Lillie Flynn Actor

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Lillie Flynn Actor Agents Jess Alford Associate Agent [email protected] Ellie Blackford [email protected] 020 3214 0800 Julia Charteris [email protected] 02032140923 Roles Film Production Character Director Company THE SCORE Claudia Malachi Smyth Sentinel Entertainment Stage Production Character Director Company ASSASSINS Balladeer Bill Bukchurst Watermill Theatre MACBETH Banquo Paul Hart The Watermill Theatre TWELFTH NIGHT Olivia Paul Hart Wilton’s Music Hall A MIDSUMMER NIGHT'S Helena Paul Hart The Watermill Theatre DREAM FANTASTIC MR FOX Mrs Fox Maria Aberg Nuffield Southampton Theatre/Lyric Hammersmith SUNNY AFTERNOON Rasa Ed Hall Harold Pinter Theatre 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 Character Director Company SUNNY AFTERNOON Rasa Ed Hall Hampstead Theatre WICKED Nessa Rose Joe Mantello/Petra Wicked London Siniawski LOVE STORY Ensemble, Jenny Rachel Kavanaugh Duchess Theatre U/S LOVE STORY Ensemble, Jenny Rachel Kavanaugh Chichester Festival Theatre U/S QUADROPHENIA Guardian Angel, Tom Critchley Q Theatre Productions Girl U/S THE SPIRIT OF Lead Vocalist China Tour BROADWAY THE WAR OF THE Beth u/s Micha Bergese Live Nation WORLDS Additional information Accents & American-New York, American-Southern States, American-Standard, Bristol, Cardiff, Dialects: Cockney, English-Standard, Heightened RP, Irish-Northern, Irish-Southern, London, (* = native) Manchester, RP*, Scottish-Standard, South African, Welsh-Standard Webber Douglas/Central School of Speech and Drama, BA Acting, 3 years, 2004 - 2007 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].

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CV Bryan Woltjen 2014
Bryan Woltjen Theatrical Design 72B Deptford High St London SE8 4RT www.bryanwoltjen.com 11/33 Pakenham St Fremantle WA 6160 U.K. +44 (0)786 122 9882 [email protected] Australia +61 (0) 417 960 200 A graduate of the Western Australian Academy of Performing Arts, Bryan has designed set, costume and puppets for a diverse range of theatre makers across Australia, India and the U.K. In 2008 he undertook a series of three residencies across India researching puppetry and devising new works. He is the recipient of two W.A. Equity Guild Awards for Best Set Design: in 2005 for ‘The Visit’ (Black Swan State Theatre Company) and in 2009 for ‘Far Away’ (Black Swan State Theatre Company). Bryan also lectures, facilitates and speaks on Design, Puppetry and Theatre-making. PRODUCTIONS 2014 Designer Mrs Horton’s Finger (creative development) Dirty Market Theatre Designer Dash Arts Dacha (Дача) at Latitude Festival UK directed by Tim Supple & Josephine Burton Designer The Golden Bird directed by Amelia Bird Designer & Maker He Had Hairy Hands for Kill the Beast & The Lowry Puppet Maker Wulamanayuwi & the Seven Pamanui (2014 tour) for Darwin Festival 2013 Set & Costume Designer The Enchanted Story Trail for Rose Theatre Kingston & RHS Wisley Set & Costume Designer Roost for Gomito directed by Amelia Bird Design Consultant Oxbow Lakes for Dirty Market Theatre directed by Georgina Sowerby & Jon Lee Set Designer & Puppet Maker Jennifer Skylark & the Seagull’s Handbook for Greenwich Theatre & Powderkeg Designer After the Tempest for Teatro Vivo directed
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Short Report
COLLECTION FINDING AID John McCallum, AO, CBE (1918–2010) Performing Arts Programs and Ephemera (PROMPT) Australian Collection Development In collecting materials relating to prominent Australians, programs and ephemera documenting all aspects of John McCallum stage acting career in Australia and overseas. Material on McCallum’s film and television screen career is not generally collected by the Library. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Content Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by McCallum. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. Access The John McCallum PROMPT files may be accessed through the Library’s Petherick Reading Room by eCallslip request: http://nla.gov.au/nla.cat‐vn3529350. Arrangement The McCallum material in the PROMPT Collection is in the chronological order of his Australian and overseas performance and this list reflects this arrangement. Entries identify the city and the venue. All the information is taken from programs, flyers and ephemera. www.nla.gov.au Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia June 2010 PROMPT Collection Finding Aid John McCallum, AO, CBE (1918–2010) Entries for each program are arranged as follows: Year, day/s and month; Venue/Theatre (Location) Company Name of production / Creator McCallum’s role or other involvement.
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Here Has Been a Substantial Re-Engagement with Ibsen Due to Social Progress in China
2019 IFTR CONFERENCE SCHEDULE DAY 1 MONDAY JULY 8 WG 1 DAY 1 MONDAY July 8 9:00-10:30 WG1 SAMUEL BECKETT WORKING GROUP ROOM 204 Chair: Trish McTighe, University of Birmingham 9:00-10:00 General discussion 10:00-11:00 Yoshiko Takebe, Shujitsu University Translating Beckett in Japanese Urbanism and Landscape This paper aims to analyze how Beckett’s drama especially Happy Days is translated within the context of Japanese urbanism and landscape. According to Routledge Encyclopedia of Translation Studies, “shifts are seen as required, indispensable changes at specific semiotic levels, with regard to specific aspects of the source text” (Baker 270) and “changes at a certain semiotic level with respect to a certain aspect of the source text benefit the invariance at other levels and with respect to other aspects” (ibid.). This paper challenges to disclose the concept of urbanism and ruralism that lies in Beckett‘s original text through the lens of site-specific art demonstrated in contemporary Japan. Translating Samuel Beckett’s drama in a different environment and landscape hinges on the effectiveness of the relationship between the movable and the unmovable. The shift from Act I into Act II in Beckett’s Happy Days gives shape to the heroine’s urbanism and ruralism. In other words, Winnie, who is accustomed to being surrounded by urban materialism in Act I, is embedded up to her neck and overpowered by the rural area in Act II. This symbolical shift experienced by Winnie in the play is aesthetically translated both at an urban theatre and at a cave-like theatre in Japan.
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Trust News Editor: Carole Long Membership Secretary: Carol Martin
MARCH, 1985 Vol 9 No 2 ISSN 0314 - 0598 A publication of the Australian Eli zabethan Theatre Trust Cats Opens in July CATS by Andrew Lloyd Webber Based on 'Old Possum's Book of Practical Cats' by T. S. Eliot Directed by Trevor Nunn Assistant Director and Choreographer: Gillian Lynne Designed by John Napier Lighting design by David Hersey Theatre Royal he eagerly awaited Australian pro T duction of the Andrew Lloyd-Weber musical CATS opens in Sydney in July. The production will feature an all Australian cast (yet to be announced) with the London production team. CATS, which has been playing in Lon don since May 1981, is the first major musical written by Andrew Lloyd Web ber without the collaboration of Tim Rice. Their previous successes were JOSEPH AND THE AMAZING TECHNICOLOR DREAM COAT (1967), JESUS CHRIST SUPERSTAR (1970) and EVITA (1975). CATS is based Footrot Flats An on T. S. Eliot's "Old Possum's Book of Practical Cats" which was published in October 1939. Eliot had a great affection Hilarious Musical Frolic for cats and 'Possum' was his nickname There is little attempt at plot. The show among his friends. Based on the cartoon strip by Murray Ball Most of the poems compris'ing the book Written {or the stage by Roger Hall works instead through a series of sket have been set to music complete and in Music by A. K. Grant ches within the framework of some their originally published form; a few Lyrics by Philip Norman familiar themes: town against country, have been subject to a minor revision and Directed by Brian Debnam conservation against expediency, and, Musical direction by Denis Follington last but not least, the love of a good eight lines have been added to "The Song Choreography by Kevan Johnston woman against anything that stands in of the Jellicles".
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Theatre Australia Historical & Cultural Collections
University of Wollongong Research Online Theatre Australia Historical & Cultural Collections 11-1977 Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Robert Page Editor Lucy Wagner Editor Bruce Knappett Associate Editor Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert; Wagner, Lucy; and Knappett, Bruce, (1977), Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977, Theatre Publications Ltd., New Lambton Heights, 66p. https://ro.uow.edu.au/theatreaustralia/14 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Description Contents: Departments 2 Comments 4 Quotes and Queries 5 Letters 6 Whispers, Rumours and Facts 62 Guide, Theatre, Opera, Dance 3 Spotlight Peter Hemmings Features 7 Tracks and Ways - Robin Ramsay talks to Theatre Australia 16 The Edgleys: A Theatre Family Raymond Stanley 22 Sydney’s Theatre - the Theatre Royal Ross Thorne 14 The Role of the Critic - Frances Kelly and Robert Page Playscript 41 Jack by Jim O’Neill Studyguide 10 Louis Esson Jess Wilkins Regional Theatre 12 The Armidale Experience Ray Omodei and Diana Sharpe Opera 53 Sydney Comes Second best David Gyger 18 The Two Macbeths David Gyger Ballet 58 Two Conservative Managements William Shoubridge Theatre Reviews 25 Western Australia King Edward the Second Long Day’s Journey into Night Of Mice and Men 28 South Australia Annie Get Your Gun HMS Pinafore City Sugar 31 A.C.T.
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Trust News Is the Newsletter of the Australian Elizabethan Theatre Trust Which Is Mailed Free of Charge to Its 5000 Sydney Members, Eight Times Per Year
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By Hilary Bell Sbw Stables Theatre 6 September – 12 October 2019
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Australia's Magazine of the Performing Arts 3(12) July 1979 Robert Page Editor
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Jesus Christ
1 THANKS TO OUR SUppORTERS CIPAL N I R FUNDERS P ORE C FUNDERS Welcome TO JESUS CHRIST SUPERSTAR! Y S NG it TI NER NER T T R R VERS I PA PA RESEN P UN Like many of you, I’ve loved this music since it burst into existence as a concept rock album in 1970. I’d seen big touring productions and watched the recent stadium spectacular productions of it on Youtube, but I was concerned how this show was going to fit into the confines of Q Theatre. There were two deciding RS factors. I discovered a David Frost interview where Andrew Lloyd Webber and TE JOR JOR Tim Rice expressed disappointment about the original Broadway production OR MA pp Proud to be NZ’s Most Awarded Official caterers of Official Telecommunications as they’d imagined a more intimate staging. Perfect! And in Hamilton I saw a Winery and Sponsor of Auckland Theatre Company Partner Auckland Theatre Company SU enjoyable pro-am production that sat very comfortably in the Meteor Theatre. Suddenly Tim Rice’s provocative and insightful lyrics held their place against Andrew Lloyd Webber’s rock score. I knew with the right team and the right cast it could work in an intimate setting. IA NER NERS Oliver Driver is a director who’s always up for a challenge. He has gathered T T ED R R M around him a first rate creative team, who bring their considerable theatrical JOR VENUE JOR PA PA skill to the production, and a “dream team” cast of rock singers, actors, musical MA theatre performers, opera singers and an ensemble of students from the Unitec School of Performing and Screen Arts to bring to life this rock retelling of the last week in the life of Jesus of Nazareth.
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