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Gregory Clarke Sound Designer
Gregory Clarke Sound Designer Agents Giles Smart Assistant Ellie Byrne [email protected] +44 (020 3214 0812 Credits In Development Production Company Notes THE HOUSE OF SHADES Almeida By Beth Steel 2020 Dir. Blanche McIntyre ALL OF US National Theatre By Francesca Martinez 2020 Dir. Ian Rickson THE REALISTIC JONESES Theatre Royal Bath By Will Eno 2020 Dir. Simon Evans Theatre Production Company Notes THE BOY FRIEND Menier Chocolate Factory Book, Music and Lyrics by Sandy Wilson 2020 Dir. Matthew White THE WIZARD OF OZ Chichester Festival Adapted by John Kane from the motion 2019 Theatre picture screenplay A DOLL'S HOUSE Lyric Hammersmith By Henrik Ibsen in a new adaptation by 2019 Tanika Gupta Dir. Rachel O’Riordan. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE SECRET DIARY OF Ambassadors Theatre Based on the novel by Sue Townsend ADRIAN MOLE AGED 13 3/4 Dir. Luke Sheppard Book & Lyrics by 2019 Jake Brunger, Music & Lyrics by Pippa Cleary Transfer of Menier Chocolate Factory production THE BRIDGES OF MADISON Menier Chocolate Factory Book by Marsha Norman COUNTY Music & Lyrics by Jason Robert Brown 2019 Based on the novel by Robert James Waller Direction Trevor Nunn THE BEACON Druid By Nancy Harris 2019 Dir. Garry Hynes RICHARD III Druid / Lincoln Center NYC By William Shakespeare 2019 Dir. Garry Hynes ORPHEUS DESCENDING Theatr Clwyd / Menier By Tennessee Williams 2019 Chocolate Factory Dir. Tamara Harvey THE BAY AT NICE Menier Chocolate Factory By David Hare 2019 Dir. -
January 2012 at BFI Southbank
PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival: -
Frances Gray – Interview Transcript
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frances Gray – interview transcript Interviewer: Kate Dorney 27 June 2005 Writer and theatre-goer, Senior Lecturer at Sheffield University. John Arden; Armstrong's Last Goodnight; Alan Aykbourne; Brenton Bond; Michael Boyd; Bertold Brecht's plays; Brimstone and Treacle; Peter Brook; Chichester Festival Theatre; The Crucible Theatre, Shefffield; Steve Daldry; Peter Daubeny's international theatre seasons; Flourish; Marat/Sade; The National Theatre; Laurence Olivier; Othello; John Osborne; programmes; published plays; radio; Royal Hunt of the Sun; Royal Shakespeare Company; Shakespeare; Maggie Smith; theatre-going; Mary Ure; US; David Warner KD: This is Kate Dorney interviewing Frances Gray for the British Library Theatre Archive. Frances, would you care to give your consent for this being deposited in the Sound Archive of the British Library? FG: Yes. KD: OK, I wondered if you could tell me a little bit about your general experience of theatre. FG: I think it started when I was about eleven and we did Midsummer Night’s Dream, and that got me hooked on Shakespeare and on theatre in general and I remember desperately wanting to be a director and not knowing how you did that from a girl’s grammar school in Portsmouth. The only stuff to go and see - other than what we made ourselves - were the local amateurs on the pier, and our local amateurs were noted for doing every single play of Shakespeare - they were going for some sort of record and I hit Titus Andronicus year which was huge fun because they had obviously seen the Peter Brook one, the one where Brook brought Lavinia on with great swathes of red velvet on the wrists. -
Interview Summary Leslie Williams PIOOH041
Type Sound:. WAV Duration 01:03:07 Project Pass it On – Oral History Project for the Chichester Festival Theatre Recording Date 20 August 2014 Recording locations Sound Studio, Chichester Festival Theatre Interviewee(s) Leslie Williams (speaker, female) Interviewer(s) Karen Robinson (speaker, male) Abstract Leslie Williams[LW] born Aberdare, 1925. Mentions being introduced to theatre by his grandmother, late 1920s.(01:07) Mentions first job as journalist on Welsh local newspaper, reporting on theatre and concert performances.(02:23) Comments on teaching career and interest in drama as teaching method.(03:25) Brief description of appointment as English and Drama teacher at school in Boscombe.(07:31) Mentions formation of after-school drama club and first production, ‘Lady Precious Stream’.(12:00) Brief description of development of Bournemouth Drama Centre, early 1960s and Dramascope demonstrations in schools.(13:48) Mentions appointment as Dorset adviser for drama and theatre.(18:32) Brief description of first awareness of Chichester Festival Theatre(CFT) and attending play, ‘The Chances’.(19:32) Mentions success of ‘Uncle Vanya’.(24:24) Comments on meeting Dame Sybil Thorndike who attended LW’s school productions of Shaw’s ‘Androcles And The Lion’ and dance version of Vaughan Williams’s ‘Job’.(25:39) Mentions first impressions of CFT.(29:42) Anecdotes about productions seen, including ‘Hay Fever’ with Googie Withers and John McCallum, directed by Tony Britton, ‘The Royal Hunt Of The Sun’ with Robert Stephens, Michael Gambon, Christopher -
CAST BIOGRAPHIES TOBY STEPHENS (Captain Flint)
-Season Three- CAST BIOGRAPHIES TOBY STEPHENS (Captain Flint) Toby Stephens was born in London, England and trained at the London Academy of Music and Dramatic Art (LAMDA). He has gained critical acclaim as a stage and screen actor and upcoming work includes the feature film 13 Hours: The Secret Soldiers of Benghazi directed by Michael Bay, and And Then There Were None for the BBC. He will also star opposite Timothy Spall and John Hurt in Nick Hamm’s The Journey. Previous television roles include: “Vexed” (BBC), “Robin Hood” (BBC), “Wired” (ITV), “The Wild West” (BBC 1), “Jane Eyre” (BBC 1), “Sharpe’s Challenge” (ITV), “The Best Man” (ITV), “The Queen’s Sister” (Channel 4), “Waking the Dead” (BBC 1), “Poirot” (ITV), “Cambridge Spies” (BBC 2), “Perfect Strangers” (BBC 2), and “The Tenant of Wildfell Hall” (BBC 1). Recent film credits include: Believe with Natasha McElhone and Brian Cox, All Things to All Men alongside Gabriel Byrne and Rufus Sewell, and the lead role in The Machine for Content Film. Other film work includes: Severance, The Rising: Ballad of Mangal Pandey, Die Another Day, Possession, The Announcement, Onegin, Photographing Fairies, Sunset Heights, Cousin Bette, The Great Gatsby, Twelfth Night, and Orlando. Toby is an accomplished stage actor, both in London’s West End and on Broadway. Theater credits include ‘Elyot’ opposite Anna Chancellor in “Noel Coward’s Private Lives,” ‘Georges Danton’ in “Danton’s Death” (National Theatre Olivier), ‘Henry’ in “The Real Thing” (The Old Vic), ‘Thomas’ in “A Doll’s House,” ‘Jerry’ in -
Theatre Archive Project: Interview with John Sheppard
THEATRE ARCHIVE PROJECT http://sounds.bl.uk John Sheppard – interview transcript Interviewer: Kate Harris 29 November 2005 John Sheppard on his memories of going to the theatre in Manchester, London and Stratford in the 1950's and 1960's; Memories of Manchester Theatre in the early fifties; Memories of going to The Opera House; Festival of Britain production of Shakespeare's Anthony and Cleopatra and Shaw's Caesar and Cleopatra in 1951; John Gielgud's King Lear; Memories of going to The Library Theatre; Memories of the company, Jeremy Brett, Robert Stephens, Joan Heath, Bernard Warwick; Jessie Evans, dir David Scase; Memories of productions including The Quare Fellow; Audiences at The Library; Memories of Laurence Olivier and John Gielgud; Memories of seeing Gielgud performing in A Day by the Sea at The Opera House in Manchester in 1953; Gielgud's arrest; Memories of seeing The Entertainer at The Royal Court in 1957; Olivier's performance; Changing impressions of Terence's Rattigan's work over the period; Separate Tables, The Deep Blue Sea; Kenneth Tynan's reviews; JS view of Tynan's treatment of Vivien Leigh; Changes in the way the media portrays actors; JS impressions of European theatre; Memories of Peter Daubney's World Theatre Seasons in the late 1960's early 70's; Memories of going to see Theatre Workshop at Stratford East; Importance of women in twentieth century theatre; Impressions of Theatre Workshop's production of A Taste of Honey 1958; Memories of going to see the RSC production The Wars of the Roses (1963) and Peter Brook's production of Titus Andronicus (1955). -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/148274 Please be advised that this information was generated on 2021-10-10 and may be subject to change. NATHANIEL THOMPSON TORY PRINTER, BALLAD MONGER AND PROPAGANDIST G.M. Peerbooms NATHANIEL THOMPSON Promotor: Prof. T.A. Birrell NATHANIEL THOMPSON TORY PRINTER, BALLAD MONGER AND PROPAGANDIST Proefschrift ter verkrijging van de graad van doctor in de letteren aan de Katholieke Universiteit te Nijmegen, op gezag van de Rector Magnificus Prof. Dr. J.H.G.I. Giesbers volgens besluit van het College van Dekanen in het openbaar te verdedigen op dinsdag 28 juni 1983 des namiddags te 2 uur precies door GERARD MARIA PEERBOOMS geboren te Bom Sneldruk Boulevard Enschede ISBN 90-9000482-3 С. 19Θ3 G.M.Peerbooms,Instituut Engels-Amerikaans Katholieke Universiteit,Erasmusplein 1«Nijmegen. ACKNOWLEDGEMENTS I wish to thank the authorities and staffs of the following libraries and record offices for permission to examine books and manuscripts in their possession, for their readiness to answer my queries and to provide microfilms: the British Library, London; the Corporation of London Record Office; Farm Street Church Library, London; the Greater London Record Office; the Guildhall Library, London; Heythrop College Library, London; the House of Lords Record Office, London; Lambeth Palace Library, London; the Public Record Office, London; St. Bride's Printing Library, London; the Stationers' Company, London; Westminster Public Library, London, the Bodleian Library, Oxford; Christ Church College Library, All Souls Collecte Library, Merton College Library, New College Library, Worcester College Library, Oxford; Chetam's Library, Manchester; the National Library of Scotland, Edinburgh; the Beinecke Rare Book and Manuscript Library, Yale University; the Houghton Library, Harvard University; the H.E. -
Bibliography – 2020
RALPH VAUGHAN WILLIAMS: AN ANNOTATED BIBLIOGRAPHY 1996 TO THE PRESENT (2020) Compiled in 2012 by: Paulina Piedzia Colón, Devora Geller, Danya Katok, Imani Mosley, Austin Shadduck, Maksim Shtrykov, and Serena Wang Edited by: Paulina Piedzia Colón and Devora Geller (2012–17) David Manning (2018–) Introduction by: Allan Atlas CONTENTS Introduction 1 A. Publications of Music 5 B. Collections of Vaughan Williams’s Writings 9 C. Bibliographical/Discographical 10 D. Correspondence 12 E. Iconography 14 F. Biography/Life-and-Works Surveys 15 G. Collections of essays devoted entirely/mainly to Vaughan Williams 21 H. Analysis/Criticism of Individual Works and Genres 24 H.a. Folk song 24 H.b. Hymnody 28 H.c. Opera/Other Stage Works 30 H.d. Choral Music 36 H.e. Songs 40 H.f. Symphonies 45 H.g. Concertos and solo instrument with orchestra 52 H.h. Other Orchestral Music 56 H.i. Band Music 59 H.j. Film Music 61 H.k. Chamber Music, Solo Piano, Organ 63 I. Contextual/Sociological 66 Author Index 81 Ralph Vaughan Williams: An Annotated Bibliography 1996 to the Present (2020) INTRODUCTION When the first installment of this bibliography appeared in Spring 2013, there were four such compilations devoted to the scholarly literature on Ralph Vaughan Williams. The earliest of these was Peter Starbuck’s bibliography of 1967, which lists both writings by and about Vaughan Williams.1 Rather more extensive was Neil Butterworth’s 1990 Ralph Vaughan Williams: A Guide to Research, which includes 564 items, though some of these are somewhat shaky in terms of scholarly -
Well Made Play'
The persistence of the 'well made play' Book or Report Section Accepted Version Saunders, G. (2008) The persistence of the 'well made play'. In: Redling, E. and Schnierer, P. P. (eds.) Non-standard forms of contemporary drama and theatre. Contemporary Drama in English (15). Wissenschaftlicher Verlag Trier, Trier, pp. 11-21. ISBN 9783868210408 Available at http://centaur.reading.ac.uk/31307/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Wissenschaftlicher Verlag Trier All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online GRAHAM SAUNDERS The Persistence of the ‘Well-Made Play’ in British Theatre of the 1990s The story of the well-made play in twentieth-century British theatre is one of dominance and decline, followed by an ongoing resistance to prevailing trends. In this article, I hope to argue that during the early 1990s the well- made play enjoyed a brief flourishing and momentary return (literally) to centre stage before it was superseded again - in much the same way that the likes of Terence Rattigan and Noël Coward were swept away by the Angry Young Men of the Royal Court during the 1950s. However, between 1991- 1994 I contend that the well-made play re-established itself, not only as a West End entertainment, but one which came of age in terms of formal experimentation and the introduction of political commentary into a genre which had always been perceived as conservative in both form and ideology. -
Guide to Plays for Performance
Guide to Plays for Performance Welcome to our Guide to Plays for Performance! I hope this Guide will not only be a useful tool for you in helping to choose next season’s play, but also a valuable companion throughout your career in the theatre. The Guide will give you a good overview of our list with detailed information on our most- performed plays as well as new releases and acquisitions. A more comprehensive version of the Guide is available online, and you are welcome to print off any sheets that are of particular interest to you there. Towards the end of this guide you will find a detailed listing of all our plays for performance, including cast details. If you find a play there that you would like a closer look at, just let me know and I will be happy to send you an approval copy of the script. If you wish to receive our quarterly supplements, with information about the most recent acquisitions, you must let me have an email address (send to: [email protected]) so that I can add you to our electronic mailing list. Check before rehearsals May I remind you that it is essential that before rehearsals begin, you check availability with me, as inclusion in the Guide does not necessarily indicate that amateur rights have been released, and some plays may be withdrawn later on without notice. I hope you will find an exciting and inspiring play for a future production in this Guide and look forward to hearing from you. -
The Cambridge Companion To: the ORCHESTRA
The Cambridge Companion to the Orchestra This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra’s continued role in a changing society. Other topics discussed include the art of orchestration, score-reading, conductors and conducting, international orchestras, and recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts. Colin Lawson is a Pro Vice-Chancellor of Thames Valley University, having previously been Professor of Music at Goldsmiths College, University of London. He has an international profile as a solo clarinettist and plays with The Hanover Band, The English Concert and The King’s Consort. His publications for Cambridge University Press include The Cambridge Companion to the Clarinet (1995), Mozart: Clarinet Concerto (1996), Brahms: Clarinet Quintet (1998), The Historical Performance of Music (with Robin Stowell) (1999) and The Early Clarinet (2000). Cambridge Companions to Music Composers -
Front Matter
Cambridge University Press 978-0-521-89611-5 - The Cambridge History of Musical Performance Colin Lawson and Robin Stowell Frontmatter More information THE CAMBRIDGE HISTORY OF MUSICAL PERFORMANCE The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer’s experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians, and, impor- tantly, features contributions from accomplished performers, whose practi- cal experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, the History presents a fresh, integrated and innovative perspec- tive on performance history and practice, from the earliest times to today. COLIN LAWSON is Director of the Royal College of Music, London. He has an international profile as a period clarinettist and has played principal in most of Britain’s leading period orchestras, notably The Hanover Band, the English Concert and the London Classical Players, with whom he has recorded extensively and toured worldwide. He has published widely, and is co-editor, with Robin Stowell, of a series of Cambridge Handbooks to the Historical Performance of Music, for which he co-authored an introductory volume and contributed a book on the early clarinet.