Red Velvet(2012)
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CASTING ANNOUNCED for the GREATEST WEALTH in Celebration of the NHS
PRESS RELEASE WED 13 JUN CASTING ANNOUNCED FOR THE GREATEST WEALTH In celebration of the NHS One Voice: Monologues funded by the TS Eliot Estate Curated by Lolita Chakrabarti Directed by Adrian Lester The NHS from the 1940s-1970s: Monday 25 June, 8.30pm The NHS from the 1980s-present: Tuesday 26 June, 8.30pm The NHS from the 1940s-present (double bill): Friday 29 June, 8pm ‘No society can legitimately call itself civilised if a sick person is denied medical aid because of lack of means.’ Aneurin Bevan The Old Vic is pleased to announce casting for The Greatest Wealth, curated by Lolita Chakrabarti and directed by Adrian Lester to celebrate 70 years of the National Health Service. Jade Anouka, Louise English, Dervla Kirwan, Ruth Madeley, Art Malik, Meera Syal, Sophie Stone and David Threlfall will perform monologues written by Moira Buffini, Lolita Chakrabarti, Seiriol Davies, Matilda Ibini, Courttia Newland, Meera Syal, Jack Thorne and Paul Unwin in response to each decade since Aneurin Bevan launched the NHS at Park Hospital, Manchester, on 5 July 1948. Each evening will also include music performed by Gloria Obianyo. Lolita Chakrabarti said: ‘I am thrilled to be curating this One Voice for The Old Vic and delighted that so many talented and accomplished actors will be a part of it. To see how inventive but truthful each writer has been and then to realise their work with this calibre of actor is fantastic. This is going to be a very special event.’ The full line up is as follows: 1940s: Boo, by Jack Thorne, performed by Sophie Stone -
Lolita Chakrabarti
Lolita Chakrabarti Agent Katie Haines ([email protected]) Lolita Chakrabarti is an award-winning actress and writer. Theatre Adaptation of LIFE OF PI by Yann Martel World premiere at Crucible Theatre, Sheffield, July 2019. Adaptation of INVISIBLE CITIES by Italo Calvino World premiere at Mayfields, Manchester International Festival, July 2019. A collaboration with digital projectionist 59Productions, choreographer Sidi Larbi Cherkaoui and twenty two dancers from Rambert. This production will next play in Brisbane. RED VELVET Tricycle Theatre, London 2012 St Anne’s Warehouse, New York 2014 Garrick Theatre, London 2016 To date there have been over 25 productions in the US. Awards: Charles Wintour Evening Standard Award Most Promising Playwright Award 2012; Critics Circle Award in 2013 for Most Promising Playwright; AWA Award 2013 for Arts and Culture; Nominations for Whatsonstage Awards 2013 for London Newcomer of the Year & Best New Play; Nomination for an Olivier Award 2013 for Best Play in an Affiliate Theatre. THE GREATEST WEALTH – 2018 Old Vic Theatre, London Curated by Lolita A series of 8 monologues celebrating the NHS’ 70th birthday including SPEEDY GONZALEZ by Lolita Chakrabarti LAST SEEN – JOY – 2009 Almeida Theatre/Slung Low Radio: RED VELVET – 2014 Saturday drama BBC Radio 4 THE GODDESS – 2006 Woman’s Hour serial BBC Radio 4 Film: Lolita produced OF MARY, a short film, directed by Adrian Lester, which won the Best Short Film Award at PAFF, Los Angeles 2012. In Development Theatre: Dramaturg on MESSAGE IN A BOTTLE (director Kate Prince for Sadlers Wells) CALMER (Birmingham Rep) POLITICALLY CORRECT (Fiery Angel) Curator and Writer for TESTAMENTS (The Roundhouse) THE ELEPHANT WHISPERER (White Dog Productions) Television: ROLLING OVER (SILVERPRINT Pictures) DAEMONOLOGIE (Lookout Point) Film: RED VELVET the film (Kenneth Branagh) FOR JOY © Copyright The Agency (London) Ltd. -
RED VELVET: Know-The-Show Guide
The Shakespeare Theatre of New Jersey RED VELVET: Know-the-Show Guide Red Velvet by Lolita Chakrabarti Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey RED VELVET: Know-the-Show Guide In This Guide – About the Playwright: Lolita Chakrabarti ................................................................................... 2 – The Life of Ira Aldridge .............................................................................................................. 3 – RED VELVET: A Short Synopsis .................................................................................................. 4 – Portrayals of Race in Shakespeare ............................................................................................. 5 – Who’s Who in the Play ............................................................................................................. 6 – British Abolition of Slavery ........................................................................................................ 7 – Acting Styles in the 19th Century .............................................................................................. 8 – Additional References Found in the Play ................................................................................... 9 – Commentary & Criticism ........................................................................................................ 10 – In this Production .................................................................................................................. -
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. -
New Books Catalogue
Drama & Performance Studies New Books Catalogue July-December 2020 Drama Online is an award-winning award-winning an is Online Drama Drama Online is an award-winning digital library and fast growing study study growing fast and library digital Interface Best Best Interface digital library and fast growing study resource which now features over over features now which resource resource which now features over playtexts from 800 playwrights, playwrights, 800 from playtexts 2,500 Advisor Charleston The — — The Charleston Advisor 2,500 playtexts from 800 playwrights, hours hours 300 plays, audio 400 almost almost 400 audio plays, 300 hours of video, and 300 scholarly books books scholarly 300 and video, of Innovation Innovation of video, and 300 scholarly books from leading theatre publishers publishers theatre leading from Award Excellence Excellence Award from leading theatre publishers and companies, offering a complete complete a offering companies, and and companies, offering a complete multimedia experience of theatre. of experience multimedia Company Livery Stationer’s — — Stationer’s Livery Company multimedia experience of theatre. Content Highlights Content well- a is Online “Drama “Drama Online is a well- Content Highlights Press, Press, Canada hts Playwrig Books, Hern Nick Collection, Core : • Playtext easy-to-use and designed designed and easy-to-use • Playtext: Core Collection, Nick Hern Books, Playwrights Canada Press, ks Boo Metro Aurora Aurora Metro Books A. Theatre Works Theatre A. L : Plays • Audio succeeds that database -
Breaking News
BREAKING NEWS First published in Great Britain in 2018 by Canongate Books Ltd, 14 High Street, Edinburgh EH1 1TE canongate.co.uk This digital edition first published in 2018 by Canongate Books Copyright © Alan Rusbridger, 2018 The moral right of the author has been asserted British Library Cataloguing-in-Publication Data A catalogue record for this book is available on request from the British Library ISBN 978 1 78689 093 1 Export ISBN 978 1 78689 094 8 eISBN 978 1 78689 095 5 To Lindsay and Georgina who, between them, shared most of this journey Contents Introduction 1. Not Bowling Alone 2. More Than a Business 3. The New World 4. Editor 5. Shedding Power 6. Guardian . Unlimited 7. The Conversation 8. Global 9. Format Wars 10. Dog, Meet Dog 11. The Future Is Mutual 12. The Money Question 13. Bee Information 14. Creaking at the Seams 15. Crash 16. Phone Hacking 17. Let Us Pay? 18. Open and Shut 19. The Gatekeepers 20. Members? 21. The Trophy Newspaper 22. Do You Love Your Country? 23. Whirlwinds of Change Epilogue Timeline Bibliography Acknowledgements Also by Alan Rusbridger Notes Index Introduction By early 2017 the world had woken up to a problem that, with a mixture of impotence, incomprehension and dread, journalists had seen coming for some time. News – the thing that helped people understand their world; that oiled the wheels of society; that pollinated communities; that kept the powerful honest – news was broken. The problem had many different names and diagnoses. Some thought we were drowning in too much news; others feared we were in danger of becoming newsless. -
Casting Announced for Fanny & Alexander
PRESS RELEASE 29 November 2017 CASTING ANNOUNCED FOR FANNY & ALEXANDER WORLD PREMIERE Based on ‘Fanny and Alexander’ written and directed by Ingmar Bergman Adapted by Stephen Beresford Directed by Max Webster Previews from 21 February 2018, press night 1 March 2018 Casting is today announced for Fanny & Alexander at The Old Vic. Legendary filmmaker Ingmar Bergman's masterpiece Fanny and Alexander is adapted for the stage by BAFTA award-winning writer Stephen Beresford and directed by Old Vic Associate Director Max Webster, opening on 1 March 2018 with previews from 21 February 2018. The cast includes Penelope Wilton, Thomas Arnold, Lolita Chakrabarti, Kevin Doyle, Karina Fernandez, Annie Firbank, Matt Gavan, Tim Lewis, Gary MacKay, Gloria Obianyo, Vivian Oparah, Michael Pennington, Hannah James Scott, Jonathan Slinger, Catherine Walker and Sargon Yelda. ‘There should be no shame in us taking pleasure in our little lives.’ Amongst the gilded romance and glamour of 1900s Sweden, siblings Fanny and Alexander's world is turned upside down when their widowed mother remarries the iron-willed local bishop. As creative freedom and rigid orthodoxy clash, a war ensues between imagination and austerity in this magical study of childhood, family and love. Penelope Wilton plays Mrs. Helena Ekdahl. Her extensive theatre credits include Taken at Midnight (Theatre Royal Haymarket/Chichester Festival Theatre) for which she won an Olivier Award for Best Actress in 2015, Delicate Balance, Heartbreak House, The Deep Blue Sea (Almeida), The Family Reunion, The Chalk Garden - winning her the London Evening Standard Award Best Actress in 2008, John Gabriel Borkman, Little Foxes (Donmar Warehouse), The House of Bernarda Alba, Tess, Piano, The Secret Rapture, Major Barbara, Much Ado About Nothing, Man and Superman, Betrayal, The Philanderer, Sisterly Feelings, Landscape (National Theatre), Hamlet, Tishoo (Wyndham’s Theatre) and Women Beware Women (RSC Swan Theatre). -
OUR IMPACT Our Impact | 1 | 2 | 3 | 4 | 5 | 6 | 7 | Appendices Contents 2
OUR IMPACT Our impact | 1 | 2 | 3 | 4 | 5 | 6 | 7 | Appendices Contents 2 CONTENTS Our impact . .p3 Seven key messages. .p5 1. We fuel social change . .p6 2. We welcome everyone in. .p14 3. We care about people’s futures. .p22 4. We treat everyone who works here with respect. .p32 5. We are a collaborative partner. .p39 6. We are an environmentally conscious business. .p43 7. We help others. .p52 Appendices. .p57 THE.OLD.VIC.BICENTENARY ..PHOTO:.MANUEL.HARLAN Our impact | 1 | 2 | 3 | 4 | 5 | 6 | 7 | Appendices Contents 3 OUR IMPACT Our Story The.Old.Vic.is.a.world-class.creative.producing.theatre ..Groundbreaking.seasons. We.are.mindful.of.the.conduct.of.the.individuals.that.make.up.this.theatre.and.that. of.work.are.produced.without.any.regular.subsidy;.an.annual.showcase.of.new. of.the.suppliers.with.whom.we.work;.the.impact.we.have.on.the.environment.as.a. commissions,.family.work,.dance.and.musicals,.alongside.classic.texts.from.the.canon,. thriving.producing.theatre;.the.choices.we.make.when.recruiting,.off-stage.and.on;.the. playing.to.audiences.of.up.to.300,000.a.year ..Our.work.tours.the.UK,.transfers.to.the. partnership.support.we.give.to.others.working.in.the.charitable.community.on.causes. West.End.and.Broadway,.and.we.broadcast.a.number.of.our.productions.into.cinemas. we.care.about;.and.our.wide-reaching.efforts.to.positively.impact.social.mobility.and. across.the.globe.via.National.Theatre.Live.and.others . employability.ratios.in.the.UK .. But.this.does.not.tell.the.full.story.of.The.Old.Vic . -
Live Stream of Lolita Chakrabarti's Hymn
Press release: Monday 1 February 2021 The Almeida Theatre announces live streamed performances of Lolita Chakrabarti’s Hymn. The world premiere production which was originally due to play to socially distanced audiences will now be streamed live from the theatre for five performances from Wednesday 17 – Saturday 20 February. Directed by Blanche McIntyre, the play features Adrian Lester in the role of Gil and Danny Sapani as Benny. Almeida Artistic Director Rupert Goold said, “After being forced to cancel the run of Hymn, we’re so pleased to have still found a way to offer the show to audiences and are hugely grateful to the whole company for making it possible. We hope that with the actors performing the play live each night, people watching at home will sense some of that joyful energy that comes from being part of a unique shared experience.” Tickets to the live stream go on sale to Almeida Members from Tuesday 2 February midday and on general sale from Wednesday 3 February midday. World Premiere HYMN by Lolita Chakrabarti Directed by Blanche McIntyre; Set and Costume: Miriam Buether; Lighting: Prema Mehta; Sound: Gregory Clarke; Musical Director: D.J. Walde; Movement Director: Robia Milliner Wednesday 17 – Saturday 20 February 2021 Press performance: Thursday 18 February 8pm “Man, sometimes it takes a long time to sound like yourself” Miles Davis Two men meet at a funeral. Gil knew the deceased. Benny did not. Before long their families are close. Soon they’ll be singing the same tune. Benny is a loner anchored by his wife and children. -
Prospectus 2015
PROSPECTUS 2015 CONTENTS 03 WELCOME WELCOME 04 WHY CHOOSE RADA? 06 FACILITIES 08 LONDON LIFE | EMPLOYMENT PROSPECTS RADA is the only drama school founded Our productions are directed, designed and ACTING AND PERFORMANCE by an actor. We have significantly broadened attended by leading members of the profession. 10 INTRODUCTION our focus in the 110 years since Herbert They are staged in our theatres which are 12 BA (HONS) IN ACTING Beerbohm Tree began his Academy under purpose-built and equipped to industry 18 MA THEATRE LAB the dome of Her Majesty’s Theatre, but we standards. No surprise then that our graduates remain true to his vision: leading members have an impressive record of employment: 20 MA IN TEXT AND PERFORMANCE of the profession passing on their expertise you’ll find them on stages and in studios, in 22 FOUNDATION COURSE IN ACTING to those who will shape the future. Today we wardrobes and workshops all over the world. 23 SHORT COURSES call this ‘conservatoire’ training: teaching that Many are industry-leaders and innovators, 24 GRADUATES is rigorous, inspirational and always practically others move away from their first profession PRODUCTION AND DESIGN based. In a conservatoire school, the hours are to become writers, producers, even politicians: 23 SHORT COURSES long and the attention intense. Three years is Mike Leigh, Rachel Joyce, Lynda La Plante, 28 INTRODUCTION not long to give someone the stamina, technique Glenda Jackson and Madhur Jaffrey are just and versatility to excel across theatre, film, a handful of the many who have used the skills 30 FOUNDATION DEGREE IN TECHNICAL THEATRE TV and radio: two years is not long to teach they learnt at RADA to diversify into other fields. -
April 2017 Welcome Jim Cox
APRIL 2017 WELCOME JIM COX y many measures, 2016 was the most successful year in the Globe’s history. We sold more dollars’ worth of tickets and raised more contributed income than in any other year. We sent three shows to Broadway; provided jobs to nearly 700 artists, craftspeople, technicians, and arts administrators; and generated tens of millions of dollars of economic activity in our city. BAll of these are successes that numbers can measure, that metrics can benchmark and count. X number of dollars, Y number of tickets, Z number of people. But what about the successes that defy algebraic representation? Other than through numbers, how can we know when The Old Globe succeeds? We can know that the Globe is succeeding because we value what it does, and the value we affix to the Globe is our way of measuring it. Values are a lot like numbers. They are palpable, material. We can hold values, we can weigh them, we can assess them. Like numbers, they can guide us. Like numbers, they can tell us whether we are close or far from our goals. And like numbers, values can be stated. It is our honor to introduce to you a newly articulated Statement of Values that The Old Globe will use to conduct its work moving forward. We generated this statement over nearly two years of work. It has made its way through our Board and our staff. It is being fed into our workflow and our decision-making processes, and it is being applied both internally and externally. -
Historical Authenticity: Performing Victorian Blackness in Red Velvet by Lolita Chakrabarti and an Octoroon by Branden Jacobs-Jenkins
Platform, Vol. 11, ‘Authenticity’, Autumn 2017 Historical Authenticity: Performing Victorian Blackness in Red Velvet by Lolita Chakrabarti and An Octoroon by Branden Jacobs-Jenkins By Hannah Greenstreet Abstract In this paper, I draw on approaches from neo-Victorian stud- ies, theatre history as well as race and performance studies to argue that authenticity is a historically contingent concept and ideologically motivated category of value. In nineteenth-century theatre, the idea of authenticity was used to exclude and ste- reotype black people. My analysis of the neo-Victorian dramas Red Velvet by Lolita Chakrabarti and An Octoroon by Branden Jacobs-Jenkins and their first productions in London and New York focuses on the trope of authenticity to trace how these two plays historicise and make visible the cultural production of ra- cialised discourses in the theatre. In both productions, theatri- cality is employed to question authenticity claims in relation to race. Red Velvet rehabilitates authenticity for its project of re- capturing a lost black theatre history. An Octoroon, by contrast, seems to reject the trope of authenticity for a more performative understanding of race, thereby resignifying racist theatrical de- vices. By historicising authenticity Red Velvet and An Octoroon are therefore able to expose historical and current racism within the theatre industry and serve as anti-racist interventions. Authenticity is a highly politically charged and historically mo- bile concept, especially in relation to race. This paper explores how Red Velvet (2012, dir. Indhu Rubasingham) and An Octo- roon (2014, dir. Sarah Benson) historicise authenticity. The pro- ductions reveal how the trope of authenticity was used in nine- teenth-century theatre to exclude and stereotype black people and how this legacy endures within the theatre in Britain and America.