DOCSLIB.ORG

2008 Spring Season

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2008 Spring Season BAMbill January 2008 2008 Spring Season Eddie Martinez, Intergalactic Go Fish, 2007 BAM 2008 Spring Season is sponsored by: 2008 Spring Season Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Happy Days Approximate BAM Harvey Theater running time: Jan 8—12, 15—19, 22—26, Jan 29—Feb 2 at 7:30pm one hour and Jan 12, 19, 26 & Feb 2 at 2pm 40 minutes, Jan 13, 20 & 27 at 3pm one intermission By Samuel Beckett National Theatre of Great Britain Produced by Karl Sydow Winnie Fiona Shaw Willie Tim Potter Directed by Deborah Warner Set design by Tom Pye Lighting design by Jean Kalman Sound score by Mel Mercier Sound design by Christopher Shutt Costume consultant Luca Costigliolo American stage manager Jane Pole Premiere: The National Theatre’s Lyttelton Theatre, January 24, 2007 Happy Days by Samuel Beckett is presented through special arrangement with Georges Borchardt, Inc, on behalf of the Estate of Samuel Beckett. Supported by Laura Pels Foundation BAM 2008 Spring Season is sponsored by Bloomberg. Major support for Happy Days is provided by Newman’s Own Foundation and David L. Klein, Jr. Foundation. Leadership support for BAM Theater is provided by The Shubert Foundation, Inc., The SHS Foundation, The Gladys Krieble Delmas Foundation, with major support from Harold and Mimi Steinberg Charitable Trust and Rose M. Badgeley Residuary Charitable Trust. Happy Days Happy Days by Samuel Beckett “Ah yes, so little to say, so little to do, and the fear so great, certain days, of finding oneself… left, with hours still to run, before the bell for sleep, and nothing more to say, nothing more to do, that the days go by, certain days go by, quite by, the bell goes, and little or nothing said, little or nothing done. [Raising parasol.] That is the danger. [Turning front.] To be guarded against.” Blazing light, scorched grass. Buried to above her waist and woken by a piercing bell, Winnie chatters away as she rummages in a bag, brushes her teeth, pulls out and kisses a revolver. Her husband, Willie, responds now and then, reads from an old paper, studies a pornographic postcard. A second bell signals the end of another happy day. Written in 1960, Samuel Beckett’s extraordinary play opened the new National Theatre on the South Bank in London in 1976. The play returned to the National in 2007 with Fiona Shaw and Deborah Warner, one of theater’s richest and most enduring working partnerships (Richard II, Electra, The PowerBook, The Waste Land, Medea). FOR THE HAPPY DAYS COMPANY Production Manager Katrina Gilroy Company Manager Sarah Ford Associate Lighting Designer Simon Fraulo Stage Supervisor Prad Pankhania Scenic Artists Victoria Fifield Charles Court Producer Karl Sydow for Dance with Mr D General Management Nick Salmon and Imogen Kinchin for Act Productions With special thanks to Nicole Richardson and Emma Cameron Pádraig Cusack for the National Theatre The National’s workshops are responsible for, on this production: Armoury; Costume; Props & furniture; Scenic construction; Scenic painting; Wigs FOR ACT PRODUCTIONS: Chairman Roger Wingate Director of Production Nick Salmon Producer Matthew Byam Shaw General Manager Nia Janis Production Administrator Janet Powell Assistant Producer Imogen Kinchin Production Assistant Amardeep Kamboz Production Assistant Despina Tsatsas Administrative Assistant Georgia Gatti Head of Finance Kerrie Cronin Production Accountant Kate Barraball Associate Producer Roger Chapman www.actproductions.co.uk The actors are appearing with the permission of Actors’ Equity Association. The American stage manager is a member of Actors’ Equity Association. On Happy Days and Beckett by Alice Oswald Happy Days is a very funny play. One approach to it, which I hope wouldn’t offend Beckett’s loathing of textual analysis, is to apply some basic topography to the script. After all, Beckett’s study, where most of Happy Days was written, looked out on the Sante prison—so that, just like Winnie, he had to raise his eyes to the zenith to remain cheerful: “I’ll learn to raise the eyes to Val de Grace, Pantheon and the glimpse of Notre Dame…” That kind of random, domestic detail will often flash up in a text, caught in it like a stranger in a photograph. But the geography of a Beckett play is never straightforward. Fluent in three languages, Beckett wrote most of his plays in French. He wrote Happy Days in English, in Paris, incorporating bits of his Irish childhood. He then struggled to translate it into French, but having done so, Madeleine Renaud’s performance at the Théâtre de l’Odeon turned out to be his favorite. Then there’s the imagery of the play, which is neither French nor Irish but recalls Dante’s Inferno, where people rise up half out of mud or ice to express themselves. To locate the Fiiona Shaw. Photo: Hugo Glendinning Shaw. Fiiona action and the author in the Uncountry of the their climate, their hidden tricks and traits, are Underworld certainly fits with Beckett’s own off- definitely lunar. hand explanation: “Well I thought that the most dreadful thing that could happen to anybody Think of Waiting for Godot. Inspired by a painting would be not to be allowed to sleep, so that just of two men looking at the moon, it’s been said as you’re dropping off there’d be a ‘Dong’ and that nothing happens twice in that play. But in you’d have to keep awake; you’re sinking into the fact one thing happens twice: the moon rises. ground alive and it’s full of ants and the sun is Each time it rises, the characters are, at least shining endlessly...” outwardly, transformed; which is why Beckett asked them in rehearsal “to speak as if with Paris, Dublin, Hell—any of those give useful moonlight in your voices.” grid references for a work by Beckett. But the map I most often take to his writing is a map of Ill Seen Ill Said (written nineteen years later) the night sky. Beckett was an insomniac and a has been described as a prose poem about a late riser. He himself observed that a writer will woman in black, who lives alone in a cabin inevitably make use of his sensory input, even surrounded by twelve figures and makes regular though that may not actually be his subject. He visits to a white tombstone. I haven’t anywhere also said that “the daylight world is a world of seen it described as a piece of writing about the blindness” and “on commence enfin à voir dans moon. But it is. Who else could a woman be le noir.” I think it could be argued that Beckett’s whose “long white hair stares in a fan. Above real topos was a nightscape, whose most familiar and about the impassive face,” who comes and landmark (or skymark) was the moon. His goes mysteriously: “as hope expires of her ever plays are first and foremost about people, but reappearing, she reappears,” “she re-emerges On Happy Days and Beckett on her back”? All the furniture of her story—the out of someone’s eye.” I read Happy Days as a bowl filling and emptying, the hook on the wall, prologue to Ill Seen Ill Said, which far from being the tombstone—have counterparts in ancient a prose poem about a woman in black, is really myths about the moon. And her twelve aloof a silent play about the moon. A play reduced to companions are certainly the zodiac. stage directions because the central character has run out of words: “What would I do without them, Of course Beckett was against reductive when words fail? (pause) Gaze before me with explanations of his work. Whenever Brenda compressed lips.” (Happy Days) “Re-examined Bruce, who played the original Winnie, asked rid of light, the mouth changes, unexplainably. him some question about the text, he would Lips as before. Same closure.” (Ill Seen Ill Said) answer: “Tis of no consequence.” I wouldn’t want to imply that the moon is the meaning of The moon, as a Muse or a meaning or a Ill Seen Ill Said, (which probably has more to do map reference, is an intermittent thing and with Beckett’s dead mother than anything else), intermittence is a key ingredient of Beckett’s simply that it is visibly afloat in the writing. And if style. The text of Happy Days, every so often you read the words with moonlight in your voice, blanked out with the word “(pause)”, reads you begin to notice all kinds of connections with something like a lunar calendar with its regular Happy Days. patterns of blanked out nights. “The experience of my reader,” said Beckett “shall be between “Seated on the stones, she is seen from behind, the phrases, in the silence communicated by the from the waist up.” intervals, not the terms of the statement… his “Alone her face remains. Of the rest, beneath its experience shall be the menace, the miracle, the covering, no trace.” memory of an unspeakable trajectory…” “Ghost of an ancient smile, smiled finally, once and for all.” Beckett’s stage directions, taken to an absurd “Full glare now on the face present. Throughout extreme in Happy Days, are the trace of that the recent future.” trajectory. They are immaculately paced pieces of silence, in and out of which Winnie moves, trying Any of those lines from Ill Seen Ill Said could desperately to read her toothbrush. She is above just as well refer to Happy Days.
Load more

Recommended publications
  • Stage by Stage South Bank: 1988 – 1996
    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
    [Show full text]
  • Simon Russell Beale Photo: Charlie Carter
    Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Simon Russell Beale Photo: Charlie Carter Location: London Other: Equity Height: 5'7" (170cm) Eye Colour: Grey Playing Age: 51 - 55 years Hair Colour: Greying Appearance: White Hair Length: Short Stage 2018, Stage, The Lehman Trilogy, The National Theatre, Sam Mendes 2016, Stage, Prospero, The Tempest, Royal Shakespeare Company, Gregory Doran 2015, Stage, Mr Foote, Mr Foote's Other Leg, Hampstead Theatre/Haymarket (transfer), Richard Eyre 2015, Stage, The Dean, Temple, Donmar Warehouse, Howard Davies 2014, Stage, King Lear, King Lear, National Theatre, Sam Mendes 2013, Stage, Acting Captain Terri Dennis, Privates on Parade, Noel Coward Theatre, Michael Grandage 2013, Stage, Roote, The Hothouse, Trafalgar Studios, Jamie Lloyd 2012, Stage, Timon of Athens (Critics' Circle Award 2013), Timon of Athens, National Theatre, Nicholas Hytner 2011, Stage, Jimmy, Bluebird, Atlantic Theatre Company, New York, Gaye Taylor Upchurch 2011, Stage, Stalin, Collaborators, National Theatre, Nicholas Hytner 2010, Stage, Sydney, Deathtrap, Noel Coward Theatre, Matthew Warchus 2010, Stage, Sir Harcourt Courtly, London Assurance, National Theatre, Nicholas Hytner 2009, Stage, Lopahkin, The Cherry Orchard, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2009, Stage, Leontes, The Winter's Tale, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2008, Stage, Edward, A Slight Ache, National Theatre, Iqbal Khan 2008, Stage, Landscape, National Theatre,
    [Show full text]
  • Christopher Marlowe: Ideology and Subversion1
    Christopher Marlowe: Ideology and Subversion1 ‘In Elizabethan and Jacobean drama ... there is almost no analysis of the particular society of the times’ ... the dramatists ‘believed in their own age... And, accepting their age, they were in a position to concentrate their attention ... upon the common characteristics of humanity in all ages, rather than upon the differences.’2 1. Subversion and Representation To begin from a moment in 1 Tamburlaine when Tamburlaine spectacularly violates an Egyptian and, presumably, an Elizabethan cultural practice or ideological code. A Messenger describes to the Soldan of Egypt the quaint and very theatrical device of Tamburlaine’s white, red, and black tents. The Soldan retorts: Merciless villain, peasant ignorant Of lawful arms or martial discipline! Pillage and murder are his usual trades – The slave usurps the glorious name of war. (1 Tamburlaine, 4.1.64-7)3 His outburst seems to be in excess of the facts until we reflect that, by constituting a new set of martial signals and abrogating to himself the meaning of language (usurping the ‘name of war’), Tamburlaine is in fact re-constituting the state, what the Elizabethans termed the ‘nation’.4 This immodest, audacious upstart is enhancing his absolute military authority over Asia by a process of totalisation, and the Soldan is offering a description not only of sedition but of 1 An early version of this paper was given as a lecture at Corpus Christi College, Cambridge on 12 May 1993 as part of the Corpus Marlowe Celebrations. I am grateful to the Master and Fellows for the invitation to this occasion.
    [Show full text]
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • Written by Ben Woolf Edited by Sam Maynard and Katherine Igoe-Ewer Rehearsal and Production Photography by Johan Persson CONTENTS BACKGROUNDPRODUCTIONRESOURCES
    Written by Ben Woolf Edited by Sam Maynard and Katherine Igoe-Ewer Rehearsal and Production Photography by Johan Persson CONTENTS BACKGROUNDPRODUCTIONRESOURCES Contents Introduction 3 Section 1: Background to CLOSER 4 CLOSER: An introduction 5 Characters 6 CLOSER in Context 10 Section 2: The Donmar’s Production 15 Cast and Creative Team 16 Rehearsal Diaries 17 An Interview with Playwright Patrick Marber 21 An Interview with the Cast of CLOSER 26 Section 3: Resources 30 Spotlight on Deborah Andrews, Costume Supervisor 31 Workshop Exercises 35 Bibliography 39 2 CONTENTS BACKGROUNDPRODUCTIONRESOURCES Introduction Welcome to this Behind the Scenes Guide to the Donmar Warehouse production of Patrick Marber’s CLOSER, directed by David Leveaux. The following pages contain an exclusive insight into the process of bringing this production from page to stage. Written by playwright and director Patrick Marber, CLOSER was critically acclaimed when it premiered at the National Theatre in 1997, winning Olivier, Evening Standard and New York Drama Critic’s Circle Awards. It has since been produced in the West End, Broadway, around the world and adapted into an international movie. This is its first major London revival. This guide aims to set the play and the production in context. It includes conversations with Patrick Marber and the cast who bring the characters to life. There are also extracts from Resident Assistant Director Zoé Ford’s rehearsal diary and practical exercises designed for use in the classroom. The guide has a particular focus on costume and includes a conversation with Deborah Andrews, the production’s costume supervisor, whose role is crucial in finding the right look for each character.
    [Show full text]
  • Synesthetic Landscapes in Harold Pinter's Theatre
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique.
    [Show full text]
  • Shakespeare in Production
    Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION THE MERCHANT OF VENICE For over four hundred years, in every country where Shakespeare’s plays have been performed, The Merchant of Venice has aroused controversy and excitement. This edition is the first to offer a comprehensive account of the Merchant in performance. Charles Edelman’s introduction challenges many of the myths and preconceptions associated with the play, and shows how historical events and cultural attitudes have shaped actors’ interpretations and audi- ence responses. The commentary, printed alongside the text, describes how different actors, directors and designers have approached each character and episode on stage, film and television, from the first performances in the s down to the present day. The extraordinary variety of The Merchant of Venice in production, from England to the United States, from Germany to Israel, from Canada to Aus- tralia to China, presented here in a clear and original way, will give every reader new and different insights into one of Shakespeare’s most powerful but troubling plays. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION : . This series offers students and researchers the fullest possible staging of individual Shakespearean texts. In each volume a substantial introduction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself, offers detailed, line-by-line evi- dence for the overview presented in the introduction, making the volume a flexible tool for further research.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in
    [Show full text]
  • Cahiers Élisabéthains a Biannual Journal of English Renaissance Studies
    Cahiers Élisabéthains A Biannual Journal of English Renaissance Studies General Editors: Yves Peyré & Charles Whitworth Revue fondée en/Founded in 1972 (ISSN 0184-7678) & publiée par/ published by L’INSTITUT DE RECHERCHES SUR LA RENAISSANCE, L’ÂGE CLASSIQUE ET LES LUMIÈRES (IRCL) UMR 5186 du CNRS, Université Paul Valéry, Route de Mende, 34199 Montpellier, France A PLAY, FILM AND OPERA REVIEW INDEX TO Cahiers Élisabéthains 1-70: CORIOLANUS (compiled by Janice Valls-Russell, Managing Editor, IRCL) Issue no. Pages Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, The Aldwych Theatre, London, 9 June 1978 (Jean VACHÉ) 14 111-12 Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, Théâtre National de l’Odéon, Paris, 3-8 April 1979 (Frédéric FERNEY) 16 97-99 Coriolanus, directed by Brian Bedford for the Stratford Shakespeare Festival, Stratford, Ontario, 16 June 1981 (Charles HAINES) 20 119-20 Coriolan, directed by Bernard Sobel, Théâtre de Gennevilliers, 3 March 1983 (Leonore LIEBLEIN) 24 96-97 Coriolanus, produced by Shaun Sutton and directed by Elijah Moshinsky, BBC Shakespeare, BBC 2, 21 April 1984 (G. M. PEARCE) 26 96-98 The Roman Tragedies. 60 mn video cassette, based on Julius Caesar, Antony and Cleopatra, and Coriolanus. Written and presented by David Whitworth, produced and directed by Noël Hardy (G. M. PEARCE) 28 87-88 Coriolanus, directed by Peter Hall, National Theatre, London, 8 May 1985 (G. M. PEARCE) 28 93-95 Coriolanus, directed by Jane Howell, The Young Vic, London, 27 May 1989 (Peter J. SMITH) 36 97-98 Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, Barbican Main Theatre, London, 2 May 1990 (Jill PEARCE) 38 95-96 Coriolanus, directed by Michael Bogdanov for the English Shakespeare Company, Theatre Royal, Nottingham, 12 December 1990 (Peter J.
    [Show full text]
  • Before-The-Act-Programme.Pdf
    Dea F ·e s. Than o · g here tonight and for your Since Clause 14 (later 27, 28 and 29) was an­ contribution o e Organisation for Lesbian and Gay nounced, OLGA members throughout the country Action (OLGA) in our fight against Section 28 of the have worked non-stop on action against it. We raised Local Govern en Ac . its public profile by organising the first national Stop OLGA is a a · ~ rganisa ·o ic campaigns The Clause Rally in January and by organising and on iss es~ · g lesbians and gay e . e ber- speaking at meetings all over Britain. We have s ;>e o anyone who shares o r cancer , lobbied Lords and MPs repeatedly and prepared a e e eir sexuality, and our cons i u ion en- briefings for them , for councils, for trade unions, for s es a no one political group can take power. journalists and for the general public. Our tiny make­ C rre ly. apart from our direct work on Section 28, shift office, staffed entirely by volunteers, has been e ave th ree campaigns - on education , on lesbian inundated with calls and letters requ esting informa­ cus ody and on violence against lesbians and gay ion and help. More recently, we have also begun to men. offer support to groups prematurely penalised by We are a new organisation, formed in 1987 only local authorities only too anxious to implement the days before backbench MPs proposed what was new law. then Clause 14, outlawing 'promotion' of homosexu­ The money raised by Before The Act will go into ality by local authorities.
    [Show full text]
  • Humble Boy a Play by Charlotte Jones
    Humble Boy A Play by Charlotte Jones Director: Tom Lodge Producer: Katy Robinson AN INTRODUCTION Alright? We’re Tom and Katy, and the play we’re proposing, as you may be able to tell from the large picture on the front page, is Humble Boy, by Charlotte Jones. Excellent! THE PLAY Humble Boy is an award-winning comedy written in 2001 by Charlotte Jones, inspired by Hamlet, bees and family life, first performed at the National Theatre. The set is the pretty garden of the Humble household in the English countryside, over several weeks one summer, and the time is the present. THE AUTHOR Charlotte Jones is a multi award British winning playwright born in 1968 described as “one of the best up-and-coming young playwrights in England today”, whose other works include the fantastic The Lightning Play, last seen in Sheffield in the Platform Festival 2012 and the book of the hit musical, The Woman in White. Her plays often come from a very personal place, and are tinged with sadness, yet remain absolutely hilarious. She describes herself as a “very old-style writer - I like to make ‘em laugh and cry in equal measure.” THE STORY Felix Humble, a Cambridge theoretical physicist, returns to the Humble hive after the tragic death of his father, James, a beekeeper. Felix, upon his return is horrified to discover that his mother, Flora, complete with bruising from her recent “nose reshaping”, has emptied the house of her late husband’s belongings, including his prized bees. The reunion has not gone quite as smoothly as hoped - old hatchets are dug up once again as the pair argue, Flora blaming Felix for embarrassing her by running away after an inability to “find the words” when it was his turn to deliver the eulogy.
    [Show full text]
  • James Riordan RESUME
    James Riordan TELEVISION Person Of Interest Guest Star CBS Limitless Co-Star CBS Public Morals Co-Star TNT Law & Order: SVU Co-Star NBC Boardwalk Empire Guest Star HBO The Blacklist Co-Star NBC Damages Recurring DirecTV Untitled Emmerich/Kloser Pilot Guest Star ABC All My Children Recurring ABC Gossip Girl Guest Star CW As The World Turns Recurring (3 years) CBS Law & Order (2 episodes) Guest Star NBC Law & Order: CI Guest Star NBC Loving Contract ABC FILM Choose Supporting IFC Midnight/Rob Ligato The Hoax Supporting Miramax/Lasse Hallstrom BROADWAY Present Laughter Henry, Morris – u/s St. James/M. von Stuelpnagel Jerusalem Frank Whitworth Music Box/Ian Rickson The Elephant Man (w/ Billy Crudup) Lord John/Will The Royale/Sean Mathias Dance Of Death (w/ Helen Mirren & Ian McKellen) Kurt - standby Broadhurst/Sean Mathias Noises Off! Lloyd/Freddie - standby Brooks Atkinson/Jeremy Sams OFF-BROADWAY (selected) Donogoo Lamendin (lead) Mint Theater Lovers Andy (lead) TACT/Beckett Theatre Our Leading Lady John Wilkes Booth MTC/Lynne Meadow, dir. The Countess John Ruskin (lead) Lambs Theater Christie In Love Constable Tom Circle In The Square REGIONAL THEATER (selected) His Girl Friday McCue Barrington Stage Company Present Laughter Morris Two River Theater The Seagull Trigorin The Cleveland Playhouse The Suicide Semyon Wilma Theater Humana Festival 2 Seasons Actors Theater of Louisville Real Dreams B.T. The Cleveland Playhouse Bovver Boys Gene The Cleveland Playhouse On The Waterfront Specs The Cleveland Playhouse TRAINING/SKILLS MFA Temple University; Dialects: British, Australian, Southern, Irish, Learns dialects quickly .
    [Show full text]