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Sam Mendes and Simon Russell Beale have forged one of the most successful working partnerships in contemporary theatre history. Across twenty years and eight productions their collaboration has evolved, matured and keeps thriving through their work on stage; six Shakespeare and two Chekhov plays form their common body of work so far. Mark Leipacher's correspondence with Mendes and Beale and his thorough research into archival material on their collaborations, offers the reader a detailed account of the productions and, uniquely, Mendes' and Beale's own observations on their method of work…mehr
Sam Mendes and Simon Russell Beale have forged one of the most successful working partnerships in contemporary theatre history. Across twenty years and eight productions their collaboration has evolved, matured and keeps thriving through their work on stage; six Shakespeare and two Chekhov plays form their common body of work so far.
Mark Leipacher's correspondence with Mendes and Beale and his thorough research into archival material on their collaborations, offers the reader a detailed account of the productions and, uniquely, Mendes' and Beale's own observations on their method of work and on the discoveries they made in each of the plays. How do moments of magic on stage arise in the rehearsal room? Catching the Light, full of anecdotes and gems of knowledge, is an indispensable read for actors, directors, students and anyone who loves the theatre.
Features a foreword from Kevin Spacey, Artistic Director of the Old Vic.
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Autorenporträt
Mark Leipacher read Drama at the University of Manchester and studied Acting at the Royal Welsh College of Music and Drama. His credits include Richard III, Macbeth, Twelfth Night, The Tempest, Intrigue and Love, The Robbers, Strindberg's Apartment, and A Midsummer Night's Dream. He is the Associate Director of Michael Morpurgo's Private Peaceful adapted and directed by Simon Reade, and was Assistant Director to Anthony Page on Design For Living at the Old Vic. His writing for theatre includes Discretion and The Mouthpiece for Contact Theatre, articles for the Guardian, The National Theatre, and The Old Vic. This is his first book.
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