#Robin Herford

[willstafford]

Back in Black

THE WOMAN IN BLACK The Alexandra Theatre, Birmingham, Tuesday 6th February, 2024 Arthur Kipps is an old man with a story to tell.  He employs a young actor to give him tips and training so he feels able to tell his loved ones the story that has haunted him for thirty years.  The Actor (Mark Hawkins) in the light of Kipps’s lack of presentation skills, proposes a reworking of the material, a…

[yorkcalling]

Wodehouse in Wonderland Heads to York

Wodehouse in Wonderland Based on the life and writings of P.G.Wodehouse Starring Robert Daws Written by William Humble Directed by Robin Herford York Theatre Royal, 20-22 April 2023 The UK premiere of William Humble’s play Wodehouse in Wonderland at York Theatre Royal from 20-22 April is based on the life and writings of P.G.Wodehouse. Robert Daws stars as Wodehouse in the play which takes…

[fortunatelylazypeach]

Bath Voice Theatre Review: Alan Ayckbourn’s play Relatively Speaking at the Theatre Royal Bath brilliantly lampoons marital infidelity in a terribly British comedy of manners

Relatively Speaking – Antony Eden as Greg and Olivia Le Andersen as Ginny – Credit © Tristram Kenton Review: Relatively Speaking, Theatre Royal Bath. 16 Jan 2023 Ten bob notes, bus conductors and posters of Breakfast at Tiffany’s. Robin Herford’s sparkling production of Relatively Speaking takes us out of the Cost-of-Living Crisis into the decade of 60’s permissiveness and a time when life was…

[thesjt]

My SJT: Andy Cryer

Theatre can be life-changing - I’m proof of that!

Scarborough-born actor Andy Cryer, last seen at the SJT in last year’s Season’s Greetings, talks about his very first performance at the theatre…

Andy Cryer in Season’s Greetings. Photo by Tony Bartholomew

I think it's true to say that if it wasn't for the SJT and three very important people in my life, this lad from Scarborough would never have become a professional actor.

I was in my third year at Graham School, when VIP number 1, Mr Dave Bradley, my drama teacher, stopped me in the school corridor and asked if I knew anything about the SJT auditioning for the role of Ronnie in their production of Terence Rattigan's The Winslow Boy. Apart from ‘SJT’, Dave could have been speaking another language. I'd never heard of Mr Rattigan or his play, but I was very interested in auditioning for a professional theatre production. Dave told me that the SJT’s plan was to audition local lads in the area, rather than going to the stage schools in London. The lucky boy cast to play Ronnie would receive elocution lessons in between rehearsals to sound like a properly educated Sea Cadet from the Southern counties. First there would be auditions and recalls. All very nerve-racking, but I said yes immediately.

Enter VIP number 2… Mr Robin Herford. Robin was directing The Winslow Boy. I can remember clearly travelling down to the old theatre in Westwood, walking onto the stage and meeting him. I’m not entirely sure what my audition piece was, but I think it may have been one of Bottom’s speeches from The Dream that we were working on at school with Dave. Whatever speech it was, it got me a recall!

Randal Herley and Andy Cryer in The Winslow Boy. Photo c. Scarborough Theatre Trust Ltd.

Enter VIP number 3… Sir Alan Ayckbourn. Alan was busy working at the National Theatre in 1983, but was still the Artistic Director of the SJT and as such Robin wanted him to be part of the final casting process. I'd been asked to prepare Ronnie's big speech from the play, when he’s cross-examined by the great barrister of the time, Sir Robert Morton. I can still remember the opening lines 37 years later: “Well then, just before prep, Commander Flower asked to see me in his study...”

The two directors complimented me on my reading, gave me notes, a little redirection and said that they would be in touch. They did get back in touch and I got the job!

What followed were three of the happiest months of my life. I met a whole other list of lovely, talented, caring people that I still hold dear. There was Malcom Hebden, who had been given the task of teaching me how to speak ‘proper’. Malcom, a Manchester lad, teaching a Scarborough boy the ‘Queen's English’ – you can imagine the laughter in the green room!

From left: Michael Ross, Randal Herley, Andy Cryer, Liza Sadovy, Ursula Jones, Graeme Eton in The Winslow Boy. Photo c. Scarborough Theatre Trust Ltd.

Michael Cashman and Lisa Sadovy, regulars at the SJT, were my lovely brother and sister in the play. Randal Herley played my father; Rupert Vansittart; Lavinia Bertram; the list goes on…

What I remember though, is how welcome I was made to feel at the theatre by everyone.

After the production ended my dream of becoming a professional actor began. The support and advice my three VIPs gave set me on my journey. I attended Harrogate College of Arts for two years and then three years training at The Guildhall School of Music & Drama.

In my professional career I have been lucky enough to work again for Robin and Alan. I have performed many more times at the SJT. Paul and Caroline are now running the place, and doing a great job. What still holds true for me, though, is that every time I walk into the SJT, I am made to feel as welcome as I was all those years ago, as a young lad with no acting experience, just a script in his hand and a dream to follow.

These are difficult times for us all but please, please support your local theatre. It can be life-changing: I’m proof of that!

[educatedinyellow]

“Complete visual design for and Clive Francis’ adaptation of Hound of the Baskervilles, directed by Robin Herford and produced by Ian Fricker.

The design included costume by Sarah Grange, lighting by Sam Hopkins and set and projection design by Timothy Bird, with additional visual engineering by Sam Hopkins.

The design allows the Conan Doyle characters to emerge from a giant copy of the Strand Magazine placed on stage and for the pages to turn throughout the story, allowing us to change scene. The Hound makes its appearance courtesy of some visual trickery and the animation skills of Shaun Freeman.”

[insanityclause]

The Drama League has announced the 2020 Drama League Awards Nominees for Outstanding Production of a Play, Outstanding Revival of a Play, Outstanding Production of a Musical, Outstanding Revival of a Musical, and the much- coveted Distinguished Performance Award.

The nominations were announced this evening during The Gratitude Awards by Beetlejuice's Alex Brightman and Leslie Rodriguez Kritzer. Voting is open for Drama League members from May 1 - May 22. Award winners will be announced by Gabriel Stelian-Shanks & Bevin Ross via livestream in June. The Drama League Awards Event Chair is Bonnie Comley.

The Drama League announced that the spirit of The Gratitude Awards will live on via a new honorary category for the 87th Annual Drama League Awards starting in 2021 with The Gratitude Award, for a person or organization who has shown fearless support and kindness to the theater community.

[...]

OUTSTANDING REVIVAL OF A PLAY

Betrayal Directed by Jamie Lloyd Written by Harold Pinter Jacobs Theatre

for colored girls who have considered suicide/when the rainbow is enuf Directed by Leah C. Gardiner Written by Ntozake Shange Public Theater

Fires in the Mirror Directed by Saheem Ali Written by Anna Deavere Smith Signature Theatre Company

Frankie and Johnny in the Claire de Lune Directed by Arin Arbus Written by Terrence McNally Broadhurst Theatre

Judgment Day Directed by Richard Jones Written by Ödön von Horváth, Adapted by Christopher Shinn Park Avenue Armory

Medea Directed by Simon Stone Written by Simon Stone after Euripides Brooklyn Academy of Music

Native Son Directed by Seret Scott Written by Nambi E. Kelley, based on the novel by Richard Wright The Acting Company

The Rose Tattoo Directed by Trip Cullman Written by Tennessee Williams Roundabout Theatre Company

A Soldier's Play Directed by Kenny Leon Written by Charles Fuller Roundabout Theatre Company

The Woman in Black Directed by Robin Herford Written by Stephen Mallatratt, based on the novel by Susan Hill The McKittrick Hotel

DISTINGUISHED PERFORMANCE AWARD

David Acton, The Woman in Black Jeffrey Bean, Dublin Carol Ato Blankson-Wood, The Rolling Stone and Slave Play Christian Borle, Little Shop of Horrors Danielle Brooks, Much Ado About Nothing Danny Burstein, Moulin Rouge! Rose Byrne, Medea Len Cariou, Harry Townsend's Last Stand Patrice Johnson Chevannes, runboyrun & In Old Age Liza Colón-Zayas, Halfway Bitches Go Straight to Heaven Kate del Castillo, the way she spoke Edmund Donovan, Greater Clements Raúl Esparza, Seared Francesca Faridany, The Half-Life of Marie Curie Halley Feiffer, The Pain of My Belligerence Danyel Fulton, Broadbend, Arkansas Annie Golden, Broadway Bounty Hunter Donnetta Lavinia Grays, Where We Stand David Alan Grier, A Soldier's Play Jonathan Groff, Little Shop of Horrors Jake Gyllenhaal, Sea Wall/A Life Tom Hiddleston, Betrayal Paul Hilton, The Inheritance Kathryn Hunter, Timon of Athens Galen Ryan Kane, Native Son Brittney Mack, Six April Matthis, Toni Stone Susannah Millonzi, The Crucible Kate Mulgrew, The Half-Life of Marie Curie Joe Ngo, Cambodian Rock Band Deirdre O'Connell, Dana H. Brenock O'Connor, Sing Street Okwui Okpokwasili, for colored girls who have considered suicide/when the rainbow is enuf Karen Olivo, Moulin Rouge! Larry Owens, A Strange Loop Lauren Patten, Jagged Little Pill Chris Perfetti, Moscow Moscow Moscow Moscow Moscow Moscow Ben Porter, The Woman in Black Isaac Powell, West Side Story Jonathan Pryce, The Height of the Storm Elizabeth Rodriguez, Halfway Bitches Go Straight to Heaven Michael Shannon, Frankie and Johnny in the Clair de Lune Tom Sturridge, Sea Wall/A Life Marisa Tomei, The Rose Tattoo Blair Underwood, A Soldier's Play Michael Urie, Grand Horizons Adrienne Warren, Tina: The Tina Turner Musical Michael Benjamin Washington, Fires in the Mirror Portia, Stew

(Congratulations to all - and nice to see Tom and Jake’s names side-by-side... ☺️)

ETA: A quick note on the Distinguished Performance category - you can only win it once in your lifetime. It really is a case of the nomination being the reward for this one.

[perry-tannenbaum]

Festival Hall at Spoleto Isn’t the Best Fit for THE WOMAN IN BLACK

Festival Hall at Spoleto Isn’t the Best Fit for THE WOMAN IN BLACK

Review: “THE WOMAN IN BLACK certainly has a pedigree” By Perry Tannenbaum Perhaps we can declare that social distancing is as antithetical to telling a gripping ghost story as it is to sustaining a great vibe at a bar or a pub. After a 30-year run in London’s West End, where it remains on a pandemic-induced hiatus, THE WOMAN IN BLACK certainly has a pedigree to please. The play, adapted by…

[cakane463]

🕊#Iheardabirdsing. In the dark of December. A magical thing. And sweet to remember. ‘We are nearer to Spring Than we were in September,’ I heard a bird sing In the dark of December.“. ~Oliver Herford, ‘I Heard a Bird Sing.’ -British Robin Red breast, the National Bird of Great Britain.-The Queens English

[scottmarshallpartners]

ROBIN HERFORD’S THE WOMAN IN BLACK IS THE NY TIMES CRITIC’S PICK

  We’re thrilled that ROBIN HERFORD’s production of The Woman in Black at the McKittrick Hotel has received high praise by the New York Times! Robin has returned to his original, stripped back production of this now well-loved murder mystery play.

An “agreeably sinister production” and “ingenious, bare-bones adaptation … even those familiar with Hill’s novel are likely to be surprised.” Ben Brantley, The New York Times

Read the whole review here.

The Woman in Black runs at the McKittrick Hotel until 19th April 2020. Book your tickets here.

ROBIN HERFORD’S THE WOMAN IN BLACK IS THE NY TIMES CRITIC’S PICK was originally published on Scott Marshall

[mastcomm]

Review: The Comforts of the Cozy Scare in ‘The Woman in Black’

This is the character we meet first in the stage version, a diffident bourgeois gentleman named Arthur Kipps (David Acton), who arrives with a bulky manuscript containing his description of ghastly adventures of years earlier. He hopes that this account, which he intends to read to his family, will help him lay to rest a story that continues to torment him.

So he begins to read — very badly and unconfidently. Enter a younger man (Ben Porter), a professional actor whom Kipps has hired as an adviser and who tells the old boy he’s doing it all wrong. His solution: The Actor should take over Kipps’s role while Kipps portrays everybody (or almost everybody) else in the story. This allows Kipps to embody the joys of a theater virgin being initiated into the seductive craft of acting. (Amazing how a pair of prop eyeglasses can instantly improve a tyro’s mimetic skills.) Porter’s character demonstrates the less happy lesson of the dangers of an actor committing unconditionally to his part.

As for the story being told here, you’ve heard it before, even if you haven’t. The formula: Skeptical, modern-minded innocent visits isolated manse, meets ghost; a baleful destiny ensues.

This journey into fear — set in a Britain still shaking off the picturesque dust of the Victorian era — is achieved with little more than some sheets, a flashlight, a trunk, a few sticks of furniture, ambient sound effects (by Sebastian Frost) and lighting (by Anshuman Bhatia) that regularly plunges the audience into darkness.

This means that, with our nerves conditioned to be exposed, we become acutely aware of every sound and movement around us. And, yes, people jump and shriek when the title character suddenly shows up in their midst.

But they (read: me, too) often react in a similarly startled way when their fellow audience members shift abruptly in their seats or sneeze or gulp or clink the ice cubes in their drinks. Which reminds us that this is indeed a work of theater, a communal experience in which we’re all involved.

Thus we scare one another; we scare ourselves; we have agency in this process of scaring. And we can all laugh about having frightened ourselves when it’s over. Ideally, that means we feel at least a bit more replenished than when we arrived, newly ready to face the really scary world that awaits outside.

The Woman In Black

Tickets At the McKittrick Hotel, Manhattan; mckittrickhotel.com. Running time: 2 hours.

Credits Adapted by Stephen Mallatratt; directed by Robin Herford; design by Michael Holt; lighting by Anshuman Bhatia; sound by Sebastian Frost; original sound by Rod Mead; production stage manager, Carolyn Boyd; general manager, Tim Smith and Martin Platt. Presented by the McKittrick Hotel.

Cast David Acton (Arthur Kipps) and Ben Porter (The Actor).

from WordPress https://mastcomm.com/entertainment/review-the-comforts-of-the-cozy-scare-in-the-woman-in-black/

[yorkcalling]

Review: The Woman In Black at York Theatre Royal

Review: The Woman In Black at York Theatre Royal

It opened in 1997 and is now one of the longest running shows in the West End. The Woman in Black has returned to York Theatre Royal on tour. If you haven’t yet seen the show it is well worth a visit. (more…)

[littlebeautybag]

I had the pleasure to attend @thewomaninblackustour play at the @royalgeorgetheatre . The Woman In Black is the longest running play in London and let me tell you is also scary. This was my first ever play that I’ve attended since I’ve moved here in the U.S. and it was such an intense experience. I wasn’t allowed to film or to take pictures and I’m really glad because this play needs your full attention and I really think you wouldn’t like to see spoilers, right? I’m not going to tell you the story or what happened but all I can say is that you get all these mixed feelings ( you laugh, you get scared, you feel sorry ). I’ve never been so focused on something and I didn’t want it to end, I wanted more of it! A big thank you to the author Susan Hill, the director Robin Herford, the actors Bradley Armacost & Adam Wesley Brown & to everyone who did such a remarkable job putting together such a spectacular play! You MUST go and see this play right away! I didn’t think I would love it so much! Thank you @heronagency ! You guys are absolutely amazing! #thewomaninblack (at The Royal George Theatre) https://www.instagram.com/p/Bq3iJF7gOps/?utm_source=ig_tumblr_share&igshid=y2txsrgnvfbf

[londontheatre]

Terence Wilton

PW Productions are delighted to announce that from Tuesday 29 August 2017, Susan Hill’s THE WOMAN IN BLACK at The Fortune Theatre, London will star Terence Wilton as ‘Arthur Kipps’ and James Byng as ‘The Actor’.

Terence Wilton’s recent theatre credits include ‘Lord Lonsdale’ in “William Wordsworth” (Theatre By The Lake); “Cat On A Hot In Roof” (Theatre Royal Northampton) and “The Sound of Music” (Regent’s Park Open Air Theatre). For the RSC he recently played ‘Baptista Minola’ in “The Taming of the Shrew”. His television credits include “Revelations – End Of Days”, “The Crusades: The Crescent and the Cross”; “The Forsyte Saga”; “Inspector Alleyn Mysteries”; “Henry VI part 1”; “Some Distant Shadow”; “Dial M for Murder”; “Vanity Fair” and “Doctor Who”.

James Byng’s previous theatre credits include ‘Toulouse-Lautrec’ in “Moulin Rouge!” (Secret Cinema); ‘Edgar Rychenkov’ in “Noël” (National Opera House, Ireland); “Philip Pullman’s Grimm Tales” (Bargehouse, South Bank); ‘Group Captain Mandrake’ in “Dr Strangelove” (Secret Cinema); ‘Nick Willow’ in “Carries War” (UK Tour); ‘Posner’ in “The History Boys” (West Yorkshire Playhouse/Theatre Royal Bath UK Tour); ‘Frodo’ in “The Lord of the Rings” (Theatre Royal Drury Lane); “Les Misérables” (Palace Theatre); “Oliver!” (London Palladium); “Hey! Mr Producer” (Lyceum).

James Byng

Now in its 29th year, Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel, THE WOMAN IN BLACK tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds. The borders between make-believe and reality begin to blur and the flesh begins creep.

THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt, lighting by Kevin Sleep and sound by Gareth Owen.

LISTINGS THE FORTUNE THEATRE Russell Street, London, WC2B 5HH Performance Times: Tuesday to Saturday at 8.00pm; Tuesday and Thursday at 3.00pm and Saturday at 4.00pm

http://ift.tt/2vpyZ1d LondonTheatre1.com

[alannaiddsy-blog]

The Women in Black

The Women in Black: Saturday 19th November 2016

Northcott Theatre Exeter

Susan Hills ghost story comes to alive in Stephan Mallatratts inventive stage adaptation.

Directed by Robin Herford the gripping production is an effective drama consisting of illusions and measured horror.

A Women in Black is a naturalistic play for which emphasises the elements of the supernatural. A lawyer, Arthur Kipps, who is obsessed with a curse which he believes to have been cast over his himself and his family. To exercise this fear and to tell his terrifying story he finds a young actor to help him relive and retell the story. The story telling starts innocently enough however when the darkest memories are exposed they find themselves caught up in the dysfunctional world of supernatural engagement, where the Women in Black appears frequently unexpectedly. From the moment, the seats were taken and the drama started a sense of eeriness echoed the theatre, with senses being challenged.

An effective moment within this illusion of fear, was the transition to the morgue (the morgue which remained outside the haunted house for which is believed to have belonged to the Women in Black). Smoke covers the auditorium and sounds loud from all angles for which transports you into the morgue- feeling immensely involved with the action. Unware of what is to follow, the smoke makes it hard to see the stage space, resulting you to become visually lost in the fog much like Arthur Kipps. While the smoke begins to clear, some unexpected surprises emerge and the horror commences. The chills sent are unbelievably effective. When the morgue is crossed and Kipps enters the house another of the most unnerving moments is observed. When Kipps enters the nursey for which lies behind the big door and is confronted with an empty rocking chair – still in motion. From the creaks of the chair to the pretty tune on the jewellery box your hearts begin to elevate as the intensity rises.

This horror chills the blood as the tale unfolds in front of you, moments which are lit by candle light and moments which are told in complete darkness. This play is successful in taking you on the journey and involving you in a way that your senses are challenged. Suspicion and fear is habited throughout, prepared to be jumped and to partake in an immensely nerve-shedding experience. The unknown remains as within the programme the actress playing the Women in Black is non-existent enhancing the overall ghostly tale.

It would be nice to see more areas of suspense and more confrontation form the Women in Black, perhaps interaction with the audience using the auditorium as a platform for this. In what a theatre can achieve with technical aspects could temperature possibly be engaged within the piece, creating a cold challenging atmosphere to add to the experience.

[scottmarshallpartners]

LIZ CROWTHER AND ROBIN HERFORD IN VISITORS

  LIZ CROWTHER and ROBIN HERFORD are both playing in Visitors at Oldham Coliseum. Directed by Chris Lawson, the play centres around a family struggling to cope in this ‘lovingly crafted exploration of enduring love and difficult realities of old age’ (The Stage). ROBIN HERFORD plays the part of Arthur who is not able to give up work to take care of his wife Edie, played by LIZ CROWTHER.

Visitors runs until 4th May at Oldham Coliseum.

Buy your tickets here!

LIZ CROWTHER AND ROBIN HERFORD IN VISITORS was originally published on Scott Marshall