BECKETT, SAMUEL, 1906-1989 Samuel Beckett Collection, 1955-1996
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Albion Full Cast Announced
Press release: Thursday 2 January The Almeida Theatre announces the full cast for its revival of Mike Bartlett’s Albion, directed by Rupert Goold, following the play’s acclaimed run in 2017. ALBION by Mike Bartlett Direction: Rupert Goold; Design: Miriam Buether; Light: Neil Austin Sound: Gregory Clarke; Movement Director: Rebecca Frecknall Monday 3 February – Saturday 29 February 2020 Press night: Wednesday 5 February 7pm ★★★★★ “The play that Britain needs right now” The Telegraph This is our little piece of the world, and we’re allowed to do with it, exactly as we like. Yes? In the ruins of a garden in rural England. In a house which was once a home. A woman searches for seeds of hope. Following a sell-out run in 2017, Albion returns to the Almeida for four weeks only. Joining the previously announced Victoria Hamilton (awarded Best Actress at 2018 Critics’ Circle Awards for this role) and reprising their roles are Nigel Betts, Edyta Budnik, Wil Coban, Margot Leicester, Nicholas Rowe and Helen Schlesinger. They will be joined by Angel Coulby, Daisy Edgar-Jones, Dónal Finn and Geoffrey Freshwater. Mike Bartlett’s plays for the Almeida include his adaptation of Maxim Gorky’s Vassa, Game and the multi-award winning King Charles III (Olivier Award for Best New Play) which premiered at the Almeida before West End and Broadway transfers, a UK and international tour. His television adaptation of the play was broadcast on BBC Two in 2017. Other plays include Snowflake (Old Fire Station and Kiln Theatre); Wild; An Intervention; Bull (won the Olivier Award for Outstanding Achievement in an Affiliate Theatre); an adaptation of Medea; Chariots of Fire; 13; Decade (co-writer); Earthquakes in London; Love, Love, Love; Cock (Olivier Award for Outstanding Achievement in an Affiliate Theatre); Contractions and My Child Artefacts. -
Lipman Complete.Docx
· Correspondence from Sandy Forsyth · Letters page from the ‘Evening Standard’ featuring Maureen Lipman’s letter in reply to Charles Spencer’s review of ‘The Graduate’ and Kathleen Turner in the nude. · 2 scrap notes BOX 24 Folder labelled ‘George Elliott’ · Newsletter from the George Elliott Society · The George Elliot Fellowship membership card for Maureen Lipman · Events leaflet, 2003 · Handwritten notes · Clipping from ‘Daily Express Saturday Magazine, 2002 · Research and correspondence relating to BBC production of George Elliot Pamphlets · A Community of Interest: The Story of The George Elliot Fellowship 1930-2000 by Kathleen Adams · The George Elliot Review; Journal of the George Eliot Fellowship No.30 1999 · The George Elliot Review; Journal of the George Eliot Fellowship No.32 2001 · The George Elliot Review; Journal of the George Eliot Fellowship No.33 2002 · George Elliot,:The Pitkin Guide by Kathleen Adams Script · George Elliot Script, BBC 1st July, 2002 · Film Schedules: Sun 8th-Thur 12th Sep 2002 · Updated scripts, loose · Final Film script updated 8th Aug, 2002 Articles and Other · Green Folder labelled Good Housekeeping Articles Oct 1999-Dec 2000 · Woman’s Weekly magazine interview 28th June, 1994 · Programme and correspondence with details of ‘An Evening with Maureen Lipman’ a dinner at Dove house Hospice, Hull Mon 28th June, 1993 Programmes · Candida by Bernard Shaw, Albery Theatre No. 24 Sep, 1977 · The Theatre of Comedy Company ‘See How They Run’ Shaftesbury Theatre, 1984 · Candida by Bernard Shaw, Theatre Royal, -
Custodians for Covid, Theatres Press Release
Oxford-based photographer Joanna Vestey and collaborator Tara Rowse have set up a bold fundraising initiative, Custodians for Covid, to raise funds for threatened arts institutions. Its first edition focuses on raising money for theatres currently in crisis due to the Covid-imposed lockdown. This includes world renowned theatres such as the National Theatre, the Roundhouse and the Young Vic. (L) Deborah McGhee, Head of Building Operations, The Globe. London, June 2020 © Joanna Vestey (R) Charlie Jones, Building Services Manager, The Royal Albert Hall. London, June 2020 © Joanna Vestey Vestey has produced a collection of 20 photographs, each featuring an affected London theatre, portraying the custodian who is charged with its care during this time of crisis. The photographs are being sold in limited editions to raise funds for each theatre. The target is to raise £1million in charitable donations for the 20 London theatres, amounting to £50,000 per theatre. Each image in the series features an iconic theatre space in which Vestey has highlighted a custodian. The custodian’s presence brings the setting to life and celebrates the often-unknown role of the guardians who continue to maintain these institutions. The series explores themes such as heritage, stewardship, identity and preservation, which feel even more poignant given the isolation so many are currently experiencing and the uncertainties so many face. The images are for sale through Joanna Vestey's website and build on her widely acclaimed series custodians, the first of which focused on the hallowed institutions of Oxford, together with the custodians responsible for them. The series was exhibited at the Venice Biennale, Oxford Biennale as well as published by and exhibited at The Ashmolean Museum, Oxford. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer. -
June 25 to Work - He Is a the Noël Coward Foundation
www.buxtonoperahouse.org.uk Hay Fever Home Chat is the newsletter FREE TO NCS member Jim Schneider is directing Hay Michael Feinstein of The Noël Coward Society MEMBERS OF Fever at Circle Theatre in Forest Park, For those who wholly owned by Noël Coward Ltd. which is THE SOCIETY Illinois just outside of Chicago. It is running enjoy Michael’s part of the charitable trust: Thursday through Sunday from June 25 to work - he is a The Noël Coward Foundation. August 3rd. noted singer, JUNE 2008 - THE NEWSLETTER OF THE NOËL COWARD SOCIETY Price £2 ($4) President: HRH The Duke of Kent, KG, GCMG, GCVO, ADC Circle's address is: 7300 W. Madison, Forest pianist, music Officers of the Society are: CHAT Vice Presidents: Tammy Grimes • Penelope Keith CBE • Barry Day OBE • Stephen Fry Park, IL 60130. Telephone is: 708-771- revivalist, and an Chairman: Barbara Longford 0700. interpreter of, and Secretary: Denys Robinson Oh Coward! anthropologist Treasurer: Stephen Greenman North American Director: Light Opera Oklahoma (LOOK) and archivist for TAMMYGRIMES the Great Ken Starrett LOOK’s cabaret season returns in 2008 with Representative for Australia: American Oh, Coward! Robert Wickham NEW VICE PRESIDENT ‘featuring the Songbook - you will want to know that Representative for France: he U.S. membership of The Noël Coward Society is sassy and he is appearing at The Shaw theatre in Hélène Catsiapis delighted that Tammy Grimes has accepted the smart songs of Euston Road, London from September invitation of the Committee to become an Honorary Noël Coward. 18 through September 20. Unless otherwise stated all images and text are copyright Vice President. -
The Inside Guide to Directing
THE INSIDE GUIDE TO DIRECTING Introduction by 02 Katy Rudd What is Directing? 06 Artist profile: 08 Ashen Gupta Pre-Rehearsals 12 Artist Profile: 16 GUIDE Ebenezer Bamgboye Guide compiled by Euan Borland Rehearsal Room 20 Directing Exercises by Roberta Zuric Photography Credits Artist Profile: 24 Joanna Higson Manuel Harlan Sean Linnen EDUCATION & COMMUNITY How to be a Leader 28 Director of Education & Community Hannah Fosker Education Manager Top Tips for Directing 30 Euan Borland Young Person’s Programme Manager Naomi McKenna Lawson Further Reading, 32 Education & Community Coordinator Kate Lawrence-Lunniss Watching & Listening Education & Community Intern Annys Whyatt Abena Obeng Glossary of Terms 34 With generous thanks to Old Vic staff and associates Next Steps 36 If you would like to learn more about our education programmes please contact [email protected] CONTENTS 1 When I left university, I knew that I wanted to During this time I had the good fortune to be a director but I had no idea how, or where, meet Marianne Elliott who kindly had a cup to start. At university I wrote and directed of tea with me – she gave me some advice plays as part of my course and I was given and told me to go to the regions and learn a good introduction to making theatre. your craft. Then she wished me good luck. In our spare time we put on our own shows rehearsing after hours in whatever space we So I did. I went to Salisbury Playhouse where could commandeer; empty lecture rooms, I spent three glorious months assisting on communal spaces or failing that our bedrooms. -
Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
CITY of ANGELS Book by Larry Gelbart | Music by Cy Coleman | Lyrics by David Zippel Hits the West End!
PRESS RELEASE: 19 December 2019 The Donmar Warehouse’s Olivier Award-winning production of CITY OF ANGELS Book by Larry Gelbart | Music by Cy Coleman | Lyrics by David Zippel Hits the West End! Josie Rourke’s critically acclaimed and Olivier Award winning production of City of Angels makes its West End transfer six years since opening at the Donmar Warehouse in 2014. The musical will play at the Garrick Theatre for a limited season, opening on Tuesday 24 March 2020 with previews from Thursday 5 March 2020, reuniting the production’s entire creative team. The West End production will star Hadley Fraser (Les Misérables, Young Frankenstein), Theo James (Divergent series), Rosalie Craig (Company), Rebecca Trehearn (Show Boat), Jonathan Slinger (various roles with the RSC) with BRIT Award winner Nicola Roberts (Girls Aloud) making her stage debut and Emmy and Grammy Award nominee Vanessa Williams (Ugly Betty, Desperate Housewives) making her West End debut. The cast also includes Marc Elliott, Emily Mae, Cindy Beliot, Michelle Bishop, Nick Cavaliere, Rob Houchen, Manuel Pacific, Mark Penfold, Ryan Reid, Joshua St Clair & Sadie-Jean Shirley. A screenwriter with a movie to finish. A private eye with a case to crack. But nothing’s black and white when a dame is involved. And does anyone stick to the script in this city? This is Tinseltown. You gotta ask yourself: what’s real…and what’s reel… Josie Rourke’s “ingenious, stupendous revival” (The Telegraph) premiered in 2014, when it was hailed as “a blissful evening” (The Stage) that’s “smart, seductive and very funny” (Evening Standard). -
Almeida Theatre's Hamlet Emer Mchgh
Early Modern Culture Volume 13 Shakespeare in the Anthropocene Article 27 5-28-2018 Almeida Theatre's Hamlet Emer McHgh Follow this and additional works at: https://tigerprints.clemson.edu/emc Recommended Citation Emer McHgh (2018) "Almeida Theatre's Hamlet," Early Modern Culture: Vol. 13 , Article 27. Available at: https://tigerprints.clemson.edu/emc/vol13/iss1/27 This Theater Review is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in Early Modern Culture by an authorized editor of TigerPrints. For more information, please contact [email protected]. Almeida Theatre’s Hamlet Directed by Robert Icke Harold Pinter Theatre, London Performance date: July 28, 2017 Reviewed by EMER MCHUGH obert Icke’s production of Hamlet, starring the Irish actor Andrew Scott in the leading role, debuted at the Almeida Theatre in north RLondon in February 2017. The production then transferred to the Harold Pinter Theatre for an extended West End run throughout that subsequent summer; this review talks about the production during that latter run. This was Scott’s first major Shakespearean role: after all, Hamlet is usually a role for actors who have firmly established themselves, and who have a firmly established fanbase. Two years prior, Scott’s Sherlock co-star Benedict Cumberbatch played the role in Lyndsay Turner’s Barbican Centre production. While Scott treaded the London boards, Oscar Isaac treaded the Broadway boards in the same role in Sam Gold’s production that summer. Just as Scott finished in the role in September 2017, Tom Hiddleston debuted as Hamlet in Kenneth Branagh’s fundraiser for RADA. -
DAVID WOOD a Chronology
DAVID WOOD A Chronology CHILDREN’S PLAYS AND MUSICALS (acting editions published by Samuel French) 1967 THE TINDERBOX (book, music and lyrics). (Based on the story by Hans Andersen) Swan Theatre, Worcester. Unpublished. 1968 THE OWL AND THE PUSSYCAT WENT TO SEE... (co-written with Sheila Ruskin, based on the verses and stories of Edward Lear). Swan Theatre, Worcester. Subsequently WSG Productions Ltd. production at Jeannetta Cochrane Theatre, London (1969) and many more London Christmas seasons. * 1969 LARRY THE LAMB IN TOYTOWN (co-written with Sheila Ruskin, adapted from the stories of S.G. Hulme-Beaman). Swan Theatre, Worcester. Subsequently WSG Productions Ltd production at Shaw Theatre, London, 1973. * 1970 THE PLOTTERS OF CABBAGE PATCH CORNER (book, music and lyrics). Swan Theatre, Worcester. Subsequently Knightsbridge Theatical Productions Ltd/WSG Productions Limited production, Shaw Theatre 1971 and 1972 and Whirligig Theatre tour including Sadler’s Wells Theatre, London, 1979. 1971 FLIBBERTY AND THE PENGUIN (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre pilot tour, 1978. * 1972 TICKLE (one act) (book, music and lyrics). The Dance Drama Theatre tour. Subsequently Wakefield Tricycle Company production at Arts Theatre, London, 1977. THE PAPERTOWN PAPERCHASE (book, music and lyrics). Swan Theatre, Worcester. Subsequently Whirligig Theatre tour, including Sadler’s Wells Theatre, London, 1984.* 1973 HIJACK OVER HYGENIA (book, music and lyrics). Swan Theatre, Worcester. 1975 OLD MOTHER HUBBARD (book, music and lyrics). Queen’s Theatre, Hornchurch. 1976 THE GINGERBREAD MAN (book, music and lyrics). Towngate Theatre, Basildon. Subsequently, Cameron Mackintosh/David Wood production, The Old Vic (1977 and 1978) and many other London seasons. -
RICHARD III by William Shakespeare Cast (In Order of Appearance)
RICHARD III BY WILLIAM SHAKESPEARE Cast (in order of appearance) Richard, Duke of Gloucester Ralph Fiennes Prince Edward Lukas Rolfe Brother to the king First son of Edward IV and Queen Baxter Westby Elizabeth George, Duke of Clarence Scott Handy Brother to the king Lord Mayor Mark Hadfield Lord Mayor of London Sir Robert Brakenbury Tom Canton Constable of the Tower of London James Tyrrel David Annen An obedient subject William, Lord Hastings James Garnon Lord Chamberlain Earl of Richmond Tom Canton Heir to the Lancastrian throne Lady Anne Joanna Vanderham Wife to the murdered Lancastrian Sir James Blunt David Annen Prince Edward, son of Henry VI and A member of Richmond’s army Queen Margaret Supernumeraries Osman Baig Bishop of Ely Simon Coates Josh Collins John Morton, the Bishop of Ely Lev Levermore Lucas Parish Catesby Daniel Cerqueira Attendant to Richard Queen Elizabeth Aislín McGuckin Director’s Note Wife to Edward IV Earl Rivers Joseph Arkley Brother of Queen Elizabeth A skeleton found beneath a car park in Leicester in 2012 was eventually identified as Richard III, sparking renewed Marquess of Dorset Joshua Riley Son of Queen Elizabeth by her first interest in the life, death and legacy of someone known marriage most broadly as Shakespeare’s most notorious villain. It was a moment when history, literature and science intersected, Lord Stanley Joseph Mydell a tension that provided a foundation for this production. Member of court, stepfather to Richmond The Almeida’s space welcomes the audience and Duke of Buckingham Finbar Lynch performers into the same room with a rare intimacy.