2LUCK CONCEPTS

hi-res downloads

admin — Thu, 14 Feb 2013 01:22:10 +0000

[Show as slideshow]

Ayckbourn Originals

admin — Tue, 08 Jan 2013 14:46:07 +0000

Ayckbourn Originals (Download PDF)

The Queen’s Company

admin — Tue, 08 Jan 2013 14:42:01 +0000

The Queen’s Company

Joyful. Bold. Sexy. Funny. Elegant. Explosive. Riveting.

Available for touring Spring 2014

“This madly funny production made me laugh so hard I thought I’d crack’d a rib…If I had my way, The Feign’d Courtesans would have moved uptown and run for at least a year…The good news is The Queen’s Company will be presenting Antony and Cleopatra, and I wouldn’t miss it for the world. Bearded or barefaced, these ladies act up a storm.” Terry Teachout, The Washington Post

“This gender-bending romp through Shakespeare’s classic is one of the best productions of the bard I’ve seen this side of the Atlantic.” Rachel Brody, The British Theatre Guide on Twelfth Night

“Never did we have a raunchier or more spirited production of The Taming of the Shrew…this is a remarkable interpretation of Shakespeare’s timeless comedy.” Irene Backalenick, Backstage

“The Queen’s Company deserves the following it has established. It is refreshing to see a company willing to take risks and committed to its vision…The company is set to take on Shakespeare’s Much Ado About Nothing this fall. Make plans now, as you don’t want to miss any chance to see these amazing women in action.” Christopher Byrne, Gay City News

The Queen’s Company weds a love of language to a love of life, weaving inspiration from history and world cultures into the fabric of our classical productions, celebrating the poly-cultural American voice. Our work is known for its exquisite use of language, bold physicality, creative storytelling and artistic playfulness.

“There is a place in classical theatre for more female actors. We have a wealth of untapped talent. Giving classically trained female actors the opportunity to play male roles opens up a diversity of voices and insights, enriching our understanding and enjoyment of classical plays. There are reasons why Shakespeare is the most produced playwright in America. His characters defy our traditional ideas of ethnicity and gender, and call for a diversity of experience that transcends our current casting practices. We can only hope that other theatres will follow our lead in giving more stage time to our female actors in a wider range of roles.” – Rebecca Patterson, Artistic Director

TQC advocates for non-traditional gender casting in classical theatre, either through all-female casts or mixed cross-gender casting. The critical success and popularity of the productions proves that audiences and artists are ready for change in traditional casting practices.

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Sir Patient Fancy – by Aphra Behn

Written in 1678 by Aphra Behn, England’s first professional female playwright, Sir Patient Fancy is a stellar example of the early Restoration Comedy of Intrigue. The Queen’s Company past productions of Aphra Behn’s work have been a hit with NYC audiences, resonating across the ages in their frank treatment of female aspirations, money and sexuality.

Smart, raunchy, witty and surprisingly sincere, Sir Patient Fancy is one of the great undiscovered treasures of classical theatre.

Sir Patient Fancy is a wildly entertaining Restoration romp through the adventures of two young women determined to defy their parent’s marriage plans and marry the boys they adore.

Amorous fops, lusty widows, mistaken beds and narrow escapes are some of the many delights packed into this exciting ride through the backstreets and bedrooms of London’s wild and wooly past.

Aphra Behn

Very little is known about the life of Aphra Behn. What we do know is she was born in 1640 near Canterbury to parents of modest means, travelled to Surinam and back, was married and widowed, and spent time in Antwerp working as a spy for King Charles II before ending up in debtor’s prison when the King refused to pay her wages.

Once freed, she began her prolific writing career, becoming one of the most successful and popular playwrights of the early Restoration. She died in 1689 and was buried in Westminster Abbey. Unfortunately her work fell out of favor during the intervening years of Victorian prudishness and misogyny, thankfully we can now again enjoy the power of her plays to speak to and entertain our modern age.

In her 1928 essay, A Room Of One’s Own, Virginia Woolf wrote:

“All women together ought to let flowers fall upon the tomb of Aphra Behn which is, most scandalously but rather appropriately, in Westminster Abbey, for it was she who earned them the right to speak their minds. It is she – shady and amorous as she was – who makes it not quite fantastic for me to say to you tonight: earn five hundred a year by your wits.”

Media

admin — Thu, 03 Jan 2013 03:24:08 +0000

The EarFilms Experience from EarFilms on Vimeo.

EarFilms

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“An EarFilm is a film for the ears and the imagination”

In a world devastated by floods, where only one habitable city remains, one company owns and controls everything. Here, inhabitants are not allowed to dream, forced to sleep on state issued beds that wake them as soon as they enter REM sleep. Dreams have become the ultimate commodity, packaged up as holidays and sold to the select few. We follow Jack Richards – a middle aged, overweight, giant lost in the system. He is a man who, like many others, remembers nothing of his past until one day he finds a photo of his family and a strange world begins to open up to him. Haunting and magical, To Sleep To Dream is a story of hope in darkness, of the power of the dreamer and the need to find a family wherever you are.

About EarFilms

EarFilms is a unique company that produces films purely using audio, creating cutting-edge cinematic experiences that allow the listener’s imagination to play an equal part in the journey. They fuse 3 key components, live story-telling, 3D sound and a cinematic musical score. In addition the audience members are blindfolded to focus their senses. The over-arching vision is to create an experience that truly unlocks the listener’s imagination & takes it to new levels. EarFilms breathes new life into the tradition of storytelling, turning it into a hyper-real experience and providing an antidote to a World which is fast being taken-over by screens.

Press

“Filmmakers are only ever projecting their own imaginations. EarFilms allows the viewer to use their own. Yes, the attendees are actually blindfolded as they experience cinematic storytelling with 3D sound to create a minds-eye movie all of their own.” Source Magazine

“Daniel Marcus Clark brought the hushed closeness of a campfire to a lively 300-seater theatre by the simple act of asking us to put on blindfolds.” The Guardian

Audience

“The imagery that was conjured up – effortless, like dreaming” “Incredible, beautiful and fascinating”
“Like making a movie that you can walk about and control what you see”

To Sleep To Dream (PDF)

Pageant

admin — Sat, 22 Dec 2012 22:48:49 +0000

CoisCeim Pageant PDF Download

Swimming with my Mother

admin — Sat, 22 Dec 2012 21:12:35 +0000

CoisCeim Dance Theatre Presents: Swimming with my Mother (PDF)

Technical Rider

admin — Tue, 20 Mar 2012 15:10:10 +0000

DESH Technical Rider (click for PDF, updated Nov 2012)

VERTICAL ROAD US TOUR

admin — Tue, 20 Mar 2012 15:04:39 +0000

VERTICAL ROAD US TOUR October 2012 5 & 6 –Royce Hall, UCLA Live, Los Angeles, CA 10 – Irvine Barclay Theatre, Irvine, CA 12 – Mondavi Center, UC Davis, CA 14 – Granada Theatre, Santa Barbara, CA 17 – Arlene Schnitzer Theatre, Portland, OR 20 – Byham Theatre, Pittsburgh, PA 23 & 24 – The Rose Theatre, Lincoln Center, New York, NY

DESH

admin — Sun, 18 Mar 2012 11:02:32 +0000

AKRAM KHAN WINS BEST NEW DANCE PRODUCTION AT THE OLIVIER AWARDS 2012 FOR DESH

Available for limited touring in North America 2013/14

“Desh is a masterpiece, the best thing that he has ever done” – The Observer

“the most urgent, beautiful and confident work of his career” – The Guardian *****

“DESH is as transporting a piece of dance as I have ever seen. The first full-length solo contemporary work by Akram Khan – it is also his best show yet: poignant, thrilling, magical, moving and, throughout its perfectly judged 80 minutes, utterly transfixing.” – The Telegraph

DESH, meaning homeland in Bengali, is a very personal work and to date it’s the most challenging and demanding of Khan’s project. Created after a year of intense research both in the UK and Bangladesh, and performed during the year Bangladesh celebrates 40 years of independence, DESH explores the idea of transformation of body, land, identity and memory, while examining the contradictions of Khan’s British-Asian identity. The artistic ambition for DESH is to produce a poetic and visual work that reflects the fragility, chaos and hope of the Bangladeshi society through Khan’s own body and voice. For this solo performance, he has teamed up with Oscar-winning Chinese visual artist Tim Yip (production designer for Crouching Tiger, Hidden Dragon), fellow Sadler’s Wells Associate Artist and lighting designer Michael Hulls, Indian writer and poet Karthika Nair and Olivier Award-winning composer Jocelyn Pook.

‘Those transparent Dacca gauzes known as woven air, running water, evening dew.’ (Agha Shahid Ali)

Akram Khan Company is supported by COLAS. Co-produced by MC2: Grenoble, Curve Leicester, Sadler’s Wells London, Théâtres de la Ville de Luxembourg, Concertgebouw Brugge