Theatre at Its Best Made in Stratford-Upon-Avon
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177 © the Author(S) 2020 J. H. Pope, Shakespeare's Fans, Palgrave
INDEX1 NUMBERS AND SYMBOLS Amateur, 7, 8, 11, 16, 27, 46, 46n17, 10 Things I Hate About You, 26, 52, 54, 60, 69, 72, 72n14, 74, 33–63, 68, 108, 149 82–84, 87–89, 169 Anachronism, 26, 34, 122–124, 172 Anonymity, 120 A Anonymous, 71, 72, 91, 174 Actor, 2, 4, 8, 10, 20, 26, 28, 34, 46, Anti-fandom, 74, 173, 174, 174n9 48, 54, 58, 62, 79, 83, 104, 121, Anti-Midas, 55n57 124, 133–136, 136n4, 138–143, Appropriation, 33, 40n8, 67–69, 147–152, 148n37 81n47, 85 Adaptation, 9–11, 13–17, 19, Arcadia, 76 33, 36, 61, 67, 68, 77–79, Archive, 3, 24, 25, 71, 87, 100, 101, 80n45, 88–90, 94, 100, 103, 105, 108, 112, 114, 115, 119, 104, 107, 108, 110, 124, 127, 154, 169, 171, 171n3, 172 133, 148, 153, 162, 164, Archive of Our Own (AO3), 100, 171–173, 174n9 101, 110, 112, 113, 115, Affect, 26, 33–63, 85, 118 117n42, 119, 120, 128n62, 133, The Alchemist, 8 141, 145, 155, 163 All is True, 144 Aristophanes, 140 Allusion, 47, 61, 80, 107, Arthurian literature, 19 113, 116, 151, 153, 157, As You Like It, 79, 138, 159 159, 164 Atwood, Margaret, 17, 18 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2020 177 J. H. Pope, Shakespeare’s Fans, Palgrave Studies in Adaptation and Visual Culture, https://doi.org/10.1007/978-3-030-33726-1 178 INDEX Austen, Jane, 23, 75, 115, 170–171 The Cobler of Preston (Charles Authenticity, 41, 54, 81, 106, 149, Johnson), 78 150, 154, 164 The Cobler of Preston (Christopher Authority, 16, 21, 27, 38, 39, 41–44, Bullock), 78 67, 70, 73, 74, 91, 92, 94, 95, Cohen, Ethan, 156 120, 152, 154n55, 162, 164, 170 Cohen, Joel, -
The Mirror Crack'd
PRESS RELEASE – Thursday 17 May 2018 IMAGES CAN BE DOWNLOADED HERE @theCentre / Facebook / Instagram / www.wmc.org.uk A Wales Millennium Centre and Wiltshire Creative Production THE MIRROR CRACK’D by Agatha Christie adapted for the stage by Rachel Wagstaff Direction by Melly Still Set Design by Richard Kent Costume Design by Dinah Collin Lighting Design by Malcolm Rippeth Music & Sound Design by Jon Nicholls AGATHA CHRISTIE’S THE MIRROR CRACK’D TO BE PRODUCED FOR THE STAGE FOR THE FIRST TIME EVER IN THE UK THE WALES MILLENNIUM CENTRE AND WILTSHIRE CREATIVE EUROPEAN PREMIERE PRODUCTION WILL TOUR FROM FEBRUARY 2019 Wales Millennium Centre and Wiltshire Creative are thrilled to announce the first ever UK stage adaptation of Agatha Christie’s much-loved Miss Marple thriller The Mirror Crack’d from Side to Side. The Mirror Crack’d will be a European Premiere, opening at Salisbury Playhouse on 15 February before touring to Dublin, Cambridge and Cardiff. The Mirror Crack’d will have an Opening Night on 25 February. The iconic Marple mystery from the world’s best-selling author of all time has been adapted for the stage by Rachel Wagstaff (Flowers for Mrs Harris, Birdsong) and directed by Melly Still (Coram Boy, My Brilliant Friend). Casting is still to be announced. Times are changing. Girls are wearing trousers and Hollywood has come to a sleepy English village in the shape of a beautiful film star. Miss Marple begins to question her place in the world until a mysterious death calls into question the past of all those present. -
ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’. -
The Diving Bell and the Butterfly June 2016
PROGRAMME THE DIVING BELL AND THE BUTTERFLY JUNE 2016 “possibly Britain’s most beautiful cinema..” (BBC) Britain’s Best Cinema – Guardian Film Awards 2014 JUNE 2016 • ISSUE 135 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6.30pm Sun 4.30-5.30pm BEST IN JUNE CONTENTS Films At A Glance 16-17 Rants and Pants 26-27 BOX OFFICE: 01442 877759 Mon to Sat 10.30-6.30 The Diving Bell and The Butterfly Sun 4.30-5.30 Remains one of our most powerful, beautiful films. (2008) Don’t miss. Page 18 SEAT PRICES Circle £9.00 FILMS OF THE MONTH Concessions £7.50 Table £11.00 Concessions £9.50 Royal Box Seat (Seats 6) £13.00 Whole Royal Box £73.00 All matinees £5, £6.50, £10 (box) Disabled and flat access: through SEE more. DO more. the gate on High Street (right of apartments) Truman Mustang 50% OFF YOUR SECOND PAIR A fabulous South American tragi- They’re saying this is the must-film Terms and conditions apply Director: James Hannaway comedy embracing all the worth in to see… so come and see. 01442 877999 life and death. Page 10 Page 13 Also available with Advertising: Chloe Butler 01442 877999 (From Space) Artwork: Demiurge Design 01296 668739 The Rex High Street (Three Close Lane) Berkhamsted, Herts HP4 2FG www.therexberkhamsted.com Troublemakers: Race The Story Of Land Art The timely story of Jesse Owens. “ Unhesitatingly The Rex Miss this and you might as well Hitler should have taken more 24 Bridge Street, Hemel Hempstead 25 Stoneycroft, Hemel Hempstead is the best cinema I have stop breathing… Breathtaking care of his skin. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King . -
Justin Avoth
Eamonn Bedford Agency 1st Floor - 28 Mortimer Street London W1W 7RD EBA t +44(0) 20 7734 9632 e [email protected] represented by Eamonn Bedford www.eamonnbedford.agency JUSTIN AVOTH HEIGHT: 6’0” (182cm) HAIR: Dark Brown EYES: Brown TITLE (Role) DIRECTOR PRODUCTION COMPANY TELEVISION Father Brown (Conrad French) BBC Medici: Kingdom Of Gold Frank Spotnitz Big Light Productions (Bishop Vitelleschi) Ripper Street - Series Reg (Isaac Bloom) Richard Warlow BBC/Amazon Prime/Tiger Aspect Obsession: Dark Desires (Rev. Caleb Dyer) Shani Grewal October Films for Discovery ID Dracula (Mr Cameron) Brian Kelly NBC/Sky Doctors (Eddy Gallacio) Bath Akoto BBC Dark Matters (St Martin/Hamilton/Barman) James Tovell Science Channel (USA) Whitechapel (Hipster) John Strickland ITV The Borgias (Ericado) Simon Cellan-Jones Showtime Holby City (Sean Edwards) Michael Buffong BBC Midsomer Murders (Dan Malko) Richard Holthouse ITV Merlin (Sir Robert) David Moore BBC Spooks (Rudy Korn) Sam Miller BBC Coronation Street (Status-Quo Lawyer) Kay Neville Granada Judge John Deed (Bryce Bond) Steve Kelly BBC Persuasion (Officer) Roger Mitchell BBC THEATRE My Brilliant Friend (Antonio/Pietro) Melly Still National Theatre/ Rose Theatre Kingston Love From A Stranger (Michael Lawrence) Lucy Bailey Fiery Angel/UK Tour Lot And His Gold (Drogheda) Robyn Winfield-Smith The Print Room The Only True History Of Lizzie Finn Blanche McIntyre Southwark Playhouse (Robert Gibson) Our Brother David (Anthony) Anthony Clark Watford Palace Theatre Beasts And Beauties (Man 1/Man 3) Melly -
Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath. -
Iv: the Allan Wilkie Shakespearean Company, 1920-1926
IV: THE ALLAN WILKIE SHAKESPEAREAN COMPANY, 1920-1926 "Our True Intent is all for Your Delight." In September 1920, Allan Wilkie announced his plans to establish Australia's first permanent Shakespearean company, drawing a parallel to Frank Benson's Company in England. The inaugural production by the new Allan Wilkie Shakespearean Company was to be a "new arrangement" of Macbeth, and Wilkie gave it as his fixed intention to produce all thirty-seven of Shakespeare's plays, some of which had never previously been staged in Australia." Advance publicity emphasized the potentially historic nature of the occasion: When in future years this company will be counted one of the institutions of which Australia is proud, those who attend on the opening night will tell with satisfaction how they were present during the enthusiastic hours which saw the inception of the company [Argus, 9 September 1920]. Many cynics were quick to point out the unlikelihood of Wilkie's venture surviving for long, or even getting off the ground, in view of the history of Shakespeare production in Australia. His was by no means the first proposal to establish a permanent company, but lack of demand had ended all previous efforts. In order to arouse audience curiosity, Wilkie advertised, as mentioned above, a "new arrangement" of Macbeth. His presentation was to have two novel aspects, which were to form the basis of his production methods in the years to come. They were interdependent: first, a new method of scenic arrangement, and second, a new organisation of the play, made possible by simplified scenery. -
52 - Sir Frank Benson
52 - SIR FRANK BENSON By Ann Pennington The proudest moment in the life of Frank Benson occurred when he was knighted by King George V during the tercentenary performance of Julius Caesar at Drury Lane in 1916, the first actor to be so honoured within the walls of a theatre. Previously he had been awarded the Freedom of the Borough of Stratford-upon-Avon for his services to Shakespearean theatre. Francis Robert Benson, known by his family as Frank and almost invariably by his fellow Thespians as F.R.B. was the fourth child and third son of William Benson, descended from Quaker stock, and Elizabeth Soulsby Benson (nee Smith), reputed to be one of the most beautiful women of her day. Their grave and memorial is in the New Alresford churchyard. Born in Tunbridge Wells on 4th November 1858, Frank Benson was quite a little boy when the family moved to Langtons, now Langton House, at the corner of East Street and Sun Lane in Alresford. Both house and grounds are much smaller now than when the Bensons, their six children and a battalion of servants lived there. The property included the farm with its paddocks, pastures, stables and grounds with long sloping lawns, flower walks and an enclosed kitchen garden. This was the home Frank Benson remembered in later life with almost passionate affection. Throughout his schooldays his main interests were physical fitness and the love of word and rhythm. In his two final years at Winchester he was Head of House (Wickham's) and had won the straight mile, appropriately on the Alresford road. -
Playwright DAVID HARE Receives the Guild's 2017 GIELGUD AWARD
But the culminating moments of a richly varied program Playwright DAVID HARE Receives were devoted to the GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS and to the afternoon’s final presentation, for The Guild’s 2017 GIELGUD AWARD OUTSTANDING CONTRIBUTION TO BRITISH THEATRE.. That trophy went to LYN GARDNER, “a renowned theatre journalist, critic, n Sunday, October 15, at a memorable UK THEATRE author, and champion of the industry, whose invaluable O AWARDS luncheon in London’s historic GUILDHALL, one insights can most often be found in The Guardian and The of today’s most versatile dramatic artists received the 2017 Stage, of which she is an associate editor.” GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS. Not only has DAVID HARE enriched our theatrical repertory resenting this year’s GIELGUD AWARD was FREDDIE FOX, with some of the most resonant and challenging stageplays of P an actor of impeccable pedigree who is admired for our era. He has also produced screenplays that have garnered films such as The Three Musketeers, Victor Frankenstein, The Riot Club, Pride, and Worried About the Boy, as well as for such stage roles as Bosie in The Judas Kiss, a David Hare drama about the tragic fall of Oscar Wilde. Mr. Fox talked about how much he’d enjoyed working not only with Sir David but with artistic director Jonathan Kent while co-starring in this Hampstead Theatre production. As he bestowed the 2017 GIELGUD trophy, he shared two messages from admirers of Sir David who were unable to attend the Guildhall luncheon.