DOCSLIB.ORG

Man to a Wales Millenniumcentreproduction Translated Byalexandrawood #Bamnextwave No Intermission LOCATION: RUN TIME:1Hr, 15Mins DATES: by Manfredkarge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Man to a Wales Millenniumcentreproduction Translated Byalexandrawood #Bamnextwave No Intermission LOCATION: RUN TIME:1Hr, 15Mins DATES: by Manfredkarge Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Man to Man Executive Producer By Manfred Karge Translated by Alexandra Wood A Wales Millennium Centre Production DATES: NOV 7—11 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) RUN TIME: 1hr, 15mins Major support for theater at BAM no intermission provided by: The Achelis and Bodman Foundation The Francena T. Harrison Foundation Trust The SHS Foundation The Shubert Foundation, Inc. #BAMNextWave BAM Fisher ABOUT Man to Man Man to Man Manfred Karge’s Man to Man tells the story of Ella: a woman forced to adopt the identity of her dead husband in Performer Production Manager order to survive in Nazi Germany. Maggie Bain Martin Hunt Compromising her own identity for Playwright Company Stage Manager survival, Ella is plunged into a new Manfred Karge Sarah Thomas masculine world of beer, schnapps, and poker—a claustrophobic existence Translation Technical Stage Manager dominated by the fear of discovery Alexandra Wood Angus Foster and the changing face of authority in a volatile 20th-century Germany. Directed by Assistant Stage Manager Bruce Guthrie & Scott Graham Katie Bingham Shunted from one memory to another, the audience experiences the full force Set and Costume Design Production Electrician of this all-consuming one-woman play, Richard Kent Mollie Tuttle confronting the horror of the Second World War from a unique and deeply Lighting Design American Stage Manager personal perspective. Rick Fisher R. Michael Blanco In this new English adaptation of the Sound Design German masterpiece by Alexandra Mike Walker The Actors are appearing with the per- Wood, directors Bruce Guthrie and mission of Actors’ Equity Association. Frantic Assembly’s Scott Graham Video Design re-imagine this seminal text alongside Andrzej Goulding The American Stage Manager is a a stellar creative team. member of Actors’ Equity Association. Music composed by The production was created at Wales Matthew Scott Millennium Centre in February 2015 and transferred to the Edinburgh Fringe Voice & Dialect Coach Festival in August of that year. Hugh O’Shea Produced by Pádraig Cusack Wales Millennium Centre’s license to present Manfred Karge’s Man to Man is granted by Rosica Colin Limited, London, by arrangement with henschel SCHAUSPIEL, Berlin Ernst Busch Acting School in Berlin. He BRUCE GUTHRIE has appeared in Hauptmann’s Die Ratten Director (The Rats), as well as in Wedekind’s Lulu, at the Maxim Gorki Theater. In Bruce Guthrie recently directed a new UK the last few years Karge has been active Who’s production of Jonathan Larson’s legend- as an actor and director at the Berliner ary musical Rent (St James Theatre and Ensemble, taking major roles in Richard UK tour); Constellations by Nick Payne II, Mother Courage und Ihre Kinder, and (Singapore Repertory Theatre); The Last Die Heilige Johanna der Schlachthoefe. Mermaid with Charlotte Church (Festival Who His productions include Schweyk in the of voice, Wales Millennium Centre); Man Second World War, Fear and Suffering to Man by Manfred Karge (Wales Mil- MANFRED KARGE of the Third Reich, The Caucasian Chalk lennium Centre and Edinburgh Festival Author Circle, and The Hanns Eisler Revue. 2015); Lotty’s War by Giuliano Crispini Karge has two books published by and Clare Slater (UK Tour); Bakersfield Manfred Karge was born in 1938. After Alexanderverlag, Berlin. Mist starring Kathleen Turner and Ian Mc- drama school, he was invited by Helene Photo: Maggie Bain by Wolf Marioh Photo: Maggie Bain by Wolf Diarmid (Duchess Theatre); An Incident at Weigel—world-famous actor, director, the Border by Kieran Lynn (Finborough & ex-wife of Bertolt Brecht, and one-time ALEXANDRA WOOD Trafalgar Studios); The Merchant of Ven- head of the Berliner Ensemble—to join English Language Author MAGGIE BAIN ice, Othello, and Twelfth Night (Singapore the Berliner Ensemble in 1961. In 1963 Actor Repertory Theatre, Fort Canning Park, he began work with Matthias Langhoff Alexandra Wood is an award-winning Singapore); and Stories by Heart, written and also started his career as an actor in British dramatist. Her plays include The Originally from Scotland, Maggie Bain by and starring multi-award-winning actor feature films. Human Ear (Paines Plough); Ages (Old grew up in England, moving to London John Lithgow (Lyttelton NT). Guthrie also Vic New Voices); Merit (Plymouth Drum); for drama school. She recently completed wrote and directed events celebrating the In 1969 Karge and Langhoff moved to the The Initiate (Paines Plough, winner of filming First & Only, a film adaptation of centenary of the Welsh Guards in 2015. Volksbuehne, East Berlin. In 1975 they a Scotsman Fringe First); The Empty Peter Flannery’s best-selling novel of the These took place at the Royal Welsh staged the premiere of Heiner Mueller’s Quarter (Hampstead); an adaptation of same name. Other credits include Emma College of Music and Drama and the Die Schlacht (The Battle). Productions Jung Chang’s Wild Swans (Young Vic/ Rice’s A Midsummer Night’s Dream Principality Stadium, Cardiff. followed in Hamburg, Geneva, Cologne, ART); The Centre (Islington Community (Shakespeare’s Globe); Man to Man and Hanover. Claus Peymann installed Theatre); Unbroken (Gate); The Lion’s (Wales Millennium Centre and Edinburgh Karge at the Schauspielhaus Bochum. Mouth (Rough Cuts/Royal Court); The Fringe Festival 2015); The Blood Is Strong SCOTT GRAHAM Productions took place in Paris, Zurich, Eleventh Capital (Royal Court); and the (Finborough Theatre); Beautiful Burnout Director Stuttgart, and other cities. In 1982 radio play Twelve Years (BBC Radio 4). (Frantic Assembly, UK Tour); Henry V and the world premiere of Karge’s first play A Doll’s House (Theatre Delicatessen); and Scott Graham is artistic director and co- Jacke Wie Hose was staged at the Short plays include Pope’s Grotto (Paines Love of the Nightingale (Rough Fiction). founder of Frantic Assembly, for which Schauspielhaus Bochum, directed by Plough/Come to Where I’m From); My TV and film credits include Happiness he recently directed Things I Know to Karge. Under the English title Man to Name Is Tania Head (Decade/Headlong); (David Austen Studios for Channel 4/Ran- Be True, No Way Back, Othello, and Man, Tilda Swinton played the character, and work for the Royal Court, Oxford dom Acts); Making Ugly (Vernon Films); The Believers. He has been nominated Max Gericke (Traverse Theatre, Edinburgh School of Drama, Rose Bruford College, Lady Randy in Lady Randy: Churchill’s for an Olivier and a Tony Award for best 1987; Royal Court Theatre 1988), and Dry Write, Nabokov, and Curious Mother (Channel 4 & Flame TV); and choreography for the multi-award-winning the production was filmed. Karge’s second Directive. Wood is a past winner of the Crisis Control (BBC). NT production The Curious Incident of play Conquest of the South Pole followed George Devine Award and was the Big the Dog in the Night-Time. For Frantic (Traverse Theatre 1988; Royal Court Room playwright-in-residence at Paines In addition to her theater, film, and televi- Assembly he has co-directed Little Dogs, 1988) and was also filmed. Plough in 2013. sion work Bain is also a Learn & Train Lovesong, Beautiful Burnout, Stockholm, Practitioner for Frantic Assembly, teaching pool (no water), Dirty Wonderland, With Claus Peymann, Karge went to the physical theater skills and devising tech- Rabbit, Peepshow, and Underworld. His Burgtheater Vienna in 1986 to stage work niques for schools and theater companies director/performer credits include Hymns, by Brecht, Fuehmann, Jelinek, and others. throughout the world. Tiny Dynamite, On Blindness, Heavenly, From 1993 onwards, he has managed the Sell Out, Zero, Flesh, Klub, and Look seen with the Monteverdi Choir’s triple bill cible and UK Tour); Oliver! (Grange Park Opera); and Silent Night (Philadelphia Back in Anger.Other directing credits of Orfeo, Ulisse, and Poppea (UK, Europe, Opera); Outside Mullingar (Ustinov, Bath); Opera, US tour). Goulding was recently include Man to Man at Wales Millennium New York), and forthcoming work includes The Colby Sisters Of Pittsburgh, Pennsyl- nominated for the first ever Whatsonstage Centre and Home for the National Theatre Billy Elliot (Tokyo); Forbidden City (Singa- vania, A Boy and His Soul, Paper Dolls, award for video design (Groundhog Day) of Scotland. His choreography/movement pore); and Cell Mates (Hampstead). and Multitudes (Tricycle); Bad Jews, and a Welsh Theatre Award for design direction credits include The Merchant of (Ustinov Bath, St James, Arts, Haymarket, (The Last Mermaid). agoulding.com Venice for Singapore Repertory Company; and UK Tour); Handbagged (Tricycle, Praxis Makes Perfect for National Theatre MIKE WALKER Vaudeville, and UK Tour); Macbeth, Shef- Wales; The Canticles at Brighton Festival/ Sound Design field Mysteries (Sheffield Crucible); The MATTHEW SCOTT Aldeburgh Music; Husbands & Sons, Port, Dance of Death (Donmar Trafalgar); The Composer Hothouse, and Market Boy at the National Mike Walker trained at Guildhall School of Merchant of Venice (Singapore Repertory Theatre; and Dr. Dee for Manchester Music and Drama in London. His many Theatre); Murder Ballad and Josephine Matthew Scott trained at the Guildhall International Festival/ENO. With Steven designs for the National Theatre include Hart Poetry Week (Arts Theatre); Unfaith- School and City University London, at the Hoggett and Bryony Lavery, he created It Three Winters, Chewing Gum Dreams, ful (Found 111); Watership Down (The Berlin Hochshule für Musik and in New Snows, a National Theatre Connections Home, Hymn, St. Matthew Passion, Major Watermill); The Cocktail Party (Print York, where he worked as music assistant play and, with Steven Hoggett, wrote The Barbara, Caroline or Change, and Jerry Room); Communicating Doors (Menier to Lotte Lenya. He has written music for Frantic Assembly Book of Devising The- Springer–The Opera, for which he won the Chocolate Factory); Neighbors and Clock- many plays including premieres by Sir atre (Routledge 2nd ed.).
Load more

Recommended publications
  • Annual Review 2001 Contents
    accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world.
    [Show full text]
  • 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]
  • The Threepenny Opera Direct from the National Theatre to Cinemas Around the World from Thursday 22 September
    11 July 2016 NT LIVE ANNOUNCES THE BROADCAST OF THE THREEPENNY OPERA DIRECT FROM THE NATIONAL THEATRE TO CINEMAS AROUND THE WORLD FROM THURSDAY 22 SEPTEMBER ★★★★ ‘Rory Kinnear is a fine Macheath. Haydn Gwynne is terrific’ Daily Express ★★★★ ‘Grimy, filthy and tremendously fun’ Time Out ★★★★ ‘Rory Kinnear is really on song’ Evening Standard ★★★★ ‘A snarling beast of a show’ Independent Rufus Norris’ National Theatre production of THE THREEPENNY OPERA by Bertolt Brecht and Kurt Weill in a new adaptation by Simon Stephens will be broadcast live to cinemas around the world direct from the National’s Olivier Theatre on 22 September at 7pm. The cast includes Rory Kinnear at Macheath, Haydn Gwynne as Mrs Peachum and Rosalie Craig as Polly Peachum alongside Hammed Animashaun, Sarah Amankwah, Toyin Ayeden- Alase, Jamie Beddard, Rebecca Brewer, Andrew Buckley, Ricky Butt, Mark Carroll, Matt Cross, Peter de Jersey, Nick Holder, George Ikediashi. Debbie Kurup, Conor Neaves, Sharon Small, Dominic Tighe and Wendy Somerville. The production is designed by Vicki Mortimer, with musical direction by David Shrubsole, choreography by Imogen Knight, lighting by Paule Constable, sound by Paul Arditti and fight direction by Rachel Bown Williams and Ruth Cooper of RC-ANNIE Ltd. London scrubs up for the coronation. The thieves are on the make, the whores on the pull, the police cutting deals to keep it all out of sight. Mr and Mrs Peachum are looking forward to a bumper day in the beggary business but their daughter didn’t come home last night. Mack the Knife is back in town. A landmark of 20th century musical theatre THE THREEPENNY OPERA in this bold new production contains filthy language and immoral behaviour.
    [Show full text]
  • 05. Filologia Alemana 14
    «The people are the city»: Das Volk und der Held bei Shakespeare, Brecht und Grass* Ana R. CALERO Universitat de València Departament de Filologia Anglesa i Alemanya [email protected] Recibido: octubre de 2005 Aceptado: febrero de 2006 ZUSAMMENFASSUNG William Shakespeares Coriolanus (1608-1609), Bertolt Brechts Coriolan (1951-1952) und Günter Grass’ Die Plebejer proben den Aufstand (1966) stellen ein Kontinuum dar, in dem jeder Autor die Zeichen seiner Zeit und seine Auffassung von Theater in das literarische Gewebe hineingestrickt hat. Aufgezeigt werden soll die Beziehung zwischen Held und Volk anhand von zwei dramatischen Momenten: der Aufstand der Plebejer und Coriolanus’ Stimmenwerbung. Schlüsselwörter: Volk , Held , Shakespeare, Brecht, Grass. «The people are the city»: The People and the Hero in Shakespeare, Brecht and Grass ABSTRACT William Shakespeare’s Coriolanus (1608-1609), Bertolt Brecht’s Coriolan (1951-1952) and Günter Grass’ Die Plebejer proben den Aufstand (1966) can be read as a continuum. Each author includes in his play not only the historical circumstances of his time but also his understanding of dramatic art. The aim of this article is to show the relationship between hero and people by means of two dramatical moments: the uprising of the people and Coriolanus’ plea for votes. Keywords: People, Hero, Shakespeare, Brecht, Grass. RESUMEN Coriolanus (1608-1609) de William Shakespeare, Coriolan (1951-1952) de Bertolt Brecht y Die Plebejer proben den Aufstand (1966) de Günter Grass pueden leerse como un continuum. Cada uno de los autores teje en el tapiz literario las circunstancias históricas que vivió y su visión del teatro. El objetivo de esta contribución es mostrar la relación que se establece entre el protagonista y el pueblo sirviéndonos de dos momentos dramáticos: el levantamiento de los plebeyos y la petición de votos por parte de Coriolano.
    [Show full text]
  • Coriolanus and Fortuna Muliebris Roger D. Woodard
    Coriolanus and Fortuna Muliebris Roger D. Woodard Know, Rome, that all alone Marcius did fight Within Corioli gates: where he hath won, With fame, a name to Caius Marcius; these In honour follows Coriolanus. William Shakespeare, Coriolanus Act 2 1. Introduction In recent work, I have argued for a primitive Indo-European mythic tradition of what I have called the dysfunctional warrior – a warrior who, subsequent to combat, is rendered unable to function in the role of protector within his own society.1 The warrior’s dysfunctionality takes two forms: either he is unable after combat to relinquish his warrior rage and turns that rage against his own people; or the warrior isolates himself from society, removing himself to some distant place. In some descendent instantiations of the tradition the warrior shows both responses. The myth is characterized by a structural matrix which consists of the following six elements: (1) initial presentation of the crisis of the warrior; (2) movement across space to a distant locale; (3) confrontation between the warrior and an erotic feminine, typically a body of women who display themselves lewdly or offer themselves sexually to the warrior (figures of fecundity); (4) clairvoyant feminine who facilitates or mediates in this confrontation; (5) application of waters to the warrior; and (6) consequent establishment of societal order coupled often with an inaugural event. These structural features survive intact in most of the attested forms of the tradition, across the Indo-European cultures that provide us with the evidence, though with some structural adjustment at times. I have proposed that the surviving myths reflect a ritual structure of Proto-Indo-European date and that descendent ritual practices can also be identified.
    [Show full text]
  • (UK) School of Theatre
    TRE EA G.UK H OR E. E TR TR T HEA HEA T lt A Y R A tot OR EMP 2008–09 | ONT R E G C in P WINT lo E 04 | V UE - DE E ISS TR 20 | HEA T L A tot VOLUME TOTAL MAGAZINE DAY OF THE DEAD – MEET THE YOUNG THEATRE COMPANIES TACKLING BEREAVEMENT SPECTRES A GO-GO AS WE HAVE WORDS WITH THE SPECTACULAR TIM ETCHELLS OF FORCED ENTERTAINMENT VENTURE INTO THE FOREST IN EdINBURGH AND GO ON A FABULOUS WALK IN DEVON TAKE A TRIP TO NEW LIFE BERLIN – WOOLOO! FIND OUT ABOUT THE TOTAL THEATRE AWARDS 2008 WITH REPORTS AND REVIEWS A-PLENTY READ ALL ABOUT IT – NEWS OF THE LONDON INTERNATIONAL MIME FESTIVAL, COMPANY UPDATES, AND MORE THEATRE MAGAZINE – TAKING YOU THROUGH THE DARK DAYS AND TOWARDS THE BRIGHT LIGHTS OF NEW PERFORMANCE TOTAL £5 totAltHEATRE.ORG.UK 3 TOTAL THEATRE MAGAZINE VOLUME 20 | ISSUE 04 | WINTER 2008–09 TOTAL THEATRE VOLUME 21 ISSUE 01 WILL BE PUBLISHED FEBRUARY 2009 EDITORIAL CONTENTS My first ‘job’ in ‘the arts’ was at the Institute of REGULARS TOTAL THEATRE MAGAZINE Contemporary Arts (ICA) in London. Those words are in quote marks because this was in the days Editor (mid 70s) when the talk was of art, not the arts, News & Previews P05 DOROTHY MAX PRIOR and making and presenting art was seen as a Performer & Company Updates P08 [email protected] vocation rather than a career. Divisions between Out & About P10 departments at the ICA were pretty loose then. Editorial Forum Pippa Bailey ROBERT AYERS In our view it was all art.
    [Show full text]
  • Download Publication
    ARTS COUNCIL CONTENTS C hairina;,'~ Introduction 4 The Arts Council of Great Britain, as a 5 publicly accountable body, publishes an Sui kA• 1r. -C;eneral's Preface 8 Annual Report to provide Parliament and Departmental Report s 14 the general public with an overview of th e Scotland year's work and to record ail grants an d Wales 15 guarantees offered in support of the arts . Council 16 Membership of Council and Staff 17 A description of the highlights of th e Advisory Panels and Committee s 18 Council's work and discussion of its policie s Staff 23 appear in the newspaper Arts in Action Annual Accounts 25 which is published in conjunction with thi s Funds, Exhibitions, SchewsandAuvrd~ Report and can be obtained, free of charge , from the Arts Council Shop, 8 Long Acre , London WC2 and arts outlets throughou t the country . The objects for which the Arts Council of Great Britain is established are : I To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with governmen t departments, local authorities and othe r bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and performing artists and of helping t o wherever possible both Mth local build up the audiences which must be th e authorities and with private sponsors. real support for the arts . It is the actua l event, the coming together of artist an d The Arts Council is very conscious that th e audience, which matters .
    [Show full text]
  • Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Ed Taft Marshall University, [email protected]
    The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference November 2014 Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Ed Taft Marshall University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Recommended Citation Taft, Ed (2008) "Leisure, Idleness, and Virtuous Activity in Shakespearean Drama," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 2 , Article 2. Available at: http://ideaexchange.uakron.edu/spovsc/vol2/iss2008/2 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Unhae Langis Leisure, Idleness, and Virtuous Activity in Shakespearean Drama by Unhae Langis The topoi leisure and idleness abound in Shakespearean drama in complex manifestations, replete with class and gender inflections. The privileged term, leisure, modeled after Greek skolé, refers to the “opportunity afforded by freedom from occupations” (OED 2a), as enjoyed by the nobles who, excused from sustenance labor, could ideally devote themselves to “the development of virtue and the performance of political duties” (Aristotle, Politics VII.9.1328b33-a2).
    [Show full text]
  • National Theatre
    WITH EMMA BEATTIE OLIVER BOOT CRYSTAL CONDIE EMMA-JANE GOODWIN JULIE HALE JOSHUA JENKINS BRUCE MCGREGOR DAVID MICHAELS DEBRA MICHAELS SAM NEWTON AMANDA POSENER JOE RISING KIERAN GARLAND MATT WILMAN DANIELLE YOUNG 11 JAN – 25 FEB 2018 ARTS CENTRE MELBOURNE, PLAYHOUSE Presented by Melbourne Theatre Company and Arts Centre Melbourne This production runs for approximately 2 hours and 30 minutes, including a 20 minute interval. The Curious Incident of the Dog in the Night-Time is presented with kind permission of Warner Bros. Entertainment. World premiere: The National Theatre’s Cottesloe Theatre, 2 August 2012; at the Apollo Theatre from 1 March 2013; at the Gielgud Theatre from 24 June 2014; UK tour from 21 January 2017; international tour from 20 September 2017 Melbourne Theatre Company and Arts Centre Melbourne acknowledge the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which this performance takes place, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future. DIRECTOR MARIANNE ELLIOTT DESIGNER LIGHTING DESIGNER VIDEO DESIGNER BUNNY CHRISTIE PAULE CONSTABLE FINN ROSS MOVEMENT DIRECTORS MUSIC SOUND DESIGNER SCOTT GRAHAM AND ADRIAN SUTTON IAN DICKINSON STEVEN HOGGETT FOR AUTOGRAPH FOR FRANTIC ASSEMBLY ASSOCIATE DIRECTOR RESIDENT DIRECTOR ELLE WHILE KIM PEARCE COMPANY VOICE WORK DIALECT COACH CASTING CHARMIAN HOARE JEANNETTE NELSON JILL GREEN CDG The Cast Christopher Boone JOSHUA JENKINS SAM NEWTON* Siobhan JULIE HALE Ed DAVID MICHAELS Judy
    [Show full text]
  • An Investigation Into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright
    An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 2 223 Practice-As-Research: The 9.21 to Shrub Hill (Devised Production) Playground (Non-Devised Production) and Accompanying Exegesis 224 Chapter Five Exegesis of the Processes of Creating a Devised Script (The 9.21 to Shrub Hill) and Non-Devised Script (Playground) Introduction The preceding chapters have created a framework for the analysis of my own experiences as a writer-deviser. Without this framework, it would be difficult to situate my practice within a theoretical context, since a similar academic discourse, placing the writer-deviser at the heart of the study, does not exist. As highlighted in the Introduction, the central query of this dissertation is how engagement with devising affects a playwright. This is a query with important ramifications for pedagogical practice and the discourses of devising and playwriting in general, but also represents a significant investigation in the development of my own artistic practice. As previously discussed, my methodological approach encompasses both research-led practice, and practice-led research.1 The preceding chapters have informed the development of the two scripts contained within this volume, and the development of the two scripts directed the focus of my research. As with most PaR investigations, the findings resulting from the practice share equal weighting (if not, in the case of some researchers, more) with those discoveries made from traditional, text-based research methodologies. Whilst I explore the ramifications of devising practice on my writing, I am also placing it within the context of the previous chapters’ revelations, finding resonances with the work of other writer-devisers, and testing out the theories presented of both devising and writing in my own work.
    [Show full text]
  • Welcome – Secondary English
    Welcome – Secondary English Welcome to the National Theatre Collection. Here you can find the best of British theatre available for you and your students to watch whenever you’d like. Our unique collection presents high-quality recordings of 30 world-class productions, giving you the best seats in the house from the comfort of your classroom. The collection enables students to see and understand text in performance and understand how a play can be interpreted in different ways. You’ll find an incredible selection of productions, with something suitable for all students from Key Stage 3 through to Key Stage 5. Many of the productions featured as part of the Collection are GCSE and A-Level set texts for English. We hope that you might also use the Collection to introduce your students to plays that you might not have thought of exploring before, expanding their theatrical language and literacy. Key Stage 3 and above • Introduce students to the Windrush generation and their experiences in post-war • Introduce Shakespeare with productions Britain in Small Island, Helen Edmundson’s of Romeo and Juliet and The Winter’s adaptation of Andrea Levy’s novel. Tale, specially adapted for younger audiences. These productions use Shakespeare’s original text, but are only Key Stage 5 an hour long so are very accessible for younger students. • Explore A-Level set text Shakespeare plays in full, looking at the director’s interpretation • Explore a novel brought to life on stage and how this is realised on stage. You with Bryony Lavery’s adaptation of watch and analyse productions of Othello, Treasure Island.
    [Show full text]
  • The Corner Shop PR Current Projects 2017
    The Corner Shop PR Current Projects 2017 Contents The Book of Mormon ................................................................................................................. 3 Disney’s The Lion King .............................................................................................................. 3 Matilda The Musical .................................................................................................................. 4 Aladdin ....................................................................................................................................... 5 Dreamgirls ................................................................................................................................. 7 An American in Paris ................................................................................................................. 8 The Ferryman .......................................................................................................................... 10 Hull UK City of Culture 2017 ................................................................................................... 10 The Birthday Party ................................................................................................................... 13 Long Day’s Journey Into Night ................................................................................................ 14 Venus in Fur ............................................................................................................................
    [Show full text]