Premier's speech notes announcing funding for State Theatre Company and launching 1986 season (9/10/1985)

Premier's speech notes for launching State Theatre Company's Season Two, Playhouse - Friday, May 9, 1986.

Premier's notes for media launch of the State Theatre Company's 1985 season on the Playhouse Stage. "A voyage into the imagination", Shakespeare's Richard The Third, Peter Pan. (12/10/1984)

For Broadway audiences of the 1980s, the decade was perhaps most notable for the so-called “British invasion.” While concept musicals such as Nine and Stephen Sondheim's Sunday in the Park with George continued to be produced, several London hits came to New York. In addition to shows like Chess, Me and My Girl, and Les Miserables,the decade’s most successful composerAndrew Lloyd Webberwas also well represented by Cats, The Phantom of the Opera, Song & Dance, and Starlight Express. There were also many revivals (such as Show Boat and Gypsy), surprise hits (The Pirates of Penzance), huge hits (42nd Street), and notorious flops (Into the Light, Carrie, and Annie 2: Miss Hannigan's Revenge). In The Complete Book of 1980s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1980s. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Sid Caesar, Barry Manilow, Jackie Mason, and Shirley MacLaine. Each entry includes the following information Opening and closing dates Plot summaries Cast members Number of performances Names of all important personnel including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions. A treasure trove of information, The Complete Book of 1980s Broadway Musicals provides readers with a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

A series providing essential facts about resident acting companies in the United States spanning from 1749 through 1986. Information includes the company's location, history, personnel, and repertory,

Notes for Premier to launch State Theatre Company's 1984 program, (19/10/1983)

Irish Theatre in the Twenty-First Century is the first in-depth study of the subject. It analyses the ways in which theatre in Ireland has developed since the 1990s when emerging playwrights Martin McDonagh, Conor McPherson, and Enda Walsh turned against the tradition of lyrical eloquence with a harsh and broken dramatic language. Companies such as Blue Raincoat, the Corn Exchange, and Pan Pan pioneered an avant-garde dramaturgy that no longer privileged the playwright. This led to new styles of production of classic Irish works, including the plays of Synge, mounted in their entirety by Druid. The changed environment led to a re-imagining of past Irish history in the work of Rough Magic and ANU, plays by Owen McCafferty, Stacey Gregg, and David Ireland, dramatizing the legacy of the Troubles, and adaptations of Greek tragedy by Marina Carr and others reflecting the conditions of modern Ireland. From 2015, the movement #WakingTheFeminists led to a sharpened awareness of gender. While male playwrights showed a toxic masculinity on the stage, a generation of female dramatists including Carr, Gregg, and Nancy Harris gave voice to the experiences of women long suppressed in conservative Ireland. For three separate periods, 2006, 2016, 2020-2, the author served as one of the judges for the Irish Times Irish Theatre Awards, attending all new productions across the island of Ireland. This allowed him to provide the detailed overview of the 'state of play' of Irish theatre in each of those times which punctuate the book as one of its most innovative features. Drawing also on interviews with Ireland's leading theatre makers, Grene provides readers with a close-up understanding of Irish theatre in a period when Ireland became for the first time a fully modernized, secular, and multi-ethnic society.