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Join members of the cast and company of The Score, for a session that looks at the role of the artist in a volatile political climate. The Score, currently playing at the Theatre Royal Haymarket, tells the story of a clash between JS Bach and Frederick the Great, in 18th century Prussia. In this Creative Conversation, we will look at a selection of plays that examine the tension between artists and dictators, and the contemporary resonance of those issues…
Cast members of The Score will read extracts from four texts (The Score, Collaboration, Taking Sides and Master Class), all of which consider the question of artistic integrity versus political expediency. They will open up the floor for a discussion of the texts, the challenges or opportunities in staging them, and any pertinent questions that arise about the limits on artistic expression.
This is a chance to be ‘part of the rehearsal room’ with a company of actors interrogating the text, investigating themes, discussing creative choices, questioning what it means to be an artist in a climate of oppression, and asking ‘what can we do?’.
If you’d like to read the excerpts ahead of the session, click here.
AFTERCLASS: There will be an Afterclass taking place immediately after this Masterclass, for a chance to connect and meet your community over a drink in the Stalls Bar.
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CORDELIA MONSEY
Cordelia Monsey is Associate Director to Trevor Nunn on The Score. Further credits as Associate Director to Trevor Nunn include: Nicholas Nickleby and The Tempest (Theatre Royal Haymarket). Credits as Associate Director to Peter Hall include: Henry IV Part II and Waiting for Godot (Theatre Royal Bath). Cordelia also directed a production of Athol Fugard’s Victory at Theatre Royal Bath. She also works frequently on drama school productions including at RADA and Oxford School of Drama.
NICOLE ANSARI-COX
Theatre credits include: Rock ‘n’ Roll (original cast – Royal Court / West End / Broadway); Women who Blow on Knots (Arcola); Sinners (Playground Theatre); 7 Minutes (Waterwell at HERE Arts, NY); Tartuffe (Molière in the Park, NY); Daybreak (Theater Row, NY); I Am Antigone (Theater for the New City, NY); Shakespeare’s Sister (La Mama and French tour); The Lower Depth (Ovation Award nominee – Odeon Theatre, LA); Hamlet (Mirror Theater); The Approach (Shakespeare and Company); Sinners (New Rep at BU, Boston); She/Her (also writer/director – Assembly Rooms, Edinburgh Fringe Festival); Romy, Me… (co-writer), Irma La Douce, Much Ado About Nothing, Cyrano de Bergerac, Phèdre (Public Theatre, Vienna); Alma (Wiener Festwochen and Palazzo Zenobio, Venice); two years as a company member of the famed Théâtre du Soleil under Ariane Mnouchkine (Paris and on tour); two years repertory with Theatre am Neumarkt (Zurich). Film credits include: Glenrothan; Under the Sun; As I Am; What a Feeling; Land of Dreams; Son of the South; Making the Day; Remember Me; and Sonderbergh’s Side Effects. Television credits include: Law & Order (NBC); Succession (HBO); Deadwood (HBO); FBI (CBS); Hit and Run (Netflix); The Blacklist (NBC); The Mysteries of Laura (NBC).
STEPHEN HAGAN
Stephen trained at LAMDA. Theatre credits include: Cyrano de Bergerac (Chichester Festival Theatre); Dessert (Southwark Playhouse); Twelfth Night, The Comedy of Errors, The Tempest, Troilus and Cressida (RSC); The Giant (Hampstead Theatre); The York Realist (Riverside Studios). Television credits include: You (Netflix); Stan Lee’s Lucky Man (Sky); Medici (Netflix).
CHRISTOPHER STAINES
Christopher trained at Bristol Old Vic Theatre School and subsequently with Philippe Gaulier in Paris. Theatre credits include: Abigail’s Party (Queen’s Theatre Hornchurch); Our Town (Almeida Theatre); The Philanderer (Orange Tree); Dr Faustus (Rose Theatre, Bankside); The Great Gatsby (Arts Theatre); Playing for Time (Sheffield Theatres); The Tempest (Royal Shakespeare Company); She Stoops to Conquer (National Theatre); Gross Indecency – The Three Trials of Oscar Wilde (Gielgud Theatre); The Music Man (Regent’s Park Open Air Theatre); Cabaret (Donmar Warehouse). Film credits include: Impossible Planet and Mrs Dalloway. Television credits include: The Crown (Netflix); Silent Witness (BBC); Quiz (ITV); Pride and Prejudice (BBC).
TOBY WEBSTER
Theatre credits include: The Provoked Wife, Venice Preserved, Bottoms Up (RSC); Shakespeare in Love (Theatre Royal Bath); Macbeth (Infinite Jest); London Road (Bristol Old Vic). Film credits include: London Road. Television credits include: Doctors (BBC); Breaking the Band (ITV).
MATTHEW ROMAIN
Matthew trained at Bristol Old Vic Theatre School and studied at the University of Glasgow. Theatre credits include: The Grapes of Wrath (National Theatre); The Recruiting Officer (Donmar Warehouse); Hamlet (World Tour – Shakespeare’s Globe); Pride and Prejudice (Nottingham Playhouse / York Theatre Royal). Television includes: World on Fire (BBC); Sherlock (BBC). Film includes: The War Below; Blue Iguana.
REBECCA THORNHILL
Rebecca trained at the Arts Educational School, London. Theatre credits include: Gypsy (UK Theatre Award nominee – Mill at Sonning); Girl from the North Country (UK / Ireland tour); Matilda the Musical (Cambridge Theatre); From Here to Eternity (Shaftesbury Theatre); Mary Poppins (Prince Edward Theatre / US tour); Chicago (Adelphi Theatre); Ragtime (Piccadilly Theatre); The Full Monty (Prince of Wales Theatre); The Witches of Eastwick (Prince of Wales Theatre / UK tour); Les Miserables (Denmark / UK tour); Oklahoma! (National Theatre / Lyceum); Show Boat (Royal Albert Hall); Showstopper (Jermyn Street Theatre / UK tour); Playing Away (Lilian Bayliss); Beauty and the Beast (Dominion Theatre); Cats (New London Theatre); Sophisticated Ladies (Royal Globe); She Loves Me (Savoy Theatre); Me and My Girl (tour); Singing in the Rain (Olivier Award nomination – National Theatre); Hairspray (UK tour); Top Hat (UK tour); South Pacific (UK tour); Noises Off (Westcliff); Guys and Dolls (Leicester); Aspects of Love (Ipswich). Film credits include: From Here to Eternity; The Magic Key. Television credits include: The Bill (ITV); Eastenders (BBC).