 1927 - 1999 Lorraine’ Parish Church Hall. Mansfield Nottingham Journal review 16th Dec + CREDITS: All work what & where indicated. 1950 August/ Sept - Exhibited 48 designs for + C&C – Cast & Crew details on web site of stage settings and costumes at Mansfield Art Theatricaila where there are currently 104 Gallery. Nottm Eve Post 12/08/50 and also in Nottm references to be found. Journal 12/08/50 https://theatricalia.com/person/43x/carl- toms/past 1952 + Red related notes. 52 - 59 Engaged as assistant to Oliver Messel + Film credits; http://www.filmreference.com/film/2/Carl- 1953 Toms.html#ixzz4wppJE9U2 Designer for the penthouse suite at the Dorchester Hotel. London + Television credits and other work where indicated. 1957: + Denotes local references, other work and May - Apollo de Bellac - awards. Royal Court Theatre, London, ----------------------------------------------------- 57/58 - Beth - The Apollo,Shaftesbuy Ave London C&C 1927: May 29th Born - Kirkby in Ashfield 22 Kingsway. 1958 Local Schools / Colleges: March 3 rd for one week ‘A Breath of Spring. Diamond Avenue Boys School Kirkby. Theatre Royal Nottingham. Designed by High Oakham. Mansfield. Oliver Messel. Assisted by Carl Toms. Mansfield Collage of Art. (14 years old). Programme. Review - The Stage March 6th Lived in the 1940’s with his Uncle and Aunt 58/59 - No Bed for Bacon Bristol Old Vic. who ran a grocery business on Station St C&C Kirkby. *In 1950 his home was reported as being 66 Nottingham Rd Mansfield 1959 *(Nottm Journal Aug 1950) June - The Complaisant Lover Globe Conscripted into Service joining the Royal Theatre, London.
    [Show full text]
  • Theater Souvenir Programs Guide [1881-1979]
    Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy.
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Shakespeare, William Shakespeare
    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
    [Show full text]
  • Women in Theatre 2006 Survey
    WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
    [Show full text]
  • Theatre Archive Project: Interview with David Simeon
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk David Simeon – interview transcript Interviewer: Kate Harris 10 November 2006 Actor. Alexandra Theatre, Birmingham; censorship; comedy; drama schools; Cyril Fletcher; John Gielgud; The Guildhall School of Drama; Johnson over Jordan; The Method; John Osborne; pantomime; Harold Pinter; repertory; Derek Salberg; Reggie Salberg; Salisbury theatre; television; Dorothy Tutin; variety. KH: This is an interview on 10th November with David Simeon interviewed by Kate Harris. Can I just confirm that I have got your permission for copyright on this interview? DS: You do indeed, absolutely, yes. KH: That’s great, thank you. I would just like to start by asking you about the beginning of your career, how you became interested in working in the theatre. DS: My first knowledge that I was going to be an actor was when I was round about four years old, and I’ll tell you… My grandmother taught me how to read by the time I was two. OK, not Proust, but I could read by the time I got to infant school. I must tell you this story because it actually has a bearing on what happened later. When I got to infant school I was four and I could, as I said, already read and so I was terribly bored watching people put A, B, C and D up on the blackboard, and by the time I was about five, suddenly this horrible man came into the second form of the infants who turned out to be the headmaster of the primary school opposite and he ordered me out, took me across the road, put me on a dais in front of the whole of the primary school, and I was made to read from the Bible at the age of five.
    [Show full text]
  • 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.
    [Show full text]
  • A Foucaldian Reading of Harold Pinter's Old Times
    A FOUCALDIAN READING OF HAROLD PINTER’S OLD TIMES Yrd. Doç. Dr. İfakat Banu AKÇEŞME* Abstract This paper aims to examine the power struggle initiated for dominance, the possession of territory and love between the characters Deeley, Kate and Anna in Harold Pinter`s play Old Times in the light of Foucault`s theory on discourse, power, knowledge and resistance. It explains how the on-going battle is carried out through the production of discourses and counter-discourses, the fabrication of truth and knowledge and the reconstruction and deconstruction of past memories. The characters exert and resist the power by employing various strategies and maneuvers including subjugation, victimization and exploitation. Nevertheless, this is a battle with no ultimate winner and loser since power rapidly keeps changing hand, and the alliances formed by the characters against each other are constantly altering and redesigned. Key Words: Foucault, Discourse, Power, Knowledge, Resistance, Old Times HAROLD PINTER’IN ESKİ ZAMANLAR ADLI OYUNUNUN FOUCAULTCU SÖYLEM BAĞLAMINDA İNCELENMESİ Öz Bu çalışma Harold Pinter’in Eski Zamanlar adlı tiyatro eserinde karakterler Deeley, Kate ve Anna arasındaki sevgi ve mekana sahip olmak ve birbirleri üzerinde hakimiyet kurmak için yürütülen güç mücadelesini Foucault’nun söylem, güç, bilgi ve direnç üzerine olan teorisi ışığında ele almayı amaçlamaktadır. Karakterlerin bu mücadeleyi söylem ve karşı söylem üreterek, bilgi ve gerçeklik imal ederek ve geçmiş hatıraları bozup yeniden inşa ederek nasıl sürdürdükleri tartışılacaktır. Karakterler boyun eğdirme, istismar ve mağdur etmenin de dahil olduğu çeşitli manevralara ve stratejilere başvurarak hem güç uygulamakta hem de güce karşı koymaktadırlar. Ancak yine de karakterler arasındaki bu savaş, kazananı ve kaybedeni olmayan bir mücadeledir çünkü güç, oyunun sonuna kadar sürekli olarak el değiştirmekte ve karakterlerin birbirine karşı kurdukları ittifaklar sürekli değişerek yeniden dizayn edilmektedir.
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • A Study of Certain Plays by Harold Pinter
    COMEDY IN THE SEVENTIES: A STUDY OF CERTAIN PLAYS BY HAROLD PINTER Annette Louise Combrink A thesis submitted to the Facul ty of Arts, Potchefstroom University for Christian High er Education in fulfilment of the requirements for the degree of Doctor Litterarum Promoter: Prof. J.A. Venter Potchefstroom November 1979 My grateful thanks to: My promoter for painstaking and valued guidance The staff of the Ferdinand Postma Library f o r their invaluable cheerful assistance My typist , Rina Kahl My colleagues Rita Ribbens and Rita Buitendag My l ong-suffering husband and children My parents and parents-in-law for their constant encouragement CONTENTS 1 A SURVEY OF PINTER CRITICISM 1 1.1 Pinter's critical reputation: 1 bewildering variety of critical responses to his work 1.1.1 Reviews: 1958 2 1.1. 2 Reviews: 1978 3 1.1.3 Continuing ambiguity of response 4 Large number of critical \;,arks: 5 indicative of the amount of interest shown Clich~s and commonplaces in 6 Pinter criticism 1.2 Categories of Pinter criticism 7 1. 2.1 Criticism dealing with his dramatic 7 language 1. 2. 2 Criticism dealing with the obscurity 14 and opacity of his work 1. 2. 3 Criticism based on myth and ritual 18 1. 2 . 4 Criticism based on. his Jewishness 20 1. 2. 5 Pinter's work evaluated as realism 22 1.2. 6 Pinter's work evaluated as Drama of 24 ~ the Absurd 1.2. 7 The defective morality of his work 28 1.2 .8 Pinter and comedy: a preliminary 29 exploration to indicate the incom= plete nature of criticism on this aspect of his work 1,3 Statement o f intention: outline of 45 the main fields of inquiry in this study 1.4 Justification of the choice of plays 46 for analysis 2 WHY COMEDY? 4 7 2.1 The validity of making generi c 47 distinctions 2.2 Comedy as a vision of Zife 48 2.3 The continuing usefulness of genre 50 distinctions in literary criticism 2.4 NeopoZoniaZism 52 2.4.1 Tragicomedy 52 2.4.2 Dark comedy and savage comedy 54 2.4 .
    [Show full text]
  • Harold Pinter: the Dramatist and His World
    Harold Pinter: The Dramatist and His World Background Nobel winner, Harold Pinter (1930- 2008) was born in London, England in a Jewish family. Some of the most recognizable features in his plays are the use of understatement, small talk, distance, and silence. These devices are employed to convey the substance of a character’s thoughts. At the outbreak of World War II, Pinter was evacuated from the city to Cornwall; to be wrenched from his parents was a traumatic event for Pinter. He lived with 26 other boys in a castle on the coast. At the age of 14, he returned to London. "The condition of being bombed has never left me," Pinter later said. At school one of Pinter's main intellectual interests was English literature, particularly poetry. He also read works of Franz Kafka and Ernest Hemingway, and started writing poetry for little magazines in his teens. The seeds of rebellion in Pinter could be spotted early on when he refused to do the National Service. As a young man, he studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama, but soon left to undertake an acting career under the stage name David Baron. He travelled around Ireland in a Shakespearean company and spent years working in provincial repertory before deciding to turn his attention to playwriting. Pinter was married from 1956 to the actress Vivien Merchant. For a time, they lived in Notting Hill Gate in a slum. Eventually Pinter managed to borrow some money and move away. Although Pinter said in an interview in 1966, that he never has written any part for any actor, his wife Vivien frequently appeared in his plays.
    [Show full text]
  • There's a Little Theatre in Us All!
    THERE’S A LITTLE THEATRE IN US ALL! Theatre Tokens - Participating Venues Details correct as of Friday, 07 July 2017 * Plus your telephone company's network charge Aberdare Coliseum 0800 014 7111 Dumfries Theatre Royal 01387 254209 Aberdeen Aberdeen Box Office 01224 641122 Dumfries (for His Majesty's Dundee Dundee Repertory 01382 223530 Theatre & Music Hall) Theatre Aberdeen His Majesty's Theatre 01224 641122 East Grinstead Chequer Mead 01342 302000 Aberdeen Music Hall 01224 641122 Theatre Aberystwyth Arts Centre 01970 623232 Eastleigh The Point Theatre 02380 652333 Aylesbury Aylesbury Waterside 0844 871 7667 Calls cost 7p/pm* Edinburgh Festival City Theatres 0131 529 6000 Theatre Edinburgh Kings Theatre 0131 529 6000 Bath Theatre Royal 01225 448844 Edinburgh Playhouse Edinburgh 0844 871 7667 Calls cost 7p/pm* Bedworth Civic Hall 02476 376707 Edinburgh Royal Lyceum Theatre 0131 248 4848 Birmingham Alexandra Theatre 0844 871 7667 Calls cost 7p/pm* Edinburgh Traverse Theatre 0131 228 1404 Birmingham Repertory Theatre 0121 236 4455 Epsom Epsom Playhouse 01372 742555 Blackburn King George's Hall 0844 847 1664 Calls cost 7p/pm* Exeter The Exeter Northcott 01392 726363 Blackpool Grand Theatre 01253 290190 Theatre Bognor Regis Alexandra Theatre 01243 861010 Eastbourne Congress Theatre 01323 412000 Bolton Octagon Theatre 01204 520661 Eastbourne Devonshire Park 01323 412000 Bradford Alhambra Theatre 01274 432000 Theatre Bradford St George's Concert 01274 432000 Eastbourne Royal Hippodrome 01323 802020 Hall Theatre Bristol Bristol Hippodrome 0844
    [Show full text]