That "Medea" was the London premiere of an Australian version of the play from the writer Kate Mulvany and director Anne-Louise Sarks.
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The playwright Matthew Whittet's portrait of teenagers on the fraught cusp of adulthood was first seen two summers ago at the Belvoir playhouse in Sydney, Australia, with a different cast but the same director, Anne-Louise Sarks.
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I was knocked out by the feral new take on Euripides' "Medea" that Ms. Sarks brought to London late in 2015, and, conceptually, there's nothing intrinsically awry with the idea behind "Seventeen," which is to have its six adolescents played by a cast of stage veterans who are around 70 in real life.
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Anne-Louise Sarks is an Australian theatre director, writer and actor.
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In her first year as Resident Director at Belvoir, Sarks directed an adaptation of Medea, which she co-wrote with Kate Mulvany. The production won five Sydney Theatre Awards, including in the category of Best Mainstage Production. Sarks had also worked, as assistant director and dramaturg, on another show nominated in that category, Thyestes. Sarks was nominated for a Helpmann Award for Best Direction, alongside other nominees Neil Armfield, Lee Lewis and Rosemary Myers.
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The two ships were locked together after the collision which forced Cutty Sarks jib boom into Worcesters fo'c's'le rails, snapping the boom before scraping along Worcesters starboard side. Cutty Sarks figurehead lost an arm in the process. Cutty Sark was anchored and towed to the Shadwell Basin where repairs were carried out by Green & Silley Weir Ltd. The damaged arm was recovered at Grays Thurrock and the figurehead was repaired.
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In 2015 Sarks directed Medea for The Gate Theatre, with a British cast. Michael Billington at The Guardian wrote that the production "genuinely makes us see an old play through new eyes", and described seeing the action from the point of view of Medea's children: "The brilliance of the idea is that it offers a wholly plausible picture of the way children react to domestic upheaval with a mixture of alarm and excitement." The Financial Times described it as "Gloriously fresh, and wise far beyond its years", and The Telegraph described it as "powerfully naturalistic", "thick with the tension of anticipation". In 2017 Sarks directed Seventeen at the Lyric Hammersmith, with a British cast.
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Cutty Sarks launch coincided with the opening of the Suez Canal to shipping. Her first trip encountered significant competition with steamships. The route from the Far East to London (and many other European ports) through the Suez Canal was shorter by about , compared to sailing round the Cape of Good Hope. The route round Africa is in excess of .
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Sarks and Mulvany won the Australian Writers Guild award for performance writing. The production was also nominated for a Helpmann Award for Best New Australian Work, while the script was nominated for the Nick Enright Prize for Playwriting, within the NSW Premier's Literary Awards, and the Victorian Premier's Prize for Drama. Sarks has made several shows for Belvoir, including Stories I Want to Tell You in Person, written by Lally Katz, which toured to New York; an adaptation of A Christmas Carol, co- written with Benedict Hardie; Nora, an adaptation of A Doll's House co-written with Kit Brookman; Elektra/Orestes, co-written with Jada Alberts, a retelling of the Electra myth; Seventeen by Matthew Whittet; Jasper Jones; and she directed a new adaptation by Melissa Reeves of An Enemy of the People, which The Conversation said "fizzes with contemporary relevance".
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Some of the request was fulfilled by new purchases by Regent Moray in October.Charles Thorpe McInnes, Accounts of the Treasurer of Scotland, vol. 12 (Edinburgh, 1970), p. 83. Servais, described in the accounts as "the Quenis grace chalmer child" made clothes, or supervised the making of clothes for Mary, especially linen shirts called "sarks" and also other items made of velvet.Charles Thorpe McInnes, Accounts of the Treasurer: 1566-1574, vol.
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Sarks became the second artistic director of The Hayloft Project in 2010, taking over from Simon Stone, and holding the post until 2013. In 2011 she was also Associate Artist at Belvoir and Director in Residence at Malthouse Theatre. In 2013 she was appointed Resident Director at Belvoir. In 2018, after the success of her production of Seventeen in London, she was appointed Artistic Director of the Lyric Ensemble at the Lyric Hammersmith.
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In 2010 she was dramaturg on Simon Stone's production of Thyestes. Also in 2010, she directed her first adaptation of a classic, a recurring feature of her work. The Nest, adapted from Maxim Gorky's The Philistines, was described by The Age as "a subtle, complex manifestation of what ensemble theatre can achieve... Those who thrilled to Hayloft's Thyestes won't be disappointed." In 2013 Sarks co-directed By Their Own Hands, a retelling of the Oedipus myth, with Hardie.
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Cutty Sarks well known race against Thermopylae took place in 1872, the two ships leaving Shanghai together on 18 June. Both ships were of similar size: length, beam and depths were within of each other. The Thermopylae had a slightly larger capacity: 991 compared to 963 (GRT) or 948 compared to 921 (net). Two weeks later Cutty Sark had built up a lead of some , but then lost her rudder in a heavy gale after passing through the Sunda Strait.
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Sarks studied acting at the Victorian College of the Arts. She began a professional acting career, appearing in plays for Melbourne Theatre Company, Malthouse Theatre and Belvoir, before beginning to direct. In 2009 she travelled to New York for a summer residency with Anne Bogart at Columbia University and directed her first show for independent theatre company The Hayloft Project, Yuri Wells, co-devised with Benedict Hardie, who starred. The production was shown in both Adelaide and Melbourne, and won awards.
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The ship was crewed by cadets, 15-year-old Robert Wyld steering the ship during the voyage. Cutty Sark and as training ships, 1938 At Greenhithe Cutty Sark acted as an auxiliary vessel to for sail training drill, but by 1950 she had become surplus to requirements. From February to October 1951 she was temporarily moved first for a refit and then to take part in the Festival of Britain at Deptford. On 30 January 1952, the 800-ton tanker collided with Cutty Sarks bow in the Thames.
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Michael Billington in The Guardian gave it four stars, and compared it with Dennis Potter's Blue Remembered Hills, writing: "The play wins one over by its sharp understanding of what it is like to be a confused, bewildered teenager." As Artistic Director of the Lyric Ensemble at the Lyric Hammersmith, Sarks directed Abandon in 2018. Also in 2018 she directed a Swiss production of Medea for Theater Basel. In 2019 she will direct Avalanche, adapted for the stage by Julia Leigh from Leigh's book of the same name, at the Barbican Centre.
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Stone resigned from his position in 2013, and was replaced by dual directors-in-residence Adena Jacobs and Anne-Louise Sarks. In 2015 Myers was succeeded as Artistic Director by Eamon Flack. In 2019 Belvoir collected an unprecedented thirteen Helpmann Awards, including Best Play, Best New Australian Work and Best Direction of a Play. In the same year actors in Belvoir productions collected Best Female Actor in a Play, Best Female Actor in a Supporting Role in a Play, Best Male Actor in a Play and Best Male Actor in a Supporting Role in a Play.
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For this she was awarded Production of the Year and Director of the Year at the Chapman Tripp Theatre Awards. Other theatre directing work includes the award-winning production of Hinepau, which House also co-adapted from Gavin Bishop's original book and toured both nationally and internationally, Neil La Bute's The Mercy Seat and Hui by longtime collaborator Mitch Tawhi Thomas that premiered at the Auckland Arts Festival in 2013. In 2016, House directed Auckland based theatre company Silo Theatre's production of Medea, a contemporary retelling of the Euripides myth created by Australian theatre-makers Kate Mulvany and Anne-Louise Sarks.
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He thought of going to Spain and taking Archdeacon with him. Mowbray explained his disappointment that his nephew's ward and marriage had passed from William Schaw to Laird of Easter Wemyss, but claimed not to have spoken against the king because of it, or to have criticised James VI for his reaction to the execution of Mary, Queen of Scots. Archdeacon had told them he had used a metaphor of sarks (shirts), coats, and skins about the king and his mother, which Mowbray denied.Calendar State Papers Scotland: 1597-1603, 13:2 (Edinburgh, 1969), pp. 1072-4.
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The Druids of Yamath, defeated in the previous volume, plot with the Sarks of Shembis and Tsargol to destroy their mutual enemy Thongor of Valkarth and restore their dominion. They resolve to have his beloved, Sumia of Patanga, abducted by assassin Zandar Zan, using her to lure Thongor into a trap. The scheme goes awry; Sumia falls into the sea from Zandar's airboat, and is rescued by exiled Rmoahal tribesman Shangoth, while Zandar himself, fleeing from the pursuing Thongor, crashes into a mountain. Fearing both dead, Thongor exits his own airboat to search for them, only to have Zandar, who has survived, steal it.
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