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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’. -
Simon Russell Beale Photo: Charlie Carter
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Simon Russell Beale Photo: Charlie Carter Location: London Other: Equity Height: 5'7" (170cm) Eye Colour: Grey Playing Age: 51 - 55 years Hair Colour: Greying Appearance: White Hair Length: Short Stage 2018, Stage, The Lehman Trilogy, The National Theatre, Sam Mendes 2016, Stage, Prospero, The Tempest, Royal Shakespeare Company, Gregory Doran 2015, Stage, Mr Foote, Mr Foote's Other Leg, Hampstead Theatre/Haymarket (transfer), Richard Eyre 2015, Stage, The Dean, Temple, Donmar Warehouse, Howard Davies 2014, Stage, King Lear, King Lear, National Theatre, Sam Mendes 2013, Stage, Acting Captain Terri Dennis, Privates on Parade, Noel Coward Theatre, Michael Grandage 2013, Stage, Roote, The Hothouse, Trafalgar Studios, Jamie Lloyd 2012, Stage, Timon of Athens (Critics' Circle Award 2013), Timon of Athens, National Theatre, Nicholas Hytner 2011, Stage, Jimmy, Bluebird, Atlantic Theatre Company, New York, Gaye Taylor Upchurch 2011, Stage, Stalin, Collaborators, National Theatre, Nicholas Hytner 2010, Stage, Sydney, Deathtrap, Noel Coward Theatre, Matthew Warchus 2010, Stage, Sir Harcourt Courtly, London Assurance, National Theatre, Nicholas Hytner 2009, Stage, Lopahkin, The Cherry Orchard, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2009, Stage, Leontes, The Winter's Tale, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2008, Stage, Edward, A Slight Ache, National Theatre, Iqbal Khan 2008, Stage, Landscape, National Theatre, -
ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’. -
Rory Kinnear
RORY KINNEAR Film: Peterloo Henry Hunt Mike Leigh Peterloo Ltd Watership Down Cowslip Noam Murro 42 iBoy Ellman Adam Randall Wigwam Films Spectre Bill Tanner Sam Mendes EON Productions Trespass Against Us Loveage Adam Smith Potboiler Productions Man Up Sean Ben Palmer Big Talk Productions The Imitation Game Det Robert Nock Morten Tydlem Black Bear Pictures Cuban Fury Gary James Griffiths Big Talk Productions Limited Skyfall Bill Tanner Sam Mendes Eon Productions Broken* Bob Oswald Rufus Norris Cuba Pictures Wild Target Gerry Jonathan Lynne Magic Light Quantum Of Solace Bill Tanner Marc Forster Eon Productions Television: Guerrilla Ch Insp Nic Pence John Ridley & Sam Miller Showtime Quacks Robert Andy De Emmony Lucky Giant The Casual Vacancy Barry Fairbrother Jonny Campbell B B C Penny Dreadful (Three Series) Frankenstein's Creature Juan Antonio Bayona Neal Street Productions Lucan Lord Lucan Adrian Shergold I T V Studios Ltd Count Arthur Strong 1 + 2 Mike Graham Linehan Retort Southcliffe David Sean Durkin Southcliffe Ltd The Hollow Crown Richard Ii Various Neal Street Productions Loving Miss Hatto Young Barrington Coupe Aisling Walsh L M H Film Production Ltd Richard Ii Bolingbroke Rupert Goold Neal Street Productions Black Mirror; National Anthem Michael Callow Otto Bathurst Zeppotron Edwin Drood Reverend Crisparkle Diarmuid Lawrence B B C T V Drama Lennon Naked Brian Epstein Ed Coulthard Blast Films First Men Bedford Damon Thomas Can Do Productions Vexed Dan Matt Lipsey Touchpaper T V Cranford (two Series) Septimus Hanbury Simon Curtis B B C Beautiful People Ross David Kerr B B C The Thick Of It Ed Armando Iannucci B B C Waking The Dead James Fisher Dan Reed B B C Ashes To Ashes Jeremy Hulse Ben Bolt Kudos For The Bbc Minder Willoughby Carl Nielson Freemantle Steptoe & Sons Alan Simpson Michael Samuels B B C Plus One (pilot) Rob Black Simon Delaney Kudos Messiah V Stewart Dean Harry Bradbeer Great Meadow Rory Kinnear 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. -
Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership -
Sky 1 Announces New Comedy Drama Living the Dream 23Rd May | Big Talk, Productions, TV
7/18/2017 Big Talk | Sky 1 announces new comedy drama Livingn The Dreamews Sky 1 announces new comedy drama Living The Dream 23rd May | Big Talk, Productions, TV Philip Glenister and Lesley Sharp star alongside Kim Fields, Kevin Nash, Leslie Jordan, Paula Wilcox and Jimmy Akingbola. Living the Dream, a brand new comedy drama from the makers of Cold Feet, is coming to Sky 1 later this year. Starring Philip Glenister (Outcast, Mad Dogs) and Lesley Sharp (Scott & Bailey, Paranoid), the series has been created and written by Mick Ford (Single Father, The Five), produced by Big Talk Productions (Cold Feet, Mum, Rev.) and will be directed by Saul Metzstein (Doctor Who, You, Me and the Apocalypse) and Philippa Langdale (Dickensian, Skins). The six-part series follows a British family, the Pembertons – husband Mal (Glenister), wife Jen (Sharp) and their two teenage kids, Tina (Rosie Day) and https://www.bigtalkproductions.com/sky-1-announces-new-comedy-drama-living-the-dream/ 1/3 7/18/2017 Big Talk | Sky 1 announces new comedy drama Living The Dream Freddie (Brenock O’Connor) – who decide it’s time to leave rainy England and move to the sunshine state of Florida. Mal’s bought an RV park with plans for a booming family-run business, but it soon turns out that they are not going to be living the dream they hoped. Before they’ve even settled in, Mal discovers that the park is home to a group of eccentric residents who are not exactly thrilled to meet their new owners. Jen has to learn how to survive American suburbia and the kids have to navigate a US high school. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
The Royal Hunt of the Sun Free Download
THE ROYAL HUNT OF THE SUN FREE DOWNLOAD Peter Shaffer | 112 pages | 25 Jan 2007 | Penguin Books Ltd | 9780141188881 | English | London, United Kingdom The Royal Hunt of the Sun All rights reserved. Color: Color Technicolor. Parents Guide. There have been numerous suns over the years, but when the play was first staged it was a large metal contraption, with huge 'petals' that opened up and outwards. Royal National Theatre. Archived from the original on 9 June He does The Royal Hunt of the Sun, and is strangled. Hernando de Soto. Director Trevor Nunn makes full use of the large Olivier auditorium; scenes interlace, actors fill every inch of the stage — and occasionally the aisles — and music and mime play a large part in the proceedings. Edit page. Alun Armstrong's Pizarro is a stocky slogger who finds himself almost homo-erotically entranced by Paterson Joseph's muscularly fey and unearthly Atahuallpa. Read more. The conversion attempt fails, however, prompting the Spanish churchman to demand Atahualpa be captured and held for ransom. The expedition The Royal Hunt of the Sun predominantly in the name of gold, religion and belief; all Incas being heathens who must be brought before God. Felipillo as Sam Krauss Percy Herbert The play critically studies these two themes throughout the discovery of Atahualpa — the Inca Sun God — and massacre of the The Royal Hunt of the Sun themselves. Looking for some great streaming picks? They're all something. Hernando de Soto Leonard Whiting You must be a registered user to use the IMDb rating plugin. From Wikipedia, the free encyclopedia. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
Ian Bartholomew
Ian Bartholomew Theatre Title Role Director Producer Half A Sixpence Chitterlow Rachel Kavanaugh Noel Coward Theatre & Chichester Festival Theatre The Funfair Billy Smoke Walter Meierjohann Home: Manchester Mrs Henderson Presents Vivian Van Damm Terry Johnson HRH Theatres Shakespeare in Love Tilney Declan Donellan Disney Richard III Richard Loveday Ingham Nottingham Playhouse & York Theatre Royal Oh! What a Lovely War Hague and Various Terry Johnson Theatre Royal Stratford East Follow the Star Lofty Wendy Toye Chichester Festival A Night in Old Peking Jack Martin Duncan Lyric Hammersmith School for Scandal Joseph Surface Phyllida Lloyd Royal Exchange Sleeping Beauty Helpful 2 Philip Hedley Theatre Royal, Stratford School for Clowns Weasle Martin Duncan Lillian Baylis Servant of 2 Masters Truffaldino Martin Duncan Cambridge Theatre Diary of a Somebody Kenneth Halliwell Jonathan Myerson Kings Head Theatre Skullduggery Chris Philip Davis Old Red Lion Cinderella Buttoms Philip Hedley Theatre Royal, Stratford Kooney Waka Hoy Nijinsky Old Red Lion Robert Longdon Winter Darkness Boysey Susan Hogg New End Theatre Pravda Doug Phantom David Hare National Theatre The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Futurists Bruichkov Richard Eyre National Theatre The Gov't Inspector Dobchinsky Richard Eyre National Theatre Schweyck in the 2nd WW Soldier & Others Richard Eyre National Theatre Guys and Dolls Society Max Richard Eyre National Theatre The Beggars Opera Ben Budge Richard Eyre National Theatre Mayakovsky: -
The Cherry Orchard − Rehearsal Insights Contents
The Cherry Orchard − Rehearsal Insights Contents About................................................................................................1 Andrew Upton's Version.......................................................2 Howard Davies Interview .................................................. 3 The Influence of Stanislavski .............................................9 Zoë Wanamaker......................................................... 11 Mark Bonnar...............................................................13 Sarah Woodward........................................................15 Kenneth Cranham...................................................... 16 Howard Davies........................................................... 19 1 The Cherry Orchard − Rehearsal Insights About This learning pack supports the National Theatre’s production of The Cherry Orchard, directed by Howard Davies, which opened on 18th May 2011 at the National’s Olivier Theatre in London. These insights were prepared during rehearsals by staff director James Bounds. They introduce the process of creating, rehearsing and staging this play. 1 The Cherry Orchard − Rehearsal Insights HowardAndrew Upton'sDavies Interview Version Andrew Upton's Version Our version of the script has been adapted by Andrew Upson from a literal translation. The adaptation is a little freer than some other versions and Andrew has made a conscious decision to make use of a few contemporary phrases and words. This makes the language accessible and also flags up occasional resonances