U.S. premiere of “Peace in Our Time”

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FOR IMMEDIATE RELEASE
Press Contact: Lucy Pollak
lucy@lucypr.com (818) 887-1499 (for media only)

U.S. premiere of
Peace in Our Time
by Noël Coward


Complacency or freedom: Which would you choose?
October 20 – December 11

Artwork: Mila Sterling

NORTH HOLLYWOOD, CA – September 15, 2011 – What would life be like if the Nazis had successfully invaded and occupied Britain? Antaeus, L.A.’s multiple award-winning classical theater company, presents the U.S. premiere of Noël Coward’s rarely produced anti-war drama, Peace In Our Time. Casey Stangl directs the fully double-cast production of a new adaptation, with music, by Barry Creyton. Four gala openings, two with each cast, take place on October 20, 21, 22 and 23, with performances continuing through December 11 at The Antaeus Company‘s interim North Hollywood home at Deaf West Theatre.

Set in a London pub during the 1940s, Peace In Our Time imagines English life under Nazi occupation. Complacency or freedom – which would you choose? Coward conceived the idea while in Paris shortly after the Liberation. He wrote, “I began to suspect that the physical effect of four years of intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years of enemy occupation.”

“This play has a very different feel from the urbane amusements that come to mind when we think of Noël Coward,” suggests Stangl. “Like his other work, it’s provocative and has wonderfully funny moments, but it also reveals his deep sense of patriotism and unabashed love of country. The story of a great nation brought to its knees and finding its way back from that is very potent right now. All these years later we’re still talking about ‘peace in our time,’ but today it seems more elusive than ever.”

Creyton’s adaptation, which Stangl calls a “work of art,” adds emotional resonance to the original by adding nine of Coward’s lesser-known songs. Coward’s distinctive Music Hall style ditties with their incisive and wickedly ironic lyrics give the piece an authentic sensibility, at the same time offering audiences a deeper connection with the characters and their tribulations.

“When [former artistic director] Jeanie Hackett approached me about adapting Peace in Our Time to include music, a moment’s consideration was all I needed to agree,” says Creyton, who collaborated closely with both The Noël Coward Foundation and Antaeus. “Given that most London pubs of my youth contained a sturdy upright piano, there is a logic to weaving songs into the scenes to provide musical subtext for the action and relationships.”

Written in 1946, Peace in Our Time opened 63 years ago at the Theatre Royal, Brighton (July 15, 1947), moved to the Lyric Theatre, London on July 22, and finally to the Aldwych Theatre on September 29, where it ran for 167 performances. It has never before been performed in the United States – perhaps due to the fact that the cast includes 22 speaking roles. But it’s the large cast, together with the complexity of relationships among the characters, that makes Peace In Our Time an ideal choice for Antaeus with its 100-plus classically trained members and A2 Ensemble of young professionals.
“Part of the Antaeus mission is to train the next generation of classical actors,” notes co-artistic director John Sloan. “All Antaeus productions are fully double cast. This production in particular features a lot of our younger, A2 actors sharing roles with company members who have mentored them, so it will offer an unusually exciting opportunity to see how different the same play can be when performed by two equally excellent but extremely different sets of actors.”

The double-cast ensemble includes 46 actors sharing 22 speaking roles: Josh Clark and Steve Hofvendahl as Fred Shattock; Eve Gordon and Lily Knight as Nora Shattock; Danielle K. Jones and Abby Wilde as Doris Shattock; Jason Dechert and Brian Tichnell as Stevie Shattock; Bill Brochtrup and JD Cullum as Chorley Bannister; Karianne Flaathen and Zoe Perry as Lilly Blake; Drew Doyle and Buck Zachary as Alfie Blake; Emily Chase and Rebekah Tripp as Janet Braid; Anna Mathias and Amelia White as Mrs. Grainger; John Wallace Combs and Philip Proctor as Mr. Grainger; Graham Hamilton, John Francis O’Brien, and Adam Meyer sharing the role of Billy Grainger; Raleigh Holmes and Rebecca Mozo as Lyia Vivian; Daniel Bess and Christopher Guilmet as George Bourne; Jason Henning and Rob Nagle as Albrecht Richter; Mark Doerr and Peter Larney as Dr. Venning; Kendra Chell and Ann Noble as Alma Boughton; Joseph Fuhr and Patrick Wenk-Wolff as Kurt Foster; Etta Devine and Rosalyn Mitchell as Phyllis Mere; Belen Greene and Joanna Strapp as Gladys Mott; Jesse Sharp and Paul Culos as Bobby Paxton; Melinda Peterson and Susan Boyd Joyce as Mrs. Massiter; John Allee and Richard Levinson as Archie; and Chris Clowers as a soldier.

Musical direction for Peace In Our Time is by Richard Levinson; set design is by Tom Buderwitz; lighting design is by Jeremy Pivnick; costume design is by Jessica Olson; sound design is by John Zalewski; properties design is by Heather Ho; and the production stage manager is Cate Cundiff.

In addition to a multitude of stage, film and television credits as an actor (including the role of Hector Hulot in last season’s award-winning Antaeus production of Cousin Bette), Peace In Our Time adaptor Barry Creyton is an author, TV writer, director and playwright, a former BBC World Service broadcaster and recipient of the Kessell Memorial Award for contributions to Australian Theater as Actor, Playwright and Director. His devotion to the work of Noël Coward has lasted as long as his own extensive career in the theater; he has appeared in several of Coward’s plays and performed many of his songs in cabaret. Barry’s London doctor and good friend was Patrick Woodcock, Noël’s doctor, and Gladys Calthrop, Noël’s celebrated designer, was a friend and theater-going companion of his, so it seemed inevitable that he met the Master socially in 1970, just prior to his knighthood. “It was like meeting God,” he says solemnly, “except, I think, that Noël Coward had a better sense of construction.”

Casey Stangl has directed for theaters across the country including South Coast Repertory, The Guthrie Theater, Denver Center Theatre Company, Actors’ Theater of Louisville’s Humana Festival, Woolly Mammoth Theatre Company, Portland Stage, HERE in New York, The Jungle Theater in Minneapolis and Alabama Shakespeare Festival. Casey was the founding artistic director of Eye of the Storm Theatre in Minneapolis, a company devoted to new work and for which she was named Minnesota Artist of the Year. She is now based in Los Angeles where her credits include numerous productions at the Falcon Theater, Chalk Repertory’s Flash Festival and the world premiere of Susan Johnston’s How Cissy Grew at the El Portal Theatre, named Best New Play at the 2009 LA Weekly Theater Awards.

The Antaeus Company strives to keep classical theater vibrantly alive by presenting professional productions with a top-flight ensemble company of actors. Taking their company name from the Titan who gained strength by touching the Earth, Antaeus members – many of whom are familiar to movie and television audiences – regain creative strength by returning to the wellspring of their craft: live theater performances of great classical plays. Members of the company and its board span a wide range of age, ethnicity and experience; they have performed on Broadway, at major regional theaters across the country, in film and television, and on local stages, and are the recipients of multiple accolades including Tony, Los Angeles and New York Drama Critics Circle, Ovation, LA Weekly, and Back Stage Garland nominations and awards.
Performances take place October 20 through December 11, on Thursdays, Fridays, and Saturdays @ 8 pm and on Sundays @ 2:30 pm except Sunday, October 23 which will be at 4 pm. There will be no performance, on Thursday, Nov. 24 (Thanksgiving). Tickets are $30 on Thursdays and Fridays and $34 on Saturdays and Sundays, except opening weekend performances, which are $40 (Oct. 20 & 21) and $75 (Oct. 22 & 23) and include pre- and post-show receptions. Preview performances take place Oct. 13-19 on the same schedule; tickets to previews are $15.

The Antaeus Company is located at 5112 Lankershim Blvd (inside Deaf West Theatre) in North Hollywood, CA 91601. Free parking is available in the uncovered Citibank lot on Lankershim Blvd. just south of Otsego St. The theater is air-conditioned and wheelchair accessible. For reservations and information, call (818) 506-1983 or go to www.antaeus.org.

Details for Calendar Listings
Peace In Our Time

WHAT:
Peace In Our Time – The U.S. premiere of Noël Coward’s drama poses a most intriguing and terrifying question: What if the Nazis had successfully invaded and occupied Britain? Set in a London Pub during the 1940s, this new adaptation by Antaeus company member Barry Creyton incorporates 9 of Coward’s lesser-known songs.

WHO:
Written by Noël Coward
Adapted by Barry Creyton
Directed by Casey Stangl
Musical Direction by Richard Levinson

WHEN:
Previews: Oct. 13 -19
Performances: Oct. 20 – Dec. 11:
Tuesday @ 8 pm: Oct. 18 only (preview)
Wednesday @ 8 pm: Oct. 19 only (preview)
Thursdays @ 8 pm: Oct. 13 (preview), 20 (Press Opening), 27; Nov. 3, 10, 17; Dec. 1, 8 (dark Nov. 24)
Fridays
@ 8 pm: Oct. 14 (preview), 21 (Press Opening), 28; Nov. 4, 11, 18, 25; Dec. 2, 9
Saturdays
@ 8 pm: Oct. 15 (preview), 22 (Gala Opening), 29; Nov. 5, 12, 19, 26; Dec. 3, 10
Sundays
@ 2:30 pm: Oct. 16 (preview). 30; Nov. 6, 13, 20, 27; Dec. 4, 11 (no. 2:30 perf. on Oct. 23)
Sunday @ 4 pm: Oct. 23 only (Gala Opening)

WHERE:
THE ANTAEUS COMPANY@ Deaf West Theatre
5112 Lankershim Blvd.
North Hollywood CA 91601
(one block south of Magnolia; free parking available in Citibank lot on Lankershim Blvd. South of Otsego St.)

HOW:
(818) 506-1983 or www.Antaeus.org

TICKETS:
Thursdays and Fridays: $30
Saturdays and Sundays: $34
Press Openings (All press openings include a post-show reception with the actors):
Friends and Family Openings (October 20 & 21): $40
Gala Openings (October 22 & 23): $75
Previews: $15

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The Antaeus Company announces 2011 Line-Up

NEWS RELEASE
FOR IMMEDIATE RELEASE
Contact: Lucy Pollak (for media only)
(818) 887-1499 lucy@lucypr.com

Hot on the heels of LADCC Award for “Outstanding Season” in 2010, The Antaeus Company announces 2011 line-up.

NORTH HOLLYWOOD, CA – March 16 2011 – The Antaeus Company will offer double-cast productions of The Malcontent by John Marston and Peace in Our Time by Noël Coward in 2011, as well as a new installment of ClassicsFest, Antaeus’ signature, six-week festival of classical work. Presenting classical plays in Los Angeles since 1991, the company known as L.A.’s classical theater ensemble offered an inaugural season in 2010 that garnered the Los Angeles Drama Critics’ Circle’s (LADCC) Polly Warfield Award for Outstanding Season at last Monday’s awards ceremony.

“This year, once again, we chose productions based on ongoing work we’ve been developing over the past year or two,” explains Antaeus artistic director Jeanie Hackett. The Malcontent was the hit of last summer’s ClassicsFest; and we’ve been working on Peace in our Time for over two years. Both plays use a wide range of actors, and are great vehicles for our ensemble company. And this summer’s ClassicsFest is full of gems-in-process.”

The Malcontent is John Marston’s viciously funny, filthy and surprising Jacobean masterpiece. The former Duke of Genoa takes the disguise of the outrageous Malevole (the titular Malcontent) to spy on the corrupt foibles of the new Duke and his unctuous cronies. Disguises, false deaths, seductions, deceptions, and adulteries all drive the plot of this enormously entertaining play. Elizabeth Swain will direct. Performances will take place May 5 through June 19, with previews beginning April 28.

Until now a biennial event, Antaeus’ popular festival of the classics, the vehicle through which the company develops much of its work, is going annual. Classicsfest 2011 marks Antaeus’ sixth, six-week “smorgasbord” of actor-initiated workshops, readings, and special events: a different project will take place almost every night of each week, July 12 through August 19.
Peace in Our Time is Noël Coward’s one and only anti-war propaganda play. Directed by Casey Stangl and choreographed by Harry Groener (recipient of the LADCC award for Performance for the title role in last season’s production of King Lear), Antaeus presents a new adaptation by company member Barry Creyton of this rare Coward work that has never before been produced in the U.S. What might life in England have been like if the Nazis had won the Battle of Britain? Performances are set for October 20 through December 11, with previews beginning October 13.

The Antaeus Company strives to keep classical theater vibrantly alive by presenting professional productions with a top-flight ensemble company of actors. Taking their company name from the Titan who gained strength by touching the Earth, Antaeus members – many of whom are familiar to movie and television audiences – regain creative strength by returning to the wellspring of their craft: live theater performances of great classical plays. All Antaeus productions are fully double cast, with two equally talented actors sharing every role. This means that audiences rarely see an understudy and frequently come back to see each show a second time in order to see the same play in the hands of an equally good but very different set of actors. Members of the company and its board span a wide range of age, ethnicity and experience; they have performed on Broadway, at major regional theaters across the country, in film and television, and on local stages, and are the recipients of multiple accolades including Tony, Los Angeles and New York Drama Critics Circle, Ovation, LA Weekly, and Back Stage Garland nominations and awards.

For more information about The Antaeus Company and the 2011 Season, call 818-506-5436 or visit online at www.antaeus.org.

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ClassicsFest 2010: ‘Peace in Our Time’

As ClassicsFest 2010 unspools, we’ll be featuring insights from the project initiators about what inspired them to choose their plays and their experience of working on them.

Peace in Our Time by Noël Coward

When Jeanie Hackett approached me about adapting Peace in Our Time to include music, a moment’s consideration was all I needed to agree.

With the international success of London’s Knee High Company’s Brief Encounter in mind, I’ve edited Peace and integrated some of Coward’s lesser known songs – most of them of, or around the period in which the play is set.

As exemplified by Brief Encounter, I see this exercise not as a “musical” in the Broadway sense of the term, but as a serious play with musical elements. In editing the play I’ve trimmed about thirty minutes from the text to accommodate the music. Over a period of three weeks, I read and re-read the play to determine how much of the wartime political polemic was relevant to 2010 and abridged some of this along with some of the lengthier arguments between allies and collaborators.

Given that most London pubs of my youth contained a sturdy upright piano, there is a logic to including music, some springing from the text, some sung by characters at the piano. An added joy is to be working once again with the talented and enthusiastic members of the Antaeus Academy.

My devotion to the work of Noël Coward has lasted as long as my own career in the theatre and I’ve had the pleasure of performing several of his plays and many of his songs in cabaret. My London doctor and good friend was Patrick Woodcock, Noël’s doctor, and Gladys Calthrop, Noël’s celebrated designer, was a friend and theatre-going companion of ours; so it seemed inevitable that I met the Master socially in 1970 just prior to his knighthood. It was like meeting God – except, I think, that Noël Coward had a better sense of construction.

-Barry Creyton, Project Adapter and Production Supervisor

Peace in Our Time plays:
July 6, 7, 8 at 8pm
July 10 at 3pm

An Academy Salute to Noël Coward – Huzzah!

Last year A2, The Antaeus Academy,  presented a wonderful weekend celebrating Noël Coward thanks to the generous grant awarded by  The Noël Coward Society .  The Young Idea played to audiences of all ages and immersed A2 into the world of “The Master.”  This year, we had the great honor to find out about An Academy Salute to Noël Coward before tickets were sold out.

Yes, Noël Coward still sells out the houses.  Stephen Fry hosting the whole evening didn’t hurt, either.

 Star Quality: The World of Noël Coward was an extensive collection of well-known photographs and unique souvenirs: night slippers embroidered with Noël Coward across them, and a green carnation from an opening night, for instance.  Probably the most extraordinary items were found directly on the walls- they showed home movies from the late 20’s and 30’s of Coward’s stage plays.  This was obviously well before union regulations of such things!  I stood for about five minutes with a friendly gent as we tried to guess which play we were watching.

I met a few members of The Noël Coward Society, lead a few of the Antaeus group to our seats (wonderfully reserved by the West Coast Liason of The NCS and all-around wonderful friend, Kathy Williams).  Then–Stephen Fry!  What an amazing host.  He set a beautiful tone of happiness at the night ahead.  He also took us down a reverent and funny path, with quips like: “I discovered him [Coward] when I was about ten in the attic.”  There were too many of those funny lines for me to remember, but they were incredibly entertaining.

Then L.A. Theatre Works presented two short Coward pieces directed by Antaeus regular Brendon Fox: Design For Rehearsing (a sketch based on the Lunts’ inability to leave their on-stage life on the stage, and Age Cannot Wither.  As is LATW’s niche, they recorded the performances for the radio and posterity, complete with foley sound effects.  Stephen Fry offered the inside track, though; he told the audience to laugh hysterically at an in appropriate place and we can secure posterity in this recording for the rest of our lives.  (“Hey, Mom!  That’s my obnoxious laugh!”)

A special treat for the Coward crowd — Juliet Mills, goddaughter of Coward and daughter of Coward collaborator John Mills.  Her father was the first to call Coward “The Master”.  It turns out that Juliet’s screen debut was as a baby in In Which We Serve, which received waves of approval and laughter from the audience.  You may also know her sister, Hayley Mills.

Of course the shows were great fun, as they always are, in no short way because of Antaeus Company member Susan SullivanJoBeth Williams and Juliet Mills’ performances.

Then a rare treat: a filmed interview between Stephen Fry and Ronald Neame, who will turn 100 next week.  It was incredibly fun, and revealed some new stories that had the audience rolling.  Neame explained how David Lean, known for his directing, was also in the wardrobe department.

FRY: “Oh, really?  He was in wardro-”

NEAME: “Fired.”

FRY: (stifling a laugh without knowing the punch line) “Oh?”

NEAME: “Wrong trousers.”

I have no idea why that was so funny to us at the time, but all of us in the audience just about died.

And I hope the Academy shows that video again, because Stephen Fry did the most amazing impersonation of Celia Johnson in Brief Encounter, a tragically optimistic story in the history of tragic stories.

Then we settled in for the main attraction: a restored film of  Calvacade.  When produced on-stage, Noël Coward directed 400 actors! Plus the main characters alone total at least twenty.  No wonder no one can recall seeing the play in an age where five characters cost a theater too much to produce; not Antaeus though-see our website for more details on our ensemble-driven productions.

The movie was just fascinating. As a history nerd, I completely indulged in how major historical events and technological advances changed people’s ways of life, and changed people.  I marveled once again at how  relevant Coward’s material is.  For all the foils, victories and defeats of the British Empire, America could stand to learn from the past.  One line stands out from the entire movie, when the father consoles his wife about his going to the Boer Wars: “We have to have wars now and then to prove we’re the top dog.”

Altogether, a wonderful evening, both entertaining and emotionally devastating during the movie.  I never spoke to so many strangers in one evening before that night; it was sure nice to be around friendly people just looking to have a fun time!

This exhibit will be closed by the time you read this blog post, but The Young Idea returns this summer as part of ClassicsFest 2010!  Stay tuned.

More about The Young Idea can be found by following the blog tags attached to this article.

Cindy Marie Jenkins was a producer on the 2009 weekend The Young Idea and recently directed A2 in their March late-night.

Antaeus in the ‘The New York Times’

There’s a nice piece in THE NEW YORK TIMES today about the Shaw Festival in Ontario, which is currently staging TONIGHT AT 8:30, Noël Coward’s collection of one acts. According to the piece,

The festival is presenting nine of the works in three groups of three plays each, the format in which they were seen in London in 1936 and a few months later in New York, when they starred Coward, who also directed, and his muse, Gertrude Lawrence.

Writer David Belcher provides a thorough production history of the piece, including a mention of Antaeus’s run of the show in 2007.

My acting experience with the Young Idea opened up a whole new perspective on Noel Coward. First and foremost I discovered that there is no one way to ‘play’ Noel Coward. So often I had heard of a distinct Coward ‘style’ and only that way was the correct way. I was glad to find I was wrong. This freed me up from thinking Noel Coward was difficult to perform and allowed me an opportunity to tell the story as Coward intended.

Thankfully,

Jeff Gardner

A2 member since Fall '08

A2 member since Fall '08

Jeff is a native from Los Angeles. A graduate of the Los Angeles County High School for the Arts, Jeff began acting professionally in Washington D.C. where he appeared in Little Women at the Kennedy Center, Skylight at The Studio Theatre, Henry V, Henry VI parts I-III and Measure for Measure, all at the Shakespeare Theatre. Other regional credits include Our Town and The Seagull (with Gwyneth Paltrow and Christopher Walken) at Williamstown Theatre Festival in Massachusetts. His film credits include Lifeform, Fall Time and the MGM feature Hollywood Sign. Jeff also has an award-winning one-man riff on TV entitled Kill Your Television.

Antaeus Diary: Jonathan Lynn mentors HAY FEVER

One of the wonderful ways we were able to utilize The Noel Coward Foundation’s grant in furthering the mission of The Antaeus Academy was by asking Noel Coward experts to act as mentors to the young directors taking on these readings.

Jonathan Lynn mentored Douglas Clayton’s direction of HAY FEVER, one of Coward’s most beloved plays. We asked Jonathan about Coward and his experience with Antaeus.

The Hay Fever Intensive at Antaeus

The Hay Fever Intensive at Antaeus



1. Where is Hay Fever ‘s place in the Coward canon?
Coward was prolific. However, there are four outstanding plays that are continually revived, stand the test of time and somehow seem to capture definitively both their period and what everyone thinks of as the Noel Coward style. They are Hay Fever, Private Lives, Present Laughter and Blithe Spirit. Many of the other plays are excellent and well crafted, but these four have been consistently and continuously popular with the public.

2. Why would audiences today be interested in the story of Hay Fever?

It’s about a hilariously dysfunctional theatrical family, and their effect on the ‘civilians’ who come into contact with them. The four members of the Bliss family have no manners at all, and behave as many of us might like to but few of us would dare. Drama allows us to live vicariously, saying and doing what we secretly want to do or say. When we laugh we are, in fact, owning up. It’s a recognition that what we see enacted on the stage is true. That’s why we bark with recognition. Like the dogs do, when we come home.

If we don’t recognize some truth about ourselves, truth even if heightened or exaggerated for comic effect, we don’t find the comedy funny. We say it’s silly or stupid. But if we laugh we’re saying “I’ve said that, I’ve done that. I’ve thought that” or, more likely, “I wish I’d said that or done that”.

Four people from the real world go down to the Bliss’s country cottage for a weekend in the country and have an awful time. It’s not happening to us, so we love it.

Apart from that, all the characters are drawn with wit and insight, and the writing is an object lesson in farcical comedy. The most galling thing about the play is that Coward wrote it in three days at the age of 24. He was, of course, a genius.

3. What would younger audiences find interesting or appealing about Noel Coward and his plays?

I think I’ve answered that. Younger audiences are no so unlike older audiences. They’ll like it because its funny.

4. What kind of training or experience do you think emerging actors need before they step into a Coward piece?

All good comedy, and Coward’s plays are no exception, require precision above all else. Ap[art from that, they require things that can’t be taught – immaculate timing and an eye for the ridiculous.

5. How did you work with the director and actors during the Intensive?

We sat around the table and worked meticulously through the play, stopping to consider what Coward might have intended with every moment and looking to find the comic rather than the dramatic choice.

6. Do you have any advice for the actors in this reading before they embark on their own?

The same advice I have for all actors in a comedy: no characters should ever know they are funny.

Jonathan Lynn

Filmmaker, screenwriter and novelist Jonathan Lynn’s prolific career spans nearly four decades and includes directing, writing, producing and acting in motion pictures, television and theatre as well as authoring best-selling books.

Prior to that, Lynn directed the “screwball noir” movie THE WHOLE NINE YARDS (2000), a critical and audience favorite that featured Bruce Willis, Matthew Perry and Amanda Peet, and dominated the US box-office for three weeks. Lynn wrote and directed his first feature film CLUE (1985), a comedy/mystery based on the popular board game with an all-star cast. Lynn solved the complex who-done-it with three different endings, all of which were screened at different theaters and are now on the DVD/video. Lynn then directed his own screenplay NUNS ON THE RUN (1990), which starred Eric Idle and Robbie Coltrane, and the acerbic comedy MY COUSIN VINNY (1992), which launched Marisa Tomei’s career and earned her an Academy Award as Best Supporting Actress. Lynn’s THE DISTINGUISHED GENTLEMAN, starring Eddie Murphy, was released in 1992. He followed with GREEDY (1994) featuring Michael J. Fox and Kirk Douglas; SGT. BILKO (1996) with Steve Martin and Dan Aykroyd; and TRIAL AND ERROR (1997) starring Michael Richards and Charlize Theron.

It was the 1980’s BBC phenomena YES, MINISTER and YES, PRIME MINISTER that initially propelled Lynn to fame in his native Great Britain.

From 1977 to 1981 Lynn served as Artistic Director of The Cambridge Theatre Company, where he produced more than forty plays, twenty of which he directed. The company’s production of Macbeth featuring Brian Cox toured the United Kingdom and India and staged a special performance for then Prime Minister Mrs Ghandi. Lynn went on to direct one of the companies at the National Theatre of Great Britain, which performed his Society of West End Theatres award-winning production of Three Men on a Horse (1987).

Lynn directed numerous plays that appeared throughout London beginning in the mid 1970s. They include: The Glass Menagerie (1977), working with Tennessee Williams; Songbook (1979), which won the Society of West End Theatres Award, the Ivor Novello Award and the Evening Standard Award for Best Musical; Anna Christie (1979-80), at the Royal Shakespeare Company in Stratford and London; A Little Hotel on the Side by Georges Feydeau, adapted by John Mortimer at the National Theatre; Pass the Butler (1982), written by Eric Idle and staged at the Globe Theatre; and Joe Orton’s Loot (1984) starring Leonard Rossiter, staged first at the Ambassadors and Lyric Theatres.

Lynn just completed work on his new film WILD TARGET starring Bill Nighy, Emily Blunt, Rupert Grint and Rupert Everett. His screenplay The Prenup, has recently been optioned by producer Dan Keston.

Jonathan Lynn received an MA in Law from Cambridge University, an Honorary MA from the University of Sheffield and an Honorary PhD from the American Behavioral Studies Institute. He currently lives in Los Angeles.