Obituary: Reginald Woolley
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.ADAM BENEDICK's excellent obituary of Reginald Woolley (20 March) concentrated on his long association with the Players Theatre but failed to mention his work in other theatrical fields, writes Tom Hawkes.
He designed Shakespeare at the Old Vic but his greatest love was opera, and he worked with some of the most eminent names in opera production, including Tyrone Guthrie and Carl Ebert. His designs for Sadler's Wells included Guthrie's famous Carmen, Pagliacci, Simon Boccanegra and Dido and Aeneas. He was for many years associated with the Wexford Festival, where his designs included Ernani, Count Ory, Lucia di Lammermoor, Gioconda, Don Quichotte and Lucrezia Borgia; in Belfast he designed and also directed a particularly effective La Grande Duchesse de Gerolstein. He also designed productions for the Netherlands Opera, and was for many years resident designer for the Arts Council's Opera for All.
His ability to create on small stages the illusion of Grand Opera entranced audiences throughout Britain. His designs for my 1968 production of The Dialogue of the Carmelites had the very young Kiri Te Kanawa in the role of the tortured Sister Blanche. Stanley Sadie, reviewing the production, commended Reggie's 'strongly atmospheric' sets.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments