Lillie Flynn Actor

Total Page：16

File Type：pdf, Size：1020Kb

Lillie Flynn Actor Agents Jess Alford Associate Agent jalford@unitedagents.co.uk Ellie Blackford eblackford@unitedagents.co.uk 020 3214 0800 Julia Charteris jcharteris@unitedagents.co.uk 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 info@unitedagents.co.uk1 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 info@unitedagents.co.uk2.

—— Preview end. ——

Copy Link

Recommended publications

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 design@bryanwoltjen.com 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
[Show full text]
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.
[Show full text]
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.
[Show full text]
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".
[Show full text]
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: research-pubs@uow.edu.au 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.
[Show full text]
Talking out of Tune
Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s.
[Show full text]
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
ISSN 0314-0598 NOVEMBER, 1984, VOL 8, No. 7 ALVIN AILEY LA CAGE AUX FOLLES on the weekend we have arranged dress TOUR circle seats at $5 .00 discount for Saturday Keith Michell will play the lead in the evening March 9. As tickets are dearer on Broadway musical LA CAGE AUX a Saturday than a week night the Trust FOLLES which opens in Australia at Her price on March 9 is dearer than the Trust Majesty's Theatre, Sydney on Saturday nights and Members are restricted to two March 2, 1985. • tickets each . Additional tickets may of We are delighted to announce that the The musical, which is based on the same course be purchased at the general public Australian Elizabethan Theatre Trust will Jean Poi ret farce as the highly successful price. A $3.00 discount applies to all other be touring the Alvin Ailey Dance film of the same name is written by Harvey performances Monday to Thursday Company throughout Australia during Fierstein (who w rote TORCH SONG (including Wednesday matinee) for the 1985. Considered to be the most exciting TRILOGY) with musical score by Jerry first four weeks of the season . Your dance company in the world today the Herman. It swept the boards at the 1984 booking coupon is enclosed . Australian tour of this remarkable Tony Awards, winning best musical, best American company is the result of years director, best actor, best costumes, best of negotiation. It will play in the Lyric script and best musical score. LA CAGE Theatre, Sydney Entertainment Centre in has been running on Broadway since August 1985.
[Show full text]
Act 2 National Audience Research
Act 2 National Audience Research Audience views on booking tickets now, returning to live cultural events with social distancing, and experiencing culture in different formats. Wave 2 | 22 June – 15 July 2020 Katy Raines Co-founder and Partner www.indigo-ltd.com Act 2 Wave 2 Report July 2020 © Indigo-Ltd 1 Contents Context ........................................................................................... 4 Section 1: Methodology and Sample ............................................. 5 Sample breakdown .................................................................................................................... 6 Section 2: Overall findings ............................................................. 7 2.1 Booking NOW for Events in the future .............................................................................. 7 2.2 When and how will audiences return? .............................................................................. 9 2.3 Safety and Comfort ............................................................................................................ 11 2.4 Experiencing culture digitally ........................................................................................... 12 2.5 Experiencing culture outdoors ......................................................................................... 16 2.6 Economic Viability .............................................................................................................. 18 2.7 Disabled Audiences ..........................................................................................................
[Show full text]
By Hilary Bell Sbw Stables Theatre 6 September – 12 October 2019
GRIFFIN THEATRE COMPANY PRESENTS GRIFFIN THEATRE SPLINTER COMPANY BY HILARY BELL SBW STABLES THEATRE 6 SEPTEMBER – 12 OCTOBER 2019 DIRECTOR LEE LEWIS DESIGNER TOBHIYAH STONE FELLER LIGHTING DESIGNER BENJAMIN BROCKMAN SOUND DESIGNER & COMPOSER ALYX DENNISON VIDEO DESIGNER MIC GRUCHY STAGE MANAGER REBECCA POULTER WITH LUCY BELL SIMON GLEESON Supported by Griffin’s Production Partner program Griffin acknowledges the generosity of the Seaborn, Broughton & Walford Foundation in allowing it the use of the SBW Stables Theatre rent free, less outgoings, since 1986. Government partners PLAYWRIGHT’S NOTE Splinter had its premiere in 2012 at can no longer resist it, and it takes hold, Sydney Theatre Company, following he must keep shifting the line in the a couple of intensive creative sand in order to sustain his logic. developments. It was a beautiful Splinter came to me pretty much whole. production co-directed by Sarah Goodes Unlike some other plays, where I’ve and puppeteer Alice Osborne, with floundered, found myself becalmed, guidance from dramaturge Polly Rowe. been filled with misgivings, I knew from Originally commissioned as a work for the first instant what this play wanted children (!), it darkly bloomed into a to be. The final draft is not substantially kind of gothic thriller. I brought to the different from my first outline. The play two of my creative obsessions: writing work that followed was mostly a fairy tales, and the Unreliable Narrator. matter of putting flesh on the bones. My references spanned sources as diverse as Henry James’ The Turn of the It’s unusual for a contemporary Screw, folk tales about changelings, Australian play to get a second life.
[Show full text]
Australia's Magazine of the Performing Arts 3(12) July 1979 Robert Page Editor
University of Wollongong Research Online Theatre Australia 7-1979 Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Robert Page Editor Lucy Wagner Editor Follow this and additional works at: http://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979, Theatre Publications Ltd., New Lambton Heights, 50p. http://ro.uow.edu.au/theatreaustralia/32 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: research-pubs@uow.edu.au Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Description Contents: Comment Quotes and Queries Whispers, Rumours and Facts Letters Guide — Theatre, Opera, Dance Richard Wherrett — nI terviewed by Rex Cramphorn Glynne — The am n behind the G &S tour — Raymond Stanley 1979 National Playwrights’ Conference — Douglas Flintoff alcF on Island — Terry Owen Children’s Theatre: Theatre in Education — Ardyne Reid Come Out 79 — Andrew Bleby Flying Fruit Fly Circus — Iain McCalman Children's Theatre in America — Christine Westwood Big Business and the Arts Part 1 — TA Enquiry Writer’s View: Clem Gorman A Sense of Insecurity — Ken Longworth Proliferation of Secret Britain Plays — Irving Wardle Let’s Make; Secret Marriage; D'Oyly Carte — David Gyger Coppelia — William Shoubridge The Queensland Ballet's Autumn Season — Deborah Reynolds ACT Losers — Solrun Hoaas NSW The
[Show full text]
Mamma Mia! Australian Tour 2017/2018 Media Kit 2017
MAMMA MIA! AUSTRALIAN TOUR 2017/2018 MEDIA KIT 2017 MAMMA MIA! THE SMASH HIT MUSICAL AUSTRALIAN TOUR 2017-2018 The global musical phenomenon, MAMMA MIA!, will commence its new national tour at the Canberra Theatre Centre on November 24th 2017 followed by a season from December 26th 2017 QPAC’s Lyric Theatre in Brisbane. The tour will continue onto Sydney’s Capitol Theatre from February 11th 2018, Crown Theatre Perth from May 15th 2018, Melbourne’s Princess Theatre from July 10th 2018 and the Festival Theatre at Adelaide Festival Centre from October 9th 2018. This exciting new production of MAMMA MIA! is produced in Australia by Michael Coppel, Louise Withers & Linda Bewick. “MAMMA MIA! is exactly what we all need - an uplifting, fun-filled, heartfelt night at the theatre which puts a smile on your face and a spring in your step. The timeless tracks of ABBA never fail to bring joy to audiences across the world and we are delighted to be producing MAMMA MIA! once again across Australia. We are also thrilled with the incredibly talented creative team and cast we have assembled to bring this story and these songs to life on stage night after night.” Withers says. Starring in this brand new Australian production as mother-of-the-bride Donna Sheridan is Natalie O’Donnell. Natalie began her acting career in 1998 with her professional debut in the Australian production of Les Misérables. Since then she has sustained a remarkable career in theatre, television and film across the world. She has starred in many musicals including most recently in Australia in Jerry’s Girls, Songs for a New World and Next to Normal.
[Show full text]
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.
[Show full text]