Thursday 23, Friday 24, Saturday 25, Monday 27, Tuesday 28, Wednesday 29, November, 7:30pm
Friday 24, Monday 27, Wednesday 29 November, 2pm
Milton Court Theatre

Tom Glenister (John Cavan); Phoebe Marshall (Lady Cavan); Finlay Paul (Sir James Cavan); Dan Whitlam (Tilley); Rory Francis (Shaw); Ryan Quarmby (Babe Robins); Nicholas Armfield (Perry Lomas); Ellis Howard (Jenner); Alex James-Cox (Corporal Macey/Alfred Borrow); Tallulah Bond (Monica Chellerton); Declan Mason (Bertie Chellerton); Georgina Beedle (Kitty Harris); Harry Harrington (Eggie Brace/The Bishop Ketchworth); Mhairi Gayer (Miss Beaver); Rosalind Lailey (Lady Stagg-Mortimer); Raphael Eilenberg (Sir Henry Merstham)

The Guildhall School’s autumn drama programme continues with nine performances of Noël Coward’s Post-Mortem, opening on Thursday 23 November 2017. It tells the story of a young soldier dying in the trenches who has visions of visiting his surviving family and friends still enjoying their wealthy decadent lives in the early thirties.

It was first performed in 1944 in an Austrian prisoner of war camp but it was never performed professionally in Coward’s lifetime. Written in 1930 when he was 31 years old, it is a surprisingly angry and bitter vilification of the ruling classes who seem to have learnt nothing from the mass homicide of the First World War.

The Guildhall School is delighted to welcome the distinguished partnership of director Lucy Bailey and designer William Dudley in this production which explores the use of video to uncover the darker, more serious side of Coward.

Lucy Bailey’s recent productions include The Graduate (West Yorkshire Playhouse); Milton’s Comus, with additional material by Patrick Barlo, (Sam Wanamaker Playhouse); and Kenny Morgan (The Arcola). She was co-founder and co-artistic director of The Print Room (2009-2012), a new venue in Notting Hill Gate where she directed Fabrication, Snake in the Grass, Kingdom of Earth and Uncle Vanya. She was co-artistic director of The Gogmagogs (1995-2007), a music theatre company comprising seven string players.

Bailey studied English at Oxford University where she directed the world premiere of Lessness by Samuel Beckett in consultation with the author. She has directed numerous works at Shakespeare’s Globe, including Titus Andronicus, Macbeth, Timon of Athens, As You Like It and The Maid’s Tragedy. Her additional theatre credits include Great Expectations (West Yorkshire Playhouse); Around the World in 80 Days (St James Theatre, London); Gaslight (Royal & Derngate Northampton); The Importance of Being Ernest (Harold Pinter, West End/UK tour); Fortunes Fool (Old Vic); King Lear (Theatre Royal Bath); The Winter’s Tale, Taming of the Shrew, Julius Caesar (RSC/Roundhouse/The Armoury, New York); Beggar’s Opera (Regent’s Park Open Air Theatre); Private Lives, Glass Eels, Comfort Me with Apples (Hampstead Theatre); The Night Season (National Theatre/West End) and Don’t Look Now (Crucible, Sheffield/Lyric Hammersmith).

Bailey has also worked on a number of Opera and Music Theatre productions such as Gudrun Fier Sang (Copenhagen dry dock); Jenufa (English National Opera); Cheryoumushki 1958 (Lyric Hammersmith); Noyes Fludde, Triptych, Mary of Eygpt (Aldeburgh Festival) and Pasolini’s Teorema (Maggio Musicale Florence/Munich Biennale/Queen Elizabeth Hall).

William Dudley’s distinguished career as a designer of theatre and opera has been recognised with seven Olivier Awards and a further seven nominations, and he won a BAFTA for Persuasion. In April 2015 he won the Molière Award for Visual Creation for The Dance of the Vampires in Paris.

He has designed over sixty productions at the National Theatre, including The Mysteries, Coast of Utopia and The Rise and Fall of Little Voice. At the Royal Court he designed Hamlet, Kafka’s Dick and Hitchcock Blonde (Olivier Award). His work at the RSC includes Julius Caesar (also New York), Merry Wives of Windsor (Olivier Award) Twelfth Night, Richard II & III and A Midsummer Night’s Dream. He also designed a number of West End productions such as The End of the Rainbow, All My Sons, Woman in White, My Night with Reg and Lenny, with many transfers to the USA.

His recent work includes Comus at the Sam Wannamaker Playhouse; Ross, The Rehearsal and For Services Rendered at Chichester; Gaslight for Royal and Derngate; The Importance of Being Earnest West End and UK tours, Fortune’s Fool at the Old Vic, Titus Andronicus at Shakespeare’s Globe, and Fings Ain’t Wot They Used T’Be at Stratford East. Dudley designed the sets for Roman Polanski’s musical The Dance of the Vampires (Vienna, Berlin, Paris and Russia); The Ship (for European Cultural Capital Glasgow 1990); Peter Pan (Kensington Gardens, O2 and US tours); The Last Confession (world tour) and Sunday in the Park with George at the Théâtre du Châtelet. His designs for Opera productions include work for Bayreuth, Salzburg, the Metropolitan Opera Opéra National de Paris, Royal Opera House, English National Opera and Glyndebourne.

 

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