Asides Magazine

Total Page:16

File Type:pdf, Size:1020Kb

Asides Magazine 2014|2015 SEASON Issue 4 TABLE OF Dear Friend, CONTENTS In the late autumn of 2012, STC mounted one of the more unusual—and spectacularly Recipient of the 2012 Regional Theatre Tony Award® 1 Title page imaginative—pieces of theatre I 3 Cast have seen. It was titled The Strange Artistic Director Michael Kahn Undoing of Prudencia Hart and it Managing Director Chris Jennings 5 Synopsis was staged in a bar. The Bier Baron Tavern, to be exact. The audience drank and threw paper snow up in the 7 About the Playwright air, as the author, David Greig, masterfully spun a The National Theatre of Scotland and the Royal Shakespeare Company present 10 modern-day tall tale, invoking Faust, the Scottish oral On Sequels tradition and the Scottish drinking tradition. It was by Jonathan Melville utterly delightful. It sold out nearly every night. I wish 14 After the Dictator more people had been able to see it. Falls: Tracing the steps Ever since, I have wanted to expose David Greig’s work of Gruach to a wider audience, and I have been eager to partner by Jackie McGlone with our friends at the National Theatre of Scotland, the resident geniuses behind that production of Prudencia 18 Taking on “The Hart, the unforgettable Black Watch and tonight’s by DAVID GREIG Scottish Play” David production, David Greig’s Dunsinane. directed by ROXANA SILBERT Greig’s Dunsinane Dunsinane, quite simply, is a play that is long overdue. by Clare Wallace Performances begin February 4, 2015 It tells the story of the events after the death of Macbeth at the battle of Dunsinane, from a Scottish Sidney Harman Hall 24 Cast Biographies perspective. Greig is a proud Scot, as well as one of 29 Direction and Design our most imaginative contemporary writers, and the twists he adds to the familiar Shakespearean narrative Director Associate Movement Director Biographies are exciting, thought-provoking and frequently Roxana Silbert Polly Bennett 36 For STC suggestive with our contemporary political world. One of the most exciting things about my job as Artistic 38 Mapping the Play: The Director of the Shakespeare Theatre Company is the Designer Fight Director Clans and Claims of opportunity it affords me to expose audiences in Robert Innes Hopkins Terry King Washington, D.C. to theatre of the highest international Dunsinane caliber. I trust you will find that Dunsinane continues Lighting Designer Voice Coach by Laura Henry Buda that tradition with distinction. Chahine Yavroyan Stephen Kemble 40 Faces and Voices: At the Lansburgh Theatre, be sure not to miss David Composer and Sound Designer STC Partnerships by Archery Consultant Ives’ world premiere translation and adaptation Nick Powell Hannah Hessel Ratner of The Metromaniacs, an 18th-century comedy. Our Ruth Cooper-Brown, 2014-2015 Season concludes this spring with Alan RC-Annie LTD 44 About STC Paul’s production of Man of La Mancha, a classic Associate Director Luke Kernaghan About ACA reimagining of Cervantes’ Don Quixote, and Helen Casting Directors Hayes Award-winning Steven Epp returns to STC to Anne Henderson 46 Support star in Moliere’s Tartuffe. Movement Director Anna Morrissey Laura Donnelly 54 Preview: Man of We are excited to share these stories with you, and La Mancha see you at the theatre. Original 2010 production casting by Royal Shakespeare Company 56 STC Staff Warm Regards, 2011 and 2013 production casting by Anne Henderson 57 Audience Services 2014 and 2015 production casting by Laura Donnelly Dunsinane is generously sponsored by Dr. Paul and Mrs. Rose Carter Restaurant Partner: Zaytinya Michael Kahn Cover photo: Siobhan Redmond as Gruach. Artistic Director *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Photo by Richard Campbell Shakespeare Theatre Company 1 CAST DUNSINANE Sergeant and Scottish Lord ............................................................................... George Brockbanks Gruach’s Attendant and Hen Girl ...........................................................................Helen Darbyshire Siward ...................................................................................................................................... Darrell D’Silva Malcolm .....................................................................................................................................Ewan Donald Macduff .................................................................................................................................... Keith Fleming The Boy Soldier .................................................................................................................................Tom Gill Eric the Archer ............................................................................................................Toyin Omari-Kinch Egham ............................................................................................................................................. Alex Mann English Soldier .....................................................................................................................Arthur McBain Scottish Soldier, Scottish Lord and English Soldier............................................. Matt McClure Gruach’s Attendant and Gaelic Singer ......................................................................Mairi Morrison Gruach ............................................................................................................................Siobhan Redmond MUSICIANS Musical Director and Cello ............................................................................................Rosalind Acton Percussion ............................................................................................................................... Robert Owen Guitar ............................................................................................................................................ Andy Taylor SUPERNUMERARIES Freddie Bennett+, David Mavricos, Shane O’Loughlin, Zack Powell PRODUCTION TEAM Neil Murray ............................................................................................................................................Executive Producer Margaret-Anne O’Donnell .................................................................................................................................... Producer Chris Hay ..............................................................................................................................................Production Manager Carrie Hutcheon..................................................................................................................... Company Stage Manager Heather Wilson............................................................................................................................ Deputy Stage Manager David Mason-Hill ..................................................................................................................... Assistant Stage Manager Neill Pollard .......................................................................................................................................... Lighting Supervisor Fergus Lockie ......................................................................................................................................... Sound Supervisor Martin Woolley .........................................................................................................................................Stage Supervisor Pam Fulton ........................................................................................................................................Wardrobe Supervisor Michelle Lyon ...................................................................................................................Wigs and Makeup Technician Raymond Short ........................................................................................................................................Props Technician Clare McCormack .............................................................................................................................................Press Officer The Company would like to thank the National Theatre of Great Britain and the casts and production teams of previous Dunsinane tours. International Representation by Michael Mushalla of Double M Arts & Events, LLP THERE WILL BE ONE 15-MINUTE INTERMISSION. The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-for-profit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative. Copyright laws prohibit the use of cameras and recording equipment in the theatre. + Acting Fellow of the Shakespeare Theatre Company 3 STC BOARD OF TRUSTEES SYNOPSIS DUNSINANE Michael R. Klein, Chair Bernard F. McKay Robert E. Falb, Vice Chair Eleanor Merrill Under the cover of night, an English army sweeps through Scotland arriving John Hill, Treasurer Melissa A. Moss at the castle of Dunsinane. There is a fierce battle and they kill the tyrant King, Pauline Schneider,
Recommended publications
  • THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
    PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay.
    [Show full text]
  • Edinburgh International Festival Society Papers
    Inventory Acc.11779 Edinburgh International Festival Society Papers National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland BOX 1 1984 1. Venue letting contracts. 2. Australian Youth Orchestra. 3. BBC Orchestra. 4. Beckett Clurman. 5. Black Theatre 6. Boston Symphony 7. Brussels Opera 8. Childrens Music Theatre 9. Coleridges Ancient Mariner 10. Hoffung Festival BOX 2 1984 11. Komische Opera 12. Cleo Laine 13. LSO 14. Malone Dies 15. Negro Ensemble 16. Philharmonia 17. Scottish National 18. Scottish Opera 19. Royal Philharmonic 20. Royal Thai Ballet 21. Teatro Di San Carlo 22. Theatre de L’oeuvre 23. Twice Around the World 24. Washington Opera 25. Welsh National Opera 26. Broadcasting 27. Radio Forth/Capital 28. STV BOX 2 1985 AFAA 29. Applications 30. Amsterdam Baroque Orchestra/Netherlands Chamber Orchestra 31. Balloon Festival. 32. BBC TV/Radio. 33. Le Misanthrope – Belgian National Theatre 34. John Carroll 35. Michael Clark. BOX 3 36. Cleveland Quartet 37. Jean Phillippe Collard 38. Compass 39. Connecticut Grand Opera 40. Curley 41. El Tricicle 42. EuroBaroque Orchestra 43. Fitzwilliam 44. Rikki Fulton 45. Goehr Commission 46. The Great Tuna 47. Haken Hagegard and Geoffery Parons 48. Japanese Macbeth 49. .Miss Julie 50. Karamazous 51. Kodo 52. Ernst Kovacic 53. Professor Krigbaum 54. Les Arts Florissants. 55. Louis de France BOX 4 56. London Philharmonic 57. Lo Jai 58. Love Amongst the Butterflies 59. Lyon Opera 60. L’Opera de Nice 61. Montreal Symphony Orchestra 62.
    [Show full text]
  • Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
    Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends
    [Show full text]
  • THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
    PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay.
    [Show full text]
  • Inventory Acc.13182 Edith Macarthur
    Acc.13182 October 2010 Inventory Acc.13182 Edith Macarthur National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, circa 1942-2006, of Edith Macarthur, actor (b.1926). The collection includes scripts, photographs, press cuttings and other items of theatre and television memorabilia. Edith Macarthur’s stage career has taken her to most major producing theatres in Scotland, and to many in England. The variety of her range is demonstrated in the collection, from her early days with respected amateur company, the Ardrossan and Saltcoats Players, to acclaim with prestigious companies such as the Royal Lyceum, Citizens’, Gateway, Bristol Old Vic, Pitlochry Festival, Traverse and Royal Shakespeare. Leading roles in the canon of major plays by Arthur Miller, James Bridie, Anton Chekhov, Eugene O’Neill, Noel Coward and their like, and various acclaimed productions of ‘The Thrie Estaites’, established her stage reputation. Alongside runs a vein of comedy and variety, from the ‘Five Past Eight Shows’ of the 1950s at the Citizens’, to regularly playing Cinderella’s Fairy Godmother in pantomime during the 1980s and 1990s. There is also a considerable body of television work, from early series such as ‘The Borderers’ and ‘Sutherland’s Law’, and the renowned 1970s adaptation of ‘Sunset Song’, to the long-running Scottish Television soap, ‘High Road’. A milestone was the 1993 film ‘The Long Roads’ by John McGrath. At about this time Miss Macarthur was coming to the attention of less mainstream theatre-producers in Scotland.
    [Show full text]
  • The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales
    Volume 3 │ Issue 1 │ 2018 The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales McKinley Terry Abilene Christian University Texas Psi Chapter Vol. 3(1), 2018 Article Title: The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales DOI: 10.21081/AX0173 ISSN: 2381-800X Key Words: Wales, poets, 20th Century, World War I, memorials, bards This work is licensed under a Creative Commons Attribution 4.0 International License. Author contact information is available from the Editor at [email protected]. Aletheia—The Alpha Chi Journal of Undergraduate Scholarship • This publication is an online, peer-reviewed, interdisciplinary undergraduate journal, whose mission is to promote high quality research and scholarship among undergraduates by showcasing exemplary work. • Submissions can be in any basic or applied field of study, including the physical and life sciences, the social sciences, the humanities, education, engineering, and the arts. • Publication in Aletheia will recognize students who excel academically and foster mentor/mentee relationships between faculty and students. • In keeping with the strong tradition of student involvement in all levels of Alpha Chi, the journal will also provide a forum for students to become actively involved in the writing, peer review, and publication process. • More information and instructions for authors is available under the publications tab at www.AlphaChiHonor.org. Questions to the editor may be directed to [email protected]. Alpha Chi is a national college honor society that admits students from all academic disciplines, with membership limited to the top 10 percent of an institution’s juniors, seniors, and graduate students.
    [Show full text]
  • Seven Ladies Macbeth
    Seven Ladies Macbeth by Michael Bettencourt 67 Highwood Terrace #2, Weehawken NJ 07086 201-770-0770 • 347-564-9998 • [email protected] http://www.m-bettencourt.com Copyright © by Michael Bettencourt Offered under the Creative Commons Attribution-Share Alike License http://creativecommons.org/licenses/by-sa/3.0/ DESCRIPTION What came before Lady Macbeth became Lady Macbeth? CHARACTERS • GRUOCH (later, Lady Macbeth) • ELFRIDA (mother of Lady Macbeth)/DUNCAN/GENTLEWOMAN • SOLDIER/GILLACOMGAIN (first husband)/MACBETH’s SQUIRE/DOCTOR/MACDUFF • MACBETH • NURSE/BISHOP/SINT (can be played by a male or female) • CHORUS OF CROWS/GRUOCH’S ATTENDANTS/THE 3 WITCHES CHORUS will wear half-masks made to look like crows. There is nothing but interpretation. * * * * * Scene 1: First Lady Blackness. In the blackness, the sound of ELFRIDA, the queen, in carnal delight and distress—a rising wail halfway between pleasure and lamentation, with a final crescendo halfway between pleasure and a snarl. As this happens, a light up on young GRUOCH. When ELFRIDA is finished, a light up on ELFRIDA slipping on a simple rough cotton caftan. They sit apart, at some distance. They hold each other’s gaze, then GRUOCH looks away. ELFRIDA: Gruoch? We named you Gruoch—I don’t know why. I don’t think you can change it. The name sounds like it crawled out of the throats of crows. Would you like me to remember for you how your world began? Well? Not that you have many memories— GRUOCH: I heard—it—them—the screams—your screams—they—shook me—as I— SEVEN LADIES MACBETH • Page 1 GRUOCH makes a sliding motion with her hand: slipping out of the womb.
    [Show full text]
  • "I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S
    CHAPTER 4 "I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S. Miola Though ancient playwrights believed in different deities and ethical sys- tems, they too depicted human beings struggling with the gods, with fate and free will, crime and punishment, guilt and suffering. Sophocles (5th c. BC) portrays Oedipus, solver of the Sphinx's riddle and King of Thebes, who discovers that all along he has been fulfilling, not fleeing, the curse of Apollo and its dread predictions: "Lead me away, O friends, the utterly lost (ton meg' olethrion), most accursed (ton kataratotaton), and the one among mortals most hated (exthrotaton) by the gods!" (1341-43). In several plays that provided models for Macbeth, Seneca (d. 65 AD) presents men and women saying the unsayable, doing the unthinkable and suffering the unimaginable. The witch Medea slays her own children in a horrifying act of revenge. In contrast to Euripides Medea, which ends in a choral affirmation of Zeus's justice and order, Seneca's play concludes with Medea's transformation into something inhuman: she leaves the scene of desolation in a chariot drawn by drag- ons, bearing witness, wherever she goes, that there are gods, testare nullos esse, qua veheris, deos (1027). Driven mad by the goddess Juno, Seneca's Hercules in Hercules Furens kills his children, then awakens to full recognition of his deed in suicidal grief and remorse. These tragic heroes struggle against the gods and themselves. Such classical archetypes inform tragedy in the West, with Seneca especially shaping Elizabethan tragedy. Medea and Hercules Furens partly account for the child-killing so prominent in Macbeth.
    [Show full text]
  • A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
    Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible.
    [Show full text]
  • I Can't Recall As Exciting a Revival Sincezeffirelli Stunned Us with His
    Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon Warwickshire CV37 6BB Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk ★★★★★ Zeffirelli stunned us with his verismo in1960 uswithhisverismo stunned Zeffirelli since arevival asexciting recall I can’t The Guardian on Romeo andJuliet 2009/2010 134th report Chairman’s report 3 of the Board Artistic Director’s report 4 To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company. By order of the Board Acting companies 50 – 51 The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54 Associate Artists/Advisors 55 Constitution 57 Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Shakespearean first Hicks tobeanactorinthe Greg Proves Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company.
    [Show full text]
  • Lady Macbeth, the Ill-Fated Queen
    LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI BY 2015 Andrea Lynn Garritano ANDREA LYNN GARRITANO Submitted to the graduate degree program in Music and the Graduate Faculty of The University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson, Dr. Roberta Freund Schwartz ________________________________ Prof. Joyce Castle ________________________________ Dr. John Stephens ________________________________ Dr. Kip Haaheim ________________________________ Dr. Martin Bergee Date Defended: December 19, 2014 ii The Dissertation Committee for ANDREA LYNN GARRITANO Certifies that this is the approved version of the following dissertation: LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI ______________________________ Chairperson, Dr. Roberta Freund Schwartz Date approved: January 31, 2015 iii Abstract This exploration of three vocal portrayals of Shakespeare’s Lady Macbeth investigates the transference of themes associated with the character is intended as a study guide for the singer preparing these roles. The earliest version of the character occurs in the setting of Verdi’s Macbeth, the second is the archetypical setting of Lady Macbeth found in the character Katerina Ismailova from
    [Show full text]
  • Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
    Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s
    [Show full text]