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MAKE SOMETHING
CONTENTS
Overview 2
Create 3
Digital 13
Print & Publish 21
Advertise 29
Contact 35
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Client
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OVERVIEW
With an ever-growing number of creative
agencies to choose from, all claiming to be
‘experts’ and jostling for your attention,
how do you find the quality from so much
puff and wind? It’s not an easy task to sort
the wheat from the chaff and mistakes can
be very costly.
At John Good Limited, we have over 30
years of proven experience in consistently
delivering well-crafted creative solutions
to brief, to budget and on time. For the
Arts sector, in particular, where creativity,
quality and consistency are paramount,
we are very well regarded and have
been the default choice for some of the
most prestigious household names for
many years.
We have regional offices in London,
Oxford and a large print production facility
in Coventry, where we design and produce
over four million theatre programmes a
year, along with substantial volumes of
work from other commercial sectors.
In a nutshell, we have the talent,
experience and in-house facilities
you will struggle to find with any
other creative agency in the UK. Our Core Services
Branding and Identity
Design and Illustration
Print and Publishing
Advertising
Internet Sites, Apps and
Interactive Digital Publications
The Arts – a Special Relationship
Our client base includes household
names such as the Royal Opera House,
the National Theatre, the Ambassador
Theatre Group, the BBC Proms
and Sadler’s Wells. Here we have
proven expertise, from initial concept
work through to production and
product delivery.
CREATE
3
4
Design
Creative Process
Our pool of in-house creative talent
incorporating graphic design, editorial
and illustration enables us to bring a
very ‘complete’ and ‘connected’ creative
project team to bear. Our team skills
are regularly reviewed and improved
through an ongoing training programme
to ensure we always provide an informed
and current creative resource.
In our experience, the best creative
work is built from a deep understanding
of the brief and effective client
collaboration. In responding to a brief,
we take the time to explain our creative
approach and demonstrate how this
works in a real-world context.
Each client is assigned an account manager
who acts as ‘key contact’, guaranteeing
effective communications and agreed
project milestones are achieved. While
good account management is important,
we do understand that it’s vital that
clients are able to talk directly with
our designers to always ensure that
we are in tune with expectations.
Branding and Identity
We understand the importance of
incorporating consistent branding and
identity into our design work. Whether
we are working within existing guidelines,
or providing a full rebrand service, the
client’s professional identity acts as
a cornerstone for all our services.
Shots
www.shots.co.uk
identity, illustration, print, digital
johngood.com/apps
THE TRAGICAL
HISTORY OF
HAMLET
PRINCE OF
DENMARK
ON THE ORIGIN
OF SPECIES
BY MEANS
OF NATURAL
SELECTION
WILLIAM
SHAKESPEARE
Abridged by John Short
CHARLES
DARWIN
1
Abridged by John Short
1
FRANKENSTEIN;
OR, THE
MODERN
PROMETHEUS
THE TRAGEDY OF
MACBETH
MARY
SHELLEY
WILLIAM
SHAKESPEARE
Abridged by Andrew Kolarik
1
Abridged by John Short
1
5
6
Shots
poster concept
7
City of London Festival
illustration detail
PREVIEW EDITION
Shaking up the City
with a blast of culture!
Thursday 2 July, 8.00pm
Wednesday 8 July, 7.30pm
Orchestra of the
Age of Enlightenment
New Zealand
String Quartet
St Paul’s Cathedral
Monteverdi
Vespers of 1610
The OAE’s recent recording of Monteverdi’s
400-year-old masterpiece was described as
‘a shimmering, captivating choral sound
that seems to float effortlessly through the
psalms’ (The Independent). Hear the leading
period orchestra perform this extraordinary
composition live inside St Paul’s – a a cathedral
as impressive as St Mark’s Basilica in Venice,
for which Monteverdi conceived this piece.
Tickets: £50, £42, £32, £25, £18, £12, £5
Shaking up
the City
with a blast
of culture!
Goldsmiths’ Hall
Ross Harris
Haydn
Stravinsky
Brahms
Variation 25
String Quartet Op 54 No 2 ‘Gypsy’
Three Pieces
String Quartet No 3 Op 67
First violinist Helen Pohl recently described how
the NZSQ shares an ‘intense’ experience with
their audience at festivals; their performance
enjoys a ‘special vibrancy’ thanks to the ‘keen
interest that the audience brings to the music’.
This will no doubt be the case at the group’s
intimate recital inside the shimmering Goldsmiths’
Hall this July – don’t miss out on the magic!
Make summer 2015 one to remember by securing your
seats for some of the year’s most exciting events.
Tickets: £23,
£12 of our eclectic
‘Uncommon
eloquence’ programme for 2015, the City of London Festival will
As part
and innovative
York
usher in a wholeNew
host
ofTimes
events to an even wider range of City venues – from intimate hidden
FINAL EDITION
Join us today
and benefit from:
priority booking and advance information
invitations to exclusive events
opportunities to meet Festival artists
spaces to spectacular City skyline views.
Wednesday 24 June, 8.00pm
With the best in orchestras, chamber ensembles and jazz performers, the programme will
inspire and excite you. Plus there’ll be more contemporary circus, theatre, comedy and
cabaret when our popular Bowler Hat theatre returns to the Square Mile.
London Symphony Orchestra
London Symphony Chorus
Edward Gardner conductor
Many of our concert venues have limited capacities and sell out quickly, so take advantage
of advance booking for these selected events before we go on sale with our full programme
in April. Then relax, and start to look forward to the pleasures that await you…
dedicated newsletters and special offers
Support the Festival and help make it happen
Annual membership starts at just £30
To join, visit colf.org or call 020 7583 3585
Festival supporters enjoy a week of priority booking from Tuesday 20 January.
Turn over to find out how to join us.
General booking opens Tuesday 27 January.
Box Office
To book, visit colf.org or phone the Barbican Box Office on 0845 120 7502.
CoLF_13376_EarlyBooking2015_A5.indd 1-2
Danish String Quartet
Plaisterers’ Hall
Programme includes:
Nielsen
String Quartet No 2 Op 5
Beethoven
String Quartet Op 74 ‘The Harp’
Rune, Asbjørn, Fredrik and Frederik bring a
wonderfully refreshing programme to the Festival
– classic Beethoven, an important work by Danish
composer Carl Nielsen in his 150th anniversary
year, plus brilliant arrangements of Scandinavian
folk tunes from the quartet’s highly acclaimed
new album, Wood Works. Expect irresistible fervour
and energy from this talented Nordic foursome.
Tickets: £23, £15, £10
Over 250
live events!
FOLLOW THE FESTIVAL:
CoLF_13376_EarlyBooking2015_A5.indd 3-4
Box Office
0845 120 7502
@CoLFestival
City of London Festival
Monday 29 June, 7.30pm
The Creation
A world-class orchestra and a world-class choir
in a world-class setting. The LSO and its Chorus
have provided Festival audiences with some
unforgettable musical experiences inside St Paul’s
in recent years, from Berlioz’s Requiem, Mahler
Symphony No 8 and Brahms’ German Requiem, to
last year’s sell-out Beethoven Symphony No 9. In
2015 the mighty LSO take on Haydn’s Creation
under the baton of exciting British conductor
Edward Gardner – a great oratorio universally
acknowledged as Haydn’s greatest achievement.
0845 120 7502
Monday 22 June, 7.30pm
‘One of the best quartets
before the public today’
Washington Post
St Paul’s Cathedral
Haydn
colf.org
10/04/2015 12:01
Tickets: £50, £42, £32, £25, £18, £12, £5
Sponsored by
T’ang Quartet
Melvyn Tan piano
Merchant Taylors’ Hall
Programme includes:
Dvořák
Piano Quintet
The artistically impeccable T’ang Quartet perform
alongside internationally renowned pianist and
fellow Singaporean, Melvyn Tan, as part of the
Festival’s celebration of Singapore. Witness these
five classical heavyweights perform a lively
programme, including Dvořák’s Piano Quintet,
in one of the City’s finest ancient livery halls.
Tickets: £23, £12
Tuesday 30 June, 7.30pm
Ian Bostridge tenor
Andreas Haefliger piano
Mansion House
Gulda
Schumann
Wolff
4 Lieder nach Eichendorff
Liederkreis Op 39
Eichendorff Lieder
This prestigious event sees the establishment of
a formidable new partnership, when one of the
world’s leading tenors, Ian Bostridge, joins forces
with pianist Andreas Haefliger. An exclusive chance
to visit the resplendent home of the Lord Mayor of
London for an evening of romantic German song.
Tickets: £32, £23, £15
10/04/2015 12:01
colf.org
CoLF_14393_ProgPreview2015_DL V6.indd 1
City of London Festival
www.colf.org
festival identity, illustration,
print, digital, advertising
10/04/2015 10:25
Box Office
CoLF_14399_ProgFinal2015_DL.indd 1
0845 120 7502
colf.org
10/04/2015 10:24
9
10
2020
Interlaken
Classics
Festival
de Pâques
Perugia Musica Megaron
Megaron
Thessaloniki Concert Halls, Chamber
Alternative performance &
Classica
Music & Side-by-side with the Megaron
audience opportunities
Kursaal Interlaken
Kursaal Interlaken
Grand Théâtre de Provence
Teatro Morlacchi
WEB
www.interlaken-classics.ch
www.interlaken-classics.ch
www.festivalpaques.com
www.perugiamusicaclassica.com www.tch.gr
www.tch.gr
LOC ATION
Interlaken,
Switzerland
Interlaken,
Switzerland
Aix-en-Provence,
France
Perugia,
Italy
Thessaloniki,
Greece
Thessaloniki,
Greece
Saturday 4 April 17:00
Sunday, 5 April, 17:00
Tuesday, 7 April, 20:30
Thursday, 9 April, 20:30
Sunday, 19 April, 21:00
Thursday, 16 April, 11:00
Maestro Vladimir
Ashkenazy conductor
Maestro Vladimir
Ashkenazy conductor
Maestro Vladimir
Ashkenazy conductor
Maestro Vladimir
Ashkenazy conductor
Yuri Azevedo
conductor
(pop-ups)
Alexander Romanovsky piano
Mone Hattori violin
Francesco Piemontesi piano
Mone Hattori violin
Haydn Symphony No. 49
Passione
Mozart Symphony No. 35
Haffner
Haydn Symphony
No. 49 Director
Rehearsal
Passione
Beethoven Piano Concerto No. 4
Mendelssohn Violin Concert in E minor
Mendelssohn Symphony No. 4 Italian
Beethoven Symphony No. 7
Tutors
© Chris Christodoulou
EU YO > TOU R
One of the finest teachers of
conducting and orchestral trainers
in the world.
His work with
young musicians
is renowned.
Mendelssohn
Symphony
No. 4 Italian
He has taught over five hundred individual students
and has decades of experience working with young
orchestras. Currently Professor of Conducting at the
Royal College of Music, London and Principal Conductor
of Cambridge University Chamber Orchestra.
Beethoven Piano Concerto No. 4
REACT Performances
Meat Market, Thessaloniki
Gertrude Rossbacher
Mozart Symphony
No. 35
Viola Tutor
Haffner
Farnaby arr. Howarth Fancies,
Toyes and Dreames
Solo violist of the Tonkünstler-
Mendelssohn Violin
Spohr Nonet
Concert inOrchester,
E minor member of the Berlin
Philharmonic Orchestra from 1987–1997, Professor atSchubert Symphony No. 8
Mendelssohn
Symphony
No. 4ofItalian
the Karajan
Academy and
the University
Bremen 'Unfinished'
from 1998-2003. New York Debut Carnegie Hall as
Skalkottas 3 Greek Dances
East and West Artists award winner in 1999. Studied
for String Orchestra
in Vienna and in Bern with Professor Max Rostal.
Epirotikos – Set 1 No.4
Arkadikos – Set 3 No.10
Kleftikos – Set 3 No.3
Lorenza
Saturday,
18 April,Borrani
18:00
J. Strauss (elder) Radetzky March
© Edward Webb
12
EUYO_14614_Brochure_Spring2015_Pgs.indd 12-13
David Watkin
Cello Tutor
Formerly Principal Cello in the National
Youth Orchestra of Great Britain, David
went on to perform with the Philharmonia Orchestra, the
Scottish Chamber Orchestra and Orchestre Revolutionnaire
et Romantique. He was also a former member of the Eroica
Quartet and guested with the Tokyo Quartet. David can now
be found conducting, which he combines with his position
of Head of Strings at the Royal Conservatoire of Scotland.
Jeff Bryant
Horn Tutor
Jeff was Principal and Solo Horn with
the London Symphony and Royal
Philharmonic Orchestras with whom he recorded the Mozart
concerti and the Britten Serenade. He is Professor of Horn
at the Royal College of Music, London. Jeff also tutors the
horn section of ICULTURE Orchestra, based in Poland.
John Miller
Trumpet Tutor
Frank Sanderell
Double Bass Tutor
EUYO > T U TO R S
Currently Principle Double Bass, Tonhalle
Orchester Zürich. Previously, Principle
Double Bass, Württembergisches Kammerorchester and
former member of “Lucerne Festival Orchestra” under
Claudio Abbado and George Solti's “World Orchestra
for Peace”. Chamber Music performances with artists
like Maria João Pires, Radu Lupu, James Galway,
Ensemble Wien-Berlin and Musica Antiqua Köln.
Head of the School of Wind, Brass and
Percussion, Royal Northern College
of Music, Manchester. Prior to joining the RNCM in 1999,
John worked extensively in London as a member of the
Philharmonia Orchestra from 1977 to 1994, and a freelance
musician working regularly with prestigious ensembles
such as the London Sinfonietta and the Philip Jones Brass
Ensemble. John is a founder member of the Wallace
Collection, with which he has recorded and performed
an extensive output of baroque brass repertory.
Rien de Reede
Woodwind Tutor
Violin I Tutor
REACT Performances
Leader of The Chamber Orchestra
(pop-ups)
of Europe; Founder Member of Spira
Front, Thessaloniki
mirabilis;Sea
Professor
of Postgraduate Violin at Scuola di
Musica di Fiesole; soloist and chamber musician. Previous
positions of relevance: 2002–2006 konzertmeister
of Sinfonica Toscanini (ex Philarmonica Toscanini/
Maazel); 2005–2010 Claudio Abbado's Orchestra Mozart
(violin 1 tutti, leader, soloist, chamber musician).
Oliver Kipp
Violin II Tutor
13
An EUYO player from (1987–1993),
Principal 2nd violin of the NDR
Radio Philharmonic since 1998 and member of the
10/04/2015 15:48
“Hyperion Trio”, founded in 1999 it boasts an outstanding
reputation in Germany and the international music
world, performing an extraordinarily broad repertoire.
Rien de Reede was a flutist in the
Concertgebouw Orchestra for thirtyseven years. Besides this he taught flute at the Royal
Conservatory for almost the same length of time. As Head of
Chamber Music in this school and as an Artistic Programmer
for the Chamber Music Series for the members of the
Concertgebouw Orchestra he was able to express his love and
interest in this field, searching for programmatic innovation.
Sarah Sew
Alumni Coach
Sarah Sew is currently Principal
First Violin of the RTÉ Concert
Orchestra and teaches at the Royal Irish Academy of
Music. She is a former Concert Master of the EUYO
and alumna of the Royal Academy of Music, London
and Hochschule für Musik Franz Liszt Weimar. Raymond Curfs
Timpani Tutor
Raymond has held positions with
Noord Nederlands Orkest in
Groningen, Stadttheater Bielefeld Germany and the
Rundfunk Sinfonie Orchester Berlin, becoming Principal
Timpanist at the Bayerische Staatsoper in 1999. Since
2007 he is Principal Timpanist of the Symphonieorchester
des Bayerischen Rundfunks. Raymond is regularly
invited to play with leading orchestras worldwide and
teaches at the Hochschule für Musik in Munich. He has
been a guest-professor at the Conservatoire National
Superieur De Musique de Paris and has been teaching
at the Conservatorium in Maastricht since 2011.
EUYO > T U TO R S
R E PE R TOIR E
Dr Peter Stark
Youth Symphony Orchestra
EU YO > TOU R
AR TISTS
FE STIVAL
Interlaken
Classics
DAT E
© Peter Adamik
© Falling Walls Foundation
Spring Tour Programme
24
25
EUYO_14614_Brochure_Spring2015_Pgs.indd 24-25
10/04/2015 15:46
European Union Youth Orchestra
www.euyo.eu
identity, branding, website, digital, print, advertising
European Union Youth Orchestra
brochure logo detail, emboss and spot varnish
11
12
Manchester Royal Exchange
www.royalexchange.co.uk
theatre programme design and print
DIGITAL
13
14
Internet Development
Search Engine Optimisation
Digital Publications
We provide visually engaging, wellcrafted Internet sites, including fully
responsive designs for modern
smartphones, supported by robust
content management solutions.
There is little point having a beautifully
crafted Internet site if potential
customers can’t find it. SEO is an
extremely effective form of online
marketing and can significantly increase
the volume of traffic a website receives.
Digital publications represent a new way
to connect with clients. Published as
branded apps and available for download
from all major online stores, Digital
Publications offer the opportunity
of acquiring key ‘real estate’ on the
personal devices, including tablets and
smartphones, of target audiences.
Our experience in working with the
Arts in particular, where the envelope
of what is technically possible is often
pushed hard, has forged a very capable
team consisting of software development,
branding and identity, bespoke illustration,
graphic design and project management.
We offer search engine optimisation
either alongside website development
or as a stand-alone service.
Email Marketing
We design compelling email
marketing campaigns to help promote
products, services and brand. Our
email templates are well made and
optimised for all major email clients.
MailManager is our online email
marketing tool, allowing clients to manage
contact lists, and access analytics and
subscriptions directly with minimum fuss.
In selecting Adobe Digital Publishing Suite
(DPS) at enterprise level as our publishing
platform, we firmly believe that we have
the very best publishing service available.
Gain a convincing presence in the
digital marketplace with truly engaging
branded apps, available directly through
the major online stores, including Apple
iStore, Google Play and Amazon.
For more details on the key benefits
of the Adobe DPS platform please
go to: www.johngood.com/apps
15
National Theatre Live
Frankenstein App
johngood.com/apps
nationaltheatre.org.uk
accelerometer animation
16
St David’s Hall website
stdavidshallcardiff.co.uk
launching soon
National Theatre Live
Of Mice and Men App
johngood.com/apps
nationaltheatre.org.uk
media-rich dps publication
17
18
Sadler’s Wells Digital Brochures
johngood.com/apps
www.sadlerswells.com
interactive season listing brochure
and Sadler’s Sampled Festival publications
Almeida Theatre American
Psycho – the Musical App
johngood.com/apps
www.almeida.co.uk
featuring photo gallerys, Spotify
playlists, videos, podcast and more
National Theatre Live
Behind the Beautiful
Forevers App
johngood.com/apps
nationaltheatre.org.uk
interactive dps publication
Adobe says:
“We see John Good Limited
as a key services partner
for our Digital Publishing
Suite platform, using their
knowledge and contacts in
the Arts to revolutionise
the way that theatre
audiences view and interact
with Arts publications.”
National Theatre Live
Frankenstein App
johngood.com/apps
www.nationaltheatre.org.uk
interactive dps publication
For more details on
the key benefits of
the Adobe DPS
platform, please go to:
www.johngood.com/dps
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Vault Festival App
johngood.com/apps
www.vaultfestival.com
Android and Apple dps
app, design, iconography
BRICK
HALL
THE
CAGE
THE
CAVERN
THE
PIT
THE
CRESCENT
THE
STUDIO
CABARET
CLASSIC
CIRCUS
COMEDY
DANCE
DRAMA
MUSIC
OPERA
PERFORM
SOLO
PRINT & PUBLISH
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Print and Publishing
Established over 30 years ago, we are,
without question, the leading printer
to the Arts in the UK. To maintain this
enviable position, it is absolutely vital
that high standards are maintained and
we have recently completed a 3.5 million
pound investment programme, replacing
ageing production equipment, upgrading
management software and retraining staff.
In addition to enhancements to our
traditional litho printing operations, we
have also invested in newer technologies,
including a Kodak digital press and the
very well-regarded Catfish Web2Print
software platform, designed to service
clients directly via our online portal.
Print templates can be viewed, edited and
finally submitted directly to our digital
press via our very simple-to-use website.
For print or digital publishing, we offer a
full creative service, with the very best of
graphic design, bespoke illustration, editorial
and proof reading services available.
ALMEIDA THEATRE Carmen Disruption
Almeida Theatre Carmen
Disruption Programme
www.almeida.co.uk
theatre programme design and print
Opposite: Noma Dumezweni (Don José) in rehearsal. Photo: Marc Brenner
Carmen Disruption
Carmen Disruption | Official Programme
Spring 2015
On Being Carmen
06 — 07
04 — 05 The essentials of Bizet’s
iconic opera.
10 — 13 As technology fosters greater connections,
why is loneliness more prevalent than ever?
16 — 23 Members of the creative
team take us inside the making of
Carmen Disruption.
Noma Dumezweni (Don José)
2
Editorial On Being Carmen
3
ALMEIDA THEATRE Carmen Disruption
On Being Carmen
A Conversation with Viktoria Vizin
I
nternationally-renowned mezzo-soprano Viktoria Vizin
has played Carmen 100 times in 17 productions, from
London’s Royal Opera House to the New York Met.
Between international flights and rehearsal calls, she
took a few minutes to share how inhabiting Bizet’s iconic
heroine on stage isn’t just a job—it’s a lifestyle.
Almeida Theatre: How long have you been performing? How did
you get into opera?
Viktoria Vizin: Since 1996. My debut was in Romania in Rossini’s
Barber of Seville. I sang Rosina, the sassy young girl.
My parents took me to my hometown’s theatre for all the musical
plays and operetta. My school took us to the Budapest State Opera
to see performances. I was a member of 13 choirs in total from
third grade, and I was also a child actor in musical plays. There was
no doubt that I’d end up on stage. But when I was 14 my first voice
teacher told my parents that I might have a voice for opera. The
final decision was at age 20 when my theatre speech teacher told
me that I’d better not throw a God-given voice away and I should
think about becoming an actress on the opera stage.
AT: When did you first play Carmen? What was it like?
VV: In Essen, Germany in 2000. I was full of excitement. I felt like
a freshly-crowned queen.
AT: How would you describe the role of Carmen to someone who
had never seen the opera?
VV: Carmen is the essential woman with her complex inner
beauty, her strength, her emotions, her reactions and interactions
to society. She’s sassy, charming, powerful, vivacious. She’s one of
a kind. Very sensitive and has hardly any true friends. A survivor.
Until Don José arrives on scene...
AT: What is a normal week like for you?
VV: Playing an opera affects one’s lifestyle. You need to rehearse
at least four to six weeks in different countries (one at a time). You
need to keep an approximate healthy routine so you don’t lose your
condition and/or voice. Exercise, yoga, constant studying, voice
training with coaches, six hours of rehearsals six days a week.
People think l see the world with this type of life, but I only
see my theatres, the roads surrounding me, my rental place and
a lot of airports. I try to relax as much as possible when I’m in
a production.
It’s not easy to maintain a busy career and have a family across the
ocean. But it’s working, because I have a wonderful husband who
supports my ideas. During the summer, he and my parents take
care of the children. I have two kids. Modern technology helps us
stay connected. And we hug forever when I’m back.
AT: How does the role affect you as a person, or how you see
the world?
VV: This role is dangerously close to me. Not in literal ways—I’m
not a gypsy girl, I’m not out of control in sexuality, etc.—but the
role gives me the opportunity to find myself in past experiences.
And when I play those moments—heartbreaking moments—it
hurts. I cry.
And playing too many Carmen shows has certainly made me feel
that I have become typecast, that people see me as Carmen and not
as myself. There’s a fine line between me and the role. But I can’t
describe where that line is. That is absolutely similar to the story in
Carmen Disruption. Where is Carmen and where am I?
This page (from top left): Kendall Gladen and Adam Diegel in Florida Grand Opera production of Carmen,
2009 – 2010. Photo: FGO Photos / Gaston De Cardenas. French opera singer Emma Calvé as Carmen,
published in Photoplay, October 1921. Drawing of Galli-Marié in the original production of Carmen, 1875.
Beyoncé Knowles as Carmen in the film musical Carmen: A Hip Hopera, 2001. Image: New Line / Photofest.
Viktoria Vizin as Carmen in Beijing, 2011. Photo: Nairong Zong. Clarita Filgueiras and Flamenco Puro Dance
Company, 2010. Photo: FGO Photos / Gaston De Cardenas. Portrait of Norwegian opera singer Gina Oselio
as Carmen, 1891. Belgian actress Madame Marguerita Sylva as Carmen in the Paris Opéra-Comique, circa
1906. Israeli mezzo-sporano Rinat Shaham as Carmen at Glyndebourne Opera Festival, 2014.
Photo: Mike Hoban / ArenaPAL.
Opposite: Viktoria Vizin (Chorus) in rehearsals for Carmen Disruption. Photo: Marc Brenner.
AT: How is performing in this production similar or different to
what you normally do on stage?
VV: It’s totally new to me. The rehearsals are serving not just to
create the action, but to connect to one another for real, not just
as one character to another. It’s so natural. I wish all opera singers
could experience this!
6
7
ALMEIDA THEATRE Carmen Disruption
“There are songs present in the text
that are not operatic songs. Each
character has one, so Escamillo’s
is Kraftwerk’s Hall of Mirrors, the
Carmen character is Daft Punk’s
Touched. Micaëla is Sonic Youth’s
Expressway to Yr Skull, Don José is
Roy Orbison’s It’s Over. If anything,
it was just the music that was on my
iPod on shuffle. But what they all have
in common is the consideration of the
possibility of human contact, and
I think in the end, that’s what the play
has become about.”
Simon Stephens, Playwright
Jamie Cameron (Ensemble/Cellist), Jack Farthing (Carmen),
Harry Napier (Ensemble/Cellist)
“We looked at a lot of
images of crumbling
theatres around the
world. There was a lot
of research into past
productions of Carmen
and bullfighting. The
Almeida space seemed
quite perfect—intimate,
with an element of faded
glamour about it. The
decorative balconies
and the warm brick wall
seemed resonant of
many of the Carmen sets
we had been looking at.”
Lizzie Clachan, Design
Jude Christian (Assistant Direction)
18
Michael Longhurst (Direction)
19
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ENGLISH NATIONAL BALLET
Modern Masters
MODERN MASTERS
Patron
HRH The Duke of York, KG
President
Dame Beryl Grey DBE
Artistic Director
Tamara Rojo
Executive Director
Caroline Thomson
Music Director
Gavin Sutherland
Winner of Outstanding
Company at Critics’ Circle
National Dance Awards 2014
SPRING 2015
Modern Masters
10 – 15 March 2015
Petite Mort
Dance Production/Choreography Jiří Kylián Job No: 49632-3 Publication: English National Ballet Programme (Appears Modern Masters - Sadlers Wells)
Assistant to the Choreographer Ken Ossola
Music W.A. Mozart
Set Design Jiří Kylián
Costume Design Joke Visser
Light Design Jiří Kylián (concept), Joop Caboort (realisation)
Technical Supervisor/Light and Set Kees Tjebbes
Size: 242x170
Ins Date: -
Proof no: 1
Tel: 020 7291 4700
UK Premiere
Spring and Fall – A ballet by John Neumeier
Choreography, Set, Costumes and Lighting Concept John Neumeier
Staging Eduardo Bertini, Ann Drower
Music Antonín Dvořák
In the Middle, Somewhat Elevated
Choreography, Stage Light and Costume Designs William Forsythe
Staging Agnès Noltenius
Music Thom Willems in collaboration with Les Stuck
World Premiere 30 May 1987, Ballet de l’Opéra National, Paris
Generously supported by the Esmée Fairbairn Foundation and the Modern Masters Production Circle
Front cover: James Forbat and Ksenia Ovsyanick in Petite Mort
Photo: © David Jensen | Design: Charlotte Wilkinson Studio
Registered Charity no. 214005
Modern Masters
Shakespeare’s Globe
www.shakespearesglobe.com
programme print and publishing
with fluorescent and metallic inks
Adela Ramírez and Zhanat
Atymtayev – Petite Mort
The starting point for Modern Masters is
not an office in English National Ballet at
the moment when Tamara Rojo, the
Company’s Artistic Director, had the idea
of bringing together the works of these
three choreographers. Instead it is the
Stuttgart Ballet, the company where the
effervescent John Cranko recruited
some of the best young dancers from
around the world and gave them the
opportunity to make new work.
John Neumeier joined in 1963, Jiří Kylián
in 1968 and William Forsythe in 1973,
auditioned by Cranko but arriving just
after his tragically early death at the age
of 46. Kylián was the pivot by which the
men’s careers entwined: Forsythe danced
in Kylián’s tribute to his mentor, Return to
A Strange Land; Kylián performed in
Neumeier’s Separate Journeys, though
Neumeier himself had left the company
by the time Forsythe arrived (he first took
up the directorship of Ballet Frankfurt
which Forsythe later ran, before moving
to the Hamburg Ballet).
But more important than the
coincidence of their lives, was the
atmosphere in which they found
themselves working. “It was a hugely
creative place,” Kylián remembers.
“Cranko gave so many people the
opportunity to explore their own
creativity.” Marcia Haydée, who
succeeded him as director, continued
the tradition, giving Forsythe early
opportunities as a choreographer.
All three men were growing within the
classical tradition. Both Neumeier and
Kylián spent time at the Royal Ballet
School, while Forsythe trained at the
Joffrey Ballet School. Ballet was in their
bones, but their heads were full of
freedom, of new ideas that were blowing
through the world of dance.
All therefore were inspired, as William
Forsythe explains, “to extend the
vocabulary.” They wanted to explore the
physical possibilities of movement, and
the way it communicated. Forsythe saw
classical technique as a language which
could be spoken in new ways. Kylián
regarded a dancer’s body as an open
book, “in which you can find just about
any words.” Neumeier was interested
“in relationships that could not be
expressed in words. I wanted to move
people through movement.”
Their thinking took them in strikingly
different directions. From Stuttgart,
Kylián went on to run Nederlands Dans
Theater; Forsythe to transform Ballet
Frankfurt into his own Forsythe
Company; Neumeier to run Hamburg
Ballet for more than 40 years. Each has
made a very individual mark. Yet as these
three works reveal, their shared instinct
for discovery and experiment carved out
new dance landscapes.
Sarah Crompton
Sarah Crompton is a writer and broadcaster.
Formerly Arts Editor in Chief and dance critic
of the Daily Telegraph, she is now a freelance
writing for a variety of papers and magazines
on all aspects of the arts.
English National Ballet’s
Modern Masters
programme
www.ballet.org.uk
theatre programme
design and print
Opposite: Alina Cojocaru
and Zdenek Konvalina
Hamburg Ballet
Photo © Holger Badekow
25
26
25TH ANNIVERS ARY TOUR
SPRING 2015
In 1956, having already made some of the most
famous plays of the 20th century, Miller made one
of its most famous marriages when he wed Marilyn
Monroe. Eyebrows were raised, but Kenneth Tynan,
who profiled him shortly after the wedding, was
scornful of the conventional assumptions. “People
in New York who are acquainted with both partners
unite in acclaiming Miller’s physical attractiveness
and his wife’s instinctive intelligence. ‘How wonderful
it would be’, cried one of their friends, ‘if their first
child had his looks and her brains!’” This proved an
over-optimistic assessment. There were to be no
Greg has composed music for
the children’s musicals The
Lonely Library (UK tour) and The
Happy Prince (Queen’s Theatre,
Hornchurch).
Every so often, you can see Greg
perform at Piano Kensington and
Raffles Bar, Chelsea, and various
other venues as a musician
including: the Royal Albert
Hall, the Royal Festival Hall and
Canterbury Cathedral. A massive
thanks and huge love travel at
warp factor seven to my beautiful
wife, Catherine, and our celestially
awesome children, Martha and
Benjamin. TaH pagh taHbe!
JOSEPH MANN
THE
CREATIVE TEAM
THE CAST
IN ALPHABETICAL ORDER
MIKE/UNDERSTUDY EDDIE
JOHN ALASTAIR
TUES 28 – SAT 2 MAY 2015
TERESA BANHAM
CATHERINE
DAISY BOULTON
ALFIERI
MICHAEL BRANDON
PHILIP CAIRNS
JONATHAN GUY LEWIS
RODOLPHO
JAMES RASTALL
LOUIS/UNDERSTUDY MARCO
ORESTES SOPHOCLEOUS
TONY/UNDERSTUDY RODOLPHO AND LOUIS
BEN WOODHALL
His musical theatre credits include:
Damage Control/Ariel understudy
in Return to the Forbidden Planet
(Queen›s Theatre, Hornchurch);
Audrey II puppeteer in Little Shop
of Horrors; ensemble in Hello,
Dolly! (Pitlochry Festival Theatre)
and Wallace Hartley in Unsinkable:
a Titanic Story (Theatre in the
Quarter).
His other theatre experience
includes: Mr Hopper in Lady
Windermere’s Fan, Phillips in
Single Spies, Roland Maule
(received the Leon Sinden Award
for Best Supporting Actor),
TECHNICAL
TEAM
1ST IMMIGRATION OFFICER/UNDERSTUDY ALFIERI AND MIKE
EDDIE CARBONE
Joseph grew up in Chester and
performed with many local
music and theatre groups, before
training as an actor-musician at
Rose Bruford College of Theatre
and Performance.
PRODUCERS JENNY KING AND MATTHEW GALE
STAFF DIRECTOR NEALE BIRCH
MARCO
PAUL CHESTERTON
ARIEL
TROMBONE, KEYBOARD,
DRUMS, ELECTRIC/BASS
GUITAR, PERCUSSION
DIRECTOR STEPHEN UNWIN
DESIGNER LIZ ASCROFT
LIGHTING DESIGNER PAUL PYANT
SOUND DESIGNER JOHN A LEONARD
FIGHT DIRECTOR KEVIN McCURDY
ASSISTANT DIRECTOR NATHAN MARKIEWICZ
CASTING DIRECTOR SIOBHAN BRACKE
VOICE COACH YVONNE MORLEY
BEATRICE CARBONE
COMMUNITY ENSEMBLE
CATHY BELL
JONATHAN FARLEY
LORI FLANNIGAN
DAVID HOY
MARK IRWIN
VANDA DE LUCA
KEVIN ROWE
JON WHITE
Present Laughter, Kenneth Raglan
‘A Teenager in Love’,in Rope and John Purdie in Dear
1959
Brutus
(all Pitlochry Festival
Dion and the Belmonts,
Theatre); Henry King in The Pig
Town
Kidsand
(Sixth Sense Theatre);
Reached no 5 in the US
charts
no 28 in the UK. ThreeTed/Knobbie
versions of in Puss in Boots
(Georgian Theatre Royal); Priscilla
‘A Teenager in Love’ were
in the
in Mother Goose (Perth Theatre)
UK charts at the sameand
time.
The roles in Oh What a
various
Belmonts were the first
to record
Lovely
War (Blackeyed Theatre).
PRODUCTION MANAGER WAYNE PARRY FOR MAE PRODUCTIONS
TECHNICAL MANAGER JOHN MADDOX
COMPANY STAGE MANAGER ROGER RICHARDSON
DEPUTY STAGE MANAGER WILL TREASURE
ASSISTANT STAGE MANAGER/UNDERSTUDY LARA DE LEUW
WARDROBE MISTRESS LOUISE CURWEN
COSTUME SUPERVISOR TRACY STILES
PROPS BUYER JO MAUND
PROPS BUYER EMILY SEEKINGS
SET BUILD BIRMINGHAM REP
LIGHTING HIRE WHITE LIGHT LTD
SOUND HIRE AUTOGRAPH SOUND LTD
TRANSPORT PAUL MATTHEW TRANSPORT LTD
COSTUME BRISTOL COSTUME SERVICES
PROPS ROSE THEATRE , KINGSTON UPON THAMES
AND THE NATIONAL THEATRE
Previous Page:
Arthur Miller, circa 1960
Photofest
SPREAD THE WORD ABOUT THE SHOW:
Left: Van Heflin, Eileen
Heckart, and Gloria
Marlowe in the original
production of A View
From the Bridge, 1955
#ViewBridge @TCTCompany @TheatreCloud
NYPL Performing Arts/Lebrecht
Music & Arts
Right: Arthur Miller in
rehearsals for Broken
Glass, 2001
© Alastair Muir / Alamy
children, and Miller and Monroe’s troubled marriage
ended in divorce in 1961. The following year, he wed
the Austrian-born photographer Inge Morath; their
marriage would last until her death in January 2002.
Given the proximity of its composition to the Monroe
years, and its subject, it is not surprising that many
believe his next play, After the Fall (1964), to be his
most nearly autobiographical. It features a fascinating
but self-destructive female figure and centres on a
man, Quentin, who is trying to make sense of his
past relationships.
After The Price in 1968, his last new play to achieve
real commercial success in America, Miller struggled
to find an audience for his plays in his own country
- or, more specifically, a Broadway audience. The
Creation of the World and the Other Business
(1972), The Archbishop’s Ceiling (1977) and The
American Clock (1980) were all failures in America.
As Miller himself explained after his 2002 play
Resurrection Blues met with more bad reviews in
his homeland: “Most of my plays have been rejected
to start with. The Crucible was destroyed first time
out. It was the same with All My Sons. Every other
critic condemned it. Why? I rather imagine that it is
because they are attuned to entertainment. That’s
part of the culture we are dealing with: entertainment
for profit. When society and its ills are brought onto
the stage, they don’t know what to do about it. Until
they see the aesthetic in the play, that it is not just a
political tract, they are at a loss. And that takes time.”
Miller found the theatrical climate in Britain much
more congenial. Asked in 1994 to name one
production of his work that particularly stood out for
him, Miller cited Alan Ayckbourn’s 1987 National
Theatre production of A View From the Bridge, with
Michael Gambon as Eddie Carbone. But it was
the generally positive reception of his later work
that gives a better indication of Miller’s standing in
Britain. Alongside regular revivals of the greatest
hits, there were several important British premieres,
starting with The Ride Down Mt Morgan (1991),
which opened in the West End but wasn’t generally
liked. The Last Yankee (1993) opened at the Young
Vic and transferred to the West End, and in July
2000 the Almeida in Islington premiered Mr Peters’
Connections, which subsequently toured the UK.
Best received of all the later plays was Broken Glass,
which was given its British premiere at the National
Theatre in 1994. This has its roots in actual historical
events - the ‘Kristallnacht’ pogrom targeting the Jews
in Nazi Germany in 1938 - but, like The Crucible,
Miller was partly prompted to write it by contemporary
events - in this case, the civil war in Yugoslavia in
the early 1990s, and the ethnic cleansing that went
with it. West Yorkshire Playhouse can boast a strong
record of presenting plays by Miller during its 24year history, with productions of All My Sons (1991),
Death of a Salesman (twice, in 1994 and 2010),
The Crucible (1996), Broken Glass (2001) and A
View From the Bridge (2003). Miller made it clear on
numerous occasions that he was in no doubt that one
of the principal reasons for his popularity in Britain
was the existence of a subsidised theatre sector,
which nurtures an audience for serious drama and is
willing to take chances on new work.
the song, but both Marty Wilde
huge
and Craig Douglas hitAthe
UKthank
chartyou to everyone
the way for their love and
first with their covers,along
reaching
support, but, particularly, to the
no 2 and no 13 respectively.
future Mrs Ariel.
Lewis, 1958
‘Great Balls of Fire’, Jerry Lee
Reached no 2 in US charts and no 1
in the UK. Jerry Lee Lewis’ life was
never short of controversy. When
‘Great Balls of Fire’ was released,
he was married to two women one of them his 13-year-old cousin,
Myra Gale Brown.
@thejosephmann
‘Young Girl’, Gary Puckett
www.josephmannactor.com
and the Union Gap, 1968
Reached no 2 in the US and no 1 in
the UK. ‘Young Girl’, a song about
the age gap between two lovers,
was the only no 1 hit for American
band Gary Puckett and the Union
Gap. It became a hit in the UK for a
second time in 1974, reaching no 6.
‘Don’t Let Me Be Misunderstood’,
Nina Simone, 1964
PRODUCTION
CREDITS
Adept at soul, jazz, blues and show
tunes, Nina Simone recorded ‘Don’t
Let Me Be Misunderstood’ for her
Broadway - Blues - Ballads album
in 1964. The song was covered
by British band the Animals
the following year, reaching no
15 in the US and no 3 in the UK.
1964
‘She’s Not There’, the Zombies,
Reached no 2 in the US and no 12 in the UK. The Zombies
were led by singer Colin Blunstone and keyboardist Rod
Argent, who would both go on to pursue solo careers.
The jazz-tinged ‘She’s Not There’ was later covered
by Santana, UK Subs and Blunstone himself under the
pseudonym Neil MacArthur.
1966
‘Good Vibrations’, the Beach Boys,
Reached no 1 in the US and no 1 in the UK.
Brian Wilson worked on ‘Good Vibrations’ for
six months, using 17 different sessions recorded
at four different studios. It was worth the effort
and the track is now considered one of the
group’s best ever recordings.
One more play was to follow the aforementioned
Resurrection Blues. Finishing the Picture was widely
regarded as a fairly thinly veiled fictionalisation of
events surrounding the filming of The Misfits in 1960,
for which Miller wrote the screenplay, and which
turned out to be Marilyn Monroe’s final completed
movie. The play opened at the Goodman Theatre
in Chicago in October 2004, a few months before
Miller’s death - of heart failure - on 10 February 2005.
From the beginning, Miller’s choice of theatre as his
career went hand in hand with political commitment
- not to any particular party or even ideology, but a
commitment to the belief, inherited from the Greeks,
that theatre is an arena where society comes together
to debate issues of public concern. For Miller, the
way society is affects the way people behave at the
deepest level. Private actions are not performed in
isolation from society at large; they both influence it
and are influenced by it.
Stuart Leeks © John Good
JONATHAN MARKWOOD
Brian’s extensive charity work
includes being ambassador for the
global AIDS charity, the Mercury
Phoenix Trust, in memory of
Freddie Mercury; founder of the
Save Me wildlife campaign; and
RSPCA vice-president.
Jonathan also writes and directs
The Hoo-Hah Conspiracy...
Secret Cabaret!, which has been
regularly performed in London.
The show, a cross between The
Rocky Horror Show and The
Mighty Boosh, features his band
Jonny Du Bois & the Hoo-Hah
Monday 27 April - Saturday 2Conspiracy,
May 2015
with whom he has
released three self-penned
albums, two of which won Best
www.blackpoolgrand.co.uk
Album at the JPF Music Awards
‘Yeh, Yeh’, Georgie Fame
and the Blue Flames, 1964
First recorded as an instrumental
by Mongo Santamaria on his 1963
jazz album Watermelon Man, ‘Yeh,
Yeh’ was covered by Georgie Fame
and the Blue Flames in 1964 and
reached no 21 in the US and no 1
in the UK, the first of three British
chart-toppers for Fame.
‘Ain’t Gonna Wash for a Week’,
the Brook Brothers, 1961
G ‘All Shook Up’, Elvis Presley, 1957
no 1 in the US and no 1
P Reached
in the UK. Written by Presley and
Otis Blackwell, ‘All Shook Up’ was
N
I
Z
ZI
the first of Elvis’s 18 number ones
in Britain (not counting re-issues),
remaining at the top for seven
weeks. Coincidentally, the song was
no 1 in ‘57 and is 1:57 minutes long!
‘Gloria’, Them, 1964
Blues band Them were
formed in Belfast in 1964
and featured Van Morrison
on lead vocals. Their second
single, a cover of Big Joe
Williams’ ‘Baby Please Don’t
Go’, was backed with ‘Gloria’,
which became a staple of
garage rock/punk bands and
was a top 10 hit in the US for
the Shadows of Knight.
Reached no 13 in the UK. The Brook Brothers
were Geoff and Ricky, who modelled their cleancut image and sound on the Everly Brothers.
They achieved five top 40 hits between 1961
and 1963.
‘I’m Gonna Change the World’,
the Animals, 1965
The Animals were a British blues band formed
in Newcastle upon Tyne in the early 1960s.
They had 14 top 40 hits during the decade,
including the UK no 7 hit ‘It’s My Life’, which
was backed with the punchy, iconoclastic
b-side ‘I’m Gonna Change the World’.
‘Who’s Sorry Now?’,
Connie Francis, 1958
Reached no 4 in the US and
no 1 in the UK. Originally
recorded by Isham Jones and
His Orchestra in 1923, ‘Who’s
Sorry Now?’ was a standard
that was a favourite with
Connie Francis’s father. As a
tribute to him, she recorded
it at the end of a recording
session and scored her first
UK no 1 in 1958.
‘Tell Him’, the Exciters, 1962
Reached no 4 in the US. Written by
Bert Berns as ‘Tell Her’ in the early 60s,
the Exciters scored a US top 10 hit with
the song in 1962, after a gender-switch
to ‘Tell Him’. The song was a classic
example of the girl group sound, and it
became a UK top 10 hit the following
year for Billie Davis.
Brian eventually completed his
PhD from Imperial College in
2007 and co-authored his book,
Bang! The Complete History of
the Universe, with the late Sir
Patrick Moore, with a 2012 sequel,
The Cosmic Tourist. He has also
produced publications on 3D
photography.
in the USA.
DR PROSPERO
ELECTRIC GUITAR,
KEYBOARD
He has released a debut solo
album, Welcome to Planet Earth,
which is available now on iTunes.
Since then, his many theatre
roles have included: Lloyd Dallas
in Noises Off, Charley Chase in
Laurel and Hardy’s Sons of the
Desert and George Martin in
Lennon’ (all at the Royal Court,
Liverpool); Vince Steel in Satin
‘n’ Steel, Captain Hook in Peter
Pan and Sherlock Holmes in
The Hound of the Baskervilles
(Queen’s Theatre, Hornchurch);
Lucentio in The Taming of
the Shrew (Open Air Theatre,
Regent’s Park); John Worthing in
The Importance of Being Earnest
(Northampton Royal); Sergeant
Trotter in The Mousetrap (St
Martin’s Theatre, West End);
Martin in The Essence of Love
by Philip Ayckbourn, Oberon
in A Midsummer Night’s Dream
and Antipholus of Syracuse in
The Comedy of Errors (both at
Ludlow Festival); Cliff in In the
Midnight Hour (Belgrade Theatre,
Coventry, and national tour); Ariel
in Return to the Forbidden Planet
(New Vic, Stoke); Mercutio in
Romeo and Juliet, Elyot in Private
Lives, Marty in Keep on Running,
Louis Mazzini in Kind Hearts
and Coronets, Baron Scarheart
in Dick Barton: Special Agent,
Orsino in Twelfth Night and both
twins, Rupert and Evelyn Farrant,
in Corpse! (all at the Queen’s
Theatre, Hornchurch).
His TV appearances include:
Hollyoaks, Fresh Meat,
Merseybeat, EastEnders, Peak
Practice, London’s Burning, Spatz
and My Dad’s the Prime Minister.
On film, his credits include: Oscar
and Lucinda (Fox Pictures) and
the lead role of David Taylor
in Francis Harriman’s film Go
With God (Arrondissement
Productions - officially
selected
Some Lovin’’,
‘Gimme
for Dublin,
Flathead Lake,
Davis
Goa the
and Big
As Texas,
USA, Group,
Spencer
international film festivals).
Brian received a CBE in 2005 for
‘services to the Music Industry and
for his charity work.’ He enjoys
interacting with his fans, who can
visit brianmay.com.
BRIAN MAY
Jonathan began his career with
the National Youth Theatre as
Troilus in Troilus and Cressida. He
went on to train at the Webber
Douglas Academy of Dramatic
Art in London.
George in A Real Mans Guide to
Sainthood (Milk Presents...); Jamal
in Moon and Genie, Underwater
Boy in Scrub a Dub (Half Moon
Theatre); Sebastian, Trinculo
and Boatswain in Tiny Tempest
(Mini Mall Theatre Company);
The Husband in A Respectable
Wedding, Dr Rank in A Doll’s
House (Ono Theatre Company)
Cameo appearances in Peak
Practice, Playing the Field and
Pure Wickedness.
Other Television: The Alan
Titchmarsh Show
Film: British Soldier, Edelweiss
(Bluekon Productions).
Other work: Vocalist for LTI
Record label. Assistant Musical
Director of the West End revival
of Buddy – The Buddy Holly Story
at the Duchess Theatre.
Theatre credits while training
include: Leo Frank in Parade
(Unicorn), Baron Tuzenbach in
Three Sisters, Malcolm in Macbeth
(Rose Theatre, RBC).
Follow Sean on twitter: @
seanneedham
Other work: Mark composes and
performs his own music, and is
currently working with Half Moon
Theatre on his own play for young
audiences beaming to theatres
near you in the coming years.
MARK NEWNHAM
@NewnhamMark
www.marknewnham.com
SEAN NEEDHAM
SARAH SCOWEN
COOKIE
CHORUS
ELECTRIC/BASS GUITAR,
TRUMPET
Brian May, CBE, PhD, FRAS, is a
Queen founding member, worldrenowned guitarist, songwriter,
producer, performer, Doctor of
Astrophysics, 3D photographic
authority and passionate animal
rights campaigner.
CAPTAIN TEMPEST
BASS/ELECTRIC GUITAR,
TROMBONE
Brian penned 22 Queen top 20 hit
singles including We Will Rock You,
namesake to the internationally
successful musical, a single he
memorably performed during the
2012 Olympics.
Training: LAMDA and Guillain
School of Theatre.
Theatre: Detective Sam Galahad,
Gunmetal Blues; John/Judas,
Godspell; Tom Buchanan, The
Great Gatsby; George, Two and
Two Make Sex; Wormold, Our Man
in Havana; Dr Livesey, Treasure
Island; John Smith, Run for Your
Wife; Ralph, Bouncers;
After a 20-year break, Queen went
back on tour, followed by the album
The Cosmos Rocks , two DVDs and
a live album. 2012 saw the criticallyacclaimed return of Queen onstage,
followed by a 2014/2015 world tour.
West End: Bill/Sam/Harry,
Mamma Mia! (Prince of Wales);
Father/Dr Dillamond/Wizard,
Wicked (Apollo Victoria); Norman
Petty, Buddy (The Duchess
Theatre, UK and European tours).
As a celebrated solo artist, Brian
toured his hit albums - Back To The
Light, featuring several Ivor Novello
Award-winning tracks.
Brian has also written and
performed music for theatre and
Queen became the first rock
group to score a major film, Flash
Gordon; a success replicated with
Highlander, the opera Pinocchio,
and Brian’s soundtrack for the film
Furia. Soundtrack contributions
include The Rocky Horror Picture
Show, Mission Impossible II and
‘Born to
Spiderman II.
Other Theatre: Dad, Our House
(UK tour); Neil Diamond, You
Don’t Bring Me Flowers (UK
tour); Prince Charming, Cinderella
(Birmingham Hippodrome,
QDOS); Gaston, Waltz of the
Toreadors; Tin Man, The Wizard
of Oz; Demetrius, A Midsummer
Night’s Dream (Leicester);
Mark was too short to train at
NASA so went to Rose Bruford
College in Sidcup instead. Even
from a young age Mark was
astrological, he read comet books,
favoured the Mars Bar, recreated
constellations with dry pasta; his
Orion’s Belt still hanging proudly
between the information board
and disabled toilets of North
Lancing village hall, just on the
left as you go in. He hopes you
have a pleasant flight.
1968Beware; Tom,
Carnoustie, Sailor
Be Wild’, Steppenwolf,
Curtain Up on Murder.
Brian’s distinctive guitar style,
Television:
Reached no 2 in the US
and no 18James Harker,
produced from his homemade ‘Red
Emmerdale (Yorkshire TV);
in the
to Be
Special’ guitar using a sixpence
as aUK (re-issue). ‘Born
Journalist, Hollyoaks
Wild’
plectrum, continues to inspire
new was Canadian/American
(Channel band
4); Officer Baker,
1966
Steppenwolf’s first topCrossroads
10 hit. It (ITV); Ben,
artists. He has worked with Lady
featured
on the soundtrack
to (Channel
road
Gaga, Kerry Ellis and on the No
1
The Mall
5).
Reached no 7 in the US and no
2 in the
Comic
Relief hit The Stonk. movie Easy Rider, starring Peter
UK. ‘Gimme Some Lovin’’ was the eighth
Fonda and Dennis Hopper, and is
single by R&B band the Spencer Davis
now considered a hard-rock classic.
Group, then led by Steve Winwood. The
version released in the US was a slightly
different recording to the UK version,
‘Mr Spaceman’, the Byrds, 1966
but both made the top 10.
Reached no 36 in the US. ‘Mr Spaceman’ was
one of two sci-fi-influenced songs taken from
‘Robot Man’, Connie Francis, 1960
the Byrds’ third album, Fifth Dimension, which
saw the band add more psychedelic influences
Reached no 2 in the UK. Never
to their folk-rock sound, although ‘Mr
the
released as a single in the US,
Spaceman’ has more a country rock feel.
Man’
sci-fi-influenced rocker ‘Robot
was released in the UK as a double
Pickett
‘Monster Mash’, Bobby (Boris)
a-side with the more sentimental
top
‘Mama’. It gave Francis her 12th
and the Crypt-Kickers, 1962
40 hit in the UK.
Turner, 1954
‘Shake, Rattle and Roll’, Big Joe
Reached no 22 in the US. ‘Shake, Rattle and Roll’ was
first recorded by rhythm and blues artist Big Joe
Turner in 1954. The same year, a version by Bill Haley
and His Comets made the top 10 in both the US and
UK, although many of the salacious lyrics in the
original version were cleaned up for Haley’s version.
‘Go Now’, Bessie Banks, 1964
‘Go Now’ was written by Milton Bennett and
Larry Banks, and was first recorded by Larry’s
wife, Bessie, in 1964. The song didn’t find
international success until it was covered by
Birmingham group the Moody Blues at the
end of the same year, reaching no 1 in the
UK and no 10 in the US.
Reached no 1 in the US and no 3 in the UK
(re-issue). Novelty hit ‘Monster Mash’ has
become a perennial favourite at Halloween,
its Boris Karloff-aping narrator telling of a
Frankenstein-style monster coming to life to
do a new dance craze, the ‘Monster Mash’.
The song finally hit the UK top 10 in 1973.
‘I Heard It Through the Grapevine’,
Marvin Gaye, 1968
Reached no 1 in the US and no
1 in the UK.
Originally recorded by Smokey
Robinson and
the Miracles, ‘I Heard It Through
the Grapevine’
was first a hit for Gladys Knight
& the Pips.
Gaye’s version topped the charts
on both sides
of the Atlantic and, in 2014, it
was voted the
nation’s favourite Motown song
in an ITV poll.
1960
‘Only the Lonely’, Roy Orbison,
Reached no 2 in the US and no 1 in the UK. ‘Only the
Lonely’ gave the Big O his first big hit on both sides
of the Atlantic. Written in an operatic rock style, the
ballad saw Orbison moving away from his rock ‘n’
roll roots to something more sophisticated, which
continued on his first US no 1, ‘Running Scared’.
‘The Young Ones’, Cliff Richard
and the Shadows, 1962
Reached no 1 in the UK. ‘The Young Ones’ gave Cliff Richard and
the Shadows (originally known as the Drifters) their fifth UK no 1.
The song was taken from the film of the same name, which starred
Cliff as a member of a youth club planned for demolition. It also
gave its name to the anarchic 1980s sitcom, starring Rik Mayall.
MIRANDA
TRUMPET, DRUMS,
TAMBOURINE
Sarah grew up in Essex and
trained at London Studio Centre.
Her recent musical theatre roles
include: Miranda in Return to
the Forbidden Planet (UK tour);
Janet in The Rocky Horror Show
(Queen’s Theatre, Hornchurch);
Mona in Chicago (Oldham
Coliseum); Daisy Grosvenor/
understudy Amy in Radio Times
(the Watermill Theatre, Newbury,
and UK tour); Sarah in Godspell,
Theatre: Cookie in Return to
the Forbidden Planet, Simple
Simon in Jack and the Beanstalk,
Les in Bouncers, Craze in A
Passionate Woman (Queens
Theatre, Hornchurch); Young
John Lennon in Lennon (Royal
Court, Liverpool); Mark/Composer
in Cinderella and the Beanstalk
(Sleeping Trees, Theatre503);
Freddy in Up in the Attic (Floods
of Ink); William Watson in Horrible
Christmas (Birmingham Stage
Company); Mischief Maker/
Composer in The Curators
Daughter (Trailblaze Theatre);
!
His first major success came in 1947 with All My
Sons. The play won a New York Critics’ Circle
Award and ran on Broadway for nearly two years.
It explores a theme to which Miller would return
throughout his career: the small man who displays
personal weakness when morality comes into conflict
with public expediency. In this case, that means
the American dream of prosperity. Joe Keller is the
manufacturer of faulty warplane parts who is made to
see that the pilots whose deaths he causes, however
unintentionally, are indeed all his sons. Kenneth
Miller’s next new plays were staged as a double bill
in New York in 1955. One of them, A Memory of Two
Mondays, is rarely performed nowadays, but the other,
A View From the Bridge, is a 20th-century classic.
Eddie Carbone, a hard-working Sicilian longshoreman
is, like Willie Loman in Death of a Salesman, an
ordinary man who is deeply flawed. He is pathetic in the sense that he is deserving of pathos - yet, in
his own way, impressive. Miller frequently said that
he tried to write a form of tragic drama for our times,
and men like Willie, Eddie and John Proctor in The
Crucible are modern tragic heroes of a kind.
H
ARTHUR MILLER:
VOICE OF A CENTURY
OLIVIER AWARD-WINNER
BEST MUSICAL!
‘Johnny B Goode’,
Chuck Berry, 1958
Reached no 8 in the US charts.
‘Johnny B Goode’ is featured on
the Voyager Interstellar Record, a
recording depicting life on earth
that was blasted off into deep
space with the Voyager spacecraft
mission. Back on earth, the song
was voted the greatest rock and
roll song of all time by Vintage
Rock magazine in 2014.
PAUL BOVEY ©
JOHN GOOD
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Theatre Tour Programme
theatre programme design and print
A
Miller graduated from Michigan in 1938 and moved
to New York, where he began to write radio plays and
joined the Federal Theatre Project. Two years later, he
married Mary Slattery, a Roman Catholic, with whom
he had two children, a son and a daughter. They were
to divorce in 1956. In 1944, The Man Who Had All
the Luck became his first play to be produced on
Broadway. Miller wasn’t in luck: it closed within a
week. The same year he wrote Focus, a novel about
anti-Semitism, which was better received.
created
Written andon
by Bob Carlt
After an adaptation of Ibsen’s An Enemy of the
People (1950), Miller’s next original play was The
Crucible. Miller was unhappy with the first production
in 1953. He didn’t see eye to eye with the director
Jed Harris, who, in Miller’s view, prioritised discipline
over passion. Nevertheless, the play was well enough
received at its out of town try-outs in Wilmington,
Delaware, but the reaction when it reached New York
was frosty. In his autobiography, Timebends, Miller
wrote of “an invisible sheet of ice” forming over the
audience’s heads, “thick enough to skate on” as it
dawned on them what was the theme of the play. A
second New York production, with Paul Libin directing
a younger, less-polished cast than before, was much
more to Miller’s satisfaction: “It was performed this
time as it was written, desperate and hot,” and it ran
for nearly two years.
A
Miller won university prizes for some of the plays he
wrote at Michigan - which aided his finances - and in
1937 he won the Theatre Guild Bureau of New Plays
Award for They Too Arise. He shared the prize with
a playwright who was a year older than he, and who
was to make an equally significant contribution to
20th-century theatre: Tennessee Williams. Miller and
Williams are the bookends of American drama: Miller
the masculine to Williams’ feminine, classical where
Williams is romantic.
TOURING
CONSORTIUM THEATRE
COMPANY PRESENTS
Tynan, profiling Miller in 1956, identified his models:
“Shakespeare and Sophocles, he feels, had one
thing in common: they tried ‘to draw a whole world
into one man, to bring a national experience to bear
on an individual subject’.” This misses out one other
playwright who was key to Miller’s dramatic outlook:
Ibsen, whose influence is strong in All My Sons.
His next play, the Pulitzer Prize-winning Death of a
Salesman (1949), is right up there with Waiting for
Godot, Look Back in Anger and A Streetcar Named
Desire in the pantheon of post-war drama.
A
T
he pattern of Arthur Miller’s career
was shaped in his childhood.
Born in Harlem and brought up in
Brooklyn, he was the son of Isidore
and Augusta Miller. His father was
a Polish Jew, an immigrant who
had built up a successful clothing
manufacturing business. Thus Miller’s
early life was relatively comfortable.
But in the early 1930s, when Miller
was in his teens, came the Depression, and within
a few years the family were impoverished. Miller
took on various jobs - hotel waiter, docker, truck
driver - in order to earn enough money to put himself
through the University of Michigan, where he studied
journalism and drama, and where he began to write
plays. The memory of the Depression never left him.
The way in which economic and social circumstance
affect the lives of individuals is an important theme in
many of his plays, and it is a concern that is fuelled by
the passion of personal experience.
R
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