The Worst It Can Be is a Disaster is the autobiography of Braham Murray, founding director of the Royal Exchange Manchester which in 2006 celebrated its thirtieth anniversary. With a foreword by Sir Tom Courtenay.
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Braham Murray (b. 1943) is an English theatre director. He is a Founding Artistic Director of the Royal Exchange Theatre Company, Manchester. In 1964, his Oxford production of Hang Down Your head and Die transferred to the West End and Broadway. From the Century Theatre, where he was Artistic Director, he became a Founding Director of the '69 Theatre Company; credits include She Stoops to Conquer and Charley's Aunt (with Tom Courtenay), Mary Rose (with Mia Farrow), Endgame, and the musicals Erb and Catch My Soul, all of which transferred to London. Braham's recent productions for the Royal Exchange Theatre include The Glass Menagerie, An Ideal Husband, The Importance of Being Earnsest, Anthony and Cleopatra, What Every Woman Knows, and The Triumph of Love. His autobiography The Worst it Can Be is a Disaster was published in 2009.
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Vendeur : WorldofBooks, Goring-By-Sea, WS, Royaume-Uni
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Vendeur : Anybook.com, Lincoln, Royaume-Uni
Etat : Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:9780713684902. N° de réf. du vendeur 8989760
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Vendeur : Crappy Old Books, Barry, Royaume-Uni
Paperback. Etat : As New. The Worst It Can Be Is a Disaster is the autobiography of Braham Murray, founding artistic director of Manchester?s Royal Exchange Theatre and a man who spent his working life persuading actors, designers, administrators, audiences and funding bodies that the show must go on, even when several of them would plainly have preferred it not to. Born into a Jewish family that expected him to enter the reassuring world of commerce, Murray instead chose the theatre, where the hours are worse, the finances are imaginary and success depends upon persuading emotionally volatile people to stand in exactly the right place while pretending to be somebody else. By the age of twenty-two he had become the country?s youngest artistic director, thereby achieving responsibility long before acquiring the good sense to avoid it. His story passes through student theatre, the Century Theatre and the 69 Theatre Company before arriving at the wonderfully improbable creation of the Royal Exchange. Murray and his collaborators?including Michael Elliott, Caspar Wrede, Richard Negri and James Maxwell?placed a futuristic seven-sided theatre module inside Manchester?s vast former cotton exchange. The result looked rather like a spacecraft that had landed among the columns and balconies of Victorian capitalism and decided to put on Chekhov. Opened in 1976, the Royal Exchange became one of Britain?s most distinctive and important theatres. Its in-the-round design placed actors within alarming proximity of the audience, removing both the comforting picture frame of the conventional stage and much of the opportunity to conceal a weak performance behind the furniture. Shakespeare, new writing, comedy, tragedy and musicals all followed, together with the usual theatrical assortment of triumphs, disasters and productions whose true artistic value became clearer only after the reviews had been safely forgotten. Murray writes candidly about the celebrated actors, directors and writers who crossed his path, including Tom Courtenay, Mia Farrow and Robert Lindsay. He recalls successes and failures with the detailed memory of a director who has spent decades remembering precisely who missed which entrance and why. Backstage alliances, artistic disagreements, opening-night nerves and personal relationships receive the same frank treatment as the productions themselves. This is not an autobiography in which the author emerges faultless while everybody else behaves mysteriously badly. The title expresses the useful theatrical philosophy that the worst possible outcome is merely disaster. Once this has been accepted, there is no reason not to proceed with the impossible production, inadequate budget or potentially ruinous new theatre. Sometimes the disaster is metaphorical?a critical mauling, a failed show or an actor discovering a profound new interpretation during the interval. At other times it is distressingly literal. In 1996, an IRA bomb devastated Manchester city centre and seriously damaged the Royal Exchange building. The theatre company continued working while its home underwent an enormous reconstruction, returning to a restored venue in 1998. Most organisations regard being bombed as a reasonable excuse for delay; the Royal Exchange treated it as a particularly severe technical rehearsal. Murray also explores the influence of his Jewish upbringing, his private life and the fierce personal loyalties that sustained his career. His account is passionate, indiscreet and sometimes painfully honest, full of amorous complications as well as theatrical ones. The dividing line between life and theatre becomes understandably blurred when one has spent decades surrounded by people professionally trained to make every emotion audible at the back of the balcony. With a foreword by Sir Tom Courtenay, this is both a personal memoir and a lively history of the Royal Exchange Theatre. It offers an insider?s account of how a major regional theatre is created and kept alive?not by. N° de réf. du vendeur 7258
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Vendeur : PBShop.store UK, Fairford, GLOS, Royaume-Uni
PAP. Etat : New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. N° de réf. du vendeur L0-9780713684902
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Vendeur : Grand Eagle Retail, Bensenville, IL, Etats-Unis
Paperback. Etat : new. Paperback. The Worst It Can Be is a Disaster is the autobiography of Braham Murray, founding director of the Royal Exchange Manchester which in 2006 celebrated its thirtieth anniversary. With a foreword by Sir Tom Courtenay.Born into a Jewish family, Braham Murray struggled against his parents' expectations that he should follow them into the world of commerce; instead he became at twenty-two the youngest artistic director in the country when he took over Century Theatre, a theatre company based in Manchester. Detailing his relationships and the theatrical successes and flops along the way, the narrative takes us through his early years with Century Theatre, with the 69 Theatre Company, and the birth of the Royal Exchange Manchester in the heart of Manchester in 1976. Twenty years later, the theatre rose from the ashes of the IRA bomb brilliantly opening a new production on time just ten days after the bomb had destroyed the city centre. The role and influence of the author's Jewish heritage and of his key collaborators - including Caspar Wrede and Michael Elliott - are explored in this illuminating and inspiring account of one of English theatre's great directors.Braham's passion is sometimes overwhelming, sometimes annoying but completely inspirational. It's his passion that the Royal Exchange has thrived on, and this book is full of his passion for the theatre.' Robert Lindsay The autobiography of Braham Murray, founding director of the Royal Exchange Manchester who at twenty-two became the youngest artistic director in the country. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780713684902
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Vendeur : Ria Christie Collections, Uxbridge, Royaume-Uni
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Paperback. Etat : New. N° de réf. du vendeur 6666-IUK-9780713684902
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