By Lucy Kirkwood Standing Ovations Madestanding Here.Ovations Standingmade Here

Total Page:16

File Type:pdf, Size:1020Kb

By Lucy Kirkwood Standing Ovations Madestanding Here.Ovations Standingmade Here By Lucy Kirkwood Standing ovations madeStanding here.ovations Standingmade here. ovations madeStanding ovations here. made here. If a locally owned bank with the highest financial rating is important to you,If a give locally Colonial owned banka call. with We’ve the highest been performingfinancial rating admirably is important for decades,toIf ayou, locally offering give owned Colonial all bankthe a call. fiwithnancial We’ve the highest productsbeen performing financial you need.rating admirably isNo important drama, for just highlydecades,to you, competentgive offering Colonial all professionals athe call. financial We’ve productsbeen here performing to you help. need. admirably No drama, for decades,just highly offering competent all the professionals financial products here to youhelp. need. No drama, just highly competent professionals here to help. GoColonial.comGoColonial.com 817.390.2000 817.390.2000 GoColonial.com 817.390.2000 Rates andRates terms and subject terms subject to change to change without without notice. notice. This This is is notnot a firm offeroffer or ornotice notice of pre-approval.of pre-approval. All applicants are assessed following a completed application and request for credit. All loans subjectNMLS 401285 All applicants are assessed following a completed application and request for credit. All loans subjectNMLS 401285 Ratesto credit and approval terms subject and underwriting. to change without NMLS 401285notice. This is not a firm offer or notice of pre-approval. to credit Allapproval applicants and are underwriting. assessed following NMLS a completed401285 application and request for credit. All loans subjectNMLS 401285 to credit approval and underwriting. NMLS 401285 If a locally owned bank with the highest financial rating is important to you, give Colonial a call. We’ve been performing admirably for decades, offering all the financial products you need. No drama, just highly competent professionals here to help. GoColonial.com 817.390.2000 Rates and terms subject to change without notice. This is not a firm offer or notice of pre-approval. All applicants are assessed following a completed application and request for credit. All loans subjectNMLS 401285 to credit approval and underwriting. NMLS 401285 Stage West presents a regional premiere MARCH 12 – APRIL 12, 2020 THE CHILDREN by Lucy Kirkwood Directed by Kara-Lynn Vaeni CAST Rose ....................................................................................................................... CJ Critt* Hazel ............................................................................................................ Lisa Fairchild* Robin ..................................................................................................................Bob Hess* *Member, Actors Equity Association There will be no intermission. THE CHILDREN was first performed at the Royal Court Jerwood Theatre Downstairs, Sloane Square, London, on November 17, 2016, and was produced on Broadway by the Manhattan Theatre Club (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer) and the Royal Court Theatre on November 28, 2017. The Royal Court commissioned THE CHILDREN with a generous grant from the Berwin Lee New Play Commission. This playbill is a production of PERFORMING ADS PRODUCTION Set Design .................................................................................................Will Turbyne Lighting Design ........................................................................................ Leann Burns Costume Design ...............................................................................Yvonne Johnson Sound Design .............................................................................................Kellen Voss Props/Set Décor .........................................................................................Lynn Lovett Choreography ............................................................................... Danielle Georgiou Production Stage Manager ........................................................... Tiffany Cromwell* Assistant Director ......................................................................................Nic McMinn Assistant Stage Manager ........................................................................Flower Avila Technical Director ............................................................................ Bryan Stevenson Shop Manager/Assistant Technical Director .....................................Karlee Perego Running Crew .......................................................................................Kate McGehee Master Carpenter ...................................................................................... Allen Dean Photography ..............................................................................Evan Michael Woods Graphics/Web Design .............................................................................Jen Schultes Program Design ................................................................................. Performing Ads Program Printing .....................................................................................4 Color Press SPECIAL THANKS Southern Methodist University Texas Wesleyan University University of Dallas Stage West operates under an agreement with Actors’ Equity Association, the Union of Professional Actors & Stage Managers in the United States. Photography, video or audio recording of this production by any means whatsoever is strictly prohibited. Stage West is funded in part by the Arts Council of Fort Worth , the City of Fort Worth , the Texas Commission on the Arts, and The National Endowment for the Arts. Stage West is a member of The Live Theatre League of Tarrant County (livetheatreleague.org) ABOUT THE SHOW In a seaside cottage on the east coast of England, a pair of retired nuclear scientists are startled by the reappearance of a former colleague. Once upon a time, the three had helped build the nearby nuclear power plant. We quickly learn that a recent earthquake has led to a disastrous chain of events, triggering a meltdown and a devastating release of radiation. Here, on the outskirts of the exclusion zone, as crackers and wine are trotted out, so are remembered stories, old jealousies, and haunting secrets, all leading to the true reason for this sudden visit. Inspired by the 2011 Fukushima Daiichi nuclear accident in Japan, playwright Lucy Kirkwood’s Tony-nominated new play asks us to consider big ideas like legacy, morality, and hope within a touching and intimate framework of compassion and humanity. Brave, humane, and beautifully written, this play confronts the responsibility each generation must face for the way it leaves the world. Presents If you are 50 years of age or better, Senior Synergy Expo is for you! Come learn about the services available in Tarrant County that help boomers, seniors and caregivers live a healthier lifestyle! Thursday, May 7 8:30 a.m.– 1:30 p.m. Will Rogers-Amon G. Carter Jr. Exhibit Hall 3400 Burnett-Tandy Drive • Fort Worth FREE Admission Come see iconic weatherman Troy Dungan FREE Parking provided by Platinum Sponsor Care N Care. FREE Workshops FREE Health Screenings Lunch provided to those who register before April 26th To register, visit seniorsynergyexpo.com, call 817-884-1234 or email [email protected] PRODUCTION STAFF KARA-LYNN VAENI (Director) is a theatre and opera director who focuses on highly theatrical, impossible-to-stage works by diverse and interesting writers who are often women or artists of color. She has directed productions and workshops at BAM Harvey Theater, the Irondale, (both Brooklyn); The National Theatre of Prague; HERE Art Center, Guggenheim Works & Process, New Georges, 2g, The Flea, the wild project, WP Theatre (all New York); Dallas Theatre Center; Yale Repertory Theatre, Conn.; Montana Repertory Theatre, Mont.; and the Maltz Jupiter Theatre, Fla. Vaeni currently holds faculty positions at Yale University and SMU. She has also taught acting, directing, movement and Shakespeare at Seton Hall University, Hofstra University, SUNY-Stonybrook and the University of Massachusetts-Amherst. She has been an artist in residence or guest director at Princeton University, Yale School of Drama, Mount Holyoke College, Westminster Choir College and University of Virginia-Wise. When she is not making the world a more interesting place through teaching and theatre-making, she reads YA, swings kettlebells and chases a 250-lb. deadlift. TIFFANY CROMWELL (Production Stage Manager) first worked with Stage West as Assistant Stage Manager for Ann, and has also been Stage Manager for Ada and the Engine, First Date, Lungs, Holmes and Watson, The Father, Everybody, An Octoroon, HIR, Like a Billion Likes, Life Sucks and Ann (remount), Assistant Director for A Funny Thing…, Dramaturg for Are You Now or Have You Ever Been…, and ASM for The Royal Society of Antarctica and Stupid F*cking Bird. She graduated from The University of Texas at Arlington with a BFA in Design and Technology. She also served as the Assistant Stage Manager at PCPA for several shows including Cinderella, The Pirates of Penzance and Richard III as well as Stage Manager for Much Ado About Nothing. Other credits include SM Intern for Dreamgirls at Dallas Theater Center, SM for Dallas Pride Festival and ASM for It Shoulda Been You at Uptown Players. BRYAN STEVENSON (Technical Director) holds a BFA in Theatre from Texas Wesleyan University and an MFA in Design from University
Recommended publications
  • What Ever Happened to In-Yer-Face Theatre?
    What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk.
    [Show full text]
  • Fleabag’ from London’S West End Expands Distribution in U.S
    MEDIA ALERT – September 20, 2019 ‘Fleabag’ from London’s West End Expands Distribution in U.S. Cinemas Monday, November 18 for One Night See the critically acclaimed, award-winning one woman show that inspired the network series with BAFTA winner and Emmy nominee Phoebe Waller-Bridge • WHAT: Fathom Events, BY Experience and National Theatre Live release “Fleabag” in cinemas on Monday, November 18, 2019 at 7:00 p.m. local time, captured live from Wyndham’s Theatre London during its sell out West End run. • WHERE: Tickets for these events can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the events in nearly 500 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change). • WHO: Fathom Events, BY Experience and National Theatre Live “Filthy, funny, snarky and touching” Daily Telegraph “Witty, filthy and supreme” The Guardian “Gloriously Disruptive. Phoebe Waller-Bridge is a name to reckon with” The New York Times Fleabag Written by Phoebe Waller-Bridge and directed by Vicky Jones, Fleabag is a rip-roaring look at some sort of woman living her sort of life. Fleabag may appear emotionally unfiltered and oversexed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. Fleabag was adapted into a BBC Three Television series in partnership with Amazon Prime Video in 2016 and earned Phoebe a BAFTA Award for Best Female Comedy Performance.
    [Show full text]
  • The Children by Lucy Kirkwood
    THE CHILDREN BY LUCY KIRKWOOD DRAMATISTS PLAY SERVICE INC. THE CHILDREN Copyright © 2018, Lucy Kirkwood All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE CHILDREN is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Com- monwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of me- chanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE CHILDREN are controlled exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service, Inc., and paying the requisite fee. Inquiries concerning all other rights should be addressed to Casarotto Ramsay & Associates Ltd, Waverley House, 7-12 Noel Street, London, W1F 8GQ.
    [Show full text]
  • 9.ENGLISH LITERATURE in the 21 St CENTURY
    ENGLISH LITERATURE IN THE 21ST CENTURY (ENG4 C11) IV SEMESTER MA ENGLISH 2019 Admission onwards UNIVERSITY OF CALICUT School of Distance Education Calicut University- P.O, Malappuram - 673635, Kerala. 190013 School of Distance Education UNIVERSITY OF CALICUT School of Distance Education Study Material IV SEMESTER MA ENGLISH ENGLISH LITERATURE IN THE 21ST CENTURY: (ENG4 C11) Prepared by: Smt. MEENU S, Guest Lecturer, Govt. College, Kottayam. Scrutinized by: Smt. PINKU BOUSALLY, Asst. Professor of English, Govt. College, Peringome, Payyannur. DISCLAIMER “The author shall be solely responsible for the content and views expressed in this book” English Literature in the 21st century 2 School of Distance Education CONTENTS POETRY : 5 DRAMA : 23 FICTION & PROSE : 33 English Literature in the 21st century 3 School of Distance Education English Literature in the 21st century 4 School of Distance Education A Vision by Simon Armitage Armitage's poems echo the poetic genius of modern British poets such as Philip Larkin and W. H Auden. They share the same philosophic point of view that nothing is certain.Simon Armitage was born in Marsden, a village in West Yorkshire, England. From 2015 to 2019, he served as Professor of Poetry at the University of Oxford, and in 2017 he was appointed Professor of Poetry at the University of Leeds. He was named UK Poet Laureate in 2019. Armitage is the author of numerous collections of poetry, including Magnetic Field: The Marsden Poems (2020); Sandettie Light Vessel Automatic (2019); TheUnaccompanied (2017); Paper Aeroplane: Selected Poems 1989–2014 (2014); Seeing Stars (2010); Tyrannosaurus Rex Versus the Corduroy Kid (2006); TheShout: Selected Poems (2005).
    [Show full text]
  • Contemporary Duologues
    The Good Audition Guides : edited and introduced by London www.nickhernbooks.co.uk Contents nd May by Jack Thorne Anne Boleyn by Howard Brenton Blue Stockings by Jessica Swale Britannia Waves the Rules by Gareth Farr Chicken Shop by Anna Jordan Chimerica by Lucy Kirkwood Fault Lines by Ali Taylor God’s Property by Arinze Kene Lemons Lemons Lemons Lemons Lemons by Sam Steiner Love and Information by Caryl Churchill Moth by Declan Greene Pandas by Rona Munro Pronoun by Evan Placey Rafta, Rafta… by Ayub Khan Din Ramallah by David Greig The River by Jez Butterworth Scarborough by Fiona Evans Scuttlers by Rona Munro Sex with a Stranger by Stefan Golaszewski Spinning by Deirdre Kinahan Tiger Country by Nina Raine Unbroken by Alexandra Wood Unscorched by Luke Owen While You Lie by Sam Holcroft Yen by Anna Jordan Introduction Whether you are doing theatre studies at school, taking part in a youth theatre, at drama school (perhaps in your final year and looking for showcase material), or attending a professional acting workshop, the duologue will arguably provide the most intense form of character exploration and analysis. It will draw on all the essential skills of the actor - namely playing an objective, identifying obstacles, incorporating backstory, staying in the moment and listening. It is what any Stanislavsky-based acting technique is all about, and a well-crafted duologue will allow you to put all these elements into practice.* The twenty-five duologues in this volume are from plays that have largely been written post- . With the odd exception the characters range in age from fourteen to forty.
    [Show full text]
  • History in the Hands of the Contemporary Playwright 2000-2015: a Feminist Critique of Normative Historiography in British Theatre
    History in the hands of the Contemporary Playwright 2000-2015: a feminist critique of normative historiography in British theatre. Submitted by Rebecca Amy Fraser to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama in June 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract Abstract Between 2000 and 2015 twelve of the UK’s leading producing theatres premiered twenty three plays by British playwrights where the action was set between 1882-1928. This historical period is significant; in 1882 the Married Women’s Property Act was passed and in 1928 equal enfranchisement for men and women was granted in the United Kingdom, hence, the historical period traces a shift in women’s rights from property ownership to the vote. This thesis investigates narratives within these plays and explores the development of a normative historiography that is drawn on, but predominantly left unquestioned, by playwrights as Britain’s past is reimagined. It is this normative historiography, operating in a theatrical context, which the thesis problematises and interrogates through the lens of contemporary British playwriting. This lens facilitates an exploration of the manner in which the representation of the past mirrors and/or challenges current feminist discourse and considers the cultural implications of the structures and techniques employed to retell women their history through this medium.
    [Show full text]
  • October 2019 – March 2020
    13 September 2019 National Theatre On-Sale: October 2019 – March 2020 Just announced: • Emma Rice adapts and directs Emily Brontë’s iconic masterpiece WUTHERING HEIGHTS, in a new co-production with Wise Children in association with York Theatre Royal. Opening in the Lyttelton Theatre in autumn 2020 before touring across the UK • Lucy Briers, Crystal Condie and Kevin Hely join the cast of Francesca Martinez’s debut play ALL OF US, directed by Ian Rickson • Ben Daniels joins Nancy Carroll in Moira Buffini's timely new play MANOR, directed by Fiona Buffini On sale: • Sarah Niles joins Natalie Simpson and Racheal Ofori in THREE SISTERS, Inua Ellams’ adaptation of Chekhov’s classic play, relocated to 1960s Nigeria and directed by Nadia Fall • Hugo Weaving joins Lesley Manville in Tony Kushner’s new adaptation of Friedrich Dürrenmatt’s masterpiece THE VISIT or THE OLD LADY COMES TO CALL • Further casting announced for Lucy Kirkwood’s new play THE WELKIN, directed by James Macdonald, with a cast including Maxine Peake, Cecilia Noble and Ria Zmitrowicz • Ex Machina’s epic THE SEVEN STREAMS OF THE RIVER OTA, directed by Robert Lepage, returns to the NT as part of a world tour • Clint Dyer becomes the first Black British artist to have acted, written and directed at the NT with DEATH OF ENGLAND, written by Roy Williams and Dyer, and performed by Rafe Spall • Ciarán Hinds and Judith Roddy reprise their roles with Fra Fee joining the cast of Brian Friel’s TRANSLATIONS, directed by Ian Rickson • Further performances on sale for MY BRILLIANT FRIEND, adapted by April De Angelis from Elena Ferrante’s bestselling Neapolitan Novels To download high-resolution images for on-sale productions, please see here.
    [Show full text]
  • Dossier De Production
    dossier de production Lucy Kirkwood / Chloé Dabert LE FIRMAMENT LE FIRMAMENT Gustave-Joseph Witkowski women - Two and two men assist during childbirth (1887) CONTACTS MAGALI DUPIN (COMÉDIE – CDN DE REIMS) [email protected] 06 20 96 85 43 INÈS BEROUAL (COMÉDIE – CDN DE REIMS) [email protected] 06 77 40 75 83 CAROLE WILLEMOT (ALTERMACHINE) [email protected] 06 79 17 36 65 création 2021/2022 Printemps/été 2022 tournée OCTOBRE 2022/MARS 2023 Comédie – CDN de Reims ThéâtredelaCité – CDN Toulouse Occitanie Comédie de Caen – CDN de Normandie Lucy Kirkwood / Chloé Dabert Comédie de Colmar CDN Grand Est Alsace Le Parvis – scène nationale de Tarbes-Pyrénées La Scène nationale du Sud-Aquitain Théâtre Gérard Philipe, centre dramatique national de Saint-Denis Le CENTQUATRE-PARIS (Montage de tournée en cours) tournée AUTOMNE 2023 LE FIRMAMENT Théâtre de Liège Production Comédie - CDN de Reims L’Arche est éditeur et agent théâtral du texte représenté. coproductions Théâtre de Liège Comédie de Caen – CDN de Normandie ThéâtredelaCité – CDN Toulouse Occitanie Le Parvis – scène nationale de Tarbes-Pyrénées Le CENTQUATRE-PARIS (en cours) GÉNÉRIQUE TEXTE Lucy Kirkwood TRADUCTION Louise Bartlett MISE EN SCÈNE Chloé Dabert ASSISTANAT À LA MISE EN SCÈNE Virginie Ferrere Lucy Kirkwood / Chloé Dabert SCÉNOGRAPHIE Pierre Nouvel CRÉATION COSTUMES Marie La Rocca CRÉATION LUMIÈRE Nicolas Marie CRÉATION SON Lucas Lelièvre LE FIRMAMENT RÉGIE GÉNÉRALE Arno Seghiri RÉALISATION DECORS ET COSTUMES Ateliers du Théâtre de Liège AVEC Elsa Agnès Sélène Assaf Bénédicte Cerutti Gwenaëlle David Marie-Armelle Deguy Olivier Dupuy Andréa El Azan Sébastien Éveno Juliette Speck Lisa Toromanian Arthur Verret (distribution en cours) Pièce pour 13 comédiennes et 3 comédiens — Durée estimée : 3h entracte inclus la pièce Le Firmament est un drame se déroulant en 1759, en Angleterre.
    [Show full text]
  • NICK LEOS Theatre Director & Choreographer
    NICK LEOS Theatre Director & Choreographer Email: [email protected] Website: www.nickleos.com Phone: 214-801-1226 PERSONAL STATEMENT Originally from Texas, I’m an early-career artist who has directed, choreographed and assisted at theatres in Dallas, Oklahoma, St. Louis, New York City, and internationally in London. I am drawn to works that are relevant, imaginative, honest and inclusive. I view the medium of theatre as a necessary tool in debating societal reform, promoting communication and exploring our shared humanity. My goals for the future are to continue to direct a variety of plays with diverse voices, experiment with new styles of storytelling and improve education, access and outreach between theatres and communities. In Dallas, I’ve created a theatre group, Leos Ensemble, which focuses on producing plays with international themes. EDUCATION MFA-Theatre Directing: East15 Acting School- University of Essex London, UK—November 2018 Research Topics: Shakespeare, Adaptation, Contemporary British Theatre, Contemporary Irish Theatre, Contemporary Black-American Theatre, Musical Theatre, Physical Theatre, and Directing in Universities Head of Course: Matthew Lloyd [email protected] BFA-Theatre Performance: Oklahoma State University, Oklahoma May 2011 DIRECTING The Skin of Our Teeth by Thornton Wilder March 2020 Mountain View College Theatre Department Mountain View Performance Hall—Dallas Macbeth by William Shakespeare October 2019 Company of Rowlett Performers Plaza Theatre—Garland, TX The Best Woman by Shane Strawbridge *World Premiere Sept. 2019 Imprint Theatreworks Arts Mission Oak Cliff—Dallas The One-Minute Play Festival August 2019 Kitchen Dog Theatre & The One-Minute Play Festival Bob Hope Theatre—Dallas small hours by Ed Hime and Lucy Kirkwood *US Premiere July-Aug 2019 Leos Ensemble Bath House Cultural Center—Dallas Part of the 2019 Festival of Independent Theatres Rosin by A.
    [Show full text]
  • Guide to Plays for Performance
    Guide to Plays for Performance Welcome to our Guide to Plays for Performance! I hope this Guide will not only be a useful tool for you in helping to choose next season’s play, but also a valuable companion throughout your career in the theatre. The Guide will give you a good overview of our list with detailed information on our most- performed plays as well as new releases and acquisitions. A more comprehensive version of the Guide is available online, and you are welcome to print off any sheets that are of particular interest to you there. Towards the end of this guide you will find a detailed listing of all our plays for performance, including cast details. If you find a play there that you would like a closer look at, just let me know and I will be happy to send you an approval copy of the script. If you wish to receive our quarterly supplements, with information about the most recent acquisitions, you must let me have an email address (send to: [email protected]) so that I can add you to our electronic mailing list. Check before rehearsals May I remind you that it is essential that before rehearsals begin, you check availability with me, as inclusion in the Guide does not necessarily indicate that amateur rights have been released, and some plays may be withdrawn later on without notice. I hope you will find an exciting and inspiring play for a future production in this Guide and look forward to hearing from you.
    [Show full text]
  • Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adisesheah, S; Lepage, L, Ed
    O'Thomas M. Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adisesheah, S; Lepage, L, ed. Twenty-First Century Drama. London, UK: Palgrave Macmillan, 2016, pp.129-148. Copyright: This is a post-peer-review, pre-copyedit version of an chapter published in Twenty-First Century Drama. The definitive publisher-authenticated version O'Thomas M. Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adisesheah, S; Lepage, L, ed. Twenty-First Century Drama. London, UK: Palgrave Macmillan, 2016, pp.129-148. is available online at: http://dx.doi.org/10.1057/978-1-137-48403-1_7 Date deposited: 20/10/2016 Embargo release date: 18 June 2019 Newcastle University ePrints - eprint.ncl.ac.uk 4JÉO"EJTFTIJBI t -PVJTF-F1BHF 2 &EJUPST 3 Twenty-First Century 4 Drama 5 8IBU)BQQFOT/PX 6 Editors Siân Adiseshiah -PVJTF-F1BHF [AU1] -JODPMO4DIPPMPG)VNBOJUJFTBOE 6OJWFSTJUZPG3FBEJOH 1FSGPSN 3FBEJOH 6OJUFE,JOHEPN 6OJWFSTJUZPG-JODPMO -JODPMO 6OJUFE,JOHEPN *4#/*4#/ F#PPL DOI 10.1057/978-1-137-48403-1 -JCSBSZPG$POHSFTT$POUSPM/VNCFS ª5IF&EJUPS T JGBQQMJDBCMF BOE5IF"VUIPS T 5IFBVUIPS T IBTIBWFBTTFSUFEUIFJSSJHIU T UPCFJEFOUJåFEBTUIFBVUIPS T PGUIJTXPSL JOBDDPSEBODFXJUIUIF$PQZSJHIU %FTJHOTBOE1BUFOUT"DU 5IJT XPSL JT TVCKFDU UP DPQZSJHIU "MM SJHIUT BSF TPMFMZ BOE FYDMVTJWFMZ MJDFOTFE CZ UIF 1VCMJTIFS XIFUIFSUIFXIPMFPSQBSUPGUIFNBUFSJBMJTDPODFSOFE TQFDJåDBMMZUIFSJHIUTPG USBOTMBUJPO SFQSJOUJOH SFVTF PG JMMVTUSBUJPOT SFDJUBUJPO CSPBEDBTUJOH SFQSPEVDUJPO PO NJDSPåMNTPSJOBOZPUIFSQIZTJDBMXBZ BOEUSBOTNJTTJPOPSJOGPSNBUJPOTUPSBHFBOESFUSJFWBM
    [Show full text]
  • Sheet1 Page 1 Play Theatre National Theatre a Dream from a Bombshell
    Sheet1 Play Theatre 3 Winters by Tena Stivicic National Theatre A Dream From a Bombshell, by Anna Nyugen Albany Theatre A Family Affair, Agnes Jaoui and Jean Pierre Bacri, Drayton Arms A First World Problem, Milly Thomas, Theatre503 A Taste of Honey, Shelagh Delaney National Theatre Alice, Lewis Caroll & Poppy Burton-Morgan, V&A Almost Near, Pamela Carter, Finborough Are You Lonesome Tonight, Ellie Stamp, The Yard Be My Baby, Amanda Whittington Questor’s Theatre Beached, by Melissa Buchnic Soho Theatre Between Us, Sarah Daniels Arcola Beyond Cragporth Rock by Haste Theatre and Ally Cologna Bussey Building Bitch Boxer, Charlotte Josephine Soho Theatre Black Coffee, Agatha Christie Fairfield Halls Black Coffee, Agatha Christie, Richmond Theatre Blind Eye by Susannah Finzi Theatre503 Blind, Grace Savage & Paper Birds Various Bombshells by Joanna Murray-Smith Jermyn Street Theatre Bookends, including Sian Rowland and Annie Power Etcetera Theatre Brand New Ancients by Kate Tempest Royal Court Theatre Britney Spears Custody Battle Vs. Zeus in Swan Rape Shocker, Lucy Hutson ( The Yard Bryony Kimmings: Sex Idiot by Bryony Kimmings Purcell Room Bunco, by Yasmin Zadeh Proud Archivist Calm Down, Dear – A Festival of Feminism Camden People’s Theatre Character, Florence Vincent Selkirk Pub Chewing Gum Dreams, Nadia Fall NT Shed Chicken Shop, by Anna Jordan Park Theatre Chigger Foot Boys, Pat Cumper Ovalhouse Chimera, by Suli Holum and Deborah Stein Gate Theatre Ciphers by Dawn King Bush Theatre Circles, Rachel De-lahay Tricycle Close to You, Jennie
    [Show full text]