ISPA International Society for the Performing Arts
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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
Family Arts Conference Friday 13 March, Cadogan Hall & Royal Court
Family Arts Conference Friday 13 March, Cadogan Hall & Royal Court Theatre, London Delegate list First Name Surname Job Title Company Sam Adams Marketing Co-ordinator Salisbury Arts Centre Jacob Adams Festival Project Manager Attitude is Everything Jill Adamson Head of Engagement & Learning Hull Truck Theatre Sasha Alsop Development Co-ordinator ITC Olivia Amory Communications Co-ordinatory ITC Fiona Anderson Development Director artsdepot Rosie Angus Project manager, Schools Stellar Libraries CIC Susannah Armitage Producer Vox Motus Imogen Armstrong Director of Business development Family and Childcare Trust Katy Arnander Director of Artistic Programme Sadler's Wells Lucy Bampton Relationship Manager, Engagement and Audiences Arts Council England Chris Batstone Juice Festival Artistic Director NewcastleGateshead Initiative Alison Beattie Producer Story Pocket Theatre Stephen Beeny Communications Manager Half Moon Bryony Bell Learning & Participation Manager The Bridgewater Hall Jill Bennison Festival Co-ordinator Northern Children's Book Festival Neil Bennison Music Programme Manager Theatre Royal Nottingham Sudha Bhuchar Artistic Director Tamasha Theatre Company Annie Biddlecombe Regional Programming Ambassador Theatre Group Sarah Bird Director Wild Rumpus Jessica Birtwistle Marketing Campaigns Officer mac birmingham Charles Bishop General Manager Theatre Centre Christopher Block Participation Administrator Bournemouth Symphony Orchestra Matthew Blyth Audience Development Officer Arts Centre Washington Jay Bourley Theatre Manager ATG: -
2018 SCHOLARSHIPS and GRANTS CEREMONY Front Cover: Previous Scholarship Recipients (L-R), Brittany Johnson, Hayley Schultz, Aidan Cousins and Nasim Chitsaz
2018 SCHOLARSHIPS AND GRANTS CEREMONY Front Cover: Previous scholarship recipients (L-R), Brittany Johnson, Hayley Schultz, Aidan Cousins and Nasim Chitsaz Inside cover: Pridham Hall - named in honour of alumnus and generous benefactor Andrew Pridham 2018 SCHOLARSHIPS AND GRANTS CEREMONY 3 Contents Welcome from the Vice Chancellor ............................................................................................................................................................................................ 5 Scholarships, Grants and Prizes Anya Attenborough Memorial Grant ..................................................................................................................................................................................................................6 Robyn Parkes Undergraduate Nursing Prize .................................................................................................................................................................................................7 Richard Oertel Memorial Mathematics Grant ............................................................................................................................................................................................8 Architecture Museum HDR Travel Grant .........................................................................................................................................................................................................9 The Finn Family Refugee Study Grant ............................................................................................................................................................................................................10 -
After the Interval National Audience Research
After the Interval National Audience Research Audience views on returning to live cultural events, booking tickets now and in the future, and missing out on events during lockdown. Wave 2 | 7-27 May 2020 Katy Raines Co-founder and Partner www.indigo-ltd.com After the Interval Wave 2 Report June 2020 © Indigo-Ltd 1 Contents Context ........................................................................................... 4 Section 1: Methodology and Sample ............................................. 5 Sample breakdown .................................................................................................................... 6 Section 2: Overall findings ............................................................. 7 2.1 Missing events during lockdown ....................................................................................... 7 2.2 Booking NOW for Events in the future .............................................................................. 8 2.3 When will audiences return? .............................................................................................. 9 2.4 Safety and Comfort ............................................................................................................ 10 2.5 Reassurances around refunds and exchanges ............................................................... 11 2.6 Supporting Cultural Charities ........................................................................................... 12 Appendix 1: About Indigo-Ltd .................................................. -
Andrew Lloyd Webber's Olivier Award
ANDREW LLOYD WEBBER’S OLIVIER AWARD-WINNING S C H O O L O F R O C K - T H E M U S I C A L WELCOMES NEW ADULT CAST WWW.SCHOOLOFROCKTHEMUSICAL.COM Today, 23 October 2017, rehearsals begin for the new West End cast of Andrew Lloyd Webber’s Olivier award-winning production of School of Rock - The Musical. Stephen Leask, having played the role of alternate Dewey since May this year, will now lead the cast as Dewey Finn from 15 November 2017, as the show enters its second year in the West End. Joining Leask at the New London Theatre will be Alan Pearson as Ned Schneebly, Michelle Francis as Patty Di Marco, currently a member of the ensemble, and Craig Gallivan as the alternate Dewey Finn. Florence Andrews will continue as Rosalie Mullins alongside the three teams of thirteen kids who make up Dewey’s band. The ‘grown up’ cast is completed by ensemble members Nick Butcher, Cassandra McCowan, Jessica Louise Parkinson, Andy Rees, Cameron Sharp, Jake Sharp, James Smoker, Wendy Somerville, Andrew Spillett, Hannah Stratton and Alex Tomkins with swings, Paul Kemble, Laura Medforth, Billy Mitchell, Tasha Sheridan and Joshua St. Clair. To vote for School of Rock - The Musical which has been nominated for the 2017 Evening Standard Radio 2 Audience Award for Best Musical visit bbc.co.uk/radio 2. Voting closes on 29 October 2017 at 11.59pm and the winner will be announced at the Evening Standard Awards on 3 December 2017. On 6 November 2017 School of Rock - The Musical will host this year’s BBC Radio 2’s BBC Children in Need Gala. -
Public Poll Findings and Methodology
PUBLIC POLL FINDINGS AND METHODOLOGY Misinformation around U.S. Capitol unrest, election spreading among Americans New Ipsos poll shows Capitol rioters viewed as “criminals,” “right-wing terrorists,” but views divided sharply along partisan lines Topline Findings Washington, DC, January 19, 2021 – In the wake of the January 6th storming of the U.S. Capitol, Ipsos took another look at beliefs toward misinformation and election-related conspiracy theories. There is over a 60-point gap between Democrats and Republicans regarding whether Joe Biden legitimately won the 2020 presidential election, a sign of how politically divided this country is, and what facts we are willing to accept. Following the attack last week, most Americans see the people who entered the Capitol as criminals or right-wing domestic terrorists and, as a result, support the suspension of the president’s social media accounts. Detailed Findings 1. Most of the American public views the people who entered the Capitol as criminals or right-wing domestic terrorists. A plurality support social media outlets removing President Trump and QAnon accounts as a result of the event. • Nearly one in three (31%) say they are criminals, and 26% say they are right-wing terrorists. • Just four percent believe they are patriots who were fighting to preserve our freedoms. • News consumption plays a role in views of the events, as does partisanship. • For example, one in four who get their news from FOX or conservative online outlets believe they were left-wing terrorists or Antifa, compared to just 7% of CNN or MSNBC viewers. Forty-five percent of Democrats see these people as right-wing domestic terrorists, while 10% of Republicans feel the same. -
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). -
Partisan Platforms: Responses to Perceived Liberal Bias in Social Media
Partisan Platforms: Responses to Perceived Liberal Bias in Social Media A Research Paper submitted to the Department of Engineering and Society Presented to the Faculty of the School of Engineering and Applied Science University of Virginia • Charlottesville, Virginia In Partial Fulfillment of the Requirements for the Degree Bachelor of Science, School of Engineering Luke Giraudeau Spring, 2021 On my honor as a University Student, I have neither given nor received unauthorized aid on this assignment as defined by the Honor Guidelines for Thesis-Related Assignments Signature __________________________________________ Date __________ Luke Giraudeau Approved __________________________________________ Date __________ Richard Jacques, Department of Engineering and Society Introduction In the United States, public opinion about tech companies’ political biases is divided along partisan lines (Vogels, Perrin, & Anderson, 2020). In the U.S. since 2018, 69 percent of Republicans claim that technology companies favor liberal views, whereas only 19 percent of Democrats say that technology companies favor the alternative view. Over 50 percent of liberals believe that perspectives are treated equally, whereas only 22 percent of conservatives feel this way. Critics who allege bias have organized to promote legislation such as the Ending Support for Internet Censorship Act (2020) as well as an executive order (Executive Order 13,925, 2020). Furthermore, conservative entrepreneurs have produced new social media platforms such as Gab and Parler that claim -
South Australia's Women's Policy
Achieving Women’s Equality South Australia’s Women’s Policy Vision: Women and girls in South Australia will be able to fully participate in and share the benefits of living in South Australia. Contents Acronyms 1 1 Premier’s Foreword 2 2 Minister’s Foreword 3 3 Introduction 4 3.1 Policy imperative 5 3.2 Equality is an Issue for Men to Engage With 5 4 Setting the scene 9 Our Achievements 9 4.1 Women’s Safety Strategy 9 4.2 Women’s Health 9 4.3 Women’s Employment in Non-Traditional Female Occupations 10 4.4 Women’s Leadership and Decision Making 10 4.5 Celebrating Women’s Achievements 10 4.6 Empowering women through access to information - Women’s Information Service 10 5 Vision and principles for South Australia’s Women’s Policy 12 5.1 Vision 12 5.2 Principles 12 5.3 Populations of focus across the policy 13 5.3.1 Aboriginal and Torres Strait Islander Women 13 5.3.2 Culturally and Linguistically Diverse (CALD) Women 14 5.3.3 Women with Disability 14 Achieving Women’s Equality – South Australia’s Women’s Policy | 2015 5.3.4 Young Women 15 5.3.5 Older Women 15 5.3.6 LGBTIQ Women 16 5.3.7 Rural and Regional Women 16 6 Achieving Women’s Equality: Three pillars of action 17 6.1 Improving women’s economic status 17 6.2 Increasing women’s leadership and participation in decision making 17 6.3 Improving women’s safety and wellbeing 18 7 Improving women’s economic status 19 7.1 Increasing employment participation 20 7.2 Pay equity 25 7.3 Paid parental leave 26 7.4 Childcare 26 7.5 Flexible work 26 7.6 Education and training 28 7.7 Financial security -
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 -
The Findings at a Glance
Act 2 Findings At A Glance 62K 232 Audience responses Organisations Booking Only 17% Half NOW for of those booking are for events of respondents are from NOVEMBER events booking for events Returning 67% 70% would consider attending would not consider booking for to events events if venues re-opened events for at least 3 months with social distancing Covid-safe ‘kite mark’ Masks for audiences Households seated together Safety & Unallocated seating Limited numbers Restricted facilities ü Seat spacing û Comfort Digital 83% >½ Culture interested in culture online would pay for it Outdoor 94% >¾ Culture Are interested in culture outdoors would pay for it Audiences expect to Economic 81% Concern for survival of spend 4% more on Viability cultural organisations culture Act 2 Wave 1 Report June 2020 © Indigo-Ltd 3 Appendix 2: Participating Organisations England Ipswich Regent Theatre Strode Theatre YMCA Theatre Scarborough a space arts Jacksons Lane Sunderland Culture Arts Centre York Concerts ADC Theatre Jersey Arts Centre Washington Alnwick Playhouse Jumped Up Theatre Take Art Scotland AMATA, Falmouth University Junction Goole Tetbury Music Festival Aberdeen Performing Arts Arts In Rural Gloucestershire Kenton Theatre Tete a Tete Productions Ayr Gaiety Partnership Artsadmin Kings Theatre Portsmouth The Albany Byre Theatre artsdepot Kirkgate Arts The Albany Theatre Cranleigh Arts Artsreach Kneehigh The Apex Edinburgh Festival Fringe Assembly Hall Lakeside Arts, Uni of Nott. The Atkinson Edinburgh International Attenborough Centre for the Leeds -
There's a Little Theatre in Us All!
THERE’S A LITTLE THEATRE IN US ALL! Theatre Tokens - Participating Venues Details correct as of Friday, 07 July 2017 * Plus your telephone company's network charge Aberdare Coliseum 0800 014 7111 Dumfries Theatre Royal 01387 254209 Aberdeen Aberdeen Box Office 01224 641122 Dumfries (for His Majesty's Dundee Dundee Repertory 01382 223530 Theatre & Music Hall) Theatre Aberdeen His Majesty's Theatre 01224 641122 East Grinstead Chequer Mead 01342 302000 Aberdeen Music Hall 01224 641122 Theatre Aberystwyth Arts Centre 01970 623232 Eastleigh The Point Theatre 02380 652333 Aylesbury Aylesbury Waterside 0844 871 7667 Calls cost 7p/pm* Edinburgh Festival City Theatres 0131 529 6000 Theatre Edinburgh Kings Theatre 0131 529 6000 Bath Theatre Royal 01225 448844 Edinburgh Playhouse Edinburgh 0844 871 7667 Calls cost 7p/pm* Bedworth Civic Hall 02476 376707 Edinburgh Royal Lyceum Theatre 0131 248 4848 Birmingham Alexandra Theatre 0844 871 7667 Calls cost 7p/pm* Edinburgh Traverse Theatre 0131 228 1404 Birmingham Repertory Theatre 0121 236 4455 Epsom Epsom Playhouse 01372 742555 Blackburn King George's Hall 0844 847 1664 Calls cost 7p/pm* Exeter The Exeter Northcott 01392 726363 Blackpool Grand Theatre 01253 290190 Theatre Bognor Regis Alexandra Theatre 01243 861010 Eastbourne Congress Theatre 01323 412000 Bolton Octagon Theatre 01204 520661 Eastbourne Devonshire Park 01323 412000 Bradford Alhambra Theatre 01274 432000 Theatre Bradford St George's Concert 01274 432000 Eastbourne Royal Hippodrome 01323 802020 Hall Theatre Bristol Bristol Hippodrome 0844