Robert Helpmann (1909-1986)
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Loudon Sainthill
MS 11 Papers of Loudon Sainthill Summary Administrative Information Biographical Note Associated Content Series List and Description Box/Folder Description Summary Creator: Loudon Sainthill and Harry Tatlock Miller Title: Papers of Loudon Sainthill Date range: 1938-1969 Reference number: MS11 Extent: 3 boxes + 4 large polypropylene boxes + 1 oversized box and 1 buckram- covered large binder Overview The collection comprises programmes, photographs, ephemera, correspondence and papers that had been retained by Loudon Sainthill and Harry Tatlock Miller. They are arranged according to Sainthill’s original order of source and/or date. Keywords Ballets Russes, Monte Carlo Russian Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet Key Names - 1 - Loudon Sainthill, Harry Tatlock Miller, Rex de Charembac Nan Kivell, Colonel W. de Basil Administrative Information Access Contact the National Gallery of Australia Research Library reference desk librarians. Phone +61 2 6240 6530 Email [email protected] Provenance During 1988 and 1989 James Mollison, then Director of the Australian National Gallery, corresponded and met with Harry Tatlock Miller, a close associate of Loudon Sainthill, regarding the Sainthill papers in his possession. These were donated to the then named Australian National Gallery by Harry Tatlock Miller on 6 February 1989. Preferred Citation Note MS 11 Papers of Loudon Sainthill [Box number: folder number], National Gallery of Australia Research Library Archives, National Gallery of Australia, Canberra. Biographical Note Loudon Sainthill was born in 1919, Hobart, Tasmania, and spent his early school years in Melbourne. Sainthill was greatly influenced by the theatre after seeing performances of Colonel W. de Basil’s Monte Carlo Russian Ballet in the late 1930s. -
2015 Sydney Theatre Award Nominations
2015 SYDNEY THEATRE AWARD NOMINATIONS MAINSTAGE BEST MAINSTAGE PRODUCTION Endgame (Sydney Theatre Company) Ivanov (Belvoir) The Present (Sydney Theatre Company) Suddenly Last Summer (Sydney Theatre Company) The Wizard of Oz (Belvoir) BEST DIRECTION Eamon Flack (Ivanov) Andrew Upton (Endgame) Kip Williams (Love and Information) Kip Williams (Suddenly Last Summer) BEST ACTRESS IN A LEADING ROLE Paula Arundell (The Bleeding Tree) Cate Blanchett (The Present) Jacqueline McKenzie (Orlando) Eryn Jean Norvill (Suddenly Last Summer) BEST ACTOR IN A LEADING ROLE Colin Friels (Mortido) Ewen Leslie (Ivanov) Josh McConville (Hamlet) Hugo Weaving (Endgame) BEST ACTRESS IN A SUPPORTING ROLE Blazey Best (Ivanov) Jacqueline McKenzie (The Present) Susan Prior (The Present) Helen Thomson (Ivanov) BEST ACTOR IN A SUPPORTING ROLE Matthew Backer (The Tempest) John Bell (Ivanov) John Howard (Ivanov) Barry Otto (Seventeen) BEST STAGE DESIGN Alice Babidge (Suddenly Last Summer) Marg Horwell (La Traviata) Renée Mulder (The Bleeding Tree) Nick Schlieper (Endgame) BEST COSTUME DESIGN Alice Babidge (Mother Courage and her Children) Alice Babidge (Suddenly Last Summer) Alicia Clements (After Dinner) Marg Horwell (La Traviata) BEST LIGHTING DESIGN Paul Jackson (Love and Information) Nick Schlieper (Endgame) Nick Schlieper (King Lear) Emma Valente (The Wizard of Oz) BEST SCORE OR SOUND DESIGN Stefan Gregory (Suddenly Last Summer) Max Lyandvert (Endgame) Max Lyandvert (The Wizard of Oz) The Sweats (Love and Information) INDEPENDENT BEST INDEPENDENT PRODUCTION Cock (Red -
Annual Report 2019–2020
Annual Report 2019–2020 Contents About About 3 President & Chief Executive’s Report 4 Live Performance Australia (LPA) is the peak body for Australia’s live performance COVID-19: LPA’s Leadership & Advocacy 6 industry. Established over 100 years ago in 1917 and registered as an employers’ Workplace Relations 8 organisation under the Fair Work (Registered Organisations) Act 2009, LPA has over 400 Members nationally. Policy & Advocacy 10 Member Services 12 We represent commercial producers, music promoters, major performing arts companies, small to medium companies, independent producers, major performing arts Staff 15 centres, metropolitan and regional venues, commercial theatres, stadiums and arenas, Financial Report 16 arts festivals, music festivals, and service providers such as ticketing companies and technical suppliers. Our membership spans from small to medium and not-for-profit Executive Council 38 organisations to large commercial entities. Members 40 LPA’s strategic direction is driven by our Members. LPA Members are leaders in our Acknowledgments 42 industry and their expertise is crucial to ensuring positive industry reform, whether by Member Resources 44 providing input to submissions or serving as a Member of LPA’s Executive Council. Contact 45 LPA’s membership remains strong and, importantly, reflective of the artistic and commercial diversity of the Australian live performance industry. LPA has a clear mandate to advocate for and support policy decisions that benefit the sustainability and growth of the live performance -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
MINERVA THEATRE Feasibility Study – Executive Summary
MINERVA THEATRE Feasibility Study – Executive Summary MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Create NSW City of Sydney Minerva Theatre Feasibility Study – Executive Summary December 2020 Hawkridge Entertainment Services Tim Long Managing Director Nick Tobin Managing Director, Networked Urban Solutions Disclaimer This report (Study) has been produced independently by Hawkridge Entertainment Services (HES) on the request of Create NSW and the City of Sydney. The information, statements, statistics and commentary (together the ‘Information’) contained in this study have been prepared by HES from publicly available material and from discussions held with stakeholders. HES does not express an opinion as to the accuracy or completeness of the information provided, the assumptions made by the parties that provided the information or any conclusions reached by those parties. HES have based this Report on information received or obtained, on the basis that such information is accurate and, where it is represented to HES as such, complete. The Information contained in this Report has not been subject to an audit. Hawkridge Entertainment Services Specialist consultants in the entertainment, sports, arts and venue industries Sydney | Melbourne | Perth | Singapore Page | 2 MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Executive Summary The Minerva Theatre Feasibility Study was jointly commissioned by the City of Sydney Council and Create NSW, with the principal aim of investigating whether: 1. a refurbished Minerva Theatre would be a viable performance space in the Sydney market; and 2. there is market interest in reinstating the Minerva as a theatre. The study indicates that reinstatement of the Minerva as a commercially operated theatre is a viable proposition. -
Playing House with Coward's “Hay Fever”
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-17-2011 Playing House with Coward’s “Hay Fever” Sarah M. Klocke University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Klocke, Sarah M., "Playing House with Coward’s “Hay Fever”" (2011). University of New Orleans Theses and Dissertations. 1383. https://scholarworks.uno.edu/td/1383 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Playing House with Coward’s “Hay Fever” A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Film, Theatre, and Communication Arts Theatre Performance: Directing by Sarah Marie Klocke B.A. Arkansas Tech University December 2011 Acknowledgements Thank you cast and crew of Hay Fever. -
The Turquoise Elephant E X T D N F C R T O
GRIFFIN THEATRE COMPANY PRESENTS THE TURQUOISE ELEPHANT STEPHEN CARLETON BY STEPHEN CARLETON 14 OCTOBER-26 NOVEMBER E Production Sponsor Meet Augusta Macquarie: Her Excellency, patron of the arts, X formidable matriarch, environmental vandal. THE T D TURQUOISE Inside her triple-glazed compound, Augusta shields herself from the catastrophic elements, bathing in THE TURQUOISE ELEPHANT the classics and campaigning for the reinstatement of global reliance on fossil fuels. Outside, the world lurches from one environmental cataclysm to the next. ELEPHANT N Meanwhile, her sister, Olympia, thinks the best way to save endangered species is to eat them. Their niece, Basra, is intent on making a difference – but how? Can you save the world one blog at a time? F C Stephen Carleton’s shockingly black, black, black political farce won the 2015 Griffin Award. R T It’s urgent, contemporary and perilously close to being real. Director Gale Edwards brings her magic and wry insight to the world premiere of this very funny, clever and wicked new work. O S T CURRENCY PRESS GRIFFIN THEATRE COMPANY PRESENTS THE TURQUOISE ELEPHANT BY STEPHEN CARLETON 14 OCTOBER-26 NOVEMBER Director Gale Edwards Set Designer Brian Thomson Costume Designer Emma Vine Lighting and AV Designer Verity Hampson Sound Designer Jeremy Silver Associate Lighting Designer Daniel Barber Stage Manager Karina McKenzie Videographer Xanon Murphy With Catherine Davies, Maggie Dence, Julian Garner, Belinda Giblin, Olivia Rose, iOTA SBW STABLES THEATRE 14 OCTOBER - 26 NOVEMBER Production Sponsor Government Partners Griffin acknowledges the generosity of the Seaborn, Broughton and Walford Foundation in allowing it the use of the SBW Stables Theatre rent free, less outgoings, since 1986. -
RVW Final Feb 06 21/2/06 12:44 PM Page 1
RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000. -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.