DOCSLIB.ORG

LAURA CORDERY Email: [email protected] Set and Costume Designer Site

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LAURA CORDERY Email: Laura.J.Cordery@Gmail.Com Set and Costume Designer Site Tel: 07960 174396 LAURA CORDERY Email: [email protected] Set and Costume Designer Site: www.lauracorderydesign.co.uk Education/Training _________________________________________________________________________________________________________________________________________________________________________ 2008 – 2010 Royal Academy of Dramatic Arts Postgraduate Diploma Theatre Set & Costume Design (Distinction) 2004 – 2007 University of Warwick History of Art BA Hons. (1st Class Degree) Set and Costume Designer Assistant Designer _____________________________________________________________________________________________ _____________________________________________________________________ 2015 2016 Inigo, Dir: Jonathan Moore (White Bear) Assistant to Robert Innes Hopkins Midsummer Night’s Dream, Dir: Jonathan Moore on: Noises Of (Nottingham Playhouse) (Ovalhouse Theatre) 2015 Romeo and Juliet/Pride and Prejudice, Dir: Nona Assistant to Hannah Clark on: Shepphard (Cunard QM2/RADA Studios) 4.48 Psychosis (ROH/Lyric) Midsummer Night’s Dream, Dir: Matthew Bannister Wit (Manchester Exchange) (Cunard QM2/RADA Studios) Queen Anne (RSC) 2014 Romeo and Juliet (Crucible Theatre The Unnatural Tragedy, Dir: Graham Watts Shefeld) (Ovalhouse Theatre), a co-design with Neil Irish Oresteia (Globe) Just the Ticket, Dir: Simon Greif (Bridewell Theatre) Idomeneo (Garsington Opera) Thérèse Raquin, Dir: Nona Shepphard (Finborough Bank On It (Warwick Arts Centre/ Theatre & Park200 Theatre) Barbican) (2013) Venus and Adonis, Dir: Maria-Lisa Geyer, Ad 2014 Parnassum, (Scuola Grande Di San Giovanni Assistant to Neil Irish on: Evangelista, Venice) Costume design A Christmas Carol (Derby Theatre) Fragments of Clay, Devised by Ian Morgan & Peter Pan (Watermill) Peader Kirk (Hong Kong Rep Theatre) Jekyll and Hyde (Hong Kong Jockey 2013 Club Amphitheatre) High Society, Dir: Nona Shepphard (Vanbrugh Assistant to Janet Bird on: Theatre, RADA) Mad Man (The Drum, Plymouth) The Tempest, Dir: Laura Kavanagh, Shooting Fish Uncle Vanya (St James Theatre) Theatre/Goole Town Council (West Park, Goole), Set and bonfire design 2013 Assistant to Liz Ascroft on Frank & Ferdinand, Dir: Laura Kavanagh, Shooting Fish Youth Theatre (Trinity Arts Centre) Porgy and Bess (Copenhagen Opera House) Vigilante, production design for feature film, Carmelities (Grange Park Opera) screenplay & Dir: Darren Bolton, Blueprint Film Nine Days They Fell, Dir: Ian Morgan, devised by Associate to James Cotterill on Our the MA Theatre Lab (GBS Theatre, RADA) Share of Tomorrow (Theatre 503/ Arabian Nights, Dir: Nona Shepphard (Cunard Tour) QM2/RADA Studios) 2012 2012 Assistant to Bettina John on Roost, Goole’s Friendly Giant, Dir: Laura Kavanagh, choreographed Kwesi Johnson for Shooting Fish Theatre/Goole Town Council (West Dance-United (The Place) Park, Goole), Set and bonfire design Assistant to Joanne Scotcher on Ekul Mizan, Choreographed by Junaid Jemal Sendi & Epidemic (Old vic Tunnels) Addisu Demissie (The Place), Costume design Richard III, Dir: Rob Hastie (Cunard QM2/RADA Assistant to Sam Wyre on Studios) Behind The Curtain, Coney & Historic When Chaplin Met Gandhi, Dir: Matthew Xia, Royal Palaces. (Kensington Palace) (Kingsley Hall, Bow) 2011 Merchant of Venice, Dir: Nona Shepphard (Cunard Assistant to Lorna Ritchie on Las QM2/RADA Studios Brutas (Beasts), Dir: Sue Dunderdale (Theatre 503) 2011 The Death of King Cholera, Dir: Mike Bryher, 2010 Dumbshow Theatre Co. (The Coal House at Seething Art department placement on Hugo Wells, Kingston) Cabret, Shepperton Film Studios Constance, Dir: Marc Urquhart, Set Des: Tessa Assistant to Sarah Bacon on Les Battisti (King’s Head Theatre), Costume Design Enfants Terribles, Dir: Poppy Burton- Collaboration with Bettina John Morgan (Grimeborn Festival at the Hamlet, Dir: Dominic Colenso (Cunard QM2/RADA Arcola) Studios) Assistant to Lorna Ritchie on Canterbury Tales/Much Ado About Nothing, Dir: Measure for Measure, Dir: Jonathan Nona Shepphard (Cunard QM2/RADA Studios) Miller (Vanbrugh Theatre, RADA) Dido and Aeneas, Dir: Maria-Lisa Geyer (Ca’ Rezzonico, Venice/St Paul’s Church, Covent 2009 Garden), Collaboration with Bettina John Placement with Lis Evans on Laminated, Dir: Darren Bolton, Shooting Fish Bouncers (New Vic Theatre) Theatre Co. (Tristan Bates Theatre /Lincoln Drill The Canterbury Tales (New Vic Theatre Hall) & UK tour) 2010 Technical Drawing Assistant, The Local Stigmatic, Dir: Catherine Totty (Barons “Technical Drawing for Stage Design” Court Curtain’s Up Theatre) Skills Miss Julie, Dir: Oliver Baird (Greenwich Playhouse) _____________________________________________________________________ Lily Jones’s Birthday, Dir: Geof Bullen (Vanbrugh AutoCAD/Hand Technical Drawing Theatre, RADA) Adobe Illustrator/Photoshop Four, Dir: Mike Bradwell (GBS Theatre, RADA) Model Making Scenic Painting.
Load more

Recommended publications
  • Love's Labour's Lost
    CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo.
    [Show full text]
  • Newsletter July 2019 PDF File
    WILLIAM ELLIS SCHOOL NEWS July 2019 The last week of the summer term saw the boys off timetable for our final Deep Learning Day (DLD) of the year “More in Common”, with the message hope not hate, co-ordinated by Mr Pratt and Ms Conway. Groups were put into houses, giving a mixture of ages to work together, rather than form groups. An image from New Zealand earlier this year after an attack on a mosque. During DLD boys in Year 7 concluded the Oracy project they have been working on over the school year with Mr Singleton and Ms Neve. The project was filmed and will be edited into a Camden’s Oracy Hub film which will be shared with other schools and our parents later in the year. WILLIAM ELLIS SCHOOL NEWS July 2019 AWARDS EVENING The annual Awards Ceremony on Thursday was the final external event of the school year. It was great to celebrate the achievements of our students and share their delight in winning awards. WILLIAM ELLIS SCHOOL NEWS July 2019 GRAND OPENING OF THE WILLIAM ELLIS PERFORMING ARTS CENTRE Founder’s Day this year saw a gathering of guests, familes, staff and local press to see the official opening of the new William Ellis Performing Arts Centre. The ribbon was cut by Ms Georgia Gould, Leader of Camden Council and governor at the school along with Fiona Millar our Chair of Governors. There was a tour of the new music and drama rooms with boys performing dance and music for the visitors. WESPA provided refreshments throughout the event and followed up with a Summer Social.
    [Show full text]
  • CAMDEN FRINGE 2019 RADA STUDIO THEATRE Studio Theatre
    CAMDEN FRINGE 2019 RADA STUDIO THEATRE Studio Theatre RADA 16 Chenies Street, Fitzrovia London WC1E Contact: Caitlin Richards Email: [email protected] Website: https://www.rada.ac.uk/about-us/venue-hire/venue-hire-theatres/ RADA Studios is a theatrical venue located in the heart of the west end, owned by the Royal Academy of Dramatic Art. As one of the most famous and most prestigious centres for drama training in the world, RADA is one of London’s artistic landmarks. The Studio Theatre is a hugely versatile space, and we currently host a large variety of work, including theatre, musicals, dance, stand-up, opera, radio recordings and film screenings. Only 10mins from Tottenham Court Road, Euston Square and Warren Street station, we are situated amongst some of the most esteemed theatres in London. Before it was acquired by RADA, the Studio Theatre was The Drill Hall – a venue which supported experimental theatre projects, LGBTQ voices, and bold new work. We are looking to return to this legacy with the Studio Theatre as part of the Camden Fringe. The Venue: 200 seats (fixed raked seating – seats can be removed on request to create a more intimate space) 2 Wings Backstage Crossover 2 Dressing Rooms (10 people each) Green Room / Storage space Depth 7m, width 11m, grid height between 4.5m - 5m Includes basic festival lighting rig (Company has access to two specials) Includes PA system, Minimac with Qlab 4 Includes adjoining bar Fully accessible Fully staffed (technician, duty manager, ushers, box office team during performance) Box Office through Camden Fringe Festival View the venue here.
    [Show full text]
  • L'influence Actuelle Du Rock Sur L'identité Culturelle De Paris Et Londres
    L’influence actuelle du rock sur l’identité culturelle de Paris et Londres BARRETO CALLAMAND, Rafael Francisco Mémoire présenté sous la direction de M. Dominique JONCKHEERE, en vue de l'obtention du titre de master en Gestion Culturelle Année académique 2011-2012 Beneficiario COLFUTURO 2010 1 Table des matières Table des matières........................................................................................... 2 Résumé ........................................................................................................... 5 Dédicace .......................................................................................................... 6 Remerciements ............................................................................................... 7 Introduction .................................................................................................... 8 Définition de la culture ; l’identité culturelle et du rock .................................. 13 Culture ............................................................................................................... 13 L’identité culturelle ........................................................................................... 14 Rock ................................................................................................................... 15 Les acteurs de la musique rock ...................................................................... 21 Ethnographie de la culture rock .................................................................... 23 La
    [Show full text]
  • Annual Report & Accounts 2017-18
    RADA ANNUAL REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 .JULV 2018 Charity Registration Number 312819 ANNUAL REPORT & ACCOUNTS RADA 2017-18 ANNUAL REPORT & ACCOUNTS RADA 2017-18 CONTENTS Chairo))an's lleview 4-5 Review of Performance an cl Achievements 6-16 Charitable Objectives & Strategic Aims World-leading Learni n~ Effective lnf;asrrucrure Entr~1n~n~urial & Agi I~ Reputation & Sustain ability Pub I ic !Jenefit Plans tor 2018-19 Financial Review 17-18 Governance Review 19-24 lndetJendel)t Auditors· lle1lortto the Trustees 27-29 Consolidated Statement of Financial Activities 30-31 Group and Academy B~lance Sheets 32 Consol idatecl Cashflow Statement 33 N ores to the Financia I Statements 34-47 3 ANNUAL REPORT & ACCOUNTS RADA 2017-18 Chairman's Statement by Sir Stephetl Waley-Cohen, Bt The year began with a lithe excitement surrounding our co [Jrod uction of Hamlet with the Kcnncth Branagh Theatre Company, with a wonderful cornl)any led by graduate Torn Hiddlcston (half of them graduates, half of thern women, half of them DAME) directed by our President Sir Kenneth Dranagh. Performed in the intimacy of the Jerwood van Drugh Theatre, this production exern pi ificd so rn uch of what wc aim to achieve in so many ways. Throughout the year our third year students, 10\S every year, performed in thirteen IJrod uctions in our three theatres, as well as making six short films. Our second year students ended the year with fine perf01·mances- at RADA, in schools, and at overseas festivals- of abbreviated Shakespeare plays. All of this, and much more, set out more fully in Edwarcl Kemp's report later in these statements, was wonderfully supported by our technical theatre al'ls department, who account for allout half our total of full·time students.
    [Show full text]
  • Women in Theatre 2006 Survey
    WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
    [Show full text]
  • Operaharmony
    #OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
    [Show full text]
  • Julius Caesar
    BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc.
    [Show full text]
  • Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
    Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s
    [Show full text]
  • WHAT the WOMEN DID Theatre Includes Lizzie Siddal (Arcola Theatre), Virgin (Watford Palace), Jack Off the Beanstalk (Above the Stag)
    Southwark Playhouse Cafe/Bar FORGOTTEN VOICES FROM THE GREAT WAR: NOW OPEN ALL DAY WHAT THE Mon - Fri 9am - Midnight WOMEN DID Sat 12.30pm - Midnight A TRIPLE BILL OF PLAYS ABOUT THE FIRST WORLD WAR A fantastic menu of simple hot food A wide selection of Hot & Cold drinks Free Wi-Fi A friendly and welcoming atmosphere Experienced baristas Fairtrade, seasonal, locally sourced Great for meetings! For bookings call our Front of House Manager, Nathan, on 020 7407 0234 Enjoy a hot drink on us! Bring this voucher to the cafe between 9am-5pm Mon-Fri for a free hot drink of your choice.* * One voucher per person. Photocopies not accepted. Valid until Friday 14th March 2014 LINDA HAPGOOD | StageAs a protestManager against the US/ inShiverman 2005, which (Theatre503), showed Murder the incomradeship The Cathedral (Oxfordand Playhouse). Her next production is Trained at Royal CentralUK Schoolinvasion of Speech of Iraq and in Drama.2003, For Two’s Company: London Wall humour,Martine (Finborough fading to Theatre). disillusion, Emily of was a theplatoon winner of the Best Costume Designer award at the (Finborough and St James Theatres, and winner of the Stage Management Association Award 2011 OffWestEnd Awards. 2013). Other Theatre Two’sincludes Company Handbagged quickly (Tricycle Theatre), Khadija is 18 (Finborough Theatre), facing misery and death in the trenches. DUNCAN COOMBE | Lighting Designer Tosca (New Diorama),mounted Less Than a Kind production (Jermyn Streetof Miles and national tour), Play it Again Sam TheLighting last Designs rediscovery for Two’s was Company: Velona London Pilcher’s Wall (Finborough and St James Theatres), Ex (Soho (Upstairs at the Gatehouse), Bewitched, Bothered and Bewildered, The Art of Concealment, Mother Malleson’s Black ‘Ell at Soho Theatre), My Real War 1914-? (Trafalgar Studios and national tour).
    [Show full text]
  • Film Slate 2019 / 2020
    Film Slate 2019 / 2020 hutchinsonpictures.com We tell stories of truth and beauty, seeking to compel and move audiences. Based in London, Hutchinson Pictures Co. specialises in creating top quality film and television, rooted in theatrical imagination. David Hutchinson CEO David trained at the Liverpool Institute (West End); Ghosts (UK tour); Sincerely, Mr for Performing Arts. He also trained in Toad (UK tour); A Midsummer Night’s Dream writing at the Everyman Theatre, Liverpool. (UK tour); The History Boys (Greenwich David is Artistic Director of Sell A Door Theatre); Sealand (Arcola Theatre); Rainbow Theatre Company, Producer for Hutchinson (Edinburgh Fringe); Spring Awakening Rowntree Ltd and International Associate of (UK tour); A Taste of Honey (Buxton Opera Brooklyn Youth Company in New York. House); The Comedy of Errors (Greenwich Playhouse); Stitching (Edinburgh Fringe); Producing credits include: Fame (UK Tour), The Philanderer (Greenwich Playhouse); Madagascar A Musical Adventure (UK Tour), Where the Solitary Eagle Flies (Liverpool Kindertransport (UK Tour), Of Mice And Men Unity Theatre); Twelfth Night (Greenwich (UK Tour), The Producers (international tour); Playhouse); Six Ways (Edinburgh Fringe) Jersey Boys (international tour); Peter Pan and By Order of Ignorance (Greenwich (Blackpool Winter Gardens); Monty Python’s Playhouse). Spamalot (UK tour); Flashdance (UK tour); Footloose: The Musical (UK Tour 2017); Directing credits include: Jekyll & Hyde Guess How Much I Love You (UK Tour); The (UK Tour), Alice in Wonderland (Greenwich
    [Show full text]
  • Conservation Management Plan for the National Theatre Haworth Tompkins
    Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment.
    [Show full text]