#rosie sheehy

[reluctantjoe]

A MIDSUMMER NIGHT'S DREAM Royal Shakespeare Company | 2024

[shakespearenews]

Romeo (Callum Scott Howells) and Julie (Rosie Sheehy) bond over the theory of everything in this scene captured in the rehearsal room. Romeo and Julie, a modern love story inspired by Romeo and Juliet.

Two Welsh teens raised a few streets apart – but from entirely different worlds – crash into first love and are knocked off their feet. But at the crossroads to the rest of their lives, Julie’s family fears the worst in a world of unequal opportunity.

[nomilkinmyteaplease]

Photos of Romeo and Julie in the National Theatre by Marc Brenner

[willstafford]

Donkey Work

A MIDSUMMER NIGHT’S DREAM Royal Shakespeare Theatre,  Stratford upon Avon, Thursday 29th February 2024 Among Shakespeare’s works, this romantic comic fantasy ranks as one of his greatest hits, and done well, it’s easy to see why.  It’s also something that in the wrong hands, can be rather twee.  Eleanor Rhode’s new production dispenses with the forest – even the fairies are reduced to tiny orbs…

[picolin]

Machinal

by Sophie Treadwell

dir. Richard James

2024年4月25日 The Old Vic

2023年に評判を取ったシアター・ロイヤル・バースのプロダクションのトランスファー公演。演出はOld Vicでは 『毛猿』 や最近では 『ピグマリオン』 を手がけたリチャード・ジョーンズ。主演は 『Romeo and Julie』 のRosie Sheehy。

美術はHyemi Shin。内側を黄色に塗られた立方体を半分に切ったような部屋を舞台とし、左右のドアからぬるぬるとキャストが出入りする。舞台前方下には各章のタイトルの看板が置かれ、区切りの際には吊られたスタンドが降りてきてキャストが架け替える。文字のみの看板であるため、照明があたることで影がくっきりと背面に投影される。照明も照度を変えることで黄色のトーンが変化して見える。途中照明をストロボとして使用するシーンがあるのだが、黄色と相まってちょっと目に厳しい。

冒頭の満員の地下鉄でもみくちゃにされるシーンから、主人公が本人の意思に反して社会を運用するシステムの部品として組み込まれていることを視覚的に見せる。2018年のアルメイダ版は手際よくはあってももっともったいぶった雰囲気だった記憶があるのだが、このプロダクションはとにかく機関銃のように畳み掛けるセリフの応酬がすごい。20C前半のアメリカ映画を彷彿とさせる早口で、スタッカートを効かせることにより軽快さよりもキャラクター間の会話の不可能さを強調させている。主人公とその夫、浮気相手以外の 「モブ」 の描写が、作品の社会のベルトコンベア感を増す機能を果たしていてその不気味さがすごい。これはアルメイダ版においてキャラクターが物語の駒以上の意味を見出せなかったのと逆で、ゲームにおけるNPCたちのような機械的な動きと発話に主人公や観客が次第に乗せられていく感覚を与えている。タイトルはおそらく電気椅子を指していると思われるが、1920年代アメリカ社会の 「機械」 感をほとんどカートゥーン的な動きで描写している。そしてSheehyは一世一代のパフォーマンスを披露している。

[peterviney1]

A Midsummer Night's Dream - RSC 2024 review

We have seen so many versions of this play. So can the RSC’s 2024 version of A MIDSUMMER NIGHT’S DREAM compete? (link to review). It’s directed by Eleanor Rhodes. Matthew Baynton is Bottom, Rosie Sheehy is Puck, Bally Gill is Theseus / Oberon and Sirine Saba as Hippolyta / Titania. All four young lovers are as good as you can get. The thing is, Matthew Baynton was indisposed (Ah! from Horrible…

[notesonfilm1]

King John, RSC, Sept, 27

King John, RSC, Sept, 27

    King Johnis not often revived and I suspect that´s because it´s one of Shakespeare´s weaker efforts. But Rosie Sheehan´s female-focused  production currently at the RSC in Stratford is extraordinary. Bridgitta Roy plays King John, Katherine Pearce is a witty and sassy Cardinal Pearce. Male pronouns are kept, even though it´s women playing the roles. The costumes are all circa 1965. It has…

[lesbiancassius]

every photo from the 2019 rsc king john is so Gender

[rosncrntz]

King John, RSC 2019 - Review

King John, RSC 2019 – Review

Mad kings, mad world.

Rosie Sheehy struts and shrugs at the helm of a swinging 60s Britain in the Royal Shakespeare Company’s bold and aesthetically stunning new production of the rarely performed King John. Taking the role of the eponymous monarch, Sheehy’s youthful swagger and glowering pride set the tone for this rebellious take on this intriguing historical tragedy.

The Kray Twins would…

[reluctantjoe]

THE CAST OF MIDSUMMMER NIGHT'S DREAM ph. Mitesh Soni | 19.01.2024

[miriskusnik]

Escape the Scaffold at Theatre503 - review

Escape the Scaffold at Theatre503 – review

Three friends sit down for an improvised dinner of roast chicken in their shared house, on the brink of graduation and their adult lives.  Marcus (Charles Reston) is ready to leave it all behind and slip effortlessly into his plan for the future: job, wife, kids.  Aaron (Trieve Blackwood-Cambridge) wants to continue his political activism.  And Grace (Rosie Sheehy) just wants to stop the clock…

[sashagilljournalist]

Review: King John at the Royal Shakespeare Company

The struggle for power, a feuding royal family, and shifting loyalties that are next to impossible to stay on top of. Director Eleanor Rhode’s modern take on one of Shakespeare’s lesser-performed tragedies for the RSC is groooovy, baby and delightfully upbeat. As England and France battle it out for power, hurting themselves in the process, one could be tempted to say that this is a tale that is particularly poignant and nuanced in 21st century Britain.

It starts with a bang. John saunters in, a peppy beat playing in the background, wearing a luxurious dressing gown over silk pyjamas. He cracks a raw egg into a bloody mary before necking it - the perfect remedy to his post-coronation hangover. The cast trickles in then they break into a terrifically choreographed dance number, a common thread that weaves through the play, all to funky music by Will Gregory. The whole shebang implodes with delicious grandeur – reminiscent of hairspray but bathed in luxury and with beautiful Shakespearean prose.

The first half is light-hearted, with flashing disco lights, an electrifying boxing match, interjected with many a dance number. It culminates in a food fight of epic proportions (note: if you are in the front row, wear something you don’t mind getting wedding cake on). The second half, however, is more sombre. Music mellows and deepens, candles are lit (all thanks to the genius of Lizzie Powell), tears and blood are shed.

The garb throughout the play is deliciously stylish, capturing the glitz and glamour of swinging sixties, in which this play is set. It is beehives galore, pillbox hats and (a personal favourite) John’s peacock blue velvet blazer suit. I would love if Max Johns, the designer for King John, would curate my own personal wardrobe. It was nothing short of spectacular.

Rosie Sheehy is remarkable as the titular King John. In a move that is frequently deployed by the RSC, the casting in gender-blind, and with Sheehy’s magnificent stage presence it is clear why she was chosen. She captures the essence of John -  vainglorious, power-hungry and naïve - with a flagrant disregard for who he hurts on his quest to stay at the top. Sheehy radiates delightful exuberance, and then as the play progresses, arrogance morphs into despair and regret. In his cold-blooded attempt to remain in power, John becomes unmoored.

The rest of the cast is no less magnificent. Charlotte Randle is the Lady Constance, a role which she performs with such blistering, heart-wrenching grief. Her delivery of the line ‘grief fills the room up of my absent child’ thrills the nerves, her sanity slowly slipping away. I was on the edge of my seat all night. Comic relief is provided by Katherine Pearce as the Cardinal Pandulph, sassy and terribly glamourous in her violet frock. Michael Abubakar brings eager energy to his portrayal of the bastard, and Tom Mccall’s Hubert tugs at your heartstrings.

The whole play was a high-octane event, a riveting tale of riches to rags. With Rhode’s peppy and contemporary rendition of King John, the bard’s tragedy truly comes alive.

King John runs at the Swan Theatre, Stratford-upon-Avon, until March 21 2020. In cinemas 29 April.

Originally Published in The Oxford Student, 17th Jan 2020

[willstafford]

A Reign of Two Halves

A Reign of Two Halves

KING JOHN

The Swan Theatre, Stratford upon Avon, Wednesday 30th October, 2019

  There’s an undeniably 1960s vibe to Eleanor Rhode’s production of this lesser-known history play.  Max Johns’s design puts the characters in sharp suits and polo-neck sweaters, dandy two-pieces, and East End gangster-ish fur coats.  This is the world of One Man, Two Guvnorswith a touch of the Krays.  Will Gregory’s…

[peterviney1]

Romeo & Julie - review

Review added of ROMEO & JULIE by Gary Owen. (linked). It was at The National Theatre’s Dorfman Theatre, but has now moved to Cardiff (where it’s set). It was the second five star production in two days for us. It’s a thought provoking 2023 love story. It stars Rosie Sheehy as Julie and Callum Scott Howells as Romeo. Wonderful.

[stratfordeast]

THE WOLVES CAST ANNOUNCED

We are thrilled to announce the cast for our upcoming production of The Wolves.

Annabel Baldwin - #46 Seraphina Beh – #00 Nina Bowers – #11 Lauren Grace - #7 Francesca Henry - #2 Kristin Hutchinson – Soccer Mom Shalisha James-Davis - #8 Hannah Jarrett-Scott - #25 Rosabell Laurenti Sellers - #14 Rosie Sheehy – #13

Wed 24 Oct - Sat 17 Nov 2018

BOOK TICKETS

[gossipgirl2019-blog]

Theatre Royal Stratford East Announces Full Casting For THE WOLVES

New Post has been published on http://gr8gossip.xyz/theatre-royal-stratford-east-announces-full-casting-for-the-wolves/

Theatre Royal Stratford East Announces Full Casting For THE WOLVES

Theatre Royal Stratford East is pleased to announce the full cast for the European premiere of The Wolves, Sarah DeLappe‘s award-winning debut play directed by Ellen McDougall. The cast of The Wolves includes Annabel Baldwin, Seraphina Beh, Nina Bowers, Lauren Grace, Francesca Henry, Kristin Hutchinson, Shalisha James-Davis, Hannah Jarrett-Scott, Rosabell Laurenti Sellers and Rosie Sheehy.

Stretch, squat, lunge, kick, the girls are warming up, a pack of teenage warriors ready for battle and out to score some goals.

From their plot of astro turf in the heartland of middle America the girls gossip, joke and wrestle with the big and small questions of our times, whilst trying to remain unbeaten in their high school soccer league.

The Wolves had its world premiere off-Broadway in 2016.

Ellen McDougall said:

‘The Wolves is an exceptional new play by Sarah DeLappe that centres the experience of young women. Following its success in New York, I’m so excited to direct the European Premiere at Theatre Royal Stratford East and to be part of Nadia Fall‘s thrilling opening Season.’

To celebrate the opening of Nadia Fall‘s inaugural season and continuing Theatre Royal Stratford East’s commitment to accessibility and welcoming new audiences, during previews all seats for The Wolves will be priced at £10, and £5 for Newham residents.

Annabel Baldwin plays #46. Theatre credits include Harry Potter and the Cursed Child (Palace Theatre) and Captain Alan of Canary Wharf (Edinburgh Fringe/Camden Fringe). Her film credit is Servants’ Quarters.

Seraphina Beh plays #00. Theatre credits include Leave Taking and Black Attack (Bush Theatre); Parliament Square (Royal Exchange/Bush Theatre); Cosmic Jives (Albany); My Beautiful City (Arcola); Jack and the Beanstalk (Lyric Hammersmith); Ondisting; Romeo & Juliet Et Al and Skeen (Ovalhouse). Her television credits include EastEnders, Casualty, Game Face and Live at the Electric.

Nina Bowers plays #11. Theatre credits include The Magic Flute (Aix?en?Provence Festival, Complicité); Crave (The Pit, Barbican); Twilight: Los Angeles 1992 (Gate Theatre) and Tomorrow I’ll 2 Be Twenty (Tour, Complicité). She also wrote and co?devised Nina Talks About Her Values which was performed at Camden People’s Theatre as part of the Camden Fringe 2017.

Lauren Grace plays #7. Theatre credits include Charlie Sonata (Lyceum Theatre Edinburgh). Her film credits include Bird (nominated for a Scottish BAFTA New Talent Award for Best Actress in short film) and Zero.

Francesca Henry plays #2. This is Francesca’s professional debut. She has been working with OV12 director Hannah Bannister on a new play Water Wings written by Isley Lynn.

Kristin Hutchinson plays Soccer Mom. Her theatre credits include Judith (Arcola & UK Tour); Cell (Young Vic); Beyond Caring (UK & European Tour); Grey Man (Theatre 503); Howard Barker Double Bill (Arcola); Beyond Caring, Beauty and the Beast, Waves (National Theatre, UK & European Tour & Broadway), A Dream Play, Iphigenia at Aulis (National Theatre); The Empress, Creation, Passion, The Mysteries (Royal Shakespeare Company); Live Like Pigs (Royal Court); Worker’s Playtime/The Jewish Wife, Party Time/One For The Road (Battersea Arts Centre); Autumn and Winter (Orange Tree); How The Other Half Loves, Tons of Money (Bristol Old Vic); Top Girls, Dancing at Lughnasa, King David, The Europeans (Mercury Theatre, Colchester). Television credits include Measure for Measure, Pie in the Sky, Wycliffe and Doctors.

Shalisha James-Davis plays #8. Theatre credits include Our Country’s Good and Notre Dame (National Theatre). Television credits are Silent Witness, Next Of Kin, Vera and Class Student and film credit is Mary Queen of Scots.

Hannah Jarrett-Scott plays #25. Theatre credits include Pride & Prejudice (*Sort Of) (Tron Theatre); A Bottle of Wine and Patsy Cline (Gilded Balloon); Glory On Earth and Lion, The Witch & The Wardrobe (Royal Lyceum Edinburgh); Once This Is All Over We Still Have To Clear Up (Yellow Magpies/Edinburgh Festival Theatre); Janis Joplin: Full Tilt (Theatre Royal Stratford East & Assembly Rooms) and Midsummer Songs (New Wolsey Theatre). Television credit is Trust Me.

Rosabell Laurenti Sellers plays #14. Her television credits include Game of Thrones Series 5-7, Una Grande Famiglia, Paura D’Amare, Mia & Me and Cenerentola. Her film credits include Trading Paint and Maraviglioso.

Rosie Sheehy plays #13. Theatre credits include The Whale (Theatre Royal Bath); Uncle Vanya (Theatre Clwyd/Sheffield Theatres, for which she won the ‘Best Female Performance in the English Language’ award at the Wales Theatre Awards 2018); Escape the Scaffold (Theatre 503); Strife (Chichester Festival Theatre); Bird (Royal Exchange Manchester); The Hairy Ape (The Old Vic) and Chicken (Paines Plough). Her screen credits include Chernobyl and DCI Banks.

Sarah DeLappe‘s debut play The Wolves (The Playwrights Realm/NY Stage & Film/Lincoln Center Theater) was a co-winner of the Relentless Award and a finalist for the Pulitzer Prize, the Susan Smith Blackburn Prize, and the Yale Drama Series Prize. It is currently slated for over 50 productions worldwide. She holds an MFA from Brooklyn College.

Ellen McDougall is Artistic Director at The Gate Theatre. Previous credits at the Gate include Effigies of Wickedness (2018); The Tale of the Unknown Island (2017) and Idomeneus (2014). Other credits include Othello (Sam Wanamaker Playhouse at the Globe), the Lyric’s annual pantomime Aladdin (2016) and Cinderella (2015); The Rolling Stone (Orange Tree Theatre/Manchester Royal Exchange), The Remains of Maisie Duggan (Abbey Theatre, Dublin), The Glass Menagerie (Headlong), Anna Karenina (Manchester Royal Exchange), Henry the Fifth, (Unicorn Theatre), Glitterland (Secret 3 Theatre/Lyric Hammersmith) and Ivan and the Dogs (Actors Touring Company/Soho Theatre) which was nominated for an Olivier Award. McDougall was formerly part of the Secret Theatre Company at the Lyric Hammersmith. She trained as an assistant to Katie Mitchell and Marianne Elliott. She was awarded an International Artists‘ Development Award (ACE/British Council) in 2012. Ellen is directing Dear Elizabeth later this year at The Gate Theatre.

Related Articles

View More UK / West End Stories   Shows

More Hot Stories For You