Brotherton Collection MS 20C Theatre West Yorkshire Playhouse
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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’. -
The Inventory of the Joan Fontaine Collection #570
The Inventory of the Joan Fontaine Collection #570 Howard Gotlieb Archival Research Center TABLE OF CONTENTS Film and Video 1 Audio 3 Printed Material 5 Professional Material 10 Correspondence 13 Financial Material 50 Manuscripts 50 Photographs 51 Personal Memorabilia 65 Scrapbooks 67 Fontaine, Joan #570 Box 1 No Folder I. Film and Video. A. Video cassettes, all VHS format except where noted. In date order. 1. "No More Ladies," 1935; "Tell Me the Truth" [1 tape]. 2. "No More Ladies," 1935; "The Man Who Found Himself," 1937; "Maid's Night Out," 1938; "The Selznick Years," 1969 [1 tape]. 3. "Music for Madam," 1937; "Sky Giant," 1938; "Maid's Night Out," 1938 [1 tape]. 4. "Quality Street," 1937. 5. "A Damsel in Distress," 1937, 2 copies. 6. "The Man Who Found Himself," 1937. 7. "Maid's Night Out," 1938. 8. "The Duke ofWestpoint," 1938. 9. "Gunga Din," 1939, 2 copies. 10. "The Women," 1939, 3 copies [4 tapes; 1 version split over two tapes.] 11. "Rebecca," 1940, 3 copies. 12. "Suspicion," 1941, 4 copies. 13. "This Above All," 1942, 2 copies. 14. "The Constant Nymph," 1943. 15. "Frenchman's Creek," 1944. 16. "Jane Eyre," 1944, 3 copies. 2 Box 1 cont'd. 17. "Ivy," 1947, 2 copies. 18. "You Gotta Stay Happy," 1948. 19. "Kiss the Blood Off of My Hands," 1948. 20. "The Emperor Waltz," 1948. 21. "September Affair," 1950, 3 copies. 22. "Born to be Bad," 1950. 23. "Ivanhoe," 1952, 2 copies. 24. "The Bigamist," 1953, 2 copies. 25. "Decameron Nights," 1952, 2 copies. 26. "Casanova's Big Night," 1954, 2 copies. -
Jude Akuwudike
www.hamiltonhodell.co.uk Jude Akuwudike Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company Delroy Grant (The Night MANHUNT Marc Evans ITV Studios Stalker) PLEBS Agrippa Sam Leifer Rise Films/ITV2 MOVING ON Dr Bello Jodhi May LA Productions/BBC THE FORGIVING EARTH Dr Busasa Hugo Blick BBC/Netflix CAROL AND VINNIE Ernie Dan Zeff BBC IN THE LONG RUN Uncle Akie Declan Lowney Sky KIRI Reverend Lipede Euros Lyn Hulu/Channel 4 THE A WORD Vincent Sue Tully Fifty Fathoms/BBC DEATH IN PARADISE Series 6 Tony Simon Delaney Red Planet/BBC CHEWING GUM Series 2 Alex Simon Neal Retort/E4 FRIDAY NIGHT DINNER Series 4 Custody Sergeant Martin Dennis Channel 4 FORTITUDE Series 2 & 3 Doctor Adebimpe Hettie Macdonald Tiger Aspect/Sky Atlantic LUCKY MAN Doctor Marghai Brian Kelly Carnival Films/Sky 1 UNDERCOVER Al James Hawes BBC CUCUMBER Ralph Alice Troughton Channel 4 LAW & ORDER: UK Marcus Wright Andy Goddard Kudos Productions HOLBY CITY Marvin Stewart Fraser Macdonald BBC Between Us (pty) Ltd/Precious THE NO.1 LADIES DETECTIVE AGENCY Oswald Ranta Charles Sturridge Films MOSES JONES Matthias Michael Offer BBC SILENT WITNESS Series 11 Willi Brendan Maher BBC BAD GIRLS Series 7 Leroy Julian Holmes Shed Productions for ITV THE LAST DETECTIVE Series 3 Lemford Bradshaw David Tucker Granada HOLBY CITY Derek Fletcher BBC ULTIMATE FORCE Series 2 Mr Salmon ITV SILENT WITNESS: RUNNING ON -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
{TEXTBOOK} the Clothes They Stood up in and the Lady and the Van
THE CLOTHES THEY STOOD UP IN AND THE LADY AND THE VAN PDF, EPUB, EBOOK Alan Bennett | 240 pages | 14 Jul 2009 | Random House USA Inc | 9780812969658 | English | New York, United States The Clothes They Stood Up in and the Lady and the Van PDF Book You are commenting using your Twitter account. Quotes from The Clothes They I enjoyed the little nod to Barbara Pym. Refresh and try again. Interest will be charged to your account from the purchase date if the balance is not paid in full within 6 months. Read on the strength of the cover and loved the premise. Saw that the second story in this double feature has been adapted into a film starring Maggie Smith. Other editions. The Ransome's come back from the opera to find they have been burgled, everything has been taken, the carpets, toilet paper, underwear, everything was gone Going Down. He is concerned about her and she eventua Bennett is a British writer and a master of subtle irony, insight, and wit. This amount is subject to change until you make payment. The Ransomes come home from the opera to find that absolutely everything, down the the carpets, toilet paper and holder, to the oven containing the roast has been taken from the carpet. He's incredibly clever. A charming, humorous story with some surprising depth, this is a quick, one sitting read. A Shooting Star. I was captivated mostly all through, an unusual denouement was extremely funny and revealing, the only thing that jarred a little was the wife's naivety. -
Annual Review 2001 Contents
accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world. -
The Ideal of Ensemble Practice in Twentieth-Century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London P
The Ideal of Ensemble Practice in Twentieth-century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London PhD January 2015 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Philippa Burt 2 Acknowledgements This thesis benefitted from the help, support and advice of a great number of people. First and foremost, I would like to thank Professor Maria Shevtsova for her tireless encouragement, support, faith, humour and wise counsel. Words cannot begin to express the depth of my gratitude to her. She has shaped my view of the theatre and my view of the world, and she has shown me the importance of maintaining one’s integrity at all costs. She has been an indispensable and inspirational guide throughout this process, and I am truly honoured to have her as a mentor, walking by my side on my journey into academia. The archival research at the centre of this thesis was made possible by the assistance, co-operation and generosity of staff at several libraries and institutions, including the V&A Archive at Blythe House, the Shakespeare Centre Library and Archive, the National Archives in Kew, the Fabian Archives at the London School of Economics, the National Theatre Archive and the Clive Barker Archive at Rose Bruford College. Dale Stinchcomb and Michael Gilmore were particularly helpful in providing me with remote access to invaluable material held at the Houghton Library, Harvard and the Harry Ransom Center at the University of Texas, Austin, respectively. -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
Marji Campi Photo: Helen Craig
1st Floor 37 Great Queen Street London WC2B 5AA t +44 (0)20 7831 4450 e [email protected] Marji Campi Photo: Helen Craig Other: Equity Greater London, England, United Location: Eye Colour: Blue Kingdom Hair Colour: Auburn Height: 5'3" (160cm) Hair Length: Short Weight: 10st. (64kg) Voice Character: Friendly Playing Age: 56 - 70 years Voice Quality: Warm Appearance: White Television 2020, Television, Barbara (Regular), Cold Feet (Series 9), ITV, Various Directors 2018, Television, Barbara (Regular), Cold Feet (Series 8), ITV, Various Directors 2017, Television, Doreen, Moving On, BBC Television, LA Productions, Reece Dinsdale 2017, Television, Barbara (Regular), Cold Feet (Series 7), ITV, Various Directors 2016, Television, Barbara, Cold Feet, ITV, Juliet May 2015, Television, Suzie Tunnacliff, Doctors, BBC, Simon Gibney 2012, Television, Aunt Charlotte, Way to Go, BBC, Catherine Moorhead 2011, Television, Ma Bishop, The Impressions show, BBC, Angie de Chastelai-Smith 2008, Television, Grace Turnbald, Doctors, BBC, Sean Gleeson 2007, Television, Margaret Carmichael, The Bill, Talkback Thames, Matthew Whiteman 2006, Television, Evie Brown, Eastenders (4 Eps), BBC, Various Directors 2005, Television, Casualty, BBC, Murilo Pasta 2005, Television, Doctors, BBC, Burt Caesar 2005, Television, The Last Laugh, BBC3, Paul Holms 2002, Television, Jessie Shadwick (Regular 1998-02), Brookside, Mersey Television, Various Directors 1998, Television, Picking Up The Pieces, Carlton Television 1997, Television, Joyce, Heartbeat, Yorkshire Television, -
Equity Magazine Autumn 2020 in This Issue
www.equity.org.uk AUTUMN 2020 Filming resumes HE’S in Albert Square Union leads the BEHIND fight for the circus ...THE Goodbye, MASK! Christine Payne Staying safe at the panto parade FIRST SET VISITS SINCE THE LIVE PERFORMANCE TASK FORCE FOR COVID PANDEMIC BEGAN IN THE ZOOM AGE FREELANCERS LAUNCHED INSURANCE? EQUITY MAGAZINE AUTUMN 2020 IN THIS ISSUE 4 UPFRONT Exclusive Professional Property Cover for New General Secretary Paul Fleming talks Panto Equity members Parade, equality and his vision for the union 6 CIRCUS RETURNS Equity’s campaign for clarity and parity for the UK/Europe or Worldwide circus cameras and ancillary equipment, PA, sound ,lighting, and mechanical effects equipment, portable computer 6 equipment, rigging equipment, tools, props, sets and costumes, musical instruments, make up and prosthetics. 9 FILMING RETURNS Tanya Franks on the socially distanced EastEnders set 24 GET AN INSURANCE QUOTE AT FIRSTACTINSURANCE.CO.UK 11 MEETING THE MEMBERS Tel 020 8686 5050 Equity’s Marlene Curran goes on the union’s first cast visits since March First Act Insurance* is the preferred insurance intermediary to *First Act Insurance is a trading name of Hencilla Canworth Ltd Authorised and Regulated by the Financial Conduct Authority under reference number 226263 12 SAFETY ON STAGE New musical Sleepless adapts to the demands of live performance during the pandemic First Act Insurance presents... 14 ONLINE PERFORMANCE Lessons learned from a theatre company’s experiments working over Zoom 17 CONTRACTS Equity reaches new temporary variation for directors, designers and choreographers 18 MOVEMENT DIRECTORS Association launches to secure movement directors recognition within the industry 20 FREELANCERS Participants in the Freelance Task Force share their experiences Key features include 24 CHRISTINE RETIRES • Competitive online quote and buy cover provided by HISCOX. -
Shelley King
14 City Lofts 112-116 Tabernacle Street London EC2A 4LE offi[email protected] +44 (0) 20 7734 6441 SHELLEY KING Coronation Street Television Role Title Production Company Director Yasmeen Nazir (Series Regular) CORONATION STREET ITV Various Awards for her performance in this role * Best Show-Stopper (Inside Soap * Favourite Soap Star (TV Times include: Awards 2020) Awards 2020) * Best Soap Actress (TV Choice Awards 2020) Head of State CRACKANORY Tiger Aspect Richard Pengelley Celadine ATLANTIS BBC Alice Troughton Mrs Kayani EASTENDERS BBC Clive Arnold Nalira Kapur THE BILL Talkback Thames Paul Wroblewski Fadwar Butt HOLBY CITY BBC Carl Hindmarch Dr Ibrahim SILENT WITNESS BBC Maurice Philips Nazreen (Lead) BANGLATOWN BANQUET BBC Hettie MacDonald Mrs Dewan THE BILL Talkback Thames Robert Gabriel Larissa THE MAGISTER BBC Susan Tully Mrs Juttla SILENT WITNESS BBC Renny Rye Nina Pargetter SEE HOW THEY RUN BBC / ABC Television Graeme Harper Bubbly Sharma TANDOORI NIGHTS (SERIES 1 & Channel 4 Jon Amiel 2) Dr D’Cruze REAL WOMEN BBC Phil Davis Kumari A SECRET SLAVE BBC Sally George Nazreen KING OF THE GHETTO BBC Roy Battersby Jay Harper (Series Regular) ANGELS (SERIES 1 & 2) BBC Julia Smith Stage Role Title Production Company Director Rani THE WISDOM CLUB Jenny King Simeilia Hodge-Dallaway Cherise Ventakaram CITY OF THE BLIND Fire Exit Tim Licata Zehrunisia BEHIND THE BEAUTIFUL National Theatre Studio Rufus Norris FOREVERS Stage (cont) Role Title Production Company Director Sylvie CALCUTTA KOSHER Arcola Theatre Janet Steel Aunty 5 THE USUAL AUNTIJIES -
David Wood Short Bio. Headed
David Wood Writer and Director David is called ‘the national children’s dramatist’ (The Times). His plays are performed worldwide, and include THE GINGERBREAD MAN, THE PLOTTERS OF CABBAGE PATCH CORNER, SAVE THE HUMAN and THE IDEAL GNOME EXPEDITION. Among his adaptations are eight Roald Dahl stories (THE BFG, THE TWITS, THE WITCHES, FANTASTIC MR FOX, JAMES AND THE GIANT PEACH, DANNY THE CHAMPION OF THE WORLD, GEORGE’S MARVELLOUS MEDICINE and THE MAGIC FINGER), Dick King-Smith’s BABE, THE SHEEP-PIG, Eric Hill’s SPOT’S BIRTHDAY PARTY, HRH the Prince of Wales’ THE OLD MAN OF LOCHNAGAR, Philip Pullman’s CLOCKWORK, Judith Kerr’s THE TIGER WHO CAME TO TEA (Olivier Award nomination 2012), Sam McBratney’s GUESS HOW MUCH I LOVE YOU, the award-winning TOM’S MIDNIGHT GARDEN (from Philippa Pearce’s novel) and Michelle Magorian’s GOODNIGHT MISTER TOM, which opened at Chichester, toured twice, played seasons at the Phoenix Theatre and Duke of York’s in the West End and won the Olivier Award 2013 for Best Entertainment and Family. His book, THEATRE FOR CHILDREN (Faber) is a set text on both sides of the Atlantic. Film screenplays include SWALLOWS AND AMAZONS and the award-winning BACK HOME (from Michelle Magorian’s novel). For the Queen’s 80 th birthday, he wrote THE QUEEN’S HANDBAG, broadcast live from Buckingham Palace Gardens to 8,000,000 BBC1 viewers. With composer Richard Taylor he adapted L P Hartley’s THE GO-BETWEEN, which won Best Musical Production, Theatre UK Awards 2012, and played a West End season at the Apollo Theatre, starring Michael Crawford, in 2016.