78 Sentences With "repertory companies" | Random Sentence Generator

MUNICH — With few exceptions, repertory companies in the United States and Britain tend to present a handful of new productions each year.

Big repertory companies, which plan their crowded schedules years in advance, rarely have the flexibility to add performances to even their most successful shows.

She "excelled in drama" and went on to have a haphazard youthful stage career in Liverpool and London, with time out for stints in several repertory companies.

His works have given American repertory companies something of value to perform, and that's been a game-changer, which is particularly true for Hubbard Street Dance Chicago.

Like most of the acting greats of his generation, Mr. McKellen got his start in repertory companies in England, but as the decades passed, the tradition grew fallow.

But actually, there are few repertory companies like Stratford's; other than the Shaw Festival (also in Ontario, in Niagara-on-the-Lake) and the Oregon Shakespeare Festival in Ashland, Ore.

She found work, usually in supporting roles, in repertory companies, which was how she met Roy Hodges, a fellow actor and stage manager, to whom she was married from 1958 to 1976.

That mille-feuille effect is one of the glories of repertory companies like this one, in which members of a resident troupe of actors play two or three different roles a week in a wide variety of productions.

Since its founding more than 40 years ago, Hubbard Street has been one of this country's top repertory companies, so it has a stable of versatile, vivacious dancers who can do anything a guest choreographer throws at them.

She joined the Arts Theatre in Manchester and other Northern repertory companies.

Women Behind Bars continues to be produced by gay repertory companies, such as San Francisco's Theatre Rhinoceros.

Shayne became an actor after having worked as a reporter at the Illustrated Daily Tab in Miami, Florida. His initial acting experience came with repertory companies in Alabama, including the Birmingham Players.

A combination company was a touring theater company which performed only one play. Unlike repertory companies, which performed multiple plays in rotation, combination companies used more elaborate and specialized scenery in their productions.

This system has been attributed with helping actors grow in their craft through a wide variety of roles.Bennetts, Leslie. "Repertory Companies Offer Classics and Camp." The New York Times, 17 Jan. 1986. Web.

Unlike Broadway productions that schedule an open-ended run until ticket sales wane, Off-Broadway repertory companies often schedule shows for only a limited run, in keeping with the repertory nature of the company.

Boen was born in Pueblo, Colorado in 1941. Having started acting in the mid-1950s, he gained roles on the stage in several leading repertory companies between 1965 and 1976 before moving to Hollywood.

Tanner graduated from the Webber Douglas Academy of Dramatic Art with the Douglas Cup, awarded him by Margaret Rutherford. He spent five years in northern repertory companies, playing everything from Saint Peter to the front end of a cow in a British pantomime.

Born in Liverpool, he attended Waterloo Grammar School, and harboured ambitions to be a BBC announcer from an early age. On leaving school, his first job was at Liverpool docks, and he was subsequently a technician and actor with repertory companies in Oldham, Sidmouth and Swansea.

The Gate Theatre web site, August 2009 Before his departure for Ireland, Battles spoke with Louis Calta of The New York Times. Battles called the Gate one of the finest repertory companies in the world and expressed his regard for Edwards and MacLiammoir as great teachers.

Repertory companies acted similarly to the touring companies we know today, though rather than traveling from theatre to theatre, they would travel with their equipment, set up in town and perform "repertories extensive enough to provide a week's worth of entertainment."Banham, Martin. "Tent Show". The Cambridge Guide to Theater.

Tom Gregory's philanthropic involvement also spans both coasts. In Los Angeles, he teaches after-school acting classes for preteens, drawing on his own acting experience gained in repertory companies in East Hampton, New York, Delray Beach, Florida, and across the United States. In Southampton New York, Tom Gregory helped found the Lake Agawam Conservation Association to clean up the lake's fragile eco-system.

Richardson was born in Worthing, Sussex. He served in the Merchant Navy. He initially had no desire to be an actor but when he left the service, his looks saw him receive an offer to appear in a play by a local amateur theatre group in his home town. He enjoyed it and began to work for several repertory companies around Britain.

After the war, Collingwood joined Amersham Repertory Theatre, followed by the Young Vic Company, and a number of other companies. In 1950 he married Margery Shaw. They moved to Perth, Scotland where he worked for the Perth Repertory Company. During this time, he wrote the farce Gathering Nuts, which was performed by the company, as well as by a number of other repertory companies.

She received her dramatic training in England, as well, at the London College of Music where she received an A.L.C.M. in elocution. After graduation, she joined the Arthur Brough Players in Folkestone, first as a student and then later as an actress. Sturgess acted in various English repertory companies before meeting Barry Morse in Peterborough on January 3, 1939. Morse and Sturgess married on March 26, 1939.

Born in Southwest London, he undertook his National Service with the Royal Air Force, having his career extended at the start of World War II. After being demobbed, he married the actress Jane Gregson. In 1946 he was taken on as Stage manager/electrician with the Guildford and then the Amersham repertory companies. From 1951 to 1952 he was Stage Director at the Oxford Playhouse.

Coveney, Michael. "Obituary, John Moffatt", The Guardian, 17 September 2012 Over the next five years he learnt his craft playing more than 200 parts in repertory companies at Oxford and Windsor, and the Bristol Old Vic. At Oxford he and the young Tony Hancock played Ugly Sisters together. Moffatt retained a fondness for pantomime; he became a celebrated Dame, and was the author of five pantomimes.

Retrieved 21 January 2015. Kelly completed the three year acting course (Diploma of Speech & Drama) at the Rose Bruford College of Speech & Drama, between September 1971 and July 1974. She gained early theatre experience working in a number of repertory companies across England. She made an early television appearance in Dixon of Dock Green in 1975, and starred in the sex film You're Driving Me Crazy in 1978.

The annexe is still there today and greatly used. Between the two World Wars the theatre mainly presented touring ballet and repertory companies which included many famous stars for the day: Ivor Novello, Matheson Lang, John Clements, Ruth Draper, Lillian Braithwaite and Sybil Thorndike. Throughout the Second World War the theatre managed to generate an atmosphere of business as usual, and the building survived the air raids without serious damage.

After training with repertory companies like the Oxford Meadow Players and Bristol Old Vic, Terry appeared in many productions with the Royal Shakespeare Company, the Round House Theatre and the Royal Court Theatre. Among his roles was Bosola in the 1989 Royal Shakespeare Company production of John Webster's The Duchess of Malfi. In the same year he played Pericles in David Thacker's production of Pericles, Prince of Tyre.

From 1813, the theatre closed and became a non-conformist chapel, a school, unused for a period, a church hall and a store for theatrical scenery. It opened as a theatre again in 1935, with productions by professional repertory companies. In 1951, the proscenium arch was rebuilt and painted by the nationally renowned 20th century local artist John Piper. He also designed sets for some of the productions.

Theatre Royal, Drury Lane, London, c. 1821 While most modern theatre companies rehearse one piece of theatre at a time, perform that piece for a set "run", retire the piece, and begin rehearsing a new show, repertory companies rehearse multiple shows at one time. These companies are able to perform these various pieces upon request and often perform works for years before retiring them. Most dance companies operate on this repertory system.

Munden was the son of a poulterer in Brook's Market, Leather Lane, Holborn. He was by the age of twelve in an apothecary's shop; subsequently he was apprenticed to Mr. Druce, a law stationer in Chancery Lane. In Liverpool he was engaged for a while in the office of the town clerk, also appearing on the stage as an extra. After some experience of repertory companies, Munden was engaged to play old men at Leatherhead.

She was also the voice of Miguzi's Erin on Cartoon Network. In 1998, DiCicco appeared in the NBC miniseries Witness to the Mob and in the TV film In the Nick of Time. Besides her appearances in television and commercials, DiCicco has worked on stage with several repertory companies. In 1999, DiCicco and her co-stars in the Nickelodeon pilot Bus No. 9 were nominated a Young Artist Award, but lost to The Sweetest Gift.

He left the Royal Court Theatre after one year to direct a repertory season at Barrow-in-Furness, which was followed by a season at Harrowgate Theatre. The following two years he directed free-lance productions at Dundee, Bristol and Sheffield Repertory Companies, as well as at Stratford-on-Avon. In 1963, Goldby directed Chips with Everything, then produced Twelfth Night and Tons of Money at Her Majesty's, Barrow."Higher Education Helps," The Stage (28 February 1963).

"Talmudic and Confucian Chaos. Theater: Review" Christian Science Monitor, April 17, 1989 In 1948, Marre was one of the co-founders of the historic Brattle Theatre in Cambridge, Massachusetts, one of the country's first classical repertory companies (and one not build on the not-for-profit model), which yielded five years of classics and new plays, many of which moved on to subsequent New York productions."Timeline of Brattle Theatre" brattlefilm.org, retrieved November 8, 2017Maccoby, Michael.

In MRC's third season at St. Peter's Church, Elizabeth Franz joined the company for the U.S. Premiere of Maxim Gorky’s Children of the Sun, while Tovah Feldshuh, who spoke of the repertory experience as “the greatest work you can do as an actor,” joined to appear in a revival of William Saroyan's The Time of Your Life directed by Peter Mark Schifter.Bennetts, Leslie. "REPERTORY COMPANIES OFFER CLASSICS AND CAMP." The New York Times, 16 Jan. 1986. Web.

The founding lessee was JH Savile, who owned Paisley Theatre, and in 1909 bought the Perth theatre outright. The Savile family continued to run the theatre until 1935, staging drama, opera, musicals, pantomime, revues and variety. JH Savile also founded his own Repertory Companies in Paisley and Perth The Stage Year Book of 1916 which at their height produced 40 plays a year. In 1935, Perth Theatre was sold to a new company created in London, the Perth Repertory Theatre Ltd.

After it was revived by the D'Oyly Carte Opera company in 1920, the work remained in their regular repertory, and it has generally been given a place in the regular rotation of other Gilbert and Sullivan repertory companies. By 1920, in a reappraisal of the piece, Samuel Langford wrote in The Manchester Guardian that "the gruesome strain is the real Gilbertian element" but "the opera has abundant charm among its more forbidding qualities".The Manchester Guardian, 28 December 1920, p.

The Second World War hit the theatre badly. Rationing and shortages of materials meant that shows became austere and it was increasingly difficult to fill the house. Although post-war euphoria brought with it increased audiences, by the fifties the days of large repertory companies were numbered. There were of course some memorable moments, such as the Grand's diamond jubilee production in 1944 of South Pacific, featuring a young Sean Connery, but by then large rep companies were dying out.

Repertory companies, both those in residence and those on tour, featured several actors who rehearsed multiple plays which were performed in rotation, adding and removing shows from their repertoire over time. Repertory theaters, also known as stock theaters, generally employed generic theatrical properties for use in each of their productions. This system was popular throughout the United States in the 19th century (Somerset-Ward). Because combination companies only performed a single play, they were not restricted by the need to use generic properties.

Of the twelve Aldwych farces, Rookery Nook has been regularly revived. It is a staple of repertory companies from Dundee to Wolverhampton, Colchester and Oxford, "Scottish Theatre Programmes", National Library of Scotland; "Theatre Performances: 1954 – 1955", Leonard Rossiter; "Programme for Colchester Repertory Company's production of 'Rookery Nook' by Ben Travers", Essex Record Office; and "Playhouse People", Oxford Playhouse; all accessed 3 March 2013 and has been revived in four productions in the West End."St Martin's Theatre", The Times, 25 May 1942, p. 8; Lewsen, Charles.

Born in Council Grove in Morris County in east central Kansas, Harvey began his acting career by performing on radio and in tent shows and repertory companies with his wife, the former Eugenia (Jean) Bartness (1900–1966), who was eleven years his senior. In Hollywood, he co- starred on a radio program with Hedda Hopper. In 1949, he contracted with Columbia Pictures and played in the serials, The Adventures of Sir Galahad and Batman and Robin (both 1949), and Atom Man vs. Superman (1950).

She began her acting career with touring repertory companies in 1946, changing her name to Katherine Brant. After she married John Staff in 1951, she adopted the surname as her stage name, hence Kathy Staff. She retired from the stage at this point to raise her family, but started working as an extra for Granada Television in Manchester in the 1960s. In her autobiography, Staff revealed herself to be a Conservative, and noted that she had once stood as an election candidate for the party.

After briefly trying stand-up comedy on Scotland's variety circuit post-World War II, and service with His Majesty's Armed Forces as a National Serviceman, after a period performing in song and dance, and comedy routines, in the English seaside towns along the South-East coast, he decided to become an actor, and took up a trainee position with the Perth Repertory Company in his early twenties, and went on to work with repertory companies in Oxford and Birmingham.Obituary for Angus Lennie, 'Daily Telegraph', 19 September 2014.

As the Vedrenne-Barker seasons closed with the Royal Court, new opportunities opened with the Duke of York's Theatre in 1910. This new opportunity reminded Granville-Barker of the need for more repertory companies. In 1904 he collaborated with William Archer to write a book that argued for a national theatre; unfortunately, it was a lost cause that became one of the biggest disappointments in his life. However, his efforts did not go to waste but added to the growth of the regional repertory movement in Britain.

Caplat was born in Herne Bay, Kent, the only child of Armand Charles Victor Roger Caplat, a French-born architect, and his wife, Norah Bessie, née Hingston. He was educated locally. When he was fifteen he saw a touring production of Twelfth Night by the Ben Greet company which made him stage-struck, and in 1933 he was accepted as a student at the Royal Academy of Dramatic Art, London. After graduation from the academy, Caplat acted in repertory companies at Margate and Croydon and toured with Matheson Lang.

Beginning her career in the repertory companies of Margate, Southsea and Bath, Kerridge made her West End debut in 1937 with Edgar Wallace's The Squeaker. She then based herself in Windsor, running the Theatre Royal and its in-house repertory company, whilst also directing and performing. During the Second World War she toured with Donald Wolfitt's travelling Shakespearean company. After the war she appeared in a number of West End productions under her husband's direction, amongst them Tyrone Guthrie's only play as a writer (Top Of The Ladder at the St James' theatre in 1950).

In December it was renamed "The New Palace" and a small annexe at the back of the stage was built to facilitate projection for cinema. In the interwar period the theatre mainly presented touring ballet and repertory companies. The theatre and its business continued through World War II, however there were some financial troubles and a period of closure, and a number of companies held the lease of the theatre thereafter. In 1957 the Palace Theatre Club was created with the intention to protect the interests of the theatre and raise funds for it.

Born in Derby, Derbyshire, England, Dexter left school at the age of fourteen to serve in the British Army during the Second World War. Following the war, he began working as a stage actor before turning to producing and directing shows for repertory companies. In 1957, he was appointed Associate Director of the English Stage Company. Dexter's first great success was his production of Roots, in 1959, which brought Dame Joan Plowright to prominence. He went on to direct Toys in the Attic (with Dame Wendy Hiller, 1960) and Saint Joan (1963).

As an actress, Janet Noble worked with repertory companies around the US and at off-off-Broadway venues in NYC. (One of her favorite roles was as The Moon in The Grand Tarot with Charles Ludlam's Ridiculous Theatrical Company.) From 1981-1985, she studied playwriting at the Ensemble Studio Theater with Curt Dempster. Two of her one- acts, Mr. Nice Guy (1983) and Disappearing Blues (1984) were included in EST’s Octoberfests of New Plays. For ten years she was involved with The Irish Arts Center as an actress, director and playwright.

She also studied at Tennessee colleges in Pulaski and Columbia, where her participation in campus theater groups fostered a growing passion for drama. Her parents soon sent her to Europe in hopes of diminishing her interest in theater; yet, Elizabeth's determination to become an actress was only reinforced during those travels, especially in Paris, where she attended productions of the Comédie Française. After returning from Europe, Patterson used money from a small inheritance to move to Chicago. There she joined a theatrical troupe and subsequently toured with repertory companies.

Alfred Arthur Hinchcliffe Denville (27 January 1876 – 23 March 1955) was an English actor, theatre impresario and Conservative Party politician. Denville, an actor by trade, ran one of the UK's leading repertory companies. In 1924 Denville founded Denville Hall, a retirement home for actors in Northwood, London that is still in operation.Obituary of Joan Hirst As a politician Denville was elected as the Member of Parliament (MP) for Newcastle upon Tyne Central seat from Sir Charles Trevelyan in the 1931 general election and held the seat until he was defeated in 1945.

Born in Paisley, Renfrewshire, McIntosh grew up in Edinburgh, where she attended Boroughmuir High School. She was a member of Edinburgh Youth Theatre in the late 1980s, appearing in Mother Goose and Doctor in the House. She moved to Glasgow to attend the Royal Scottish Academy of Music and Drama, after which she was in repertory companies at Perth and at The Little Theatre on the Isle of Mull. During the Second World War, McIntosh's grandfather was captured in Dunkirk and died of pneumonia in a German prisoner-of-war camp in Poland.

Born in Rochdale in 1910, Barrett worked in a family business there, and in the 1930s began working in the theatre. He started as an assistant stage manager, and at different times worked as an actor, stage manager, director and actor-manager. Before and during World War II he produced and acted in local productions in Rochdale. Following the war, he joined weekly repertory companies across England, working in places such as Birmingham, Rugby, Bexhill-on-Sea and Hastings in Sussex, Portsmouth in Hampshire, Bournemouth in Dorset, and Burnley in Lancashire.

Lowe made his debut at the Manchester Repertory Theatre in 1945, where he was paid £5 per week for twice-nightly performances."Arthur Lowe – The Proud Father", TV Times, 14–20 October 1978 He worked with various repertory companies around the country and became known for his character roles, which included parts in the West End musicals Call Me Madam, Pal Joey and The Pajama Game. An early brief film role was as a reporter for Tit-Bits magazine, near the end of Kind Hearts and Coronets (1949). Lowe married Joan Cooper (1922–1989) on 10 January 1948.

Capra stated that "Winston had disappeared".Title: The Name Above the Title: An Autobiography Author: Frank Capra Publisher: Da Capo Press, 1997 Back in the North East by 1946, Harold Winston started a "Theater of the Open Road". He sent out groups of six to eight actors in two repertory companies, both Equity and non-Equity, to New England and the Middle West. In 1957 he appeared on television as a guest star in the Hallmark Hall of Fame drama "The Lark", see: The Lark (play)(Season 6, Episode 4, List of Hallmark Hall of Fame episodes), playing the part of a promoter.

244 Bound by his own sense of duty, Frederic's only solace is that Mabel agrees to wait for him faithfully. Pirates was the fifth Gilbert and Sullivan collaboration and introduced the much-parodied "Major-General's Song". The opera was performed for over a century by the D'Oyly Carte Opera Company in Britain and by many other opera companies and repertory companies worldwide. Modernized productions include Joseph Papp's 1981 Broadway production, which ran for 787 performances, winning the Tony Award for Best Revival and the Drama Desk Award for Outstanding Musical, and spawning many imitations and a 1983 film adaptation.

Dyson was born into a wealthy Manchester family (she was given the middle name Noel because she was born two days before Christmas), and was educated at the prestigious Roedean School in Brighton. Following a period at a finishing school in Paris, she enrolled at the Royal Academy of Dramatic Art in London from which she graduated in 1938. Initially she performed in repertory companies around Britain, in Birmingham, Oxford and Windsor and elsewhere, before moving on to London's West End. During the Second World War Dyson temporarily ceased acting to become a Voluntary Aid Detachment nurse.

Audley made her first professional stage appearance in July 1940 at the Open Air Theatre in a walk-on role in a production of A Midsummer Night's Dream. From 1940 to 1942, Audley performed with repertory companies in Tonbridge, Maidenhead and Birmingham. She again performed at the Open Air Theatre in 1942 and 1943, appearing in such roles as Nerissa in The Merchant of Venice and Hippolyta in A Midsummer Night's Dream. After the Second World War, Audley toured with the Old Vic company in Arms and the Man and made her West End theatre debut in the 1948 musical Carissima.

As a step toward stimulating local theatres and decentralizing the American Theater from New York, Keith introduced a policy of utilizing community theatre groups. For two years, Mr. Keith presented outstanding repertory companies from throughout New England but the second season, after a gala opening night starring Mr. Keith and his wife in The Four-Poster, did not meet with great success and in 1956 he sold the theatre to Mrs. Aya Sholley. Mrs. Sholley appointed Emily Perry Bishop as resident director and brought in a small resident stock company to present a diverse program of dramas and matinees for children.

In 1948, Brough formed the theatre company "The Arthur Brough Players" with his young wife, Elizabeth, using their wedding cheques. It helped launch the careers of many prominent actors, including Peter Barkworth, Eric Lander, Polly James, Anne Stallybrass, and Trevor Bannister, who later portrayed Mr. Lucas in "Are You Being Served." Once the new Folkestone rep was established, Brough formed new repertory companies in Bradford, Bristol, Blackpool, Keighley, Leeds, Lincoln, Oxford and Southampton, to name a few. With the outbreak of World War II, Brough enlisted in the Royal Navy, where he served for the duration of the war.

"Peggy Mount: The last of the great British dramatic battleaxes", The Guardian, 14 November 2001 With Harry Hanson and his Hanson Court touring company her parts included the eccentric Dowager Queen in The Sleeping Prince. She stayed with the company for three years and then for six years she worked with a succession of provincial repertory companies, playing what The Times later called "a formidable gallery of mainly working-class roles". There were seasons in Colchester, Preston, Dundee, Wolverhampton, Liverpool, Birmingham and Worthing. In 1954 Mount made her film debut, in the small role of Mrs Larkin in The Embezzler.

He performed the title role in Othello numerous times, including in Montreal, Vermont, New York City, and Perth, Australia. When cast as a last- minute replacement for Stephen Kumalo, the lead in Lost in the Stars, he learned the entire role and music in only three days before opening night. He has played leading roles in New York City, regional and international theaters. He also performed with touring companies, as Young Dr. Martin Luther King, Jr., written by Alice Childress, and Josef K, a dramatization by Andre Gide and Jean-Barrault of Kafka's The Trial; and with repertory companies such as the American Shakespeare Festival in Stratford, Connecticut.

Bones joined the Marlowe Theatre in Canterbury in 1976, and with whom he played Ernst Ludwig in Cabaret, Mr Shanks in Habeas Corpus, Trofimov in The Cherry Orchard, Milo Tindal in Sleuth and Curly Delafield in Knuckle. In 1977 he toured with the Mermaid Theatre educational company 'The Molecule Club' teaching science to children. In 1978 Bones played Lucifer in the first modern revival of The Lincoln Mystery Cycle in Lincoln Cathedral. During 1978 he joined Southern Exchange Theatre Company, which was established by Charles Savage to provide regional theatre for civic theatres without resident repertory companies playing at the Wyvern Theatre in Swindon, the Hexagon in Reading and the Lighthouse in Poole.

The number of D'Oyly Carte repertory companies touring the provinces gradually declined until there was only one left, visiting often small centres of population. After the company visited South Africa in 1905, more than half a year elapsed with no professional productions of G&S; in the British Isles. During this period, Helen and Rupert focused their attention on the hotel side of the family interests, which were very profitable. In late 1906, Helen re- acquired the performing rights to the Gilbert and Sullivan operas from Gilbert (she already had those of Sullivan) and staged a repertory season at the Savoy Theatre, reviving the opera company and leasing the Savoy to herself.

After the war, Rix returned to the stage, forming his own theatre company in 1947 as an actor-manager, a career he was to pursue for the next 30 years. He ran repertory companies at Ilkley, Bridlington and Margate, and while at Bridlington, in 1949, he found the play that was to bring him notice – Reluctant Heroes, later adapted for a film version. In the same year, he became engaged to Elspet Gray, an actress in his company, and six months later they married. They were together, domestically and professionally, for 64 years, until her death in February 2013, appearing alongside each other in many of the television farces, a radio series and three of the theatre productions.

He was educated at Eton College and the Central School of Speech and Drama. As an actor, he started in repertory theatres all around the UK and went on to become a principal actor with the famous Old Vic Theatre Company in London and touring around the world. He went on to perform in national tours, including 18 months in Godspell for producer Cameron Mackintosh, and acted in television series and films both in the UK and the US. Later he turned to theatre and television directing. He directed in repertory companies all around the UK, culminating in directing the world premiere of Steve Brown's critically acclaimed musical, Elmer Gantry at the Festival Theatre, Chichester.

West End plays include The Female Odd Couple, Why Not Stay for Breakfast, The Male of the Species and the highly acclaimed one-woman play Our Kid (based on Myra Hindley). Sue Holderness at the Stevenage Christmas Lights Switch-on, 18 November 2010 Sue regularly appears in The Vagina Monologues and she is part of the cast of the touring play Seven Deadly Sins Four Deadly Sinners. She has toured the country in numerous plays and worked in several repertory companies. Much of Sue’s career has been spent doing Alan Ayckbourn plays, three of which (Relatively Speaking, Time and Time Again, and How the Other Half Loves) she toured with John Challis, who plays Boycie to Sue’s long-suffering Marlene in Only Fools And Horses.

Turman had his first prominent acting role at the age of 12 as Travis Younger in the original Broadway production of Lorraine Hansberry's classic A Raisin in the Sun, opposite Sidney Poitier, Ruby Dee, Claudia McNeil, Ivan Dixon, Louis Gossett Jr., Lonne Elder III, John Fiedler and Diana Sands. While he did not play the role when it transferred to film in 1961, Turman intensified his studies in high school. Upon graduation, he apprenticed in regional and repertory companies throughout the country, including Tyrone Guthrie's Repertory Theatre, in which he performed in late 1960s productions of Good Boys, Harper's Ferry, The Visit, and The House of Atreus. He made his Los Angeles stage debut in William Hanley’s Slow Dance on the Killing Ground.

In 1929, after performing with various repertory companies, he toured as Young Woodley in the play of that name. At the Gaiety Theatre in 1933 he played Paul in his own adaptation of Ballerina, which also toured the following year, and at the Criterion in 1936 he played the role of Oliver Nashwick in his own original play After October which transferred there from the Arts Theatre. In 1941, he co-wrote the screenplay for the film Temptation Harbour starring Robert Newton and Simone Simon. Two musical collaborations came in 1942 with his version of Blossom Time starring Richard Tauber as Franz Schubert at the Lyric Theatre, and his London Coliseum production of the musical play, The Belle of New York.

She is probably best known for playing the part of 'Lilo' Lill in Carla Lane's television comedy Bread in 1986-1991, and in 2004 she said: "I like it when someone says in a supermarket 'you know who you remind me of, don't take offence, that tart from Bread'." She was involved in the political theatre company Belt and Braces, but felt it provided too few roles for women so founded Bloomers and later Camouflage, writing several plays for the latter. She also worked with Irish companies Field Day, Charabanc and DubbelJoint, among many other touring and repertory companies. She has also appeared in such productions as Easter 2016 in the Play for Tomorrow series (1982), After You've Gone (1984), Far and Away (1992), and Wild About Harry, in 2000.

Danny Hoch, founder of the Hip-Hop Theater Festival, further defines it as such: "Hip-hop theatre must fit into the realm of theatrical performance, and it must be by, about and for the hip-hop generation, participants in hip-hop culture, or both." Hip-hop theater productions appear in a wide range of platforms including single performances, week-long festivals, and traveling repertory companies. Board Chair Of the historic Philadelphia Freedom Theater and producing Director Of The Devon Theater Of Mayfair Karl Dice Raw Jenkins is the leader in hiphop theater with multiple of Grammy nominations as a singer producer and Playwright, The Last Jimmy[The kümmel, Freedom Theater,Adrienne Arsht & La Grand performances have all presented Karl. Karl's other works include Box A Hiphop Musical telling the life of enslaved African American Henry Box Brown.

After graduation from RADA, he worked extensively in repertory companies as a Shakespearean actor throughout England and Scotland, making his London stage debut in R. F. Delderfield's Where There's A Will in 1955 and also appeared in the film adaptation that same year, his first film, and then Romeo and Juliet and Hamlet (1955). Having established himself, he also worked in Broadway theatre in New York City and in Australia. Woodward first appeared on Broadway in Rattle of a Simple Man (1963) and the musical comedy High Spirits (1964–1965), which won three Tony Awards, followed by the 1966 comedy The Best Laid Plans. In 1970, after Woodward played Sidney Carton in the West End musical "Two Cities" based on Dickens's novel, Laurence Olivier invited him to choose his own role in the Royal National Theatre, and he chose Cyrano de Bergerac (1971).

John Pielmeier at the Pennsylvania Center for the Book He began his career as an actor, working with such repertory companies as Actors Theater of Louisville and the Guthrie Theater. In 1976, Pielmeier's first play, A Chosen Room, was produced in Minneapolis. Three years later, Agnes of God was performed in a staged reading at the O'Neill National Playwrights' Conference in Waterford, Connecticut and won the 1979 Great American Play Contest. A full production was mounted for the Humana Festival of New American Plays at the Actors Theatre of Louisville in 1980, and the Broadway production opened in March 1982 at the Music Box Theatre, where it ran for 599 performances.Agnes of God at the Internet Broadway Database His screenplay for the 1985 screen adaptation earned him a nomination for the Writers Guild of America Award for Best Screenplay Based on Material from Another Medium.

In 1979, after thrice refusing, Newton accepted an appointment as artistic director of the Shaw Festival. During his tenure, Newton continued the work to expand and enrich the Shaw Festival repertory company, turning it into one of the finest repertory companies in the world. He is acknowledged to be the finest and most inspirational Canadian theatre director of the 20th and 21st century due to his sensitive and enlightened handling of both plays and actors. Newton directed a number of critically acclaimed productions, including George Bernard Shaw's Caesar and Cleopatra (1983), Heartbreak House (1985), Major Barbara (1987), Man and Superman (1989), Misalliance (1990), Pygmalion (1992), Candida (1993) and You Never Can Tell (1995), as well as Henry Arthur Jones's The Silver King, William Gillette's Sherlock Holmes, Harold Brighouse's Hobson's Choice, Oscar Wilde's Lady Windermere's Fan, J.M. Barrie's Peter Pan, St. John Hankin's The Return of the Prodigal, and Noël Coward's Cavalcade.

His interest in early modern dance led to guest appearances with repertory companies in the works of Isadora Duncan, Doris Humphrey and Anna Sokolow. His early work Schubert: Lieder (1991) and his epic solo Sand to Chopin (1993) might owe influences to José Limón, but an independent signature was visible early on, since Rübsam was able to create melodic lines in movement that conversed with the music rather than mirrored it. Rübsam appeared as a guest dancer with a myriad of contemporary choreographers and used his own company as a laboratory for ideas that ranged from setting biblical stories to live accompaniment of a 27-member choir at St. Mark's Church in Carissimi's "Jephte" (and setting an attendance record for the venue) to visceral movement experimentation in an evolutionary safari named "Dolphins and Antelopes" (1996). For the latter as well as future works "Moonpaths" (1998), "Dinner is West" (2005) and "Tenancy" (2011) he commissioned music scores by fellow Juilliard graduate Beata Moon.

Howard Kyle as Nathan Hale Kyle's debuted as Guildenstern and the Second Grave Digger in Shakespeare's Hamlet at the Meyer's Opera House in Janesville, Wisconsin, on September 10, 1884. He spent the following twelve seasons in tours with a number of large classical repertory companies and made his first appearance in New York in 1887 at the Windsor Theatre as Lucius in the James Sheridan Knowles play Virginius. During the mid-1890s Kyle played leading man roles with stock companies in Salt Lake City, Pittsburg and San Francisco. In late 1897 Kyle began a two-year run at the Manhattan Theatre and national tour of the Grismer and Parker pastoral play Way Down East, playing David Bartlett to Phoebe Davies' Anna Moore. During the season of 1900/01 he played the title role in a successful tour of the Clyde Fitch romantic drama Nathan Hale, with co-star Nanette Comstock as Alice Adams. Kyle was Sir Jasper Thorndyke, the lead character in a 1904 tour of Louis Parker's four-act comedy, Rosemary, and the next year played the title role in a tour of Louis Shipman's adaptation of the Frederic Remington western, John Ermine of the Yellowstone.

In addition to reminiscences, picture books and music books by performers, conductors and others connected with, or simply about, the D'Oyly Carte Opera Company, the Light Opera of Manhattan, the J. C. Williamson Gilbert and Sullivan Opera Company and other Gilbert and Sullivan repertory companies,"The Gilbert and Sullivan Library", the Gilbert and Sullivan Archive, 3 September 2011, accessed 31 August 2020; and Bradley (2005), chapters 1 and 8 numerous fictional works have been written using the G&S; operas as background or imagining the lives of historical or fictional G&S; performers.See Dillard, passim, listing hundreds of books, both fiction and non-fiction, about G&S; or based on G&S.; Recent examples include Cynthia Morey's novel about an amateur Gilbert and Sullivan company, A World That's All Our Own (2006);Morey, Cynthia. A World That's All Our Own, Rothersthorpe: Paragon Publishing (2006) Bernard Lockett's Here's a State of Things (2007), a historical novel that intertwines the lives of two sets of London characters, a hundred years apart, but both connected with the Gilbert and Sullivan operas;Lockett (2007) and The Last Moriarty (2015) by Charles Veley, about an actress from D'Oyly Carte who seeks the help of Sherlock Holmes.