Press Release: “After a sold out run and two sold out extensions in 2018, Award Winning Actor, Bob Nasmith is back, tackling Samuel Beckett for a remount of Singing Swan and VideoCabaret’s critically acclaimed production of Krapp’s Last Tape October 4-21 at Theatre Passe Muraille Backspace.
On his birthday, Krapp records a reel-to-reel tape of annual reminiscences, and forces himself to review a long life and face the diminishing future. Beckett’s rare mix of humour and tragedy are incarnated by iconic Canadian actor Bob Nasmith, founding member of VideoCabaret, Emeritus Board Member of Theatre Passe Muraille and recent recipient of the Toronto Theatre Critics Lifetime Achievement Award.”
“This skillful demonstration of the disease known as being alive, as diagnosed by a master playwright, is one I would recommend to any actor, student of literature or fan of tragedy and comedy. [Bill Irwin’s] On Beckett, which was conceived and staged by Mr. Irwin as an (almost) one-man show, carefully peels back the skin on an actor’s fascination with, and interpretation of, its title subject.”
The Samuel Beckett Society is sad to learn of the death of French literary critic Pascale Casanova, familiar to many Beckett scholars as the author of Samuel Beckett: Anatomy of a Literary Revolution. Our thoughts are with her family during this difficult period.
To find out more about the production, which stars veteran Beckett actor and interpreter Barry McGovern, visit the Melbourne International Arts Festival website. The production will run from 4-13 October 2018.
The Samuel Beckett Society is pleased to offer 4 travel bursaries of the value of £300 each to Early Career Researchers wishing to attend the annual conference in Mexico City in November 2018.
‘Early Career Researcher’ describes any scholar of any nationality not yet holding a permanent salaried position. Your contribution must have already been accepted by the Conference Organisers.
Please send a 400-word description of your contribution to firstname.lastname@example.org by 5 September 2018. An anonymous committee of Beckett scholars will rank the proposals and the Society will get back to you via e-mail by 11 September 2018.
“Based on the famous play by Samuel Beckett, Fin de Partie is the first opera written by 91-year-old György Kurtág, one of the world’s greatest living composers. This production also marks Pierre Audi’s directorial debut at La Scala in Milan.”
The Samuel Beckett Society is sad to learn of the death of British publisher John Calder, a strong supporter of Beckett’s writing and a close personal friend. Our thoughts are with his family during this difficult time.
The Society welcomes tributes and recollections of Calder from friends, family, fans, and well-wishers, for publication in the official newsletter, The Beckett Circle. If you would like to share your own tribute, please get in touch using the form. Thank you.
“World Premiere of The Old Tune directed by Conall Morrison (whose Woyzeck in Winter received rave reviews in Galway and London last year) and starring two iconic Irish actors, Barry McGovern and Eamon Morrisey, is a rare opportunity to see two of Ireland’s finest theatre actors performing on stage together.”
“This latest Godot is part of the Happy Days: International Beckett Festival, now in its sixth edition, which shares August with the somewhat newer Lughnasa Frielfest, dedicated to another famous Irish playwright and located further up the Brexit frontline, at venues in Derry and Donegal. ” Frank McNally, The Irish Times
“On Morton Feldman and his work with Beckett how is Neither for you distinct from Words and Music in terms of tone and mood?
Liam Browne: Neither was written for a solo high soprano voice and the text is stretched across a one hour-long period making the text indistinct whereas every word in Words and Music is accounted for and is spoken rather than sung. Different genres of course, one is prose/short story and the other a play. Beckett didn’t approve of one genre being transferred into another which is why in our rendering of neither on bespoke billboards we are treating the billboards as the page.”
Read the full Q&A with Liam Browne over at marlbank