Production photos Mail on Sunday review Sunday Times review Observer review Sun. Telegraph review Sunday Express review Stage review Time Out review FT review Alison Chitty interview Metro review Times review Guardian review Telegraph review BBC review Daily Mail review Daily Mirror review Standard review What's on Stage review London Theatre review
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Scenes
from the Big Picture
by Owen McCafferty
Royal National Theatre
Cottesloe Theatre, 10 April 2003
24 hours. 20 characters. 40 scenes. Belfast City. An urban story
It's a joke that's all — stick yer finger in yer coat pocket — give it some
verbals — then on yer way out the door take yer hand out a yer pocket an wave at
him — what's the problem there — he'll even find that funny himself.
-
Independent review, 22 April 2003
- Mail on Sunday review,
20 April 2003
- Sunday Times review,
20 April 2003
- Observer review, 20 April
2003
- Sunday Telegraph review,
20 April 2003
-
Independent on Sunday review, 20 April 2003
- Sunday Express review,
20 April 2003
- Stage review, 17 April 2003
- Time Out review, 15 April
2003
- FT review, 14 April 2003
- Alison Chitty interview,
14 April 2003
- Metro review, 14 April 2003
- Times review, 12 April 2003
- Guardian review, 12 April
2003
- Telegraph review, 12 April
2003
- BBC News Online review, 11 April
2003
- Daily Mail review, 11 April 2003
- Daily Mirror review, 11 April
2003
- Evening Standard review,
11 April 2003
- What's on Stage review,
11 April 2003
- London Theatre Guide
review,11 April 2003
-
British
Theatre Guide review, 11 April 2003
- London SE1
review
Production dates: All performances are at 7:30 pm, unless
otherwise indicated
Apr 2003
Wed 2 (Preview),
Thu 3 (Preview),
Fri 4 (Preview),
Sat 5 (Preview),
Mon 7 (Preview),
Tue 8 (Preview),
Wed 9 (Preview),
Thu 10 (Press, 7:00 pm),
Fri 11,
Sat 12 (2:30 pm),
Sat 12,
Thu 17,
Sat 19 (2:30 pm),
Sat 19,
Mon 21,
Tue 22,
Wed 23,
Thu 24 (2:30 pm),
Thu 24 |
May 2003
Fri 2,
Sat 3 (2:30 pm),
Sat 3,
Mon 5,
Tue 6,
Wed 7 (2:30 pm),
Wed 7,
Wed 14,
Thu 15,
Fri 16,
Sat 17 (2:30 pm),
Sat 17 |
Jun 2003
Mon 9,
Tue 10,
Wed 11 (2:30 pm),
Wed 11,
Wed 18,
Thu 19,
Fri 20,
Sat 21 (2:30 pm),
Sat 21 (Final Performance) |
|
If we had a keen vision and feeling of all ordinary human life,
it would be like hearing the grass grow and the squirrel's heartbeat
and we should die of that roar which lies on the other side of silence.
As it is, the quickest of us walk about well-wadded with stupidity. |
George Eliot from Middlemarch
(1871-72)
|
Grief fills the room up of my absent child. |
William Shakespeare from King John
(1596)
|
What is love? 'Tis not hereafter;
Present mirth hath present laughter;
What's to come is still unsure.
In delay there lies no plenty;
Then come kiss me, sweet and twenty;
Youth's a stuff will not endure. |
William Shakespeare from Feste's Song,
Twelfth Night (1601)
|
Say not, the struggle nought availeth,
The labour and the wounds are vain,
The enemy faints not, nor faileth,
And as things have been they remain.If hopes were dupes, fears may
be liars;
It may be, in yon smoke concealed,
Your comrades chase e'en now the fliers,
And, but for you, possess the field.
For while the tired waves, vainly breaking,
Seem here no painful inch to gain,
Far back, through creeks and inlets making,
Comes silent, flooding in, the main,
And not by eastern windows only,
When daylight comes, comes in the light,
In front, the sun climbs slow, how slowly
But westward, look, the land is bright.
|
Arthur Hugh Clough (1849)
|
I wrung my hands under my dark veil...
'Why are you pale, what makes you reckless?'
— Because I have made my loved one drunk
with an astringent sadness.
I'll never forget. He went out, reeling;
his mouth was twisted, desolate...
I ran downstairs, not touching the banisters,
and followed him as far as the gate.
And shouted, choking: 'I meant it all
in fun. Don't leave me, or I'll die of pain.'
He smiled at me — oh so calmly, terribly -
and said: 'Why don't you get out of the rain?'
|
Anna Akhmatova (1889-1966) translated
from the Russian by Max Hayward and Stanley Kunitz
|
My grief, I can see,
is deserting to you. |
Paul Celan (1920-1970), from All those
sleep shapes, crystalline
|
All that I know of her perfections now is only by memory. I
remember, indeed, that about two years ago I loved her passionately;
but those golden days are gone. Yet I loved her a whole half year,
double the natural term of any mistress, and think in my conscience
I could have held out another quarter; but then the world began
to laugh at me, and a certain shame of being out of fashion seized
me. At last we arrived at that point, that there was nothing left
in us to make us new to one another. Yet still I set a good face
upon the matter, and am infinite fond of her before company; but
when we are alone, we walk like lions in a room, she one way, and
I another. And we lie with our backs to each other so far distant,
as if the fashion of great beds was only invented to keep husband
and wife sufficiently asunder. |
John Dryden from Marriage A-la-Mode
(1672)
|
Everyone can master a grief but he that hath it.
|
William Shakespeare from Much Ado
About Nothing (1598)
|
— I think it's brilliant is Belfast, it's a real top place to
live. I wouldn't like to live anywhere else, honestly I wouldn't,
not ever. People from outside you know, they're really surprised
when they come here and find out what it's like, they really are.
They think it's all bombs going off all the time, everybody shooting
one another and all stuff like that. They can't believe it, the
smart shops, all the things in them, the clubs, the discos, all
the young people enjoying themselves. The newspapers and the television,
all they ever show's bombs and buildings and fires and shootings
and all stuff like that. They don't show you what a great place
Belfast is. I mean look at me, I've never been shot at, I've never
even heard shooting except once in a while somewhere in the distance.
People should come and see for themselves. Belfast's no different
from anywhere else; it's great, it is, it's really really great.
|
A fifteen-year-old schoolgirl quoted
in Tony Parker's May the Lord in His mercy be kind to Belfast
(1993)
|
The charm of novelty, falling little by little like a robe,
revealed the eternal monotony of passion, which has always the same
forms and the same language. |
Gustave Flaubert from Madame Bovary
(1857)
|
Welcome, O life! I go to encounter for the millionth time the
reality of experience and to forge in the smithy of my soul the
uncreated conscience of my race. |
James Joyce from A Portrait of the
Artist as a Young Man (1916)
|
A friend loveth at all times, and a brother is born for adversity. |
Proverbs 17:17
|
The only good which we discover in life, is something which
produces an oblivion of existence. |
Madame de Staël (1766-1817)
|
In the big city
Where the lights are low
Cold dirty ground
Where the rivers don't flow
Nothing's gonna change so throw it all away...In the big city
Where it's hard to see the sky
And the black earth trembles when the trains go by
And the bums on the corner tell you gently
To fuck off and die.
|
Shane MacGowan, The Pogues, from Big
City (1993)
|
Give strong drink unto him that is ready to perish, and wine
unto those that be of heavy hearts. Let him drink, and forget
his poverty, and remember his misery no more. |
Proverbs 31:6-7
|
When things go wrong and will not come right,
Though you do the best you can,
When life looks black as the hour of night -
A pint of plain is your only man.
When money's tight and is hard to get
And your horse has also ran,
When all you have is a heap of debt -
A pint of plain is your only man.
When health is bad and your heart feels strange,
And your face is pale and wan,
When doctors say that you need a change,
A pint of plain is your only man.
When food is scarce and your larder bare
And no rashers grease your pan,
When hunger grows as your meals are rare -
A pint of plain is your only man.
In time of trouble and lousy strife
You have still got a darling plan,
You still can turn to a brighter life -
A pint of plain is your only man.
|
Flann O'Brien (1911-1966), The Workman's
Friend
|
Saul and Jonathan were lovely and pleasant in their lives, and
in
their death they were not divided: they were swifter than eagles,
they were stronger than lions... I am distressed for thee, my
brother Jonathan: very pleasant has thou been unto me: thy love
to me was wonderful, passing the love of women. How are the
mighty fallen, and the weapons of war perished! |
2 Samuel 1:23-7
|
A Drunkard would not give money to sober people. He said they
would only eat it, and buy clothes and send their children to school
with it. |
Samuel Butler (1835-1902)
|
One of the saddest things is that the only thing a man can do
for eight hours, is work. You can't eat eight hours a day, nor drink
for eight hours a day, nor make love for eight hours. |
William Faulkner (1897-1962)
|
Have I not understood then? Have I not understood what? That
it is not so much the vision that counts, but the trance, the treacherous
trance come to carry me off, the trance which grows and grows and
grows, pushing me forward precipitously into pleasure, pleasure
within me, which cannot be localised, which is not physical, essential
pleasure at my very core, dragging me down like a jailer to the
centre of my being, inebriating me in this cell, overthrowing me,
corrupting me, dissolving me in a delirium of delight, without check,
without counterweight, devoid of censure and of all possibility,
an all-devouring and symphonic concupiscence whose lewd panoramas
are but the corroboration and illustration of the multiple, outrageous
and cerebral orgasm in whose relentless grip I am held. |
Henri Michaux (1899-1984), from Mescaline
|
Oh won't you stay
Stay a while with your own ones
Don't ever stray
Stray so far from your own ones
'Cause the world is so cold. |
Van Morrison from Irish Heartbeat
(1989)
|
It is the fate of all of us, perhaps, to direct... our first
murderous wish against our father. |
Sigmund Freud (1856-1939)
|
Junk is the ultimate merchandise. The junk merchant does not
sell his product to the consumer, he sells the consumer to the product. |
William Burroughs (1914-1997)
|
The joys of marriage are the heaven on earth,
Life's paradise, great princess, the soul's quiet,
Sinews of concord, earthly immortality,
Eternity of pleasures. |
John Ford from The Broken Heart
(1633)
|
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light. |
Dylan Thomas from Do not go gentle
into that good night (1952)
|
Credits
Bop Torbett |
Darren Healy |
Theatre credits include Studs at the Gaiety Theatre
Dublin, Green at the Dublin Fringe Festival and King Lear at
the Tivoli Theatre. TV credits include On Home Ground
and Finbar's Class. Film credits include Dead
Bodies, Bloody Sunday, Disco Pigs, The General, Crush Proof and
The Boxer. |
Maggie Lyttle |
Elaine Cassidy |
Theatre credits include The Lieutenant of Inishmore
at the Garrick. TV and film credits include Watermelon, The
Bay of Love and Sorrows, The Lost World, The Others, Disco Pigs, Felicia's
Journey, Glenroe, The Sun, The Moon and the Stars, Mission Top Secret II:
The Crown Jewels Are Missing and the short film The Stranger
Within Me. She also appears in the music video The Scientist
for Cold Play. |
Maeve Hynes |
Aofie McMahon |
Aoife McMahon is from County Clare and attended the University of Ulster
and RADA. Theatre credits include Dancing at Lughnasa
at Greenwich and the Watermill Theatre, Newbury, Pains of Youth
at the National Theatre Studio, Andorra at the Young Vic, Pegeen
Mike in Playboy of the Western World at the Liverpool Playhouse,
Or/ana for Kabosh and the title role in Deirdre for the Armagh
Rhymers Theatre. Film includes Random Passage, for which
she was awarded the 2002 Best Actress Gemini Award (Canadian BAFTA). |
Joe Hynes |
Patrick O'Kane |
Patrick O'Kane has appeared in Closing Time at the National
and Shoot The Crow at the Manchester Royal Exchange, both by
Owen McCafferty. Also with the NT Ensemble in Romeo and Juliet, Peer
Gynt and Playboy of the Western World. He trained at
Central. His theatre credits include Donny Boy, Julius Caesar,
Absurd Person Singular, Unidentified Human Remains and the True Nature of
Love and Miss Julie for the Manchester Royal Exchange,
Cat on a Hot Tin Roof at the Lyric, Belfast, The Plough
and the Stars, As the Beast Sleeps (Best Supporting Actor,
Irish Times Theatre Awards), The House and Medea
at the Abbey Theatre, Dublin, The Playboy of the Western World, 1953,
Lulu, Edward II and Sweet Bird of Youth for Citizens'
Theatre, Glasgow, The Life of Stuff at the Donmar Warehouse,
The Grapes of Wrath and The Three Musketeers at
the Crucible Theatre, Sheffield, The Strip and Trust
at the Royal Court, Observe the Sons of Ulster Marching Towards
the Somme at the Abbey Theatre, Dublin and Edinburgh, Double
Indemnity at Theatr Clwyd, Popcorn at Nottingham and
West Yorkshire Playhouses and in the West End, Volunteers at
the Gate and Macbeth at the West Yorkshire Playhouse. TV:
A Safe House, Liverpool One, In the Red, A Rap at the Door, In Deep,
As the Beast Sleeps and Any Time Now. Film:
The Paris Express, Sunset Heights, Wonderful World, The Fishmonger,
When the Sky Falls, Perdie, Octane and Rembrandt.
|
Sammy Lennon |
John Normington |
John Normington's theatre credits include, for the National,
The Good Hope, The Winter's Tale, The Mysteries, A State of Revolution,
As You Like It, Richard III, Amadeus, The Oresteia, Guys and Dolls, The
Shoemaker's Holiday, Danton's Death, The American Clock, Animal Farm
(and tour), and School for Scandal; The Homecoming in London
and New York, The Happy Apple at the Apollo, The Fool,
Revenge, Twelfth Night and Taking Stock at the Royal
Court, The Deep Blue Sea at the Haymarket, The Homecoming
for the Peter Hall Company at the Comedy Theatre, Our Town
at the Shaftesbury Theatre, Rules of the Game at the Almeida,
The Master Builder for the Peter Hall Company, West End and
tour, Love for Love and Uncle Vanya at the Chichester
Festival, the latter also at the Albery, Snake in the Grass
at the Old Vic; and The Wars of the Roses, King Lear, Ghosts, Love's
Labour's Lost and Talk of the City for the RSC and
Lettice and Lovage on tour. TV: Edward VII, Upstairs
Downstairs, Will Shakespeare, The Birds Fall Down, Flaxborough Chronicles,
Enemy at the Door, Afternoon Off, A Day Out, The Winkler, Ibsen, Masterspy,
Turtle's Progress, Blat, School Play, The Diplomatic Spy, Short Term Memory,
Hold the Back Page, Yes Prime Minister, Flying Lady, My Family and Other
Animals, Mary Rose, Dr Who, Nativity Blues, Inspector Morse, Poirot, Jack
the Ripper, The Paradise Club, The New Statesman, In Sickness and in Health,
Casualty, Minder, Her Majesty's Pleasure, Preston Front, Peak Practice,
Bliss, Longitude, David Copperfield, Deceptions, Hetty Wainthropp Investigates,
Unsuitable Job for a Woman, The Unknown Soldier, The Bill and
Love in a Cold Climate. Film: A Midsummer Night's Dream,
The Reckoning, Inadmissible Evidence, Deathwatch, The Reckoning, Stardust,
Rollerball, The Medusa Touch, The Thirty Nine Steps, Hitler's SS, A Private
Function, Sakharov and Wilt. |
Connie Dean |
Kathy Kiera Clarke |
Kathy Kiera Clarke was born in Belfast and is a founder member of the
Marillac Theatre Company. Theatre credits include Jekyll and
Hyde, Riders to the Sea, Damaged Goods and Clara Pettacci in
Summit Conference at Glasgow Citizens, Borders of Paradise
at the Palace Theatre Watford, Torquato Tasso at the Lyceum
Edinburgh, Once a Catholic and Factory Girls at
the Tricycle, Low Level Panic, Brilliant Traces and The
Coronation Voyage for Prime Cut and Lady Macbeth in Macbeth,
a co-production between Prime Cut and the Lyric Theatre Belfast,
also nominated for the NT/Ian Charleson award, and Best Actress for the
title role in Medea for the Glasgow Citizens. TV includes
Flash McVeigh, Jack Rosenthal's Eskimo Day, Take a Girl
Like You and Head Over Heels. Film includes
Last Legs, Hard Nut, Mad About Harry, The Most Fertile Man in Ireland,
Francis in Bloody Sunday for which she received a Best Actress
nomination at the IFTA's, and Solid Air, to be released this
year. |
Betty Lennon |
June Watson |
Theatre credits include The Good Hope (on tour),
Our Lady of Sligo, Cardiff East, The Prince's Play, Le Cid, Rutherford
& Son, Machinal, Billy Liar, Whale, Garden of England, As I Lay Dying, The
Beggar's Opera, The Long Voyage Home, The World Turned Upside Down, The
Passion, Lark Rise, Sir is Winning, State of Revolution and
Il Campiello for the National, Kosher Harry, Sliding with Suzanne,
Small Change, Over Gardens Out, Life Price, Beside Herself, Glasshouses
and Saved for the Royal Court, Streetcar to Tennessee,
Julius Caesar and Cato Street for the Young Vic,
Blue Heart for Out of Joint, Hippolytus for the
Almeida, The Ha Ha for Hampstead, Hanky Park for
the Mermaid, Ballroom for Stratford East and The Wars
of the Roses, The Winter's Tale and Coriolanus for the
English Shakespeare Company in the UK, Europe, Australia, Asia and USA on
tour. TV credits include The Key, Midsomer Murders, William and Mary,
Holby City, Inspector Linley, Brotherly Love, Thursday the 12th, In a Land
of Plenty, Casualty, Where the Heart Is, Berkeley Square, Kavanagh QC, Mike
and Angelo, Wokenwell, Turning World, Jonathan Creek, five
Plays for Today, Common as Muck, A Mug's Game, Dr Finlay, Criminal, The
Bill, Prime Suspect, Inspector Morse, For the Greater Good, Capital City,
Taggart, EastEnders, Tales of the Unexpected and Z Cars.
Film credits include Ghost Hunter, 102 Dalmatians, Highlander IV,
A Suitable Case for Treatment, The Last Yellow, The Know/edge and
Bloody Kids. |
Theresa Black |
Frances Tomelty |
Theatre credits include Mutabilitie for the National,
Mrs Darling in Peter Pan, Portia in The Merchant of Venice,
Queen Elizabeth in Richard III and Titania in A Midsummer
Night's Dream for the RSC, Give me Your Answer, Do!
and Dancing at Lughnasa at the Abbey Theatre Dublin,
Ghosts, Doctor Heart and The Talking Dark at the Royal
Exchange, Manchester, Picasso's Women on tour, Semi Monde
at the Lyric Shaftesbury Avenue, Katherine Howard at Chichester,
The Maiden Stone at Hampstead, Blood Wedding at
the Lyric Hammersmith and The Normal Heart at the Royal Court.
TV credits include Lucy Sullivan is Getting Married, Trial and Retribution,
Vanity Fair, BallyKissangel, Kavanagh QC, Casualty, Cracker, Work, Perfect
Scoundrels, Spender, Boon, Inspector Morse, A Perfect Spy, Radio Pictures,
The File on Jill Hatch, Bazaar and Rummage, Under the Skin, Iris in Traffic,
Ruby in Rain, Juno and the Paycock, Testament of Youth, The Strangers, Blue
Money and Catchpenny Twist. Film credits include
High Boot Benny, The Field, Lamb, Bellman and True and
Half A Shave. Frances Tomelty has worked extensively in
radio and on audiotape. |
Dave Black |
Dermot Crowley |
Theatre credits include, at the National, The Double Dealer,
Undiscovered Country, As You Like It, The Woman, Brand, Richard III, The
Strangeness of Others, The Plough and the Stars and Amadeus
(also at Her Majesty's); The Hostage for the RSC, Ancient
Lights, The Memory of Water, Hedda Gabler and Observe the Sons
of Ulster Marching Toward the Somme (Time Out Best Supporting Actor)
at Hampstead Theatre, The Weir for the Royal Court at the Gate
Theatre Dublin, the Duke of York's and on Broadway, Dealer's Choice
at the Manhattan Theatre Club New York, A Whistle in the Dark
at the Abbey Theatre Dublin and the Royal Court, Summerfolk
at Chichester Festival, The Dark River at the Orange Tree and
Exiles, The Government Inspector and Translations
for the Bristol Old Vic. TV includes Dead Gorgeous, Holby City, Art
of War, Ultimate Force, Helen West, Murder Rooms, Trial and Retribution,
A Touch of Frost, Rebel Heart, Falling for a Dancer, Jonathan Creek, Pie
in the Sky, Stay Lucky, Father Ted, The Sculptress, Kavanagh QC, Poirot,
Minder, Boon, Blue Money, Radio Pictures, Empty Nest, An Independent Man
and Echoes. Film includes Before You Go, The Legend
of Bagger Vance, Staggered, The Son of the Pink Panther, Wilt,
Octopussy, The Return of the Jedi and Giro City. Frequent
radio broadcasts include William Trevor's The Story of Lucy
Gault for Book at Bedtime. |
Frank Coin |
Harry Towb |
Theatre includes Angels in America, Guys and Dolls, Rosencrantz
and Guildenstern Are Dead, Death of a Salesman, Macbeth, Trelawny of the
Wells, Square Rounds, Brighton Beach Memoirs (also at the Aldwych),
Schweyk in the Second World War and The Beggar's Opera
for the National, Awake and Sing at the Saville Theatre,
Summer and Smoke at the Lyric Hammersmith and
the Duchess Theatre, The Mortimer Touch at the Duke of York's,
The Square Ring at the Lyric Hammersmith, Drama at Inish
and Dark Halo at the Arts Theatre, Fairy Tales
of New York at the Pembroke, Croyden and at the Comedy, My
Place at the Comedy, Across the Board on Tomorrow Morning
at the Duke of York's, The Bellow Plays at the Cochrane and
Fortune Theatre, Under the Weather in New York, Backbone
at the Royal Court, Macook's Corner at the Abbey Theatre Dublin,
Sing a Rude Song at Greenwich, Born Yesterday
on tour, Look No Hands at the Fortune, Twigs at
the Belgrade Coventry, Section Nine for the RSC at the Aldwych,
Sherlock Holmes and Travesties at the Aldwych
and in New York, Man and Superman at the Savoy, Bar Mitzvah
Boy at Her Majesty's, There's a Small Hotel on tour,
Little Shop of Horrors at the Comedy, The House of Blue
Leaves at Sadler's Wells, Anything Goes at the Prince
Edward, Arsenic and Old Lace at Chichester, Philadelphia
Here I Come, Angels in America, The Rivals and The Importance
of Being Earnest at the Abbey Theatre Dublin, Bing Bong
and The Price at the Chester Gateway, A Trinity of Two
at the Tristan Bates Theatre, Dreyfus at the Tricycle,
Hunting for Dragons and Kiss Me Like You Mean It
at the Soho Theatre, Macbeth at Ludlow and Molly Sweeney
at Bristol Old Vic. TV includes Red Roses for Me, Minder, The
Professionals, Elizabeth Alone, Manions of America, Gentle Touch, Pictures,
Five Go Mad On Mescalin, Kelly Monteith, Holiday Time, Thinkabout, If Tomorrow
Comes, Joss's Giants, Paradise Postponed, Constant Hot Water, Lost Belongings,
Home James, Weisenthal, The Paradise Club, The Camomile Lawn, So You Think
You've Got Troubles, Casualty, Screen One: Trust Me, The Day Today, Brighton
Belles, Comedy Nation, The Bill, Holby City, Doctors; performed and
wrote Cowboys, Odd Men In, You & Me and Storytime. Film
credits include The Quiet Woman, Eye Witness, Prize of Gold, Above
Us the Waves, All Night Long, Sleeping Tiger, Prudence and the Pill, The
39 Steps, Patton, 30 Is a Dangerous Age, Cynthia, The Blue Max, Lasiter,
Moll Flanders, Poorhouse, The Most Fertile Man in Ireland, Conspiracy of
Silence, Eddie loves Mary and Cheeky. |
Robbie Mullin |
Chris Corrigan |
Theatre credits include Energy in Derry, La
Chunga at the Lyric Theatre Belfast, Alice in Wonderland
at An Griannan, Letterkenny and Tallaght Civic, Knives in Hens
for Fada, Militia Man for Partisan, Closure in
Belfast and Edinburgh and Mojo Mickybo on tour. TV credits
include Jimmy McGovern's Sunday, Eureka Street, Trail of Guilt, 1798,
the Comedy and Respecting Difference. Film credits
include Accelerator and The Goldfish Bowl. |
Shanks O'Neill |
Karl Johnson |
Karl Johnson's theatre credits include, for the National,
A Long Time Gone, The Walls, The Mysteries, Animal Farm, The Rivals,
Wild Honey, Glengarry Glen Ross, The Fawn, A Midsummer Night's Dream, Don
Quixote, Uncle Vanya, The Sea, The Resistible Rise of Arturo Ui, Black Snow,
The Shape of the Table, The Machine Wreckers, The Ends of the Earth
and Cardiff East; and elsewhere, Been So Long, The Night
Heron, Boy Gets Girl, This Is a Chair, Not Enough Oxygen, Irish Eyes and
English Tears, Sudlow's Dawn, Just a Little Less than Normal and
The Weir at the Royal Court, Vieux Carre at the
Piccadilly, As You Like It at the Old Vic, Much Ado About
Nothing at Regent's Park, Hedda Gabler at the Yvonne
Arnaud Theatre, The Dresser at the Thorndike, War Crimes
at the ICA, Knight of the Burning Pestle, TV Times and
In the Company of Men for the RSC, Woyzeck at
the Lyric Theatre, Hammersmith, The Last Yankee
at the Leicester Haymarket, The Country Wife for Centreline
Productions, Amadeus for the Peter Hall Company and Medea
at the Abbey Theatre, Dublin. TV: Champions, Chips with
Everything, Rock Follies of 77, Cold Harbour, Sons and Lovers, Gifted Adult,
Oral Treason, Shoestring, Only Connect, The Black and the Blue Lamp, Bergerac,
Bulman, Boon, The Bill, Casualty, Poirot, Rules of Engagement, A Tale of
Two Cities, The Shawl, Sexual Intercourse Began in 1963, Judas and the Gimp,
Glassing Gareth, Lifeboat, Catherine The Great, As You Like It, An Independent
Man, Wing and a Prayer, The Temptation of Franz Schubert, Vanity Fair, David
Copperfield, Without Motive, The Mayor of Casterbridge, Born and Bred
and Dalziel and Pascoe. Film: The Magic Shop,
The Tempest, Jubilee, Prick Up Your Ears, Close My Eyes, Wittgenstein, Love
is the Devil, Tomorrow La Scala and Pure. |
Bobbie Torbett |
Ron Donachie |
Theatre credits include One Big Blow for 7:84,
Animal and Civilians for Scottish Theatre Company,
Death of a Salesman, 'Tis Pity She's A Whore, The Merchant of Venice,
The Alchemist, Douglas and A Tale of Two Cities at the
Glasgow Citizens, A Streetcar Named Desire at the Royal Lyceum
Edinburgh, Macbeth and A View From the Bridge
at the Chester Gateway, The Price at Scarborough, The
Threepenny Opera for Borderline Theatre Company, Macbeth, Dracula,
Destiny and Scrap at the Half Moon and Mother
Courage at the Mermaid. TV credits include The Key, The Bill,
Silent Witness, Inspector Lynley Mysteries, Auf Wiedersehen Pet, Murder
Rooms, 'Orrible, Shackleton, Rebus, Taggart, Starhunter, Scarlet Pimpernel,
Too Much Sun, Extremely Dangerous, Rab C Nesbitt, Magic With Everything,
The Life and Crimes of William Palmer, Looking After JoJo, Casualty, Supply
and Demand, Ivanhoe, Aint Misbehavin', Mike and Angelo, Bad Boys, Hamish
Macbeth, Cracker, The Governer, The Gambling Man, The Shooting Party, Red
Eagle, Pied Piper, It Could Happen To Anybody, The Bogie Man, Strathblair,
Letting Go, Taggart, The Gravy Train, Sweet Nothing, Coronation Street,
Down Where The Buffalo Go, The Justice Game, The Monocled Mutineer
and Tutti Frutti. Film includes White Mischief,
Just Another Miracle, Blood Red Roses, Comfort & Joy, Sakharov, Those Glory
Glory Days, III Fares The Land, Great Escape II, Jungle Book, Fierce Creatures,
The Lucky Suit, Titanic, The Match, A Shot at Glory, Beautiful Creatures,
Al's Lads and Man Dancin'. Ron Donachie was a founder
member of the acapella singing group The Flying Pickets. |
Sharon Lawther |
Eileen Pollock |
Eileen Pollock has toured with most major Irish companies, including
FieldDay, Dubbeljoint, Charabanc, Druid and Red Kettle, and several in this
country. Theatre roles range from Lady Macbeth at the Lyric Belfast
to Sycorax the Witch in pantomime; from Miss Hannigan in Annie
at Liverpool Playhouse to Lady 'Speranza' Wilde (on tour and on C4) and
Anna in Women on the Verge of HRT (on tour and in the West
End). Fight like Tigers and Kathleen, Mother of all the
Behans are two ongoing one-woman shows. TV roles have also
been varied and include the portrayal of Lilo Lil in the BBC series
Bread. Film credits include Far and Away, Four
Days in July, A Love Divided, Wild About Harry and Angela's
Ashes. Radio credits include Bernard McLaverty's Grace
Notes and the title roles in Boudicca and in The
Pamela Mayers Show. |
Helen Woods |
Michelle Fairley |
Theatre credits include Midden for Hampstead Theatre,
The Weir at the Duke of York's and on Broadway, Never/and
at the Royal Court, Death and the Maiden at The Old Museum
Arts Centre, Belfast, Oleanna at the Duke of York's,
Dr Faustus and Philadelphia Here I Come at the Tron
Theatre, Glasgow, The Hostage, Pentecost and Factory
Girls at the Tricycle, Joyriders for Paines Plough,
Don Juan for the Royal Exchange Manchester, Lady from
the Sea at the Citizens Glasgow, The Doctor of Honour
for Cheek by Jowl, Leonce and Lena at the Sheffield Crucible
and The Shadow of a Gunman in Ireland and on tour. TV
includes Inspector Rebus, In Deep, McReady and Daughter, Births, Marriages
and Deaths, Vicious Circle, Tom Jones, The Broker's Man, Precious Blood,
Safe and Sound, A Mug's Game, Inspector Morse, The Woods, Cardiac Arrest,
Comics, The Long Roads, Force of Duty, Fleabites, Children of the North,
Pentecost, Valentine Falls, Saracens, Hidden City and CrossFire.
Film includes The Others, Hideous Kinky, A Soldier's Daughter
Never Cries and Hidden Agenda. |
Paul Foggarty |
Ruairi Conaghan |
Ruairi Conaghan trained at John Moore's University. His theatre
credits include Peer Gynt and Romeo and Juliet
at the National, Put Out That Light, A Midsummer Night's Dream
and Tearing the Loom at the Lyric, Belfast, Blood, Sweat
and Tears on Big Telly Northern Irish tour, That Driving Ambition
and Sinking for Replay on Northern Irish tour, Box, Rough
Justice and Ruffian on the Stair at the Northcott, Exeter,
Fall from Grace at the Liverpool Playhouse, Drill Hall
Elegies and Green, Orange and Pink (one man show) at
the King's Head, Philadelphia Here I Come at Wyndham's,
The White Devil, School for Scandal and Othello
at the Liverpool Everyman, Philadelphia Here I Come in Belfast
and on US tour and Trust at the Royal Court (NT Studio co-production).
TV and Film: Murphy's Law, Cuchullain, Made in Heaven, All
Things Bright and Beautiful, Do the Right Thing, Walk with Me, The Bill,
An Officer from France and It's A Goat's Life. Radio:
The Lonely Passion of Judith Hearne and The Man from
God Knows Where. |
Cooper Jones |
Gerard Jordan |
Theatre credits include The Force of Change at the
Royal Court, The Laughter of Our Children and American
Buffalo at the Lyric Theatre Belfast and on tour in Ireland. TV
credits include As The Beast Sleeps, Give My Head Peace and
Over the Wall. Film credits include Boxed, Divorcing
Jack, and Accelerator. |
Swiz Murdoch |
Packy Lee |
Theatre credits include Shopping and Fucking and
Macbeth for Prime Cut, Massive for Tinderbox,
Marching On at the Lyric Theatre Belfast, You Choose
and Silent Scream on tour, Aladdin, Cinderella, Goldilocks
and Sleeping Beauty for Northern Irish Christmas audience and
Madam Butterfly at the Grand Opera House, Belfast. TV
credits include As The Beast Sleeps and Give My Head
Peace. Film includes The Escapist, H3, Accelerator,
Blamm! Blamm! and Titanic Town. Radio includes
Don't Make Me Laugh, Heavies for Hire, McLeish and Tricycles. |
Harry Foggarty |
Stuart McQuarrie |
Stuart McQuarrie's theatre credits include Ivanov
at the National, The Taming of the Shrew for the RSC,
Our Country's Good on international tour (directed by Max Stafford-Clark),
Cleansed at the Royal Court, Shining Souls at
the Traverse and the Old Vic, The Government Inspector at the
Almeida, The Slab Boys Trilogy at the Young Vic, The
Life of Stuff at the Donmar Warehouse, Macbeth at the
Tron and The House Among the Stars at the Traverse. TV
includes The Way We Live Now, Four Fathers, The Echo, Butterfly Collectors,
Silent Witness, Invasion Earth and The Peter Principle.
Film includes Young Adam, 28 Days Later, The Honeytrap, The
Life of Stuff, Trainspotting and Love Me Tender.
|
Spilo Johnston |
Breffni McKenna |
Theatre credits include Da at the Riverside,
Danton's Death at the Gate, Handful of Stars at
the Bush, Plough and the Stars at the Young Vic, The
Glass Menagerie and Whistle in the Dark at the Abbey
Dublin, Hamlet at the Sheffield Crucible, Observe the
Sons of Ulster and Bad Language at Hampstead,
Street Captives at the Royal Exchange, Twelfth Night
at the Bristol Old Vic and Talk of the Devil at the Watford
Palace. TV credits include Urban Gothic, Relic Hunter, Daylight
Robbery, Casualty, Beck, AD, A Green Journey, Boon, Witches, The Cry, South
of the Border, Chinese Whispers, Made in Spain, Birds of a Feather, Shoot
to Kill, Heartbeat, Murder in Eden, Between the Lines, Troubles and
Lady Chatterley's Lover. Film credits include Puckoon,
Cast a Cold Eye, Titanic Town, Outpost, The Crying Game and
Maurice. |
Rat Joyce |
Andy Moore |
Theatre credits include Macbeth at the Lyric Theatre
Belfast, Energy in Londonderry, No Place
Like Home and Convictions for Tinderbox, Rush
on tour, Spring Awakening for Galloglass and Once Upon
a Time at the Waterfront, Belfast. Film and TV includes
Suffering and Trail of Guilt. |
Director |
Peter Gill |
Peter Gill began his career as an actor. In 1964 he became Assistant
Director at the Royal Court and, in 1970, Associate Director. He was Founder
Director of the Riverside Studios from 1976. He was Associate Director of
the National Theatre 1980-1997, and was the Founding Director of the National
Theatre Studio. His directing credits include, for the National: A
Month in the Country, Don Juan, Much Ado About Nothing, Danton's Death,
Major Barbara, Tales from Hollywood, Small Change, Kick for Touch, Antigone,
Venice Preserv'd, Fool for Love, The Murderers, As I Lay Dying, A Twist
of Lemon, In the Blue, Bouncing, Up for None, The Garden of England, Show
Songs, Mean Tears, Mrs Klein, Juno and the Paycock, Cardiff East
and Luther. For the Royal Court: A Collier's Friday Night,
The Local Stigmatic, The Ruffian on the Stair, A Provincial Life, The Soldier's
Fortune, The Daughter-in-Law, The Widowing of Mrs Holroyd, Life Price, The
Sleepers Den, Over Gardens Out, The Duchess of Malfi, Crete and Sergeant
Pepper, The Merry-Go-Round, The Fool and Small Change.
For Riverside Studios: The Cherry Orchard, The Changeling, Measure
for Measure, Julius Caesar and Scrape off the Black.
For the RSC: Twelfth Night, New England and A Patriot
for Me. Other credits include Bow Down, Down by the Greenwood
Tree at the Queen Elizabeth Hall, The Marriage of Figaro for
Opera North, The Way of the World at the Lyric, Hammersmith,
Uncle Vanya for Field Day, The York Realist for
the English Touring Theatre and Original Sin for the Crucible
Theatre Sheffield, Tongue of a Bird and Certain Young
Men at the Almeida and Speed-the-Plow at the New Ambassadors.
His plays include The Sleepers Den, Over Gardens Out, Small Change,
Kick for Touch, In the Blue, Mean Tears, Cardiff East, Certain Young Men,
Friendly Fire, The Look Across the Eyes, Lovely Evening, Original Sin
and The York Realist. Adaptations and Versions: A Provincial
Life, The Merry-Go-Round, The Cherry Orchard, Touch and Go, As I Lay Dying,
The Seagull. |
Designer |
Alison Chitty |
Alison Chitty trained at St Martin's School of Art and at Central School
of Art and Design. Work for the National includes A Month in the Country,
Don Juan, Danton's Death, Venice Preserv'd (British Drama Award),
Tales from Hollywood, Fool for Love (West End), Antony
and Cleopatra, The Late Shakespeares, Remembrance of Things Past
(Olivier Award for Best Costume Designer), Luther and
Bacchai; and elsewhere, Ecstasy and Uncle Vanya
(Hampstead Theatre), Measure for Measure and Julius Caesar
(Riverside Studios), Tartuffe, Volpone and Hamlet
(RSC), Orpheus Descending (Haymarket and Broadway). Work in
opera includes New Year (Houston and Glyndebourne), Gawain,
Arianna and Bartered Bride (ROH), Jenufa
(Dallas), Billy Budd (Geneva, Paris, LA, ROH -Olivier Award),
Khovanschina (Olivier Award, ENO), La Vestale
(ENO), Meistersinger (Copenhagen), Turandot (Paris),
The Flying Dutchman and Julius Caesar (Bordeaux),
Tristan and Isolde (Seattle and Chicago), Otello
(Munich), Dialogues of the Carmelites (Santa Fe), Aida
(Geneva) and The Last Supper (Berlin and Glyndebourne). Film
work includes Mike Leigh's Life is Sweet, Naked and Secrets and Lies
(Palme D'Or, Cannes). She is Director of Motley Theatre Design Course. |
Sound Score |
Terry Davies |
Terry Davies won a 2003 Olivier Award for Play Without Words
with Matthew Bourne and their collaboration The Car Man won
the 2000 Evening Standard Award for Best Musical Event. Other compositions
for theatre include Luther, The Rise and Fall of Little Voice, The
Misanthrope, Neaptide, The Festival of New Plays, Antigone and Tales From
Hollywood for the National, The Merry Wives of Windsor, Alice
in Wonderland, A Patriot for Me, New England and Coriolanus for the
RSC, Original Sin for the Crucible Theatre Sheffield,
Life After George for the Duchess Theatre, The York Realist
for ETT at the Royal Court and Strand Theatres, Lady in the Van
for Birmingham Rep, Speed-the-Plow at the Ambassadors
and Duke of York's, As You Like It, Romeo and Juliet, Love's Labour's
Lost, Much Ado About Nothing, Twelfth Night and A Midsummer Night's Dream
for Regent Park's Theatre, Hushabye Mountain and The
School for Scandal for English Touring Theatre, Alarms and
Excursions for the Gielgud Theatre and Tongue of a Bird
for the Almeida Theatre. He has orchestrated/conducted the scores for 19
feature films including The Lawless Heart, The House of Mirth, The
Parole Officer, A Midsummer Night's Dream (with Michele Pfeiffer
& Kevin Kline) and Shakespeare in Love (co-conductor on an
Oscar-winning score). |
|
Rich Walsh |
Previous sound designs include: Dinner, Closing Time, The Associate,
Sanctuary, The Mentalists, The Shadow of a Boy, Free, Sing Yer Heart Out
for the Lads, The Walls at the National, Exposure, Under The
Blue Sky, On Raftery's Hill, Sacred Heart, Trust, Choice at the Royal
Court, What the Night Is For at the Comedy, 50 Revolutions
at the Whitehall, Julie Burchill is Away at Soho Theatre,
The Price at The Tricycle, The Boy Who Left Home
at the Lyric Studio and on national tour, Yllana's 666 at the
Riverside Studios and The Pleasance in Edinburgh, Strike Gently Away
From Body at the Young Vic Studio, The Difficult Unicorn at Southwark
Playhouse, Body And Soul, Soap Opera and The Baltimore
Waltz at Upstairs At The Gatehouse, The Nation's Favourite
- The True Adventures of Radio One at Jermyn St Theatre and national
tour, Small Craft Warnings at The Pleasance London, The
Taming of the Shrew and Macbeth on tour in Japan and Dirk
at the Oxford Playhouse. |
Lighting Designer |
Hartley T A Kemp |
Theatre credits include, with Peter Gill, Original Sin
at the Sheffield Crucible, The York Realist for English Touring
Theatre at the Royal Court and Certain Young Men and Tongue of a Bird
at the Almeida. Other recent theatre credits include Mrs Warren's
Profession for the Peter Hall Company at the Strand Theatre,
A Midsummer Night's Dream at the Bristol Old Vic, The
Merry Wives of Windsor and Coriolanus for the RSC at the Swan and
on a regional/international tour, The Merchant of Venice for
the RSC at the Pit, the Swan and on a regional/ international tour,
Passion Play and Good at the Donmar Warehouse, The Tempest
at the Sheffield Crucible and at the Old Vic, As You Like It
at the Sheffield Crucible and Lyric Hammersmith, Don Juan, The Country
Wife, A View From The Bridge and Twelfth Night at the Sheffield Crucible,
Queuing for Everest at the Sheffield Crucible Studio,
The Doctor's Dilemma at the Almeida and on tour in the UK, 50
Revolutions for the Oxford Stage Company at the Whitehall Theatre,
Faith at the Royal Court Upstairs, No Sweat for
Birmingham Rep, Dealer's Choice at Theatr Clwyd, Treehouses
at the Northcott Exeter, Dealer's Choice at West Yorkshire
Playhouse, The Disputation and The Queen of Spades and I for
Pluto Productions at New End, Thieves Like Us, In The Jungle of Cities,
Rosmersholm, Seascape with Sharks and Dancer at Southwark Playhouse
and When Did You Last See My Mother? at BAC. Opera credits
include Les Pecheurs des Perles and Iris at Opera
Holland Park, Mary Seacole at the Royal Opera House Linbury
Studio, M Butterfly, Martha, The Barber of Seville, La Sonnambula
and Carmen for Castleward Opera at Castleward and Belfast,
Die Fledermaus for London City Opera, Chichester Festival Opera
and on tour and The Marriage of Figaro at the QEH and on tour.
Recent musical theatre credits include Showboat and West
Side Story at the Tiroler Landestheater, Innsbruck, Dorian
at the Arts Theatre, Jesus Christ Superstar at the Theatre
Royal, Hanley, Assassins and Sweet Lorraine at the Old Fire
Station, Oxford and The Happy Prince on tour. |
Dialect Coach |
Majella Hurley |
Majella Hurley trained at Central School of Speech and Drama. Since
graduating she has worked as a dialect coach in theatre, radio, film and
television. Recent theatre credits include Anything Goes and Closing
Time at the National, Abigail's Party at Hampstead,
A Passage to India and After Mrs Rochester for Shared Experience,
Chicago at the Adelphi and Ten Rounds at the Tricycle.
TV credits include Blood Strangers, Inspector Lynley Mysteries and
State of Play. Film credits include With or Without You and
Intermission. |
Assistant Director |
Tim Stark |
Recipient of this year's John S Cohen Bursary at the NT Studio. At the
National: Assistant Director on The Associate and A Prayer for Owen
Meany; Co-Director (with Mick Gordon) on Le Pub for
the Translations season. For English Touring Theatre: Assistant
Director on King Lear, and Director on The Boy Who Fell
Into the Book. Recently assisted on Push Up (Royal Court).
Directing elsewhere includes Bombing People and Signing Off
(Jermyn St Theatre); Dealt With (Chelsea Centre); Heads (Bridewell);
Serving It Up, Rafts and Dreams, King John (Poor
School). Also directed a workshop of Metro, a new musical which
he co-wrote. Acting credits include The Natural Cause (NT Studio);
Across Oka, Mary and Lizzy and Restoration (RSC); Making Noise
Quietly and Macbeth (RSC/Almeida). A Memory of Two Mondays
(Cockpit); Les Liaisons Dangereuses (Derby); Neville
South's Washbag (Finborough). TV: Guardians, Pie in the Sky,
Frankenstein, All Good Things, William Tell, Little Eyolf. Film:
Heaven's Promise and A Shocking Accident. |
Production Manager |
Jason Barnes |
Stage Manager |
Trish Montemuro |
Deputy Stage Manager |
Fiona Bardsley |
Assistant Stage Manager |
Valerie Fox |
|
Andrew Speed |
Fight Director |
Terry King |
Assistant to the Designer |
Mark Friend |
Assistant to the Lighting Designer |
Elaine Grimes |
Assistant Production Manager |
Andy Ward |
Costume Supervisor |
Louise Dadd |
Production Photographer |
Nobby Clark |
Poster designed by |
Michael Mayhew |
Programme designed by |
Stephen Cummiskey |
Programme researched and compiled by |
Dinah Wood |
|
Brendan Winslow |
Scenery constructed by |
Souvenir Scenic Studios Ltd. |
Additional painting by |
Olly James |
Thanks to |
Zoe Woodley |
Thanks for the voice over to |
Lorcan Cranitch |
Harmonica played live by |
Philip Hopkins |
Writer |
Owen McCafferty |
Born in 1961, Owen McCafferty lives with his wife and three children
in Belfast. He was writer on attachment to the National Theatre Studio in
1999. His work includes Closing Time for the National,
The Chairs (an adaptation of lonesco), No Place Like
Home and Court Room No 1 for Tinderbox Theatre Company,
Mojo Mickybo for Kabosh Theatre Company, and Shoot the
Crow for the Druid Theatre Galway and Manchester Royal Exchange Theatre
Studio. His plays for radio include The Elasticity of Supply
and Demand and The Law of Diminishing Returns. |
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