Lantern Theater Company Presents Harold Pinter's Masterpiece
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Shakespeare in Love
FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically. -
February 7, 2021
VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R. -
The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it. -
Student Auditions
Student Auditions Theater Emory • Fall 2014 Productions 2014-2015 - Global Perspectives: A Festival from Pinter to Rivera • Audition appointments on Saturday, August 30 start at 10:00AM • Callbacks the next day on Sunday, August 31. Hear more about auditions and the Theater Emory season at the General Meeting for all interested in Theater at Emory in the Munroe Theater in the Dobbs University Center at 5:30PM on Thursday, Aug. 28. Hear presentations by the Theater Studies Department and by the student theater organizations. Pinter Revue – by Harold Pinter, Directed by Donald McManus Sketch comedy in the British tradition, Pinter Revue is a collection of short works spanning more than thirty years of Pinter's career, from Trouble in the Works (1959) to New World Order (1991). Mountain Language (1988), a play about state terrorism, is described by Pinter as a "series of short, sharp images" exploring "suppression of language and the loss of freedom of expression." First Rehearsal- Sept. 9 Performances- Oct. 2 – 11 (fall break is Oct. 13-14) Time commitment: 3 weeks of segmented rehearsals, short script, and a 2-week run. (One performance at Emory’s Oxford campus.) A Pinter Kaleidoscope – By Harold Pinter, Directed by Brent Glenn An immersive confrontation with the comedic menace of Harold Pinter. The audience encounters Pinter’s dystopian nirvana by moving through various locations within the theater space. From his first play, The Room, to the totalitarian nightmare One for the Road, this devised theater event also features portions of The Birthday Party, The Hothouse, The Caretaker, and other plays, poems and speeches. -
Plays to Read for Furman Theatre Arts Majors
1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern -
Monday 7 January 2019 FULL CASTING ANNOUNCED for THE
Monday 7 January 2019 FULL CASTING ANNOUNCED FOR THE WEST END TRANSFER OF HOME, I’M DARLING As rehearsals begin, casting is announced for the West End transfer of the National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling, a new play by Laura Wade, directed by Theatre Clwyd Artistic Director Tamara Harvey, featuring Katherine Parkinson, which begins performances at the Duke of York’s Theatre on 26 January. Katherine Parkinson (The IT Crowd, Humans) reprises her acclaimed role as Judy, in Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife. She is joined by Sara Gregory as Alex and Richard Harrington as Johnny (for the West End run, with tour casting for the role of Johnny to be announced), reprising the roles they played at Theatr Clwyd and the National Theatre in 2018. Charlie Allen, Susan Brown (Sylvia), Ellie Burrow, Siubhan Harrison (Fran), Jane MacFarlane and Hywel Morgan (Marcus) complete the cast. Home, I’m Darling will play at the Duke of York’s Theatre until 13 April 2019, with a press night on Tuesday 5 February. The production will then tour to the Theatre Royal Bath, and The Lowry, Salford, before returning to Theatr Clwyd following a sold out run in July 2018. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. How happily married are the happily married? Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems. -
Muriel SPARK's the HOTHOUSE by the EAST RIVER
18 ZNUV 2018;58(1);18-30 Irena Księżopolska Akademia Finansów i Biznesu Vistula w Warszawie SPECTRAL REALITY: MURIEL SPARK’S THE HOTHOUSE BY THE EAST RIVER Summary The essay deals with the concept of the supernatural in Muriel Spark’s novel The Hothouse by the East River, in which all the major characters appear to be dead, while leading apparently comfortable lives. The essay will examine Spark’s paradigm of the mundane supernatural, that is, representation of absurd and impossible as quotidian elements of life. The enigma of the plot (the strange way in which Elsa’s shadow falls without obeying the rules of physics) is not solved by the end of the novel, but rather by-stepped by revealing a grander mystery, that of her otherworldly status. This peculiarity is of high importance for Spark, who is not interested in solution, but in the way people (or characters, to be more precise) react to mystery and attempt – often in vain – to solve it. But Spark’s novel also pushes the reader to realize that what s/he may assume to be irrelevant from the perspective of eter- nity – namely, our mundanely absurd life and the imperfect memory that tries to contain it – still very much matter and may not be dismissed or reduced to a mere footnote to the main text of divine design. Key words: Muriel Spark, postmodernism, supernatural, narrative, memory, absurd, ghost story. Spark’s riddles Muriel Spark’s fictions are usually examined through the prism of religion, since it was after her conversion to Catholicism that she began writing novels. -
The Hothouse HAROLD PINTER
CRÉATION The Hothouse HAROLD PINTER 20 21 GRAND THÉÂTRE › STUDIO 2 CRÉATION The Hothouse HAROLD PINTER WEDNESDAY 24, THURSDAY 25, FRIDAY 26, TUESDAY 30 & WEDNESDAY 31 MARCH & THURSDAY 1 & FRIDAY 2, TUESDAY 6, WEDNESDAY 7, FRIDAY 9 & SATURDAY 10 APRIL 2021 › 8PM WEDNESDAY 7 & SATURDAY 10 APRIL 2021 › 3PM SUNDAY 11 APRIL 2021 › 5PM – Running time 2h00 (no interval) – Introduction to the play by Janine Goedert 30 minutes before every performance (EN). – This performance contains stroboscopic lights. 3 GRAND THÉÂTRE › STUDIO 4 With Tubb Pol Belardi Lamb Danny Boland Miss Cutts Céline Camara Lobb Catherine Janke Lush Marie Jung Roote Dennis Kozeluh Gibbs Daron Yates & Georges Maikel (dance) – Directed by Anne Simon Set design Anouk Schiltz Costume design Virginia Ferreira Music & sound design Pol Belardi Lighting design Marc Thein Assistant director Sally Merres Make-up Joël Seiller – Wardrobe Manuela Giacometti Props Marko Mladjenovic – Production Les Théâtres de la Ville de Luxembourg 5 GRAND THÉÂTRE › STUDIO THE HOTHOUSE The Hothouse is a play about unchecked (state)-power and the decisions leaders make – spurious decisions that are potentially dangerous in the name for the preservation of a society. Somewhere in an authoritarian state. Former military Colonel Roote runs an institution where bureaucracy rules and the inmates are reduced to numbers. When one Christmas day, the cantankerous Colonel is confronted by a double crisis with the death of one inmate and the pregnancy of another, he finds himself increasingly cornered and sees the system he obeys so respectfully slip away. The Hothouse is a blackly comic portrait of the insidious corruption of power and demonstrates how far people will go to keep a system alive that is long condemned to fail. -
Sexual Identity in Harold Pinter's Betrayal
Table of Contents Introduction: …………………………………………………………………………………..1 The Question of Identity in Harold Pinter’s Drama Chapter One:………………………………………………………………………………….26 Strong Arm Her: Gendered Identity in Harold Pinter’s A Kind of Alaska (1982) Chapter Two:…………………………………………………………………………………79 The Indelible Memory: Memorial Identity in Harold Pinter’s Ashes to Ashes (1996) Chapter Three:……………………………………………………………………………..129 Eroded Rhetoric: Linguistic Identity in Harold Pinter’s One for the Road (1984) and Mountain Language (1988) Chapter Four: ……………………………………………………………………………….188 Chic Dictatorship: Power and Political Identity in Harold Pinter’s Party Time (1991) Chapter Five:…………………………………………………………………………………240 The Ethic and Aesthetic of Existence: Sexual Identity in Harold Pinter’s Betrayal (1978) Chapter Six:…………………………………………………………………………………..294 Crumbling Families: Familial and Marital Identity in Harold Pinter’s Celebration (2000) Conclusion:……………………………………………………………………………………350 Bibliography:…………………………………………………………………………………359 I II Acknowledgment I would like to express my special thanks and appreciation to my principal supervisor Dr. Christian M. Billing, who has shown the attitude and the substance of a genius. He continually and persuasively conveyed a spirit of adventure in questioning everything and leaving no stone unturned. You have been a tremendous mentor for me. I would like to thank you for your incessant encouragement, support, invaluable advice, and patience without which the completion of this work would have been impossible. Thank you for allowing me to grow as a researcher. Your advice on both research as well as my career have been priceless. I would also like to thank Dr. K.S. Morgan McKean without which this work would not have been completed on time. A special thanks to my family. Words cannot express how grateful I’m to my sweet and loving parents Mandy Khaleel & Hasan Ali who did not spare the least effort to support me throughout my study. -
An Introduction to BETRAYAL
An Introduction to BETRAYAL There are times in the life of any individual or organization when they are challenged by events entirely beyond their control. One such event happened in the life of our Goodwill that challenged us to our very core. That event was the fraud committed by Carol Braun. We take pride in our corporate values and our integrity. We were exposed and vulnerable. The real mark of an organization's strength is its capacity to weather the most difficult storms. I believe that "Betrayal" is a testament to the strength and integrity of our Goodwill. It is a living testament to our capacity to learn from our hardships and mistakes. The book has found its way to every corner of America and has served to comfort and inform others who have faced similar circumstances. This book is dedicated to the men and women of Goodwill, our "People". We are stronger, more resilient and more compassionate as a result of this experience. We hope that Betrayal will, in some small way, ease any personal or professional challenges the reader may face and we stand ready to help. Bob Pedersen Chief Visionary & Storyteller Goodwill NCW BETRAYAL by Jed Block and the people of Goodwill Industries of North Central Wisconsin, Inc. © 2004 by Goodwill Industries of North Central Wisconsin, Inc., Menasha, Wisconsin 1 TABLE OF CONTENTS Foreword……………………………………………………………..Page 1 Chapters 1-30………………………………………………...……………..5 Epilogue…………………………………………………………………….74 Postscript……………………………………………………………………78 Appendix Mission, Vision, Values…………………………………………….81 Who’s Who -
The Game Is Afoot at Lantern Theater Company with The
For further ticket information: Lantern Theater Company Box Office (215) 829‐0395 or lanterntheater.org For further press information: Debbie Fleischman Mailing Address (215) 735‐7356 Lantern Theater Company P.O. Box 53428 Philadelphia, PA 19105-3428 THE GAME IS AFOOT AT LANTERN THEATER COMPANY Theater Address Lantern Theater Company WITH THE HOUND OF THE BASKERVILLES MAY 28‐JUNE 28 At St. Stephen’s Theater 10th & Ludlow Streets Philadelphia, PA 19107 Madcap mayhem and farcical hilarity set the tone for Lantern Theater Box Office Company’s production of The Hound of the Baskervilles by Sir Arthur Conan 215.829.0395 Doyle, adapted by Steven Canny and John Nicholson which closes the Administrative Office 215.829.9002 Lantern’s season, running May 28‐June 28. Directed by Matt Pfeiffer, the Fax 215.829.1161 three‐person cast features Damon Bonetti, Daniel Fredrick and Dave Email Johnson in multiple, quick‐change roles. [email protected] Web www.lanterntheater.org The Hound of the Baskervilles runs May 28 –June 28, 2015 (press opening: Wednesday, June 3, at 7 p.m.). Tickets are $22 – $39 and are available online at lanterntheater.org or by calling the Lantern Box Office at (215) 829‐ 0395. Discounts are available for seniors 65 and up, groups of 10 or more and U.S. military personnel. $10 student rush tickets are available 10 minutes before curtain with valid ID; cash only. $10 industry tickets are available online, by phone or at the box office. One of Sir Arthur Conan Doyle's most beloved Holmes mysteries gets a zany makeover when performed by a trio of endearing clowns and klutzes.