Kayleigh Gore Photo: Matt Cooper

Total Page:16

File Type:pdf, Size:1020Kb

Kayleigh Gore Photo: Matt Cooper First Floor 38 - 42a South Road Haywards Heath RH16 4LA Phone: 01444 447020 Email: [email protected] Website: www.gielgudmanagement.co.uk Kayleigh Gore Photo: Matt Cooper Location: London/ Glasgow, United Eye Colour: Blue Kingdom Hair Colour: Blond(e) Height: 5'2" (157cm) Hair Length: Long Weight: 7st. 8lb. (48kg) Voice Character: Engaging Playing Age: 16 - 25 years Voice Quality: Velvety Appearance: White Credits Musical, Post Bunny/Weasel/Carol Singer, The Wind in the Willows at The Vaudeville Theatre, Royal Opera House, Will Tuckett Opera, Dancer, PUCCINI'S LA BOHEME at The Royal Albert Hall, Raymond Gubbay Ltd, Francesca Zambello Stage, Post Bunny/Weasel/Carol Singer, The Wind in the Willows at The Duchess Theatre, Royal Opera House, Will Tuckett Short Film, Caitlin, All This Time, GRFilms, Adam J Samuel Concert, Lead and shared vocalist, Elle & The Pocket Belles, EPB, Hilary Shaw Stage, Post Bunny/Weasel/Carol Singer, The Wind in the Willows at the Linbury Studio Theatre, Royal Opera House, Will Tuckett Musical, Swing, West Side Story, The Royal Shakespeare Company, Will Tuckett Television, Dancer, A LEAGUE OF THEIR OWN, Sky TV Pantomime, Ensemble, Jack and the Beanstalk, Qdos pantomimes, Alex Norton Corporate, Actor/ Shopper, Clockhouse Video shoot, Clockhouse, SynchPoint Ltd Pantomime, Ensemble, Snow White and the Seven Dwarfs, Qdos pantomimes, Jonathan Kiley Commercial, Actor, Tv Commerical, Sky TV Music Video, Featured Dancer, Gypsy and The Cat, Sony, Gemma Ross Corporate, Dancer, Cool Yule, Craig McMurdo Dance Orchestra, Craig McMurdo Musical, Dancer/Singer, High School Musical, Disneyland Resort Paris Corporate, Dancer, Cool Yule, Craig McMurdo Dance Orchestra, Craig McMurdo Stage, Dancer/Singer, Boogie Wonderland/Signed,Sealed,Delivered, Royal Caribbean International Dance, Duet Dancer, The Blue Angel, David Fielding Stage, Solo Singer, Mack and Mabel, Nick French Stage, Solo Singer, Victor/Victoria, Andrew Wilson Musical, April, The Life, Paul Herbert Dance, Duet Dancer, Moorish Dances, David Fielding Dance, Dancer, Istanbul 1.26am, David Leighton Accents & Dialects: (* = native) American-Standard, Central Scottish, Cockney, Cornwall, Devon, Dundee, Edinburgh, Glasgow, Kent, London, Scottish-South, Scottish- Standard, Scottish-West Coast Music & Dance: (* = highly skilled) Aerobics, Ballad, Ballet*, Blues, Cabaret Dancing*, Cabaret Singing*, Can Can, Choreography, Classical Singing, Contemporary Dance*, Folk Singing, Hip Hop Dance*, Jazz Dancing*, Jazz Singing, Pas de Deux*, Percussion, Pointe*, Soprano*, Street Jazz, Tap Performance: Dancer-Professional, Musical Theatre, Outdoor Performances, Singer-Professional, TV Presenting Sports: (* = highly skilled) Cycling, Pilates, Yoga Vehicle Licences: Car Driving Licence Other Skills: Improvisation, Pilates Training: Bird College, BA (Hons) Dance and Theatre Performance, 3 years, 2004 - 2007 Powered by Spotlight and Tagmin The information in this CV has been provided by or on behalf of the client concerned via Spotlight.com. Every effort has been made to make sure that the information contained in this page is correct and Spotlight and Tagmin can accept no responsibility for its accuracy. Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness
    The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness Erik R. Scott Summer 2008 Erik R. Scott is a Ph.D. candidate in the Department of History, at the University of California, Berkeley Acknowledgments I would like to thank Professor Victoria Frede and my fellow graduate students in her seminar on Imperial Russian History. Their careful reading and constructive comments were foremost in my mind as I conceptualized and wrote this paper, first for our seminar in spring 2006, now as a revised work for publication. Abstract: As Russia’s nineteenth-century Gypsy craze swept through Moscow and St. Petersburg, Gypsy musicians entertained, dined with, and in some cases married Russian noblemen, bureaucrats, poets, and artists. Because the Gypsies’ extraordinary musical abilities supposedly stemmed from their unique Gypsy nature, the effectiveness of their performance rested on the definition of their ethnic identity as separate and distinct from that of the Russian audience. Although it drew on themes deeply embedded in Russian— and European—culture, the Orientalist allure of Gypsy performance was in no small part self-created and self-perpetuated by members of Russia’s renowned Gypsy choirs. For it was only by performing their otherness that Gypsies were able to seize upon their specialized role as entertainers, which gave this group of outsiders temporary control over their elite Russian audiences even as the songs, dances, costumes, and gestures of their performance were shaped perhaps more by audience expectations than by Gypsy musical traditions. The very popularity of the Gypsy musical idiom and the way it intimately reflected the Russian host society would later bring about a crisis of authenticity that by the end of the nineteenth century threatened the magical potential of Gypsy song and dance by suggesting it was something less than the genuine article.
    [Show full text]
  • Transpopular Spaces: Gypsy Imagineries in the Work of Van
    Fecha de recepción: 1 septiembre 2019 Fecha de aceptación: 4 octubre 2019 Fecha de publicación: 9 febrero 2020 URL: https://oceanide.es/index.php/012020/article/view/39/182 Oceánide número 13, ISSN 1989-6328 DOI: https://doi.org/10.37668/oceanide.v13i.39 Dr. Eduardo Barros Grela Universidade da Coruña, España ORCID: https://orcid.org/0000-0002-7533-5580 Dra. María Bobadilla Pérez Universidade da Coruña, España ORCID: https://orcid.org/ 0000-0002-4972-5980 Transpopular Spaces: Gypsy Imageries in the Work of Van Morrison Resumen La obra del autor norirlandés Van Morrison ha pasado relativamente desapercibida por la crítica a pesar de los numerosos elementos sociales, literarios y artísticos que presenta. Entre ellos se encuentra la representación de la figura del gitano como modelo de actuación para unas generaciones de oyentes a quienes les preocupaba el aspecto cultural a la contra, así como los modelos de vida alternativos a los legitimados por la clase media de la época. El objetivo de este estudio es analizar el componente romantizado que se presenta en la obra de Morrison alrededor de su representación del gitanismo, así como observar cómo esos elementos generan primero una función deontologizante y después una resignificación de los espacios en tránsito ocupados por la(s) imaginación(es) de esta comunidad como pueblo nómada. Para llevar a cabo el análisis se atenderá a varias canciones de la primera época del autor norirlandés, y se explicarán las funciones de representación del gitano en el entorno del espacio y de una epistemología contracultural. Palabras clave: Van Morrison; espacio; gitanos; contracultura; música Abstract The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs.
    [Show full text]
  • Columbia Poetry Review Publications
    Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Poetry Review Publications Spring 4-1-1990 Columbia Poetry Review Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cpr Part of the Poetry Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Poetry Review" (1990). Columbia Poetry Review. 3. https://digitalcommons.colum.edu/cpr/3 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Poetry Review by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. COLUMBIA POETRY REVIEW Columbia College/Chicago Spring 1990 Columbia Poetry Review is published in the spring of each year by the English Department of Columbia College, 600 South Michigan A venue, Chicago, Illinois 60605. Submissions are encouraged and should be sent to the above address. Subscriptions are available at $8.00 an issue. Copyright © 1990 by Columbia College. Grateful acknowledgement is made to Dr. Philip Klukoff, Chairman of the English Department; Dean Lya Rosenblum, Academic Vice-President; Bert Gall, Administrative Vice-President; and Mirron Alexandroff, Presi­ dent of Columbia College. Cover photograph, Eleanor, 194 7 by Harry Callahan. Copyright, Harry Callahan; courtesy of Pace/ McGill Gallery,
    [Show full text]
  • Hampshire Consortium Gypsy, Traveller and Travelling Showpeople Accommodation Assessment 2016-2036
    Hampshire Consortium Gypsy, Traveller and Travelling Showpeople Accommodation Assessment 2016-2036 Final Report May 2017 Hampshire Consortium GTAA – May 2017 Opinion Research Services The Strand, Swansea SA1 1AF Steve Jarman, Claire Thomas, Ciara Small and Kara Stedman Enquiries: 01792 535300 · [email protected] · www.ors.org.uk © Copyright May 2017 Contains public sector information licensed under the Open Government Licence v3.0 Contains OS Data © Crown Copyright (2017) Page 2 Hampshire Consortium GTAA – May 2017 Contents 1. Executive Summary ......................................................................................................................... 6 Introduction and Methodology ...................................................................................................................... 6 Key Findings .................................................................................................................................................... 7 Additional Pitch Needs – Gypsies and Travellers ........................................................................................... 7 Additional Plot Needs - Travelling Showpeople ........................................................................................... 10 Transit Requirements ................................................................................................................................... 13 2. Introduction ................................................................................................................................
    [Show full text]
  • National Gallery of Art 2018 2019CONCERTS Seventy-Seventh Season
    national gallery of art 2018 2019CONCERTS seventy-seventh season Welcome to the 2018 – 2019 season of CONCERTS AT concerts at the National Gallery of Art. In our seventy-seventh season, we examine — in a way that we are uniquely equipped to do — the relevance of THE GALLERY the arts in today’s world. Throughout our thirty-six Sunday and eight Friday performances, we ask the questions who, what, when, where, why, and how music and art reflect — and affect — our daily lives in the twenty-first century. We hope our spectrum of performers, exhibition-related concerts, and special themes will nourish and celebrate the importance of expression through the visual and performing arts. top Tapestry, photo by Susan Wilson. middle left Inscape Chamber Orchestra, photo by Jennifer White- Johnson. middle right Daniel Schlosberg, photo by Erin Clendenin. bottom Air Force Strings, photo by MSgt Joshua Kowalsky. WELCOME 3 CALENDAR The seventy-seventh season of concerts at the National 18 | Sunday | 3:30 Gallery of Art is open to the public, free of charge. Admittance Nobuntu p8 is on a first-come basis thirty minutes before the concert begins. For further information, call (202) 842-6941 or visit 23 | Friday | 12:10 nga.gov/music. Location TBD PROJECT Trio p22 Unless otherwise noted, concerts are held in the West Building, West Garden Court. 25 | Sunday | 3:30 M5 Mexican Brass p9 SEPTEMBER OCTOBER DECEMBER 16 | Sunday | 3:30 7 | Sunday | 3:30 Living Art Collective Julie Fowlis, vocalist p6 2 | Sunday | 3:30 Ensemble (LACE) Carolina Eyck + American Elisa Monte Dance p16 14 | Sunday | 3:30 Contemporary Music Curtis on Tour: Ensemble p9 23 | Sunday | 3:30 Jason Vieaux, guitar Emilio Solla Tango-Jazz Nigel Armstrong, violin p6 8 | Saturday | 1:30 | 2:30 Trio p6 West Building Rotunda 21 | Sunday | 3:30 U.S.
    [Show full text]
  • Dan Hicks' Holidaze in Hicksville Launches Napa Valley Holiday Season at NVOH
    Hailed as, “The eternal hipster, purveyor of the drollest and most swingin' tunes the rock generation ever enjoyed” (Minneapolis Star Tribune), Dan Hicks and the Hot Licks have hijacked the holidays and created a Christmas album you’ll enjoy all year long. Released on October 12, 2010 through Surfdog Records, Crazy For Christmas is classic Hot Licks, full of the same dry wit and musical brilliance that has defined Dan Hicks’ music for the past four decades and established him as one of American music’s true cult heroes. “[Crazy For Christmas has] a joyously irreverent charm …[and is] a warm “You may not be able to believe in reminder of just how consistent, steady, and poignantly funny Hicks can Santa anymore, but thanks to Hicks and the Hot Licks you can be; any season of the year.” - All Music Guide still believe in the infinitely more valuable vibe and spirit that the “The perfect accompaniment to a holiday martini gathering.” Fat Man represents.” - LA Times - Premier Guitar “a classic in the making with its signature sense of humor and witty word that we’ve come to expect from Hicks.” - Glide Magazine “Hicks and the Hot Licks create a sound that evokes images of Mr. Natural truckin’ along and Django Reinhardt puffing on a cigarette, playing music so rhythmic and bouncy that it could make a cadaver dance.” - American Songwriter “A Christmas record that sounds antic and deadpan, “a devilish twist to holiday classics.” engaged and tossed off, almost magically laid-back. - Metro Weekly (Gonzalo Bergara’s Django Reinhardt-like solos ensure the professionalism.)” - New York Times “Simply put: nobody else in this world – nobody “Necessary for any holiday hipster.” – sounds like [Dan Hicks]” - Jambands.com - Mountain Times “Crazy For Christmas makes you want to put “By far my favorite new holiday album, Crazy for Christmas, on your shades (even if it's snowing) and just stands up to repeat listens, which really makes it a seasonal anomaly.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • Norfolk Chamber Music Festival Also Has an Generous and Committed Support of This Summer’S Season
    Welcome To The Festival Welcome to another concerts that explore different aspects of this theme, I hope that season of “Music you come away intrigued, curious, and excited to learn and hear Among Friends” more. Professor Paul Berry returns to give his popular pre-concert at the Norfolk lectures, where he will add depth and context to the theme Chamber Music of the summer and also to the specific works on each Friday Festival. Norfolk is a evening concert. special place, where the beauty of the This summer we welcome violinist Martin Beaver, pianist Gilbert natural surroundings Kalish, and singer Janna Baty back to Norfolk. You will enjoy combines with the our resident ensemble the Brentano Quartet in the first two sounds of music to weeks of July, while the Miró Quartet returns for the last two create something truly weeks in July. Familiar returning artists include Ani Kavafian, magical. I’m pleased Melissa Reardon, Raman Ramakrishnan, David Shifrin, William that you are here Purvis, Allan Dean, Frank Morelli, and many others. Making to share in this their Norfolk debuts are pianist Wendy Chen and oboist special experience. James Austin Smith. In addition to I and the Faculty, Staff, and Fellows are most grateful to Dean the concerts that Blocker, the Yale School of Music, the Ellen Battell Stoeckel we put on every Trust, the donors, patrons, volunteers, and friends for their summer, the Norfolk Chamber Music Festival also has an generous and committed support of this summer’s season. educational component, in which we train the most promising Without the help of so many dedicated contributors, this festival instrumentalists from around the world in the art of chamber would not be possible.
    [Show full text]
  • City Attorney Asks Aid # Owned by Prohibition Era "Also Had Only Half a to Public Recreation
    M2WS-FILS BIMDSR? BOX-1678 • §T lUGaSIINS FLA t Largest Circulation 01 Any Newspaper In Boca Raton Area BOCA RATON NEWS VOL. 10 NO. 26 Boca Raton, Fla., February 18, 1965 28 Pages PRICE ^gzSg&^~^•-^^ms&A >. WWIII I Vdld Ull VVlllllllddlVll bies Sen! Held F@r 6 Years More than 4,000 vot- ers turned'out Tuesday to elect three members to the City Commission and to, in effect, ratify a charter that had been voted in 2-1 in an earl- ier election, Sid Brodhead contin- ued his vote getting rec- ords and nabbed off top That pie-shaped wooded island in the center of this aerial photo is the so- post with 2,591 ballots called Capone tract which currently is 3 thorn in the side of Boca Raton and — another all-time high. Palm Beach County. Broward County has expressed plans to develop the par- Second was Edwin Guth- cel, now owned by the Florida Inland Navigation District, as a park with a rie with 2,521, one thin low level bridge across the Hillsboro Canal. However, Boca Raton would vote more than Bernard like to, annex the piece of Broward County to develop its own park and stale- E. Turner with 2,520. The votes for Guthrie mate construction of the bridge, which would hinder boat traffic from Royal and Turner also broke Palm Yacht basin and the commercial marina in the foreground.—Boca Raton all previous records. News Aerial Photo Almost a thousand votes back was Joe De- Long, long-time Boca Raton political power, with 1,552.
    [Show full text]
  • JAMES & BETTY MCNEILL Indian Pass
    Interview of: James and Betty McNeill March 6, 2006 Interviewer: Amy Evans Interview Date: March 22, 2006 JAMES & BETTY MCNEILL Indian Pass Raw Bar - Indian Pass, FL * * * Date: March 22, 2006 Location: The McNeill’s Home – Indian Pass, FL Interviewer: Amy Evans Length: 55 minutes Project: Florida’s Forgotten Coast 1 Transcript provided by: Shelley M. Chance t/a Pro.Docs www.prodocservices.com Interview of: James and Betty McNeill March 6, 2006 Interviewer: Amy Evans Interview Date: March 22, 2006 [Begin James & Betty McNeill] 0:00:00.0 Amy Evans: This is Amy Evans for the Southern Foodways Alliance on Wednesday, March 22nd, 2006, and I'm—am I between Indian Pass and Cape San Blas, or where are we right now? 0:00:14.9 Betty McNeill: You're on Indian Peninsula. 0:00:16.0 AE: On Indian Peninsula, okay. And I'm with Jimmy and Betty McNeill, and their family has the Indian Pass Raw Oyster Bar, which is being renovated as we speak. And we're in their little house here visiting, and I'm going to ask each of you to introduce yourselves for the record. Mrs. McNeill, please ma'am—? 0:00:34.2 BM: For the record, I have been at Indian Pass since I married Jimmy in 1947 and I—there's no point in trying to lie about my age as thirty-nine. [Laughs] I will be eighty this year, I think, because I was born in 1926, so that figures out. Anyway—but we've lived at Indian Pass all of our married life.
    [Show full text]
  • Christine Ebersole
    CHRISTINE EBERSOLE Christine grew up in Winnetka, Illinois, where she discovered her passion for acting in high school. Upon graduation, Christine attended MacMurray College in Jacksonville, Illinois, before moving to New York to study acting for another two years at the famed American Academy of Dramatic Arts. In 1976, she appeared in her first Broadway play, Angel Street. She went on to star in such Broadway hits as I Love My Wife with Joanna Gleason and James Naughton; Hal Prince’s On the 20th Century with Kevin Kline and comic legend Imogene Coca and put her indelible imprint on the role of Ado Annie, the girl who “Cain’t Say No,” in Agnes de Mille’s revival of Oklahoma! She starred Camelot opposite Richard Burton and in Stephen Sondheim’s non-musical mystery, Getting Away With Murder, as well as The Paper Mill Playhouse’s production of “Paper Moon.” Off-Broadway, she starred in a critically acclaimed production of Chekhov’s Three Sisters with Dianne Wiest and Sam Waterson. At a time when a single critic’s bad review could close a show, that was exactly what befell the ill-fated Harrigan n’ Hart, which closed after three days and propelled Christine to Hollywood to pursue her burgeoning film and television career full-time. Christine’s feature film credits include the Academy Award-winning Best Picture of 1984, Amadeus, Tootsie, Thief of Hearts, Bill Cosby’s Ghost Dad, Dead Again with Kenneth Branagh and Emma Thompson, Folks! with Tom Selleck and Don Ameche, My Girl 2, Richie Rich with Macauley Culkin, Black Sheep with Chris Farley and David Spade, the romantic comedy ‘Til There Was You with Jeanne Tripplehorn and Dylan McDermott, and Disney’s My Favorite Martian, opposite Jeff Daniels and Christopher Lloyd.
    [Show full text]
  • D. W. Griffith : American Film Master by Iris Barry
    D. W. Griffith : American film master By Iris Barry Author Barry, Iris, 1895-1969 Date 1940 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2993 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art D. W. GRIFFITH AMERICAN FILM MASTER BY IBIS BABBY J MrTHE MUSEUM OF MODERN ART NEW YORK MoMA 115 c.2 D. W. GRIFFITH: AMERICANFILM MASTER Shooting night scenes in the snow at Mamaroneck, New York, for way down east, 1920. D. W GRIFFITH AMERICAN FILM MASTER BY IRIS BARRY X MUSEUM OF MODERN ART FILM LIRRARY SERIES NO. 1 NEW YORK THE MUSEUM OF MODERN ART /IfL &/&? US t-2-. ACKNOWLEDGMENTS TRUSTEES OF THE MUSEUM OF MODERN ART The President and Trustees of the Museum of Modern Stephen C. Clark, Chairman of the Board; John Hay Art wish to thank those who have lent to the exhibition Whitney, 1st Vice-Chairman; Samuel A. Lewisohn, 2nd and, in addition, those who have generously rendered Vice-Chairman; Nelson A. Rockefeller, President; assistance: Mr. and Mrs. David Wark Griffith; Mr. W. Alfred H. Barr, Jr., Vice-President and Director; John R. Oglesby; Miss Anita Loos and Metro-Goldwyn- E. Abbott, Executive Vice-President; Mrs. John S. Mayer Studios; Mr. W illiam D. Kelly of Lowe's, In Sheppard, Treasurer; Mrs. Robert Woods Bliss, Mrs. corporated; Mr. George Freedley, Curator of the W.
    [Show full text]