DOCSLIB.ORG

PENELOPE KEITH and TAMMY GRIMES Are the Society's Newest

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PENELOPE KEITH and TAMMY GRIMES Are the Society's Newest FREE TO MEMBERS OF THE SOCIETY APRIL 2008 - THE NEWSLETTERCHAT OF THE NOËL COWARD SOCIETY Price £2 ($4) President: HRH Duke of Kent Vice Presidents: Barry Day OBE • Stephen Fry • Penelope Keith CBE • Tammy Grimes PENELOPE KEITH and TAMMY GRIMES are the Society’s Newest Vice Presidents arbara Longford, the Society’s Chairman, was delighted to announce this month that the star of the West End Coward revivals Star Quality and Blithe Spirit, Penelope Keith, has agreed to become our next Vice President. In America the actress Tammy Grimes the star of Look After Lulu, High Spirits and Private LivesBhas also graciously accepted our invitation. Both are known Coward devotees and will provide a strong theatrical presence amongst the Society’s Honorary Officers. Penelope Keith is best known in the UK for her television appearances in two of the most successful situation comedies in entertainment history. She made her first mark as the aspiring upper-class neighbour, Margot Ledbetter, in The Good Life and later as the upper-class lady fallen on hard times, Audrey Fforbes-Hamilton, in To The Manor Born. Apart from Star Quality and Blithe Spirit she has appeared on stage at the Chichester Festival in the premiere of Richard Everett’s comedy Entertaining Angels, which she later took on tour. In 2007 she played the part of Lady Bracknell in The Importance of Being Earnest on tour and is currently appearing in the same role at the Vaudeville Theatre in the West End (booking until 26 April). Her best known theatre appearance was in 1974, playing Sarah in The Norman Conquests opposite her The Good Life co-star Richard Briers. Keith would often film The Good Life during the day and perform on stage in the West End in the evening. In 1978, the year The Good Life ended, she married Rodney Timson, a former policeman. They had met while he was on duty at Chichester Theatre where Keith was performing. They adopted two children, who were brothers, in 1988. She has also starred in the radio adaptations of To the school in Seaford, Sussex. It was here that a young Penelope Manor Born. In 2003, she appeared opposite June Brown in the first became interested in acting, and she and mother would TV drama Margery and Gladys. In 2007, she starred in a one- frequently go to matinees in the West End. She was rejected off To the Manor Born Christmas Special. Her Television work from the Central School of Speech and Drama, on the grounds includes starring roles in the BBC productions of Private Lives that, at 5’10”, she was too tall. However, she was then accepted and Hay Fever both included on the Coward 7 disc DVD set. at the Webber Douglas Academy of Dramatic Art, and spent Penelope has been President of the ‘Actors' Benevolent two years there. Fund’ since 1990, taking over after the death of Lord Olivier, Penelope spoke at the Memorial Service Celebration for and is President of the ‘South West Surrey National Trust’. On Graham Payn at St Paul’s Church, Covent Garden in June of 2 April 2002, she began a one-year term as High Sheriff of 2006 where she read When I Have Fears and added that Surrey, being only the third woman to hold the post. She was Graham Payn demonstrated a quality sadly lacking in much of made an ‘Officer of the British Empire’ (OBE) in 1989 and was modern life ‘style and charm’. Qualities for which Noël promoted to a Commander (CBE) in the 2007 New Year Coward and Penelope Keith are also renowned. Honours for “charitable services”. She is also a Deputy Lord The Society is delighted that she has agreed to join Barry Lieutenant. Day and Stephen Fry and become our newest Vice President. Born Penelope Hatfield in Sutton, Surrey. She spent her The Actor’ Benevolent Fund can be found online at: early years in Clacton-on-Sea and Clapham. Although not www.actorsbenevolentfund.co.uk Catholic, at the age of six she was sent to a Catholic boarding IN OUR NEXT EDITION A WELCOME TO TAMMY GRIMES AS OUR FIRST AMERICAN-BORN VICE PRESIDENT ‘Present Laughter’ papers show ‘past woes’ of John C. (Jack) Wilson and Noël Coward he Society has been delighted to receive a magnanimous donation Stephen Fry has from one of its Vice Presidents, Stephen Fry, of generously donated Jack Wilson’s papers for the 1946 the production papers TAmerican original production of Present Laughter at the Playhouse for the staging of the Theatre, Wilmington, Delaware 1946 US opening of and then the Plymouth Theatre in Noël Coward’s New York. (The Plymouth was to see Tallulah Bankhead and Donald Present Laughter Cook relishing Private Lives just over a year later). The play was clearly not a financial success as the papers reveal. The play originally opened at the Haymarket Theatre in London on April 30, 1943 where it ran for a total of 38 performances. The New York Stephen Fry production opened at the Plymouth Theatre in New York City on October 29, 1946 where it ran for this production a total of 158 performances. Produced and directed by John C. were NCS Wilson, with scenic design by Donald Oenslager, the opening member Dana night cast was Clifton Webb as Garry Essendine, Cris Ivey playing Alexander as Roland Maule, Robin Craven as Hugo Lyppiatt, Monica, Kate Doris Dalton as Liz Essendine, Leonore Harris as Lady Burton as Saltburn, Marta Linden as Joanna Lyppiatt, Gordon Mills as Daphne, Morris Dixon, Grace Mills as Miss Erikson, Jan Sterling as Christine Lahti Daphne Stillington, Aidan Turner as Fred and Evelyn Varden as as Joanna and Monica Reed. Jim Piddock as The archive consists of the stage manager’s working copy Fred. It ran for of the playscript, financial statements detailing profits made on 175 the play’s English production at the Royal Court Theatre, performances. Liverpool from 7th to 12th April 1947, the Haymarket Theatre, The last London from 16th April 1947 to 27th March, 1948, and on the US revival in provincial tour from 4th August 1947 to 3rd January 1948, with 1996, saw John C Wilson figures also provided for the cost of the tour production and Frank Langella detailed financial statements on money and shares from starring as Essendine with Steve Ross in the role of Fred. This investors in the venture, theatre programs for the productions at also ran for 175 performances at the Walter Kerr Theatre. The Playhouse theatre in Wilmington, Delaware, for September The papers reveal some interesting evidence of how 26, 27 and 28, 1946 and at The Plymouth Theatre in New York difficult it is to make money from theatrical productions. Lord City, for the week beginning November 4, 1946, and a letter (Ned) Lathom poured a totally unrealistic amount of money written by producer and director John C. Wilson to members of into the first Coward success, London Calling! due to his the company giving news of the production’s closing. There are fixation with having only the finest costumes and sets. Andre 10 items in total. Charlot who produced the revue argued with Lathom that even The package also has a list of investors with their from the front stalls it was difficult to tell ‘Molyneux from investment, % share profit and costs. Ticket sales for the mutton-cloth’ so investment in couturier designed costumes opening night and first week; a financial report with was a complete waste of money - but Lathom would not have it disbursements, receipts etc.; a list of organised parties attending so this highly successful production made a large loss. Here in the play; a detailed list of investors and a profit and loss Present Laughter these excesses from a single over-indulgent account. After its first production in the United States in 1946, backer were absent but no greater profits ensued. it closed in March of the following year after only 158 The budget for the US production was $40,000. H.M. performances. It enjoyed a brief six-show run in 1958 at the Tennent (in reality ‘Binkie’ Beaumont), Clifton Webb and the Belasco Theatre in repertory, with Coward as Garry and Eva Cullman and Dresselhuys families took 10% each of the cost; Gabor as Joanna. the rest of the investment was shared by 12 other backers In 1982, George C. Scott directed and starred in a revival at including a Mr Knopf. Circle in the Square Theatre, which featured the Broadway Amongst the most interesting papers is a letter from Jack debut of NCS member Nathan Lane as Roland Maule. Also in Wilson to the Plymouth Theatre’s company as the losses of the 2 production became clear. parties’ that attended the opening production at The Plymouth It reads: Theatre in New York from October 31st to January 7th - no “Dear Company, This note was intended to reach your eyes further details are given but the list includes many groups that before the morning papers as I was not aware that the are still in existence today: Thespian Club, Winfield Day information was to be made public for a day or two. Nursery, Turtle Bay Music School , Sarah Lawrence College, The play is closing on March 15th, but I Ladies Hebrew Aid of Mt. Vernon, want to explain to you that it is in no sense a Junior Associates, Jacob A. Riis question of your making way for another Neighbourhood Settlement, N.Y. production of mine or anybody else’s. We Women’s Division of National Jewish have been operating for the last few weeks Hospital of Denver, Society of the very close to our deadline and this week not Hillside Hospital, The Protestant, only will we obviously fall under the clause Rockaway League Hebrew National at which the theatre is allowed to evict us but Orphan Home, Speedwell Society, Sarah managerially we still operate at a loss.
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]
  • Across Britain, Nature Is in Vogue, the Countryside Is the New Chic. The
    Across Britain, nature is in vogue, the countryside is the new chic. The vintage pastoral patterns of Cath Kidston, the bright floral designs and gentrified tweed of Joules, and the Hunter-welly clad urbanites clambering down from their Range Rovers boldly proclaim the rural as a middle- class fashion statement. A perceived ‘nature deficit’ has fuelled a new interest in all things rural, rustic and wholesome, as seen in the expansion of charitable organisations like the National Trust and the Royal Society for the Protection of Birds (RSPB). Membership of such associations are at an all-time high – in 2010, the number of RSPB members stood at more than double that of the three major political parties.1 Both now place new emphasis on family adventures in the outdoors; the new ‘natural playgrounds’ of the National Trust parallel the growing Forest School movement. In bookshops, ‘new nature writing’ dominates the shelves whilst window displays are full of bucolic book covers, nature lino prints, and matching floral tea towels. Essayists, anecdotal writers, prose-poets, and natural historians like Robert Macfarlane, Kathleen Jamie, Roger Deakin, and Helen MacDonald (to name but a few) call us back to the wild, opening our eyes to their landscapes (and ours) with beautiful and nostalgic evocations of what we are missing in the twenty-first century. Often, this nostalgia drives the authors backwards, to a lost landscape that is at once more remote and free of human interference (except that of the lonely poet). Sometimes it is conflicted: Jamie has criticised the romanticized stance of the ‘lone, enraptured male’ nature writer, with time and funds to conquer far-off Celtic fringes.2 Others argue that when the rural is eulogised, the urban becomes lamented.
    [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]
  • YOUR UNIVERSITY SURREY.AC.UK 3 Welcome Community News
    Spring 2017 News from the University of Surrey for Guildford residents SURREY.AC.UK UNIVERSITYOFSURREY UNIOFSURREY Your invitation to WON DER 13 May 2017 11am - 5pm University of Surrey, Guildford Please register via: surrey.ac.uk/festivalofwonder MUSIC · FOOD · TALKS · SPORT · DISCOVERY · WONDER Incorporating FREE Penelope Keith, DBE Community Reps scheme Festival ofFEST Wonder Spring on campus Guest Editor p2 Your view counts p5 Celebrating 50 years p11 Meet the team p12 2. The University’s 50th Anniversary celebrations 1. Waving flags on Guildford High Street 2. Mayor of Guildford, Councillor Gordon Jackson (left) and Vice-Chancellor, Professor Max Lu (right) 3. Folarin Oyeleye (left) and Tamsey Baker (right) 1. 3. Celebrating 50 years at home in Guildford The bells of Guildford Cathedral rang out on 9 September 2016 to mark the beginning of the University of Surrey’s 50th Anniversary year, celebrating half a century of calling Guildford ‘home’. The University’s Royal the cobbles of Guildford In the 50 years since setting Residents of Guildford and Charter was signed in 1966, High Street, adorned with up home on Stag Hill, the surrounding area are establishing the University banners and brought to the University has been warmly invited to join the in Guildford from its roots in life by the waving of blue warmly welcomed as part University as it ends its 50th Battersea, London. Exactly and gold flags, and made of the local community Anniversary celebrations 50 years later, bells pealed their way up to Holy in Guildford. Its staff and with a bang, in the form of across Battersea and ended Trinity Church.
    [Show full text]
  • Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
    Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr.
    [Show full text]
  • ID™E Eclronic 1Ynihe1izer P,UJ ~ -~O~Reo1pinel Organ Equo1
    Orbil ID™e eclronic 1ynihe1izer P,UJ ~ -~o~reO1pinel organ equo1... ~e newe1Iway lo mo <emu1ic ~romWur irzec Now with the Orbit III electronic synthesizer from slowly, just as the theatre organist did by opening and Wurlitzer you can create new synthesized sounds in­ closing the chamber louvers. stantly. ·.. in performance. And with the built-in Orbit III synthesizer, this This new Wurlitzer instrument is also a theatre organ, instrument can play exciting combinations of synthe­ with a sectionalized vibrato/tremolo, toy counter, in­ sized, new sounds, along with traditional organ music. A dependent tibias on each keyboard and the penetrating built-in cassette player/recorder lets you play along with kinura voice that all combine to recreate the sounds of pre-recorded tapes for even more dimensions in sound. the twenty-ton Mighty Wurlitzers of silent screen days. But you've got to play the Orbit III to believe it. And it's a cathedral/classical organ, too, with its own in­ Stop in at your Wurlitzer dealer and see the Wurlitzer dividually voiced diapason, reed, string and flute voices. 4037 and 4373. Play the eerie, switched-on sounds New linear accent controls permit you to increase or of synthesized music. Ask for your free Orbit III decrease the volume of selected sections suddenly, or demonstration record. Or write: Dept. T0-27 2 WURLilzER® The Wurlitzer Company, DeKalb, Illinois 60115. ha.4'the ,Tag cover- Photo •.. One of the organs to be featured at this years National Convention, July 10-14, 1972, is the 3/15 Wurlitzer in the Loew's Theatre, Richmond, Virginia.
    [Show full text]
  • English 252: Theatre in England 2006-2007 * [Optional Events
    English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E.
    [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]
  • March 2016 Conversation
    SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WIT H THE NATIONAL ARTS CLUB THE WNDC IN WASHINGTON THE ENGLISH-SPEAKING UNION DIANA OWEN ♦ Tuesday, February 23 As we commemorate SHAKESPEARE 400, a global celebration of the poet’s life and legacy, the GUILD is delighted to co-host a WOMAN’S NATIONAL DEMOCRATIC CLUB gathering with DIANA OWEN, who heads the SHAKESPEARE BIRTHPLACE TRUST in Stratford-upon-Avon. The TRUST presides over such treasures as Mary Arden’s House, WITTEMORE HOUSE Anne Hathaway’s Cottage, and the home in which the play- 1526 New Hampshire Avenue wright was born. It also preserves the site of New Place, the Washington mansion Shakespeare purchased in 1597, and in all prob- LUNCH 12:30. PROGRAM 1:00 ability the setting in which he died in 1616. A later owner Luncheon & Program, $30 demolished it, but the TRUST is now unearthing the struc- Program Only , $10 ture’s foundations and adding a new museum to the beautiful garden that has long delighted visitors. As she describes this exciting project, Ms. Owen will also talk about dozens of anniversary festivities, among them an April 23 BBC gala that will feature such stars as Dame Judi Dench and Sir Ian McKellen. PEGGY O’BRIEN ♦ Wednesday, February 24 Shifting to the FOLGER SHAKESPEARE LIBRARY, an American institution that is marking SHAKESPEARE 400 with a national tour of First Folios, we’re pleased to welcome PEGGY O’BRIEN, who established the Library’s globally acclaimed outreach initiatives to teachers and NATIONAL ARTS CLUB students in the 1980s and published a widely circulated 15 Gramercy Park South Shakespeare Set Free series with Simon and Schuster.
    [Show full text]
  • 2017 Annual Report
    Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers.
    [Show full text]
  • 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.
    [Show full text]
  • Home Chat 29/07/2010 12:13 Page 1
    Aug2010_Home Chat 29/07/2010 12:13 Page 1 THE NEWSLETTER OF THE NOËL COWARD SOCIETY President: HRH The Duke of Kent Vice Presidents: Barry Day OBE • Stephen Fry • Tammy Grimes • Penelope Keith CBE AUGUST 2010 t was with surprise and sadness that the NCS committee Barbara Longford greeted Barbara Longford’s announcement that she wished Ito stand down as its chairman. For all of us Barbara’s name has become synonymous with Brief Encounter the Society and with the enormous programme of activity and events that has marked her hugely successful period as Design For Living Chairman. She has decided to move on to pursue her desire to support the work of the Soldiers, Sailors, Airmen and Coward Celebrations Families Association (SSAFA). We wish her well with her new role and commitments and celebrate her contribution to the work of the Society in our centre pages recalling the highlights of her time with us. Warmest thanks from all of us for all the fun, the style and the passion of her contribution to our hero - to: ‘The Mistress’ from all of the lovers of ‘The Master.’ BRIEF ENCOUNTER RETURNS TO BROADWAY A NOËL COWARD SOCIETY EVENING he Roundabout Theatre Company in association with David Pugh & Dafydd Rogers and Cineworld presents T Kneehigh Theatre’s production of Noël Coward’s Brief Encounter adapted by Emma Rice. The production opens at Studio 54 in New York for previews on September 10, 2010. Stephen Greenman and Barbara Longford at Sardi’s in December Following opening on September 28th there will be a limited 2005.
    [Show full text]