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John
Gielgud Theatre Premiered at the Royal Court Theatre in May 2005, this is RADA’s first production of a play by a writer who has shot to prominence through the West End adaptation of Festen and the National Theatre’s recent Market Boy (both directed by RADA graduate Rufus Norris). Joey is an ordinary man for whom the world around him seems both extraordinary yet somehow illusory. Is it him or is it the world that is out of joint? Eldridge conjures a society which is startlingly contemporary though seen through an artistic prism which brings into sharp relief the alienation of the young in contemporary Britain. An opportunity to see an exciting new play by a remarkable new voice on the theatre scene. GBS
Theatre Tickets: £7.00
to £11.00 – click here for details
The humour and compassion of the writing have indeed ‘touched’ audiences and the challenge of peace after war is brought vividly and positively to life. A funny and uplifting experience. Jerwood
Vanbrugh Theatre Today is about yesterday, seen through the eyes of a contemporary writer of great imagination. Underlying this brilliant play, commissioned by the Royal Shakespeare Company in the 1980s, is the Spanish civil war and its effect on a generation in the north of England between the wars. Holman’s ability to conjure a world caught in the throes of rapid change, yet rooted in the north east of England, is remarkable. At the centre is a Yorkshire music teacher, who leaves wife, daughter and mistress in a search for himself and for a maturity which he has never known. Does he go to fight out of conviction or is it to escape reality? “As new plays go, it strikes me as one of the best we have had for a long time” Daily Telegraph John
Gielgud Theatre IN THE HEART
OF AMERICA: "There are three kinds of people. Those who kill. Those who die. And those who watch". World War II, Vietnam, Panama, the Gulf – in a world where war is just another image on our TV screens, can we stop history repeating itself? For siblings Remzi and Fairouz, the journey to resolve issues of cultural, sexual and racial identity leave them abandoned in the ‘hyphen’, the gap between Arab-American. Premiered at the Bush Theatre in August 1994, Wallace’s deeply passionate and political play won the Susan Smith Blackburn Prize. SALOME "You are always staring at her. You look at her too much. You must not stare at people in that way. Something terrible might happen." When Salome first danced she danced provocatively into the strict morality of the late Victorian theatre. The Times denounced the play as ‘an arrangement in blood and ferocity, morbid, bizarre, repulsive, and very offensive’ and it was banned in this country for nearly 40 years. Over a century after this initial controversy the play remains a harrowing warning about the danger of passion and the power of the gaze. It is a beautiful and erotic warning but nonetheless a warning. Second
Year Workshop Productions Jerwood
Vanbrugh Theatre Blood Ties is
based on Jean Anouilh’s Antigone which he wrote in 1944, whilst
France was under Jerwood
Vanbrugh Theatre Following the remarkable success of Mike Poulton’s dramatisation of Chaucer’s The Canterbury Tales for the Royal Shakespeare Company, which transferred to the West End last year, we bring you some of the tales in an attractive short programme to present to primary school children. Chaucer’s great work presents a vivid picture of England in the 14th century through a very diverse group of characters making a pilgrimage to Canterbury. Several of the tales told by the pilgrims to entertain each other along the route are drawn from much earlier times and different countries, denoting the surprisingly rich imaginative landscape available in the Middle Ages. The Canterbury Tales proved to be a major milestone in establishing English as distinctive language. Nevertheless, to a reader unused to the unsettled spelling and pronunciation of 14th century English, the early manuscripts of The Canterbury Tales can seem like a foreign language. Or so we are led to believe. Mike Poulton’s view is that the spelling is a greater deterrent than either the vocabulary or the pronunciation and that spoken Chaucer is surprisingly accessible. Mike modernised the spelling throughout and, on occasion, misspelled words to indicate and make obvious how they should be pronounced in order to meet the requirements of the rhyme and rhythm, and thus render the meanings as clearly as possible to a 21st century audience. FOR 11- 16 YEAR
OLDS Vinegar Tom challenges
and entertains its audiences in equal measures. Written in 1976 for
the feminist theatre company, Monstrous Regiment, it is set in 17th
century rural England. It can be compared to Arthur Miller’s
great play The Crucible (set in 17th century New England). Both plays
focus on perceptions of witchcraft. While The Crucible presents in
classic realist form the tragic hero (male) as the persecuted centre
of attention, Vinegar Tom looks to a collective representation of
universal centred oppression of women. In her research Caryl Churchill
discovered “the women accused of witchcraft were often those
on the edges of society, old, poor, single, sexually unconventional;
the old herbal medical tradition of the cunning woman was suppressed
by the rising professionalism of the male doctor. I wanted to write
a play about witches with no witches in it; a play not about evil,
and possession by the devil, but about poverty, humiliation, and prejudice,
and how the Vinegar Tom is
punctuated by lively contemporary songs intended to be performed in
modern dress and not as part of the action. Monstrous Regiment wanted
the music to “smash” the regular and acceptable theatre
form in the interests of presenting a countercultural feminist style
of performance. Several of the songs detail the subversive female
body echoing the 17th century community in the dramatic scenes. Alice,
a young, unmarried mother represents the sexually active body and
woman as castrating figure. The birthing body is represented in Alice’s
friend Susan, who is married and is constantly either pregnant or
miscarrying. The ageing body is figured through Alice’s mother
Joan. Betty is a middle-class woman, who runs away from marriage.
She represents the hysterical body. RADA YOUTH GROUP Jerwood
Vanbrugh Theatre THEATRE DESIGN
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