Difference between revisions of "Geoffrey Sutherland"

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[[Geoffrey Sutherland]] (1941-1992) was a director and choreographer.  
+
[[Geoffrey Sutherland]] (1941-1992) was a lecturer, dancer, director and choreographer.  
  
 +
==Biography==
  
−
Born in Britain 51 years ago, he trained in movement at the famous Laban School and first
+
Born in Britain, he trained in movement at the famous Laban School, where he later lectured in Dance and Drama at the Laban Studio in Surrey. He first came to South Africa in July of 1967 to lecture in movement at the Speech and Drama Department of the University of Natal in Durban.  
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came to South Africa in 1967 to lecture in movement at the Speech and Drama Department
+
One of his  first major theatrical productions in Durban was a remarkable open-air production in Mitchell Park of the danced Nativity, ''[[Navidad Nuestra]]'', which he not only conceived, produced and choreographed, but also designed and danced in.  
−
of
 
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the University
 
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of
 
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Natal in Durban.One
 
−
of
 
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Geoffrey's
 
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first major theatrical productions in Durban was theremarkable open-air production in Mitchell Park
 
−
of
 
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the danced Nativity,
 
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Navidad Nuestra
 
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-
 
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which, in many ways, was a perfect introduction to hiswork for he had not only conceived, produced and choreographed the piece butdesigned and danced in it as well.
 
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It
 
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incorporated what one gradually came torecognise as trademarks
 
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of
 
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a Geoffrey Sutherland production: theatricality andexcitement, originality and innovation which avoided resorting to gimmickryand the courage to use simple
 
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but
 
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theatrically-valid effects. Above all, it had aninfectious enthusiasm and energy that made it irresistible.He later moved to Johannesburg where he formed his own dance group,
 
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Kinetika,
 
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mounted the musical
 
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Man
 
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of
 
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la
 
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Mancha,
 
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choreographed
 
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TheCanterbury Tales
 
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and lectured in the Drama Department
 
−
of
 
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the University
 
−
of
 
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the Witwatersrand.
 
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Mr
 
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G.
 
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Sutherland
 
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(Photograph:NAPAC)
 
  
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It was at this time that he first began working with the Performing ArtsCouncil
+
He first worked for [[NAPAC]] in 1971 when he directed a new stage adaptation of the delightful A. A. Milne stories about ‘’[[Winnie-the-Pooh]]’’, to be followed over the years by a range of other productionns.  
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of
 
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the Transvaal, choreographing dance sequences for opera production. However, his major breakthrough in the Transvaal was with thespectacularly successful musical
 
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Joseph
 
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and
 
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his amazing technicolour dreamcoat
 
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which has remained one
 
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of
 
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the biggest hits in the South African musicalsscene
 
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and
 
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which he revived a number
 
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of
 
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times -most recently for theChristmas season last year at The Natal Playhouse.He later became resident producer and choreographer for
 
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PACT
 
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and createdballets and directed a number
 
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of
 
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major productions for the organisation.
 
−
He
 
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first worked for NAPAC in 1971 when he directed a new stage adaptation
 
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of
 
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the delightful A. A. Milne stories about
 
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Winnie-the-Pooh
 
−
-
 
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and I discovered that in addition to his creativity and artistic skills, Geoffrey was one
 
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of
 
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the most meticulously well-organised persons with whom I have ever worked.His attention to detail was astonishing, his total absorption in his currentproject and the sheer professionalism which he brought to everything he did,was a revelation.
 
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Over
 
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the years since then, there has been a stream
 
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of
 
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highly successfulGeoffrey Sutherland productions for NAPAC; productions
 
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of
 
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a consistentlyhigh standard.
 
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Of
 
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course, there were some productions one liked
 
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or
 
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admiredmore than others -but I never felt that Geoffrey had let NAPAC (or himself)down by a bad production, a cheap shot
 
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or
 
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a facile approach.When
 
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NAPAC
 
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decided to create a Musicals Department in 1986, there wasno one else in South Africa that we even considered for the post.
 
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If
 
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GeoffreySutherland had not been interested
 
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or
 
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available, NAPAC would probably havedropped the idea.
 
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It
 
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proved to be a mutually beneficial step in every way and GeoffreySutherland turned
 
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NAPAC's
 
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Musicals Theatre Department into one
 
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of
 
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themost innovative and exciting arts departments in all
 
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of
 
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the Performing ArtsCouncils.Perhaps the
 
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Trilogy
 
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season and
 
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Queen
 
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productions set the final seal on hisvision about what musical theatre could,
 
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and
 
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should, be: and everyone who sawthose productions realised we were taking part in the making
 
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of
 
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South Africantheatrical history.All who have regularly attended theatre in Natal will have memories
 
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of'a
 
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Geoffrey Sutherland production'; shows which enriched
 
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our
 
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experience at thetime and so live on in our memory. As they range across such a wide variety
 
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of
 
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styles, genres, moods, they also give some indication
 
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of
 
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the enormousversatility
 
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of
 
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the man. I must include memories
 
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of
 
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...
 
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the huge, white-winged angels in
 
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Navidad Nuestra,
 
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as they swoopedacross the grass in Mitchell Park on a summer night more than
 
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25
 
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yearsago;Geoffrey as
 
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'Quasimodo',
 
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clinging to the giant, clanging bell as thecurtain fell slowly on his
 
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Hunchback
 
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of
 
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Notre Dame,
 
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the closingperformance by the NAPAC Ballet Company at the old Alhambra;the simplicity and sincerity
 
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of
 
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the revue
 
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Pia/,
 
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which opened The Cellar;the fun and exuberance
 
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of
 
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the hard-hat
 
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Pirates
 
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of
 
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Penzance,
 
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the firstproduction in the Opera
 
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of
 
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the Natal Playhouse; he enormous impact
 
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of
 
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the combined forces
 
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of
 
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the NPO, singers, dancersand Geoffrey's concept in a starkly dramatic
 
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Carmina Burana
 
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or later inhis
 
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Peer Gynt
 
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-
 
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both
 
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at
 
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the old Alhambra;the wonderfully-atmospheric Sondheim musical
 
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Sweeney Todd,
 
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whichwas exceptional by any standards -but even more remarkable as part
 
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of
 
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the
 
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Trilogy
 
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which Geoffrey conceived, put together and made;the delightful
 
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Joseph and his amazing technicolour dreamcoat
 
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-
 
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in allits manifestations and revivals, productions and re-productions -whichalways had a light-hearted and gentle charm that made me feelgood
 
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...
 
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the sparkling vitality
 
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of
 
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Ain 't Misbehaving;
 
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the charm
 
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of
 
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the under-rated
 
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Romance, Romance;
 
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the beautifully-staged production numbers in showslike
 
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Fair Lady, Camelot, Seven Brides, Hello Dolly, Singin' in the Rain,Queen;
 
  
 +
He later moved to Johannesburg where he formed his own dance group, [[Kinetika]], mounting  the musical ‘’[[Man of la Mancha]]’’, choreographed ‘’[[The Canterbury Tales]]’’ and lectured in the Drama Department of the [[University of the Witwatersrand]].
 +
It was at this time that he first began working with the [[Performing Arts Council of the Transvaal]], choreographing dance sequences for opera productions, later becoming a resident producer and choreographer for [[PACT]] and creating ballets and directing a number of major productions for the organisation.
 +
His major breakthrough for them came with the spectacular success of ‘’[[Joseph and the Amazing Technicolour Dreamcoat]]’’.
  
 +
In 1986 [[NAPAC]] created a Musical Theatre Department and they appointed Sutherland as head, a position in which he would go on to do a series of remarkable productions.
  
−
Before coming to South Africa in July 1967, he was a lecturer in Dance and Drama at the Laban Studio in Surrey. **
+
He was married to choreographer [[Kenlynn Ashby]] and the couple had two daughters, [[Lisa Mary Sutherland]] and [[Natasha Kate Sutherland]].
 +
 
 +
Sadly Sutherland died of pneumonia in 1992 aged 51.
 +
 
 +
==Contribution to South African theatre and performance==
 +
 
 +
He directed ''[[Canterbury Tales]]'' for the [[JODS]] at the [[Civic Theatre]], in 1970. He directed and choreographed ''[[Man of La Mancha]]'' for [[JODS]] in 1971. He did the choreography for the [[JODS]] production ''[[Applause]]'' at the [[Civic]] in 1971. Choreography was taken over by [[Wendy de la Harpe]] after dissatisfaction from the director. He choreographed the [[PACT]] production of [[Andrew Lloyd Webber]] and [[Tim Rice]]’s ''[[Joseph and the Amazing Technicolor Dreamcoat]]'', directed by [[John Hussey]], and starring [[Richard Loring]], [[Bruce Millar]] and [[Alvon Collison]] at the [[Alexander]] in 1974. He directed and choreographed the South Afrcian version of the musical ''[[Chicago]]'' in January 1977 at the [[Alexander Theatre]]. It starred [[Annabel Linder]] and [[Judy Page]] and [[Hazel Feldman]] did publicity. He directed [[PACT]]’s production of ''[[The Archon]]'' at the [[Civic]] in 1979. His production of [[Joan Littlewood]]’s ''[[Oh! What a Lovely War]]'' starring [[Judy Page]], [[Michael Richard]], [[Gay Lambert]], [[Michael McCabe]], [[James White]] and [[Erica Rogers]] was staged by [[PACT]] in 1980. He directed [[NAPAC]] and [[CT Productions]]’ ''[[Snoopy!!!]]'' starring [[Tim Plewman]], [[Mark Richardson]] and [[Cathy Cota]], at the [[Space Frame]] theatre in 1984. He directed ''[[Peer Gynt]]'' at the [[Durban Alhambra]] for [[NAPAC]] in October 1985. He directed ''[[The Pirates of Penzance]]'' starring [[Clive Scott]], [[Julie Wilson]], [[Edwin van Wyk]] and [[Colleen-Rae Holmes]] for [[NAPAC]] which was brought to the [[Civic]] by [[PACT]] in December 1986. He choreographed ''[[The Great Waltz]]'' with direction by [[David Matheson]] which opened at the [[State Theatre]] in 1987. He directed and choreographed the musical ''[[Singin’ in the Rain]]'' in 1988. He directed [[Stephen Sondheim]]’s ''[[Sweeney Todd]]'' in 1989. He directed ''[[Romance, Romance]]'' in 1990. Together with [[Andrew Botha]] and [[Graham Scott]] he created ''[[Queen at the Opera]]'' which opened at the Durban [[Playhouse]] in 1990, He directed and choreographed [[Andrew Lloyd Webber]] and [[Tim Rice]]’s musical ''[[Jesus Christ Superstar]]'' at the [[Durban Playhouse]] in 1991. He directed the combined performing arts council’s production of ''[[Seven Brides for Seven Brothers]]'' in 1990/91.  
  
−
He directed ''[[Canterbury Tales]]'' for the [[JODS]] at the [[Civic Theatre]], in 1970. He directed and choreographed ''[[Man of La Mancha]]'' for [[JODS]] in 1971. He did the choreography for the [[JODS]] production ''[[Applause]]'' at the [[Civic]] in 1971. Choreography was taken over by [[Wendy de la Harpe]] after dissatisfaction from the director. He choreographed the [[PACT]] production of [[Andrew Lloyd Webber]] and [[Tim Rice]]’s ''[[Joseph and the Amazing Technicolor Dreamcoat]]'', directed by [[John Hussey]], and starring [[Richard Loring]], [[Bruce Millar]] and [[Alvon Collison]] at the [[Alexander]] in 1974. He directed and choreographed the South Afrcian version of the musical ''[[Chicago]]'' in January 1977 at the [[Alexander Theatre]]. It starred [[Annabel Linder]] and [[Judy Page]] and [[Hazel Feldman]] did publicity. He directed [[PACT]]’s production of ''[[The Archon]]'' at the [[Civic]] in 1979. His production of [[Joan Littlewood]]’s ''[[Oh! What a Lovely War]]'' starring [[Judy Page]], [[Michael Richard]], [[Gay Lambert]], [[Michael McCabe]], [[James White]] and [[Erica Rogers]] was staged by [[PACT]] in 1980. He directed [[NAPAC]] and [[CT Productions]]’ ''[[Snoopy!!!]]'' starring [[Tim Plewman]], [[Mark Richardson]] and [[Cathy Cota]], at the [[Space Frame]] theatre in 1984. He directed ''[[Peer Gynt]]'' at the [[Durban Alhambra]] for [[NAPAC]] in October 1985. He directed ''[[The Pirates of Penzance]]'' starring [[Clive Scott]], [[Julie Wilson]], [[Edwin van Wyk]] and [[Colleen-Rae Holmes]] for [[NAPAC]] which was brought to the [[Civic]] by [[PACT]] in December 1986. He choreographed ''[[The Great Waltz]]'' with direction by [[David Matheson]] which opened at the [[State Theatre]] in 1987. He directed and choreographed the musical ''[[Singin’ in the Rain]]'' in 1988. He directed [[Stephen Sondheim]]’s ''[[Sweeney Todd]]'' in 1989. He directed ''[[Romance, Romance]]'' in 1990. Together with [[Andrew Botha]] and [[Graham Scott]] he created ''[[Queen at the Opera]]'' which opened at the Durban [[Playhouse]] in 1990. He directed and choreographed [[Andrew Lloyd Webber]] and [[Tim Rice]]’s musical ''[[Jesus Christ Superstar]]'' at the [[Durban Playhouse]] in 1991. He directed the combined performing arts council’s production of ''[[Seven Brides for Seven Brothers]]'' in 1990/91. He died in 1992 at the age of fifty-one.
 
  
 
== Sources ==  
 
== Sources ==  
Line 180: Line 31:
 
Robert N. Cross. 1992. "Obituary" in ''Natalia'' No 22 (1992) (pp.71-71)[https://www.scribd.com/document/48568585/Natalia-22-1992-complete]
 
Robert N. Cross. 1992. "Obituary" in ''Natalia'' No 22 (1992) (pp.71-71)[https://www.scribd.com/document/48568585/Natalia-22-1992-complete]
  
−
Return to [[ESAT Personalities S]]
+
Go to the  [[ESAT Bibliography]]
 +
 
 +
== Return to ==
 +
 
 +
Return to [[ESAT Personalities S]]  
  
 
Return to [[South_African_Theatre/Personalities|South African Theatre Personalities]]
 
Return to [[South_African_Theatre/Personalities|South African Theatre Personalities]]
 +
 +
Return to [[The ESAT Entries]]
  
 
Return to [[Main Page]]
 
Return to [[Main Page]]

Latest revision as of 05:39, 30 June 2019

Geoffrey Sutherland (1941-1992) was a lecturer, dancer, director and choreographer.

Biography

Born in Britain, he trained in movement at the famous Laban School, where he later lectured in Dance and Drama at the Laban Studio in Surrey. He first came to South Africa in July of 1967 to lecture in movement at the Speech and Drama Department of the University of Natal in Durban. One of his first major theatrical productions in Durban was a remarkable open-air production in Mitchell Park of the danced Nativity, Navidad Nuestra, which he not only conceived, produced and choreographed, but also designed and danced in.

He first worked for NAPAC in 1971 when he directed a new stage adaptation of the delightful A. A. Milne stories about ‘’Winnie-the-Pooh’’, to be followed over the years by a range of other productionns.

He later moved to Johannesburg where he formed his own dance group, Kinetika, mounting the musical ‘’Man of la Mancha’’, choreographed ‘’The Canterbury Tales’’ and lectured in the Drama Department of the University of the Witwatersrand. It was at this time that he first began working with the Performing Arts Council of the Transvaal, choreographing dance sequences for opera productions, later becoming a resident producer and choreographer for PACT and creating ballets and directing a number of major productions for the organisation. His major breakthrough for them came with the spectacular success of ‘’Joseph and the Amazing Technicolour Dreamcoat’’.

In 1986 NAPAC created a Musical Theatre Department and they appointed Sutherland as head, a position in which he would go on to do a series of remarkable productions.

He was married to choreographer Kenlynn Ashby and the couple had two daughters, Lisa Mary Sutherland and Natasha Kate Sutherland.

Sadly Sutherland died of pneumonia in 1992 aged 51.

Contribution to South African theatre and performance

He directed Canterbury Tales for the JODS at the Civic Theatre, in 1970. He directed and choreographed Man of La Mancha for JODS in 1971. He did the choreography for the JODS production Applause at the Civic in 1971. Choreography was taken over by Wendy de la Harpe after dissatisfaction from the director. He choreographed the PACT production of Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat, directed by John Hussey, and starring Richard Loring, Bruce Millar and Alvon Collison at the Alexander in 1974. He directed and choreographed the South Afrcian version of the musical Chicago in January 1977 at the Alexander Theatre. It starred Annabel Linder and Judy Page and Hazel Feldman did publicity. He directed PACT’s production of The Archon at the Civic in 1979. His production of Joan Littlewood’s Oh! What a Lovely War starring Judy Page, Michael Richard, Gay Lambert, Michael McCabe, James White and Erica Rogers was staged by PACT in 1980. He directed NAPAC and CT Productions’ Snoopy!!! starring Tim Plewman, Mark Richardson and Cathy Cota, at the Space Frame theatre in 1984. He directed Peer Gynt at the Durban Alhambra for NAPAC in October 1985. He directed The Pirates of Penzance starring Clive Scott, Julie Wilson, Edwin van Wyk and Colleen-Rae Holmes for NAPAC which was brought to the Civic by PACT in December 1986. He choreographed The Great Waltz with direction by David Matheson which opened at the State Theatre in 1987. He directed and choreographed the musical Singin’ in the Rain in 1988. He directed Stephen Sondheim’s Sweeney Todd in 1989. He directed Romance, Romance in 1990. Together with Andrew Botha and Graham Scott he created Queen at the Opera which opened at the Durban Playhouse in 1990, He directed and choreographed Andrew Lloyd Webber and Tim Rice’s musical Jesus Christ Superstar at the Durban Playhouse in 1991. He directed the combined performing arts council’s production of Seven Brides for Seven Brothers in 1990/91.


Sources

Teater SA, 1(3), 1968.

Tucker, 1997.

Robert N. Cross. 1992. "Obituary" in Natalia No 22 (1992) (pp.71-71)[1]

Go to the ESAT Bibliography

Return to

Return to ESAT Personalities S

Return to South African Theatre Personalities

Return to The ESAT Entries

Return to Main Page

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