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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Barbican Events Dec 2017 Barbican.Org.Uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–
1 Barbican Events Dec 2017 barbican.org.uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–9 The Caretaker 9–11 Ho Ho Homeware 11–12 Listings 13–53 Art 13–17 Film 18–26 Classical Music 26–44 Contemporary Music 44–45 Theatre & Dance 45–50 Learning 50–53 Information 53–67 Explore 53 Booking 55 Calendar 58–67 2 News Playing the Changes Christian Campbell, Trinidadian Bahamian poet, essayist and cultural critic, considers the importance of Basquiat’s work for today’s audience. Some questions for Boom for Real: what tools, what language, what new ways of being together do we have now that we didn’t have then with which to read the work of Jean-Michel Basquiat? How has the work changed (which is also to ask, how have we changed)? And how does the work read us now? Fortuitously a new commission, Purple, is currently on show in the Curve by the ferociously brilliant artist John Akomfrah , who claims Basquiat as an influence. Housing Akomfrah and Basquiat at the same institution changes the conversation. This is a crucial time to look at Basquiat again given major global cultural shifts including the rise of more African- American, Caribbean, Latin American and other diaspora artists and writers; the rise of ’First World’ discourses on diaspora; the rise of intersectional black theories (such as black feminist theory, black queer theory, etc) and new histories of black expressive cultures; the rise of critical theory; the rise of alternative histories of conceptualism; the rise and increasing visibility of black immigrants in North America and Europe; the development of institutional support for the arts outside of North America and Europe (through museums, festivals, prizes, biennials, 3 etc); and the endurance and renewal of anti-colonial and black radical movements that continue to fight institutional racism in all spheres. -
Lost Prince Pack Latest
Miranda Richardson Miranda Richardson Miranda Richardson portrays Queen Mary, the Stranger,The Crying Game, Enchanted April, Damage, emotionally repressed mother of Prince John.A Empire Of The Sun,The Apostle and Spider (Official fundamentally inhibited character, she is a loving Selection, Cannes 2002), as well as the mother but has great difficulty communicating with unforgettable Queenie in the BBC’s Blackadder. She her son. says:“Mary had an absolute belief in the idea of duty. She thought that her husband’s word was the The actress, one of Britain’s most gifted screen law and believed in the divine right of kings. performers, immersed herself in research for the Although that view seems old-fashioned to us now, role and emerged with a clearer, more sympathetic she thought it could not be questioned. Ultimately, I idea about this often-maligned monarch. think this film understands Mary. It portrays her most sympathetically.” ‘’When people hear I’m playing Mary, they say, ‘Wasn’t she a dragon?’ But I’ve learnt from my For all that, Mary’s rigid adherence to the research that she wasn’t just a crabby old bag. She Edwardian code of ethics created a barrier may never have laughed in public, but that was between her and her independent-minded son, because she was shy. She felt she wasn’t able to Johnnie.“She loved him as fully as she could,” express her emotions in public.” Richardson reflects.“She knew that he was a free spirit who was able to be himself. Mary could never Miranda has gained a towering reputation for a be herself because she was always so serious, number of films, including Tom And Viv, Dance With A dedicated, dutiful and aware of her destiny. -
Twelfth Night
SAMPLE – INCOMPLETE SCRIPT a Community Shakespeare Company edition of Twelfth Night original verse adaptation by Richard Carter 1731 Center Road Lopez Island, WA 98261 360.468.3516 [email protected] Enriching young lives, cultivating community” NOTES ABOUT PRODUCTION The author asks that anyone planning to stage one of his adaptations please contact him for permission, via the CSC website: www.communityshakespeare.org . There are no performance royalties due. He asks that scripts be purchased for every member of a cast. Frequently asked questions include, “What if my group is mostly girls?” Cross-casting (females playing male roles) is almost inevitable; once it is explained that males played all the female roles in Shakespeare’s time, this obstacle is easily overcome. Moreover, girls see that many of the “big” parts are male, so those wanting more stage time gravitate toward male roles. The author also encourages groups to take certain liberties, such as changing the sex of some roles. With little alteration of the text, a duke may become a duchess, an uncle may become an aunt. In answer to the question, “What if I have too many (or too few) students?” some parts may be divided amongst several actors (a messenger becomes two messengers), or actors may take on more than one role. In short, do what is necessary to make the play fun and accessible for young people; the author did! Synopsis of the play Orsino, Duke of Illyria, is in love with Olivia, a proud and beautiful countess. She spurns his suit, being in mourning for her late father and brother. -
John Collins Production Designer
John Collins Production Designer Credits include: BRASSIC Director: Rob Quinn, George Kane Comedy Drama Series Producer: Mags Conway Featuring: Joseph Gilgun, Michelle Keegan, Damien Molony Production Co: Calamity Films / Sky1 FEEL GOOD Director: Ally Pankiw Drama Series Producer: Kelly McGolpin Featuring: Mae Martin, Charlotte Richie, Sophie Thompson Production Co: Objective Fiction / Netflix THE BAY Directors: Robert Quinn, Lee Haven-Jones Crime Thriller Series Producers: Phil Leach, Margaret Conway, Alex Lamb Featuring: Morven Christie, Matthew McNulty, Louis Greatrex Production Co: Tall Story Pictures / ITV GIRLFRIENDS Directors: Kay Mellor, Dominic Leclerc Drama Series Producer: Josh Dynevor Featuring: Miranda Richardson, Phyllis Logan, Zoe Wanamaker Production Co: Rollem Productions / ITV LOVE, LIES AND RECORDS Directors: Dominic Leclerc, Cilla Ware Drama Producer: Yvonne Francas Featuring: Ashley Jensen, Katarina Cas, Kenny Doughty Production Co: Rollem Productions / BBC One LAST TANGO IN HALIFAX Director: Juliet May Drama Series Producer: Karen Lewis Featuring: Sarah Lancashire, Nicola Walker, Derek Jacobi Production Co: Red Production Company / Sky Living PARANOID Directors: Kenny Glenaan, John Duffy Detective Drama Series Producer: Tom Sherry Featuring: Indira Varma, Robert Glennister, Dino Fetscher Production Co: Red Production Company / ITV SILENT WITNESS Directors: Stuart Svassand Mystery Crime Drama Series Producer: Ceri Meryrick Featuring: Emilia Fox, Richard Lintern, David Caves Production Co: BBC One Creative Media Management -
King Lear − Learning Pack
King Lear − Learning Pack Contents About This Pack ................................................................1 Background Information ..................................................2 Teaching Information ........................................................3 Adaptation Details & Plot Synopsis..................................5 Find Out More...................................................................12 1 King Lear − Learning Pack About This learning pack supports the Donmar Warehouse production of King Lear, directed by Michael Grandage, which opened on 7th December 2010 in London. Our packs are designed to support viewing the recording on the National Theatre Collection. This pack provides links to the UK school curriculum and other productions in the Collection. It also has a plot synopsis with timecodes to allow you to jump to specific sections of the play. 1 King Lear − Learning Pack Background Information Recording Date – 3rd February, 2011 Location – Donmar Warehouse, London Age Recommendation – 12+ Cast Earl of Kent .................................................. Michael Hadley Early of Gloucester ...........................................Paul Jesson Edmund ...........................................................Alec Newman King Lear ......................................................... Derek Jacobi Goneril................................................................Gina McKee Regan ............................................................Justine Mitchell Cordelia .............................................Pippa -
View a PDF of the Program with Actor Bios
Cast List VIOLA, later disguised as CESARIO – Katherine Berryhill CAPTAIN – Sylvia Sammon-Burns DUKE ORSINO, duke of Illyria – Noah Saltzman CURIO, his attendant – E. Grace Viveiros (Understudy) OLIVIA, a wealthy countess – Elizabeth Larabee MARIA, Olivia’s gentlewoman – Ursula Talbot MALVOLIO, her steward – Jonathan Baran SIR TOBY BELCH, Olivia’s uncle – Mack Meaders SIR ANDREW AGUECHEEK, friend of Sir Toby – Jalil Neal CLOWN, a jester in Olivia’s house – Noah Saltzman PRIEST – E. Grace Viveiros (Understudy) SEBASTIAN, Viola’s twin brother – Sylvia Sammon-Burns ANTONIO, sea captain and friend to Sebastian – Ursula Talbot OFFICER – E. Grace Viveiros (Understudy) Production Team Director – Anna Basile Assistant Director & Administrative Intern – E. Grace Viveiros Director of Education & Accessibility – Jordan Butterfield Associate Education Director – Matthew Tibbs School Partnerships & Professional Development Manager – Natalie Dreyer Costume Pieces – Amanda Downing-Carney Poster Design by – Lindsey Jenkins Special Thanks Rhode Island Department of Education, Berkeley Investments, City of Providence Art, Culture + Tourism, URI Child Development Center, Marianne Apice, Kaii Almeida, Shawn Williams, Amanda Downing Carney, buses, family, friends, and you for joining us! Jonathan Baran (Malvolio) is appearing in his first Shakespeare play, but is no stranger to the stage. He played Bill in Mamma Mia at LaSalle Academy and Santa Claus in Elf Jr. at Stadium Theatre. He also starred as private eye Warren G. Smugeye in the world premiere play, The Whale in the Hudson through YASI Players. Jonathan loves baguettes. Noah Saltzman (Duke Orsino/Clown) has been at YASI for seven years. He appeared on the Trinity Rep mainstage as Fleance in Macbeth and was Puck in A Midsummer Night’s Dream through YASI Shakes. -
TWELFTH NIGHT by William Shakespeare
TWELFTH NIGHT by William Shakespeare THE AUTHOR William Shakespeare (1564-1616) was born into the family of a prosperous tradesman in Stratford-upon-Avon, England. While in his mid-teens, he was forced to leave school because his family fell into a period of poverty, so that he had only a rudimentary education. In 1582, he married Anne Hathaway, eight years his senior and already three months pregnant. The marriage produced three children in three years, but in 1585, Shakespeare left Stratford to go to London to seek his fortune in the big city. In London, he embarked upon a career on the stage, becoming a popular actor by the early fifteen nineties. In 1591, he penned his first play, Love’s Labour’s Lost. His early plays were comedies, and show nothing of the depth that characterized his later works. His plots were borrowed from a variety of sources, both ancient and contemporary. During his career, he wrote 37 plays, three narrative poems, and 154 sonnets. His writing brought him fame and popularity, but he continued to act as well as write (critics love to speculate about which of the characters in his plays would have been played by the author). He eventually became a shareholder in the Lord Chamberlain’s Men (later the King’s Men when James I ascended the throne). Most of his plays were performed at local theaters like the Rose, the Globe, and the indoor Blackfriars. When the Globe burned to the ground in 1613 (a cannon misfired during a performance of Henry VIII), Shakespeare retired, and died in Stratford three years later on his fifty-second birthday. -
Lindsay Posner
Lindsay Posner Agent Katie Haines ([email protected] Director: Theatre, Television, Radio and Opera Theatre COMMUNICATING DOORS (Menier Chocolate Factory) 2015 By Alan Ayckbourne HAYFEVER (Theatre Royal Bath/West End) 2015 By Noël Coward Starring Felicity Kendal & Simon Shepherd SPEED THE PLOW (Theatre Royal Bath, West End) By David Mamet Starring Lindsay Lohan OTHER DESERT CITIES (Old Vic Theatre) By Jon Robin Baitz THE WINSLOW BOY (Roundabout Theatre, New York; Old Vic Theatre) By Terrence Rattigan A LITTLE HOTEL ON THE SIDE (Theatre Royal Bath) By Georges Feydeau, adapted by John Mortimer THE TURN OF THE SCREW (ACT Productions & Hammer Theatre of Horror; Almeida Theatre) By Henry James, Adapted by Rebecca Lenkiewicz UNCLE VANYA (Vaudeville Theatre; Stanhope Productions) By Anton Chekov, a version by Christopher Hampton Starring Ken Stott, Anna Friel and Samuel West RELATIVELY SPEAKING (Bath Theatre Royal) By Alan Aykbourn With Felicity Kendall RICHARD III (The Old Globe Theatre, San Diego) By William Shakespeare ABIGAIL'S PARTY (Menier Chocolate Factory / Bath Theatre Royal & West End) By Mike Leigh NOISES OFF (The Old Vic Theatre & West End) By Michael Frayn With Celia Imrie & Janie Dee BUTLEY (The Duchess Theatre; Mark Rubinstein Ltd) By Simon Gray With Dominic West & Paul McGann AN IDEAL HUSBAND (The Vaudeville Theatre; Stanhope Productions Ltd) by Oscar Wilde HOUSE OF GAMES (Almeida Theatre) Adapted by Richard Bean from the screenplay by David Mamet A VIEW FROM THE BRIDGE (Duke of York’s Theatre) By Arthur Miller With Ken -
The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2018 The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere Sarah Marksteiner Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Playwriting Commons Recommended Citation Marksteiner, Sarah, "The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere" (2018). Undergraduate Honors Theses. Paper 1264. https://scholarworks.wm.edu/honorstheses/1264 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Theatre from The College of William and Mary by Sarah A. Marksteiner Williamsburg, VA December 7, 2018 1 TABLE OF CONTENTS ABSTRACT ............................................................................................................................... 2 CHAPTER I: THE GENESIS ................................................................................................... -
The Children by Lucy Kirkwood
THE CHILDREN BY LUCY KIRKWOOD DRAMATISTS PLAY SERVICE INC. THE CHILDREN Copyright © 2018, Lucy Kirkwood All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE CHILDREN is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Com- monwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of me- chanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE CHILDREN are controlled exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service, Inc., and paying the requisite fee. Inquiries concerning all other rights should be addressed to Casarotto Ramsay & Associates Ltd, Waverley House, 7-12 Noel Street, London, W1F 8GQ. -
TWELFTH NIGHT Education Pack June 2014
Education Pack © Guildford Shakespeare Company Trust Ltd 2014 Education Pack This education pack has been written by GSC to complement the stage production in June 2014, staged at the Guildford Castle Gardens. The information contained in here can be used as preparation material before seeing the performance or as follow-up work afterwards in the class room. This pack is suitable for Year 9 and above. This pack contains: 1. GSC – our approach to Shakespeare 2. Cast/Character and Creative Team List 3. Synopsis 4. Shakespeare’s Language 5. The Origins of Twelfth Night 6. Interview with Director Tom Littler 7. Twelfth Night Mood Boards and Costume Designs 8. Practical classroom exercise taken from the rehearsal room. Practical in-school workshops on Twelfth Night can be booked, with actors coming into your school to work on the play. Please see www.guildford-shakespeare-company.co.uk or call 01483 304384 for more details. © Guildford Shakespeare Company Trust Ltd 2014 Education Pack “One of the strongest and most consistent companies operating in and around London” PlayShakespeare.com, 2011 Guildford Shakespeare Company is a professional site-specific theatre company, specialising in Shakespeare. Our approach places the audience right at the heart of the action, immersing them in the world of the play, thereby demystifying the legend that Shakespeare is for an elite, educated few but rather is immediate and accessible to everyone. “…to be spellbound, amused and to follow every moment of text and to want the production never to end…one of the best evenings of theatre I have ever been privileged to attend.” Audience member 2011 We want our 21st Century audiences to experience the same thrill and excitement that Shakespeare’s original audiences must have felt when they first saw the Ghost appear in Hamlet, the rousing battle cry of Henry V, and edge-of-your-seat anticipation in The Comedy of Errors.