MAKE SOMETHING with John Good by Jason Maclaren

MAKE SOMETHING

CONTENTS Overview

Create

Digital

Print & Publish

Advertise

Contact

KEY Client download link information more 1

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

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

Abridged by John Short

FRANKENSTEIN; OR, THE MODERN PROMETHEUS

THE TRAGEDY OF MACBETH

MARY SHELLEY

WILLIAM SHAKESPEARE

Abridged by Andrew Kolarik

Abridged by John Short

Shots poster concept

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: Dvorˇák 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 Dvorˇák’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

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

Grand Théâtre de Provence

Teatro Morlacchi

WEB

www.interlaken-classics.ch

www.festivalpaques.com

www.perugiamusicaclassica.com www.tch.gr

www.tch.gr

LOC ATION

Interlaken, Switzerland

Aix-en-Provence, France

Perugia, Italy

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

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

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

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

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

Spring Tour Programme

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

Manchester Royal Exchange www.royalexchange.co.uk theatre programme design and print

DIGITAL 13

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

National Theatre Live Frankenstein App johngood.com/apps nationaltheatre.org.uk accelerometer animation

St Davidâ&#x20AC;&#x2122;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

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:

â&#x20AC;&#x153; 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.â&#x20AC;?

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

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 21

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

ALMEIDA THEATRE Carmen Disruption

On Being Carmen A Conversation with Viktoria Vizin

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!

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)

Michael Longhurst (Direction)

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

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

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.

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.

For more features on A View From the Bridge, log on to www.theatrecloud.com.

Return to the Forbidden Planet Theatre Tour Programme theatre programme design and print

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.

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.

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.

A View From the Bridge Theatre Tour Programme theatre programme design and print

Grange Park Opera soft-touch lamination with foil-blocked typography

Hali Magazine www.hali.com large print-run magazine print

Dirty Martini dirtymartini.uk.com print project management, foilblocked and embossed menu, with pearlescent coating

ADVERTISE 29

Advertising We have an enviable connection to Arts and culture organisations throughout the UK. Working with over 100 regional theatres, London’s West End and world-renowned Arts brands including the Royal Opera House, the National Theatre and the BBC Proms, we have unrivalled access to large, diverse and afﬂuent Arts audiences. Whatever the medium, physical or digital, our experience and knowledgeable staff can help your business engage this unique and high-value market. Your audience awaits.

Key clients include:

Why Advertise with John Good? Increase advertising revenues by connecting with a huge pool of potential high-end advertisers. We have specialist knowledge and experience – we know what will and won’t work. No need for invoicing and the hassle of collecting payment from multiple advertisers – we handle all the administration.

A smooth ride. Worth any journey.

The View theviewfromtheshard.com print advert for BBC Proms

Newbury Audi and Audi RS5 Cabriolet are proud to be associated with the performing arts.

LONDON. IN HIGH DEFINITION. S E E A L L O F L O N D O N I N O N E B R E AT H TA K I N G E X P E R I E N C E .

Newbury Audi

Newbury Audi Faraday Road, Newbury, Berkshire RG14 2AB. 01635 510000 www.newbury.audi.co.uk Official fuel consumption figures for the Audi range in mpg (l/100km) from: Urban 12.7 (22.2) – 64.2 (4.4), Extra Urban 26.4 (10.7) – 85.6 (3.3), Combined 19.0 (14.9) – 74.3 (3.8). CO2 emissions 349 – 99 g/km.

Back to back, brothers in arms, comrades. Drive victorious.

W10 Newbury Audi_Tuxedo-Junction_205x205 Watermill Theatre_New Final.indd 1

19/03/2015 15:58

Newbury Audi and the new Audi A3 are proud to be associated with the performing arts.

Newbury Audi Faraday Road, Newbury, Berkshire RG14 2AB. 01635 510000 www.newbury.audi.co.uk

the view from the shard.com Drive and driveability.

Official fuel consumption figures for the Audi range in mpg (l/100km) from: Urban 12.7 (22.2) – 64.2 (4.4), Extra Urban 26.4 (10.7) – 85.6 (3.3), Combined 19.0 (14.9) – 74.3 (3.8). CO2 emissions 349 – 99 g/km.

Newbury Audi and the Audi TT are proud to be associated with the performing arts.

Newbury Audi

Valentino parfums.valentino.com print advert for the Royal Opera House

Audi Newbury Campaign www.newbury.audi.co.uk print advert campaign in Newbury Watermill theatre programmes 31

Jensenâ&#x20AC;&#x2122;s Gin www.bermondseygin.com partner advert with weblink in the Vault Festival App

Studio Canal www.studiocanal.co.uk interactive advert in the National Theatre Live Frankenstein App

15619 Steinway Raymond Gubbay (B5)_Layout 1 10/12/2014 13:02 Page 1

22/12/08

11:38

Page 1

11:38

Page 1

22/12/08

11:38

Page 1

â&#x20AC;&#x153;The Steinway is not only an instrument, it is a work of art of the first rank." Christoph Eschenbach

22/12/08

11:38 Peter Page 1 Page Designer Goldsmith www.peterpage.co.uk peter@peterpage.co.uk Page 1

Peter Page Designer GoldsmithGoldsmith Peter Page Designer Peter Page Designer Goldsmith www.peterpage.co.uk peter@peterpage.co.uk Peter Page Designer Goldsmith www.peterpage.co.uk peter @peterpage.co.uk www.peterpage.co.uk peter @peterpage.co.uk Peter Pagepeter@peterpage.co.uk Designer Goldsmith www.peterpage.co.uk

22/12/08

11:38

22/12/08

11:38

Page 1

www.peterpage.co.uk peter@peterpage.co.uk Peter Page Designer Goldsmith www.peterpage.co.uk peter@peterpage.co.uk Peter Page Designer Goldsmith www.peterpage.co.uk peter@peterpage.co.uk

Peter Page www.peterpage.co.uk print ad campaign

4 The Square, Ramsbury, Marlborough, Wiltshire SN8 2PE Telephone: 01672 520428 www.peterpage.co.uk info@peterpage.co.uk

WWW.STEINWAYHALL.CO.UK For information on Steinway & Sons pianos or to arrange a private appointment to visit our London showrooms, please call 0207 487 3391 or email info@steinway.co.uk

Steinway and Sons www.steinwayhall.co.uk outside back-cover print advert, Raymond Gubbay theatre programmes 33

The Natural History Museum www.nhm.ac.uk print adverts in BBC Proms print guides

Advertise With Us For more details on advertising in any of our print publications, please call 01869 332150 or go to: www.johngood.com.

Until 28 September Book now at www.nhm.ac.uk/britainmillionyears Free for Members DS3828

British Petroleum bp.com/arts print adverts in National Theatre print programmes

To advertisie in our digital publications, please email: dpsales@johngood.com

RA HE

ITH

D IEL

PR OG

Cantate Communications Cowcross Studios 30 Cowcross Street London EC1M 6DQ 020 3651 1690 info@cantatecommunications.com

RD N E T

CO TE

A428

London

F RO

TACKLEY

W AY

Rugby Progress House Butlers Leap Rugby Warwickshire CV21 3RQ 024 7665 2800 info@johngood.com

RIN

R FA

COWCROS S S T

C ED

N RD

WA Y

GDO

HILL

RIN FAR

F OX

A46

ENW

C L ERK

Oxford Court Farm Barns Medcroft Road Tackley Oxford OX5 3AL 01869 332150 info@johngood.com