Secrets & Lies (film)
Secrets & Lies is a 1996 drama film written and directed by Mike Leigh. Led by an ensemble cast consisting of many Leigh regulars, it stars Marianne Jean-Baptiste as Hortense, a well-educated black middle-class London optometrist, adopted as a baby and has chosen to trace her family history – only to discover that her birth mother, played by Brenda Blethyn, is a working-class white woman with a dysfunctional family. Claire Rushbrook co-stars as Cynthia's other daughter Roxanne, while Timothy Spall and Phyllis Logan portray Cynthia's brother and sister-in-law, who have secrets of their own affecting their everyday family life; the film was one of the competitors for the Palme d'Or at the 1996 Cannes Film Festival, where it won three awards, including the Best Actress award for Blethyn and the Palme d'Or. Critically acclaimed, the film won numerous other awards, including the Goya Award for Best European Film and the LFCC Award for Film of the Year. At the 50th British Academy Film Awards, the film received seven nominations, winning both Best British Film and Best Original Screenplay.
It received five Academy Award nominations, while Blethyn won the Golden Globe Award for Best Actress in a Motion Picture – Drama for her portrayal. Hortense Cumberbatch, a successful black middle class optometrist in London, adopted as a child, has chosen to trace her family history after the death of her adoptive mother. After being warned by public officials about the troubles she could face by tracking her birth mother down, she continues her investigation and is baffled to learn that her birth mother is white. Hortense's birth mother, Cynthia Purley, is downwardly mobile, she lives with her other illegitimate daughter Roxanne, a street sweeper, with whom she has a fraught relationship. Both are frustrated with one another and getting on one another's nerves. Cynthia's younger brother Maurice is a successful photographer. Monica comes across as abrupt, but scenes reveal that she suffers from severe menstrual cramps and makes concerted efforts to placate matters and be contrite, she and Cynthia have never liked one another: Monica sees Cynthia as overly hysterical, while Cynthia suspects Monica of trying to turn Maurice against her.
Maurice and Cynthia only see each other, despite not living far from one another, but both look forward to celebrating Roxanne's 21st birthday. When Maurice pays a rare visit, Cynthia refers to Maurice affectionately as her little brother and asks him as she always does when he is going to shave, it is clear. Hortense rings Cynthia and starts talking about a baby called "Elizabeth Purley", born in 1968. Cynthia realises that Hortense is the daughter she gave up for adoption as a teenager and hangs up the phone. Hortense is still determined to find out more about her background, she manages to convince her to meet her. When they do, Cynthia feels that a grave mistake has been made. Hortense convinces Cynthia to have a cup of tea so that Cynthia can look at some documents concerning Hortense's birth. Cynthia remains convinced that Hortense is not her daughter until a memory surfaces and she begins to cry, stating that she is ashamed. Hortense wants to know who her father is, to which Cynthia refuses to answer.
Soon Hortense and Cynthia have struck up a friendship, somewhat noticed by Roxanne after seeing her mother going places but not knowing where, since Cynthia is secretive about it and is not in the habit of going out. Cynthia gives Hortense a late birthday gift and mentions to her Roxanne's upcoming birthday party. Cynthia asks Maurice. Cynthia relays this information to Hortense, who replies that, despite the likelihood of her feeling somewhat awkward, agrees to attend and pose as a colleague from work; the day of the party arrives and Monica makes an effort for everyone to feel welcome. Cynthia makes passive-aggressive remarks in passing about the high expenses of decorating a large house instead of concentrating on giving Maurice a child. Maurice tells Roxanne that she should be in college. Roxanne does not take this suggestion seriously. Everyone gathers for the barbecue and Maurice prepares the food. During the meal Hortense answers many questions which are put to her by the other guests. Hortense says.
Present at the party are Maurice's assistant Jane and Roxanne's boyfriend Paul. When Roxanne blows out her birthday candles Cynthia begins to act in an exceptionally nervous manner and states that Hortense is her daughter. Roxanne dismisses this claim and states. However, when Monica inadvertently confirms this as true, Roxanne is horrified and storms out of the house. Maurice attempts to pacify the situation by confronting Roxanne at a nearby bus stop, he attempts to convince her to speak to her mother. Cynthia apologises to her profusely and explains matters: she got pregnant at fifteen and her father sent her away due to feeling shame over her pregnancy. Cynthia accuses Monica of being selfish. Maurice reveals that Monica is physically incapable of having children before losing his temper and complaining that he has spent his whole life trying to make people happy yet those he loves most "hate each other's guts". After witnessing all this Hortense tries to leave but Maurice stops her, admiring her courage for trying to find her own past, although he
Stoke-on-Trent is a city and unitary authority area in Staffordshire, with an area of 36 square miles. Together with the neighbouring boroughs of Newcastle-under-Lyme and Staffordshire Moorlands, it is part of North Staffordshire. In 2016, the city had a population of 261,302. Stoke is polycentric, having been formed by the federation of six towns in 1910, it took its name from Stoke-upon-Trent where the main centre of government and the principal railway station in the district were located. Hanley is the primary commercial centre; the other four towns are Burslem, Tunstall and Fenton. Stoke-on-Trent is the home of the pottery industry in England and is known as the Potteries, with the local residents known as Potters. A industrial conurbation, it is now a centre for service industries and distribution centres; the name Stoke is taken from the town of Stoke-upon-Trent, the original ancient parish with other settlements being chapelries. Stoke derives from the Old English stoc, a word that at first meant little more than place, but which subsequently gained more specific – but divergent – connotations.
These variant meanings included dairy farm, secondary or dependent place or farm, summer pasture, crossing place, meeting place and place of worship. It is not known which of these was intended here, all are plausible; the most suggested interpretations derive from a crossing point on the Roman road that ran from present-day Derby to Chesterton or the early presence of a church, said to have been founded in 670 AD. Because Stoke was such a common name for a settlement, some kind of distinguishing affix was added in this case the name of the river; the motto of Stoke-on-Trent is Vis Unita Fortior which can be translated as: United Strength is Stronger, or Strength United is the More Powerful, or A United Force is Stronger. An early proposal for a federation took place in 1888, when an amendment was raised to the Local Government Bill which would have made the six towns into districts within a county of "Staffordshire Potteries", it was not until 1 April 1910. The county borough of Hanley, the municipal boroughs of Burslem and Stoke, together with the urban districts of Tunstall and Fenton now formed a single county borough of Stoke-on-Trent.
In 1919, the borough proposed to expand further and annex the neighbouring borough of Newcastle-under-Lyme and the Wolstanton United Urban District, both to the west of Stoke. This never took place, due to strong objections from Newcastle Corporation. A further attempt was made with the promotion of the Stoke-on-Trent Extension Bill. Wolstanton was instead added to Newcastle-under-Lyme in 1932. Although attempts to take Newcastle and Kidsgrove were never successful, the borough did expand in 1922, taking in Smallthorne Urban District and parts of other parishes from Stoke upon Trent Rural District; the borough was granted city status in 1925, with a Lord Mayor from 1928. When the county borough of Stoke-on-Trent applied for city status in 1925, citing its importance as the centre of the pottery industry, it was refused by the Home Office as it had fewer than 300,000 inhabitants; the decision was overturned, when a direct approach was made to King George V, who agreed that the borough ought to be a city.
The public announcement of the elevation to city status was made by the King during a visit to Stoke on 4 June 1925. The county borough was abolished in 1974, Stoke became a non-metropolitan district of Staffordshire, its status as a unitary authority was restored on 1 April 1997, although it remains part of the ceremonial county of Staffordshire. For Eurostat purposes it is a NUTS 3 region. Since the 17th century, the area has been exclusively known for its industrial-scale pottery manufacturing. Companies such as Royal Doulton, Dudson Ltd, Wedgwood and Baker & Co. were established and based there. The local abundance of coal and clay suitable for earthenware production led to the early development of the local pottery industry; the construction of the Trent and Mersey Canal enabled the import of china clay from Cornwall together with other materials and facilitated the production of creamware and bone china. Other production centres in Britain and worldwide had a considerable lead in the production of high quality wares.
Methodical and detailed research and experimentation, carried out over many years, nurtured the development of artistic talent throughout the local community and raised the profile of Staffordshire Potteries. This was spearheaded by one man, Josiah Wedgwood, who cut the first sod for the canal in 1766 and erected his Etruria Works that year. Wedgwood built upon the successes of earlier local potters such as his mentor Thomas Whieldon and along with scientists and engineers, raised the pottery business to a new level. Josiah Spode introduced bone china at Trent in 1796, Thomas Minton opened his manufactory. With the industry came a large number of notable 20th-century ceramic artists including Clarice Cliff, Susie Cooper, Charlotte Rhead, Frederick Hurten Rhead and Jabez Vodrey. North Staffordshire was a centre for coal mining; the first reports of coal mining in the area come from the 13th century. The Potteries Coalfield covers 100 square miles. Striking coal miners in the Hanley and Longton area ignited the nationwide 1842 General Strike and its associated Pottery Riots.
When coal mining was nationalised in 1947, about 20,000 men worke
Peter Hall (director)
Sir Peter Reginald Frederick Hall, CBE, was an English theatre and film director. His obituary in The Times declared him "the most important figure in British theatre for half a century" and on his death, a Royal National Theatre statement declared that Hall's "influence on the artistic life of Britain in the 20th century was unparalleled". In 1955 Hall introduced London audiences to the work of Samuel Beckett with the UK premiere of Waiting for Godot. Hall founded the Royal Shakespeare Company and went on to build an international reputation in theatre, opera and television, he was artistic director of Glyndebourne Festival Opera. He formed the Peter Hall Company and became founding director of the Rose Theatre, Kingston in 2003. Throughout his career, he was a tenacious champion of public funding for the arts. Peter Reginald Frederick Hall was born in Suffolk at Bury St Edmunds, the only son of Grace Florence and Reginald Edward Arthur Hall, his father was the family lived for some time at Great Shelford Station.
He won a scholarship to The Perse School in Cambridge. Before taking up a further scholarship to read English at St. Catharine's College, Hall did his National Service in Germany at the RAF Headquarters for Education in Bückeburg. Whilst studying at Cambridge he produced and acted in a number of plays, directing five in his final year and a further three for The Marlowe Society Summer Festival, he served on the University Amateur Dramatic Club committee before graduating in 1953. In the same year, Hall staged his first professional play, The Letter by W. Somerset Maugham, at The Theatre Royal Windsor. In 1954 and 1955, Hall was the director of the Oxford Playhouse where he directed several prominent young actors including Ronnie Barker and Billie Whitelaw. Eileen Atkins and Maggie Smith were part of the company as acting Assistants Stage Managers. From 1955–1957, Hall ran the Arts Theatre in London where he directed the English-language premiere of Waiting for Godot in 1955; the production's success transformed his career overnight and attracted the attention, among others, of Tennessee Williams, for whom he would direct the London premieres of Camino Real and Cat on a Hot Tin Roof, Harold Pinter.
Other productions at The Arts included the English language premiere of The Waltz of the Toreadors by Jean Anouilh. Hall made his debut at the Shakespeare Memorial Theatre in Stratford-upon-Avon in 1956 with Love's Labour's Lost: his productions there in the 1957–1959 seasons included Cymbeline with Peggy Ashcroft as Imogen, Coriolanus with Laurence Olivier and A Midsummer Night's Dream with Charles Laughton. In 1960, aged 29, Hall succeeded Glen Byam Shaw as director of the theatre, expanded operations to be all-year, founded the Royal Shakespeare Company to realise his vision of a resident ensemble of actors and designers producing both modern and classic texts, with a distinctive house style; the company not only played in Stratford but expanded into the Aldwych Theatre, its first London home. Hall's many productions for the RSC included Hamlet, The Government Inspector, the world premiere of Harold Pinter's The Homecoming and The Wars of the Roses adapted with John Barton from Shakespeare's history plays.
The latter was described as "the greatest Shakespearian event in living memory which laid down the doctrine of Shakespearian relevance to the modern world". Hall left the RSC in 1968 after ten years as its director. Hall was appointed director of the National Theatre in 1973 and led the organisation for fifteen years until 1988, he supervised the move from the Old Vic to the new purpose-built complex on London's South Bank "in the face of wide-spread scepticism and violent union unrest, turning a potential catastrophe into the great success story it remains today." Frustrated by construction delays, Hall decided to move the company into the still-unfinished building and to open it theatre by theatre as each neared completion. Extracts from his production of Tamburlaine the Great with Albert Finney were performed out on the terraces, free to passers-by. Hall directed thirty-three productions for the NT including the world premieres of Harold Pinter's No Man's Land and Betrayal, Peter Shaffer's Amadeus, the London and Broadway premieres of Alan Ayckbourn's Bedroom Farce.
Other landmark productions included The Oresteia which became the first Greek play to be performed by a foreign company at the ancient theatre of Epidaurus. Hall returned to the NT for the last time in 2011 with a production of Twelfth Night mounted by the company to celebrate his eightieth birthday, his daughter, Rebecca Hall, played Viola. Upon leaving the NT in 1988, Hall launched his own commercial company with productions in the West End and on Broadway of Tennessee Williams' Orpheus Descending and The Merchant of Venice; the Peter Hall Company went on to stage more than sixty plays in association with a number of producing partners including Bill Kenwright and Thelma Holt. In addition to an ensemble repertory season at the Old Vic, the company enjoyed a long collaboration with the Theatre Royal, Bath where a series of summer festivals were staged from 2003–2011: many productions were subsequently performed on domestic and international tours and in the West End. T
English National Opera
English National Opera is an opera company based in London, resident at the London Coliseum in St Martin's Lane. It is one of the two principal opera companies in London, along with Covent Garden. ENO's productions are sung in English; the company's origins were in the late 19th century, when the philanthropist Emma Cons assisted by her niece Lilian Baylis, presented theatrical and operatic performances at the Old Vic, for the benefit of local people. Baylis subsequently built up both the opera and the theatre companies, added a ballet company. Baylis acquired and rebuilt the Sadler's Wells theatre in north London, a larger house, better suited to opera than the Old Vic; the opera company grew there into a permanent ensemble in the 1930s. During the Second World War, the theatre was closed and the company toured British towns and cities. After the war, the company returned to its home. By the 1960s, a larger theatre was needed. In 1968, the company moved to the London Coliseum and adopted its present name in 1974.
Among the conductors associated with the company have been Colin Davis, Reginald Goodall, Charles Mackerras, Mark Elder and Edward Gardner. The current music director of ENO is Martyn Brabbins. Noted directors who have staged productions at ENO have included David Pountney, Jonathan Miller, Nicholas Hytner, Phyllida Lloyd and Calixto Bieito. ENO's current artistic director is Daniel Kramer. In addition to the core operatic repertoire, the company has presented a wide range of works, from early operas by Monteverdi to new commissions and Broadway shows. In 1889, Emma Cons, a Victorian philanthropist who ran the Old Vic theatre in a working-class area of London, began presenting regular fortnightly performances of opera excerpts. Although the theatre licensing laws of the day prevented full costumed performances, Cons presented condensed versions of well-known operas, always sung in English. Among the performers were noted singers such as Charles Santley; these operatic evenings became more popular than the dramas that Cons had been staging separately.
In 1898, she recruited her niece Lilian Baylis to help run the theatre. At the same time she appointed Charles Corri as the Old Vic's musical director. Baylis and Corri, despite many disagreements, shared a passionate belief in popularising opera, hitherto the preserve of the rich and fashionable, they worked on a tiny budget, with an amateur chorus and a professional orchestra of only 18 players, for whom Corri rescored the instrumental parts of the operas. By the early years of the 20th century, the Old Vic was able to present semi-staged versions of Wagner operas. Emma Cons died in 1912, leaving her estate, including the Old Vic, to Baylis, who dreamed of transforming the theatre into a "people's opera house". In the same year, Baylis obtained a licence to allow the Old Vic to stage full performances of operas. In the 1914 -- 1915 season, Baylis staged 16 plays. In the years after the First World War, Baylis's Shakespeare productions, which featured some of the leading actors from London's West End, attracted national attention, as her shoe-string opera productions did not.
The opera, remained her first priority. The actor-manager Robert Atkins, who worked with Baylis on her Shakespearean productions, recalled, "Opera, on Thursday and Saturday nights, played to bulging houses." By the 1920s, Baylis concluded that the Old Vic no longer sufficed to house both her theatre and her opera companies. She noticed the empty and derelict Sadler's Wells theatre in Rosebery Avenue, Islington, on the other side of London from the Old Vic, she sought to run it in tandem with her existing theatre. Baylis made a public appeal for funds in 1925. With the help of the Carnegie Trust and many others, she acquired the freehold of Sadler's Wells. Work started on the site in 1926. By Christmas 1930, a new 1,640-seat theatre was ready for occupation; the first production there, a fortnight's run from 6 January 1931, was Shakespeare's Twelfth Night. The first opera, given on 20 January, was Carmen. Eighteen operas were staged during the first season; the new theatre was more expensive to run than the Old Vic, as a larger orchestra and more singers were needed, box office receipts were at first inadequate.
In 1932, the Birmingham Post commented that the Vic-Wells opera performances did not reach the standards of the Vic-Wells Shakespeare productions. Baylis strove to improve operatic standards, while at the same time fending off attempts by Sir Thomas Beecham to absorb the opera company into a joint enterprise with Covent Garden, where he was in command. At first, the apparent financial security of the offer appeared attractive, but friends and advisers such as Edward J. Dent and Clive Carey convinced Bayliss that it was not in the interests of her regular audience; this view received strong support from the press. Any kind of amalgamation which made it the poor relation of the'Grand' season would be disastrous. At first, Baylis presented both opera at each of her theatres; the companies were known as the "Vic-Wells". However, for both aesthetic and financial reasons, by 1934, the Old Vic had become the home of the spoken drama, while Sadler's Wells housed both the opera and a ballet company, the latter co-founded by Baylis and Ninette de Valois in 1930.
Lawrance Collingwood joined the company as resident conductor alongside Corri. With the increased number of productions, guest conductors
Margaret Frances Harris was an English theatre and opera costume and scenic designer. Harris was born in Hayes, the fourth child and second daughter of William Birkbeck Harris, a Lloyds Insurance clerk, his wife Kathleen Marion, née Carey. With her older sister Sophie Harris she studied at The Chelsea Illustrators Studio in London in the late 1920s. A fellow student was Elizabeth Montgomery Wilmot, the three formed a theatre design partnership known as Motley Theatre Design Group; the first full-scale production on which they worked was Romeo and Juliet for the Oxford University Dramatic Society, John Gielgud's debut as a director. The great success of this led to an invitation from Gielgud to design Gordon Daviot's Richard of Bordeaux, which opened at the New Theatre in St Martins Lane, London, in February 1933; the production was a huge success, achieving cult status, with playgoers queuing round the block every night. It is recognised that the success was owing to the Motley sets and costumes, which captured the essence of the period in an artistic rather than a slavishly historical sense, were much admired for their beauty and lightness.
This early recognition led to a busy and successful decade during which they became Gielgud's regular collaborators, working with him on such productions as his celebrated Romeo and Juliet, in which he alternated the parts of Romeo and Mercutio with Laurence Olivier,and his Hamlet of 1936. They formed a partnership with the celebrated French director Michel Saint-Denis, whose production of André Obey's Noah, starring Gielgud in the title role, they designed in 1935. Saint Denis went on to found The London Theatre Studio, a radical new theatre school which incorporated courses in theatre design taught by the Motleys; this was the first time theatre design had been taught within a drama school in the UK, their students included Jocelyn Herbert. In addition to their teaching and theatre work, the Motleys opened a couture house in 1936. At the beginning of World War II, Margaret Harris and Elizabeth Montgomery travelled to the United States to design a production of Romeo and Juliet for Laurence Olivier.
They stayed in America until the end of the war, designing numerous successful productions on Broadway. Margaret Harris worked for a time with the furniture designer Charles Eames on his moulded plywood airplane parts. Returning to England in 1946, Margaret Harris and her sister Sophie taught theatre design at the newly founded Old Vic Theatre School, set up by Michel Saint-Denis, George Devine and Glen Byam Shaw. Following the closure of the school in 1948, the Motleys continued to design extensively for both opera and theatre, their work at the Shakespeare Memorial Theatre was much admired throughout the 1950s. In the early days of Devine's newly founded English Stage Company at the Royal Court Theatre, the Motleys designed numerous productions. Margaret Harris became Head of Design at Sadler's Wells Opera in 1962. In 1966, after the death of her sister Sophie, Harris founded The Motley Theatre Design Course, a one-year post-graduate level course which ran until 2011, she continued to design for the English National Opera, until the late 1970s, remained as the director of the Motley Theatre Design Course until a few months before her death in 2000, just two weeks before her 96th birthday.
"Motley: The History". Motley Theatre Design Course website. 28 February 2006. Archived from the original on 15 May 2008. Retrieved 2008-05-09. University Library. "Motley Collection of Theatre & Costume Design". University of Illinois at Urbana-Champaign. Retrieved 2008-05-09. Margaret Harris at the Internet Broadway Database Motley Theatre Design Group at the Internet Broadway Database Motley Theatre Design Group on IMDb Motley Theatre Design Course
Francesca Zambello is an American opera and theatre director. She serves as director of the Washington National Opera. Born in New York City, Zambello lived in Europe when she was a child, learning to speak French, Italian and Russian. Zambello is of Italian descent, the daughter of actress Jean and Charles C. Zambello, a former actor who became head of flight entertainment at TWA, she attended Moscow University in 1976 and graduated from Colgate University in 1978. An internationally recognized director of opera and theater, Francesca Zambello's American debut took place at the Houston Grand Opera with a production of Fidelio in 1984, she began her career as an assistant director to Jean-Pierre Ponnelle. From 1984 until 1991 she was the Artistic Director of the Skylight Music Theater with Stephen Wadsworth, she debuted in Europe at Teatro La Fenice in Venice with Beatrice di Tenda in 1987 and has since staged new productions at major theaters and opera houses around the world. She served as Artistic Advisor to the San Francisco Opera from 2006-2011.
She is the Artistic and General Director of The Glimmerglass Festival in Cooperstown, the Artistic Director of Washington National Opera. Zambello has been awarded the Chevalier des Arts et des Lettres by the French government for her contribution to French culture and the Russian Federation's Medal for Service to Culture, she received the San Francisco Opera's Medallion of Honor for her work there over three decades. Other honors for her work include three Olivier Awards from the London Society of Theaters and two Evening Standard Awards for Best Musical and Best Opera, she has received the award for Best Company Achievement. The French Grand prix de la musique du syndicat de la critique was awarded to her twice for her work at the Paris Opera. Other awards include Best Production in Japan, the Palme d'Or in Germany, the Golden Mask in Russia and the Helpmann Award in Australia. Zambello developed and directed the world premiere of Christopher Theofanidis' Heart of a Soldier for the San Francisco Opera, where she served as artistic advisor from 2006 to 2011.
Other opera projects have included the first international production of Carmen to be presented at the National Center for the Performing Arts in Beijing, the world premiere of An American Tragedy and Les Troyens for the Metropolitan Opera and Don Giovanni at the Royal Opera House, Boris Godunov and Peace, Billy Budd and William Tell at the Paris Opera, Der Ring des Nibelungen for the San Francisco Opera and the Washington National Opera. Theater projects have included Show Boat in London at the Royal Albert Hall as well as for the Lyric Opera of Chicago and San Francisco Opera. For the 2011 Glimmerglass Festival, Terrence McNally, Deborah Voigt collaborated to produce the stage show Voigt Lessons, revived in 2015 at the Art House in Provincetown, Massachusetts. Other works have included a film of Menotti's Amahl and the Night Visitors for BBC Television, as well as a new film for the BBC, Sony and PBS of The Little Prince, West Side Story for the floating stage at the Bregenzer Festspiele.
Works on DVD include War and Peace, The Little Prince, Street Screen, Show Boat and Porgy & Bess. Zambello has served as a guest professor at Yale University. Zambello lives in New York City with her wife, attorney Faith E. Gay, her step-son, Jackson. Official site Francesca Zambello at the Internet Broadway Database Interview at BUniverse Works by or about Francesca Zambello in libraries "Francesca Zambello collected news and commentary"; the New York Times
Christopher Oram is a British theatre set and costume designer. He trained at the West Sussex College of Design. Early assisting work for designers Anthony Ward and Ian MacNeil, included Assassins at the Donmar Warehouse, Oliver! at the London Palladium and An Inspector Calls and Machinal at the National Theatre. Having designed extensively on the fringe in London, he began a long term creative collaboration with the director Michael Grandage whom he met in 1995 when they first worked together on Arthur Miller's The Last Yankee in Colchester, their subsequent professional partnership at the Crucible Theatre, includes As You Like It with Victoria Hamilton. Collaborations at the Donmar Warehouse include Good with Charles Dance. Oram designed the four plays of the Donmar Wyndham's season, Ivanov with Kenneth Branagh, Twelfth Night with Derek Jacobi, Madame de Sade with Judi Dench, Hamlet with Jude Law. Oram designed the musicals Guys and Dolls at the Piccadilly Theatre and Evita at the Adelphi Theatre in London, on Broadway, as well as the costumes for Kenneth Branagh's film of The Magic Flute.
Other work includes Cat on a Hot Tin Roof, The 25th Annual Putnam County Spelling Bee'", Parade. Both Red and Parade played subsequent seasons at the Mark Taper Forum in Los Angeles. Oram was the season designer of the Michael Grandage Company inaugural season at the Noël Coward Theatre. Privates on Parade and Alice, The Cripple of Inishmaan, A Midsummer Night's Dream, Henry V, his opera work includes Billy Budd and The Marriage of Figaro, Don Giovanni, Madama Butterfly. In 2017/18 he designed set and costume for Disney Theatrical Groups production of Frozen for its out of town production in Denver and its Broadway production opening at the St. James Theatre on 22 March 2018. Oram is an Artistic Associate on'Plays at the Garrick' in the forthcoming Kenneth Branagh season in the West End, he is a Companion of the Liverpool Institute for Performing Arts, is on the committee of the Linbury Prize for stage design. During 2016 the Kenneth Branagh Theatre Company will present a series of five plays.
The director is the actor-director Kenneth Branagh and designer Christopher Oram. 2004 Olivier Award - Best Costume 2004 Critics' Circle Award 2003 Evening Standard Award - Best Design 2010 Backstage Garland Award for Scenic Design 2010 Critic's Circle Award 2010 Tony Award - Best Scenic Design of a Play 2010 LA Stage Alliance Ovation Award - Costume Design: Large Theatre 2014 Falstaff Award - Best Costume Design 2015 Olivier Award - Best Costume 2015 Tony Award - Best Costume Design of a Play 2015 Falstaff Award - Best Costume Design 2016 Drama Desk Award - Outstanding Set Design for a Play Official website Christopher Oram on IMDb Christopher Oram at the Internet Broadway Database