DEVANTE LAWRENCE (718) 913-2168 Devantelawrence.Com [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

DEVANTE LAWRENCE (718) 913-2168 Devantelawrence.Com Devante.Lawrence14@Gmail.Com

DEVANTE LAWRENCE (718) 913-2168 devantelawrence.com [email protected] THEATRE All’s Well That Ends Well Bertram La Pietra Players / dir. Eric Nicholson The Serpent MLK Experimental Theater Wing/ dir. Tina Shepard Beauty Freak Dr. Joseph Goebbels What Will the Neighbors Say?/ dir. Coral Cohen The Cherry Orchard Lopakhin/Yasha Bristol Old Vic Theatre School/ dir. Mabel Aiken Marisol Man with Scar Tissue Tisch Drama StageWorks/ dir. Mary Robinson Pericles Antiochus/Lysimachus Redgrave Theater/ dir. Andrew Hilton/Aaron Parsons Measure for Measure Provost Tisch Drama StageWorks/ dir. Daniel Spector FILM/NEW MEDIA Jahar Lead Tribeca Film Festival/ dir. Henry Hayes An Unknown Condition Lead Virtuoso Picture House/ dir. Alfonso Morgan-Terrero Soulfro Lead Yacht Club Films/ dir. Evan Ari Kelman Virgin Radio Featured Reelworld/ dir. Ben Marks Coping Mechanism Featured New Funk Academy/ dir. Topaz Jones Where We Dwell Featured Kid Guy Collective/ dir. Todd Martin Eschaton Co-Star Chorus Productions/ dir. Taylor Myers EDUCATION/ TRAINING Bristol Old Vic Theatre School (UK): Master of Fine Arts in Professional Acting NYU Tisch School of the Arts: Bachelor of Fine Arts in Theatre Acting: Catherine Coray, Rosemary Quinn, Kevin Kuhlke, Terry Knickerbocker Directing: Kate Whoriskey Acting Studio of NYC: Terry Knickerbocker Studio OnCamera/VO at Ted Sluberski, Chris Modoono, Andy Roth Stonestreet Studios SPECIAL SKILLS Dialects: General American, New York, California, Southern, Jamaican, RP, Multicultural London English Singing: Baritone Stage Combat: Unarmed, Rapier & Dagger, Kali Sticks/Escrima, Katana Basketball, Football, Running, Weightlifting, Headstands, Butterfly Kick, Cartwheels, Psychology Minor, Whistling, Can Belch on Command, US Passport .

Copy Link

Recommended publications

Table of Contents More Information
Cambridge University Press 978-1-107-02451-9 - Shakespeare Survey: 65: A Midsummer Night’s Dream Edited By Peter Holland Table of Contents More information CONTENTS List of illustrations page x Laura Aydelotte ‘A local habitation and a name’: The Origins of Shakespeare’s Oberon 1 Helen Barr ‘Wrinkled deep in time’: Emily and Arcite in A Midsummer Night’s Dream 12 Michael Hattaway ‘Enter Cælia, the Fairy Queen, in her Night Attire’: Shakespeare and the Fairies 26 Jesse M. Lander Thinking with Fairies: A Midsummer Night’s Dream and the Problem of Belief 42 Henry Buchanan ‘India’ and the Golden Age in A Midsummer Night’s Dream 58 Michael Saenger The Limits of Translation in A Midsummer Night’s Dream 69 Sibylle Baumbach Voice, Face and Fascination: The Art of Physiognomy in A Midsummer Night’s Dream 77 Stuart Sillars A Midsummer Night’s Dream in Illustrated Editions, 1838–1918 92 Laura Levine Balanchine and Titania: Love and the Elision of History in A Midsummer Night’s Dream 110 Michael P. Jensen A Midsummer Night’s Dream on Radio: The Oregon Shakespeare Festival’s Radio Series 121 Russ McDonald Benjamin Britten’s Dreams 138 Roger Warren Staging A Midsummer Night’s Dream: Peter Hall’s Productions, 1959–2010 147 Carol Thomas Neely A Midsummer Night’s Dream at the Millennium: Performance and Adaptation 155 Matt Kozusko Shakesqueer, the Movie: Were the World Mine and A Midsummer Night’s Dream 168 Jacquelyn Bessell Letter from the Chalk Face: Directing A Midsummer Night’s Dream at the Staunton Blackfriars 181 Andrew James Hartley A Dream of Campus
[Show full text]
Alasdair Buchan Photo: Ben Wulf
191 Wardour Street London W1F 8ZE Phone: 020 7439 3270 Email: [email protected] Website: www.olivia-bell.co.uk Alasdair Buchan Photo: Ben Wulf Currently: Gerald Croft in AN INSPECTOR CALLS on UK Tour 2019/2020. Details: https://www.aninspectorcalls.com Eastern European, Appearance: Greater London, England, United Mediterranean, White Kingdom Other: Equity Location: Nottinghamshire, England, United Eye Colour: Brown Kingdom City of Bristol, England, United Kingdom Hair Colour: Dark Brown Height: 6' (182cm) Hair Length: Mid Length Weight: 12st. 7lb. (79kg) Voice Character: Engaging Playing Age: 26 - 40 years Voice Quality: Strong Stage 2019, Stage, Gerald Croft, AN INSPECTOR CALLS - TOUR, National Theatre, Stephen Daldry 2018, Stage, Henry Turner, SEANCE, The Other Palace, Philip Wilson 2017, Stage, Sherlock Holmes, SHERLOCK HOLMES & THE CRIMSON COBBLES, Salisbury Playhouse, Chipping Norton & UK Tour, Kirstie Davis 2016, Stage, Hubert Laurie, NIGHT MUST FALL, Salisbury Playhouse/Original Theatre Company, Luke Sheppard 2015, Stage, Ernst Gombrich, A LITTLE HISTORY OF THE WORLD, Watermill Theatre/Reading Rep, Paul Stacey 2015, Stage, Mr. McQueen, URINETOWN: THE MUSICAL, JSA/Araca Group, Apollo Theatre, Jamie Lloyd 2014, Stage, Messenger (U/s and played Buckingham & Clarence), RICHARD III, ATG/Jamie Lloyd Productions, Trafalgar Studios, Jamie Lloyd 2014, Stage, Onstage Swing (1st Cover Lockstock), URINETOWN: THE MUSICAL, JSA/Araca Group, St. James' Theatre, Jamie Lloyd 2013, Stage, Cover all Male Roles (played over 20 shows), THE PRIDE,
[Show full text]
Shakespeare Survey 65
Cambridge University Press 978-1-107-02451-9 - Shakespeare Survey: 65: A Midsummer Night’s Dream Edited By Peter Holland Frontmatter More information SHAKESPEARE SURVEY 65 A Midsummer Night’s Dream © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02451-9 - Shakespeare Survey: 65: A Midsummer Night’s Dream Edited By Peter Holland Frontmatter More information ADVISORY BOARD Jonathan Bate Akiko Kusunoki Margreta de Grazia Kathleen E. 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
[Show full text]
Marilla Wex ACTRA, CAEA, British Equity
Marilla Wex ACTRA, CAEA, British Equity HAIR: Dark Brown EYES: Green HEIGHT: 5’4” WEIGHT: 125 lbs AGENT: KEVIN JENSEN FILM & TELEVISION GREENFIELDS Principal Family Channel/Six Eleven Media/Stefan Scaini MAYDAY Principal Discovery/George D’amato WORKIN MOMS Principal CBC/ Jonathan A. Walker HOW TO BUY A BABY Principal CBC Digital/ Molly McGlynn MAN SEEKING WOMAN Principal FXX/Andy Deyoung *THE BEAVERTON Series Regular Pier 21 Films/ Laszlo Barna, Melissa Williamson REIGN Guest Star CW/Norma Bailey BLOODLETTING AND MIRACULOUS CURES Recurring TMN/Kari Skogland THE GOOD TIMES ARE KILLING ME Co-Star Global/John L’Ecuyer MURDOCH MYSTERIES Guest Star Chum/Granada/Farhad Mann SOLDIER, SOLDIER IV Guest Star ITV/Doug McKinnon BADLY PACKED KEBAB Series Regular BBC/Simon G M Li BADLY PACKED KEBAB 2 Series Regular BBC/Simon G M Li THE SEX DETECTIVE Series Regular Pilot/Richard Vobes PINT OF PEACH Series Regular Pilot/Liam O’Connor MASTER OF NONE Lead Independent/Hilton Earl * 2018 Canadian Screen Award Nomination for Best Performance Ensemble in a Variety or Sketch Comedy Series. RADIO/VOICEWORK/INDUSTRIAL (Select) PANIC BUTTON Reality TV Show Space/Leo Scherman MCDONALD’S ORIGINALS (web series) Guest Star Fresh Baked Entertainment NINJAMAICA (animation pilot) Co-Star Lenz Entertainment TWIN REACTION Radio Drama BBC Radio 4/ Shaun MacLoughlin PRIDE AND PREJUDICE Radio Drama BBC Radio 4/ Shaun MacLoughlin IRISH FERRIES Audio Training CD Aptus/Julia Young PHONE TRAIN Audio Training CD Train Talk/ Julia Young BT AWARDS EVENT Event Voiceover Power Train/ Jane Garvey WARNERS HOLIDAYS Phone Hold Messaging SOH/ Chris Read BUTLINS TIGER HOLIDAYS Phone Hold Messaging SOH/ Chris Read THE SHOPKEEPERS’ ASSOCIATION Industrial Training Video David Hughes THEATRE THE RAILWAY CHILDREN Mrs.
[Show full text]
Peta Cornish
Peta Cornish Peta trained at Bristol Old Vic Theatre School. Peta took Guildhall exams up to Grade 6 and received Gold, Silver and Bronze medals in New Era Academy Speech and Drama Exams Grade 8 Guildhall Speech and Drama Awards Member of the National Youth Theatre. Agents Ruth Young Associate Agent Phoebe Trousdell [email protected] +44 (0)20 3214 0800 Assistant Lauren Morgan [email protected] +44 (0)20 3214 0800 Assistant Alex Campbell [email protected] +44 (0)20 3214 0800 Roles Film Production Character Director Company CINDERELLA Patricia Kay Cannon Columbia Pictures Television Production Character Director Company THE ANGEL OF DARKNESS Governess Various Paramount/Netflix United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company VICTORIA WOOD CHRISTMAS Girl Tony Dow Phil McIntyre Television Limited SPECIAL 2009 WILLIAM AND MARY Kate Meridian Broadcasting Ltd Stage Production Character Director Company COMMON Female Ensemble Jeremy Herrin The National Theatre TESTAMENT J Lucy Jane Atkinson Old Sole Theatre Company THE TRACKERS OF Performer Jimmy Walters Proud Haddock Productions OXYRHYNCHUS LTD | Finborough Theatre AFTER OCTOBER Lou St. Rene Troupe/Finborough Theatre PLAY / SILENCE W1 / Ellen Kate Wasserberg The Other Room at Porter's & Titas Halder FUTURE CONDITIONAL Sarah Matthew Warchus Old Vic Theatre Ventures FEVER Katy Anthony Biggs Jermyn Street Theatre TEN WOMEN Bethan Dear Jackdaw TO SIR WITH LOVE Gillian Mark Babych Touring Consortium Theatre Company THE DUG OUT Sasha Splice Productions Tobacco Factory Theatre EVA Zuzka Owen Horsely High Tide Festival WATER WINGS Hilary Genevieve Raghu Ovalhouse Theatre THE WELSH BOY Mary Powell Matthew Lloyd Theatre Royal Bath THE GREAT GATSBY Jordan Linnie Reedman The King's Head Theatre OTHELLO Bianca Andrew Shepherd Chelsea Theatre ON THE PISTE Bev John Godber Tobacco Factory LES LIAISONS Mme.
[Show full text]
Measure for Measure
Measure for Measure William Shakespeare in a version by Dominic Power © 2001 Dominic Power All enquiries about performing rights should be addressed to: Andrew Mann Literary Agency 39 - 41 North Road London N7 9DP [email protected] +44 (0) 20 7609 6218 Cover photo of John Mackay as Angelo © Alan Moore 2001 Production This version of Measure for Measure was first produced in Bristol by Shakespeare at the Tobacco Factory on the 8th February 2001. Cast Duke Vincentio - Peter Clifford Escalus - Robert Pheby Angelo - John Mackay Angelo’s Servant - Tom Rogers Friar Peter - Gyuri Sarossy Lucio - Cameron Fitch Froth and Barnadine - David Collins Pompey - Chris Donnelly Mistress Overdone - Carol Brannan Claudio - Stuart Crossman Provost - Jonathan Nibbs Officer - Nicholas Wilkes Isabella - Lucy Black Nun and Juliet - Rebecca Smart Mariana - Saskia Portway Elbow and Abhorson - Paul Nicholson Production Director - Andrew Hilton Set & Costume Designer - Andrea Montag Lighting Designer - Paul Towson Composer - John Telfer Stage and Technical Management Production Manager - Dan Danson Stage Managers - Esther Last & Samantha Portlock Technical Stage Manager - Mim Spencer Part One Scene 1 (Act1 Sc1/Sc3) A Chamber in the Duke’s Palace Enter to the Duke, Escalus and Servant Duke Escalus. Escalus My lord. Duke Of government the properties to unfold Would seem in me to waste both speech and discourse Since I am put to know that your own science Exceeds in that the lists of all advice My strength can give you. The nature of our people, Our city’s institutions and the terms For common justice you’re as pregnant in As art and practice hath enriched any That we remember.
[Show full text]
Stage by Stage South Bank: 1976 – 1987
Stage by Stage South Bank: 1976 – 1987 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 Peter Hall. Photograph by Zoë Dominic. 1976 £2.35 for a voucher guaranteeing a seat, 28 February: the last night of the NT at the which must be swapped for a ticket before the Old Vic – a single performance of Val May’s performance. The scheme proves unpopular documentary about Lilian Baylis, Tribute to the and by December the following year has been Lady, with Peggy Ashcroft as the Lady. dropped. The cost of the new building is by now put at Ralph Richardson inaugurates Ralph’s Rocket, £16 million. ‘Like many a luxury… it may well which is fired before every NT first night. ‘I love turn out to have been a bargain. …Anything fireworks,’ he says, ‘they’re so unnecessary’. comparable, begun today, would cost from (The practice is discontinued later when £25m to £40m.’ (The Economist). terrorist alerts make it inadvisable). It is clear that the Cottesloe will be the last The work at first known as ‘NT Extras’ starts, of the three new theatres to open, and short under Associate Director Michael Kustow. seasons of ‘studio’ work are staged at the ICA The first Platform Performance is staged and Young Vic Theatres.
[Show full text]
Novello-Son-2019.Pdf
Synopsis A selection of Ivor Novello's best-loved songs and his doting mother to sing them – a simple enough idea … except nothing can ever be simple when Madame Clara Novello Davies takes centre stage. Indomitable, impetuous, with an ego the size of the Ritz, her genius for choral music had once won her international acclaim. But it’s 1938 and those days are long past – not that Ivor could ever persuade her of that. With their relationship at (yet another) crisis point, this funny and at times poignant drama sees Clara struggle to come to terms with a world that has lost interest in her kind of music and fallen head-over-heels for her son. As she sings his songs and dutifully sings his praises, she finds herself re-living the traumas of a remarkable life that took her from a suburb in Cardiff to the epicentre of London’s Theatreland. *************************** The show features Rosamund Shelley and her pianist Gavin Roberts Excerpts from Novello & Son: https://vimeo.com/user34637870 Premiered at Wales Millennium Centre November 2014 – reviewed in The Western Mail Further performances in The Rosemary Branch and The Jermyn Street Theatre, London, the Oundle Festival and the Lower Machen Festival Contact: [email protected] *************************** Information for Venues Technical • The show runs for 60 minutes without an interval • Minimum playing space of 2m x 4m • Informal cabaret style of seating recommended, although theatre style seating in rows can work well, as long as the audience are not too far from the performing area • Basic lighting, a high stool and a piano are required.
[Show full text]
Byron Mondahl Photo: Samuel Black
59 St. Martin's Lane London WC2N 4JS Phone: 0207 836 7849 Email: [email protected] Website: www.nikiwinterson.com Byron Mondahl Photo: Samuel Black Location: Bristol/London/Liverpool, United Kingdom Eye Colour: Blue-Green Height: 5'7" (170cm) Hair Colour: Blond(e) Weight: 16st. 11lb. (107kg) Hair Length: Balding Playing Age: 34 - 50 years Voice Quality: Clear Appearance: White Stage Stage, Oswald / US Lear (BAM, New York), KING LEAR, Royal Shakespeare Company, Gregory Doran Stage, English Ambassador / US Polonius, Hamlet (Kennedy Centre, Washington), Royal Shakespeare Company, Simon Godwin Stage, Nazarene, Salome, Royal Shakespeare Company, Owen Horsley Stage, Omnivorous, Vice Versa, Royal Shakespeare Company, Janice Honeyman Stage, Oswald / US Lear, King Lear, Royal Shakespeare Company, Gregory Doran Stage, English Ambassador / US Polonius, Hamlet, Royal Shakespeare Company, Simon Godwin Stage, Philario / US Belarius, Cymbeline, Royal Shakespeare Company, Melly Still Stage, Sir Benjamin Backbite, The School for Scandal, Shakespeare at the Tobacco Factory, Andrew Hilton Stage, Duke of Cornwall, King Lear, Shakespeare at the Tobacco Factory, Andrew Hilton Stage, Oronte, The Misanthrope, Bristol Old Vic/Shakespeare at the Tobacco Factory, Andrew Hilton Stage, Francis Flute/ Peaseblossom, A Midsummer Night's Dream, Shakespeare at the Tobacco Factory, Andrew Hilton Stage, Caesar, Antony and Cleopatra, Shakespeare at the Tobacco Factory, Andrew Hilton Stage, Cobbler / Octavius Caesar, Julius Caesar, Shakespeare at the Tobacco Factory,
[Show full text]
Dorothea Myer-Bennett
Eamonn Bedford Agency 1st Floor - 28 Mortimer Street London W1W 7RD EBA t +44(0) 20 7734 9632 e [email protected] represented by Eamonn Bedford www.eamonnbedford.agency DOROTHEA MYER-BENNETT HEIGHT: 5’7” (170cm) HAIR: Red/Titian EYES: Blue-Grey TITLE (Role) DIRECTOR PRODUCTION COMPANY THEATRE How He Lied To Her Husband Paul Miller Orange Tree Theatre (She: Aurora Bompas) Overruled (Mrs Lunn) Paul Miller Orange Tree Theatre Leopoldstadt (Hannah) Patrick Marber Wyndhams/Sonia Friedman Productions Much Ado About Nothing (Beatrice) Elizabeth Freestone Shakespeare at the Tobacco Factory While The Sun Shines (Mabel Crum) Paul Miller Orange Tree Theatre Creditors (Tekla) Tom Littler Jermyn Street Theatre Miss Julie (Kristin) Tom Littler Jermyn Street Theatre Rosenbaum’s Rescue (Eva) Kate Fahy Park Theatre Holy Shit (Simone Kellerman) Indhu Rubasingham Kiln Theatre The Winslow Boy (Catherine Winslow) Rachel Kavanaugh Chichester Festival Theatre/ Mark Goucher The Lottery Of Love (Sylvia) Paul Miller Orange Tree Theatre Merchant Of Venice (Nerissa) Jonathan Munby Shakespeare’s Globe/Lincoln Centre The Philanderer (Julia Craven) Paul Miller Orange Tree Theatre Pericles (Thaisa Dionyza) Dominic Dromgoole Shakespeare’s Globe Richard III (Queen Elizabeth) Mark Rosenblatt West Yorkshire Playhouse This Was A Man (Carol) Belinda Lang The Finborough As You Like It (Rosalind) Andrew Hilton Shakespeare at the Tobacco Factory Arcadia (Lady Croom) Andrew Hilton Shakespeare at the Tobacco Factory The Fitzrovia Radio Hour Matt Peover Fitzrovia Radio Hour/St
[Show full text]
The Development of the Pre-Show in English Shakespearean Performance, 1932-2014
THE DEVELOPMENT OF THE PRE-SHOW IN ENGLISH SHAKESPEAREAN PERFORMANCE, 1932-2014 By ALISON STEWART A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute School of English, Drama and American & Canadian Studies College of Arts and Law University of Birmingham March 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Productions of Shakespeare’s plays often feature an interpolated opening scene or ‘pre-show’. My thesis examines this phenomenon. Proposing threshold theory as a framework, I consider the interfaces between the classic text, the enacted play and the audience. Previous studies of modern pre-shows suggest three key purposes for the pre-show: narrative, concept, and theatricality, which I adopt as the structure of the second half of my thesis. Studies of early prologues and inductions trace cultural and artistic developments that pre-figure developments I trace in modern production. I consider in some detail Shakespeare’s own pre-show and introductory strategies and the problems they present to modern directors, before examining the earliest pre- shows of modern productions, in the 1930s to 1950s, the cultural and artistic circumstances that gave rise to them, and their reception among reviewers and scholars.
[Show full text]
Mfa U.S. Graduates 2020 Welcome
MFA U.S. GRADUATES 2020 WELCOME We are thrilled to introduce you to the 2021 Bristol Old Vic Theatre School Graduating MFA Actors Online Showcase. The performers you will see here are eligible to work in the United States. Normally, the time we spend in New York is an essential part of the career launch of our graduates, and an event we look forward to every year. Nevertheless, we persevere, and we’re delighted to welcome industry figure from across the whole of the USA to join us online. Thank you so very much for making time to watch them all. For over 70 years Bristol Old Vic Theatre School has been producing actors of the highest calibre – including many household names such as Sir Daniel Day Lewis, Naomie Harris, Sir Patrick Stewart, Laura Carmichael (Lady Edith in Downton Abbey), the late, great Gene Wilder and countless others. Series 4 of Netflix’s The Crown has Bristol alumni as Princess Anne (Erin Doherty), Prince Charles (Emmy Award winner Josh O’Connor) and the Queen (Oscar winner Olivia Colman). We hope that this year’s graduating actors may have equally illustrious careers. Class sizes are very small; typically, each course will only have 10-14 students and each student will have an intensive experience in which their individuality can flourish. As well as the extensive theatre training, students receive rigorous training in film and television, and specialist training in areas such as combat, audio, motion capture and voice acting technique. Our goal is that graduates emerge from the program confident in their individuality, and fully prepared for the wide range of opportunities that await them in the profession.
[Show full text]