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Actors from the London Stage Fall Tour 2016 ACTORS FROM THE LONDON STAGE FALL TOUR 2016 by William Shakespeare Venue Name Performance Dates Performance Times Insert your school logo here Supported by the McMeel Family Endowment for Excellence for Actors From The London Stage, the Paul Eulau Endowment for Excellence for Actors From The London Stage, the Deborah J. Loughrey Endowment for Excellence in Shakespeare Studies, the D & J Smith Endowment for Shakespeare and Performance, the Office of the Provost, and the College of Arts and Letters. Design and artwork: www.imaginedesignassociates.com THE AFTLS APPROACH ABOUT ACTORS FROM THE LONDON STAGE For most of his working life, William Shakespeare was a sharer in the King’s Men, Actors From The London Stage (consisting of five British Shakespearean artists from London’s leading theatre company. He knew the actors he was writing for and such companies as the Royal Shakespeare Company, the Royal National Theatre of collaborated with them on seeing the plays into performance. Great Britain, and Shakespeare’s Globe Theatre, among others) is an educational program developed in 1975 by Homer Swander at the University of California, Santa All theatre is a collaboration, of course, and while actors can no longer collaborate Barbara. The theatre company is now based in London and at the University of Notre directly with Shakespeare, the Actors From The London Stage (AFTLS) company Dame. The artists devote a large part of their time to lectures, workshops, seminars, and always aims to work with him, respectfully and creatively, throughout the rehearsal informal meetings with students. Their stay provides students and faculty with a unique process. Our company’s aim is to make his words exert their magic and their power in opportunity both to observe extraordinary performances and to discuss literature and performance, but we do this in a vital, and perhaps unconventional, way. We have no the art of theatre in depth with some of the most talented artists from some of the massive sets to tower over the performers and no directorial concept to tower over the most important theatre companies in the world. Contact us at www.aftls.nd.edu. text of Shakespeare’s play. In fact, AFTLS does not have a director at all; instead, the play has been rehearsed by the actors, working together to create theatre, cooperating Founder Associate Directors with each other in their imaginative engagement with the play’s words. Homer Swander David Acton Richard Neale Bruce Alexander Michael Palmer Now the actors ask you, the audience, to perform that same kind of imaginative Academic Director Gareth Armstrong Martin Parr engagement that Shakespeare was thinking about when, in the Prologue to Henry V, Peter Holland Matthew Davies Eunice Roberts he instructed his spectators: “Think, when we talk of horses, that you see them, / Caroline Devlin Alison Skilbeck Printing their proud hoofs i’ the receiving earth / For ’tis your thoughts that now must Founding Directors Tim Hardy Chris Staines deck our kings.” Tony Church Lucy Tregear Lisa Harrow Vivien Heilbron Alinka Wright Now the actors seek a new collaboration, working with you, the audience, in the way Bernard Lloyd Jennifer Higham that only live theatre can. It is not a hard job for people to do, even though we are now Sir Patrick Stewart used to having everything shown us on screen, and even though we usually no longer rely on the powers of the imagination and collaboration to bring a play’s world into being. If you share the fun of collaborating with us, then the excitement of the performance will be richly rewarding for you and for the actors, for this special act of working together, actors and audience combined, marks the latest stage of that long journey Richard III has made from Shakespeare’s writing the play with and for the ABOUT SHAKESPEARE AT NOTRE DAME actors he knew so well. So, tonight, watch and listen and “let us... / Actors From The London Stage is a national outreach program of Shakespeare at Notre On your imaginary forces work.” Dame. Shakespeare at Notre Dame consists of the McMeel Family Chair in Shakespeare Peter Holland Studies, the Ryan Producing Artistic Director, the Notre Dame Shakespeare Festival, McMeel Family Chair in Shakespeare Studies Actors From The London Stage, ancillary lectures and events, and library collections. Associate Dean for the Arts, College of Arts and Letters Shakespeare at Notre Dame’s mission is to become a pre-eminent venue for the study University of Notre Dame and performance of the works of Shakespeare, providing Notre Dame and the wider community with an on-campus culture steeped in the works of William Shakespeare — both on the page and on the stage. Executive Director: Scott Jackson General Manager: Debra Gasper Ryan Producing Artistic Director: Grant Mudge Audience Development Manager: Aaron Nichols 2 Richard III Richard III 3 THE PLAYERS (BBC); Watching, London’s Burning, Family Aairs, and Lewis. Film credits include The Unicorn (Daybreak Pictures ), Funseekers (Comic Strip), and The Thirty Nine Steps (Rank). Hannah Barrie Clarence/Brackenbury/Catesby/Queen Margaret/Edward IV/ Radio credits include The Fosdyke Saga. Liz is an Education Associate Practitioner at the Duke of York Royal Shakespeare Company and teaches drama in London. Liz Crowther Richard, Duke of Gloucester/Messenger/1st Murderer ALICE HAIG (Lady Anne/Rivers/2nd Murderer/Prince Edward/Lord Alice Haig Lady Anne/Rivers/2nd Murderer/Prince Edward/Lord Mayor/ Mayor/Page/Richmond) trained at the Royal Central School of Speech Page/Richmond and Drama in London. Theatre credits include The Brink (Orange Tree Evelyn Miller Pall Bearer/Buckingham/Dorset /Derby Theatre); 84 Charing Cross Road (Salisbury Playhouse); ‘Tis Pity She’s A Whore (Sam Wanamaker Playhouse, Shakespeare’s Globe); Baby (Hope Paul O’Mahony Hastings/Pall Bearer/Queen Elizabeth/Sherri¨/Tyrell/Blunt Theatre); Sense and Sensibility (The Watermill); Wasted (The Round- house & Tour, Paines Plough); I Didn’t Always Live Here (Finborough); The Fairy Queen (BAM & Glyndebourne); Hay Fever and As You Like it (West Yorkshire Playhouse); Curse of the Starving Class (Royal Lyceum, Edinburgh); The Children’s Hour (Manchester Royal Exchange); Holding Fire! (Shakespeare’s Globe); What Cheryl Did Next ABOUT THE PLAYERS and Even Stillness… (Theatre 503); When Cheryl Was Brassic (Nabakov, Latitude); Casting Call (Southwark Playhouse); and Hard Shoulders (The Pleasance, London). Television credits Include Scottish Killers (BBC) and Beautality. Radio credits include Blood and Milk HANNAH BARRIE (Clarence/Brackenbury/Catesby/Queen Margaret/ (BBC Radio 4). Edward IV/Duke of York) trained at London’s Guildhall School of Music and Drama. Theatre credits include The Winter’s Tale (Northern Broadsides); Macbeth and The Comedy of Errors (Chester Performs); EVELYN MILLER (Pall Bearer/Buckingham/Dorset/Derby) trained at The Bullet (Royal Shakespeare Company, Hampstead); Nothing Like London’s Guildhall School of Music and Drama. Theatre credits include the Sun (Opera North); Henry V (Royal Shakespeare Company, Richard II (Royal Shakespeare Company); Henry IV Parts I and II (Royal University of Michigan); A Five-Star Werewolf (York Theatre Royal); Shakespeare Company); Henry V (Royal Shakespeare Company); The Richard II and Richard III (RSC at the Roundhouse); and Much Ado About Nothing Famous Victories of Henry V (Royal Shakespeare Company); Romeo and (Shakespeare’s Globe). Film credits include Ridley Scott’s Robin Hood (Universal Juliet (Orange Tree Theatre); Peer Gynt (The Barbican with the BBC Pictures). Television credits include Waterloo Road, Casualty, Frankie, Mayday, Doctors, Symphony Orchestra); The Little Prince (Royal Opera House); and Waking The Dead, and Holby City (all for the BBC). Swallows and Amazons (Bristol Old Vic). Television includes Holby City (BBC). LIZ CROWTHER (Richard, Duke of Gloucester/Messenger/1st Murderer) trained at Arts Educational, London and Ecole Jacques PAUL O’MAHONY (Hastings/Pall Bearer/Queen Elizabeth/Sherri¨/ Lecoq, Paris. Theatre credits include: The Roaring Girl, Cardenio, The Tyrell/Blunt) is artistic director of Out of Chaos with whom he has Witch of Edmonton, Marat/Sade, Song of Songs, and The White Devil devised, written, and performed Out of Chaos, UNMYTHABLE, and (Royal Shakespeare Company); Kite (Soho Theatre, as part of the Norsesome. Out of Chaos have toured throughout the world winning London International Mime Festival); The Middlemarch Trilogy (Orange awards in Bilbao, Berlin, and Edinburgh. Theatre credits include several Tree); Onassis (Novello); Romeo and Juliet (The Globe and Actors seasons at The Orange Tree; Othello (RSC); The Taming of the Shrew From The London Stage); Blithe Spirit (Nottingham Playhouse); The Country Wife (Plymouth Theatre Royal); Suppliants (BAC); Ice (ETO); Next Door (Out (Haymarket); Cyrano de Bergerac (Royal Exchange); Richard 111 and The Notebook of of Balanz); and Under the Hammerbeam Roof (ETO). With Richard Twyman, he Trigorin (Northcott); Ducktastic, directed by Kenneth Branagh (Albery); Twelfth Night translated and adapted three Greek tragedies to create The House of Atreus (Barbican). and The Merry Wives of Windsor (Regents Park Open Air Theatre); Abigail’s Party He is associate producer at Jermyn Street Theatre where his credits include All That Fall, (Hampstead Theatre tour); The Real Thing (UK tour); Present Laughter and Arsenic and St John’s Night, and Mother Adam. In 2015, Paul directed Much Ado About Nothing as Old Lace (Mercury, Colchester); Communicating Doors (Stephen Joseph, Scarborough Eminent Artist-in-Residence at the University of Wyoming. This is his third AFTLS tour and Chicago Theatre Festival); Bodies, All in the Wrong, King Lear, and The Dark River after A Midsummer Night’s Dream in 2010 and Much Ado About Nothing in 2014. (Orange Tree); and Animal Farm (National Theatre). Television credits include The Dumping Ground (CBBC); Outnumbered, Miss Marple, Holby City, and Mansfield Park 4 Richard III Richard III 5 THE STORY War may be over but Richard, Duke of Gloucester, now plots to make himself king.
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