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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’. -
The Journal of Shakespeare and Appropriation 2/13/20, 11(18 PM
Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/13/20, 11(18 PM ISSN 1554-6985 VOLUME V · NUMBER (/current) 1 SPRING/SUMMER 2010 (/previous) EDITED BY (/about) Christy Desmet and Sujata (/archive) Iyengar CONTENTS The (Dis)possession of Lear's Two Bodies: Madness, Joseph R. Demystification, and Domestic Space in Peter Brook's King Teller Lear (/782421/show) (pdf) (/782421/pdf) S HAKESPEARE' S LITERARY AFTERLIVES E DITED BY MARK BAYER The Afterlife of Timon of Athens: The Palest Fire Gretchen (/782392/show) (pdf) (/782392/pdf) E. Minton Khaki Hamlets: Shakespeare, Joyce, and the Agency of Mark Literary Texts (/782397/show) (pdf) (/782397/pdf) Bayer "Nothing like the image and horror of it": King Lear and Richard Heart of Darkness (/782425/show) (pdf) (/782425/pdf) Meek Mark Introduction (/782387/show) (pdf) (/782387/pdf) Bayer The Question: Hamlet's Life After Life (/782444/show) (pdf) Mark http://borrowers.uga.edu/7159/toc Page 1 of 2 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/13/20, 11(18 PM (/782444/pdf) Robson A PPROPRIATIONS IN PERFORMANCE "A Mistaken Understanding": Dunsinane and New Writing at Emily the RSC (/782405/show) (pdf) (/782405/pdf) Linnemann C ONTRIBUTORS Contributors (/782450/show) (pdf) (/782450/pdf) © Borrowers and Lenders 2005-2020 http://borrowers.uga.edu/7159/toc Page 2 of 2 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/13/20, 11(19 PM The (Dis)possession of Lear's Two Bodies: (/current) Madness, Demystification, and Domestic Space in Peter Brook's -
Shakespeare Survey: 64: Shakespeare As Cultural Catalyst Edited by Peter Holland Frontmatter More Information
Cambridge University Press 978-1-316-50536-6 - Shakespeare Survey: 64: Shakespeare as Cultural Catalyst Edited by Peter Holland Frontmatter More information SHAKESPEARE SURVEY © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-316-50536-6 - Shakespeare Survey: 64: Shakespeare as Cultural Catalyst Edited by Peter Holland Frontmatter More information ADVISORY BOARD Jonathan Bate Akiko Kusunoki Margreta de Grazia Kathleen McLuskie Janette Dillon Lena Cowen Orlin Michael Dobson Simon Palfrey Andrew Gurr Richard Proudfoot Ton H oe n se la ar s Emma Smith Andreas Hofele¨ Ann Thompson Russell Jackson Stanley Wells John Jowett Assistants to the Editor Catherine Clifford and Ethan Guagliardo (1) Shakespeare and his Stage (35) Shakespeare in the Nineteenth Century (2) Shakespearian Production (36) Shakespeare in the Twentieth Century (3) The Man and the Writer (37) Shakespeare’s Earlier Comedies (4) Interpretation (38) Shakespeare and History (5) Textual Criticism (39) Shakespeare on Film and Television (6) The Histories (40) Current Approaches to Shakespeare through (7) Style and Language Language, Text and Theatre (8) The Comedies (41) Shakespearian Stages and Staging (with an index (9) Hamlet to Surveys 31–40) (10) The Roman Plays (42) Shakespeare and the Elizabethans (11) The Last Plays (with an index to Surveys 1–10) (43) The Tempest and After (12) The Elizabethan Theatre (44) Shakespeare and Politics (13) King Lear (45) Hamlet and its Afterlife (14) Shakespeare and his Contemporaries (46) Shakespeare -
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. -
Pieces of a Woman
PIECES OF A WOMAN Directed by Kornél Mundruczó Starring Vanessa Kirby, Shia LaBeouf, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie, Jimmie Falls, Ellen Burstyn **WORLD PREMIERE – In Competition – Venice Film Festival 2020** **OFFICIAL SELECTION – Gala Presentations – Toronto International Film Festival 2020** Press Contacts: US: Julie Chappell | [email protected] International: Claudia Tomassini | [email protected] Sales Contact: Linda Jin | [email protected] 1 SHORT SYNOPSIS When an unfathomable tragedy befalls a young mother (Vanessa Kirby), she begins a year-long odyssey of mourning that touches her husband (Shia LaBeouf), her mother (Ellen Burstyn), and her midwife (Molly Parker). Director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014) and partner/screenwriter Kata Wéber craft a deeply personal meditation and ultimately transcendent story of a woman learning to live alongside her loss. SYNOPSIS Martha and Sean Carson (Vanessa Kirby, Shia LaBeouf) are a Boston couple on the verge of parenthood whose lives change irrevocably during a home birth at the hands of a flustered midwife (Molly Parker), who faces charges of criminal negligence. Thus begins a year-long odyssey for Martha, who must navigate her grief while working through fractious relationships with her husband and her domineering mother (Ellen Burstyn), along with the publicly vilified midwife whom she must face in court. From director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014), with artistic support from executive producer Martin Scorsese, and written by Kata Wéber, Mundruczó’s partner, comes a deeply personal, searing domestic aria in exquisite shades of grey and an ultimately transcendent story of a woman learning to live alongside her loss. -
The World to Come
THE WORLD TO COME Directed by Mona Fastvold *World Premiere - 2020 Venice International Film Festival - Competition* PRESS CONTACTS US Press: Emilie Spiegel, [email protected] Intl Press: Claudia Tomassini, [email protected] SYNOPSIS In this frontier romance framed by the four seasons and set against the backdrop of rugged terrain, Abigail (Katherine Waterston), a farmer’s wife, and her new neighbor Tallie (Vanessa Kirby) find themselves powerfully, irrevocably drawn to each other. As grieving Abigail tends to the needs of her taciturn husband Dyer (Casey Affleck) and Tallie bristles at the jealous control of her husband Finney (Christopher Abbot), both women are illuminated and liberated by their intense bond, filling a void in their lives they never knew existed. Director Mona Fastvold (The Sleepwalker, co-writer of CHILDHOOD OF A LEADER and VOX LUX) examines the interior lives of two women resisting constraints, giving voice to their experiences. Scripted by Jim Shepard and Ron Hansen (The Assassination of Jesse James by the Coward Robert Ford), THE WORLD TO COME explores how isolation is overcome by the power of imagination and human connection. Q&A with Director Mona Fastvold First of all, tell me how the material came your way. It’s an interesting pairing of a novelist adapting a short story — was this a script that came to you fully formed? The script came to me from one of our producers, Whitaker Lader, who had seen my previous film. She and Casey had been developing the script with the screenwriters, Ron Hansen and Jim Shepard, for some time. I was immediately struck by it. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Julianne Moore Stephen Dillane Eddie Redmayne
JULIANNE MOORE STEPHEN DILLANE EDDIE REDMAYNE ELENA ANAYA Directed By Tom Kalin UNAX UGALDE Screenplay by Howard A. Rodman Based on the book by Natalie Robins & Steven M. L. Aronson BELÉN RUEDA HUGH DANCY Julianne Moore, Stephen Dillane, Eddie Redmayne Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy CANNES 2007 Directed by Tom Kalin Screenplay Howard A. Rodman Based on the book by Natalie Robins & Steven M.L Aronson FRENCH / INTERNATIONAL PRESS DREAMACHINE CANNES 4th Floor Villa Royale 41 la Croisette (1st door N° 29) T: + 33 (0) 4 93 38 88 35 WORLD SALES F: + 33 (0) 4 93 38 88 70 DREAMACHINE CANNES Magali Montet 2, La Croisette, 3rd floor M : + 33 (0) 6 71 63 36 16 T : + 33 (0) 4 93 38 64 58 E: [email protected] F : + 33 (0) 4 93 38 62 26 Gordon Spragg M : + 33 (0) 6 75 25 97 91 LONDON E: [email protected] 24 Hanway Street London W1T 1UH US PRESS T : + 44 (0) 207 290 0750 INTERNATIONAL HOUSE OF PUBLICITY F : + 44 (0) 207 290 0751 info@hanwayfilms.com CANNES Jeff Hill PARIS M: + 33 (0)6 74 04 7063 2 rue Turgot email: [email protected] 75009 Paris, France T : + 33 (0) 1 4970 0370 Jessica Uzzan F : + 33 (0) 1 4970 0371 M: + 33 (0)6 76 19 2669 [email protected] email: [email protected] www.dreamachinefilms.com Résidence All Suites – 12, rue Latour Maubourg T : + 33 (0) 4 93 94 90 00 SYNOPSIS “Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune. -
A Vanya to Blow Chekhovians' Samovars
Robert Icke's new revolution: a Vanya to blow Chekhovians' samovars He unleashed a fierce 1984 and brought Aeschylus bang up to date. Now the Almeida’s wunderkind is stripping back a Russian classic with actor Paul Rhys Andrew Dickson 12/2/2016 Say what you like about his productions, but Robert Icke has some nerve. His Romeo and Juliet, created for touring troupe Headlong in 2012, boldly gave the play the Sliding Doors treatment, full of rewinds and what-if scenes (in one version the Capulets and Montagues fail to start a brawl; in another the lovers never quite meet). Icke’s breakout production, last year’s searing and surgically precise Oresteia, turned one of the oldest dramas in the western canon into a knuckle-biting contemporary courtroom procedural. The evening culminated with the audience being asked which way they would vote, as if Aeschylus were The X Factor – is the revenger Orestes guilty, or should he go free? For his latest transforming trick, a new adaptation of Uncle Vanya, Icke is attempting something that will make a certain breed of Chekhovian blow their samovars: Vanya isn’t even in the script. In an office backstage at the Almeida theatre, after a long day of rehearsals, the director smiles wolfishly. “We’ve called him Uncle Johnny,” he declares. They’ve changed the title character’s name? Alongside him, Paul Rhys, playing Vanya – sorry, Johnny – tries to explain: “The names are hugely important in Chekhov: if you leave them in Russian you miss all the nuance. In the text he’s actually called Ivan – John – but everyone calls him Johnny. -
Thursday 17 January 2019 National Theatre: February
Thursday 17 January 2019 National Theatre: February – July 2019 Inua Ellams’ Barber Shop Chronicles will play at the Roundhouse, Camden for a limited run from July as part of a UK tour Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre Justine Mitchell joins Roger Allam in Rutherford and Son by Githa Sowerby, directed by Polly Findlay Phoebe Fox takes the title role of ANNA in Ella Hickson and Ben and Max Ringham’s tense thriller directed by Natalie Abrahami Further casting released for Peter Gynt, directed by Jonathan Kent, written by David Hare, after Henrik Ibsen War Horse will return to London as part of the 2019 UK and international tour, playing at a new venue, Troubadour Wembley Park Theatre, for a limited run in October Olivier Theatre SMALL ISLAND adapted by Helen Edmundson based on the novel by Andrea Levy Previews from 17 April, press night 1 May, in repertoire until 10 August Andrea Levy’s epic, Orange Prize-winning novel bursts into new life on the Olivier Stage. A cast of 40 tell a story which journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Adapted for the stage by Helen Edmundson Small Island follows the intricately connected stories of two couples. Hortense yearns for a new life away from rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie longs to escape her Lincolnshire roots. -
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. -
Press Release Monday 21 May 2018 Royal Court Theatre
PRESS RELEASE MONDAY 21 MAY 2018 ROYAL COURT THEATRE ANNOUNCES CAST FOR ONE FOR SORROW, WRITTEN BY CORDELIA LYNN AND DIRECTED BY JAMES MACDONALD Photo: Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward have been cast in the world premiere of One For Sorrow, by Cordelia Lynn. It is directed by James Macdonald. The production runs Wednesday 20 June 2018 – Saturday 11 August 2018 with press performances at 7pm Tuesday 26 June 2018 and 7.45pm Wednesday 27 June 2018. The reviews are embargoed until 11.59pm Wednesday 27 June 2018. “You’ve endangered us. You’ve endangered your family.” During an attack on London, 20 year old Imogen joins a campaign offering refuge to victims. Before her family have even had a chance to have a reasonable discussion, John is at their door. He is different to them. He isn’t what they expected. And although they’d never admit it to themselves, he isn’t necessarily what they want. “You will do anything, in the end, to keep the people you love safe.” Full listings and biography information below. Ends:- For more information or images please contact Anoushka Warden on 0207 565 5063 / [email protected] Notes to Editors: Press performances One For Sorrow Jerwood Theatre Upstairs 7pm Tuesday 26 June 2018 and 7.45pm Wednesday 27 June 2018. The reviews are embargoed until 11.59pm Wednesday 27 June 2018. Biographies: Cordelia Lynn (Writer) For the Royal Court: Lela & Co. Other theatre includes: Best Served Cold (Vault Festival); Believers Anonymous (Rosemary Branch); After the War (UK & International tour).