Executive Director Recruitment Pack Hightide Festival Theatre
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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’. -
STEVEN EDIS Freelance Composer/Arranger/Musical Director/Pianist Contact 07973 691168 / [email protected] Agent Clare Vidal Hall 020 8741 7647
STEVEN EDIS Freelance composer/arranger/musical director/pianist contact 07973 691168 / [email protected] agent Clare Vidal Hall 020 8741 7647 New musical theatre composition: Where Is Peter Rabbit? (lyrics by Alan Ayckbourn) – preparing for its 4 th year at The Old Laundry Theatre, Bowness I Capture The Castle (lyrics by Teresa Howard) – co-produced by (& at) Watford Palace Theatre and Bolton Octagon The Silver Sword (lyrics (also!) by Steven Edis) – Belgrade, Coventry and national tour Possessed (lyrics by Teresa Howard) – Oxford Playhouse / Camden People's Theatre The Choker One-act opera co-composed with Jude Alderson – Tête-a-tête Festival. King's Cross A Christmas Carol (lyrics by Susie McKenna and Steven Edis) – Hackney Empire / Arts Theatre, London Other theatre work: Composer Agnes Colander Ustinov,Bath/Jermyn St Theatre Trevor Nunn Composer Aladdin Chipping Norton Theatre John Terry MD/conductor Fiddler On The Roof Guildhall School Martin Connor MD By Jeeves Old Laundry Theatre, Bowness Alan Ayckbourn Co-arranger Promises, Promises Southwark Playhouse Bronagh Lagan Arranger/mus.supervisor Crush Belgrade, Coventry + tour Anna Linstrum MD/arranger A Christmas Carol Noel Coward Phelim McDermott Musical director I Love You, You're Perfect... Frinton Summer Theatre Ben Stock Composer Volpone RSC, Swan Trevor Nunn Composer/research/MD The Captain of Köpenick NT, Olivier Adrain Noble MD/conductor Grand Hotel Guildhall School Martin Connor Arranger Oklahoma UK tour Rachel Kavanaugh Composer Richard III York/Nottingham Loveday Ingram -
David Nellist
Eamonn Bedford Agency 1st Floor - 28 Mortimer Street London W1W 7RD EBA t +44(0) 20 7734 9632 e [email protected] represented by Charlie Cox www.eamonnbedford.agency DAVID NELLIST HEIGHT: 5’5” (165cm) HAIR: Light/Mid EYES: Blue TITLE (Role) DIRECTOR PRODUCTION COMPANY THEATRE Much Ado About Nothing (Dogberry) Conrad Nelson Northern Broadsides The Fulstow Boys (Maurice) Gordon Steel Hull Truck The Crucible (Thomas Putnam) Geraldine Alexander Storyhouse The Curious Incident Of The Dog In The Nighttime Marianne Elliott Apollo Theatre (Reverend Peters) War Horse (Sgt Thunder) Alex Sims National Theatre at New London Wet House (Spencer) Max Roberts Live Theatre, Newcastle Blue Remembered Hills (Willie) Psyche Stott Northern Stage and Tour Alf Ramsey Knew My Grandfather Mark Wingett Darlington Civic Theatre (Sidney Barron/Wyn Barron) Close The Coalhouse Door (Geordie) Sam West Northern Stage Much Ado About Nothing/Globe Mysteries Jeremy Herrin/Deborah Bruce Shakespeare’s Globe Billy Elliot (George) Stephen Daldry Victoria Palace - West End Alf Ramsey Knew My Grandfather Simon Stallworthy Gala Theatre, Durham You Couldn’t Make It Up Max Roberts Live Theatre, Newcastle You Really Coudn’t Make It Up (Mike Ashley) Max Roberts Live Theatre, Newcastle Nicholas Nickleby (Ned Cheeryble) Philip Franks/ Chichester Festival Theatre/West End Jonathan Church Canada And UK Tour The Likely Lads (Bob Ferris) Simon Stallworthy Gala Theatre, Durham The Far Corner (One Man Show) Simon Stallworthy Gala Theatre, Durham Toast (Dezzie) Jeremy Herrin Live Theatre, -
The Secret Scripture
Presents THE SECRET SCRIPTURE Directed by JIM SHERIDAN/ In cinemas 7 December 2017 Starring ROONEY MARA, VANESSA REDGRAVE, JACK REYNOR, THEO JAMES and ERIC BANA PUBLICITY REQUESTS: Transmission Films / Amy Burgess / +61 2 8333 9000 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/the-secret-scripture Distributed in Australia by Transmission Films Ingenious Senior Film Fund Voltage Pictures and Ferndale Films present with the participation of Bord Scannán na hÉireann/ the Irish Film Board A Noel Pearson production A Jim Sheridan film Rooney Mara Vanessa Redgrave Jack Reynor Theo James and Eric Bana THE SECRET SCRIPTURE Six-time Academy Award© nominee and acclaimed writer-director Jim Sheridan returns to Irish themes and settings with The Secret Scripture, a feature film based on Sebastian Barry’s Man Booker Prize-winning novel and featuring a stellar international cast featuring Rooney Mara, Vanessa Redgrave, Jack Reynor, Theo James and Eric Bana. Centering on the reminiscences of Rose McNulty, a woman who has spent over fifty years in state institutions, The Secret Scripture is a deeply moving story of love lost and redeemed, against the backdrop of an emerging Irish state in which female sexuality and independence unsettles the colluding patriarchies of church and nationalist politics. Demonstrating Sheridan’s trademark skill with actors, his profound sense of story, and depth of feeling for Irish social history, The Secret Scripture marks a return to personal themes for the writer-director as well as a reunion with producer Noel Pearson, almost a quarter of a century after their breakout success with My Left Foot. -
Voice Training and the Royal National Theatre Rena Cook
Spring 1999 165 Voice Training and the Royal National Theatre Rena Cook I stepped off the double-decker bus at Waterloo Station with my map in hand, walked several blocks and found the Old Vic quite easily. But the Royal National Theatre Studio, where the orientation was to take place, was nowhere in sight. "Next to the Old Vic," I had been told. With address and directions in my pocket, I surveyed the area as my internal compass spun out of control. After a brief moment of panic, I went to the box office and asked for help. "Out this door, two steps to your left and through the iron gate." I had traveled to London to participate in a course entitled "International Voice Intensive" with Patsy Rodenburg. As I walked up the steps of the studio on that chilly Sunday afternoon, with jet lag hanging heavily on my limbs, I had little idea that in my two weeks study I was about to experience a Zeitgeist of contemporary London theatre, training and practice. The focus was, of course, the voice work under the tutelage of master teacher Patsy Rodenburg, who currently heads the voice departments at the Royal National Theatre and Guildhall School of Music and Drama. In addition, the course participants were exposed to and interacted with some of the finest artists working in Western theatre today, including Trevor Nunn, Richard Eyre, and Judi Dench. Following each exhaustive day of study, workshop, and discussion, we attended theatre, viewing five of the six productions currently in repertory at the National. -
The Old Vic Announces the Old Vic 12 Class of 2016-2017
The Old Vic announces The Old Vic 12 Class of 2016-2017 London, 5th December: Today The Old Vic announces the theatre makers behind this year’s Old Vic 12: a company of talented, developing artists looking to make the next step in their careers. The scheme offers them the opportunity to expand their networks, experience first class mentoring and receive funding to create three brand new plays as a collective. The newly announced Old Vic 12 consists of: ➔ Directors, Chelsea Walker, Lekan Lawal and Jesse Jones ➔ Producers, Molly Roberts, Tobi Kyeremateng and Aaron Rogers ➔ Playwrights, Joe White, Rebecca Crookshank and John O’Donovan ➔ Designer, Fin Redshaw ➔ Movement Director, Rachael Nanyonjo ➔ Composer, Cassie Kinoshi This Autumn, after receiving 1,300 applications and interviewing over 300 candidates, The Old Vic is thrilled to start work with these artists to nurture and unveil the work they produce. Artistic Director, Matthew Warchus said, ‘Supporting the next generation of theatre-makers is one of the most important and effective contributions to our cultural future we can make. It is also one of the most enjoyable. The Old Vic 12 sees emerging creatives engaging with people at the top of their profession across a wide range of theatrical disciplines and it's hugely inspiring to see how much all parties get from the mutual exchange of ideas. The presence of these early-career creative minds in our midst through the year is extremely energising. And it's also exciting to see the partnerships formed within the group and how these develop forward beyond The Old Vic. -
Dialect Coaching for Screen 2014/2015/2016 Dialect and Voice
Dialect Coaching for Screen 2014/2015/2016 Nov 16 – Feb 2017 Roseline Productions Dialect Coach for Will Ferrell, John C Reilly: Holmes and Watson Nov 2016 Sky Dialect Coach Bliss Nov 2016 BBC Dialect Coach for Zombie Boy: Silent Witness Aug 2016 Sky Dialect Coach for Iwan Rheon and Dimitri Leonidas: Riviera Jan/Feb 2016 Channel 4 Dialect Coach: ADR: Raised By Wolves directed by Ian Fitzgibbon Oct 2015 Jellylegs/Sky 1 Dialect Coach: Rovers directed by Craig Cash Oct 2015 Channel 4 Dialect Coach: Raised By Wolves directed by Ian Fitzgibbon Sept 2015 LittleRock Pictures/Sky Dialect /voice coach: Elizabeth, Michael and Marlon (Joseph Fiennes, Stockard Channing, Brian Cox) January – May 2015 BBC2/ITV, London Dialect Coach (East London): Cradle to Grave – directed by Sandy Johnson January – April 2015 Working Title/Sky Dialect Coach (Gen Am, Italian): You, Me and the Apocalypse – TV directed by Michael Engler/Saul Metzstein September 2014 Free Range Films Ltd, London Dialect/voice coach (Leeds): The Lady in the Van – Feature directed by Nicholas Hytner May 2014 Wilma TV, Inc. for Discovery Channel, New York Dialect Coach (Australian): Amerikan Kanibal - Docudrama February/March 2014 Mad As Birds Dialect Coach (Various Period US accents): Set Fire to the Stars - Feature directed by Andy Goddard February and June 2014 BBC 3 Dialect Coach (Liverpool and Australian): Crims - TV directed by James Farrell Dialect and Voice Coaching for theatre 2016 Oct 2016 Park Theatre, Dialect support (New York: Luv directed by Gary Condes Oct 2016 Kings Cross -
Roth Is Noted for Her Ability to Collaborate with Actors and Directors In
Roth is noted for her ability to collaborate with actors and directors in creating indelible characters, and has worked repeatedly with such artists as Mike Nichols, Stephen Daldry, Anthony Minghella, Meryl Streep, Jane Fonda, Robin Williams, Nicole Kidman and Daniel Day-Lewis. In addition to her four Academy Award nominations, Roth has received four Tony Award. nominations for her costume designs for the stage (most recently, for her work on The Book of Mormon) and three Emmy Award. nominations (including her work on the miniseries "Mildred Pierce"). This special event will be both a celebration of Roth's career and an examination of her work and craft, featuring film clips and in-depth discussions of her creative process. "Ann's work has helped bring some of our most iconic movie characters to life," said Academy CEO Dawn Hudson. "She's a beloved artist whose work continues to inspire all of us. " "We are honored that in our festival's anniversary year we are able to recognize and salute such an extraordinary woman as Ann Roth," said Executive Director Karen Arikian. "She epitomizes the inspirational creative talent that we have endeavored to present to our audiences at HIFF for the last 20 years." "It is, of course, a tremendous honor to be recognized for one's work by one's peers" said Ann Roth. "I gratefully thank both The Academy Of Motion Picture Arts And Sciences and The Hamptons International Film Festival and I commend the festival on its steely optimism in waiting until 2012 to bestow such an honor on me". -
Christopher York SERENA MANTEGHI Build a Rocket Was Christopher’S Debut Serena Manteghi Is an Established Play
Stephen Joseph Theatre and Tara Finney Productions present Running time: 75 minutes (no interval) | Age guidance: 14+ (Contains some strong language and adult themes) Tell us what you thought: @thesjt | @tara_finney | #BuildARocket Christopher York SERENA MANTEGHI Build a Rocket was Christopher’s debut Serena Manteghi is an established play. After winning HighTide’s First theatre practitioner and performer, Commissions Award, the text was working extensively in new writing, developed in conjunction with HighTide, devising and physical storytelling. She is Women at RADA and the SJT. It debuted the recipient of the following awards; at the SJT in 2018, and subsequently BankSA ‘Best Theatre’ Award for won The Holden Street Award at The Eurydice Edinburgh Festival, the Adelaide Fringe Best Theatre Weekly , The Sunday Mail’s ‘Best Female Award and was named as The Sunday Mail’s Best Female Solo Performance’ for Build A Rocket, ‘Honourable Mention’ Solo Show. by Critics Circle Award for Build A Rocket and she was shortlisted for the Norman Beaton Fellowship Award in Christopher’s adaptation of The Pit and the Pendulum also 2016. premiered in 2018, set in the modern day Middle East, it scrutinised the attire laws that oppress women in those Her theatre credits include; Hamlet (Shakespeare’s Rose areas. It opened in Oxford’s Bodleian Libraries’ historical Theatre), Salty Irina (Ovalhouse), Eurydice (Holden Street Convocation House before transferring to The Omnibus in Theatres, Adelaide), Build A Rocket (Stephen Joseph Theatre/ London. Various), The Terrible Infants (Wiltons Music Hall), The Rise and His new play 212 is an Arts Council England’s supported Fall of Little Voice (Stephen Joseph Theatre), Echoes (Brits Off project. -
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. -
Hetherington, K
KRISTINA HETHERINGTON Editor Feature Films: THE DUKE - Sony/Neon Films - Roger Michell, director BLACKBIRD - Millennium Films - Roger Michell, director Toronto International Film Festival, World Premiere RED JOAN - Lionsgate - Trevor Nunn, director Toronto International Film Festival, Official Selection CHRISTOPHER ROBIN (additional editor) - Disney - Marc Forster, director MY COUSIN RACHEL - Fox Searchlight Pictures - Roger Michell, director DETOUR - Magnet Releasing - Christopher Smith, director TRESPASS AGAINST US - A24 - Adam Smith, director LE WEEK-END - Music Box Films - Roger Michell, director JAPAN IN A DAY - GAGA - Philip Martin & Gaku Narita, directors A BOY CALLED DAD - Emerging Pictures - Brian Percival, director SUMMER - Vertigo Films - Kenny Glenaan, director YASMIN - Asian Crush - Kenny Glenaan, director BLIND FIGHT - Film1 - John Furse, director LIAM - Lions Gate Films - Stephen Frears, director Television: SITTING IN LIMBO (movie) - BBC One/BBC - Stella Corradi, director THE CHILD IN TIME (movie) - BBC One/BBC - Julian Farino, director THE CROWN (series) - Netflix/Left Blank Pictures - Stephen Daldry & Philip Martin, directors MURDER (mini-series) - BBC/Touchpaper Television - Iain Forsyth & Jane Pollard, directors BIRTHDAY (movie) - Sky Arts/Slam Films - Roger Michell, director THE LOST HONOUR OF CHRISTOPHER JEFFERIES - ITV/Carnival Film & TV - Roger Michell, director RTS of West England Award Winner, Best Editing in Drama KLONDIKE (mini-series) - Discovery Channel/Scott Free Productions - Simon Cellan Jones, director -
Visual Media Use and Intermediality in Shakespeare Productions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository STRANGE BEDFELLOWS? VISUAL MEDIA USE AND INTERMEDIALITY IN SHAKESPEARE PRODUCTIONS By SHARI LYNN FOSTER A thesis submitted to the University of Birmingham for the degree of Masters of Literature College of Arts and Law School of Humanities Shakespeare Institute University of Birmingham October 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Drawing on archive material, reviews and personal observation, this thesis examines the use of visual media in stage productions of Shakespeare’s plays. Utilizing examples from the period between 1905 and 2007, the thesis focuses on intermedial productions, explores the media use in Shakespeare productions, and asks why certain Shakespeare plays seem to be more adaptable to the inclusion of visual media. Chapter one considers the technology and societal shifts affecting the theatre art and the audience and Klaus Bruhn Jensen’s three level definition of intermediality which provides a framework for the categorizing the media usage within Shakespeare productions.