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Tim Carroll was Associate Director of Shakespeare’s Globe from 1999-2005, where he directed Augustine’s Oak, Macbeth, The Golden Ass, Richard II, Romeo and Juliet, The Two Noble Kinsmen, The Storm, Dido Queen of Carthage, Twelfth Night and The Tempest. In 2002 his Globe production of Twelfth Night won Evening Standard, Time Out, Critics’ Circle and Olivier Awards, and toured the United States. In 2005 his staging of A Midsummer Night’s Dream, with the Orchestra of the Age of Enlightenment playing Mendelssohn’s score, performed at the Lincoln Centre, New York, and the Royal Festival Hall in London.
Tim has directed several productions in Spain, including Cabaret Classico at the Gran Teatre de Liceu, Barcelona and The Turn of the Screw for Oviedo Opera, and in Portugal (The Tempest at the Teatro Sao Luiz, Lisbon). He is also a popular director in Hungary, where his many productions include The Duchess of Malfi and Hamlet.
He is Artistic Director of Kent Opera, for whom he has staged Benjamin Britten’s The Prodigal Son, Purcell in the Theatre, Monteverdi’s Orfeo, Handel’s Acis and Galatea, Britten’s Albert Herring and Mozart’s il re pastore.
More recently I directed Peer Gynt at the Guthrie Theatre, Minneapolis, and The Merchant of Venice for the Royal Shakespeare Company.
The story of how I got involved with The Factory is more or less covered by the long piece I have elsewhere on the Factory website, in which I describe in great and tedious detail how my Hungarian Hamlet happened, and how I think a new version of it might happen over here.
I have never been involved in anything like this. It is so inspiring to see Tim and Alex's energy and passion, and I am thrilled that it was to me that they turned to make their first project. The group that has developed over the two years of the project so far is an incredibly talented, intelligent and playful one, and I just wish that every cast I worked with in my life could be like they are.
I'm not clever enough to do snazzy slideshows, and in any case I don't have many pictures of interest. But I pasted these shots of my Spanish Turn of the Screw that I did in 2006, partly because I think they look good (and therefore make me appear talented, which is the designer's job, in my view) and partly because it might surprise people who have worked with me on this exercise in spontaneity to see that I can also do the sculpted, disciplined kind of theatre as well. In fact, I like complete formalism as much as complete freedom: it's the organised naturalism bit in the middle I can't quite cope with any more.
On another matter entirely: I'm soon to do Dream with the Orchestra of the Age of Enlightenment in Middle Temple Hall. The orchestra will play Mendelssohn's music and a cast made up almost entirely of Factorites will say Shakespeare's words. And I will take the credit.
We will be rehearsing at Factory HQ, and I thought it would be a good opportunity to open up some of the process to observation, for those who are interested. So I am designating April 1 (!) and April 8 as Watching Days. No idea what I will be working on (except that it will be Dream), and as to whether you will get to see Bailey, Pavli, Hassell, Garnon, Rigby in action - I make no promises. But if you want to come, those are your chances.
Space is tight, so I will have to limit numbers. Therefore let me know if you want to come, and apologies in advance for anyone who misses out.
And yes, Bedi, I am doing what I can to get you all in for the dress rehearsal in May.
tc
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Just to say that I was really impressed last night by the amount of work and thought that people had put into their preparations. It was great that everyone was so ready to hit the ground running. It means - and here I need the rest of you to take note - that anyone who wasn't there last night must make doubly sure that their units are up to scratch, and that they have spoken to someone about last night's session. Otherwise they may find themselves back in the peloton while the lead group heads off into the Alps...
Cheers
t
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tc I am impressed with the pics - and can only assume the show was as fab. If you hadn't told me it was ice I would have been completely baffled whereas now I can just maintain my frequently baffled state.
Sian x
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dude the show looks wicked. the designer at least was obviously very talented indeed and i think the way you make them stand so still like that is great.
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