DOCSLIB.ORG

Under the Hawthorn Programme Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Under the Hawthorn Programme Notes U N D E R T H E H A W T H O R N T R E E 2 7 S E P T E M B E R - 7 O C T O B E R A T T H E M A C P R O G R A M M E N O T E S This dramatisation of UNDER THE HAWTHORN TREE is based on the book UNDER THE HAWTHORN TREE © text 1990 Marita Conlon-McKenna, published by THE O’BRIEN PRESS, DUBLIN. In association with National Museum’s Northern Ireland. M E E T T H E C A S T A D A M D O U G A L Originally from Belfast, Adam trained at The Mountview Academy of Theatre Arts. Theatre credits include: The Secret Diary of Adrian Mole (aged 13 3/4) (The MAC), Barney Carey Gets His Wings (The Watergate), Lessons in Love and Violence (Royal Opera House, London), New Jersey Nights(UK and China), The Merchant of Venice (c21), The 25th Annual Putnam County Spelling Bee (The MAC), The Break (The MAC), Departure Lounge (The Baby Grand), Little Red Riding Hood (The Waterfront Hall), Alice in Wonderland (The Cockpit, London), Shot at Dawn (The Gatehouse, London), Footloose(Gordon Craig Theatre), Aladdin and Cinderella (Greenwich Theatre), Midas (St James Theatre). C O L E T T E L E N N O N D O U G A L Colette comes from Belfast and trained in Musical Theatre at The Royal Academy Music in London. Theatre credits include: The Colleen Bawn (The Lyric), Hansel and Gretel (The MAC), Adrian Mole (aged 13 3/4) (The MAC), The 25th Annual Putnam County Spelling Bee (The MAC), The Faerie Thorn (Big Telly), Gordon Osrams Funeral (Accidental Theatre), That Man Musical (Hippodrome, London), The Merchant of Venice (C21),The ClockMakers Daughter (The Landor, London), Pride and Prejudice (The Lyric /Everyman Theatre). Colette has toured Europe and Germany in The Best of the Musicals and Broadway Goes Rock, where she played Mary Poppins, Christine (Phantom) and Elphaba (Wicked). She toured USA with Celtic Nights as lead vocalist. Film/TV credits include: Paige in Mute (sexyraygun), How we won the war (BBC). F R A N K I E M c C A F F E R T Y Frankie is delighted to be working with Cahoots NI again, having previously appeared in A Spell of Cold Weather (written by Charles Way) and Little Red Riding Hood and the Big Bad Wolf at the Lyric. He has often performed for young audiences and was sidekick to Littlejohn Nee in Surfing with a Camel at the Galway Arts Festival, where he also read stories for young children. He is well known as an actor on stage and screen, appearing at the Lyric, the Abbey Theatre, Druid Theatre and at the National Theatre in London. His most recent role was in the Corcadorca Theatre production of The Numbered in Fitzgerald’s Park as part of the Cork Midsummer Festival. Favourite roles include Da in Trad by Mark Doherty (Winner of Edinburgh Fringe First award and Adelaide fringe award during an international tour), Tom Fool in At the Black Pig’s Dyke (Belfast Telegraph best actor award), Dinzie in John B Keane’s Sharon’s Grave and Ivan in Conor McPherson’s The Seafarer. He wrote and performed a one-man play Tintype at the Kilkenny Arts Festival. TV credits include: Vikings, Ripper Street, Twenty Twelve, The Woman in White, Charlie, Murder in Eden, the forthcoming Death and Nightingales and as Donal in over fifty episodes of the long-running Ballykissangel. Film credits include: Philomena, In the Name of the Father, Fools of Fortune, Omagh, Fifty Dead Men Walking, Bad Day for the Cut, Angela’s Ashes. Frankie trained at the Conservatoire National Supérieur d’Art Dramatique in Paris and has taught performing arts at QUB and Belfast Met. J U L I A D E A R D E N Julia's theatre includes : The Gift(Cahoots NI), Electra (The Old Vic), Loyal Women (Royal Court Theatre), The Winter’s Tale, The Crucible and Camille (RSC), The Shaughraun (National Theatre England), Romeo and Juliet (ESC), Dancing at Lughnasa (West End), Una Pooka, The Mai and The Bloody Sunday Inquiry (Tricycle Theatre), The Silver Tassie (Almeida), Much Ado about Nothing (Sheffield Crucible), Shadow of a Gunman (Citizens Glasgow), Bold Girls (7:84), The Blind Fiddler (Assembly Rooms), Antigone, Scenes From The Big Picture, Christmas Eve Can Kill You, Da, The Importance of Being Earnest (The Lyric, Belfast), Ruby, Pentecost (Tinderbox), Hold your Tongue, Hold your Dead (GAC Boston). Film and TV credits include: Derry Girls, After Life, Paula, The Fall (Series 1- 3) Line of Duty, The Frankenstein Chronicles, The Secret, Doctors, The Billy Plays, Troubles, Northhanger Abbey, Cal, The Most Fertile Man in Ireland, Wild About Harry and Titanic Town. Julia has also worked extensively in Radio Drama. M E E T T H E C A S T M A E V E S M Y T H Maeve studied at East 15 Acting School. Theatre credits include: The Colleen Bawn (The Lyric), The Threepenny Opera (NI Opera at the Lyric), The Assistant’s Revenge (Cahoots NI), Macbeth (c21 Theatre Company at The Grand Opera House). Maeve has appeared in numerous short films, including Je Suis Le Cat’s production of Monkeys in The Garden, which has been accepted into five film festivals, including the prestigious Galway Film Fleadh. M A G G I E C R O N I N Maggie is an award-winning actress, writer and director. Film credits include: Normal People (in post- production), The Shore (Oscar Winner: ‘Short Film Live Action Category’ 2012), To Lose Control, Whole Lotta Sole, Shooting For Socrates, High Rise and Zoo. TV credits include: Doctors (BBC 1); United (BBC); The Bill (ITV); Holby City (BBC); The Clinic (RTÉ); Scapegoat (BBC), Marú (TG4), My Mother And Other Strangers (BBC1), The Frankenstein Chronicles (ITV). Maggie’s stage appearances have included Broadway, West End, Ireland, UK , Europe, Pakistan and USA. Writing credits include: A Most Notorious Woman (Stewart Parker Trust/ BBC Radio Drama Award), Greenstick Boy, Kitty Gulliver and Shrieking Sisters and short stories broadcast on Radio Ulster and Radio 4. P H I L I P P A O ’ H A R A Philippa is a singer and actor from Belfast. She trained in BMC’s Performing Arts course which she completed with a Degree in Drama from QUB. Theatre credits include: Shh! We have a Plan (Cahoots NI), Pinocchio (Cahoots NI), Little Red Riding Hood (Market Place Theatre), The Andrews Sisters at the Derry Jazz Festival (Playhouse Theatre), My Mother and Other Strangers (BBC NI). T E R E N C E K E E L E Y Terence studied at Guildhall School of Music and Drama. Theatre credits include: The Ferryman (Geilgud, West End), Macbeth (Shakespeare's Globe), The Beauty Queen of Leenane (Young Vic), This is My Family (Crucible, Sheffield). Television credits include: Titanic - Blood and Steel, Frankenstein Chronicles, Derry Girls. M E E T T H E C O M P A N Y A U T H O R D I R E C T O R C O M P O S E R / S O U N D D E S I G N E R Marita Conlon-McKenna Paul Bosco Mc Eneaney Garth McConaghie A D A P T A T I O N B Y C H O R E O G R A P H E R C O S T U M E / S E T D E S I G N Charles Way Carlos Pons Guerra Sabine Dargent L I G H T I N G D E S I G N M U S I C A L D I R E C T O R A S S I S T A N T D I R E C T O R James McFetridge Shane McVicker Sarah Lyle S T A G E M A N A G E R A C T I N G A S M S E T B U I L D E R Ashley Smyth Richard Thomas Paine Philip Goss C O S T U M E M A K E R A R T W O R K B A N D Judy Kay Jordan Henderson Darragh Murphy James Nash Rod Patterson Matt Weir A W O R D F R O M T H E C A H O O T S N I Paul Bosco Mc Eneaney "I was inspired by the incredible story of Under the Hawthorn Tree by Marita Conlon-McKenna when my son brought the book home from school. Something about the journey of these brave children struck me as having perfect theatrical elements that I wanted to explore in a way that hadn't been done before. What came as a surprise to me was the huge worldwide impact the book has had on generations since it was published in 1990 by The O’Brien Press, Dublin. In the run up to this project, this has become hugely evident. Those who loved the story almost 30 years ago can still recall their most stand-out moments, which they can now share with their children. Having Marita’s incredible book to draw on has allowed us an opportunity to address a difficult subject matter that can be challenging for a young audience, particularly since the subject is still so relevant in today’s world. We were delighted when National Museums Northern Ireland commissioned a development of the piece in 2016 with Cahoots NI and writer Charles Way and thus started a long, exciting journey that leads us to the full-scale production you now see on stage.
Load more

Recommended publications
  • Aoife Miskelly Soprano
    Aoife Miskelly Soprano Northern Irish soprano Aoife Miskelly Codetta in their performance – live on studied as a Sickle Foundation Scholar on the Spanish radio – of Beethoven’s oratorio Christ Opera Masters degree course at the Royal on the Mount of Olives in Cuenca. Aoife is also Academy of Music in London, graduating in a very keen oratorio singer, having performed 2012 with the Regency Award. During her in a whole host of concerts, including Bach’s studies, Aoife was a Kathleen Ferrier Awards Christmas Oratorio, St. John and Matthew finalist (2010), won a BBC Northern Ireland Passions, Jauchzet Gott in allen Landen and Young Artists Platform Award, and was a Magnificat, Beethoven’s Mass in C (in Samling Scholar, Internationale Cologne Cathedral), Brahms’ Deutches Meistersinger Akademie Young Artist and Requiem (St. Martin in the Fields), Carissimi’s Britten-Pears Young Artist. Aoife was the Jepthe (St. John’s, Smith Square), Handel’s winner of the Hampshire National Singing Messiah, Dixit Dominus, Laudate Pueri Competition in 2011, the Bernadette Greevy Dominum, and Saul (conducted by Laurence Bursary in 2011, finalist in the Veronica Dunne Cummings), Mozart’s Requiem, Coronation International Singing Competition 2013, and Mass and Exultate Jubilate, Orff’s Carmina finalist in the 2015 Wigmore Hall Song Burana (Ulster Orchestra), Poulenc’s Gloria, Competition. Stravinsky’s Mass, Varese’s Nocturnal and Vivaldi’s Gloria. During the 2012-16 seasons Aoife was a soloist at the Cologne Opera House where she Aoife’s recent highlights include
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Undergraduate Play Reading List
    UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
    [Show full text]
  • 2013-14 Page 2 Page
    Arts Council of Northern Ireland - 2013-14 www.artscouncil-ni.org arts council of northern ireland annual review 2013-14 arts council of northern ireland annual review 2013-14 Prime Cut Production’s ‘The Conquest of Happiness’ Happiness’ of ‘The Conquest Production’s Cut Prime page 2 page page 3 page Our Vision Front Cover: Lyric Theatre Production, ‘Brendan at the Chelsea’. Photo: Steffan Hill Steffan Photo: Chelsea’. the at ‘Brendan Production, Theatre Lyric Cover: Front Our vision is to ‘place the arts at the heart of our social, economic and creative life’. In Ambitions for the Arts*, our new five-year strategic plan for the development of the arts in Northern Ireland, 2013-18, we identify the main themes covering what we believe needs to be done to achieve this vision - championing the arts, promoting Public funding brings access, building a sustainable sector. In this Annual Review 2013-14, you will see the great art within the reach progress that has been made in these areas, from the transformation of Derry~Londonderry through the UK City of Culture 2013 creative programme to the range of everyone of international showcase opportunities now available to our artists and performers. * available at www.artscouncil-ni.org arts council of northern ireland annual review 2013-14 arts council of northern ireland annual review 2013-14 Contents Welcome Welcome to the Arts Council of Northern Ireland’s Annual Review 2013-2014. Chair’s Foreword 6 This calendar-style review of our combined Exchequer and Chief Executive’s Foreword 8 National Lottery-funded activities covers many of the artistic highlights of the last (financial) year, expanding in greater detail on several of the most significant events.
    [Show full text]
  • There's a Real Buzz and Sense of Purpose About What This Company Is Doing
    15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations.
    [Show full text]
  • EXEMPTIONS the Following Issues Have Been Removed Under Freedom of Information: FOI Exemption Section 23 Commercial Interests It
    EXEMPTIONS The following issues have been removed under Freedom of Information: FOI Exemption Section 23 Commercial Interests Item 4.1, pg 2/3; Ulster Orchestra Report FoI Exemption Section 16 Prejudice to the effective conduct of public affairs Item 8.2, pg 5/6; Media Protocol Item 9.2, pg 6; Delegated Decisions Meeting No 14 2011/12 Minutes of the meeting of the Board of the Arts Council held at MacNeice House on Wednesday 28 March 2012 at 5.00pm 1 ATTENDANCE PRESENT Bob Collins (Chair), Damien Coyle (Vice Chair), David Alderdice, Anna Carragher, Noelle McAlinden, Katherine McCloskey, Ian Montgomery, Paul Seawright, Janine Walker. IN ATTENDANCE Roisin McDonough (Chief Executive) Nick Livingston (Director of Strategic Development) Lorraine McDowell (Director of Operations) Noirin McKinney (Director of Arts Development) Geoffrey Troughton (Director of Finance& Corporate Services) Patricia Curran (DSO to the Directors & Corporate Services) APOLOGIES David Irvine, Paul Mullan, Brian Sore. 2 PREVIOUS MEETING 2.1 Minute – 29 February 2012 The minute of the previous meeting was approved and signed by the Chair. Minute – 30 January 2012 – Special Board meeting The minute was approved and signed by the Vice-Chair. 2.2 Matters Arising There were no matters arising. 3 DECLARATIONS OF INTEREST The Chair declared his interest in the Ulster Orchestra and advised that Damien Coyle, Vice- Chair would chair the discussion of item no 4.1. 1 BC/PC Mar 12 * - documents circulated with agenda Meeting No 14 2011/12 4 POLICY ISSUES 4.1 Ulster Orchestra Report* 2 BC/PC Mar 12 * - documents circulated with agenda Meeting No 14 2011/12 Mar 12 * - documents circulated with agenda Meeting No 14 2011/12 5 FINANCIAL UPDATE 5.1 Financial Report* Geoffrey Troughton, Director of Finance & Corporate Services, reported on the management accounts circulated prior to the meeting.
    [Show full text]
  • Dancing at Lughnasa
    1 Dancing at Lughnasa ACT ONE When the play opens MICHAEL is standing downstage left in a pool of light. The rest of the stage is in darkness. Immediately MICHAEL begins speaking slowly bring up the lights on the rest of the stage. Around the stage and at a distance from MICHAEL the other characters stand motionless in formal tableau. MAGGIE is at the kitchen window (right). CHRIS is at the front door. KATE at extreme stage right. ROSE and GERRY sit on the garden seat. JACK stands beside ROSE. AGNES is upstage left. They hold these positions while MICHAEL talks to the audience. MICHAEL. When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me. We got our first wireless set that summer – well, a sort of set; and it obsessed us. And because it arrived as August was about too begin, my Aunt Maggie – She was the joker of the family – she suggested we give it a name. She wanted to call it Lugh* after the old Celtic God of the Harvest. Because in the old days August the First was La Lughnasa, the feast day of the pagan god, Lugh; and the days and weeks of harvesting that followed were called the Festival of Lughnasa. But Aunt Kate – she was a national schoolteacher and a very proper woman --she said it would be sinful to christen an inanimate object with any kind of name, not to talk of a pagan god. So we just called it Marconi because that was the name emblazoned on the set.
    [Show full text]
  • British Acting Heavyweights Michael Sheen and David Tennant Cast in Upcoming Amazon Original Comedy-Horror Good Omens
    British acting heavyweights Michael Sheen and David Tennant cast in upcoming Amazon Original comedy-horror Good Omens August 15, 2017 Terry Pratchett and Neil Gaiman’s internationally best-selling novel will be brought to life by BBC Studios for Amazon Prime members globally; the 6-part drama will launch in 2019 Along with access to thousands of popular movies and TV episodes through Prime Video, Prime members across the UK benefit from unlimited One-Day Delivery, Prime Music, Prime Live Events, Prime Reading, Prime Photos, early access to Lightning Deals and more London, Tuesday 15 August 2017 – Amazon today announced that multi-award-winning actors Michael Sheen, OBE (Masters of Sex, Passengers) and David Tennant (Broadchurch, Doctor Who) are to star in Good Omens, the six-part humorous fantasy drama which will launch globally on Prime Video in 2019. It will launch in the UK on Prime Video before going on to BBC Two at a later date. The 6 x 1-hour equal parts comedy and horror series, which was greenlit in January 2017, is written by Neil Gaiman (American Gods), who will also serve as Showrunner. It is based on the well-loved and internationally bestselling novel ‘Good Omens’ by Terry Pratchett ( Hogfather) and Gaiman, and is being produced by BBC Studios, the BBC’s commercial production arm, Narrativa and The Blank Corporation, in association with BBC Worldwide. Sheen will star as the somewhat fussy angel and rare book dealer Aziraphale, and Tennant will play his opposite number, the fast living demon Crowley, both of whom have lived amongst Earth’s mortals since The Beginning and have grown rather fond of the lifestyle and of each other.
    [Show full text]
  • Dancing at Lughnasa School of Theatre and Dance Illinois State University
    Illinois State University ISU ReD: Research and eData School of Theatre and Dance Programs Theatre and Dance Fall 2013 Dancing At Lughnasa School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/sotdp Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "Dancing At Lughnasa" (2013). School of Theatre and Dance Programs. 46. https://ir.library.illinoisstate.edu/sotdp/46 This Book is brought to you for free and open access by the Theatre and Dance at ISU ReD: Research and eData. It has been accepted for inclusion in School of Theatre and Dance Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. steve-o from MTV's Jackass October 5th Donnie Baker & Chick McGee from The Bob & Tom Show October 11th - 12th ,-----._-=,--::::a----, Ryan Stout from Chelsea Lately October 18th - 19th AI Jackson from Comedy Central October 24th - 26th Adam Ray from the hit movie "The Heat" November 14th - 16th • • f - I Drew lastings \ ~ ,, from The Bob and Tom Show ':. i ' November 22nd - 23rd • - ~ Jamie Kennedy from Malibu's Most Wanted December 5th - 7th 108 E Market Street Bloomington, IL I Phone: 309-287-7698 www.laughbloomington.com ONE E SCHOOL OF illlfi~~ ~ . Jllu,ouSrnrc u,,n••rnty AN if?\\Q\111~~ Center for the Performing Arts - Illinois State University November 1-2 & 5-9, 7:30 p.m. Matinee: November 3, 2:00 p.m. Dancing At Lughnasa by Brian Friel Director ..............................................................................................................
    [Show full text]
  • Past Productions
    Past Productions 2017-18 2012-2013 2008-2009 A Doll’s House Born Yesterday The History Boys Robert Frost: This Verse Sleuth Deathtrap Business Peter Pan Les Misérables Disney’s The Little The Importance of Being The Year of Magical Mermaid Earnest Thinking Only Yesterday Race Laughter on the 23rd Disgraced No Sex Please, We're Floor Noises Off British The Glass Menagerie Nunsense Take Two 2016-17 Macbeth 2011-2012 2007-2008 A Christmas Carol Romeo and Juliet How the Other Half Trick or Treat Boeing-Boeing Loves Red Hot Lovers Annie Doubt Grounded Les Liaisons Beauty & the Beast Mamma Mia! Dangereuses The Price M. Butterfly Driving Miss Daisy 2015-16 Red The Elephant Man Our Town Chicago The Full Monty Mary Poppins Mad Love 2010-2011 2006-2007 Hound of the Amadeus Moon Over Buffalo Baskervilles The 39 Steps I Am My Own Wife The Mountaintop The Wizard of Oz Cats Living Together The Search for Signs of Dancing At Lughnasa Intelligent Life in the The Crucible 2014-15 Universe A Chorus Line A Christmas Carol The Real Thing Mid-Life! The Crisis Blithe Spirit The Rainmaker Musical Clybourne Park Evita Into the Woods 2005-2006 Orwell In America 2009-2010 Lend Me A Tenor Songs for a New World Hamlet A Number Parallel Lives Guys And Dolls 2013-14 The 25th Annual I Love You, You're Twelve Angry Men Putnam County Perfect, Now Change God of Carnage Spelling Bee The Lion in Winter White Christmas I Hate Hamlet Of Mice and Men Fox on the Fairway Damascus Cabaret Good People A Walk in the Woods Spitfire Grill Greater Tuna Past Productions 2004-2005 2000-2001
    [Show full text]
  • Women in Theatre 2006 Survey
    WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
    [Show full text]