Spring Awakening
National Theatre. Costumes by Deirdre Clancy
Cast & Crew
Cast
Unknown | Martin Bax |
---|---|
Dieter | Rupert Frazer |
Dr Lemonade | Daniel Thorndike |
Dr Procrustes | Alan Hay |
Dr Procrustes; Fastcrawler | Alan Hay |
Ernst Robel | Gerard Ryder |
Fastcrawler | Alan Hay |
Frau Bergmann | Beryl Reid |
Frau Gabor | Susan Engel |
Friend Zieg | Glyn Grain |
Gaston | Bryan Brown |
Georg Zirschnitz | Keith Skinner |
Georg Zirschnitz; U/S Ernst Robel | Keith Skinner |
Hanschen Rilow | Dai Bradley |
Hãnshen Rilow | Dai Bradley |
Headmaster Sunstroke | William Squire |
Helmut | Glyn Grain |
Helmut, Friend Zieg | Glyn Grain
(credited as Glynn Grain) |
Herr Gabor | Joseph O’Conor |
Herr Stiefel | James Mellor |
Ilse | Patti Love |
Ina Muller | Judith Paris |
Lammermeier | Christopher Guard |
Locksmith | Pitt Wilkinson |
Martha Bessel | Jane Carr |
Melchior Gabor | Peter Firth |
Moritz Stiefel | Michael Kitchen |
Otto | David Dixon |
Professor Apelard | Colin Fay |
Professor Bonebreaker | Alex McCrindle |
Professor Flyswatter | Peter Needham |
Professor Gutgrinder | Kenneth Benda |
Professor Thickstick | Kenneth Mackintosh |
Professor Tonguetwister | Stephen Williams |
Professor Tonguetwister | Stephen Williams |
Reinhold | Ian Mackenzie |
Reinhold; U/S Georg Zeichnitz | Ian Mackenzie |
Reverend Baldbelly | Pitt Wilkinson |
Reverend Baldbelly; Locksmith | Pitt Wilkinson |
Robert | Martin Howells |
Rupert | James Smith |
The Masked Man | Cyril Cusack |
Thea | Jenny Agutter |
Uncle Probst | Peter Rocca |
Wendla Bergmann | Veronica Quilligan |
Crew | |
Composer | Marc Wilkinson |
Costumes | Deirdre Clancy |
Designer | Geoffrey Scott |
Director | Bill Bryden |
Fencing | William Hobbs |
Lighting | Andy Phillips |
Photographer | John Haynes |
Staff director | Kenneth Mackintosh |
Translator | Edward Bond |
- Observations (2)
- Source: University of Bristol Theatre Collection
- Last modified by Jared William.
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Photographs
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Observations
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The play was controversial at the time and featured two actors at least who became household names, Dai Bradley and Michael Kitchen. I found the production at the Old Vic overwrought and confusing with an extraordinary large cast which made it hard to follow. At the end of the day, as a dramatic work, I thought it better suited to a smaller theatre or playhouse. The programme is quite interesting with a good deal of allusion, poetic and “highflying”, showing that the production team were inspired. For me at least, this was only partly translated into dramatic success.
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I have been on a hunt for more information on the 28May 1974 Brochure as there is absolutely no copy of the one I own. It has an amazing male nude on the cover, and tipped in are correction to Bond´s poem, two copies of the free cast list, and a slip concerning change of cast due to “the indisposition of Gerard Ryder”.
Even more extraordinary is a cutting from the Daily Telegraph how an offer for cut price school trips for “sex play” was rejected. The discussion in this cutting is hugely illuminating with Peter Hall saying that the “ play was unsuitable for children but this is not taken to mean youths or girls of 16”. How the defintion of childhood moves over time and the parameters are even more confusing in my opinion in 2024.
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