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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Country Site Town Company Number of Projectors Technology
Country Site Town Company Number of Technology Projector Projector's type Projector's Server Number of Supplier of 3D projectors resolution 3D screens technology IRL Gaiety Arklow Arklow GAIETY CINEMA GROUP 2 DLP Cinema Barco DP2000 2K Avica 2 MasterImage IRL Ashbourne Showtime Ashbourne SHOWTIME CINEMAS 1 DLP Cinema . 2K . 1 XpanD Cinema IRL IMC Athlone Athlone WARD ANDERSON 2 DLP Cinema Barco . 2K Kodak 2 RealD IRL Reel Ballincollig Ballincollig REEL CINEMAS 1 DLP Cinema Barco DP2000 2K Avica 1 MasterImage IRL Bantry Cinemax Bantry . 3DLP Cinema . 2K . 2 . IRL Omniplex Carlow Carlow WARD ANDERSON 8 DLP Cinema Barco DP1500/ DP2000 2K Doremi 2 MasterImage IRL Carrick Cineplex Carrick on Shannon . 1DLP Cinema . 2K . 1 . IRL SGC Mayo Castlebar SPURLING GROUP 2 DLP Cinema Barco DP1200 2K Doremi 2 RealD IRL Storm Cinema Cavan Cavan UCI 1 DLP Cinema . 2K . 1 RealD IRL Station House Theatre Clifden . 1DLP Cinema . 2K . IRL Omniplex Clonmel Clonmel WARD ANDERSON 1 DLP Cinema Barco DP2K-20C 2K Avica 1 MasterImage IRL Gate Cinema Cork GATE GROUP 6 DLP Cinema NEC/ Barco NC800/ NC2500/ DP2000 2K Doremi 2 MasterImage IRL Omniplex Cork Cork WARD ANDERSON 2 DLP Cinema NEC/ Barco NC2500/ DP2K-20C 2K Doremi 2 MasterImage IRL Reel Blackpool Cork REEL CINEMAS 1 DLP Cinema Barco DP2000 2K Avica 1 MasterImage IRL Cineworld Dublin Dublin CINEWORLD GROUP 9 DLP Cinema NEC . 2K Dolby 9 RealD IRL IMC Dun Laoghaire Dublin WARD ANDERSON 7 DLP Cinema Barco . 2K Kodak 5 RealD IRL Irish Film Institute Dublin . 3DLP Cinema . 2K . 1 . IRL Light House Dublin Dublin . -
Future Watch – Setting the Stage for Regeneration
http://www.architectsdatafile.co.uk/news/future-watch-setting-the-stage-for- regeneration/ Thursday, 30th November 2017 Future Watch – Setting the stage for regeneration Tim Foster With cities’ night time economy being seen as increasingly important in the future, Tim Foster, partner at Foster Wilson Architects, reflects on how theatre design projects that put placemaking at their core can catalyse regeneration. Following the debate around placemaking in recent years it is apparent that the term means many different things to different people. Local community activists believe it is about community participation and the making of places in which people have ownership, while property people believe it is about creating a congenial environment which will attract people to their developments, making them easier to sell or rent for a good return: the reality probably lies somewhere in between. As quoted in a recent article in The Guardian, the US academic Richard Florida – considered to be the guru of placemaking – told the mayors of major American cities in 2002 that attracting ‘hipsters’ to their towns was crucial. “Don’t waste money on stadiums and concert halls, or luring big companies with tax breaks. Instead, make your town a place where hipsters want to be, with a vibrant arts and music scene and a lively cafe culture. Embrace the ‘three T’s’ of technology, talent and tolerance, and the ‘creative class’ will come flocking.” This is really the same cycle that Jane Jacobs described in her seminal work ‘The Death and Life of Great American Cities’, published in 1961, whereby districts fall into decay, the artists move in attracted by the cheap rents, the hipsters and coffee shops follow, the area regenerates, forcing the rents back up and the artists and original residents to move on. -
Chapter Notes
Chapter Notes Preface 15 Abraham Lincoln, speech at Clinton Illinois, September 8, 1858 15 Michael DeGolyer, “Friend, we’re so confused,” The Standard, February 15, 2007, p.A25 16 Jacob Weisberg, “This time, the mud may fail to stick,” Financial Times, November 2, 2006, p.15 16 Editorial, “The Foley Report,” The Wall Street Journal, December 14, 2006, p.15 17 Krishna Guha, Edward Luce and Andrew Ward, “Anxious middle: why ordinary Americans have missed out on the benefits of growth,” Financial Times, November 2, 2006, p.13 18 Thomas L. Friedman, “Show ‘em we’re not stupid,” International Herald Tribune, November 4-5, 2006, p.5 18 Roger Cohen, “Right-wing nut jobs vs. pinko Commies: Take 2,” International Herald Tribune, November 4, 2006, p.2 18 Editorial, “Their final bow,” The Wall Street Journal, December 14, 2006, p.15 18 Jane Bryant Quinn, “The Economic Perception Gap,” Newsweek, November 20, 2006, p.39 18 Adam Nagourney and John O’Neil, “Democrats take command of House,” International Herald Tribune, November 9, 2006, p.1 19 John Harwood, “U.S. public wants Congress to lead, poll shows,” The Wall Street Journal, December 15-17, 2006, p.11 19 Edward Luce, “Pelosi vows to toughen ethical guidelines,” Financial Times, December 15, 2006, p.5 20 Chris Wood, “Globalization long off the mainland’s trade agenda,” South China Morning Post, March 19, 2007, p.B4 21 Thomas Friedman, “American facts and folly,” International Herald Tribune, March 30, 2006, p.7 21 Richard Luscombe, “US set to greet 300-millionth resident,” South China Morning Post, October 16, 2006, p.A17 21 Martin Wolf, “Integration marches onward despite growth in imbalances,” Financial Times, January 25, 2006, p.8 22 Ed Pilkington, “New U.S. -
Propaganda Theatre : a Critical and Cultural Examination of the Work Of
ANGLIA RUSKIN UNIVERSITY PROPAGANDA THEATRE: A CRITICAL AND CULTURAL EXAMINATION OF THE WORK OF MORAL RE-ARMAMENT AT THE WESTMINSTER THEATRE, LONDON. PAMELA GEORGINA JENNER A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of PhD Submitted: June 2016 i Acknowledgements I am grateful to Anglia Ruskin University (ARU) for awarding me a three-year bursary in order to research this PhD. My thanks also go to my supervisory team: first supervisor Dr Susan Wilson, second supervisor Dr Nigel Ward, third supervisor Dr Jonathan Davis, fourth supervisor Dr Aldo Zammit-Baldo and also to IT advisor at ARU, Peter Carlton. I am indebted to Initiatives of Change for permission to access and publish material from its archives and in particular to contributions from IofC supporters including Hilary Belden, Dr Philip Boobbyer, Christine Channer, Fiona Daukes, Anne Evans, Chris Evans, David Hassell, Kay Hassell, Michael Henderson Stanley Kiaer, David Locke, Elizabeth Locke, John Locke; also to the late Louis Fleming and Hugh Steadman Williams. Without their enthusiasm and unfailing support this thesis could not have been written. I would also like to thank my family, Daniel, Moses and Richard Brett and Sanjukta Ghosh for their ongoing support. ii ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY PROPAGANDA THEATRE: A CRITICAL AND CULTURAL EXAMINATION OF THE WORK OF MORAL RE-ARMAMENT AT THE WESTMINSTER THEATRE, LONDON PAMELA GEORGINA JENNER JUNE 2016 This thesis investigates the rise and fall of the propagandist theatre of Moral Re-Armament (MRA), which owned the Westminster Theatre in London, from 1946 to 1997. -
Vol 51 No 4 ISSN 1479-0882 July / August 2017
Vol 51 No 4 ISSN 1479-0882 July / August 2017 The [ex ] at Oxted (Surrey), which is to become a three-screen venue – see Newsreel p27; photo taken April 2004 The new cinema at Lewes (East Sussex), which we will be visiting in August – see p3; photos by Allen Eyles It was good to meet some of you at the AGM at the in New- bridge. What a marvellous restoration they have done. Mike has done a report for us with some pictures on p20. By the time you read this, I Company limited by guarantee. Reg. No. 04428776. will have met some more of you on the Brixton visit. Registered address: 59 Harrowdene Gardens, Teddington, TW11 0DJ. Because the number of pages in the Bulletin has to be a multiple of Registered Charity No. 1100702. Directors are marked in list below. four, I had some space to spare so I have managed to fit in a lot of your holiday snaps on pages 30-31. I thought I had plenty but I must have been wrong as I have virtually exhausted my stock. If you sent me some and I haven’t used them, please let me know as I may have Full Membership (UK)..................................................................£29 mis-filed them. Please get snapping this summer [if we haven’t had it Full Membership (UK under 25s)................................................£15 already] and send me some more. Overseas (Europe Standard & World Economy)........................£37 Overseas (World Standard).........................................................£49 I have also nearly run out of articles. I have been promised another Associate Membership (UK & Worldwide)..................................£10 one for next time and there will be the Brixton visit report but there will Life Membership (UK only).................£450; aged 65 & over £350 still be some space that needs filling with your input. -
Public Space: the Management Dimension
INVESTIGATING PUBLIC SPACE MANAGEMENT The north terrace of the square is a heavily used pedestrian thoroughfare. During the day the pervasive presence of street performers adds to the liveliness of the space (Figure 10.6). As the day turns to afternoon and to evening and night the ambience becomes far more alcohol-based as drinks can be seen and smelt all over the square. By late night the area has built up to a raucous feel, which, on occasions, becomes unpleasant and intimidating. The gardens in the centre of the square are typical of London’s 10.6 Portrait artists in Leicester Square Georgian squares today, in that the layout of the square is community- and civil-minded with many benches and low walls for sitting on. Further symbolism is added through the two statues and four busts in the gardens. The Victorian and typically British elements are the grass, tall trees, flowerbeds and serpentine paths, all enclosed by iron railings. The architecture of the surrounding buildings speaks little of the rich history of Leicester Square for, like the gardens, it dates only as far back as the late nineteenth century. Cinema replaced theatre as the main form of entertainment in the 1930s, and still features prominently around the square. The square is dominated by the 1930s art deco Odeon Leicester Square on the east side, and more recently the Alhambra Theatre. On the north side there is the Empire Theatre, which was one of the first cinemas in London in 1896. On the south side is the Odeon West End, dating from the 1920s. -
GABRIEL Previews Begin Wednesday, February 20
CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: DANGER, INTRIGUE LURK AS GABRIEL WASHES ASHORE IN WEST COAST PREMIERE AT NORTH COAST REP An Award-Winning Drama By Moira Buffini Performances Beginning Wednesday, February 20, 2019 Running Through Sunday, March 17, 2019 Directed by Christopher Williams Solana Beach, CA – It is 1943 in the wind-swept Nazi-occupied Isle of Guernsey. A mysterious, handsome man washes ashore and four British women decide to protect him through cunning deceptions and bravery. His presence creates an electrical charge in the household that is already burdened by wartime loss and ever-present danger. A New York Times Critic’s Pick, this powerful tale brims with suspense and intrigue that will keep audiences on the edge of their seats. Christopher Williams directs Jessica John, Catalina Zelles, Lilli Passero*, Anabella Price*, Richard Baird,* and Alan Littlehales,* in GABRIEL. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting), Ryan Ford (Sound), Elisa Benzoni (Costumes), and Phillip Korth (Props). Andrea Gutierrez* is the stage manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. For background information and photos, go to www.northcoastrep.org/press. GABRIEL previews begin Wednesday, February 20. Opening Night on Saturday, February 23, at 8pm. There will be a special talkback on Friday, March 1, with the cast and artistic director. It will play Wednesdays at 7pm, Thursdays through Saturdays at 8pm, Saturday and Sunday matinees at 2pm with Sundays at 7pm through March 17, 2019 (See Schedule below). -
Copertina Rev01.Tif
IL CINEMA DIGITALE NEL MONDO NEL 2006 DIGITAL CINEMA WORLDWIDE IN 2006 LE CINÉMA NUMÉRIQUE DANS LE MONDE EN 2006 EL CINE DIGITAL EN EL MUNDO EN 2006 269 270 Annuario Statistico del Cinema Europeo • European Cinema Yearbook • Les Chiffres Clefs du Cinéma Européen • Anuario Estadístico del Cine Europeo I cinema digitali (al dicembre 2006) Digital cinemas (as at December 2006) Les cinémas numériques (en décembre 2006) 1) E: Esercente - Exhibitor - Exploitant - Exhibidor Los cines digitales (hasta diciembre de 2006) Paese Complesso Città Società Schermi Tecnologia Proiettore Proprietario del proiettore Modello proiettore Risoluzione proiettore Server Country Site Town Company Screens Technology Projector Projector’s owner 1 Projector's type Projector's resolution Server Pays Etablissement Ville Société Écrans Technologie Projecteur Propriétaire du projecteur Modèle du projecteur Résolution du projecteu Serveur País Complejo Ciudad Sociedad Pantallas Tecnología Proyector Propietario del proyector Modelo del proyector Resolución del proyector Servidor A Cineplexx Graz Graz Cineplexx 2 DLP Cinema Christie . CP2000 Series 2K XDC A Cineplexx Hohenems Hohenems Cineplexx 1 DLP Cinema Barco DP100 2K XDC A Metropol Kino Innsbruck Innsbruck Ferdinand Purner Lichtspiele 2 DLP Cinema Christie . CP2000 Series 2K XDC A Cineplexx Innsbruck Innsbruck Cineplexx 1 DLP Cinema Barco . DP100 2K XDC A Cineplexx Linz Linz Cineplexx 2 DLP Cinema Barco . DP100 2K XDC A Hollywood Megaplex Pasching Kinobetriebs GMBH 2 DLP Cinema Christie . CP2000 Series 2K XDC A Star Movie Regau Regau Star Movie Betriebs GmbH 2 DLP Cinema Christie CP2000 Series 2K XDC A Cineplexx Airport Salzburg Wals Himmelreich Cineplexx 1 DLP Cinema Barco . DP100 2K XDC A Cineplexx Wienerberg Wien Cineplexx 2 DLP Cinema Barco . -
The Cambridge Companion to the Musical Edited by William A
Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information The Cambridge Companion to the Musical Tracing the development of the musical both on Broadway and in London’s West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover the history of the genre from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception and traditions. All of the chapters from the first edition remain – several in updated forms – and five new chapters have been added, covering ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions. William A. Everett is Associate Professor of Musicology at the University of Missouri–Kansas City. Paul R. Laird is Professor of Musicology at the University of Kansas. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information The Cambridge Companion to the MUSICAL ............ SECOND EDITION edited by William A. Everett and Paul R. Laird © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. -
Urban Geology in London's Theatreland: St Martin's Lane to Shaftesbury Avenue R
Urban Geology in London No. 31 Urban Geology in London’s Theatreland: St Martin’s Lane to Shaftesbury Avenue Ruth Siddall This walk takes us along St Martins Lane and Shaftesbury Avenue to St Giles, near the intersection of Tottenham Court Road and Oxford Street. There are a fine selection of buildings in this area, serving London’s Theatreland; churches, restaurants and of course theatres are found amongst pubs, shops and gentlemen’s clubs. Those with interesting building stones are described below. Architectural notes are from Pevsner (Bradley & Pevsner, 2005; Cherry & Pevsner, 1998) unless otherwise cited. This walk begins at the church of St Martin’s-in-the-Fields at the north end of Trafalgar Square. The nearest tube station is Charing Cross, and a number of buses stop on the east side of Trafalgar Square, near to the church. St Martin-in-the-Fields The 18th Century church of St Martin-in-the-Fields dominates Trafalgar Square. A church of this name has stood on this site since the late 12th Century. However the current building (aBove) was Built Between 1721-6 By architect James GiBBs. At the time, the design was revolutionary, with the prominent, pedimented portico across the west front, and the steeple rising to a height of 58.5 m above the entrance to the church. The design was revolutionary and much copied in the UK, but also notably also in the USA. St Martin-in-the-Fields has recently (2008) undergone a major restoration, led by Eric Parry Architects with stone conservators Stonewest. The fruits of these laBours are mainly oBserved in the interior where Early Cretaceous Purbeck and Lower Jurassic Blue Lias Limestones have Been used for paving. -
Article from the Veteran Magazine
FILM FILM TELEVISION TELEVISION HISTORY THEATRE HISTORY THEATRE RADIO RADIO PROJECT PROJECT CELEBRATING 30 YEARS OF THE HISTORY PROJECT JIM WHITTELL EXHIBITOR Interviewer: Sir Sydney Samuelson Date: 6 September 2010 James Whittell recalls his career in the film industry – in particular, working for Odeon Cinemas and becoming its managing director from 1985 to 1990. The full interview can be seen as recorded on video and as transcribed at the British Entertainment History Project website. It has been edited and re-ordered with the approval of Jim Whittell for publication in THE VETERAN. Copyright © The History Project As a trainee manager in the main foyer of the Gaumont Bradford. The Kinematograph Weekly Company of Showmen certificate issued in 1965 when Jim Whittell was at the Odeon Rotherham. y father was the opening manager of the Odeon Harrogate and but as soon as I realised what it was like to be a chemist, I thought, No – I’m Showmanship the Kinematograph Weekly showman certificate, of which I’m happy to say the Odeon Morecambe. He then became the regional manager going to follow my father into the cinema industry. Gone have the days of showmanship. There’s nothing more frustrating to I’ve got one on my wall to this day: a big, beautiful– looking certificate that Mfor Southan Morris’s large independent outfit, in charge of the I went for my interview at the Odeon in Morecambe (the very cinema my me, because I can remember key was the standards of presentation and would name a film that had been promoted in such a way as to win this.