Angus Mackay Diaries Volume II (1952-1966)
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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. -
Talking Theatre Extract
Richard Eyre TALKING THEATRE Interviews with Theatre People Contents Introduction xiii Interviews John Gielgud 1 Peter Brook 16 Margaret ‘Percy’ Harris 29 Peter Hall 35 Ian McKellen 52 Judi Dench 57 Trevor Nunn 62 Vanessa Redgrave 67 NICK HERN BOOKS Fiona Shaw 71 London Liam Neeson 80 www.nickhernbooks.co.uk Stephen Rea 87 ix RICHARD EYRE CONTENTS Stephen Sondheim 94 Steven Berkoff 286 Arthur Laurents 102 Willem Dafoe 291 Arthur Miller 114 Deborah Warner 297 August Wilson 128 Simon McBurney 302 Jason Robards 134 Robert Lepage 306 Kim Hunter 139 Appendix Tony Kushner 144 John Johnston 313 Luise Rainer 154 Alan Bennett 161 Index 321 Harold Pinter 168 Tom Stoppard 178 David Hare 183 Jocelyn Herbert 192 William Gaskill 200 Arnold Wesker 211 Peter Gill 218 Christopher Hampton 225 Peter Shaffer 232 Frith Banbury 239 Alan Ayckbourn 248 John Bury 253 Victor Spinetti 259 John McGrath 266 Cameron Mackintosh 276 Patrick Marber 280 x xi JOHN GIELGUD Would you say the real father—or mother—of the National Theatre and the Royal Shakespeare Company is Lilian Baylis? Well, I think she didn’t know her arse from her elbow. She was an extraordinary old woman, really. And I never knew anybody who knew her really well. The books are quite good about her, but except for her eccentricities there’s nothing about her professional appreciation of Shakespeare. She had this faith which led her to the people she needed. Did she choose the actors? I don’t think so. She chose the directors. John Gielgud Yes, she had a very difficult time with them. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
David Lean: DR. ZHIVAGO (1965, 197 Min.)
March 12, 2019 (XXXVIII:7) David Lean: DR. ZHIVAGO (1965, 197 min.) DIRECTOR David Lean WRITING Robert Bolt screenplay adapted from the Boris Pasternak novel PRODUCER Carlo Ponti MUSIC Maurice Jarre CINEMATOGRAPHY Freddie Young EDITING Norman Savage PRODUCTION DESIGN John Box ART DIRECTION Terence Marsh SET DECORATION Dario Simoni COSTUME DESIGN Phyllis Dalton The film permeated the 1966 Academy Awards, winning Oscars for Best Writing, Screenplay Based on Material from Another Medium (Robert Bolt), Best Cinematography, Color (Freddie Young), Best Art Direction-Set Decoration, Color (John Box, Terence Marsh, and Dario Simoni), Best Costume Design, Color (Phyllis Dalton), and Best Music, Score (Maurice Jarre). The Mark Eden...Engineer at Dam film also received Oscar nominations for Best Picture (Carlo Erik Chitty...Old Soldier Ponti), Best Actor in a Supporting Role (Tom Courtenay), Best Roger Maxwell...Beef-Faced Colonel Director (David Lean), Best Sound (A.W. Watkins, Franklin Wolf Frees...Delegate Milton), and Best Film Editing (Norman Savage). The film was Gwen Nelson...Female Janitor also nominated for the Cannes Palm d’Or. Lucy Westmore...Katya Lili Muráti...The Train Jumper (as Lili Murati) CAST Peter Madden...Political Officer Omar Sharif...Yuri Julie Christie...Lara DAVID LEAN (b. March 25, 1908 in Croydon, Surrey, England, Geraldine Chaplin...Tonya UK—d. April 16, 1991 (age 83) in London, England, UK) was Rod Steiger...Komarovsky an English film director (19 credits), producer, screenwriter (10 Alec Guinness...Yevgraf credits) -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
Amelia Hall Collection Inventory
Amelia Hall Collection Inventory Photographs, prompt scripts and acting exercises donated by the estate of Canadian actress Amelia Hall (1915-1984). Includes material from the Canadian Repertory Theatre, Ottawa Drama League, Montreal Repertory Theatre, Stratford Festival and Shaw Festival. The photographs are copies made from originals in her personal collection, now in the Public Archives of Canada. Many had been planned for use as illustrations in the book she was writing on the Canadian Repertory Theatre. Also available in the Performing Arts Centre is a microfilm copy of the Amelia Hall Scrapbooks (the originals now in the National Archives). 2 boxes; 64 envelopes and 1 framed photograph; .8 linear metres Box #1 Env. #1: Biographical notes Compiled by Amelia Hall, 14pp. Env. #1a: Reminiscences Amelia Hall for CBC Trans Canada Matinee, 1955, 29 pp. Env. #2: Personal thoughts on life, career, etc. – 3 items Compiled by Amelia Hall for “A Study of Twenty of Toronto’s Creative Women” by Toni Sutherland. 1976. Letter from Sutherland, 3 pp. photocopy Thoughts by Amelia Hall, 10 pp. photocopy and note from Sutherland. Env. #3: Clippings, etc. – 7 items Includes Order of Service for Requiem for Amelia Hall Env. #4: Correspondence and Misc. – 16 items 2 cards, including 1 from AH to Mrs. Hall 2 letters, Nov. 15 & Dec. 1, 1976. Wendy Swain, Archivist, Stratford Festival, to AH re: photographs. Amelia Hall Collection Inventory Page 2 of 14 1 note [1980] from Daphne Dare thanking AH for loan of book [on Chekhov, used for ideas for The Seagull] Whiteoaks of Jalna, CBC-TV souvenir booklet and family tree Dominion Drama Festival award to Toronto Conservatory Players for The Jar, 1947 Snapshot of Mrs. -
Talking out of Tune
Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s. -
Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H. -
Reading the Old Left in the Ewan Maccoll and Joan Littlewood's
Reading the Old Left in the Ewan MacColl and Joan Littlewood’s Theatre Workshop and Beyond: in Joan Littlewood’s post-theatrical engagements in the 1960s. Fatine Bahar Karlidag A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Stefka Mihaylova, Chair Odai Johnson Scott Magelssen Barry Witham Program Authorized to Offer Degree: Drama ©Copyright 2017 Fatine Bahar Karlidag 2 University of Washington Abstract Reading the Old Left in the Ewan MacColl and Joan Littlewood’s Theatre Workshop and Beyond: in Joan Littlewood’s post-theatrical engagements in the 1960s. Fatine Bahar Karlidag Chair of the Supervisory Committee: Dr. Stefka Mihaylova School of Drama Based on archival research, recent Joan Littlewood centenary events and contemporary scholarship on the Theatre Workshop of Joan Littlewood and Ewan MacColl, this dissertation proposes to take sides with the radical class politics of the Old Left, or Communism, to read the legacy of MacColl-Littlewood collaboration in theatre, and its continuing impacts on Littlewood’s post-theatrical work in the 1960s’ New Left. This is to demystify the ‘genius’ aura bestowed upon Joan Littlewood; to re-instate Ewan MacColl’s contribution to the legacy of this ground-breaking theatre famously known as that which revolutionized the West End; to retrofit Theatre Workshop as a sample ensemble of the larger frame of the radical left-wing interwar theatres while acknowledging the independent evolution of their work into 1950s, and to further complicate the thematically and textually oriented analytical narratives’ efforts to analyze Theatre Workshop productions. -
LOCANTRO Theatre
Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth -
WNET Licensing (A's)
The “A’s” (Source: NET microfiche, unless listed) Aaron Copland Meets the Soviet Composers (1959) Initial Broadcast: N/A Number of programs: 1 Origin Format: Undetermined Running time: 30 minutes AARON COPLAND MEETS THE SOVIET COMPOSERS is a half-hour studio production kinescope of an interview between Copland and six Soviet musicians, musicologists and/or composers who were travelling in the US. My impression is that this was a visit in return for one made to the USSR by an American group earlier that included Menned (?), Sessions, Harris and Kay (?). The setting for the interview is a recreated concert hall stage with the guests sitting in players’ chairs and Copland and his translator located where a solo instrumentalist would be seated. The questions appear to have been scripted in advance – and scripts placed on the music stands. The responses from the Soviets appear to have been ad lib. Copland’s questions were translated into Russian by an American (?) of Russian origins, Nicholas Slonimsky, himself a musician. The Soviets spoke in Russian and were heard through simultaneous translation. The translator was unseen and uncredited. The Soviet guests include (in order of answering questions): Dmitri Kabalevsky, Boris Yarustovsky, Tikhon Khrennikov, Dmitri Shostakovich, Konstantin Dankevich and Fikret Amirov. Kabalevsky was asked about the knowledge of American music in the USSR; Yarustovsky on the influence of American music on Russian music; Khrennikov on the reactions of Soviet musicians to the visit of four American musicians earlier (in the exchange program?); Shostakovich on American jaZZ and its influence; Dankevich on younger Soviet composers and Amirov on the adaption of native musical types to series music. -
Theatre Archive Project
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Gale, Peter – interview transcript Interviewer: Halima Memoniat 3 February 2012 Peter Gale, actor, on: Frith Banbury, Ingrid Bergman, Dorothea Brooking, Byre Theatre, Fay Compton, Sir Noël Coward, Cowardy Custard, Fringe theatre, Drury Lane, Gay Hamilton, Lionel and Clarissa, Look Back in Anger; Chris Luscombe, Kenneth Moore, Albery Theatre, John Osborne, Sir Terence Rattigan, Sir Michael Redgrave; repertory theatre, Samson Agonistes, Southwark Playhouse Theatre, television, The Winslow Boy, Yvonne Arnaud Theatre. PG: Here we go…yes, I just had to sign my name, and I always have to think twice because my real name is Richard, but there was already a Richard Gale in the business who I worked with later – Ricky Gale, very nice actor; so I chose Peter, because I’m Richard Lionel Peter Gale, and I thought Peter Gale was alright. It’s a very common name, Peter…but anyway, but that’s immaterial. HM: Ok, I just wanted to know how you first became involved with the theatre, as you were telling me before. PG: Yes. Well its quite interesting because as I said, it’s as if those upstairs are watching over us all (not that I’m particularly religious) but it’s as if they always shoved me in that direction because when I was a kid I used to put on little puppet shows for children, very poor, very poor background. I was born in Slough, in terraced housing with no inside loo, an outside lavatory, no bathroom etc. But I always – it was the early days of television and I watched something called Muffin the Mule and I was enchanted by this as a child to see a lady called Annette Mills playing the piano and these little marionettes coming onto the top of her piano and she’d talk to them.