156:, used repeated scenes "to destabilize both textual and production authority". Robert Shaughnessy wrote in 2013 that the performance was a "montage of mannered tableaux in which chunks of the play were ponderously interwoven with extracts from contemporary feminist writings about self-image and self-esteem". Susan Bennett, also in 2013, described it as a "quite tantalizing revision" of one of those so-called 'problem plays'". Holloway stated that the hostile reception by the London critics – the production received, for example, a highly critical contemporary review from Jeremy Kingston in
177:, described it as "an engrossing show"; she praised Holloway's "intelligent direction", the spare, "abstract" staging, based around four metal tetrahedra, which "created an atmosphere of wartime shabbiness and neglect", and the costumes, especially Gertred's vampire-like outfits. She commented on the use of even major characters to double as stage hands, which underlined the play's "appearance-versus-reality concerns", as well as the fact that dead characters remained upright on stage and then were recycled as stage hands. Peter J. Smith, in a review for
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around 175 performances annually, mainly in the UK but also in Egypt, Santiago de Chile and Hong Kong. Holloway wrote in 1994 that "everyone enjoys a good story and provided they are convinced that that's what they're getting they will sit down and concentrate regardless of whether they're an audience of redundant mineworkers in
Mansfield or a sophisticated Home Counties crowd."
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In 1982 Holloway, in collaboration with the designer
Charlotte Humpston, founded a group called Red Shift Theatre Company, which grew into a medium-sized national touring company. Holloway directed nearly all of Red Shift's over 50 shows and also wrote plays performed by the company. Red Shift gave
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in 1977–78, initially as technical manager of its studio space, The
Theatre Upstairs. He then became an Assistant Director working in the Main House, and directed his own production in the Theatre Upstairs. In 1978–79 Holloway toured as a performer with the community arts outfit, Free form Arts
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at the YWCA, Edinburgh, focused on the play's violence rather than its romance. It used six actors, with the part of Romeo being divided among the three men, and Juliet among the three women; it also reordered scenes, repeating some, and redistributed lines from the
Shakespeare version. It was
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observed in 2003 that under
Holloway's artistic direction, Red Shift was one of the very few theatre companies to have survived more than twenty years, describing it as "tireless". The company became known for "reworking classic tales into fun theatre shows", as well as for "its heady mix of
183:, describes the production as "effective" and "economical", with twenty-three parts taken by eight actors; he also praises the use of metal tetrahedra in the staging, as "both simple and extremely adaptable" and describes Holloway as creating "some ingenious stage moments".
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and touring theatre in the 1980s and 1990s, notably Red Shift
Theatre Company. His work has won three Edinburgh Fringe First awards (1987, 1988, 1989), the Shakespeare Prize at Chile's World Festival of Theatre in 1993, and in 2013 his BBC version of
239:(Radio 4). Red Shift first gained Arts Council funding in 1986, and the Arts Council funded the company between 1991 and 1997. In 2007 Holloway withdrew Red Shift from Arts Council RFO status. The limited company was dissolved in 2015.
309:. Holloway served two years (2012–2014) on the Edinburgh Festival Fringe Participants' Council. He was an elected member of the Board of the Edinburgh Festival Fringe and the Advisory Panel of the National Campaign for the Arts.
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entertainment and aesthetics". Robert
Shaughnessy wrote in 2013 that the company in the 1980s had an "appealingly original, innovative and occasionally iconoclastic way with classic texts".
198:. The play focused on the conflict between the idealism of the young and the corruption of their elders. In the 2000s, Holloway also reworked classic films for the company including
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review – ravishing design, stilted acting; Platform theatre, Central Saint
Martins, London. This clever co-production of Stevenson's great story really is a tale of two halves.
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Trust. In 1979, he co-founded The East End
Theatre group, a theatre company based at Chat's Palace Arts Centre in Homerton, East London, with writer Dave Fox and others.
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122:(1982–84), at the Edinburgh Festival and then on tour, which used a 1950s setting and referenced films. This was followed by a "disastrous" version of George Orwell's
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74:. In Edinburgh he saw performances given by Steven Berkoff, Lindsay Kemp and Jerzy Grotowski, then studied at St Mary's University Twickenham, at the
522:. He has written radio plays celebrating the George Orwell centenary, the 400th anniversary of Shakespeare's death and the Arthur Miller Centenary.
78:, at the International Centre for Theatre Creations (Paris) while resident at the Almeida Theatre London, and completed an MA at North London Poly.
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Emma Love (6 June 2010). It's in the cans; A set of headphones is the must-have audience prop for an intimate theatre experience, says Emma Love.
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as a "daring revisioning" that might have "trashed
Shakespeare" but "provocatively invited a fresh, if peculiar, look" at the original.
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in 1983, and was described by Gardner in 2009 as "raising the tone of theatre" at the Festival. An early production was the successful
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for a coproduction with the Hong Kong company Chung Ying, re-envisaging the titular doubled character as a traumatised woman.
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35:, South London) is an English theatre director and playwright. He founded and directed two professional companies in British
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194:, Canterbury) reset Dickens' tale in the 1950s, described as a "potentially very clever wheeze" by Lyn Gardner in
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Holloway left school at the age of 16 and gained experience as an actor in the Oxford University Players at the
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using projection screens and wi-fi headphones in the Westgate Shopping Centre, and in 2019 a re-imagining of
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Robert Hewison (15 January 1989). Home truths that give the Irish question an eloquent resolution; Theatre.
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special on BBC2. It cast a woman in the title role, a first in English professional theatre, and like
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Stan Skarzynski (21 August 2019). Creation Theatre takes Don Quixote's story to the Covered Market.
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for the Edinburgh Festival, with Graeme Rose. In 2015, he adapted Robert Louis Stevenson's
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Holloway has also written and directed many plays for BBC Radio, including adaptations of
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Liam Rudden (26 January 2007). Red Shift theatre company are heading for the heights.
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with students of the University of Surrey. Holloway's successful 1986 adaptation of
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In 2017 he began writing and directing a series of shows for Oxford's
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Performing Nostalgia: Shifting Shakespeare and the Contemporary Past
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in Boston, USA, and he advised on the 2008 Gifford's Circus show
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and has taught at Brooklands Technical College (Weybridge),
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Katie Normington (2005). Meyerhold and the New Millennium.
856:(15 January 2002). Going out: Picks of the week: Theatre:
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Ann Fotheringham (27 February 2002). Pick of the Day
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578:by Red Shift Theatre Company, Jonathan Holloway.
373:(pub. Samuel French, also in rep in Hong Kong),
1064:Independent Review of Holloway’s DARKNESS FALLS
1059:Scotsman Review of Holloway’s NICHOLAS NICKLEBY
1054:Guardian Review of Holloway’s HAMLET: FIRST CUT
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519:The History of Rasselas, Prince of Abissinia
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413:. His other theatre writing includes
21:Jonathan Holloway (artistic director)
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643:(18 October 2003). Preview theatre:
417:for the Palace Theatre Watford, and
322:and appeared on a feature about the
816:Jeremy Kingston (9 February 1989).
622:Jonathan Holloway (25 April 1994).
299:Royal Holloway University of London
303:Central School of Speech and Drama
169:toured 19 locations including the
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1006:from the original on 14 June 2022
897:Red Shift Theatre Company Limited
355:(also recorded for BBC Radio 3),
312:He has made guest appearances on
301:, and was Artist in Residence at
713:, pp. 234–35 (Routledge; 2013)
574:Dorothea Kehler (2001). Review:
351:(Edinburgh Fringe First, 1987),
250:The Playboy of the Western World
243:Other directing and later career
112:Red Shift first appeared at the
60:St Mary's University, Twickenham
210:. In 2009, he adapted Milton's
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395:, the first stage versions of
343:Scripts for Red Shift include
278:at the Mathematics Institute,
229:, the company was featured on
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1049:Holloway's personal web site
295:St Mary's University College
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940:Tim Hughes (11 July 2018).
142:In 1989, its production of
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367:(also produced in Chile),
305:and Artistic Associate at
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66:Education and early career
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1107:British theatre directors
645:The Legend Of King Arthur
612:10.1017/S0266464X05000035
556:Red Shift Theatre Company
349:In The Image of the Beast
50:won a First Prize at the
392:The Man Who Was Thursday
328:Children's Encyclopaedia
272:Creation Theatre Company
54:. He is a Fellow of the
834:Peter J. Smith (2000).
286:in the Covered Market.
690:Edinburgh Evening News
442:Strangers and Brothers
423:Angels Among The Trees
81:He worked at London's
841:Cahiers Elisabethains
603:New Theatre Quarterly
381:Nosferatu The Visitor
180:Cahiers Elisabethains
146:was the subject of a
56:Royal Society of Arts
978:Jonathan Holloway CV
797:4 (1): 19–20 (1986)
794:Shakespeare Bulletin
707:Robert Shaughnessy.
581:Shakespeare Bulletin
431:Nottingham Playhouse
364:Crime And Punishment
291:Middlesex University
276:Nineteen Eighty-Four
186:A 2002 reworking of
175:Shakespeare Bulletin
136:Shakespeare Bulletin
125:Nineteen Eighty-Four
119:The Duchess of Malfi
47:Nineteen Eighty-Four
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307:Kingston University
83:Royal Court Theatre
878:(2 August 2015 ).
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419:Because It's There
265:The Invisible Show
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171:Bloomsbury Theatre
114:Edinburgh Festival
858:Nicholas Nickleby
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647:: on tour.
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1010:26 April
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