Great Speeches and Soliloquies
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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’. -
A Midsummer Night's Dream”: a Director's Notebook Natasha Bunnell Old Dominion University
Old Dominion University ODU Digital Commons Institute for the Humanities Theses Institute for the Humanities Spring 2003 “A Midsummer Night's Dream”: A Director's Notebook Natasha Bunnell Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/humanities_etds Part of the Dramatic Literature, Criticism and Theory Commons, and the Literature in English, British Isles Commons Recommended Citation Bunnell, Natasha. "“A Midsummer Night's Dream”: A Director's Notebook" (2003). Master of Arts (MA), thesis, Humanities, Old Dominion University, DOI: 10.25777/d8jv-a035 https://digitalcommons.odu.edu/humanities_etds/29 This Thesis is brought to you for free and open access by the Institute for the Humanities at ODU Digital Commons. It has been accepted for inclusion in Institute for the Humanities Theses by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. A MIDSUMMER NIGHT’S DREAM: A DIRECTOR’S NOTEBOOK by Natasha Bunnell B. A. August 1997, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS HUMANITIES OLD DOMINION UNIVERSITY May 2003 Approved by: Christopher Hanna (Director) Erfime Hendrix (Mdmber) Jary Copyright © 2003 by Natasha Bunnell. All rights reserved. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1414392 Copyright 2003 by Bunnell, Natasha All rights reserved. ® UMI UMI Microform 1414392 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
360 ° Series
ON THE PLAY, PLAYWRIGHT, AND PRODUCTION VIEWFINDER: FACTS AND PERSPECTIVES 360 ° SERIES U S P R E M I E R E T H E V A L L E Y O F A S T O N I S H M E N T C O N C E I V E D A N D D I R E C T E D B Y P E T E R B R O O K A N D M A R I E - H É L È N E E S T I E N N E WWW.TFANA.ORG TABLE OF CONTENTS The Play 3 An Introduction from Peter Brook 4 Dialogues: From ‘The Key of Clear Green’ by Oliver Sacks, M.D. 7 Mandalas: An Installation Inspired by The Valley of Astonishment The Production 9 Dialogues: On the Making of The Valley Of Astonishment, An Interview With Peter Brook by James Woodall 11 Cast and Creative Team About Theatre For a New Audience 16 Mission and Programs 17 Major Supporters The Valley of Astonishmentis a C.I.C.T. / Théâtre des Bouffes du Nord production, co-produced by Theater for a New Audience, New York; Les Théâtres de la ville de Luxembourg; Théâtre d’Arras / Tandem Arras-Douai; Théâtre du Gymnase, Marseille; Warwick Arts Center; Holland Festival, Amsterdam; Attiki Cultural Society, Athens; Musikfest Bremen; Théâtre Forum Meyrin, Geneva; C.I.R.T. and Young Vic Theatre, London. The Valley of Astonishmentpremiered at Théâtre des Bouffes du Nord, Paris on April 29th, 2014. The producers would like to thank Franck Krawczyk, Carol Steen, Jon Adams, Daniel Tammet, Dr. -
Savoring the Classical Tradition in Drama
SAVORING THE CLASSICAL TRADITION IN DRAMA MEMORABLE PRESENTATIONS BY THE SHAKESPEARE GUILD I N P R O U D COLLABORATION WIT H THE NATIONAL ARTS CLUB THE PLAYERS, NEW YORK CITY THE ENGLISH-SPEAKING UNION JIM DALE ♦ Friday, January 24 In the 1950s and ’60s JIM DALE was known primarily as a singer and songwriter, with such hits as Oscar nominee “Georgy Girl” to his credit. Meanwhile he was earning plaudits as a film and television comic, with eleven Carry On features that made him a NATIONAL ARTS CLUB household name in Britain. Next came stage roles like 15 Gramercy Park South Autolycus and Bottom with Laurence Olivier’s National Manhattan Theatre Company, and Fagin in Cameron Mackintosh’s PROGRAM AT 6:00 P.M. Oliver. In 1980 he collected a Tony Award for his title Admission Free, But role in Barnum. Since then he has been nominated for Reservations Requested Tony, Drama Desk, and other honors for his work in such plays as Candide, Comedians, Joe Egg, Me and My Girl, and Scapino. As if those accolades were not enough, he also holds two Grammy Awards and ten Audie Awards as the “voice” of Harry Potter. We look forward to a memorable evening with one of the most versatile performers in entertainment history. RON ROSENBAUM ♦ Monday, March 23 Most widely known for Explaining Hitler, a 1998 best-seller that has been translated into ten languages, RON ROSENBAUM is also the author of The Secret Parts of Fortune, Those Who Forget the Past, and How the End Begins: The Road to a Nuclear World War III. -
King Lear on Screen Characterisation King Lear King Lear on Screen
King Lear King Lear on Screen Characterisation King Lear King Lear on Screen Film Versions King Lear (2008) ‘Ian McKellen gives a tour-de-force performance as Shakespeare’s tragic titular monarch in this special television adaptation of the Royal Shakespeare Company production of one of the playwright’s most enduring and haunting works.’ https://www.youtube.com/watch?v=9iyekz9zy_c King Lear (1971) Paul Scofield is the grief-maddened monarch in Peter Brook’s film version. Shot starkly in black and white, minimally scored and imbued with an almost Beckettian gloom, the work has a raw, rough- hewn medievalism perfectly suited to the tragedy. www.imdb.com/title/tt0067306 Excerpts from Film Adaptations The Guardian: a YouTube roundup. http://www.theguardian.com/stage/theatreblog/2014/jan/13/king-lear-simon-russell-beale- national-youtube Actors and Directors Discuss King Lear ‘Understanding King Lear’: actor and director Ian McKellen explains his understanding of Lear’s character. https://www.youtube.com/watch?v=ahFtoCq6CHw ‘How does Lear’s Perception of himself change?’ Cyclone Rep actor David Peare answers the question. https://www.youtube.com/watch?v=V28zr5fQR84 ‘Talking Goneril, Regan and Cordelia’ (National Theatre): Fiona Mountford talks to Kate Fleetwood, Anna Maxwell Martin and Olivia Vinall about playing the three daughters in Lear, being directed by Sam Mendes and performing in the Olivier Theatre. https://www.youtube.com/watch?v=IV7KFy8I39w ‘Talking Gloucester, Edmund and Edgar’ (National Theatre): Stephen Boxer (Gloucester), Sam Troughton (Edmund) and Tom Brooke (Edgar) talk to Mark Leipacher about the National Theatre’s production of King Lear directed by Sam Mendes. -
The Cherry Orchard
9 Brooklyn Academy of Music presents The Cherry Orchard Xt. Of P BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer presents The Cherry Orchard by ANTON CHEKHOV English Translation by ELISAVETA LAVROVA with (in alphabetical order) ROBERTS BLOSSOM BRIAN DENNEHY HOWARD HENSEL LINDA HUNT ZELJKO IVANEK ERLAND JOSEPHSON KATE MAILER CHRIS MCNALLY REBECCA MILLER MIKE NUSSBAUM NATASHA PARRY DAVID PIERCE STEPHANIE ROTH JAN TRISKA Set and Costumes Designed by CHLOE OBOLENSKY Lighting Designed by Incidental Music Composed by JEAN KALMAN MARIUS CONSTANT Production Stage Manager Casting by ROBERT BENNETT RISA BRAMON and BILLY HOPKINS LISA PETERSON MARIE-HELENE ESTIENNE Directed by PETER BROOK Joseph V. Melillo, Associate Producer Michael O'Rand, General Manager Paul E. King, Production Manager BAM Majestic Theater This program has been sponsored by grants from eon & © New York Telephone INCORPORATED A NYNEX Company glib. CHASE 0 1; GRENADIER REALTY CORP. of STARRETT CITY IMP , I . managing agent Arts. Additional funds have been provided by the National Endowment for the Arts and the New York State Council on the The BAM facility is owned by the City of New York and its operation is supported, in part, with public funds provided through the New York City Department of Cultural Affairs. The principal capital funding for the BAM Majestic Theater with the was provided by the City of New York through the New York City Department of Cultural Affairs special assistance of the Brooklyn Borough President's Office and the Office -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
March 18, 2011
RESNICOW SCHROEDER March 18, 2011 RSC: How Stratford got its bite back Vibrant, sexy and ensconced in a swish new home, as it reaches its 50th year the Royal Shakespeare Company is buzzing. But just a while ago, it looked doomed. Charles Spencer meets Michael Boyd, the man who pulled an institution back from the brink Michael Boyd strikes me as one of the great unsung heroes of our cultural life. With dogged determination, the artistic director has pulled the Royal Shakespeare Company back to the commanding heights of British theatre. As the company prepares to celebrate its 50th anniversary season in Stratford, in a building that has been spectacularly transformed, I can’t remember a time when it seemed in more exuberant form, or more sharply focused. The rise in its fortunes seems to be encapsulated by its joyous smash hit Matilda, based on the Roald Dahl story, which opened last December. It’s the best new musical since Billy Elliot and will transfer to the West End this autumn, with Broadway almost certain to follow. Suddenly the RSC seems vibrant and sexy again. Last week the critics were invited to see productions of King Lear and Romeo and Juliet in the newly remodelled Royal Shakespeare Theatre. Very wisely, Boyd is opening the new building with shows that were already in the rep of the temporary Courtyard Theatre, a massive metal box that provided both a home, and the prototype for the new RST, during the three and a half years of the building project – which finished on time and on budget. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Press Release Monday 21 May 2018 Royal Court Theatre
PRESS RELEASE MONDAY 21 MAY 2018 ROYAL COURT THEATRE ANNOUNCES CAST FOR ONE FOR SORROW, WRITTEN BY CORDELIA LYNN AND DIRECTED BY JAMES MACDONALD Photo: Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward have been cast in the world premiere of One For Sorrow, by Cordelia Lynn. It is directed by James Macdonald. The production runs Wednesday 20 June 2018 – Saturday 11 August 2018 with press performances at 7pm Tuesday 26 June 2018 and 7.45pm Wednesday 27 June 2018. The reviews are embargoed until 11.59pm Wednesday 27 June 2018. “You’ve endangered us. You’ve endangered your family.” During an attack on London, 20 year old Imogen joins a campaign offering refuge to victims. Before her family have even had a chance to have a reasonable discussion, John is at their door. He is different to them. He isn’t what they expected. And although they’d never admit it to themselves, he isn’t necessarily what they want. “You will do anything, in the end, to keep the people you love safe.” Full listings and biography information below. Ends:- For more information or images please contact Anoushka Warden on 0207 565 5063 / [email protected] Notes to Editors: Press performances One For Sorrow Jerwood Theatre Upstairs 7pm Tuesday 26 June 2018 and 7.45pm Wednesday 27 June 2018. The reviews are embargoed until 11.59pm Wednesday 27 June 2018. Biographies: Cordelia Lynn (Writer) For the Royal Court: Lela & Co. Other theatre includes: Best Served Cold (Vault Festival); Believers Anonymous (Rosemary Branch); After the War (UK & International tour). -
Julius CAESAR
CLASSIC DRAMA UNABRIDGED William Shakespeare Julius Caesar Read by Andrew Buchan, Paul Rhys and cast Directed by David Timson 1 Act I Scene i 4:08 2 Scene ii 4:21 3 Cassius – I know that virtue to be in you, Brutus… 4:23 4 Re-enter Caesar and his train 6:28 5 Scene iii 1:54 6 Enter Cassius 4:25 7 Enter Cinna 1:23 8 Act II Scene i 0:35 9 Brutus – It must be by his death and for my part… 5:05 10 Enter the conspirators, Cassius, Casca, Decius Brutus, Cinna etc. 7:27 11 Enter Portia 4:48 12 Re-enter Lucius with Ligarius 1:27 13 Scene ii 0:22 14 Enter Calpurnia 2:46 15 Enter Decius Brutus 2:45 16 Enter Publius, Brutus, Ligarius, Metellus, Casca, Trebonius etc. 0:25 17 Enter Antony 0:48 18 Scene iii 1:00 19 Scene iv 1:13 20 Enter the Soothsayer 1:26 2 21 Act III Scene i 3:43 22 Casca and the other conspirators stab Caesar 1:09 23 Re-enter Trebonius 1:22 24 Enter a servant 1:12 25 Enter Antony 5:50 26 Antony – O, pardon me, thou bleeding piece of earth… 2:54 27 Act III Scene ii 0:45 28 Brutus – Be patient till the last… 2:12 29 Enter Antony and others, with Caesar’s body 1:47 30 Antony – Friends, Romans, countrymen, lend me your ears… 5:15 31 Antony comes down from the pulpit 6:09 32 Enter a servant 0:32 33 Scene iii 1:53 34 Act IV Scene i 2:26 35 Scene ii 1:32 36 Enter Cassius and his Powers 0:53 37 Scene iii 6:25 38 Enter Poet, followed by Lucilius, Titinius and Lucius 1:41 39 Enter Lucius, with wine and taper 0:26 40 Enter Titinius, with Messala 4:06 3 41 Enter Lucius with the gown 0:21 42 Enter Varrus and Claudio 2:38 43 Enter the Ghost of Caesar 2:11 44 Act V Scene i 0:35 45 Enter a messenger 0:17 46 Enter Brutus, Cassius and their Army; Lucilius etc. -
The History of English Poetry What Is Poetry? a Simple but Apparently What Emerges Is a Series of Love Affairs Impossible Question to Answer
Peter Whitfield The History of NON- English Poetry FICTION Read by Derek Jacobi HISTORIES NA791512D extracts of With more thanpoetry 200 1 FOUndations 6:05 2 Beowulf (8th–11th century) 4:51 3 Geoffrey Chaucer (c. 1343–1400) 5:08 4 Geoffrey Chaucer (cont.) 5:00 5 John Skelton (c. 1460–1529) 6:57 6 Sir Thomas Sackville (1536–1608); Sir Thomas Wyatt (1503–1542) 5:48 7 Sir Thomas Wyatt (cont.); Henry Howard, Earl of Surrey (1517–1547) 7:03 The Elizabethan Achievement 8 Sir Walter Ralegh (1552–1618); Sir Philip Sidney (1554–1586) 7:03 9 Edmund Spenser (1552–1599) 7:26 10 George Chapman (c. 1559–1634); Arthur Golding (c. 1536 – c. 1605); Richard Stanyhurst (1547–1618) 5:28 11 Samuel Daniel (1563–1619); Michael Drayton (1563–1631) 6:03 12 Christopher Marlowe (1564–1593) 5:43 13 William Shakespeare (1564–1616) 5:36 14 William Shakespeare (cont.) 6:17 15 William Shakespeare (cont.) 4:28 16 William Shakespeare (cont.) 4:34 2 The 17th Century: From Donne to Milton 17 John Donne (1572–1631) 7:52 18 Thomas Carew (1595–1640); Richard Lovelace (1618–1657); John Cleveland (1613–1658); Edmund Waller (1606–1687) 7:58 19 Robert Herrick (1591–1674) 4:15 20 George Herbert (1593-1633); Henry Vaughan (1621–1695); Thomas Traherne (1637–1674); Richard Crashaw (1613–1649) 6:53 21 Andrew Marvell (1621–1678) 2:33 22 John Milton (1608–1674) 6:28 23 John Milton (cont.) 4:19 24 John Marston (1576–1634) 4:09 The 18th Century: From Dryden to Blake 25 Samuel Butler (1613–1680); John Wilmot, second Earl of Rochester (1647–1680) 5:50 26 John Dryden (1631–1700) 4:25 27 John