www.bristololdvictheatreclub.org.

uk

April 2014

The Work Starts Here!

In last months Newsletter we reported the good news that on the 19th February, planning permission was unanimously granted for the second phase of redevelopment for the front of house and public areas. Work will begin in 2015 to complete in time for the Theatres 250th anniversary year. In the same week, Bristol Old Vic had confirmation of 5 million from ACE towards the capital appeal and 500,000 from Bristol City Council. This now takes the company over halfway to its fundraising target. The public-facing fundraising campaign launches with a Gala on 26th April and a major appeal to individual donors will begin on 4th May. Last month we published initial impressions of the new entrance to Bristol Old Vic before modifications to the design were made. On the following pages are up-to date images which show that the balcony overlooking King Street has been drawn back and that signage over the rooftop has gone. We use the following images by courtesy of Haworth Tompkins Architects.
Below: elevation of King Street showing Coopers Hall faade and the new entrance to Bristol Old Vic .

..

Top: view from King Street. Above left: View to auditorium wall

Above right: View to gallery bar.

Bristol Old Vic: the next few weeks.

THIS MAY HURT A BIT "It would be a great reform in politics if wisdom could be made to spread as easily and rapidly as folly": Winston Churchill A month after stating "we will stop the topdown reorganisation of the NHS that has got in the way of patient care", the government launched the biggest top-down reorganisation the service had seen in its 65-year history. With characteristic wit, tenderness, and dives into surrealism, Stella Feehily's new play explores one family's journey through the digestive system of the NHS and asks: what is the prognosis for this much-loved and fiercely debated institution? Stella Feehily's plays for Out of Joint have been produced at the Royal Court and Soho Theatre. They include Bang Bang Bang, Dreams of Violence, O go my Man and Duck. The Cast Stephanie Cole (pictured left), Jane Wymark, Frances Ashman, Natalie Klamar, Brian Protheroe, Tristram Wymark, William Hope, Hywel Morgan.
*This May Hurt a Bit (with discussions after performances) directed by Max StaffordClark plays in the Theatre Royal from Tuesday, th rd 29 April to Saturday, 3 May.

THE TINDERBOX. This April sees a triumphant return to the Bristol Old Vic Studio of the award winning Bristol Old Vic Young Company. Following the outstanding success of The Grandfathers and Pigeon English, the Young Company presents Hans Christian Andersens story of blood, magic, violence and lust in a new version by Silva Semerciyan. A power-hungry monarch fuelled by his lofty ambitions and family obligations is embroiled in a war that wont end. Stories circulate the town that his beautiful daughter is locked away for fear she will be lost to a common soldier. The only problem is no one has ever seen this mysterious Princess. A soldier returns from war with the Tinderbox, a magical gift which will grant any wish he chooses to make. Can he unlock this doomed young woman from her destiny and make his wish come true, or will greed get the better of him? Sponsored by Bristol Old Vic Theatre Club.
*The Tinderbox, written by Hans Christian Andersen, adapted by Silva Semerciyan, directed by Lisa Gregan performs a limited run rd in the Studio from Wednesday 23 to th Saturday, 26 April. See also page 7.

OUR COUNTRYS GOOD Our Country's Good is the powerful true story of a ragbag cast of convicts who put on a play under the guidance of an earnest young marine officer. As the barriers between captors and captives break down they start to discover each other, both onstage and behind the scenes. Twenty-five years ago, Our Country's Good premiered at the Royal Court Theatre before transferring to the West End and Broadway, winning major awards on both sides of the Atlantic. This new production by the play's original director, Max StaffordClark, was hailed as a triumph and comes to the Old Vic as part of an international tour.
*Our Countrys Good by Timberlake Wertenbaker, directed by Max Stafford-Clark th plays in the Theatre Royal from Wednesday 7 th to Saturday, 10 May.

MAYFEST On Thursday, 15th May, Mayfest, Bristols annual festival of contemporary theatre, returns with a mouth-watering selection of extraordinary theatre from around the world presented in venues and sites across the city. Headlining the 2014 programme is the UK premiere of The Roof from Requardt and Rosenberg, creators of 2010s sell-out Electric Hotel. A high-octane mix of parkour and contemporary dance, this is a 360 performance that will capture imaginations under the night sky in Millennium Square. This years festival also boasts a unique strand of family shows for the first time in Mayfests history. Kicking off the May half-term is multiaward winning international company Aracaladanza with Constellations a magical dance-theatre piece that uses puppetry and digital visuals to enchant ages 4+ at Bristol Old Vic. Young Mayfesters will also be given the opportunity to experience a day time childrens version of the festivals late night cabaret bar at The Blind Tiger Cub (Bristol Old Vic). More unmissable shows include the multiaward winning international hit Smashed that brings contemporary circus to Bristol Old Vic with nine jugglers, 80 apples and four crockery sets and guarantees to smash all your preconceptions about juggling to tiny pieces. The offsite and totally free Nightwalk is an immersive experience from artists Tom Bailey and Jez Riley French. Audiences will be taken on a re-exploration of Leigh Woods using sounds that have resonated through the beloved Bristol landscape across its history. The hilarious Feel About Your Body at Tobacco Factory Theatre from New Art Club is a show about how we feel about our bodies. . . I Wish I Was Lonely at The Island explores contactability inviting the audience to leave their phones on during the show and asks how much of ourselves weve given up to the new gods in our pockets. Other highlights include an all-male version of Wuthering Heights and Opera North and The Tiger Lillies presenting LULU.
*Mayfest takes over Bristol with 39 shows at th 18 venues from Thursday 15 May to Sunday, th 25 May. Brochure available at BOV.

BRISTOL PROMS 2014 Following last years successful debut, Bristol Proms once again features world class musicians appearing in original performances that have been commissioned and produced especially for the event including: - Bryn Terfel, one of the worlds greatest bass-baritones, talking about his life and passion for music, illustrated by performances of a selection of the songs that have landmarked his extraordinary career - returning from a stunning performance at last years Bristol Proms, Daniel Hope weaves a spoken and musical journey through the Baroque period, leading up to 1766, the year the unique auditorium of Bristol Old Vics Theatre was built - international virtuoso and internet pioneer pianist Valentina Lisitsa will perform songs by Schubert as arranged by Liszt together with the music of Michael Nyman - Will Gregory, from the award winning band Goldfrapp, and his Moog Ensemble will perform sublime and extraordinary music using the Moog Synthesiser, one of the iconic pieces of late 20th century music technology. The impressive and diverse Bristol Proms 2014 line-up also includes the Bristol-based chamber choir The Erebus Ensemble, directed by Tom Williams, and the Sacconi Quartet; pianist Ji Liu; violinist Lisa Batiashvili; soprano Pumeza Matshikiza; Charles Hazlewood and his improvisational All Star Collective; chamber orchestras The English Concert (conducted by Robert Howarth) and film, stage and TV composer Benji Bower appearing with singer Kathleen Fitzpatrick Milton. In a series of talks Jonathan James will provide insights into the music being performed and there is a different theme for

each night of the series: Bach Night; Music in the Shadow of War; Pure Music, Pure Technology; Take Me To Your Chamber, 1700-2050; Musical Encounters and Theatre of Music. Technology from 250 years ago will be placed at the fore in the final concert of the 2014 Bristol Proms, which brings a semistaging of Purcells opera Dido and Aeneas, starring South African soprano Pumeza Matshikiza as the North African Queen of Carthage and directed by John Retallack. Bristol Proms give audiences the opportunity to experience classical music in inspiring and imaginative new ways. Tom Morris, Artistic Director of the Bristol Old Vic, feels that initiatives of this kind give us a sense of what a classical concert might look and feel like in 50 years time, though he insists that our most resounding discovery at the 2013 Bristol Proms was that the most oldfashioned technology remains the most potent of all: the atmosphere, the magic that can occur if an audience is free to respond instinctively. With Dido and Aeneas for example, we are planning to evoke the ambience and style of an 18th century theatrical performance, he continues, but this wont be picturesque heritage opera. Dido and Aeneas is a highly emotional piece and the cultural heritage of the Bristol Old Vic is raw and radical. In the 1760s, when our theatre opened, it was presenting a dangerous and subversive art form: coming here was like visiting a speakeasy or attending a rave. It was hotblooded entertainment. Once again, the primary media partner for Bristol Proms in 2014 is Classic FM. Presenters Tim Lihoreau, John Suchet, Jamie Crick, John Brunning and Jane Jones will be broadcasting programmes from the Bristol Old Vic across the week. There will be extensive online coverage at classicfm.com including video interviews with all headline performers. Tickets for all shows featured on pages 3, 4 & 5 Box Office: 0117 987 7877 Email: [email protected] www.bristololdvic.org.uk

Bristol Old Vic Audio Describer Team

*

We are recruiting!
*

Bristol Old Vics friendly volunteer group of Audio Describers are looking to recruit some new members to assist the team with the Audio Described shows at Bristol Old Vic. * Audio Describing provides a vital service to our blind and partially sighted customers. The team transmit a visual commentary describing what is happening onstage during live performances, from facial expressions, movement and action sequences to props, costume, set and lighting. * We are looking for candidates who are clear communicators, confident speakers and theatre enthusiasts able to dedicate time to the audio described shows. * For more information and details of how to apply please email Aidan Woodburn, Operations Manager at Bristol Old Vic [email protected] * A progressive process of training and confidence-building will be provided and is scheduled to take place at the end of April.
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Alan Wright, BOVs Director of Development, reflects on some recent BOV productions and on Bristol Old Vics reputation.

In his own Wright

International tour
ne of the less pleasant tasks for our box-office staff is taking calls from disgruntled customers. All the complaints are carefully recorded and, where necessary, shared with the appropriate departments. The process constantly helps us improve our customer service. Occasionally, some of those calls find their way directly to me. For instance, a couple of weeks ago a member of the Theatre Club called me, clearly at the end of her tether. She had recently been to see Part One of Jane Eyre and, for her, it was the last straw. Irritated from the outset of the production by Madeleine Worrall channelling the cry of a new born child, things went from bad to worse as the cast started to inexplicably climb up and down ladders, before having to suffer the out of key singing of Melanie Marshall. By the interval the poor lady wanted to leave but, nevertheless, gave the second half a chance. However, that only exacerbated matters and, having already purchased a ticket for Part Two, she went to the box-office and asked for her money back. In instances such as these, pointing to the unprecedented number of four and five-star reviews for Jane Eyre in all the national press makes very little difference. Appreciation of art, in whatever form, is subjective. What works for some clearly doesnt work for others. Here was a supporter of the theatre who had generously bought a seat dedication and legitimately expected a greater level of satisfaction. I was curious to know what she had liked recently. Only Kneehighs production of Steptoe and Son had come close to fulfilling her expectations in the last eighteen months. It has to be said, Jane Eyre has generated the highest level of audience appreciation we have had for a show since we re-opened the auditorium in September 2012. However, that

Bristol Old Vics rude and radical A Midsummer Nights Dream is currently fulfilling the ambitions of the organisation, taking the story of Bristols creativity worldwide. It is currently on the second leg of its international tour, visiting Hong Kong, Washington, Boston, Los Angeles and Seoul. is no reason to discount a minority voice. It illustrates the difficulty of designing a programme that commands the support of our regular core audience but, at the same time, attracts significant numbers of new visitors to the theatre. It is only now we are beginning to accumulate enough data to analyse how many of the first time visitors are becoming returning visitors, and gaining an impression of their tastes. Tom Morris has very carefully curated the last eighteen months, often bravely experimenting with various productions and lengths of run, to help identify various audiences. We are now beginning to establish a far more accurate picture that will allow us to plan ahead more confidently. Having said that, it is difficult to find another regional theatre that in the last eighteen months has set two successive box records (Peter Pan and A Midsummer Nights Dream), received so much positive coverage in the national media, or had so many four and five star reviews. What other regional theatre has headlined four international festivals in the last twelve months or had plays transferred to the West End? We can also add to that the continuing success of our Young Company, performing in its own right at the National Theatre and at the Edinburgh Fringe, and the major impact our Educational Outreach programme is having in schools in Bristol and beyond.

All this against a background of developing a major capital project to transform our front of house and in an environment of declining public subsidy, trying to create a resilient organisation that will have the capacity to ensure the future of the theatre for many generations to come. In the last month I was once again reminded of how our reputation goes before us. At the reception held in our honour at the British Embassy in Washington so many of the theatres represented there actively wanted to either receive Bristol Old Vic shows or explore co-production possibilities. They had all been closely following our progress and, in particular, had noted the critical praise heaped on Jane Eyre. Then, at an event to honour Lady Susie Sainsburys outstanding contribution to the arts, I met with two trustees of one of the UKs largest philanthropic Foundations. Before I could begin my much practiced sales pitch, I was overwhelmed with their praise for all that has been achieved by us at Bristol Old Vic since those dark days in 2007 when it looked like the theatre would close for good. I know you may get frustrated with us from time to time but I can assure you we do listen, we have learnt and we continue to strain every sinew to make Bristol Old Vic a success. Finally, let me once again try to persuade you to come to our Gala on April 26th and help get the fundraising campaign off to a flying start. If you really cant make it, you can now go online at www.GavelandGrand.com and bid on any of the many auction lots we have. There is something for all tastes and all budgets, whether an original drawing from Handspring of Joey the War Horse or an original 1867 Theatre Royal Bristol playbill of She Stoops to Conquer starring Henry Irving. AW

Follow through
We are following the Young Companys preparations for The Tinderbox through the eyes of cast members. Here is the third report from the director. This This month: month: Lisa Lisa Gregan Gregan. .

Deputy Young Company Director, Lisa trained in Glasgow and has a first Class Honours degree in Contemporary Theatre from The Royal Scottish Academy of Music. Two years ago she moved to Bristol to study for an MA in Directing at BOVTS and has yet to leave. She likes Scandinavian crime dramas, artichokes and the sea. She is not so keen on reality television, womens magazines and marmite.

W
7

e are in the part of the process that is the scary, deep water part. . . You know, the part where you just have to keep going and pushing and swimming inelegantly to the surface. The script is written, the design is designed, the

music is evolving nicely and everyone is working ridiculously hard. The focus and dedication from the cast and creative team is amazing; they continue to offer creative solutions to the theatrical problems whilst performing and devising with a passion and a professional attitude that I am utterly grateful for. We have also been very lucky to have amazing puppets made for us by Luyanda Nogodlwana (a Handspring puppet maker) which Edan, Natalie and Dom are playing with beautifully in the room. Slowly all the elements are beginning to come together to create something that I am very excited about. As always time is an element, but it only makes us all work that little bit harder. As part of the process we have been lucky enough to work with three young women who are at the beginning of their careers. The very talented Hettie Feiler (YC graduate and amazing pianist) has been working with Verity Standen to compose music for the piece. Amy Hunter (a member of our Made in Bristol scheme) has been working as an assistant to Silva (our writer), filming important improvisations and finding wonderful pieces of research that have helped shape the story. Lastly Kila Allen (MIB member) has been working as my Assistant Director and I (if not the cast) am very grateful for her intense warm ups. And credit to Ben Cullen (a photography student at City of Bristol College) for his amazing image for The Tinderbox. All in all I think we are all very excited about what the run of The Tinderbox will bring. LG
*The Tinderbox, written by Hans Christian Andersen, adapted by Silva Semerciyan, directed by Lisa Gregan is in the Studio from rd th Wednesday 23 to Saturday, 26 April.

Theatre Club member Angela Cooper attended a Directors and Designers Preview at BOV Theatre school for the first time back in February. She was impressed.

School report
t was another horrible wet evening. However, once inside the big studio downstairs, what a treat we got. Ernie and Pauline Peck welcomed us with a wellstocked bar and lots of tasty nibbles. Behind them was an impressive display of costume and set designs for forthcoming productions. A delicious taste of what was to come. The turnout was great not a spare seat to be had. It was nice to see so many staff and students all milling around and chatting. Paul Rummer and Andrew Stocker gave us a very upbeat and informative introduction. They were followed by Christopher Scott, John Hartoch, and Jenny Stephens who each told us about their forthcoming productions of, respectively, The Comedy of Errors, The Merry Wives of Windsor (both at the Redgrave Theatre) and The Innocent Mistress (in Bristol Old Vics Studio). Their words were accompanied by scaled down, accurate and detailed models of the stage sets which helped bring things to life, made even more interesting because Designers Hannah Clarke, Alexandra Berry and Florence Pettit were there to give us a more in-depth explanation of their ideas. Descriptions of the candlelit scenes and the recreation of 18th century panelling in The Innocent Mistress and the very inventive rethinking of the Hernes Oak in Merry Wives whetted everyones appetites. I hope you saw both these productions. Katie Harris and Tom Brazier, both students on the Directors Course, described what is to come in Directors Cuts. For the first time this programme of plays (all shorts) will be performed at The Brewery Theatre (Tobacco Factory Theatres). Information is on page 14 of this Newsletter. 8

Jenny Stephens told us about what sounds like an innovative and extremely challenging adaptation of London Road, one of the shows performed by a cast of graduating actors to be presented in BOVs Studio theatre in June. More information about this and the other graduate shows - The Winter's Tale and Blue Stockings will be given at the next Director's / Designers Preview (on Wednesday, 30th April see panel opposite). I can hardly wait. The evening was rounded off with news of The Link the building extension which will join the two Victorian houses together to form a much more cohesive whole. We were given booklets illustrating this exciting project and it was very good news indeed to see that this is on its way to being a reality. When it happens, the changes to the present buildings will provide a much needed large and flexible space for staff and students. For those of us who had braved the weather, a reward. There was a raffle of 10 places to see the preview at the School of the all-important Showcase when students present themselves to agents and potential employers at the Criterion Theatre in London in April. Thank you, Theatre School. This was the first such evening I have attended and will definitely be one of many. AC

Wednesday, 30th April 6.30 p.m. for 7 p.m.

Bristol Old Vic Theatre School. in the NBS

DIRECTORS AND DESIGNERS SUMMER PREVIEW

Be among the first to learn about the shows being performed by BOVTS students this summer. Each show is presented by the Director aided by students on the directing course and backed up by the designers of sets and costumes. They explain the challenges facing the cast and company. The productions addressed this time include The Winters Tale directed by Kim Durham and Blue Stockings directed by Donnacadh OBriain, with possibly more on London Road. Join us for a drink and nibbles beforehand for an evening which lifts the curtain on how theatre is made. Free but tickets needed from Andrew on 0117 973 3955. 9

Back to the trenches

ctor Jack Holden, recently seen as Theseus in Minotaur, goes from one World War One piece to another. On graduating from BOV Theatre School he achieved a years contract to appear in War Horse at the New London Theatre. He is soon to perform a script with a similar subject. Described as the perfect play to mark the centenary of World War One, Johnny Got His Gun is . . a brutal, intense one man show with an incredibly powerful message about the cruelty of war and the way the military treats those who suffer in its service. It can be seen from Wednesday, 21st May to Saturday, 14th June at Southwark Playhouse (running time 60 minutes). Tickets on 020 7407 0234.

Saturday, 3rd May

from 10.30 a.m.

Dancing away

at

Bristol Old Vic

and at 11. 15 a.m.

with

Gail Gordon Know your body.

TOBY HULSE
Toby trained on BOV Theatre Schools Directors Course and, on graduating, was the 1999 Dennis Cartledge Award winning student.
He is a playwright and director who specialises in making theatre for family audiences and in educational contexts. He has created work for theatres and companies across the UK, touring nationally and internationally. He recently directed BOVs Minoatur, adapted and co-directed The Last Days of Mankind. Theatre Club members and under-16s free. Guests: 5 10

Last month, we were In Conversation with Gail Gordon who was retiring from the Theatre School after thirty years of teaching dance and movement. Barry Williamson enjoyed hearing about her work.

ail gave us a most thoughtful and illuminating insight to her work as a teacher of Movement and Dance. I shall not forget her words of wisdom and her hesitancy while she took time to think before answering questions (if only a few more people were like that.) An ex-miner's daughter from Nottingham, she began attending dance classes at the age of 7. She was a shy and nervous child but when she danced she lost her worries about how she might appear to other people. It was magic. There was no theatrical influence at home. When she announced she wanted a life in the theatre, her father was worried that there was no money in it. She worked in Europe and the Far East and might have spent her life as a back row chorus

girl. But marriage and good luck brought her a job at BOVTS. That was 30 years ago and now she looks forward to a sort of retirement. Those were years of incredibly hard work, never watching the clock, wonderful creativity, fun and above all great camaraderie. The School was like a good family. Some of the students became friends for life; most were great team players; only a few were insincere and prepared to stab in the back but probably no more than in any other profession (they just knew how to act better). One great bonus: dancers usually do what they are told and it can be boring; actors usually don't and that means argument, reflection, trying yet again and a marvellous creativity. Words of wisdom: "Know your body..", "Get into tights on Day One -- it doesn't matter if you're thin or fat, bulging or perfect, its the only way to become really aware of your body.", "Remember, the voice and the body work as one." Lucky, lucky students over the last 30 years. But why isn't she staying on to run classes for the over 60s and 70s? They would be oversubscribed. . .but I'm not sure about the tights! BW

Saturday, 24th May

from 10.30 a.m.

at

The Tobacco Factory

(Raleigh Road, Bedminster)
and at 11.15 a.m.

with

MILLIE AND FRIENDS?

Millie Corser is about to graduate from BOV Theatre School.
Among many roles she has played are the White Witch in The Lion, The Witch and The Wardrobe and Arabella in The Innocent Mistress. She was also Emily in Romeo and Juliet, the show that transferred to the Edinburgh Fringe, and she was the leading spirit behind the fund-raising performance at the Theatre School. Millie may be joined by some colleagues as we look back on Theatre School careers and look forward to what the future may hold. This event is free to all.

Making his mark

ctor Martin Bassindale, who graduated from BOV Theatre School in 2013, is now with the Royal Shakespeare Company. Martin was a Patrons Prize winner which guaranteed a six month contract with Bristol Old Vic. He was a cast member of The Last Days of Mankind in the Theatre Royal (codirected by Toby Hulse and John Retallack) and joined the panel of a Theatre Club Aftershow Talk Back after a matinee performance. He played in BOVs Great Expectations and came to the School one Saturday morning to be an In Conversation guest. Martin is Peto in the RSCs Henry IV, parts 1 & 2. 11

More Involved

Saturday, 21st June

ctive participation in helping the Theatre Club work well and smoothly is on the increase. Last month Beverly Hopkins and Angela Cooper joined us as stewards for our In Conversation events, and Barry Williamson and Angela Cooper offered to write for the Newsletter. Reports of events such as In Conversation are much appreciated by members who cant be present. The committee is currently looking for someone who has an interest in promoting our events via the press and other media. No special experience is required, just an interest in making contacts and writing brief, catchy copy which can be used to publicise what we do. With a wish to donate further to BOVs Outreach (Young Company activities particularly) and BOV Theatre School, there is also a search for somebody who might lead a team to organise events for fund-raising purposes. Our donations may be of modest amounts but they make a considerable difference to the recipients.

2. 30 p.m. performance.

by Ian Hislop and Nick Newman Directed by Caroline Leslie Keen to boost his flagging career, fading Hollywood hero Jefferson Steele arrives in England to play King Lear in Stratford, only to find that this Stratford is a sleepy Suffolk village and the cast are a bunch of amateurs. His monstrous ego, vanity and insecurity are tested by the enthusiastic thespians who are not averse to a spot of ego themselves. As acting worlds collide, Jefferson discovers some truths about himself and his relationships with others . . . along with his inner Lear. We will break our journey for lunch at Newbury before proceeding to The Mill with time to wander by the river. From Bristol Hotel, Prince Street at 9 a.m. arriving back at 8 p.m. approx. Price, which includes theatre ticket, coach travel and drivers remuneration:Members 29 Guests 34 Isabel is our Trips Organiser.
Then send cheque, payable to BOV Theatre Club, together with a stamped, self-addressed envelope (please include your phone number) to: Trips Organiser, Bristol Old Vic Theatre Club, Theatre Royal, King Street, BRISTOL BS1 4ED.

If you think the Press and Publicity role could be for you, or if you think you might be able to join a fund-raising team or you would like to play an active part in running the Theatre Club, even if you are not sure in what way, the contacts are Marion Breen and Fran Havard. Marion and Fran will be pleased to talk to you about how you might get involved.

Notes from Downside Road

The following pages are devoted, as usual, to BOV Theatre School. They carry a very exciting programme of events. Full details of Graduation shows - Blue Stockings from Thursday 5th to Saturday, 14th June at the Tobacco Factory Theatre, London Road from Tuesday 10th to Saturday, 21st June in BOVs Studio and The Winters Tale with the International Students from Thursday 19th to Saturday, 21st June (Tobacco Factory) will be published in future Newsletters.

12

Bristol Old Vic Theatre School

Notes from Downside Road

battle with six foot long broadswords as well as the regular range of sabres, staves and fisticuffs. Some updates: at the time of writing my last newsletter we had only just heard the news of Paul Heaths success at the BBC Carleton Hobbs radio drama competition congratulations are also due to Hannah Genesius on winning alongside Paul. Some of you may have heard that our Head of Acting courses, John Hartoch, will be standing down at the end of the summer term. John has taught and inspired generations of students and will be a very hard act to follow; no doubt there will be the opportunity to wish him farewell properly in due course. Our production of London Road at the Bristol Old Vic Studio has an added interest for theatregoers we hear that past student Olivia Colman will star in the film version; before that she will shortly start filming a new series of Broadchurch with David Tennant, some of which is shot locally. Our new season brochure will have been mailed out by the time you read this Newsletter; Ive previously mentioned our summer term shows and alluded to a an evening fundraising concert celebration of Salad Days; this I can confirm will be at the Redgrave on Sunday 29th June at 6 p.m. - we anticipate that the three hundred tickets will disappear fast. We had hoped that Eleanor Drew, who visited the Theatre School last year and who played Jane in the original production, would have been able to attend very sadly however Eleanor passed away recently. We do know that Adrian Slade, Julians brother, and a great supporter of the Theatre School, will join us. (Continued on page 15) 13

News from the Principal

t is now half way through the Easter break, which means that the Theatre School seems just as busy as term time! As I write there are two rooms being used for preliminary auditions;

Pam Rudge is working with a number of the London Road cast on the songs for the show; our film production students are in London at Rambert Ballet School recording interviews with dance students; and meetings to plan next term and next year are underway; and of course the four plays for our Brewery season Directors Cuts are all rehearsing. Motivation is not something our students lack. Head of Movement, Jonathan Howell, has also been busy; students who last summer took the fight test, part of their training in armed and unarmed combat, can opt to take the advanced test in their Easter break. Those of you who pass by our Downside Road will be familiar with the combat classes that take place at the front of the School; last week you would have been entertained by rehearsals for the test that included two students doing

Bristol Old Vic Theatre School Directors Cuts.

Brewery Theatre
(Tobacco Factory Theatres)
Tuesday, 29th April to Saturday, 3rd May. Tuesday 13th to Saturday 17th May.

Love Steals Us From Loneliness

by Gary Owen. Directed by Katie Harris. Designed by Hannah Wolfe. When asked to respond to the infamous Bridgend Suicides of 2007, Gary Owen wrote a play about his own experiences of being a teenager in a place which was described by Dylan Thomas as 'an UglyLovely town'. Love steals us from Loneliness is about growing up, being a teenager, dealing with life decisions and how life can sometimes surprise and disappoint you. Tuesday 6th to Saturday, 10th May.

Days of Wine and Roses.

by Owen McCafferty. Directed by Tom Brazier. Designed by Flo Petitt The year is 1962, Arkle the greatest racehorse of all time is in his prime, London is at the centre of the world and Donal and Mona are meeting in a Belfast airport. A few swigs of whiskey later and they are in London. Originally an Oscar winning movie, Owen McCaffertys striking dialogue has re-imagined this timeless story for the stage.

Tuesday 20th to Saturday, 24th May.

The River
by Jez Butterworth. Directed by Aaron Parsons. Designed by Alex Berry. The newest play from the award winning writer of Jerusalem, Jez Butterworth, The River tells the story of a man and a woman, on a moonless night, in a remote cabin on the cliffs. This simple, beautiful story of heartbreak and love is about a man trying to catch his glimmering girl.

Dutchman
by LeRoi Jones. Directed by Nancy Medina. Designed by Max Johns. New York City, 1964. Steaming hot. Lula stands on a subway platform. Through a window she sees Clay. Lula and Clay talk. Lula and Clay flirt. Racial and sexual tensions rise and fall on this emotionally taut, high speed ride through the darkest tunnels of our minds and desires.

Duration of plays: between 1 hr 15 mins and 1hr 30 mins. Evenings 7.45 p.m. Saturday matinee 2.15 p.m. Tickets 11 / concessions 8. First twenty tickets on Tuesdays 6. Booking info: 0117 902 0344 / www.tobaccofactorytheatre.com . 14

(Continued from page 13) With the new brochure will be included news of our fundraising for The Link our building project to develop two new studios and a central accessible entrance at Downside Road. This exciting scheme will transform the Theatre School; we hope that it appeals to our many supporters - we are not far from our target now, but still need to reach the finishing post.

More dates for your diary

Thursday, 12th June: 11 a.m. Tobacco Factory: Theatre School Prize-giving. And later the same day: party after the evening performance of Blue Stockings. Thursday, 19th June TalkBack after matinee performance of London Road. Sunday, 22nd June from 1 p.m. Picnic on the Downs. Further details in future Newsletters.

Paul Rummer
4th April 2014

Wednesday 7th to Saturday, 10th May at

the Redgrave Theatre

Tuesday, 24th June to Tuesday, 1st July from 9.30 a.m. to 5 p.m.

Bristol Old Vic Theatre School

presents

The Royal West of England Academy

Queens Road (opposite Victoria Rooms)

Bristol Old Vic Theatre Schools

Exhibition
of the work of students on courses following

by Georges Feydeau. Directed by Christopher Scott. Designed by Mick Bearwish. Master farceur Georges Feydeau creates a sparkling play that switches from riotous farce to barbed social satire. This high spirited romp with its heady mix of passions, pace and pleasure is perfect for a good night out. Tickets: 15 / concessions 10. from Andrew on 0117 973 3955. www.oldvic.ac.uk 15

Costume Scenic Art Theatre Design.

Free entry

Special viewing
on Saturday, 28th June from 10.30 a.m. with an introduction by Angela Davies, Theatre Schools Head of Design. Free but tickets from Andrew 0117 973 3955.

Sunday, 29th June 6 p.m. at

the Redgrave Theatre

Bristol Old Vic Theatre School

presents

Enjoy the froth and whimsy of these end-of-season songs, showcased by a talented cast of final-year acting students under the musical direction of Pamela Rudge and a very special guest.
By supporting this one-off special performance you will be helping to raise funds for the Theatre Schools Link building at Downside Road, enabling us to develop and promote the finest talent to entertain you.

A special 60th Birthday Gala Concert of

Tickets: 25. from Andrew on 0117 973 3955. www.oldvic.ac.uk

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