Celia Imrie - Theatre

Theatre

  • 1976 – The Adventures of Alice
  • 1976 – Sherlock Holmes
  • 1976 – Now Here's A Funny Thing
  • 1977 – The Boyfriend
  • 1977 – Love's Labour's Lost
  • 1977 – Henry V
  • 1978 – 'Tis Pity She's a Whore
  • 1978 – Macbeth
  • 1978 – Cabaret
  • 1978 – As You Like It
  • 1979 – Pygmalion
  • 1979 – The Good Humoured Ladies
  • 1980 – Seduced
  • 1981 – A Waste of Time
  • 1981 – Heaven and Hell
  • 1982 – The Screens
  • 1982 – Philosophy of the Boudoir
  • 1982 – Puss In Boots
  • 1982 – Puntila and Matti, Master and Servant
  • 1983 – Sirocco
  • 1983 – The Merchant of Venice
  • 1983 – Custom of the Country
  • 1983 – Arms and the Man
  • 1983 – Webster
  • 1984 – When I Was A Girl I Used To Scream and Shout
  • 1984 – The Merchant of Venice
  • 1984 – Alfie
  • 1985 – The Philanthropist
  • 1985 – Particular Friendships
  • 1986 – Last Waltz
  • 1987 – Yerma
  • 1987 – School For Wives
  • 1988 – The Madwoman of Chaillot
  • 1988 – Doctor Angelus
  • 1990 – No one Sees The Video
  • 1990 – Hangover Square
  • 1990 – In Pursuit of The English
  • 1991 – The Sea
  • 1995 – The Hothouse
  • 1996 – Habeas Corpus
  • 1997 – Dona Rosita The Spinster
  • 1998 – The School for Scandal
  • 2003 – Unsuspecting Susan
  • 2003 – The Way of The World
  • 2005 – Unsuspecting Susan
  • 2005 – Acorn Antiques The Musical!
  • 2006 – Singular Women
  • 2009 – Mixed Up North
  • 2009 – Plague Over England
  • 2010 – The Rivals
  • 2010 – Polar Bears
  • 2010 – Hay Fever
  • 2011 – Drama at Inish
  • 2011 - An Audience with Celia Imrie - Joined by Fidelis Morgan at the Glasgow Citizens Theatre
  • 2011/2012 – Noises Off

Imrie appeared as a guest on Desert Island Discs on Radio 4 on 13 February 2011.

Read more about this topic:  Celia Imrie

Famous quotes containing the word theatre:

    “If an irreducible distinction between theatre and cinema does exist, it may be this: Theatre is confined to a logical or continuous use of space. Cinema ... has access to an alogical or discontinuous use of space.”
    —Susan Sontag (b. 1933)

    “I can get dressed earlier in the evening with every intention of going to a dance at midnight, but somehow after the theatre the thing to do seems to be either to go to bed or sit around somewhere. It doesn’t seem possible that somewhere people can be expecting you at an hour like that.”
    —Robert Benchley (1889–1945)

    “The theatre is a gross art, built in sweeps and over-emphasis. Compromise is its second name.”
    —Enid Bagnold (1889–1981)