Whenever I wasnt selling t-shirts, posters, buttons and other tschotchkes that summer, I was listening and learning.
Periodicals Postage Paid at Middlesex. The index will stand alone as a brief account of the theatre year ; if you need more detail there is Theatre Record itself, which appears every two weeks and carries full reviews of all the productions opening during the period, plus casts, credits and production photographs.
You will find more detailed indexing for these in the supplements themselves.
Onceyou have browsed through the critics' thoughts on the year in some cases the decade, and even the millenniumand checked last year's award winners, you will find the working core of the index on pages Here tim roseman playwriting australia listed the London Productions of the Yearin order of presentation.
As well as giving the show's opening and closing dates, and the reference to the pages of Theatre Record where full castdetails and reviews may be found, each is assigned its unique production number.
It is these numbers which are used in the index of Names on pp From this you can discover the productions lit by Jenny Kagan, or those in which Roger AI lam acted; by checking back into the Productions list you obtain further detail about these, plus the page references to the full reviews printed in the appropriate issue s of Theatre Record.
There you will find the exact parts played by Mr Allam.
The other indexes are self-explanatory: This Index is later than we would have wished, because the tiny staffof Theatre Record doesn't yet have for which read can't afford the sophisticated database setup that would enable them to produce it more quickly.
We are still building up ourdatabase of productions, and hope to be producing a complete, ongoing index to plays and venues since the start of the journal, to go with the CD-ROM of London Theatre Record which is still available and now very cheap.
We hope soon to put the play index on to the Internet, to make it easier for you to order back numbers with specific reviews. And we said much the same thing in the Index!
Meanwhile, apologies for any errors, and grateful thanks to all those good friends whose enthusiasm ensures that Theatre Record appears - most of all to Ruth Keeley who, as usual, did most of the really hard work in the preparation of this Index.
Ian Herbert Cover photo: They hold a year's issues. Binders are NOT included in the subscription price. Prices include all packing and postage costs and, except for CD-ROM, microfiches, faxes and binders, are not subject to tax ofany kind. Some of them have had good reviewing but not enough of it, some have had a hard time at the hands of some critics, and some are happy, accidental discoveries.
Last year's lot incidued Kaos, C. I'd behappv toprint readers' suggestions for an Imisible Ideventh. He can produce some stinkers, too, but Laurence Pritchard's debut plaj' was a real find, winning raves from the few who saw it.
In a theatre environment that has its own overdose of drug and club scene plays, this one stood out for its confident picture of thatworld lielped by some clever sets from Nina Garnerand for three fine performances: The Nightwatchman Fourth Wave four, Februaiy: It pays to get out now and then.
Mortimer, something of a character in the North Ivast who desenes a literarx' manager of his own and some southern e. Subseciuently it has got into trouble over its programming and all tot ijuickly run up the kind of debt that older regional theatres have grown used to over a longer period.
It would be a shame if this fine venue fails to find its local niche. Between them they evoked the spirit of the brothers while adding to it many comic joys of their own. No concessions needed to be made for Jenny Sealev's variouslv disabled cast, who moved through the play's headx air with complete assurance.
It was a jolt to discover at curtain call that the leading actress could not see. There was verj' little sympathy, however, for David Cregan's verx' sharp political comedy, because most of those who reviewed it could only see it as a throwback school farce.
It must be very frustrating to produce a sharp lampoon of current values and have it dismissed as low-grade anti-feminist laughter-seeking. I suspect the Richmond audience were more aware of the play's true value than many ofits critics.
The Death of Cool Hampstead, May In a year when the Royal Court and Soho were largely dormant for rebuilding, we had to look elsewhere for the new young writers.
Hampstead obliged with an intensive Spring season. Its plotting can be criticised, but its portrait of another of those charismatic bastards who have lit up the stage from Mjalmar likdal through Jimmy Porter to any number of Stoppard 'heroes' does capture the spirit of a generation.
Colin iierney did it well, with fine backing from the rest of the cast, but some obstruction from another over-fussy Es Devlinset.
It's a messy sprawl of a piece, but far more ambitious than the club-mixes of Fraiitic. This is one way in which theatre can reach the techno generation the kids who swarm over Leeds every weekend in their thousands and should be encouraged.
The real credit for a highly atmospheric evening goes to Jude Kelly and her creative team, which included Mario Borza and W'ils Wison alongside lighting designer Tanya Burns and sound man Mic Pool. Still no reason for putting it on here. It ran two months.
She had committed the unforgivable sin of being. This in spite of the astonishing depth and vision of her first play, realised superbly in a production byjames Kerr and designer Tim Hatley with the marx'cllous collection of black actors assembled as part of Trevor Nunn's NTEnsemble.Becky and Tim Blodgett report attending a showing at the Boston Museum of Fine Arts “of Fred Wiseman’s superb new film, National Gallery.
According to Tim, Fred has produced more than 40 documentaries over the years. T H E I N D E P E N D E N T S T U D E N T N E W S P A P E R O F S Y R A C U S E, N E W Y O R K WEDNESDAY october 6, SLIP N’ SLIDE HI 59° | LO 50° I N S I D E P U L P Child’s Play SU promotes the benefi ts of reading to local elementary schools with Children’s Book Week.
Archives and past articles from the Philadelphia Inquirer, Philadelphia Daily News, and urbanagricultureinitiative.com Belvoir ‘The Hive’ Resident Playwright Tim Spencer (NSW) The Hive is a new donor syndicate established by Belvoir in partnership with Playwriting Australia.
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