P R O S P E C T Us

Total Page:16

File Type:pdf, Size:1020Kb

P R O S P E C T Us PROSPECTUS 2017–18 4–5 Why choose RADA 6–7 How we support you 8–9 RADA life 10-11 Acting and Performance 12–17 BA(Hons) in Acting 18–19 MA Theatre Lab 20-21 MA in Text and Performance 22 Foundation Course in Acting 23 RADA short courses 22–27 Graduates 28–29 Technical Theatre Arts 30–33 Technical Theatre and Stage Management 34–35 Postgraduate Diploma Theatre Costume 36–39 Graduates 40–41 Widening Participation and Outreach 42–43 How to Apply 44–45 Our Partners 46–49 Staff, Patrons and Sponsors CONTENTS 2 INTRODUCING RADA At the heart of what we do at RADA is a belief in possibility - in particular the possibility of change and growth. That’s very clear in our actor training, where we aim to give our students the capacity to grow and transform beyond their natural ability and to embrace characters and worlds beyond their Many of those same people also support experience. But for us it is no less thrilling our training in other ways, mentoring to see someone pick up a paintbrush or a students, offering placements and giving welding torch or a needle and discover a masterclasses. RADA is alone amongst talent and passion for scenic art, or major drama schools in being founded by construction or costume making. Our actors: professionals who understood the many Oscar nominees and winners need to pass on the craft and knowledge include costume designers, directors, that they had accumulated, and that writers and producers as well as actors, philosophy runs through our training to while our award-winning theatre this day. We believe that you learn how graduates include lighting and set to excel in the dramatic arts by doing, designers and stage managers. and so all our training – rigorous, intensive, focused – is based upon Because we believe that possibility of practical experience in conditions that growth exists in everyone, we are keen to will prepare you for the professional provide access to our training without world. regard to social, financial or educational background. That talent and capacity for And because not everyone is cut out to growth and change is what we’re after: if be a professional actor or stage manager you have that, then we can work with you or technician - and many people may just to find out how to support you through not know if they are yet - we are always the training. expanding the range of ways that people can encounter our training – through our We are fortunate that a large number of short courses, education work and taster people, including our own graduates, days. charitable trusts and major corporations like our principal partner Warner Bros. We hope that this prospectus will whet Entertainment, all believe in what we do. your appetite to know more about what Their support enables us to award a wide we do and how you can be a part of it. range of bursaries and scholarships: last If it does, then come and see a show, an year over 50% of our students received exhibition, sign up for a taster day, a financial support from RADA. workshop – or maybe even apply for a course. Edward Kemp, Director 3 WHAT IS SPECIAL ABOUT OUR TRAINING? We offer a conservatoire training that is rigorous, practical, collaborative and creative. Our specialist staff help you explore the practical challenges that you will face in a professional environment. Our students have a significant amount of contact time a week with their teachers: up to 40 hours per week on some courses. We prepare students for the industry through practical experience. We run three professionally equipped theatres in-house. We provide specialist workshops, masterclasses and events in many aspects of practical and professional development, all specifically designed to support your training. You will frequently meet and work with RADA tutors and graduates in all fields, and have the opportunity to attend We offer you a unique and workshops and Q&As with leading personal training under the industry professionals. guidance of some of the best teachers in the business. With Getting to know the industry is central to our facilities and unparalleled the projects you will undertake. links to the industry, we will Students have opportunities during their prepare you for a sustainable training to showcase their skills in the UK and varied career. and often internationally, in recent years collaborating in recent years with We train outstanding actors, students from the Juilliard School in New technical theatre specialists, York, the Ecole Jacques Lecoq School in stage managers and Paris and the Ernst Busch Academy of designers, who care deeply Dramatic Arts in Berlin. Our Technical for their craft and go on to Theatre students visit industry-leading contribute a huge amount to workshops and venues, including the the performing arts industry Warner Bros. Studios, the Royal Opera and beyond. In addition, we House, Glyndebourne and the National offer our own bursaries and Theatre. You will also learn how to work financial support to enable on films, radio plays and design and any talented student to study technical exhibitions. with us regardless of their background. Almost all of our Technical Theatre Arts courses include an industry placement and many students go on to work with the company where they had their placement. WHY CHOOSE RADA WHY CHOOSE 4 THEATRES JERWOOD VANBRUGH THEATRE: Our largest auditorium, seating up to 190, and fully flexible in terms of its configuration. The theatre also doubles as a fully functional digital cinema, equipped for cinema screenings from visiting filmmakers and for exclusive in-house screenings. GBS THEATRE: Our mid-sized studio theatre, seating up to 80 GIELGUD THEATRE: An intimate studio space, seating up to 50 EMPLOYMENT PROSPECTS In industries notorious for short-term and FACILITIES intermittent employment, our graduates have – Scenic art workshop, including an impressive record, with 82% still active paint frame in the profession 20 years after graduation. – Scenic construction workshops: wood Over the past few years, our graduates have and metal gone on to work in many places. – Costume workroom and fitting rooms – Costume store with over ACTING & PERFORMANCE 20,000 costumes Theatres and theatre companies: Abbey; Almeida; – Sound studio with three associated Arcola; Theatre Royal Bath; Bush; Chichester; control rooms Complicite; Donmar Warehouse; Dreamthinkspeak; – Digital cinema screen Dublin; Royal Lyceum Edinburgh; Headlong; National – Various screening facilities Theatre; Royal & Derngate, Northampton; Northern – Video recording and Broadsides; Old Vic; Orange Tree; Paines Plough; editing equipment Regent’s Park Open Air; RSC; Shakespeare’s Globe; – Properties department Young Vic. Television, radio and film: BBC Radio and – Box office & foyer bar TV; BBC Films; Channel 4; Ecosse Films; Eon – Design studios Productions; Hat Trick; ITV; MGM; Sky; Tiger Aspect; – Library with over 25,000 books 20th Century Fox; Universal Pictures; Warner Bros; and access to digital resources Working Title. – Dance and fight studios – CAD suite TECHNICAL THEATRE ARTS – Refectory Cirque du Soleil; Clockwork Scenery; Disney – Specially equipped rehearsal studios Theatrical/ Joop van den Ende Productions; English National Ballet; English National Opera; Glastonbury; Glyndebourne; Kensington Palace; Kneehigh; Little Angel; Lyric Hammersmith; National Theatre; Old Vic; Really Useful Group; Royal Opera House; Sonia Friedman; Sadler’s Wells; Theatre 503; Young Vic/American Repertory Theatre. 5 We provide the following assistance: Finance, travel and accommodation: RADA scholarships for fees and living expenses (see p7 for more information), council tax letters, railcard and travelcard proof of study, visa support for international students, help with accommodation and any related issues. Wellbeing and counselling: drop-in and appointment-based service for advice, a chat or a more formal assessment, counselling support is available for students through the training and with any personal problems, talks on sexual health, nutrition, drugs and alcohol. Healthcare, injury prevention and response: relationship with GP practice, access to specialist medical support, physiotherapy and osteopathy. SUPPORTING Disabled students’ support: ensuring YOUR TRAINING Learning Agreements are in place, You will find that your training access to dyslexia, dyspraxia and other at RADA is very intensive. Our learning support needs, access to Student and Academic specific support for students with Services team are there to other impairments, support in applying support you throughout your for Disabled Students’ Allowance. student experience at RADA. Chaplaincy: spiritual and religious welfare Please note that MA Text and Performance students are registered with Birkbeck College, so all your support needs can be met through the My Birkbeck service www.bbk.ac.uk/ mybirkbeck/services/facilities HOW WE SUPPORT YOU WE SUPPORT HOW 6 THE RADA LIBRARY The RADA Library is an important resource for students, providing access to plays, screenplays, films and research materials. RADA holds around 10,000 plays, many of which are rare and out of print. There is also a very good selection of poetry, theatre history, criticism, biography, stage design, UNDERGRADUATES: costume, technical theatre and fine art, If you are a home/EU student, new to higher books on film, screenplays and social education and eligible for a tuition fee loan, there history, as well as theatre periodicals, are no upfront fees to pay. You will only have to which are very useful for researching repay the loan once you leave RADA and are previous productions of plays, including earning over £21,000. digital resources such as Drama Online. A stock of more than a thousand If you are a home undergraduate student (from VHS films, documentaries, TV dramas, England, Scotland, Wales or Northern Ireland) animal videos and over 600 DVDs other support may be available in the form of a are stored in the library. There is also maintenance loan and/or grant (actual amounts a small audiotape collection that will depend upon your household income).
Recommended publications
  • Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
    Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J.
    [Show full text]
  • Shakespeare and London Programme
    andShakespeare London A FREE EXHIBITION at London Metropolitan Archives from 28 May to 26 September 2013, including, at advertised times, THE SHAKESPEARE DEED A property deed signed by Mr. William Shakespeare, one of only six known examples of his signature. Also featuring documents from his lifetime along with maps, photographs, prints and models which explore his relationship with the great metropolis of LONDONHighlights will include the great panoramas of London by Hollar and Visscher, a wall of portraits of Mr Shakespeare, Mr. David Garrick’s signature, 16th century maps of the metropolis, 19th century playbills, a 1951 wooden model of The Globe Theatre and ephemera, performance recording and a gown from Shakespeare’s Globe. andShakespeare London In 1613 William Shakespeare purchased a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. These were the venues used by The Kings Men (formerly the Lord Chamberlain’s Men) the performance group to which he belonged throughout most of his career. The counterpart deed he signed during the sale is one of the treasures we care for in the City of London’s collections and is on public display for the first time at London Metropolitan Archives. Celebrating the 400th anniversary of the document, this exhibition explores Shakespeare’s relationship with London through images, documents and maps drawn from the archives. From records created during his lifetime to contemporary performances of his plays, these documents follow the development of his work by dramatists and the ways in which the ‘bardologists’ have kept William Shakespeare alive in the fabric of the city through the centuries.
    [Show full text]
  • Playing Shakespeare with Deutsche Bank Production of Twelfth Night
    2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh.
    [Show full text]
  • Venus and Adonis the Rape of Lucrece
    NA432912 Venus and Adonis Booklet 5-9-6 7/9/06 1:16 pm Page 1 William Shakespeare THE COMPLETE Venus and Adonis TEXT The Rape of Lucrece UNABRIDGED POETRY Read by Eve Best, Clare Corbett, David Burke and cast 3 Compact Discs NA432912 Venus and Adonis Booklet 5-9-6 7/9/06 1:16 pm Page 2 CD 1 Venus and Adonis 1 Even as the sun with purple... 5:07 2 Upon this promise did he raise his chin... 5:19 3 By this the love-sick queen began to sweat... 5:00 4 But lo! from forth a copse that neighbours by... 4:56 5 He sees her coming, and begins to glow... 4:32 6 'I know not love,' quoth he, 'nor will know it...' 4:25 7 The night of sorrow now is turn'd to day... 4:13 8 Now quick desire hath caught the yielding prey... 4:06 9 'Thou hadst been gone,' quoth she, 'sweet boy, ere this...' 5:15 10 'Lie quietly, and hear a little more...' 6:02 11 With this he breaketh from the sweet embrace... 3:25 12 This said, she hasteth to a myrtle grove... 5:27 13 Here overcome, as one full of despair... 4:39 14 As falcon to the lure, away she flies... 6:15 15 She looks upon his lips, and they are pale... 4:46 Total time on CD 1: 73:38 2 NA432912 Venus and Adonis Booklet 5-9-6 7/9/06 1:16 pm Page 3 CD 2 The Rape of Lucrece 1 From the besieged Ardea all in post..
    [Show full text]
  • CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A
    CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards.
    [Show full text]
  • En Garde 3 50 Cents
    EN GARDE 3 50 CENTS ®Z7\ ER ED THREE T-o^yneny "R/cc-er <dc-e R h a magazine of personal opinions, natter and comment - especially about Diana Rigg, Patrick MacNee and THE AVENGERS CONTENTS: TACKING ..........................an editorial .... ,pg.U by ye editor HIOFILE ON DIANA RIGG pg,? by warner bros. IROFIIE ON PATRICK MACNEE •pg.11by warner bros. THE AVENGERS ....... .a review • .......................... pg«l£ by gary crowdus TWO SEASONS - AND A HAIF ... a listing pg ,22 by ye ed TO HONOR HONOR ... .a section for honor, , pg,33 compiled by ed YOU HAVE JUST BEEN MURDERED , ,a review ........................... pg.U8 by rob firebaugh NEWS AND NOTES , , . « • .various tidbits. , • • • • pg .50 by ye editor Front Cover shows a scene from Art Credits; "The Master Minds" , 1966 show. Bacover shows sequence cut out "Walt" • , pages 11 and lb for Yankee audience. R. Schultz . , . pages 3, U, 7, 15, 18, 19,22, 35, E2, and $0 This magazine is irregularly published by: Mr, Richard Schultz, 19159 Helen, Detroit, Michigan, E823E, and: Mr. Gary Crowdus, 27 West 11th street New York City, N.Y., 10011 WELKCMMEN First off, let me apologize for the unfortunate delay in bringing out this third issue* I had already planned to bring this fount of Rigg-oriented enthusiasm out immediately after the production of #2. Like, I got delayed. Some things were added to #3, some were unfortunately dropped, some never arrived, and then I quickly came down with a cold and broke a fingernail* Have you ever tried typing stencils with a broken fingernail? Combined with the usual lethargy, this was, of course, very nearly disastrous* But, here it is* ' I hope you like it.
    [Show full text]
  • P a T E N H U G H
    cowboy + cougar productions P A T E N H U G H E S SAG-AFTRA — AEA hair: Blonde eyes: blue height: 5’7 DIGITAL SERIES HEIRLOOM (Vimeo) Series Regular Dir. Michael Melamedoff; Writer Bekah Brunstetter Co-Creator THEATRE Three Sisters Irina The Old Vic New Voices / Dir. Eve Best Halo/Titanic Paten The Old Vic / Dir. David Chapman Color the Sky! Daphne Palm Beach Theatre / Blythe Danner, Ed Herrmann Buskers Heidi Kole The Old Vic; SoHo House NY / Dir. Danny Mendoza The Thin Line One-Woman Show AddVerb Productions / Dir. Cathy Plourde Tits and Blood Portia Edinburgh Festival Fringe Animal (US/UK Exchange) Jo The Public Theater / Dir. Emmy Frank Shotz! various The Kraine Theatre / AMIOs Theatre Company Bound in a Nutshell Ophelia u.s. New York International Fringe / Dir. Greg Wolfe Mannequin’s Ball by Bruno Jasienski Mannequin Counterpoint Theatre / Dir. Allison Troupe-Jensen My Name is Rachel Corrie Rachel Dir. Jaq Bessell (Shakespeare’s Globe) Collected Scenes of Macbeth Macbeth R.A.D.A / Dir. Ché Walker Othello Desdemona W&L University / Dir. Joseph D. Martinez The Shape of Things Evelyn W&L University / Dir. Tom Ziegler The Long Christmas Ride Home Claire W&L University / Dir. Tom Ziegler FILM Long Nights Short Mornings Supporting The Orchard / Dir. Chadd Harbold Coach of the Year Supporting Dir. David Stott / with Ed Herrmann Beauty Mark Supporting Dir. Harris Doran / LAFF 2017 Charity (short) Lead Dir. Joe Quartaro Awake (short) Supporting Prod: Lee Cleary TRAINING The Royal Academy of Dramatic Arts (R.A.D.A.), London, England, Shakespeare Program The T.S.
    [Show full text]
  • Lesley Lamont-Fisher Make-Up & Hair Designer
    Lesley Lamont-Fisher Make-Up & Hair Designer Credits include: THE ENGLISH Writer/Director: Hugo Blick Revenge Romantic Western Producer: Colin Wratten Featuring: Emily Blunt, Chaske Spencer, Rafe Spall Production Co: Drama Republic / BBC One / Amazon THAT GOOD NIGHT Director: Eric Styles Drama Producers: Alan Latham, Charles Savage Featuring: John Hurt, Sofia Helin, Charles Dance, Erin Richards Production Co: GSP Studios INDIAN SUMMERS Directors: John Alexander, Anand Tucker, David Moore Period Drama Series Producer: Dan Winch Featuring: Julie Walters, Henry Lloyd-Hughes, Jemima West Production Co: New Productions / Channel 4 LIFE IN SQUARES Director: Simon Kaijser Period Drama Producer: Rhonda Smith Featuring: James Norton, Eve Best, Phoebe Fox, Lydia Leonard Production Co: Ecosse Films / BBC Two BLACK MIRROR: Production Co: Zeppotron / Channel 4 Satirical Sci-Fi Thriller Dramas Producer: Barney Reisz WHITE CHRISTMAS Director: Carl Tibbets Featuring: John Hamm, Rafe Spall, Oona Chaplin BE RIGHT BACK Director: Owen Harris Featuring: Hayley Atwell, Domhnall Gleeson, Claire Keelan BAFTA Nomination for a Single Drama THE WALDO MOMENT Director: Bryn Higgins Featuring: Jason Flemyng, Tobias Menzies WHITE BEAR Director: Carl Tibbetts Featuring: Tuppence Middleton, Michael Smiley THE NATIONAL ANTHEM Director: Otto Bathurst Featuring: Lindsay Duncan, Rory Kinnear, Donald Sumpter Rose d’Or Festival Nomination for Best Comedy Broadcast Award Nomination for Best Single Drama FIFTEEN MILLION MERITS Director: Euros Lyn Featuring: Daniel Kaluuya, Jessica
    [Show full text]
  • The Seagull(1896)
    Summer 1, 2021 GBS Theatre The Seagull (1896) by Anton Chekhov adapted by Joan Oliver Cast (in alphabetical order) Creative Team Simon Medvedenko Director Ian Bouillion Joan Oliver Eugene Dorn Designer Dylan Corbett-Bader Louis Carver Masha Russian Translator and Literary Advisor Florence Dobson Viktorija Rasciauskaite Boris Trigorin Associate Designer Raphel Famotibe Anita Gander Irina Arkadina Lighting Designer Elizabeth Hollingshead Amy Mae Konstantin Associate Lighting Designer Gabriel Howell Ollie Morrill Paulina Sound Designer Megan Langford Dylan Marsh Nina Cellist Aliyah Odoffin Elizabeth Hollingshead Ilia Shamrayev Movement Coach Samuel Tracy Mixalis Aristidou Peter Sorin Voice and Dialect Coach Benjamin Westerby Deborah Garvey Fight Coach Bret Yount Student Production Team Production Manager Radio Mic Runner Scenic Art Assistants Sam Kelly Abraham Walkling-Lea Jordan Deegan-Fleet Roma Farnell Technical Manager Broadcast Lucinda Plummer Jack Hollingsworth Andrea Scott Spiky Saul Stage Manager Sound Crew Props Maker Rosa Watson Alfie Sissons Pip Beattie Daberechi Ukoha-Kalu Deputy Stage Manager Abraham Walkling-Lea Props Assistants Jaimie Wakefield Isabelle Whitehill Aidan O’Sullivan Sylvia Wan Assistant Stage Manager Construction Project Manager Thomas Fielding Jeff Bruce-Hay (RADA Staff) Show Crew Alfie Sissons ASM 2s Assistant Construction Project Daberechi Ukoha-Kalu Aidan O’Sullivan Manager Abraham Walkling-Lea Sylvia Wan Joel Mansi Thomas Isabelle Whitehill Chief Electrician Scenery Builders Special thanks: Sammy Emmins Alice
    [Show full text]
  • Books-Bobsfullhouse-Taster.Pdf
    Bob's Full House from Bob on the Box a listing of as many of Bob’s TV appearances as we can find, with programmes in the Monkhouse collection marked and previously lost shows hightlighted. ARCHIVE AND TRANSMISSION FORMAT CODES Code Description 1” 625 line PAL colour 1” videotape. 2” 625 line PAL colour 2” videotape. 40 405 line monochrome 2” videotape. 62 625 line monochrome 2” videotape. B Betacam SP videotape. B1 16mm monochrome film. B3 35mm monochrome film. B-R1 Betacam SP videotape taken from 16mm monochrome telerecording. BS Betacam SP videotape, recorded in stereo. C1 16mm colour film. C1S 16mm colour film – transmitted in stereo sound. C3 35mm colour film. D2 D2 digital videotape. D2S D2 digital videotape – transmitted in stereo. D3 D3 digital videotape. D3S D3 digital colour videotape – transmitted in stereo sound. DB Digital Betacam videotape. DB-1” Digital Betacam videotape taken from 625 line PAL colour 1” videotape. DB-4W Digital Betacam videotape copy of converted 405 to 625 line monochrome videotape. DB-R1 Digital Betacam videotape taken from 16mm monochrome film recording. DB-R3 Digital Betacam videotape taken from 35mm monochrome film recording. DBS Digital Betacam 625 line colour videotape – transmitted in stereo. DBSW Digital Betacam 625 line colour videotape – transmitted in stereo widescreen. DBSWF Digital Betacam 625 line colour videotape which has been filmised – transmitted in stereo widescreen. DV 625 line PAL domestic format videotape including VHS, Betamax and Philips 1500. J Does not exist. Live Live transmission. Live62 Live transmission – recorded onto 625 line monochrome videotape off air. LivePAL Live transmission – recorded onto 625 line PAL colour videotape off air.
    [Show full text]
  • Final Information Guide
    PA* T** TO*N .20th * **Century^Fox * ROADSHOW RELEASE FILMED AND PRESENTED IN DIMENSION-ISO FINAL INFORMATION GUIDE News Bureaus Box 900, Beverly Hills, California 90213 444 West 56th Street, New York, N.Y. 10019 PREFACE "/ don't yield to any man in my reverence to the Lord but Goddamnit! no sermon needs to take longer than 10 minutes." George S. Patton, Jr. Pattern is controversy burned into film, a closeup portrayal of will under strain, of oversized figures, the tale of perhaps the most aggressive and flamboyant commander ever to wear an American uniform and his command relationship with cool-headed, courageous Omar N. Bradley, first his subordinate finally his superior and today the only surviving five-star general of World War II. Patton is the story of a warlord, a samurai, a millionaire soldier whose career reads like a fever chart, a man with flinty courage, big hurts and a scathing tongue, a superpatriot who was also anti-Establishment of another ilk. In the popular image the great commanders are dazzling figures, standing on their mounds at the edge of battle and guiding its cold currents and compulsive course, bending a million men to their will, mocking fear and death. They are unique characters to be sure, they are neither omnipotent nor omniscient, however, but bound by the elements of war. George S. Patton read history and quoted Seneca and Napoleon. He liberated more territory than any other Allied commander in World War II, was a proconsul of a a piece of African real estate he called a mixture of the Bible and Hollywood, yelled defiances against Field Marshal Edwin Rommel into the desert wind, slapped a common soldier and was demoted in a move that even dumbfounded Adolf Hitler.
    [Show full text]
  • John Hawkesworth Scope and Content
    JOHN HAWKESWORTH SCOPE AND CONTENT Papers relating to film and television producer, scriptwriter and designer JOHN STANLEY HAWKESWORTH. Born: London, 7 December 1920 Died: Leicester, 30 September 2003 John Hawkesworth was born the son of Lt.General Sir John Hawkesworth and educated at Rugby and Queen's College, Oxford. Between school and university he spent a year studying art at the Sorbonne in Paris, where Picasso corrected his drawings once a week. Following the military tradition of his family, Hawkesworth joined the Grenadier guards in 1940 and had a distinguished World War II record. In 1943 he married Hyacinth Gregson-Ellis and on demobilisation from the army began work in the film industry as an assistant to Vincent Korda. As art director he worked on many films for British Lion including The THIRD MAN (GB, 1949), OUTCAST OF THE ISLANDS (GB, 1951), and The SOUND BARRIER (GB, 1952). As a freelance designer he was involved with The MAN WHO NEVER WAS (GB, 1955) and The PRISONER (GB, 1955). Joining the Rank Organisation as a trainee producer, Hawkesworth worked on several films at Pinewood and was associate producer on WINDOMS WAY (GB, 1957) and TIGER BAY (GB, 1959). Hawkesworth's writing for television began with projects including HIDDEN TRUTH (tx 9/7/1964 - 6/10/1964), BLACKMAIL (Associated Rediffusion tx 1965 - 1966) and the 13 part BBC series CONAN DOYLE (tx 15/1/1967 - 23/4/1967), before embarking on the acclaimed LWT series The GOLDROBBERS (tx 6/6/1969 - 29/4/1969). It was with the latter that the Sagitta Production Company who were to produce the highly successful Edwardian series UPSTAIRS DOWNSTAIRS (tx 1970 - 1975) for LWT, came into existence, making Hawkesworth and his long term professional partner Alfred Shaughnessy household names.
    [Show full text]