Theatre
Jenny Seagrove's theatre work includes the title role in Jane Eyre at Chichester Festival Theatre (1986); Ilona in The Guardsman at Theatr Clwyd (1992); and Bett in King Lear in New York, again at Chichester (1992).
She played opposite Tom Conti in Present Laughter at the Globe Theatre (1993); Annie Sullivan in The Miracle Worker at the Comedy Theatre (1994); Dead Guilty with Hayley Mills at the Apollo Theatre (1995); Hurlyburly for the Peter Hall Company when the production transferred from the Old Vic to the Queen's Theatre (1997); co-starred with Martin Shaw in the Parisian thriller Vertigo (Theatre Royal Windsor October 1998) and then with Anthony Andrews (also Windsor,1998).
In 2000 she appeared in Brief Encounter at the Lyric Theatre; followed by Neil Simon's The Female Odd Couple at the Apollo (2001). Again at the Lyric Theatre in 2002 she played the title role in Somerset Maugham's The Constant Wife, followed by a revival of David Hare's The Secret Rapture in 2003, and The Night of the Iguana two years later in 2005.
Coming to the West End from a UK tour, she played Leslie Crosbie in Maugham's The Letter at Wyndham's Theatre (2007), again co-starring with Anthony Andrews.
In December 2007, she played Marion Brewster-Wright in the Garrick Theatre revival of Alan Ayckbourn's dark, three-act comedy Absurd Person Singular.
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Famous quotes containing the word theatre:
“Our instructed vagrancy, which has hardly time to linger by the hedgerows, but runs away early to the tropics, and is at home with palms and banyans—which is nourished on books of travel, and stretches the theatre of its imagination to the Zambesi.”
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“To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.”
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“The History of the world is not the theatre of happiness. Periods of happiness are blank pages in it, for they are periods of harmony—periods when the antithesis is in abeyance.”
—Georg Wilhelm Friedrich Hegel (1770–1831)